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  • Leica’s Noctilux-M 50mm F1.2 is an homage to one of its most iconic lenses

    The last Leica Noctilux 50mm F1.2 lens was produced 46 years ago. Now, nearly half-a-century later, the iconic lens has been reborn in the form of the Noctilux-M 50mm F1.2 ASPH, a ‘new’ lens from Leica that pays homage to a classic.

    An advert for the original Noctilux 50mm F1.2 lens (note it uses the same six-element, four-group optical construction as the new Noctilux-M version).

    The original Noctilux 50mm F1.2 lens was the first to feature aspherical elements in its optical design. This, along with its large maximum aperture, made for a unique aesthetic that’s become synonymous with the Noctilux line. Leica says the original lens’ ‘visual signature embodies the original essence of the “Leica look” and has helped shape the landscape of Leica’s iconic reputation for the best lenses.’

    So, rather than go back to the drawing board, Leica stood atop its own shoulders and based the new lens so similarly to its predecessor that Leica says the resulting images are ‘nearly identical.’ Despite that, Leica says ‘the purpose of this lens is by no means limited to nostalgia or trips down memory lane,’ going on to say that when ‘stopped down to F2.8 or further, the Noctilux-M 50 f/1.2 ASPH delivers impeccably sharp images that live up to the quality expectations of modern-day digital photography.’

    The lens is constructed of six elements in four groups, including two aspherical elements. It features a 16-blade aperture diaphragm, has a 1m (3.3ft) minimum focusing distance and uses a 49mm front filter thread. The lens measures 61mm (2.4″) in diameter, 52mm (2″) long (without lens hood) and weighs 405g (14.3oz).

    This lens marks the third in the Leica Classics Range, which has seen reissues of the Summaron-M 28 f/5.6 of 1955 and the Thambar-M 90 f/2.2 of 1935. To further pay homage to Leica’s lens history, the Noctilux-M 50 f/1.2 ASPH will come in both silver and black versions — a nod to Leica’s transition from silver to black anodized lenses over the years.

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    The silver chrome edition of the Noctilux-M 50 f/1.2 ASPH ‘features a brass lens barrel, a front-ring engraving that reads LEITZ WETZLAR (distinguished from the contemporary LEICA engraving) and along with the clear lens container is packaged in a vintage-inspired box that even further recreates the 1966 original.’ The silver chrome edition is limited to just 100 units worldwide and will retail for $ 16,395.

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    The black anodized version of the Noctilux-M 50 f/1.2 ASPH will come in packaging ‘inspired by the box of the original [Noctilux].’ Leica doesn’t specify how many of the black anodized versions it will be making, but it doesn’t appear to be a limited edition. Units are available now through Leica Stores and authorized dealers for $ 7,695.

    Leica has shared a number of Raw photos captured with the lens that you can download and play around with on its product page.

    Articles: Digital Photography Review (dpreview.com)

  • Sony Announces the a1, Its Best Mirrorless Camera to Date

    The post Sony Announces the a1, Its Best Mirrorless Camera to Date appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

    Sony a1 announcement

    Sony has announced its latest full-frame mirrorless offering, the Alpha 1.

    A groundbreaking camera that offers a shocking combination of speed, resolution, and video capabilities, the a1 somehow manages to speak to action photographers, wildlife photographers, and even all-around professional shooters without sacrificing on, well, anything.

    For several years now, Sony has maintained the same four full-frame camera lineups:

    • The a9 lineup, geared toward professional sports and action photographers
    • The a7R lineup, geared toward landscape and commercial photographers
    • The a7 lineup, geared toward all-around professionals and advanced hobbyists
    • The a7s lineup, geared toward serious videographers (plus the occasional hybrid shooter)

    (Sony also recently released the a7C, a compact full-frame model.)

    Note the division of labor here, with one camera tailored toward action photographers, another tailored toward videographers, and yet another tailored toward landscape shooters.

    But now, with the launch of the Sony a1, the division between action photography, landscape photography, and even video seems to have crumbled, leaving Sony users with a camera clearly more capable than the a7 III, and even offering a leg up over the a7S III, the a9 II, and more.

    Sony a1

    So what does the Sony a1 offer?

    First, check out the sensor:

    50 MP for intense cropping abilities, plus it gathers enough detail to satisfy professional landscape shooters.

    Then there’s the autofocus, which packs “improved real-time Eye AF for humans and animals, and new real-time Eye AF for birds.” Sony is well-known for its top-tier autofocus algorithms, so don’t be surprised if the bird Eye AF makes the a1 a hot choice among serious bird photographers.

    You also get in-body image stabilization (Sony claims up to 5.5 stops), as well as a lightning-fast continuous shooting speed (30 frames per second using the electronic shutter).

    The a1 also boasts one of the most impressive electronic viewfinders on the market. With a whopping 9.44M-dots of resolution, you should have a clear view, even in low light, which is always a plus for event photographers, night street photographers, and wildlife photographers, to name just a few.

    Sony a1

    Finally, there’s the video capabilities. The a1 can record at 8K/30p, as well as 4K/120p; the former capability is what puts the camera above the Sony a7S, at least in terms of raw recording power. While 8K is likely overkill for casual videographers, I can highly recommend the a1 for serious videographers and true hybrid video/stills shooters.

    Sony a1

    Of course, you should also consider the price: $ 6499.99. In other words, the a1 costs more than the Nikon Z7 II, more than the Canon EOS R5, more than the Sony a9 II, and more than every other full-frame mirrorless camera on the market.

    But the a1 really is one heck of a camera, and those who can afford it are bound to be impressed (to say the least!).

    Now over to you:

    What do you think about the Sony a1 announcement? Are you excited? Apprehensive? Frustrated? Share your thoughts in the comments below!

