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Hard Drive Review: QNAP TVS-682T with Samsung SSD for Photographers
In my last few storage and hard drive reviews for photographers, the units have all been similar in that they’ve been singularly NAS or Network Attached Storage units. Ones which connect to your home network via your wireless router (your wifi box) or a network switch.

With photo and video editing, while we’re almost there with speed and agility on the NAS side of things, the ability to directly connect your external storage to your computer, and essentially work at “full speed” is very appealing. But so is the ability to use your NAS to deliver to clients and to be your own personal “DropBox” of sorts, so which one is best for you?

Why can’t we have both?

The team at QNAP reached out and offered me a unit to review, one of their very nice TVS-682T Triple Mode Storage NAS / DAS and iScsi boxes. I’ll be focussing on the NAS and DAS side of things in this article.

NAS / DAS, what’s he on about!

Here’s a quick recap, perchance you’ve forgotten since my last article!

What is NAS?

Network attached storage is when your storage is attached via the network, rather than directly to your computer.

What is DAS?

Directly attached storage is exactly what it says on the tin, directly (think via USB or Thunderbolt, etc.) connected to your computer by a cable.

In basic terms, typically a NAS won’t operate as a DAS, and you are limited to one or the other. That usually means you’re limited to either flexibility in terms of being able to connect to your storage from anywhere on the internet, or you’re limited to having a storage box connected only to your computer, but it’s nice and fast.

The TVS-682T has both (plus more, but we’ll stick with NAS and DAS) the ability to connect to your network and be a NAS, as well as the ability to connect to your computer directly with Thunderbolt 2.

Technical specs of the QNAP TVS-682T

For those of you that are into the tech specs, here’s what the TVS-682T offers:
- Built-in M.2 SATA 6gb/s slots & 2.5” SSD slots.
- Qtier technology and SSD cache enable 24/7 optimized storage efficiency.
- The Network & Virtual Switch app assists network traffic distribution and re-routes dedicated bandwidth for diverse applications.
- Triple HDMI output for smooth 4K @30Hz video playback.
- Transcodes 4K H.264 videos on-the-fly or offline.
- Thunderbolt 2 (20Gbps) and 10GbE dual network for on-the-fly video editing and speedy sharing.
- 4 available combinations with Mac/PC and JBOD for flexible attaching, sharing and expansion.
- Scalable up to 52 hard drives with Thunderbolt 2 storage expansion enclosures TX-800P/ TX-500P.
- Virtual JBOD (VJBOD) allows using QNAP NAS to expand the TVS-682T’s storage capacity.
- Supports QRM+ unified remote server management, QvPC technology, virtual machine and container applications, and storage for virtualization.
Blazing fast speed

Before we get into how I’m using the QNAP, I wanted to point out that to increase the pace at which you work, the QNAP has something called SSD Cache Acceleration (sounds fancy, huh!?) I’m certain that you’ve likely heard of SSD (Solid State Drive) now, yes?

If not, briefly, it’s a drive that your computer can use to store data (your photographs, etc.) but it doesn’t have any spinning parts. It’s essentially made from solid state memory, rather than a spinning platter drive and as you can imagine, this results in much faster access to your data, no head looking for the right sector on a disk results in very low latency.

What SSD Cache Acceleration does for you is (in very basic terms) puts the stuff you’re working on into the SSD Cache and serves it up in no time. This, combined with being connected to your computer via Thunderbolt means that you have a storage setup that is blazing fast!

Other benefits

As well as using the QNAP TVS-682T as a photo/video editing and delivery platform, you can use it as a great system to backup your computer. You can even use it as a computer if you so choose! (It runs a Linux operating system) and it’s also a very nice Plex Media Server (comes with a remote control) so you can play HD content, movies, and music, via the HDMI outputs.

Anyway, on with the story!

The Samsung SSD 860 EVO hard drive is a speedy little beast! Adding the SSD cache makes for a very fast, useable setup, even with the largest image files or 4K video.

Moving inside, we opted for the Western Digital WD60EFRX 6TB drives for storage, a solid performing NAS focussed drive. WD Red drives with NASware 3.0 technology are purpose-built to balance performance and reliability in NAS and RAID environments. NAS specific drives are different to your regular desktop HDD’s in that they’re pretty much built to be on 24/7, they run quietly and they keep their cool. That’s our build run-down.

Using the drive and ease of setup

The QNAP operates like your regular NAS in that it’s accessible on your local network. You can sling files back and forth over wifi on most devices using one of many apps available. You can also share links to files with co-workers, so if you have the QNAP setup in your studio, it means you can very easily collaborate on a shoot or multi-media project. Most importantly for me, it gives me the ability to access it from anywhere with an internet connection using my QNAPcloud.

