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  • Tips for Choosing Between RAW Versus JPEG File Format

    Perhaps one of the most commonly asked questions in digital photography is around which file type to use when shooting – JPEG or RAW file format. Don’t worry if you don’t know much about these two formats or whether your camera supports them. My goal, by the end of this article, is to help you understand what these two types are and help you pick the one that is right for you.

    sunset image - RAW Versus JPEG File Format

    RAW Versus JPEG File Format

    At the very basic level, both JPEG and RAW are types of files that the camera produces as its output. Most of the newer cameras today have both these options along with a few others like M-RAW, S-RAW, Large format JPEG, Small format JPEG, etc. – all of which determines the size of the final output file.

    The easiest way to see which file formats are supported by your camera is to review your camera user manual – look for a section on file formats. Or you can go through the menu options of your camera and select Quality (for Nikon) or Image Quality (Canon) to select the file format.

    Each file format has its advantages and disadvantages so choose the right option that works best for you. JPEGs are, in reality, RAW files that are processed in camera and compressed into that format. Some of the decisions the camera makes in processing the image may be difficult to change later, but the JPEG file sizes tend to be much smaller. 

    Let’s look at the advantages and disadvantages of both these file formats in greater detail.

    Advantages of shooting RAW files

    • It is easier to correct exposure mistakes with RAW files than with JPEGs and overexposed highlights can sometimes be rescued. For people like me who tend to always photograph at least 1/2 stop to 1 stop overexposed (based on my style of photography), this is really beneficial in saving many great images in post-production.
    • The higher dynamic range means better ability to preserve both highlights and shadow details in a high contrast scene when the image is being recorded.
    • White Balance corrections are easier to make.
    • Decisions about sharpening, contrast, and saturation can be deferred until the image is processed on the computer.
    • All the original image data is preserved. In fact, when RAW files are opened in post-production software like Lightroom, a virtual copy is made and used. Edits are made in a non-destructive format so the original RAW file is always available for changes at a later stage. This is very useful when you want to edit images in different ways at different times in your photographic career.
    RAW Versus JPEG File Format - before and after with a raw file

    Left is the RAW file straight out of the camera. On the right is the finished edited image from the same file.

    The image on the left (above) was completely blown out because I was in the car and did not have any of my settings correct. But because I photographed in RAW I was able to salvage so much detail in the image. This would not have been possible with a JPG file.

    RAW Versus JPEG File Format - underexposed image

    An image that was not properly exposed but photographed in RAW.

    RAW Versus JPEG File Format - corrected version of the dark file

    The edited image that was corrected in post-processing for exposure issues.

    Disadvantages of RAW files

    • RAW files tend to be much larger in size compared to JPEGs thereby requiring more storage, not just in camera but also on external storage devices or your computer hard drives.
    • RAW images take longer to write to your memory card which means shorter bursts of continuous shooting. For example, my Canon 5D MIII can write about 12 RAW files continuously and about 30+ JPEG files in the continuous (burst) shooting mode. Check your camera manual for specifics around your own camera’s burst mode (a.k.a continuous photography mode).
    • Not all programs can read RAW files. This used to be an issue, but now there are lots of great programs that can work directly with Raw files such as Adobe Lightroom, Canon’s Camera RAW, Luminar, On1 Raw, ACDSee Photo Studio Ultimate, and other such programs.

    Advantages of shooting JPEGs

    • JPEG files are much smaller in size compared to RAW files and hence need less storage space – both in camera memory and on your computer hard drives.
    • JPEG images write to disk more quickly which means longer bursts of continuous shooting opportunities especially during wildlife photography, fast action sports, or even dealing with little kids that are always on the move.
    • These JPEG files can be instantly viewed with many programs including common web browsers, powerpoint, and other such common applications.

    Disadvantages of JPEG files

    • It is harder to fix exposure mistakes in post-production with JPEG files.
    • JPEG files tend to have a smaller dynamic range of information that is stored and this often means less ability to preserve both highlights and shadow details in the image.
    • White Balance corrections are more difficult with JPEG files.
    • Decisions about sharpness, contrast, and saturation are set in the camera itself and in most cases, these are difficult to change later in post-production without destroying the image quality.
    • Since a JPEG image is essentially a RAW image compressed in-camera, the camera’s computer makes decisions on what data to retain and which to toss out when compressing the file.
    RAW Versus JPEG File Format - jpg edited file

    The same image when edited as a JPEG for exposure issues becomes a lot grainier than an underexposed RAW image. You cannot pull them as far as a RAW file.

    Another old-school way to think about these two file types is as slides and negatives. JPEGs are like slides or transparencies and RAW files are like negatives. With JPEGs, most of the decisions about how the image will look are made before the shutter is pressed and there are fewer options for changes later. But RAW files almost always require further processing and adjustments – just like negatives.

    Which format to choose?

    Now that you understand the difference between RAW and JPEG images, deciding which one to use is dependent on a few different factors.

    • Do you want to spend time in post-processing your images to your taste and photography style?
    • Are there any issues with limited space on your camera’s memory card and/or computer hard drives?
    • Do you have software and/or editing programs that will read RAW files easily?
    • Do you intend to print your images or even share images online in a professional capacity?

    Some photographers are intimidated by RAW images. I was as well when I had just gotten started in photography because I did not know the true power of a RAW image. However, once I started photographing in RAW there was no going back.

    Even everyday snapshots are shot in RAW now because of the great flexibility I have in correcting any mistakes that I make. One of the most common mistakes that many photographers make is around image exposure and that is relatively easy to fix with RAW files. 

    RAW Versus JPEG File Format - overexposed sun or sky

    I accidentally overexposed the setting sun and lost some of that golden warmth hitting the tree.

    Karthika Gupta Photography - Memorable Jaunts DPS Article-Raw verses JPEG file formats -07

    One of my favorite San Francisco cityscapes at sunset. I accidentally overexposed and lost the sun flare but was able to edit it and bring back that sunset warmth in post-production because it is a RAW file.

    It’s getting easier to use RAW files

    Traditionally the two main issues with RAW files seem to be fading every day:

    1. The cost of memory to store or backup these RAW files is getting cheaper and cheaper by the day.
    2. Software that can read RAW files is more readily available. In fact, there is even inexpensive and free software that can read these RAW files now.