    The post Sony Announces the a1, Its Best Mirrorless Camera to Date appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


    Digital Photography School

  • How to Shoot Images for Book Covers: The Essential Guide

    The post How to Shoot Images for Book Covers: The Essential Guide appeared first on Digital Photography School. It was authored by Charlie Moss.

    how to shoot images for book covers

    There’s lots of information out there about making money shooting stock images. However, the most successful stock photographers have a secret – they’re shooting niche content for specialist agencies! There are lots of different specialist fields that you might consider, but in this blog post, I’ll walk you through how to shoot images for book covers.

    Let’s get started.

    How to break into the book cover industry

    There are several specialist book cover stock agencies that exist purely to match clients with photographers and illustrators. These agencies can be a great way to get into shooting book covers.

    However, book cover stock agencies do require a good portfolio as part of your application. If you don’t already have a portfolio suitable for a book cover agency and you want to get started right away, you can try networking with potential clients on social media – Instagram is a great place to connect with other creatives.

    Think about format and layout

    One of the most important things to think about when it comes to shooting book cover images is the aspect ratio. Book covers are almost always produced in a vertical format, so landscape images generally won’t be of interest to book cover designers.

    shoot images for book covers examples
    Left: Canon EOS 5D Mark II| Canon EF 100mm f/2.8 Macro USM | 100mm | 1/125s | f/8.0 | ISO 100 | Window Light + Reflector
    Right: Canon EOS 5D Mark II| Canon EF 70-200mm f/2.8 IS II USM | 70mm | 1/640s | f/2.8 | ISO 800 | Available Light

    Books can be printed in all different sizes, meaning that no single aspect ratio is the best for shooting cover photos. Therefore, book cover designers will usually need to crop images to make them fit on a cover.

    Keep this need to crop in mind when you shoot images for book covers, and make sure you don’t place any interesting parts of the subject or composition near the edge of the frame. This will give a designer more options when using your images in different book cover layouts.

    Leave some blank space

    When you shoot images for book covers, you can’t just think about the photo. You also need to leave room for the title of the book and the author. In other words, there should be at least one place in your book cover shot that is plain enough to place text.

    book cover layout examples
    Left: Fujifilm X-T20 | Fujifilm XF 35mm f/1.4 R | 35mm | 1/280s | f/1.4 | ISO 200 | Window Light
    Right: Fujifilm X-T20 | Fujifilm XF 35mm f/1.4 R | 35mm | 1/3500s | f/1.4 | ISO 200 | Available Light

    You can achieve these plain sections by using simple colors, by shooting areas with less detail, or by using a shallow depth of field to blur backgrounds and foregrounds.

    There’s no rule dictating where book cover designers must put the title and author text. However, it’s good practice to shoot several variations of each image, including compositions that leave room in the middle of the photo, as well as compositions that leave room at the top and bottom.

    Plan your images out

    If you’re finding it hard to shoot compositions that allow for text placement, then go old school and get out your sketchbook.

    Take a pen and paper, draw some empty rectangles, and start imagining all the different places a designer might put the title and name of the author. You can then start to imagine how and where you might leave blank space.

    book cover sketches
    These are a set of sketches based on the bestseller listings of a popular bookseller. The boxes show the text location on the cover of each book.

    To take your shots to the next level, think about the props you’d like to use in your photos and how they might fit into the sketches you just made.

    Playing around in a sketchbook can really improve your images and save you lots of time.

    Finding inspiration

    If you’re trying to come up with ideas for potential book cover images, I highly recommend browsing through a bookstore. You don’t have to do this in person; there are plenty of opportunities to browse book covers on the internet, as well!

    You’ll quickly get a feel for the different styles of cover images across various genres.

    shoot images for book covers
    Left: Fujifilm X-T20 | Fujifilm XF 35mm f/1.4 R | 35mm | 1/450s | f/2.0 | ISO 200 | Window Light + Reflector
    Right: Fujifilm X-T20 | Fujifilm XF 35mm f/1.4 R | 35mm | 1/640s | f/1.4 | ISO 200 | Window Light + Reflector

    It’s also a good idea to follow the social media feeds of publishers in your favorite genres. Many publishers regularly post pictures of upcoming books, which will give you a sense of industry trends.

    If you’re an author, but not a photographer

    So you’re a self-published author who wants to do the design work for your book yourself? That’s great, and all of the tips above still apply. However, you might find some of our beginner’s articles helpful; these will help you understand the creative potential of your camera.

    It’s also important to be realistic when shooting images for your book cover; photography isn’t instinctive for everyone, and the best photographs are usually the result of years of hard work and practice.

    However, if you put your mind to it and you learn the basics, there really is no reason why you shouldn’t shoot photos for your own book cover. Though it’s always worth asking a few trusted friends for their opinion when it comes to the final layout – especially if you have friends who buy and read a lot of books!

    How to shoot images for book covers: Conclusion

    Whether you want to diversify your photography business and start shooting images for a book cover agency, or you simply want to create your own book cover for your self-published book, the tips above should get you started. Follow traditional rules of composition, make space for titles and other text, and seek out inspiration in your genre.

    Ultimately, if you’re looking to start shooting images for book covers, the best advice is to jump right in. Put together a portfolio, then get it out there for people to see. Ask around to determine which stock agencies work best for photographers you know, and see if you can get your pictures on a new bestseller!

    The post How to Shoot Images for Book Covers: The Essential Guide appeared first on Digital Photography School. It was authored by Charlie Moss.


    Digital Photography School

  • Fujifilm GFX 100S initial review

    Introduction

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    GFX100S product photography by Dan Bracaglia & Richard Butler

    The Fujifilm GFX 100S is the logical next step in the development of the company’s medium format lineup: a 100MP sensor in a single-grip DSLR styled body. But don’t mistake predictability for complacency: the GFX 100S is an awful lot of camera.

    Inside its comparatively compact body, the GFX 100S carries the 102MP BSI CMOS sensor from the original GFX 100 mounted within a smaller, more powerful image stabilization mechanism. By blending technology from the GFX 100 with components from the APS-C sensor X-T4, Fujifilm has created a very powerful camera at a comparatively affordable price.