It all sounds very technical. For the average user that’s the one thing I’d say I prefer about my Synology setup, is that I find it more straightforward or guided when coming at it from a beginner’s point of view. Like the Synology, the unit will auto-configure your router and ask if you want it to be more public or more private, etc.

But for us as photographers and filmmakers, the main drawing-card is that the unit is both NAS and DAS. So there are no hold-ups in workflow, and the ability to privately deliver digital content to clients right after you’ve ingested the files. You can use the PhotoStation (hmm, think I’ve heard that name before!) app to share photo and video via a password protected album, or publically.

What you really want to know is, how did it perform?

What we’re looking at here is the ingest and edit speed of photos and videos. I have two comparison devices to use in this little test, my 8TB G-Tech (Thunderbolt 2) and my behemoth, Promise R8 (also Thunderbolt 2) both directly connected to my 2017 iMac via adapters.

Note: Sadly, mid-way through this review, my 2015 iMac died… Apple replaced it with a 2017 iMac which only has USB-C. So while I’m thankful, I had to head out and buy a stack of adapters to use any of my drives and indeed to finish this review!

Handling of large files

I shoot with a Sony a7R Mk2 which happily produces 85MB files. So even a quick photo session with a family, 15 images, is about 1.2GB of data, which is nothing in the big scheme of things. But if you’re ingesting that every time into a slow disk, you’ll most likely start to go a little bit crazy and potentially toss your computer into the nearest dumpster!

Multiply that 1.2GB by hundreds of GB of data that could be shot on a set, or some tasty 4K video footage and you really need the speed of DAS! The QNAP certainly did not disappoint, keeping up with both the G-Tech and the Promise storage units.

But where I really noticed a sweet difference is when I was in Lightroom, editing files directly on the QNAP. The QNAP operating system puts the files you’re working with into “hot storage” and gives you quick access to them, so I guess my CR2 files were in the SSD Cache and as a result, the edits had no lag time like you’ll sometimes get if you work over a network!

You can see the SSD Cache flexing its muscles here (the little jumps) as I flick through images in my Lightroom catalog.

I could take my finished edits and drop them straight into my PhotoStation folder and have them on the web right away. I could also export full resolution image to a folder that I then share a link to with my client! They can view the album and then download the full resolution files with very little fuss, and it’s all securely controlled on my own NAS.

Conclusions

What was the result of this hard drive review and using the QNAP TVS-682T for photography, for the last month? In my opinion, it is highly recommended if you’re looking for a solution to do both DAS and NAS!

Any negatives? Yes, I find the interface to be a little more technical and potentially confusing for people that are starting out in the world of robust NAS storage options.

But the positives far outweigh the negatives (there’s also helpdesk support, remote assistance, and a great forum if you’re really stuck).

Between the TVS-682T loaded with WD Red drives, and the Samsung EVO 860, this is one heck of a storage solution.

Disclaimer: The author was provided gear by the supplier for the purpose of this review.

The post Hard Drive Review: QNAP TVS-682T with Samsung SSD for Photographers appeared first on Digital Photography School.

Digital Photography School
May 9, 2018
Report: iPhone users will have to wait until 2019 for a triple-camera device

If you want a smartphone with a triple-camera setup, Huawei’s P20 Pro is currently your only option. And vy the looks of it, this won’t change any time soon… at least not if you prefer to stick to Apple’s iPhone over Android devices. According to a report in the Taipei Times—which is citing a research note from Yuanta Securities analyst Jeff Pu—Apple is likely to launch a triple-camera iPhone model, but this won’t happen before the second half of 2019.

Like on the Huawei, the third lens would likely provide a 3x optical zoom, improving zoom quality over the current top-models’ 2x lenses. It’s also fair to assume the triple-camera will be reserved for a flagship device, likely a third generation iPhone X that could launch around September of next year if Apple sticks to its usual launch schedule.

This scenario is supported by another previous report by former KGI Securities analyst Ming-Chi Kuo, who ruled out any significant changes to Apple’s current dual-camera system on the iPhone X and 8 Plus for the 2018 models.

Articles: Digital Photography Review (dpreview.com)

May 9, 2018
Major Fuji X-T2 firmware update adds internal F-log recording, slow-mo, and more
Fujifilm has released a major firmware update for the Fuji X-T2 that may make it even harder for owners of that camera to justify the jump to the newly-released Fuji X-H1. As we mentioned in our review—and as Chris and Jordan pointed out in Episode 2 of DPRTV—the price of the X-H1 makes it a tough sell to owners of the X-T2 who have been looking to upgrade. And now, with Firmware Version 4.0, those users may not want to upgrade anymore anyhow.