    There is still the issue of write speed for your camera. If you focus on fast-moving subjects like wildlife or sports photography then perhaps write speed is a key factor in deciding whether to photograph in RAW versus JPEG. So for fast moving objects and/or wildlife and birding photos, JPEG may be a better choice.

    Another thing to note is that most of the newer cameras have the ability to capture both JPEG and RAW images at the same time. But this takes up even more storage space and might not be the best use of memory. You are better off just picking one option and sticking with that.

    RAW Versus JPEG File Format - photo of a stream and moving water

    Waterfall images using a slow shutter speed tend to blow out the background but editing a RAW image in Lightroom helps bring back some of the highlights.

    Conclusion

    I hope this was helpful in not only understanding the differences between RAW versus JPEG file formats but also in helping you decide which one to choose and why. So tell me, do you belong to the RAW or the JPEG camp?!

    The post Tips for Choosing Between RAW Versus JPEG File Format appeared first on Digital Photography School.


    Digital Photography School

  • Does sensor size still make a difference?

    We’ve seen huge breakthroughs in the computational photography techniques in the latest smartphones, as well as the launch of some excellent small sensors in more traditional cameras. Does that mean that bigger is no longer necessarily better?

    To answer that question, let’s look at why big sensors tend to produce better image quality and what smaller-sensored cameras and smartphones are doing to close the gap.

    Benefits of larger sensors

    The three main benefits that prompt people to move to larger sensors are the ability to blur the background with shallow depth-of-field, exhibit less noise in low light situations and the ability to capture a wider dynamic range between the brightest and darkest areas of the image. Since these all primarily stem from getting more light, it presupposes that you have a lens with a wide-enough aperture to let in enough light, but this is usually possible. Collectively, these three factors mean that large sensor cameras can usually produce better-looking images. They can’t make up for the photographer, of course, but if used by the same person, the bigger sensor usually ‘wins.’

    Computational photography allows small sensors to imitate the effects of a larger sensor, while leaps forwards in sensor performance can help small sensors produce better-looking images. But do these advances mean you no longer need a larger sensor?

    Computational photography

    The most visible example of computational photography in widespread use are the portrait modes in the latest smartphones. These use a variety of techniques but fundamentally they make some attempt to assess the depth in the scene, then apply differing amounts of blur at different depths, to simulate shallow depth-of-field.

    The results aren’t always totally convincing and won’t necessarily satisfy the kind of demanding photographer that looks for particular character to the out-of-focus rendering (bokeh) of their lenses. However, as processing power and machine learning continue to improve, the results will only get better. And for many applications, will quickly exceed the threshold of being considered ‘good enough’ for an increasing number of people.

    This image was taken using Portrait mode on a modern smartphone. As well as simulated shallow depth-of-field, computational photography has added artificial lighting effects to the subject’s face.

    Computational photography can also help with low light and high dynamic range scenes. Again, it’s increasingly common for smartphones to be able to shoot multiple shots, then combine them. The processing is getting sophisticated enough that this can even be done with moving subjects, without the user even necessarily realizing that this is what their phone is doing.

    Because most noise in photography comes from the randomness of light, shooting the same scene again and again helps to average out this randomness, just as rolling a die repeatedly helps you get a clearer picture of whether it’s weighted.

    The results will start to rival the output of
    larger sensors

    The same can be done in good light, sampling the scene several times (sometimes with different exposures), to extend the dynamic range beyond what could be achieved in a single exposure.

    Unlike the shallow depth-of-field effect, which is simulated, these multi-shot techniques directly compete with larger sensors, since they allow the image to be constructed from more light. At which point, the results will start to rival the output of larger sensors, so long as the combination of images and movement cancellation is clever enough.

    More advanced sensors

    We’ve seen some very good small sensors in recent years, whose performance can narrow the gap with those above them. The adoption of technologies such as back-side illumination have allowed sensors to become more efficient (capturing more of the light that’s shone on them). Again, since most of the benefits of larger sensors come from them generally receiving more light during any given exposure, an increase in efficiency can help smaller sensors narrow this gap.

    G1 X Mark III
    ISO 500
    F3.2 (F5.2 equiv)
    1/30th    		 G7 X Mark II
    ISO 160
    F2 (F5.5 equiv)
    1/30th

    The Canon G1 X Mark III offers an APS-C sensor to the G7 X Mark II’s 1″ sensor, but the latter uses a more efficient BSI design.

    This only goes so far. Partly because these technologies are also likely to have some benefit when they ‘trickle up’ to larger sensor sizes. This widens that gap back to the extent you’d expect, just based on the size difference. Also, the gaps between most popular sensor sizes are proportional to at least two-thirds of a stop, which is more of a difference than technology advances tend to compensate for.

    Small sensor advantages

    There are also areas in which small sensors offer an advantage over large ones, with readout speed being the most obvious one. In general it’s quicker to read out the data from small sensors, which brings a series of benefits. The most obvious is that it allows improved video quality, either through being able to read all the pixels, enabling more detailed capture, or simply through a reduction in rolling shutter.

    The RX100 V’s stacked CMOS sensor with DRAM incorporated into the chip allows faster readout, which boosts video and autofocus performance.

    The other advantage, of course, is that it makes it quicker and easier to offer many of the computational photography benefits discussed earlier in the article.

    There are ways to improve the readout speed of large sensors too, such as the stacked CMOS sensor that ‘trickled up’ from Sony’s smartphone and 1″-type sensors to the full frame a9. This incorporates readout circuitry and RAM into the sensor to allow faster readout. But this comes at a considerable cost premium, as these chips are extremely complex and time-consuming to make, making it difficult for large sensors to match some of the capabilities of smaller chips.

    Convenience of small sensors

    The other potential advantage of small sensors is that they allow cameras to be smaller. This tends to means lenses with smaller physical apertures, which is one of the main things that hold the image quality of small sensors back, but the trade-off is cost and convenience. So, although you can buy mirrorless cameras with large sensors, it’ll be the ones with smaller sensors that will provide the smaller overall package, most of the time.

    For all the bluster you sometimes encounter with people claiming to be committed enough that they always carry a full DSLR kit around with them, most people find it’s easier to carry a small camera with you. And you know what they say about the camera you’ve got with you…

    Is bigger still better?

    Overall then, for conventional, single-shot photography, there’s no substitute for making a photograph using more light, and it’s usually easier to give a large sensor more light since it has a larger area to capture light. In that sense, bigger sensors are still better. However, that’s not the same as saying ‘you need a bigger sensor.’