    What’s new | How it compares | Body & controls | Initial impressions
    Sample Gallery | Specifications

    Key specifications

    • 102MP BSI-CMOS 44 x 33mm medium format sensor
    • Image stabilization system rated at up to 6EV
    • Continuous shooting at up to 5 fps with C-AF
    • 4K video at up to 30p with HDMI output of 10-bit 4:2:2 or 12-bit Raw footage
    • Multi-shot 400MP mode for static subjects
    • 2.36M-dot rear touchscreen with two-axis tilt
    • Fixed 3.69M-dot OLED EVF with 0.77x equiv. magnification
    • Lossy, lossless or uncompressed Raw in 16 or 14-bit
    • Twin UHS-II SD card slots
    • NP-W235 battery, rated at 460 shots
    Out-of-camera JPEG using the Provia film simulation.
    ISO 6400 | 1/100 sec | F11 | GF 120mm F4 Macro
    Photo by Carey Rose

    Despite offering most of the capability of the twin-grip GFX 100, the smaller camera is significantly less expensive. It should be available around March with a recommended price of $ 5,999.

    What’s new

    More compact body

    The use of a smaller battery and fixed viewfinder have helped significantly slim-down the GFX100S (left), relative to the original 50MP GFX 50S (right).

    Fujifilm says the addition of the image stabilization system meant that it was more practical to make the GFX 100S into a DSLR-shaped camera, rather than the more rangefinder-like layout of the GFX 50R. But a lot of the downsizing efforts that went into the 50R have been applied here, resulting in a camera that’s appreciably smaller than the original GFX 50S.

    The GFX 100S has a control layout very similar to that of the original, dual-grip GFX 100, with a large LCD top plate display and a comparable number of custom buttons. A conventional mode dial and movie/stills switch replace the button-within-a-dial arrangement on the camera’s left shoulder.

    Image stabilization

    Core to the GFX 100S is the inclusion of in-body image stabilization. Just as Fujifilm has been able to continue to miniaturize the IS systems used in its X-H1, X-T4 and X-S10 models, it’s also been able to reduce the size of the mechanism from the original GFX 100 to allow it to fit in a smaller body.

    Despite the size reduction, the new mechanism is more effective than the one that precedes it: rated to correct up to 6EV of shake. This is half a stop more than the GFX 100’s rating and is achieved with more lenses, giving a rated 1EV improvement with most combinations. On top of this, the new system can synchronize with OIS lenses to maintain this level of correction even with longer focal lengths. This Sync IS system uses both lens and body IS to correct pitch and yaw, just as Panasonic, Olympus and Canon systems do.

    Fujifilm has managed to create an IS mechanism for the GFX 100S that is both smaller and more effective than the one in the original GFX 100.

    As usual, we find CIPA ratings (which only asses pitch and yaw correction) tend to over-state the benefit somewhat, but a 6EV rating should make it much easier to obtain the full benefit of the GFX 100S’s resolution. You can see the effect of this in our sample gallery, where we’re consistently getting high levels of resolution, even at relatively slow shutter speeds.

    The image stabilization mechanism is also used to provide an eight-shot high-resolution mode. This moves the sensor between each shot, first to ensure that a red, green and blue pixel has been captured for each location, then to do the same again at a slight offset. This both boosts the chroma resolution and the overall pixel count of the image. However, in our experience with the GFX 100, we found that the lack of any motion correction means it really only works for completely static subjects, such as artwork reproduction.

    Eight-direction control nub

    The eight-way rubber control nub sits within easy reach of your thumb as you grip the camera.

    The four-direction joystick that’s featured on previous GFX cameras has been replaced by a wider, flatter textured nub, that allows diagonal control as well as vertical and horizontal.

    Its lower profile makes it easy to nudge the AF point around or navigate menus without too much risk of accidentally pressing it inwards which, as before, resets the AF point or accepts the current menu setting.

    Additional Film Simulation mode

    The GFX 100S gains a 13th Film Simulation mode: Nostalgic Neg. Fujifilm says this is based on the distinctive look achieved by American color film photographer Stephen Shore.

    Out-of-camera JPEGs.
    ISO 100 | 1/500 sec | F4 | GF 120mm F4 Macro
    Photo by Carey Rose

    ‘Nostalgic Neg’ aims to offer slightly amber-tinted highlights, cyan-ish skies and saturated reds along with deep shadows to provide another option for retro-looking images. As usual, the effect is relatively subtle, giving an attractive option without spilling into overly intense ‘Instagram-filter’ territory.

    Battery

    The GFX100S uses the smaller NP-W235 battery from the X-T4 but still boasts a decent battery life rating.

    The move to the smaller body format also sees the GFX 100S make use of a smaller battery, compared to the GFX 100. It uses the same W235 battery first introduced with the X-T4. It’s a fair bit smaller than NP-T125 used in the previous GFX bodies. Despite the reduction in physical size and electrical capacity, the GFX 100S is rated at a pretty reasonable 460 shots per charge using the LCD, per CIPA standard tests.

    As always with CIPA ratings, the number reflects very demanding use, and we’ve found we regularly get more than twice the stated number of shots from most cameras. However, the numbers are broadly comparable between mirrorless cameras, so it’s reasonable to expect you’ll get more than 1/2 as many shots out of the GFX 100S as you would from the 800-shot-per-charge rated twin-battery GFX 100. This is likely to be enough for a lot of situations, though wedding photographers are likely to find themselves wanting to pocket a spare. A two-battery charger is available for such users.

    The X100S will recharge over its USB-C socket but there are no electrical contacts to allow a vertical grip option to enhance the battery life or provide a more substantial portrait grip: there’s the GFX 100 for that.

    Return to index

    How it compares

    Beyond this, much of what the GFX 100S offers is a match for its larger sibling: 102MP Raw files in 14 or 16 bit with a choice of lossy, lossless or no compression, DCI or UHD 4K video at up to 30p and up to 400Mbps, with the option to output uncompressed 10-bit 4:2:2 or a 12-bit Raw stream over HDMI. Impressively, for a camera with a 100MP sensor, the GFX 100S can shoot at up to 5.0 fps with continuous autofocus, despite the continued use of UHS-II SD card slots.