Version 4.0 replaces version 3.0 (imagine that), and adds nine new features in all. Some of the video highlights include the ability to record 4:2:0 F-log directly to the SD card, and the addition of a 1080p 120fps slow motion mode. There are also major improvements to the Phase Detect AF algorithm, with the low-light limit dropping from +0.5EV to -1.0EV, the maximum aperture increasing from F8 to F11, and “major improvements” in AF-C performance while operating zoom. Finally, a focus bracketing feature has been added that lets you bracketing up to 999 frames in intervals of focus shift between 1 and 10.

There’s no word on whether the X-T2 gains the improved video processing of the X-H1 (it doesn’t gain 200Mbps capture), but this is one of the things we’ll be checking when we re-assess the X-T2 review in the coming weeks.

To learn more about this update or download it for yourself (and if you own an X-T2, you definitely need to download it ASAP), read the release notes below and then pay Fuji’s support website a visit.

Release Notes:
The firmware update Ver.4.00 from Ver.3.00 incorporates the following issues:
1. Addition of “Focus Bracketing”
  The update will enable the photographer to shoot focus distance bracketing up to 999 frames. When the photographer starts shooting, the focal location is shifted with each activation of the shutter by the step of focus shift set from 1 to 10.
2. Compatible with the newly developed cinema lens FUJINON MKX18-55mm T2.9 lens and FUJINON MKX50-135mm T2.9 lens
3. Enlarged and customizable indicators or information
  The upgrade allows users to enlarge indicators and information in the viewfinder and/or LCD monitor. This upgrade will also enable users to customize the location of where the information is shown on the display.
4. Addition of F-log SD card recording
  The upgrade allows users to record F-log movie data into their SD card.
5. Addition of 1080/120P high-speed video mode
  The upgrade allows users to shoot 1080/120P high-speed video (1/2, 1/4 and 1/5 speed slow motion), ideal for recording spectacular slow-motion footage.
6. Enhanced Phase Detection AF
  Latest updates to the AF algorithm provide the following performance enhancements:
7. Addition of “Flicker Reduction”
  For enhancing the quality of indoor sports photography, the upgrade allows users to reduce flicker in pictures and the display when shooting under fluorescent lighting and other similar light sources.
8. Addition of “Select Folder” and “Create Folder”
  Enables the user to choose the folder in which subsequent pictures will be stored. And also enable to enter a five-character folder name to create a new folder in which to store subsequent pictures.
9. New functions are added to store and read of camera settings by FUJIFILM X Acquire
  Once connecting a camera to a computer via USB cable, the “FUJIFILM X Acquire” allows users to backup/restore camera settings to/from a file. With “FUJIFILM X Acquire” (ver.1.7 or newer), CUSTOM REGISTRATION/EDIT settings are also stored and read.
Articles: Digital Photography Review (dpreview.com)
May 9, 2018
Hasselblad firmware updates for X1D and H6D add a host of new features
Hasselblad has added a bunch of new features to the X1D and H6D in firmware updates released yesterday. Version 1.21 adds a white balance sampler tool, audio notifications, tethered image support, the option to zoom in to 100% with a single button press when reviewing captured images, and more to both models, in addition to a few model-exclusive updates.

The X1D gets exposure bracketing for the first time, with the option to use 0.3EV, 0.5EV, 1EV, 2EV or 3EV steps across 2, 3, 5, 7 or 9 frames. Users can choose the sequence of the frames and whether the aperture or shutter speed is used as the variable in manual exposure mode. A new intervalometer has also been added, allowing users to create timelapse sequences with no limit to the number of frames recorded. The mode offers fixed lengths of 2 to 99 frames, but also a mode that will continue shooting until the action is stopped manually. Images can be recorded with intervals of 2 to 60 seconds.

Handling changes to the X1D with the latest firmware included adding the ability to scroll through recorded images while zoomed in when using the EVF, and a mode that automatically zooms in to the area beneath the focus point immediately after picture is recorded. There is now an option to set a shutter speed limit when using Auto ISO, a reworking of the crop mode cycle that makes finding the one you want quicker, and autofocus support for all lenses from the H system (other than the 120mm macro) when the camera is fitted with the XH adapter.

The biggest change for H6D users is the introduction of custom profiles that will make it quicker to switch between configurations of settings for different shooting conditions. Seven profiles can be recorded for individual shooters or for when more than one photographer uses the same camera.

For more information, and to download the new firmware, visit the Hasselblad website.

Press Release
Hasselblad Firmware Update 1.21 for X1D and H6D

Hasselblad’s 1.21 Firmware Update demonstrates their commitment to technological innovation with new features for the X1D and H6D

With the 1.21 Firmware Update, Hasselblad conveys their dedication to continuously develop and enhance its world-renowned camera systems. This most recent firmware update for the X1D and H6D adds to the photographer’s ease in not only capturing one’s shot, but their options for creativity as well.