    Even though a larger sensor may be able to produce a better result, smaller sensors are getting better and better all the time

    Improvements in sensor tech, the availability of large sensor compacts with bright lenses (that help get more light to their sensors), and advances in computational photography allow better images than ever before from small sensors.

    At which point, we come back to the question of what’s ‘good enough.’ Which isn’t so much about accepting limitations, but more about being able to attain a quality you’re happy with for what you’re trying to achieve. So even though a larger sensor may be able to produce a better result, smaller sensors are getting better and better all the time, exceeding ever higher ‘good enough’ thresholds such that you may reasonably conclude that you don’t need any further improvement.

    Articles: Digital Photography Review (dpreview.com)

  • Review of the Tiffen Variable Neutral Density Filter

    In this review, I’d like to show you the Tiffen Variable Neutral Density Filter and give you my thoughts on it.

    Review of the Tiffen Variable Neutral Density Filter - filter on a table

    Review of the Tiffen Variable Neutral Density Filter - minimum setting

    The markings on the edge indicate the strength being applied. Here it is set to MIN (minimum) or the lowest setting.

    What is an ND or neutral density filter?

    A neutral density filter is a piece of glass that goes in front of your lens in order to reduce the amount of light that enters the camera. One of its biggest purposes is to allow you to shoot at your desired aperture and shutter speed combination without worrying about it being too bright outside and your photos being overexposed.

    This also grants you the capability to create beautiful motion blurs (using a long exposure) without worrying too heavily about lighting conditions. All of this being said, the main drawback of neutral density filters is needing to carry so many different ones of varying shades and densities.

    Review of the Tiffen Variable Neutral Density Filter - filter up to a bright window

    Notice how the light from outside the window is overexposed, except for the part coming through the filter. The ND filter is blocking light and here you can clearly see the difference with the filter and without.

    The Tiffen Variable Neutral Density Filter

    The Tiffen Variable ND Filter aims to change that fact. By simply rotating the outer part of the filter, you can adjust it from an approximate range of two (ND 0.6) to eight (ND 2.4) stops. The profile of the ring is 9mm, so it’s rather thin and easy to maneuver.

    The Tiffen Variable ND filter operates on the same principle as a circular polarizer, granting full manual capabilities to adjust your frame however you see fit. As such, the stops marked on the filter itself are intended to be used as reference points and do not actually signify official stops.

    Like other Tiffen filters, the variable ND filter is made in the USA and sports high-quality optical glass using Tiffen’s ColorCore® technology. The kit includes a padded case and built-in lens-cloth to aid in the portability of this filter.

    Review of the Tiffen Variable Neutral Density Filter - white dog in the sun

    ISO: 100, shutter speed: 1/1600th, f/1.2 – the use of the filter here allowed me to shoot wide open even in bright sunlight.

    How I use this filter with my photography

    I will preface to say that although I should be using ND filters more in my work, I seldom do. I acquired this filter blind, having not used NDs often in my work. As someone who is consistently at the mercy of my client’s schedules, the Tiffen variable ND filter provided an apt solution to sessions booked around the infamous noon hour.

    Motion blurs are not a common part of my photography – but I have now begun using the variable ND filter every single day to preserve my love of shallow-depths-of-field and wide apertures in unfavorable lighting conditions.

    Review of the Tiffen Variable Neutral Density Filter - man in a field

    ISO: 100, shutter speed: 1/8000th, f/1.2 – this exposure combination would result in overexposure in the bright sun without the use of the Tiffen Variable ND filter.

    In real-life use of this filter, it was great to be able to visually see how the adjustments affected the image and maintain the integrity of the shot I wanted to take. Many of my clients enjoy my stylistic aesthetic of consistently using very low aperture numbers and a shallow depth of field in my work. This filter allows me to maintain this effect even on the brightest of days.

    girl with a guitar portrait outdoors - Review of the Tiffen Variable Neutral Density Filter

    ISO: 100, Shutter Speed: 1/8000, f/1.2

    Using the filter

    The test images here all featured my lively white dog, who previously was nearly impossible to properly expose with a wide aperture in the clear, bright noon sun. Each photograph features the same settings, with the ND ring being rotated to showcase how dark it can truly get.

    These images were shot at high noon, in bright sun, with a 50mm f/1.2 lens wide open at 1.2. The ISO was set to 100, and the shutter speed to 1/1600th. The variable ND filter allowed me to darken the frame enough to ensure that the depth of field was kept intact.

    It was very easy for me to figure out precisely what ND stop I needed due to being able to see the changes in real-time by rotating the cuff. The filter does have a slight blue cast and a severe blue tint when turned beyond the “maximum” markers on the filter.

    Review of the Tiffen Variable Neutral Density Filter

    Review of the Tiffen Variable Neutral Density Filter

    Review of the Tiffen Variable Neutral Density Filter

    Review of the Tiffen Variable Neutral Density Filter

    Review of the Tiffen Variable Neutral Density Filter

    Review of the Tiffen Variable Neutral Density Filter - dark image showing effects of an ND filter

    ISO: 100, Shutter speed: 1/1600th, f/1.2

    First impressions

    Right off the bat, what I was really fond of about this filter is the ease at which I could adjust the stops; the rotation is very smooth and fluid. The filter itself is lightweight and features pristine Tiffen glass. The actual filter rim is intended to expand past the parameter of the lens glass to avoid an unintentional vignette, a welcome addition.

    My only complaint would be there is a bit of a learning curve on actually attaching the filter to my lens, it took longer time than I would have initially liked due to the chunky rotating mount being in the way. It initially felt a bit loose on the lens, only to find that it was strictly my misuse/improper attachment causing the minor mishap.

    Once this was remedied with a bit of practice, all was well. Unfortunately, the filter scale is hidden under the lens, so it also took some finagling to realign the filter stops. These are all minor inconveniences in the grand scheme of things, however.

    portrait with blurred background - Review of the Tiffen Variable Neutral Density Filter

    ISO: 100, Shutter Speed: 1/8000, f/1.2

    Bonus tip: I went and purchased a step-down and step-up ring to be able to attach the filter to several of my other lenses, and I found that the addition of the ring actually helped screw the variable ND filter to my lenses because there was an additional amount of space to grip while I spun.