    As always, the key consideration is that the GFX has a sensor that’s 68% larger than a full-frame sensor, which means it receives around 2/3EV more light when shot at the same exposure values as a full frame camera. The ISO system means those images appear the same brightness, but the additional light provides better quality.

    Fujifilm GFX 100S Fujifilm GFX 100 Hasselblad
    X1D II 50C    		 Sony a7R IV
    MSRP $ 5999 $ 9999 $ 5750 $ 3500
    Sensor size 44x33mm
    (1452 mm2)    		 44x33mm
    (1452 mm2)    		 44x33mm
    (1452 mm2)    		 36x24mm
    (864 mm2)
    Pixel count 102 MP 102 MP 51MP 60MP
    Image stabilization Yes (up to 6EV, and lens sync) Yes (up to 5.5EV) No Yes (up to 5.5EV)
    Continuous shooting 5.0 fps 5.0 fps 2.7 fps 10.0 fps
    Viewfinder size/res 3.69M dot OLED / 0.77x 5.76M dot OLED / 0.86x 3.69M dot OLED / 0.87x 5.76M dot OLED / 0.78x
    Rear screen Two axis tilt 3.0″ 2.36M-dot touchscreen Two axis tilt 3.2″ 2.36M-dot touchscreen Fixed 3.6″ 2.36M-dot touchscreen Tilting 3.0″ 1.44M-dot touchscreen
    Max shutter speed 1/4000 sec 1/4000 sec 1/2000 sec (leaf shutter) 1/8000 sec
    Video 4K/30p up to 400 Mbps 4K/30p up to 400 Mbps 2.7K/30p 4K/30p up to 100 Mbps
    Battery life
    (LCD)    		 460 800 Unspecified 670
    Weight 900 g 1320g 766g 665g
    Dimensions 150 x 104 x 92mm 156 x 164 x 103mm 148 x 97 x 70mm 129 x 96 x 78 mm

    Although the GFX 100S’s maximum shutter speed, durability rating and 1/125 sec sync speed all match the GFX 100, Fujifilm says the new mechanism reduces shutter lag from 0.09 sec to 0.07 sec.

    Return to index

    Body and controls

    The camera is primarily controlled by two clickable command dials, front and rear. You get a decent level of control over which dial accesses which function and, of course, you can directly control the aperture using the ring on the lens, if you prefer.

    The GFX 100S uses a similar control approach to that of previous GFX cameras, primarily relying on its twin command dials for most control, and using an exposure compensation button rather than a dedicated dial (though, with a bit of work, you should be able to assign it as an option when you press the rear dial).

    The GFX 100S fits nicely in the hand, with a thin layer of dense rubber providing a good amount of traction to a well-shaped hand grip, though photographers with larger hands may find the middle-finger indentation a little too small and close to the front of the camera. The solid grip is important because although the camera is smaller than the likes of a Nikon D850, it can start to get quite heavy once you’ve mounted something like the GF 110mm F2 lens on the front.

    The top display panel can be set to show shooting information, a graphic representing shutter speed and ISO dials or a histogram. The camera maintains separate settings for stills and video, and can show black on white if you find it clearer than white on black. A small ‘lamp’ button on the side of the viewfinder illuminates the panel.

    Viewfinder

    The GFX 100S, unlike the GFX 100 or GFX 50S, has a fixed built-in viewfinder. It’s a 3.69M-dot OLED panel with 0.77x magnification (with a 50mm equivalent lens mounted). This is a pretty big display with pretty decent resolution. ‘Boost’ modes in the camera’s power settings let you increase either the refresh rate or the resolution.

    Interface

    The rest of the interface is very similar to that of recent Fujifilm models. Buttons can be customized by holding down the ‘Disp/Back’ button, and the ‘Q’ menu can be modified without the need to delve into the full menus. Menu options let you decide whether the Q menu is displayed on a grey background or overlaid on top of the camera’s live view. Different contrast levels for the interface and menus are available, including a night vision preserving red and black color scheme for working in extreme low light conditions where it’s easy to get dazzled.

    Return to index

    Initial impressions

    The GFX100S (left) is a significantly smaller camera than the original GFX 50S (right), and it gives up the shutter speed and ISO dial to help with this downsizing. In return you get a significantly larger, customizable, top-panel display.

    We’ve been impressed with what Fujifilm has achieved with the GFX system so far: most of the lenses are superb and the cameras bring a level of mass-market polish and usability that hasn’t always been a feature of medium format cameras (Pentax’s digital ‘645’ models being the notable exception). But the GFX’s have almost risked being a victim of their own success, in that this level of usability has invited comparisons with more mainstream cameras.

    In testing we found that the 50MP sensor of previous GFX cameras didn’t offer a major image quality benefit over the best full-frame cameras of the time, but the move to a 100MP chip changed that. In use, we’ve found the smaller size and more powerful IS of the GFX 100S means it offers nearly all the capabilities of the original GFX 100 in a package that’s more accessible and more usable.

    Out of camera JPEG using the Nostalgic Neg film simulation.
    ISO 100 | 1/320 sec | F4 | Fujifilm GF 45mm F2.8
    Photo by Carey Rose

    It’s still not cheap, of course. Larger sensors are harder (and thus more expensive) to produce, they require larger, more expensive lenses, and the consequent lower sales volumes just serve to push up the unit price in what risks becoming a vicious cycle. But our experience of the GFX 100S is that you do gain something recognizable for that extra expenditure.

    Getting the GFX 100S down in size (and price) does mean you lose out in a couple of respects, compared with the full-sized GFX 100, but none that are overly detrimental. For instance, the battery is significantly smaller than the ones the larger camera uses, though the battery life rating appears pretty solid and doesn’t appear to be achieved by being over-keen to drop into battery saving mode, or anything else sneaky that might undermine performance or user experience.