Hasselblad is pleased to announce new updates for both the X1D and H6D including a White Balance Tool, allowing the photographer to set the colour temperature and tint directly on a photograph when shooting. These values can then be applied to all following images until the setting is turned off.

New features specific to the X1D include an Interval Timer and Exposure Bracketing. Using the Interval Timer, photographers can further their creativity with time-lapse shots. Exposure Bracketing gives users options in their exploration of varied exposure settings, capturing up to 9 frames with customisable sequences of bracketing exposures.

A highlight particular to the H6D allows for the user to create seven customisable profiles. By accessing the General Settings Menu on the main display, the user can easily navigate to the Profiles Menu and save the current camera settings to one of the seven profiles. With these preset settings customised by the user, the photographer has the tools to swiftly change camera settings without losing time, and ultimately, their shot.

Firmware updates are available from the “My Hasselblad > Downloads” section online at Hasselblad.com. Users can update their firmware simply by downloading the “.cim” file to an SD card and selecting Firmware Update from the Service Menu on their camera.

X1D and H6D: v1.21.0
- White balance tool
- Audio notifications
- Tethered image import
- Reset all settings: Option to disable reset of profiles
- Power Off symbol while shutting down
- Improved feedback to user when missing card in backup mode
- Browse Zoom: Long-hold to zoom in to 100% or out to full image (X1D: Hold the AF-D/AE-L button; H6D: Hold the True Focus button)
X1D: v1.21.0
- Interval timer
- Exposure bracketing
- New setting: Shutter speed limit for Auto ISO, P- and Full Auto Mode
- Custom Button for Crop Modes – Replace “Crop Mode Cycle” with “Crop Mode Next” and “Crop Mode Previous”
- Zoom into coordinates of the focus point for the image just taken
- Browse images and pan when zoomed-in in EVF with swipe on touch-pad area on display
- Start live view automatically in EVF after browsing on rear LCD
- X1D – Audio playback through camera speaker during video playback
- Auto focus support for all HC/HCD Lenses (except HC120 Macro) when using the XH Lens Adapter
H6D: v1.21.0
- Profiles
- HDMI – Pan in zoomed-in with touch-pad area on display
New Lens Firmware HC-HCD 19.0.3 and XCD 0.5.20:

Hasselblad is also pleased to announce new firmware for XCD, HC & HCD lenses including autofocus support for the following Hasselblad H System lenses when used on the X1D camera with an XH adapter: HCD24, HC150, HC150N, HC210, HC300, HCD35-90 and HC50-110. For further details, please see release notes at https://www.hasselblad.com/support/
Articles: Digital Photography Review (dpreview.com)
May 9, 2018
Hasselblad unveils its widest lens ever: the XCD 21mm F4
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Back in November, Hasselblad announced (among other things) that the originally-planned XCD 22mm lens on the mirrorless X1D lens roadmap would actually be released even wider: as a 21mm F4. This week, that promise became a reality.

Announced yesterday, the Hasselblad XCD 21mm F4 for the mirrorless medium format X1D camera, is officially Hassleblad’s widest lens ever.

“The high-performing 21mm f/4 lens brings together the compact format of the XCD range with the maximum optical quality across the frame with a wide field of view,” reads the press release. “The XCD 21mm has an extremely short focal length that provides a 17mm full frame equivalency.”

Sample Photo Credit: Hasselblad

The 17mm full-frame equivalent lens features an optical design made up of 13 lens elements in 9 groups, including 2 aspherical elements. The aperture range runs from F4 to F32, an integrated leaf shutter lets you flash sync up to 1/2000th of a second (like all the XCD lenses), and there’s also a 32cm “close distance setting” that gets you a 1:10 magnification ratio.

The lens is already live on Hasselblad’s website and available for pre-order online. It’s scheduled to ship “mid-May” for $ 3,650 USD / 3,000 Euro / £2,750 GBP excluding VAT. To learn more, visit the Hassleblad website.

Lens Specifications (source):
- Focal length: 21.8 mm
- Equivalent Focal length (24×36): 17 mm
- Aperture range: 4 – 32
- Angle of view diag/hor/vert: 105°/92°/75°
- Length/diameter: 106 mm/83 mm
- Weight (excl. covers and lens shade): 600g
- Filter diameter: 77 mm
XCD Lens Roadmap:

Press Release

Hasselblad’s Widest Lens Ever, XCD 21mm F/4, Now Available for the X1D

Continuing the development of the XCD lens line, the previously announced XCD 21mm f/4 lens is now available for ordering. As Hasselblad’s widest lens yet, it opens doors for even more creative possibilities for the X1D user.