    Purchasing a filter: Buy the filter to fit your largest lens and add some step-down rings to attach it to smaller ones. Then you only need one filter, not one for each lens you own. 

    Review of the Tiffen Variable Neutral Density Filter - dog with a blue ball

    Notes on negative reviews

    Many of the negative commentaries I have heard from this filter are due largely to misuse. Though it is possible to twist beyond the scopes or the maximum and minimum stop markers on the rotator mount, it isn’t useful nor practical from a photographic standpoint due to the distortion you can experience.

    You should only range within the marked stops in order to use this filter effectively. I did experience chromatic aberration while using this filter but much of that is affected by the lens itself. This can easily be remedied in post-processing.

    Review of the Tiffen Variable Neutral Density Filter - happy border collie

    Tiffen Variable ND Filter and moving water

    As I mentioned before, I don’t shoot a lot of moving things or added motion in my images. So our dPS editor, Darlene, has kindly provided some of her images of a waterfall shot with a variable ND filter to demonstrate its effects on that type of subject.

    ISO 100, f/22, 1/10th with ND filter set to minimum.

    ISO 100, f/22, o.3 seconds with ND filter.

    ISO 100, f/22, 1.3 seconds with ND filter.

    ISO 100, f/22, 4 seconds with ND filter.

    ISO 100, f/22, 30 seconds with ND filter.

    Notice how as the filter strength was increased, she was able to slow the shutter speed to change the effect of the flowing water. Attempting this in bright sun without a variable ND filter would result in extremely overexposed images.

    For reference, her exposure without the filter was ISO 100, f/22, 1/20th, so the last shot above would have been  9 stops too bright. So having such a filter in your toolkit gives you a lot more options than shooting without it.

    Summary

    Retailing between $ 78.00 to $ 113.00 depending on the filter size, the price is very reasonable for the amount of use you can get out of this nifty piece of glass. The Tiffen Variable Neutral Density Filter is available in 52mm, 58mm, 62mm, 67mm, 72mm, 77mm, 82mm – plenty of diameters for all of your lenses. This filter is well-worth adding to any photographic collection.

    The post Review of the Tiffen Variable Neutral Density Filter appeared first on Digital Photography School.


    Digital Photography School

  • 8 Ways to Create More Dramatic Flower Photos

    Do you think flower photography is boring? Or even too easy and obvious? I mean, of course, when you point your camera at a pretty flower you’re going to get a pretty photograph. Right?

    But a subject that you feel is boring and easy is actually the perfect one to challenge yourself with. Can you make a flower image that is creative and dramatic somehow?

    Here are a few ideas to get you started making more dramatic flower photos.

    1. Dramatic light

    Often flower photos are made under soft lighting conditions, either in the shade or on an overcast day. This is because of the soft and delicate nature of a flower which lends itself to that type of light.

    But it doesn’t have to be that way. For a more dramatic image, try to find a flower that has direct light on it and shade behind it. High contrast scenes feel more dramatic and your flower will stand out against a darker background.

    Flowers in the Light - 8 Ways to Create More Dramatic Flower Photos

    2. Change your perspective

    Most flower photos are made from a perspective looking right into the open flower. Try other perspectives for more interesting compositions. You can look at the flower from above, from the side, or from underneath.

    To make the image below, my camera was on the ground looking directly up at the flower. Because the sky was so much brighter than the flower, it created a more high-key type of image with light shining through the petals making them appear to glow.

    Looking Up flower - 8 Ways to Create More Dramatic Flower Photos

    When I made the next image, I was interested in the lines created by the petals of a dahlia the size of a dinner plate. Most photos would include the whole flower, but I only included a small portion of the huge flower taken from a side angle.

    Giant Dahlia - 8 Ways to Create More Dramatic Flower Photos

    3. Focus through

    In one of my favorite techniques for flower photography, I use a telephoto lens and focus on a flower that is around five feet away. Then I position the lens so that another flower is right in front of it. Because the close flower is extremely out of focus, it creates a soft area of color in front of the main subject.

    This is especially effective if you can find two flowers that are complementary colors (opposite) on the color wheel.

    Focus Through Poppy - 8 Ways to Create More Dramatic Flower Photos

    4. Let the wind blow

    One of the most frustrating things you encounter when photographing flowers is wind. A little bit of wind you can handle with a faster shutter speed, but sometimes the wind is just too much and your flower is blowing all over the place.

    When this happens, just go with the flow! Instead of trying to get a sharp image, go with a slow shutter speed and capture the motion of the flower moving in front of your lens.

    Flowers in the Wind- 8 Ways to Create More Dramatic Flower Photos

    5. Environmental portrait

    Most flower photos contain only the flower with no context. But you can also make an environmental portrait that shows the flower and its surrounding environment, like the one below.

    Storm Flowers - 8 Ways to Create More Dramatic Flower Photos

    6. Echo

    Another of my favorite techniques I refer to as an echo. For your main subject, find a flower that has another virtually identical flower behind it. Use a shallow depth of field and focus on your main subject letting the flower behind fall out of focus. This creates a sort of echo of the main subject.

    Yellow flowers - 8 Ways to Create More Dramatic Flower Photos

    7. Less than perfect flowers

    When photographing flowers, most photographers search for perfect specimens to be the main subject. But perhaps more interesting subjects are the less than perfect flowers. They can be dead flowers, ones with flaws, or even flowers that have fallen over.

    In the image below, I was attracted to the raindrops that were on the side of this fallen tulip. Flowers with raindrops are not uncommon, but the tulip on its side is a bit more unusual.

    Fallen Tulip - 8 Ways to Create More Dramatic Flower Photos

    8. Emphasize edges in post-processing

    You can also introduce effects in post-processing to make unique and dramatic flower photos. Try experimenting with textures or edge effects.

    For the image below, I added an edge effect in post-processing to draw the viewer’s attention to the shape of the petals.

    pink Dahlia - 8 Ways to Create More Dramatic Flower Photos

    What else can you think of? Flower photography doesn’t have to be boring or predictable. In fact, any subject that you find boring and predictable is a challenge waiting for you to unleash your own unique perspective. How do you make more dramatic flower photos?

    The post 8 Ways to Create More Dramatic Flower Photos appeared first on Digital Photography School.