    The viewfinder is perhaps the other significant step down in spec, compared to the GFX 100. A total of 3.69M dots is fewer than in the finders of the cameras such as the Panasonic S1R and Sony a7R IV, but it’s the same as the 50MP GFXs had, but Fujifilm appears to make good use of that resolution, rather than only using the full resolution in playback mode, as some cameras do.

    While the GFX 100S won’t match full-frame cameras for autofocus responsiveness, it’s autofocus can be very accurate, especially with portraiture and eye-detection.
    ISO 320 | 1/60 sec | F3.2 | GF 80mm F1.7
    Photo by Richard Butler

    Fujifilm’s lenses, while optically impressive, aren’t always the fastest to focus (though there’s some variability within the range). So, despite the inclusion of on-sensor phase detection, the GFX 100S won’t offer the levels of AF responsiveness you’d get from a Canon EOS R5, and Sony A7R IV or Nikon Z7 II, for portraiture, for instance.

    But the fact that the GFX 100S offers only a slight reduction in responsiveness compared to mainstream full-frame cameras, and outputs not just usable but excellent out-of-cameras JPEGs is another major step forward for medium format usability. Add in image stabilization that means you don’t have to obsess about stability to realize the camera’s full resolution potential, and you have a camera that can be used in a wider range of circumstances than has previously seemed possible for medium format.

    In-body stabilization that syncs with lens IS means you can get 100MP worth of detail without a tripod, without stopping to control your breathing or having to agonize over a steadiness/detail loss trade-off of using a higher shutter speed.

    We’ve seen plenty of posts questioning whether cameras such as the Nikon Z7 II or Sony a7R IV will offer an appreciable upgrade over last-generation high-res DSLRs such as the Nikon D850 or Canon EOS 5DS R. In general that’s a difficult question to answer, because while there are benefits to the newer cameras – they tend to be are smaller, provide access to the latest lenses (and manufacturers’ future lens developments), offer better video and include features such as eye AF – we don’t usually see major IQ benefit from the cameras themselves. The GFX 100S appear to provide that image quality benefit, as well as all those other things that the latest mirrorless cameras offer.

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    Sample Gallery

    Photos are from a pre-production camera. At Fujifilm’s request, original Raw files are not available for download.

    Please do not reproduce any of these images without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review).

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    Articles: Digital Photography Review (dpreview.com)

  • Vanishing Point in Photoshop: The Essential Guide

    The post Vanishing Point in Photoshop: The Essential Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

    The essential guide to Vanishing Point in Photoshop

    Have you ever used Vanishing Point in Photoshop? If you’re only using the Transform tools to give perspective to image elements, you’re missing out on a fantastic opportunity.

    The Vanishing Point filter is often overlooked; most photographers believe it’s only useful in a 3D workspace.

    But here’s the truth:

    Vanishing Point is actually a hugely useful tool, one that I absolutely recommend you learn how to use.

    In this article, I’ll explain what the Vanishing Point filter is – and how you can use it to simplify and improve your photography.

    Let’s get started!

    What is Vanishing Point in Photoshop?

    Vanishing Point grid in Photoshop

    Vanishing Point is a Photoshop filter that allows objects and edits in your image to be scaled and oriented according to the image’s perspective.

    You can find Vanishing Point under the Filter menu (simply click Filter, then Vanishing Point).

    Once you’ve selected the Vanishing Point filter, Photoshop opens a special workspace for all your in-perspective edits.

    Why is Vanishing Point important?

    A vanishing point is what gives depth to an image.

    For example, if you photograph a wall parallel to your camera’s sensor, the wall (and the overall image) should look flat.

    But if you instead photograph the wall at an angle and you capture the way it vanishes toward a point in the distance, the wall – and the scene – appears three-dimensional.

    Perspective and Vanishing Point

    Take a look at the arrows in the image above.

    The wall is flat, with no depth.

    But the railing moves toward the horizon, where (if it continued to stretch onward) it would vanish.

    The Vanishing Point filter allows you to make adjustments to your photos in perspective, so that you achieve a realistic final result that perfectly mirrors the scene’s perspective.

    (Do you see how the arrow stretching along the railing appears to fade into the scene? That’s because I added it with Vanishing Point!)

    Working with Vanishing Point: The basics

    When you launch the Vanishing Point filter, you might be wondering what to do and how to use it.

    It looks similar to the normal Photoshop interface, but where do you start?

    Here are the answers to some of the most common Vanishing Point questions:

    How do you create a perspective plane?

    Click the Create Plane Tool at the top of the toolbar on the left.

    Then click on the corners of the plane you want to create.

    (Here, you need to carefully follow in-perspective elements.)

    Photoshop will immediately add your plane to the image, like this:

    Create a Vanishing Point in Photoshop

    Now, when the lines that form the plane are blue, it means everything is working well. Yellow or red lines mean that Photoshop doesn’t accept the plane you’re tracing.

    Once you’ve created a plane, try moving the corner points until you get it right. You can zoom in if you need to be more precise.

    Everything you paste and everything you edit inside that plane (while you’re in the Vanishing Point workspace) will be put into that perspective.

    How do you save a perspective plane?

    When you’re done working inside Vanishing Point, click OK (in the top right) to accept the changes. This will add the perspective plane as part of your file.

    If you save and close your image, the perspective plane will be saved, too. When you open your file again, you can launch the Vanishing Point filter, and the perspective plane(s) that you created will be present and editable.

    How do you delete a perspective plane?

    To delete a plane, simply select it, then press the Backspace key.

    To select your plane, just click on it using the Edit Plane Tool. You’ll know your plane is selected if you can see the edge nodes around it.

    Can you create more than one plane?

    Yes, you can create multiple planes. And these can be separate or connected.

    If you want to create a separate second plane, just finish working on your first plane, then click another part of the image and start afresh.

    If you want to have your two planes connected, you need to tear the second plane off from the first. To do this, press the Ctrl/Cmd key and drag one of the edge nodes to create the next plane.

    By default, the second plane will be at a 90-degree angle from the first. If this is not the way you want it, you can use the Angle controller you’ll find in the toolbar at the top of the Vanishing Point window:

    Connecting perspective planes

    How do you use Vanishing Point in Photoshop to paste objects in perspective?