The high-performing 21mm f/4 lens brings together the compact format of the XCD range with the maximum optical quality across the frame with a wide field of view. The XCD 21mm has an extremely short focal length that provides a 17mm full frame equivalency. It features a 32 cm close distance setting (1:10 image scale) and an aperture range between 4 and 32. Offering a new versatility to the X1D user, the lens is especially suitable for both landscape and interior and exterior architectural photography.

Like the other XCD lenses, the XCD 21mm f/4 lens has an integral central shutter offering a wide range of shutter speeds and full flash synchronisation up to 1/2000th second. “The automatic Lens Correction Tool in Phocus will generate images from the XCD 21mm f/4 that are completely free from any distortion, rendering all lines perfectly straight!” says Ove Bengtsson – Product Manager.

The XCD 21mm lens will begin shipping mid-May 2018 with an MSRP of € 2999 / $ 3750 / £ 2749 excl. VAT.

Articles: Digital Photography Review (dpreview.com)
May 9, 2018
Sharp’s new AQUOS R2 smartphone comes with a dedicated video camera

Sharp probably isn’t the first brand that springs to mind when thinking about high-end smartphones, but over the years the Japanese manufacturer has released a few quirky devices. The newly announced AQUOS R2 falls squarely into that category, being the only smartphone—as far as we are aware—that comes with a dedicated video camera.

The new Sharp comes with a dual-camera setup on the back (so far, so normal) but instead of using it for improved low-light image quality or zoom capabilities, the AQUOS R2 reserves a 16.3MP unit exclusively for video recording. Stills capture, meanwhile, is performed by the 22.6MP camera on board.

The video module records 4K footage with an ultra-wide angle lens that features a 135° field of view. Electronic video stabilization reduces the viewing angle somewhat, but the camera still produces a nice cinematic look, as you can see in the sample video below.

An AI-powered function automatically captures still images during video recording, and on the front there is a 16.3MP front-facing sensor for selfies and video-calls.

All other specs are truly flagship smartphone worthy. The device features a 6.0-inch “notched” display with 19:9 aspect ratio and 1440 x 3040 pixels resolution, the OS and apps are powered by a Qualcomm Snapdragon 845 chipset and 4GB of RAM, 64GB of internal storage can be expanded up to 400GB via a microSD card slot, and all components are wrapped up in a IPX5/IPX8/IP6X body.

If it delivers in terms of image quality, with its super-wide-angle video camera, the AQUOS R2 can be an interesting option for vloggers and other amateur video shooters.

The LG G6 and V30 are, at least currently, pretty much the only other native super-wide smartphone camera options out there, but the image quality of the super-wide camera lags noticeably behind the main module. We’ll be curious to see how the AQUOS R2 stacks up.

Articles: Digital Photography Review (dpreview.com)

May 8, 2018
Video: Testing all the Nikon F to Sony E-mount AF adapters on the market

Photographer Matt Granger has taken to YouTube to share a useful little gear video for those people who want to use Nikon F glass on their Sony E mount camera. In the video, he tests out all of the current Nikon F to Sony E-mount autofocus adapter on the market.

The video compares three adapters in all—the models available from Commlite, Vello, and Fotodiox Pro—which cost $ 400, $ 400, and $ 350, respectively. To test the gear, Granger tries them out on four lenses in turn: the Nikon 85mm F/1.4G, Nikon 200mm F/2G ED VR II, Nikon 24-70mm F/2.8G ED and the always-trusty 70-200mm F/2.8 ED VR II.

Although unconfirmed, Granger also shares a little tidbit of information from an unnamed source who told him that all of these adapters are effectively made with the same internals, as there’s only one company that’s managed to reverse-engineer Nikon’s tricky lens coding system.

Interestingly enough, this claim seems to be substantiated by the fact that all three adapters are absolutely identical, down to the cutouts, caps, desiccant and screw locations. The only difference is the location of markings on the devices and the fact that the Fotodiox adapter features gold metal mounting plates and gold release buttons, whereas the other two feature silver mounting plates and black release buttons.

We’ll leave it to Granger to break down every detail of the three adapters in the video up top, but we can summarize his experiences by saying that each adapter seemed to have strengths and weaknesses depending on which lens it was being used with.

In the end, Granger says it’s ultimately up to you to decide which one best fits your needs based on price and the location of each company’s respective support services. He also notes that, while each of the adapters do work in environments where your subject isn’t moving much, don’t expect to shoot a football game with one of them—the speed just isn’t there. Still, the adapters left Granger impressed.

Check out the full test up top, and then head over to Matt’s YouTube Channel for more videos like this.

Articles: Digital Photography Review (dpreview.com)

May 8, 2018
7 Tips for Shooting and Processing Star Trails

Have you ever looked at an image of the night sky where the stars leave long, arching trails? These images, called “star trails”, record the movement of the stars as the earth spins around its axis. This is a compelling way for you to capture a phenomenon not observable to the human eye.