    Digital Photography School

  • DPReview TV: How to get correct exposure when shooting video

    Have you experienced frustration when using your camera to shoot video? Confused about T-stops, ND filters and the right shutter speed to use? This week, Chris and Jordan take a break from gear reviews to discuss the things you should know to get proper exposure when shooting video. Get some practical tips and learn about Chris and Jordan’s exposure square… or is that an exposure trapezoid? Tune in to find out.

    You may also want to read our article, A photographer’s intro to the world of video, for more useful tips.

    A photographer’s intro to the world of video

    Finally, make sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.

    Subscribe to our YouTube channel

    Articles: Digital Photography Review (dpreview.com)

  • 7 Great Reasons to do Early Morning Photography

    An age-old question is whether you’re an early bird or a night owl. Well even if you fall into the latter category there are compelling reasons why you should get up earlier than the crack of dawn! Those reasons are of course photographic! Early morning photography can result in stunning images. Is there any other reason for getting up at 5 am?

    Whether you’re in your local area or somewhere on a trip, there is always a morning photography opportunity that will benefit from you waking up early. Those can be sunrises, or perhaps the chance to see local life at the market. So let’s see why you should be up at the crack of dawn.

    temples of Bagan Myanmar at dawn - 7 Great Reasons to do Early Morning Photography

    This is an iconic photo of the temples in Bagan in Myanmar. It is only possible to see the mist like this at dawn.

    1 – The morning atmosphere

    Why wake up early in the morning when you can get just the same light in the evening? There will still be a blue hour, a golden hour, and you can sleep in!

    While it’s true there will be similar light at dusk, the atmosphere in the morning is very different. Waking up in the morning gives you the chance to photograph the morning mist, this can add a lot to your photo. This morning mist can really transform a scene, moving it on from good to great.

    2 – Golden light

    Venice at dawn - 7 Great Reasons to do Early Morning Photography

    The golden light shines on these buildings in Venice, this is only possible to see and photograph in the morning.

    There are of course two golden hours per day, if you’re an early bird you’ll have enjoyed the morning one before. Of course, a lot of people will want to photograph the sunrise sky directly. Turn around though and you’ll get all those warm colors flooding over the landscape in front of you.

    This opens up a new variety of photos that you could take. Perhaps instead of photographing a landscape at sunset, you could get all those golden colors on it from sunrise.

    3 – You’ll have the place to yourself

    tai chi at sunrise - 7 Great Reasons to do Early Morning Photography

    Getting up early in the morning means you get the place more or less to yourself. These tai chi practitioners add an element of storytelling to the scene.

    As discussed in a previous article, there are benefits to photographing alone. When you wake up early in the morning this is much more likely to be the case. Now photographing a popular landmark without having to deal with hordes of other people in front of you will be easier.

    The early bird catches the worm as they say, and the early morning photographer has the uncrowded streets to themselves.

    4 – Morning photography is more unique

    dawn view of a valley - 7 Great Reasons to do Early Morning Photography

    Waking early in the morning for this scene was absolutely worth it.

    The most dedicated of photographers will, of course, wake up for their morning photography. That means there will be photographs showcasing the best of the early conditions.

    The chance that your photograph hasn’t been taken a million times before will be much higher, it will only have been taken thousands of times before. Okay, so to get a truly unique photo may require the use of some more creative photography techniques, but you increase your odds by getting up early.

    5 – The angle for specific photos only works at sunrise

    sunrise in Penang - 7 Great Reasons to do Early Morning Photography

    The dove jetty on Penang island in Malaysia is a great example of a photo that works better at sunrise.

    Whether you’re photographing at sunrise or for the golden light, certain photos need the angle of sun which is only found early in the morning. You can figure out what angle the sun will have at various times of the year by using suncalc or an app like PhotoPills.

    As with all photography, plan ahead of time. Often planning months ahead of time is what it takes to get great photos. Getting the right light for your morning photography takes effort, but it’s almost always worth it.

    6 – In hot countries the morning temperature is nice

    Thaipusam festival - 7 Great Reasons to do Early Morning Photography

    This photo was taken during the Thaipusam festival, which started well before sunrise.

    You may not live in a hot country, but if you do you’ll know that the best time of the day is morning. It’s hard work walking around much past ten o’clock. Carrying around a camera bag, and putting in the legwork you need for your photos is far easier when the temperature is kinder.

    Add in some humidity as well, and you may quickly give up on doing any photography in favor of that air-conditioned coffee shop. This heat will also affect your clarity of thought, especially when you get dehydrated, and you need to think clearly to get the best photos.

    7 – You’ll catch more local life first thing

    park in China with people exercising and moving around - 7 Great Reasons to do Early Morning Photography

    The parks in China are alive with people first thing in the morning. If you arrive much after 9am you’ll have missed everything.

    You may not see crowded streets first thing, but you will see more local life. That may take the form of a local market, or fishermen getting ready for work. There is a lot of activity that goes on at the crack of dawn, all waiting for you to capture with your camera.

    It’s an amazing time to be a street photographer, but there will also be opportunities for landscape photographers. What can really bring a scene to life better than a farmer tending his field first thing in the morning?

    Time to wake up early for your morning photography!

    Inle lake Myanmar - 7 Great Reasons to do Early Morning Photography

    The morning mist on Inle Lake, Myanmar, allowed for this photo with a minimal feel.

    So whether this article is preaching to the converted, or you’re already a born-again early bird – there are good reasons to get up at dawn.

    Have you photographed early in the morning before, what was your experience? Did you enjoy it, and get some great photos? We’d love to see your photography from early morning expeditions in the comments section. So go to bed early, wake up fresh as a daisy, and get some amazing morning photographs!

    early morning in Venice - 7 Great Reasons to do Early Morning Photography

    You get to see more of the local life in Venice if you get up before everyone else!

    The post 7 Great Reasons to do Early Morning Photography appeared first on Digital Photography School.


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  • 6 Essential Steps in any Post-Processing Workflow

    We live in a digital age, a time when a post-processing workflow is an increasingly essential aspect of our photography. Cameras produce images with the expectation that they will be altered later, will be corrected, sharpened, tinted, etc.

    What this means is that post-processing isn’t something that can be easily bypassed, especially if you shoot in RAW, which I recommend.