    First, make sure the object you want to add in perspective is present on a layer. Select the object (you can use Ctrl/Cmd + A to select all), then hit Ctrl/Cmd + C to copy it to your clipboard.

    Once you have the object on your clipboard, add a new blank layer above the background image. This is because anything you do inside the Vanishing Point workspace will be applied to the layer that is selected when you actually open the filter.

    Next, open the Vanishing Point filter and create a perspective plane that follows the perspective you want to give to the new element.

    Once this is done, paste the new element into the Vanishing Point workspace by pressing Ctrl/Cmd + V. It will be pasted as a floating selection without perspective, but that’s okay.

    Paste using Vanishing Point in Photoshop

    Feel free to scale or modify the object. Then, once you’re satisfied with its shape and size, click on it and drag it inside the plane.

    You’ll notice that the object will change shape and size according to its position in the plane. It will get smaller as it gets farther away from the camera, and bigger as it gets closer to the camera.

    Place objects in perspective

    That’s it – now you can click OK to get back to the normal workspace. You’ll find the pasted element (in perspective) on the new layer. You can then use the Layer Style options to add shadows and create more realistic composites.

    You can use this paste-in-perspective technique to showcase your photos on a billboard, create graffiti on a wall, or apply logos to product packaging photographs.

    Advanced tips and techniques for working with Vanishing Point

    Pasting elements in perspective is one of the most common uses for the Vanishing Point filter in Photoshop.

    However, there are some other cool things you can do with the feature, including:

    Painting in Vanishing Point

    Paint in Vanishing Point in Photoshop

    Inside the Vanishing Point workspace, you’ll find a Brush tool. With it, you can paint, write, or draw in perspective.

    Therefore, the brushstrokes will get smaller as they move farther away from the viewer (to simulate depth).

    You can choose the size of the brush, the hardness, and the color. Unfortunately, you can’t use brushes you’ve loaded into the normal workspace.

    Cloning in Vanishing Point

    You can also clone with the Vanishing Point filter. This is very useful, because the Clone Stamp tool will follow the angle and the size of the perspective plane.

    Choose the size and hardness of your Stamp Tool in the top toolbar. Make sure that Heal is turned off.

    Then source the pixels that you want to clone. To do this, hold the Alt/Option key and click on the target pixels (note that you must click somewhere inside the perspective plane).

    Finally, clone the pixels onto a different part of the perspective plane.

    You can clone the same way you’d use the regular Clone Stamp tool. However, the results will be very different.

    Look at the composite below, which shows an original image, the image modified with standard Clone Stamp methods, and the image modified with the Stamp Tool in Vanishing Point.

    Clone in Vanishing Point in Photoshop

    When I sourced the pixels from the top of the brick wall using the regular Clone Stamp tool, the bricks had a different angle; when I cloned them from the side, they had a different size.

    However, when I used the Vanishing Point Stamp Tool, I was able to add pixels in-perspective.

    You can also use the Vanishing Point Stamp Tool as a Healing Brush by turning on the Heal option in the top toolbar.

    Using the Marquee Tool in Vanishing Point

    The Marquee Tool is the only selection instrument available inside the Vanishing Point workspace.

    It’s very straightforward to use; just click and drag around the area that you want to select.

    If you have two connected planes, the selection will “bend” to follow the perspective in both planes.

    Select and Duplicate in Vanishing Point in Photoshop

    This is extremely useful if you want to duplicate elements that run through two planes. Look at the example above – I just selected an area, copied it, and pasted it again. It behaved according to the perspective of the plane, which allowed me to keep any depth and make the entire duplication job look more natural.

    For better blending, you can feather the selection, just as you would in the regular workspace.

    How to use Vanishing Point in Photoshop: Conclusion

    Vanishing Point in Photoshop can make your work easier and faster when you’re dealing with perspective.

    So make sure to give it a try!

    Now it’s your turn:

    What do you think of Vanishing Point? Is it a tool you plan to use in the future? Share your thoughts, questions, and tips in the comments below!

    The post Vanishing Point in Photoshop: The Essential Guide appeared first on Digital Photography School. It was authored by Ana Mireles.


    Digital Photography School

  • 6 Reasons Why Photography Matters

    The post 6 Reasons Why Photography Matters appeared first on Digital Photography School. It was authored by Guest Contributor.

    6 reasons why photography matters

    Why does photography matter?

    It’s a question that we all ask at one time or another. After all, why do we keep waking up at 4:00 AM to photograph the sunrise, when we could be warm and comfortable lying in bed? Why do we spend long hours tweaking our compositions and learning about photography fundamentals when we could be watching television or out with friends?

    And some days, when we have no creativity at all and pressing the shutter button seems like the hardest thing in the world, we continue to persevere – but why? What is it about photography that’s so compelling?

    What motivates us to keep going?

    In this article, I’m going to share six reasons why I think photography matters. Hopefully, these ideas will help you find clarity and motivation – and will encourage you to capture images, even when it feels like everything is pointless and you should put down the camera forever.

    Let’s get started.

    1. Our photographs tell us what is important to us

    When you ask people what possessions they would rescue from their burning house, one of the most frequent answers is a photograph album or a computer with all their digital images.

    Interesting, isn’t it? We would grab photos over valuable jewelry, even in moments of panic.

    This impulse to save our recorded memories is a powerful force, one that tells us much about the role of photography in our lives – and speaks to our constant desire to distill our most precious moments into images.

    Why photography matters tree with spotlight

    We preserve the important events and people in our lives. The ceremonies of birth and birthdays, marriages and anniversaries, holidays and new houses are all recorded because they matter.

    Photographs are our personal story, a timeline of our lives filled with faces and places that we love. They are our story, which we can then share with others.

    Ultimately, the thousands of images we take come together to form a narrative of our lives.