As with many creative photography techniques, there are can be a steep learning curve for shooting star trails. A basic understanding of the night sky, knowing the impact of focal length, and composition can help you maximize a night out with the goal of shooting star trails.

This star trails shot adds to the native art of the Hoonah Tlingit.

Some fairly simple post-processing techniques can help you perfect your shot once home. I will walk you through the basic technique of photographing star trails, help you think about how your gear affects the outcome, and highlight two post-processing techniques that I find useful.

1 – Basic Technique for Shooting Star Trails

The concept of the shooting star trails is actually pretty simple. Set up your camera on a tripod and then compose the shot. I recommend disabling autofocus at this time. Once you have your composure right, set the exposure on your camera. In general, you will want to expose the shot for as long as possible without over-exposure. You can check the histogram of your image to decide if it has been overexposed or not.

On dark nights without a moon or light pollution, you can start in Manual Mode, ISO 800, f/2.8 (or lower/wider), and 15-seconds. Modify these settings to best capture your scene. Once you are happy with the exposure, you will need to set your camera to take pictures at a steady interval. You can do this by setting your camera’s internal interval meter or by attaching an external intervalometer.

Each camera model has different intervalometer connections or internal settings (or may not have this feature), so consult your camera’s manual to get this set up correctly. As you set up your camera, think about the number of shots you want to take. The more shots you take the more the stars will move – with many lenses you will start to capture significant movement in about 8 minutes.

Below I will go through a couple scenarios where fewer or more shots may be better. As a rule of thumb, I shoot for a minimum of 45 minutes and as long as several hours. Let your camera shoot and enjoy the night sky!

Processing or Stacking the Star Trails

Once I am done with the shoot, I import the photos to Lightroom and Photoshop (using Adobe Bridge). There are other star-stacking programs that you can experiment with, but I like Photoshop for this task. To import the photos from Adobe Bridge open the program and then navigate to where the photos are stored. Highlight the photos you want to include in the star trail and then go to Tools –> Photoshop –> Load Layers into Photoshop As Layers.

Once the layers have loaded into Photoshop you may want to use the Auto-align feature (disregard this if you are certain your tripod did not shift) by highlighting the layers in the right panel and then going to Edit –> Auto-Align Layers –> Auto. The final step is the use the “lighten” blend mode in the Layers panel and apply it to all the layers.

The lighten function examines all of the overlapping layers and then keeps only the lightest pixel. Keep that in mind as you can use it to your advantage (examples of that below). To complete the image export it to a lossless format (I like TIFF). You may then continue to edit the new TIFF in Lightroom or Photoshop.

2 – Shooting Tips

Know the North Star

Having a basic understanding of astronomy will aid you as you compose your shot. The North Star is often the focus of star trails because it does not move in the sky as the earth spins on its axis. To find it, locate Ursa Major (e.g., The Big Dipper) and then follow the line created by the stars at the end of the dipper to locate the North Star.

Star apps on your phone are also a great way to locate the dipper or the North Star. Once you know where it is, you can use it in your shot. I often like to bury the North Star behind a piece of a foreground element giving the final image a pinwheel effect.

Knowing the north star will help you with your star trails! In this image of Ursa Major, I have circled the stars of the constellation in red and the north star in green.

I buried the north star behind this black spruce and shot for nearly three hours to make this shot. The resulting image has a pin-wheel effect.

I put the north star behind a Sitka Spruce and shot this image at 14mm providing many stars in the shots and a pinwheel effect.

3 – Find Some Foreground Elements

Foreground elements are always important for landscape photography. When shooting star trails, think about foreground elements that capture the essence of the scene or that you can place prominently and by themselves.

By this, I mean objects that stand away from the background of the image. You may also want to choose elements that can be lit by the light of the moon or by using light painting. I like to think of star trails as telling the story of the night and the objects that you include in that frame will aid you in that storytelling.

I chose this old barn because the moonlight helped light up its character and I felt it captured the essence the Minnesota field in which it stands.

4 – Use Light Painting

Using Adobe Photoshop’s Lighten blend mode provides a lot of options for creativity when shooting star trails! Remember, that Lighten only keeps the lightest pixels in the whole stack of images. So by using light painting, you can selectively lighten objects in the frame.

Illuminate the foreground with your phone, headlamp, or another light source. You can light up the whole thing or selectively light elements of it. Experiment with lighting angles, intensities, and colors. If you don’t like the lighting of a certain exposure simply remove it from the layers that you import into Photoshop. I usually spend the first 10-20 frames lighting the foreground to make sure that I capture the lighting that I want and then let the camera take the rest of the shots.