    That isn’t to say that every photographer today has to love post-processing. Some photographers, I consider myself to be among them, greatly prefer working in the field to working on the computer. But while it’s possible to shorten one’s post-processing workflow, a minimum amount of editing is necessary to keep up with today’s artistic and technological standards.

    macro photography abstract winter ice - Post-Processing Workflow

    In this article, I will discuss that minimum and explain the six essential steps in any post-processing workflow. My examples are done in Lightroom, but this applies to all photographers, no matter what software you use.

    Once you’ve gone through these steps, you may declare your images complete, and that’s okay. Or you may choose to work on them further, which is okay, too. The point here is only to suggest the six core elements that all post-processing workflows should include—after that, the choice is yours.


    1. Crop (and straighten)

    The first thing that I do as soon as I have opened my images in Lightroom is to crop and straighten them.

    While it’s best to compose properly in camera, sometimes you see a slightly better composition when your image comes up on the screen. However, it isn’t good to rely on this too heavily. Cropping heavily reduces image resolution while also magnifying image imperfections.

    Furthermore, when hand-holding your camera, it’s easy to take a slightly crooked image. This isn’t a problem, as long as you remember to straighten it out later.

    daisy abstract macro photography flower - Post-Processing Workflow

    Notice the slight change from original (right) to cropped and straightened (left) – look at the stem.

    daisy abstract macro photography flower - Post-Processing Workflow

    This image required a slight amount of cropping and straightening in order to balance out the frame. This is especially important when images have clear lines, as this one does (i.e., the daisy stem).

    A word of warning: especially if you are a wildlife or bird photographer, you will be tempted to use cropping to compensate for a distant subject. Resist this temptation and focus on your stalking skills instead. If you find yourself consistently cropping a significant amount, recognize that you should probably make some changes while you’re in the field (get closer or use a longer lens).

    2. Check the White Balance

    I shoot in RAW. Thus, when I’m in the field, I leave my camera’s White Balance on Auto. Because the RAW file format allows for you to change the image temperature without any image degradation, this is perfectly acceptable (though it does mean slightly more time behind the computer).

    snowy intimate landscape photography - Post-Processing Workflow

    The left (final) image is after some adjustment; the right is adjusted in the other (warmer) direction.

    snowy intimate landscape photography - Post-Processing Workflow

    A cooler (bluer) color temperature was necessary to recreate a snowy, cold feeling for this image.

    Use the Temp and Tint sliders to adjust the White Balance.

    Sometimes the goal is to reproduce the color temperature that you saw in the field. Other times, you might be trying to achieve an artistic look. Higher temperatures (high degrees K) make for a warmer image and counteract colder light, whereas lower temperatures (low K) make for a cooler image and balance out a warmer color cast.

    macro photography flower abstract sunset - Post-Processing Workflow

    The left image is what I ultimately decided on; the one on right is an exaggeratedly cool version of the same image.

    macro photography flower abstract sunset - Post-Processing Workflow

    Taken at sunset, this image required a higher color temperature to match what I saw at the moment of capture.

    3. Check the exposure

    After adjusting the White Balance, I generally turn to the exposure. This is an aspect of a post-processing workflow that is often forgotten. Yet you should scrutinize your image carefully before moving on. Is it too bright? Too dark? Just right?

    This is where the histogram is your friend. It’s to your benefit to learn to read it. Look for blown out highlights or crushed blacks as peaks pressing up against either end of the graph, as well as gaps that indicate a lack of darker or lighter tones in your image.

    The histogram can tell you a lot about your image. This one says the image it represents is slightly overexposed. There are no blacks (it’s not touching the left-side of the graph). An Exposure adjustment and the Black slider will solve this issue.

    macro photography flower abstract - Post-Processing Workflow

    This situation was unique: While the right image isn’t underexposed, I was interested in a slightly brighter one with more contrast. So I altered the exposure in Lightroom and ultimately chose the left image.

    macro photography flower abstract - Post-Processing Workflow

    A darker image can be corrected in post-processing (this is easier to do with RAW files).

    While it is ideal to expose perfectly while in the field, post-processing allows for a bit of leeway here. For instance, you can use the general Exposure slider in Lightroom to correct small exposure mistakes. And if you want to take this further, you can also work with the more narrowly focused Highlights, Shadows, Whites and Blacks sliders.

    4. Check the Vibrance and Saturation

    Saturation allows you to increase the intensity of all colors in the image, and Vibrance allows you to increase the intensity of the less saturated colors only. In most photo-editing programs, these are easy to change.

    macro photography flower yellow abstract - Post-Processing Workflow

    Notice the slightly more intense yellows in the left (more saturated) image.

    macro photography flower yellow abstract - Post-Processing Workflow

    A bit of saturation gave this image more punch.

    Saturation and Vibrance can provide a slight punch to your images when done subtly. These are also quite easy to overdo, so be careful. You don’t want to slam the viewer with so much saturation that they are forced to look away!

    5. Check for noise

    Next, be sure to check the noise levels in your image. This is especially important if you’re working with a long exposure or an image that was shot at a high ISO. Increasing the exposure in post-processing may also introduce unintended noise.

    macro photography abstract yellow - Post-Processing Workflow

    This image required a slight amount of noise reduction.

    macro photography abstract yellow - Post-Processing Workflow

    While the difference is subtle, a crop of the final image (with noise reduction applied in Lightroom) is on the left.

    If you find unpleasant levels of noise, you can generally use noise reduction software to remove it. Removing noise does decrease the overall image sharpness (if removing luminance noise) and saturation (if removing color noise). So, once again, this is a correction that should be used minimally.

    6. Check the sharpness

    Finally, I like to end my basic post-processing workflow by considering the complement of noise – sharpness. If working with a program such as Lightroom, this often needs little adjustment. With a good lens and good camera technique, your images will be rendered sharp simply by the photo-conversion presets.

    For example, I rarely alter Lightroom’s Amount: 25 Sharpening preset. If your image is slightly soft, you may want to work with overall sharpness. You might also consider a second round of carefully applied sharpening in order to enhance specific features like the faces of birds, the center of flowers, etc.

    autumn intimate landscape photography - Post-Processing Workflow

    It is imperative that an image like this have a pin sharp subject.

    autumn intimate landscape photography - Post-Processing Workflow

    A crop of the final image (left) with sharpening applied in Lightroom.

    However, even once you’ve sharpened for your original image, the sharpening work isn’t over. Before you export for printing or web viewing, you will likely need to sharpen again. Otherwise, you’ll find that your new image is slightly soft.