    2. Photographs are part of our legacy

    I remember sitting on a train as it passed a playground where children were standing at attention for the annual school photograph. In the front row sat the teachers, and behind them, hundreds of children were neatly preened and uniformed. For the briefest second, the entire assembly was motionless. We passed just as the photographer clicked the shutter.

    Then, as if in slow motion, the huge group scattered as children escaped their enforced immobility. The neat rows dissolved and broke down into individuals who were kicking balls or huddled with friends.

    None of those children realized that the photograph was probably going to outlive them. A couple of generations later, the school photo might resurface among old papers in an attic, and someone would search for their grandfather among the fresh, young faces.

    Photographs matter because they freeze moments of our lives that pass unremarkably and which seem to have little importance to us at the time. The significance of a photo might not even be ours – instead, it might be for others who search for the person we once were or the places we once knew.

    Each photo can be a small piece of a jigsaw that completes the larger picture of our lives.

    misty mountains

    3. Photographs allow us to share and to communicate

    Images are much more than a simple record. Photography speaks to the best and most generous part of our human nature – the desire to share what we find beautiful and interesting with others.

    You only have to look at the multitude of photo-sharing sites to see this impulse at work, where millions of people share their personal, passionate, and sometimes quirky take on the world around them.

    In other words, our images can share our lives with strangers. How powerful is that?

    mountain landscape

    4. Photography makes us artists

    Photography allows us to express ourselves through an art form. We notice a beautiful landscape or an old man’s lined face and we want to capture it.

    Each of us will have a different specific reason to take a photo, but we all want to create something.

    However humdrum our nine-to-five lives may be, the creation of an image makes us an artist. It feels good.

    5. Photography is a complex language

    Our images can express joy and sorrow, wonder and sympathy. Every human emotion can find a place in photography.

    For many years, I never valued my photographs of overcast landscapes, because I believed there was no beauty in a land with muted colors and a leaden sky. I wanted the land to be alive with color and vibrancy.

    However, the lack of color in a landscape makes you search for other things that often go unnoticed in bright sunlight. This could be the symmetry of hills or a tree standing out from a forest of thousands.

    To expand this further:

    I have suffered from depression for most of my adult life, and photography gives me a language to express feelings for which I can find no words. We have a miserably poor vocabulary for mental illness, but photography has allowed me to develop a visual language for some of my most difficult emotions.

    foggy mountains

    6. Photography has the power to move us

    Photographs can grab our attention and speak directly to our emotions. There are plenty of powerful photos – such as Nick Ut’s photograph of a crying Vietnamese girl whose clothes have been burned away by napalm – that can make us feel things.

    On a more subtle level, photography teaches us lessons about a whole range of emotions. Grief has the power to wash away the brightness and color of our lives. There is no magic way to restore these. We have to be patient. But while waiting, we can search for the shapes and patterns that are still present in the grayness. They will lead us back to color eventually. During moments of great sorrow in my life, I have used images to express that hope of returning color.

    Why photography matters sunbeams in a forest

    Photography, at its best, is a powerful language that speaks to our emotions. It allows us to tell our story and shows others our framing of the world around us.

    Why photography matters: Conclusion

    Hopefully, you now have a better sense of the different reasons people pursue photography – and why photography is important.

    Now I’d love to know:

    Why do you do photography? What motivates you to keep taking pictures? What is it about photography that inspires you?

    Share your thoughts in the comments below!

    Declan O’Neill is a professional photographer who lives in the South Island, New Zealand. He travels extensively, capturing the beauty of New Zealand’s extraordinary landscape. The photographs that accompany this article are part of a series entitled “The Anatomy of Melancholy,” which is dedicated to the memory of his sister, Ann, who died from Multiple Systems Atrophy.

    The post 6 Reasons Why Photography Matters appeared first on Digital Photography School. It was authored by Guest Contributor.


    Digital Photography School

  • Sony reveals Alpha 1 50MP full-frame camera capable of 30fps and 8K

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    Sony has announced the Alpha 1, a fast, high-res 50MP camera capable of shooting at 30 fps with no blackout. It is capable of 8K video.

    It uses a stacked CMOS sensor and a pair of new Bionz XR processors, allowing silent, no-blackout images at up to 30 fps. Despite having twice as many pixels as the a9, the a1 promises to have 1.5x less rolling shutter. This allows flash sync at up to 1/200 sec with the electronic shutter or 1/400 sec using the mechanical shutter.

    The a1 can shoot 8K video at up to 30p using its full width. This uses all its horizontal pixels, capturing 8.6K footage and downsizing it to 8K to provide improved resolution. 8K footage can be captured in up to 10-bit 4:2:0 using the XAVC HS format. The camera uses a similar heat-dissipating design to the a7S III, allowing it to record 8K for up to 30 minutes, if the temperature warnings are set to their most tolerant setting.

    It becomes the first Sony camera to offer Lossless compress Raw and can also capture HEIF for 10-bit compressed capture. It uses a pair of CFExpress Type A card slots that, like those in the a7S III, also accept SD cards.

    The new processors also bring the improved menu system first seen in the a7S III.

    The camera’s in-body image stabilization system is rated at 5.5EV, as with previous cameras. This system is also used to offer 4 or 16-shot high-resolution modes, allowing images of up 199MP to be combined using Sony’s Imaging Edge desktop software.

    The a1 pushes the autofocus forward from the a9 cameras, offering 92% coverage and now expanding its ‘Real-time Eye AF’ to work with birds, as well as animals and people. It boosts the number of AF and AE calculations it can do to 120 per second: twice as many as the a9 performs.

    The camera has a 9.44M dot OLED viewfinder that can be refreshed at up to 240fps. The faster mode still offers 1600 x1200 pixel (5.76M dot) resolution. It has an impressive 0.9x magnification and an eye-point of 25mm, which should allow the finder to be seen even when wearing glasses.

    Like the a7S III, it can shoot 4K at up to 120p in 10-bit 4:2:2 quality. Sony says it uses 5.8K pixels in its Super 35 (~APS-C) mode, but there’s no talk of a 4K-from-8K mode. Also like the a7S III it can output 16-bit Raw video output over HDMI. In addition to offering the S-Log 3 curve that promises 15 stops of DR in video, it also offers the S-Gamut3 and S-Gamut3.Cine color modes that match Sony’s professional video cameras’ output. It also becomes the first Alpha camera to offer the S-Cinetone color response.