Here I used light painting to illuminate this flag that I placed in the foreground. I lit the flag in several different ways and then chose the best frame to include in the final shot.

In this image, I used light painting the softly illuminate the snow-covered trees in the foreground of this shot.

5 – Pick Your Lens Focal Length Wisely

Focal length will strongly impact the amount of time it takes for the stars to move in your shot. Shorter focal lengths (e.g, 14mm) will take longer for the stars to have trails than longer focal lengths (e.g., 50mm). Knowing this will help you plan your shot. The three images below emphasize this effect.

MThe wide-angle of my 14mm wide-angle lens allowed me to capture the North Star and a distant mountain landscape, but I stood there for three hours to get the amount of movement in the stars that I wanted. The second shot was taken at 50mm and only 45-minutes elapsed before significant movement in the stars occurred. The third shot is an extreme example, shot at 300mm. The green streak is Comet Lovejoy and shows only a couple minutes of movement.

This image was shot at 14 mm, full frame and captures about three hours of star movement.

Shot at 50mm, this image took 45 minutes to capture the star movement.

This image was captured at 300mm on a crop sensor (effective 600 mm) and shows only a couple minutes of movement. The green streak is Comet Lovejoy.

6 – Play with Exposure Times

The length of your exposure will strongly influence the final image that you create. There are no guidelines to what is the right length, instead, you should be guided by what looks good to your eye. As a tip – you can always choose to use fewer shots than you captured so by default I would take as many images as you think you’ll need and then modify the amount once you import them into Photoshop.

Which of the images below do you like better? The longer exposure or the shorter one?

This image captures about 45 minutes of star trails at 50mm and I like how the falling arc of the stars lead my eye to the subtle mountains in the background.

This image captures 30 minutes of star trails at 24mm. I felt that including any more stars would take away from the dock in the foreground.

7 – Compositing Tips

Photoshop gives you a lot of flexibility to mask and preserve or remove elements of the shot. Since star trail shots are composite images and thus art, I do not worry about these alterations from an ethical standpoint. The two techniques below may help you improve the final shot. They assume you are familiar with masking and healing in Adobe Photoshop. If not you will find the linked articles helpful!

Masking a Foreground

Once you compile the images you may find elements that draw your eye away from the phenomenon you are trying to capture. Since the horizon and foreground are the same for all of the images you can choose which foreground looks best to you. Use that foreground to create a selection and convert the selection to a mask.

You can use that mask and exported TIFF file to maintain the foreground you like. In the images below, I wanted to remove the hikers that walked up to the lava flows in Volcanoes National Park and the bright highlights of the lava which became overexposed as the lava moved. I used a mask to preserve the foreground elements I liked.

Editing out Planes and Satellites

Almost all dark nights will have a plane or a satellite come through your frame. Fortunately, these are very easy to remove! Use the Healing Brush tool and set the tool to replace and content aware. You can draw a linear line with the tool over the track of the satellite or plane. Voila! The offending track will disappear.

I used the healing brush to remove the satellites and planes from the final image above. Can you tell the difference?

Summary

So there you go! I hope this article can help you get out there on your first night of shooting star trails. Remember, knowing your stars, picking a foreground and playing with exposure length will help bring the shot you imagine to reality.

Once you process the stacked images you have lots of flexibility in Photoshop to fix parts you do not like. As I always say, pixels are cheap. So make lots of them as you learn to shoot and process star trails.

The post 7 Tips for Shooting and Processing Star Trails appeared first on Digital Photography School.

Digital Photography School

May 8, 2018
PIXEO is a crowdsourced collection of the best photo spots around the world

Whether you’re looking for new spots in town or looking for the best photo locations while on vacation, a new app called PIXEO is here to help.

Made exclusively for iOS (for now), PIXEO is a paid photo scouting app that relies on crowdsourced information to show the best photo spots in a given area. It currently features more than 10,000 locations, provided by more than 200 paid subscribers.

Beyond location, the pins across the map include photos that have been taking there, the current weather at a chosen location, directions to get there and notes from other photographers on whether or not the location is worth your time.

Using the app is simple. After downloading PIXEO from the iOS App Store, you’re presented with the opportunity to subscribe monthly or annually for $ 3 per month or $ 25 per year, respectively. Don’t worry, though. There’s a 30-day free trial to test the waters and see if it works for you.

Once in the app, it’s just a matter of finding an area you want to scout for locations. After you select a location and find a pin that another photographer has contributed, you can just save it to your favorites and hit the road.

PIXEO was only launched two weeks ago, so don’t worry if there’s nothing nearby. It has been featured in the ‘Best of What’s New’ section in the iOS App Store in multiple countries and is continually gaining new locations.