    Lightroom has a neat little way of completing this post-processing step. Upon exporting files, you have the option to choose a level of sharpening. I generally choose Low or Standard.

    macro photography abstract flower yellow - Post-Processing Workflow

    Conclusion

    These tips should give you an idea of what a very minimalist post-processing workflow looks like. If you follow this guide closely—even if you do nothing else to your images—you’ll find that your images reach a higher standard.

    What is your post-processing workflow like? Please feel free to share in the comments area below.




    dahlia macro photography flower

    Flower Abstract Macro Photography

    The post 6 Essential Steps in any Post-Processing Workflow appeared first on Digital Photography School.


    Digital Photography School

  • Not your ordinary camera bag: Rhake waterproof pack with Camera Capsule insert review

    The Rhake Weatherproof Bag + Camera Capsule
    $ 365 (bag) + $ 130 (insert) | MissionWorkshop.com

    The Rhake pack has a roll top giving it a decent degree of expansion.

    The Rhake waterproof backpack by Mission Workshops doesn’t look like an ordinary camera bag – instead it looks a lot more like a high quality bike messenger pack or something you might take on a weekend trip when packing light. And that’s the point. The bag’s 22L main compartment is designed to be multi-functional. Once you slide the Capsule Camera insert ($ 130) into the Rhake you have a camera bag with a utilitarian design, albeit with a very high price tag.

    The Capsule Camera insert that slides into the Rhake pack.

    Though this pack is not designed specifically with photographers in mind, I was intrigued to find out just how functional it could be.

    Specifications

    • Exterior: 21 x 13 x 5 in / 53 x 33 x 13cm
    • Interior Volume: 22L
    • Capsule Insert: 9.75 x 17.75 x 4.25in / 25 x 45 x 11cm
    • Laptop Compartment: Dedicated 17in Exterior Pocket
    • Weight: 3.1lbs / 1.4kg

    Design & construction

    The first thing I noticed about the Rhake was the high quality construction – Mission Design guarantees their products for life – which makes me believe that this thing was built to last. The bag is made of weatherproof nylon fabric called HT500 that is apparently exclusive to the company. It gives the pack an understated look and a good degree of water and stain resistance.

    The Rhake pack’s laptop compartment can fit up to a 17″ computer. The pack also has a dedicated tablet compartment.

    The second thing I noticed about this bag was the amount of organizational pockets. There are technically two zippered compartments that are large enough to fit a laptop (a dedicated exterior pocket, shown above left, and a second one within the 22L main compartment). On the back of the bag, opposite the exterior laptop pocket, there is a mesh water bottle pocket that tucks away when not in use.

    There are numerous options for organization within this bag to suit your tastes

    The front of the Rhake features a dedicated 10” tablet pocket and two accessory pouches (one at the top of the bag and one at the bottom) for stashing chargers, spare batteries or other items that need to be accessed quickly.

    There are two zippered front pockets with plenty of room to organize smaller odds and ends. There are also two accessory pouches, one at the top (accessible via the roll top) – and one at the bottom (accessible via zipper).

    There are also two larger zippered front pockets, one of which is filled with three smaller interior zippered mesh pockets. In short, there are numerous options for organization within this bag to suit your tastes.

    The straps are well-padded and a horizontal strap offers added stability.

    The back of the Rhake is made of perforated foam and there is a luggage handle pass-through for use with roller bags. The straps have a nice amount of padding and feature an additional horizontal buckled strap.

    The camera insert can be accessed from the top of the bag. A look inside the Rhake pack once the camera insert has been removed.

    The Camera Capsule insert is accessed from the top of the Rhake pack. The inside can be customized to your taste using the padded partitions. There’s also a back pocket in the insert where you can slide in an 11″ laptop or tablet.

    A close-up look inside the Camera Capsule insert. I was able to fit two bodies, several lenses and a flash.

    In the field

    All of my photographer friends who saw the Rhake in action immediately complimented the style of this bag. It looks good, and it can comfortably hold a large amount of gear. I loved the many organizational pockets and those tiny mesh interiors were a great place for all of my miscellaneous items that I end up with at a shoot.

    Once it’s packed, the front is snapped together and the top rolled shut, the Rhake pack is a surprisingly compact gear bag with the ability to expand to hold a large amount of equipment.

    Its compact silhouette made it a good for riding the subway (even during rush hour) and hauling it around didn’t make me feel like I was in danger of destroying a shoulder.

    There’s no way to access most of the gear stored within the Camera Capsule insert unless you completely remove it from the bag

    Unfortunately, there is one glaring design flaw with the Rhake: there’s no way to access most of the gear stored within the Camera Capsule insert unless you completely remove it from the bag. For some photographers, this might seem like a minor oversight; after all the Rhake is a multi-functional bag, but I found this design element to be really inconvenient. It was easy enough to access my main camera body through the top zipper, but if I wanted to switch lenses I needed to totally unpack the 22L compartment – which is kind of a pain when working in the cramped quarters of a dark music venue.

    When the bag is fully packed it also takes a little bit of elbow grease to remove the Camera Capsule from the main compartment. I imagine that with more use the bag’s structure will become less tight, but on the shoots I took the Rhake to I found myself having to spend a few extra moments safely removing the capsule from the bag. The Camera Capsule essentially fills the 22L compartment, making it difficult to stash anything else in there (a jacket, supplies for an overnight trip, etc.). I’d be curious to see how the Rhake would function with smaller camera inserts like the Topo Camera Cubes.

    What’s the bottom line?

    The Rhake’s construction is high quality, the design is aesthetically pleasing and it can hold a good deal of gear without looking bulky, making it great for everyday use. But the bag is pricey and the multi-functionality aspects make certain elements of the design inconvenient for photographers. Ultimately, if you’re looking for a dedicated camera bag, there are other more cost-friendly and functional options out there. However, if you want a pack that can pull double duty as a bike bag or a weekend travel pack, the Rhake might be for you.

    What We Like:

    • Utilitarian design
    • Durable construction
    • Slim profile
    • Ample organizational pockets
    • Holds a lot of equipment
    • Multi-functional bag, could be used as a camera bag or for something else

    What We Don’t Like:

    • High price tag
    • Inability to access lenses in Camera Capsule without unpacking

    Rating:

    Articles: Digital Photography Review (dpreview.com)

  • RED and Lucid unveil 8K 3D camera that produces 4V holographic video in real time

    Computer vision company Lucid and cinema camera maker RED have partnered to create an 8K 3D camera that can capture 4-view (4V) holographic images and video in real-time. The camera is designed to work with RED’s upcoming holographic Hydrogen One smartphone—both by shooting holographic content that can be viewed on the phone’s 4V screen, and by using the modular phone as a “viewfinder.”

    The camera itself (which has yet to be named) will be made by RED, but it will be powered by Lucid’s “real-time 3D Fusion Technology.” This tech generates 3D/4V footage in real-time, promising to turn a processing-intensive task into “an instantaneous point-and-shoot experience.”

    The camera looks like any other RED cinema camera… sort of. Except instead of one 8K sensor the camera uses two “perfectly hardware-synced” 4K sensors and a beam splitter to capture and output 8K 4-view footage. That footage can be viewed after the fact or even live using the upcoming RED Hydrogen One smartphone, which will be able to integrate directly into the RED 3D/4V and act as a 3D viewfinder.

    It’s important to not that this isn’t just a concept. RED and Lucid had a working prototype shooting scenes at the Hydrogen One launch party on May 19th.

    If you see this as a gimmick—and an expensive one at that—you’re probably not alone. But Lucid CEO and Co-Founder Han Jin has faith the world is ready for, and in fact craving, 3D/4V content you can digest without goggles or glasses.

    “This partnership allows us for the first time to deliver the highest-quality 3D capture to our customers, and now they can view the content immediately in 3D/4V without headsets,” says Jin via press release. “At a time when two of the biggest challenges in the industry have been resolution and easy viewing of 3D content, we believe this is the solution everyone has been waiting for.”

    We don’t have official pricing and release date information just yet. All Lucid and RED will reveal is that the camera—colloquially called the RED 3D/4V but still officially unnamed—will “be rolled out” in Q4 of 2018. To learn more about Lucid’s tech or this strange new camera, read the full press release below or visit the Lucid website.

    Press Release

    Lucid Partners with RED to Build 8K 3D/4V Camera for Hydrogen One

    Collaboration will result in the first camera to convert full 8K 3D/4-View (4V) holographic images and videos in real time and the capability to dynamically adjust lens distances for the best 3D focus and zoom

    Santa Clara, CA – May 22, 2018 — Lucid, the maker of the first VR180 3D camera, LucidCam, announces today it is working with Hollywood camera maker RED to build the next generation prosumer 3D/4-View (4V) camera for 8K video and image capture. The new camera is the first dual camera to give users full 8K video and picture capabilities converting to 4V in real-time while allowing them to shoot like professionals with dynamically adjustable lens distances for the best 3D focus and zoom. By attaching the soon-to-be-released modular holographic phone–RED Hydrogen One–to the camera, users will be able to view 3D/4V content in post and live as if it were the viewfinder.

    The new RED camera is powered by Lucid’s real-time 3D Fusion Technology, transforming the time and processing-intensive 3D/4V workflow into an instantaneous point-and-shoot experience users crave. The look and feel of the new camera sticks to RED’s previous designs, but this time it has two perfectly hardware-synced 4K cameras which leverage a beam splitter to capture and convert the output to 8K 4V (.h4v) files. Once the content is created, all the high resolution 3D/4V videos and images can be distributed on YouTube and Facebook as well as through RED’s curated content universe.

    “Having RED as a partner allows us to combine the best of both worlds – the highest resolution and quality hardware from RED with the most advanced software, our 3D Fusion Technology,” said Han Jin, CEO and co-founder, Lucid.

    The RED and Lucid partnership enables both companies to extend their customer reach. Over the past year, Lucid has shipped and sold thousands of its VR180 3D LucidCams through Amazon and Best Buy as well as direct to consumers online, confirming the market interest and demand for creating and consuming such content. With Lucid’s solid consumer base and RED’s base of independent filmmakers and Hollywood producers, the new camera meets the need of a large, combined audience. The magic of 3D, VR and AR videos and images created by both the LucidCam and the RED 3D/4V camera can be enjoyed on the Hydrogen One without the hassle of wearing headsets.

    The unique functions of the Hydrogen One phone in combination with the new 3D camera were showcased with a live 3D/4V preview at RED’s launch party on May 19th. Many people came to experience the holographic display capabilities, which provide a unique ability to let users look around and behind objects through 4-Views, and allow for viewing 3D, VR and AR content without any glasses or goggles. This phone also attaches easily to RED’s new camera and can act as a 3D viewfinder.

    “This partnership allows us for the first time to deliver the highest-quality 3D capture to our customers, and now they can view the content immediately in 3D/4V without headsets,” said Jin. “At a time when two of the biggest challenges in the industry have been resolution and easy viewing of 3D content, we believe this is the solution everyone has been waiting for.”

    The camera will be rolled out in Q4. Exact pricing is to be announced, as is the name of the camera. It will be sold through RED and its reseller channels.

    For more information about Lucid, visit www.lucidcam.com.

    Articles: Digital Photography Review (dpreview.com)

  • Tips for Using On-Camera Flash for Beginners

    Flash is a challenging subject and can be confusing if you’ve never used it. These two videos will give you an overview of some flash basics you need to know, and how to take the next step when using flash – bouncing it for better lighting.

    On-Camera Flash Basics

    In this video, Chris from The Camera Store gives you a crash course in some on-camera flash basics. He covers what you need to know to get your flash photos looking better and more natural so you don’t have subjects with deer in the headlights looks or black cavernous backgrounds with no light.

    ?

    Flash for new users

    ?

    Next, this video from Mark Goodin of RealWorld will walk you through understanding some of the settings on your flash and how to use it to make better light on your subject. He even gives a couple tips for diffusing your on-camera flash (the built-in one that pops up) so it isn’t so harsh.

    Want more?

    If you want more flash photography tips, try these dPS articles:

    • A Quick Guide to Using Bounce Flash for More Natural-Looking Photos
    • How to use Off-Camera Flash to Create Dramatic Images with Cross Lighting
    • What is a Flash Bracket and Why Do You Need One?
    • How to Understand the Difference Between TTL Versus Manual Flash Modes
    • Flash Shopping Guide – 5 Things to Consider When Buying a Speedlight
    • Tips for Using Speedlights to Create the Right Lighting for Outdoor Portraits

    The post Tips for Using On-Camera Flash for Beginners appeared first on Digital Photography School.


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