You can take PIXEO for a spin by downloading it from the iOS App Store.

Articles: Digital Photography Review (dpreview.com)

May 8, 2018
Tips for Doing Natural Light Headshots and Portraits

You may think that headshots are just like portraits or perhaps think that they are only best photographed in a studio space. Thankfully, natural light headshots can help you to achieve the perfect look and portraits for your clients.

Both indoors and outdoors, natural light will give you a more organic and authentic feel to your client’s headshots. Making the photos more personable and versatile when it comes to using them on social media, resumes, or the like.

Using natural light allows you to create headshots with a more authentic feel.

Advantages of Natural Light Headshots

While studio headshots are the more traditional route for this style of photography, natural light will offer more options as far as backgrounds and lighting than you could ever imagine.

Photographing in natural light gives you more mobility to go from indoor to outdoor without fussing with setting up or tearing down a whole set.

Natural light gives you the opportunity to photograph your client both indoors and at outdoor locations.

You also have the opportunity to photograph your client more organically and more authentically than a traditional headshot in a studio light setup. These types of headshots are growing in popularity since they can be versatile for social media and online profiles.

For example, a wedding decorator actually decorating an event can be a great optional headshot since this way her clients can see her working the event, in addition to the waist cropped headshot.

Photographing your client in natural light helps to create more authentic and real shots that can be used for different purposes.

Natural light also helps you choose backgrounds that perhaps you don’t have available or can’t afford in a studio setup. Brick, repetitive lines like stairs, textured concrete, etc., will give your client more options when choosing her headshots.

Photographing Indoor Natural Light Headshots

Your client may ask you to photograph them in the very place where they work, which will most likely be inside. If this is the case, ask them if you can photograph during midday. This ensures that you will get the best possible light entering their office or building.

Using elements already found inside near large windows can offer subtle backgrounds without distracting from your client.

When you are photographing headshots it’s very important to keep your background in mind. Look for evenly dispersed, soft light and a neutral background. Headshots are meant to put the focal point of the photo on the person’s face. Neutral backgrounds help to isolate your client and keep the focus on them. This is one advantage of photographing inside.

Ideal backgrounds where natural light is abundant can include office building lobbies, large windowed offices with lounge seating, plain neutral colored walls, rooms with an interesting pendant or incandescent lighting.

Using natural light and combining it with the ambient light in the building can give the portrait a more interesting look.

Photographing Outdoor Headshots

If your client has asked you to photograph them at their workplace, don’t feel pressured to only photograph them indoors. Most often office buildings will have beautifully manicured gardens, atriums, or lawns where you can photograph your client’s headshots.

Choose the background wisely

Try to steer away from too busy a background, though, as this can cause the background to compete with your client. Photographing your client in the shade is most likely to give you the best results as you don’t want to have blotchy lighting on your client’s face or body.

Use neutral backgrounds for your client’s headshots in natural light.

Shooting on location can also offer you other options such as textured walls, patterned walls like a brick wall, solid concrete walls, and staircases. All of which creates a neutral background where you will have an overflow of natural light.

Using different types of backgrounds can give your client options.

One of the best backgrounds that you can use is the pavement. Placing your client on a ladder, crate, or having them crouch down will help you get the right angle so that the pavement becomes an even colored background.

If you do use the pavement, place your client close to the edge where the sunlight and shade meet, this will create a natural reflector and bounce light back onto your subject.

Using both solid pavement and a manicured garden can offer your client variety.

Add variety

Another advantage to photographing on location is that you can add variety to the session without being limited. Photograph your client with a textured background and then try a solid background.

Even though placing your client in the shade is ideal, you can also use the sunlight as a hair light or to light parts of the background to create more depth in the image.

Depending on where you place your client, you can choose how you want to light the headshot. More light or with more drama.

Depending on what your client intends to use the headshots for, you may even try facing your client towards the setting sun.

Facing this model towards the sun gives his headshot a different look.

One more advantage of on-location headshots is the option of bringing props for your client’s headshot. For example, if they are a photographer, they can bring cameras. Or if they are a travel writer, they can bring suitcases. Or a fashion blogger with accessories.

All of these, with the various backgrounds work well to create the perfect headshot for your client.

Natural light headshots can give you the option of using props to create a more stylized portrait.

In Conclusion

Using props can also enhance the effect of your client’s headshots and portraits.

Given that you are using natural light as your main source for your client’s headshots and portraits means that you will be able to offer more variety to your client. This is a great advantage because it can give your client the chance to use the photographs for different purposes.

Furthermore, your client will have more natural and authentic headshots versus more traditional studio headshot, which is becoming more and more popular as well.

The post Tips for Doing Natural Light Headshots and Portraits appeared first on Digital Photography School.

Digital Photography School

May 8, 2018