    For photojournalists and sports shooters needing to deliver pictures immediately, it features dual-band Wi-Fi that allows FTP transfers and 3.5x the rate offered by the a9 II: which Sony presumably expects to be used with its new Xperia Pro smartphone/HDR monitor/5G transmitter. There’s also an Ethernet port for wired connections.

    It will cost around $ 6500 / €7,300 / £6,500 and will be available in March. It uses the same VG-C4EM two-battery accessory grip as the a7R IV, a7S III and a9 II.

    Press release

    Groundbreaking Sony Alpha 1 Camera Marks a New Era in Professional Imaging

    The Alpha 1 Delivers an Unprecedented Combination of Resolution, Speed and Video Performance, Empowering Professionals with a New High-Resolution 50.1-megapixel Full-frame Image Sensor, High-speed Shooting at up to 30 Frames per Second, 8K 30p Video and More

    • New 50.1-megapixel (approx., effective) full-frame stacked Exmor RS™ CMOS image sensor in combination with an upgraded BIONZ XR™ imaging processing engine with eight times more processing power[i]
    • Blackout- free continuous shooting at up to 30 frames per second[ii]
    • Fast sensor readout enables up to 120 AF/AE calculations per second[iii], double the speed of the Alpha 9 II, even during 30fps continuous shooting
    • Bright and large 0.64-type 9.44 million-dot (approx.) OLED Quad-XGA electronic viewfinder with the world’s first[iv] refresh rate of 240 fps
    • Silent, vibration-free electronic shutter
    • World’s first[v] anti-flicker shooting with both mechanical and electronic shutter
    • Electronic shutter flash sync[vi] up to 1/200 sec. for the first time in the Alpha™ series
    • World’s fastest[v] mechanical shutter flash sync up to 1/400 sec.
    • 8K 30p[vii] 10-bit 4:2:0 XAVC HS video recording with 8.6K oversampling for extraordinary detail and resolution, in addition to 4K 120p[viii] 10-bit 4:2:2 movie shooting capabilities
    • Wide dynamic range of 15 stops for stills[ix] and 15+ stops for video[x]
    • Improved Real-time Eye AF (autofocus) for humans and animals, and new Real-time Eye AF for birds[xi], as well as Real-time Tracking that automatically maintains accurate focus
    • 5-axis optical in-body image stabilization for a 5.5-step[xii] shutter speed advantage
    • S-Cinetone color matrix as seen in FX9 and FX6 to deliver expressive cinematic look
    • Professional workflow support with the industry’s fastest[xiii] built-in Wi-Fi, SuperSpeed USB 10Gbps, 1000BASE-T Ethernet and more

    SAN DIEGO, CA – January 26, 2021 – Sony Electronics, a global leader in imaging sensor technology and digital imaging, has announced the arrival of the groundbreaking new full-frame mirrorless Alpha 1 camera – asserting their commitment to leading the industry with a stunning combination of innovative new features.

    The most technologically advanced, innovative camera that Sony has ever released, the Alpha 1 combines high-resolution and high-speed performance at a level that has never been accomplished in the world of digital cameras. With a brand new 50.1-megapixel full-frame stacked Exmor RS™ image sensor, up to 120 AF/AE calculations per second, 8K 30p 10-bit 4:2:0 video and much more, the Alpha 1 will allow creators to capture what they’ve never been able to before.

    “We are always listening to our customers, challenging the industry to bring new innovation to the market that goes far beyond their expectations.” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “Alpha 1 breaks through all existing boundaries, setting a new bar for what creators can accomplish with a single camera. What excites us the most – more than the extensive product feature – is Alpha 1’s ability to capture that which has never been captured before. This camera unlocks a new world of creative possibilities, making the previously impossible now possible.”

    The newly developed image sensor is built with integral memory and paired with an upgraded BIONZ XR imaging processing engine, making it capable of shooting 50.1-megapixel images continuously at an astounding 30fps with up to 120 AF/AE calculations per second. The Alpha 1’s shooting capabilities are further enhanced by a 9.44 million dot OLED Quad-XGA electronic viewfinder, with a refresh rate of up to 240 fps[xiv], ensuring no black out. Additionally, for the first time in an Alpha series camera, 8K 30p 10-bit 4:2:0 video is available. The Alpha 1 is also capable of 4K 120p / 60p 10-bit 4:2:2 recording and includes S-Cinetone color. The Alpha 1 is also packed with features that support field professionals with faster workflow, including 3.5 times faster wireless FTP transfer speed[xv] and more.

    Unprecedented Resolution and Speed

    Continuous Shooting at Up to 30 Frames Per Second

    The Alpha 1 captures moments that would otherwise be lost thanks to its high-speed performance, providing any photographer the speed they require to capture fast-moving objects. High speed readout from the 50.1-megapixel image sensor and a large buffer memory make it possible to shoot up to 155 full-frame compressed RAW images[xvi] or 165 full-frame JPEG images[xvii] at up to 30 frames per second with the electronic shutter while maintaining full AF and AE tracking performance[xviii].

    At an astonishing calculation speed of up to 120 AF/AE per second, the Alpha 1 can maintain focus with high accuracy even for fast moving subjects. It can automatically adjust exposure, even with sudden changes in brightness, with an AE response latency as low as 0.033 seconds[ii].

    Advanced Electronic Viewfinder with the World’s Firstiv Refresh Rate of 240 fps

    Complimenting the camera’s ability to capture images at an unprecedented speed, the Alpha 1 viewfinder features the world’s first[iv] 240 fps refresh ratexiv, for a super-smooth display. The viewfinder does not black out when an exposure is made to offer an uninterrupted view and allow for seamless framing and tracking, even during continuous shooting. The 9.44 million-dot (approx.), 0.64 type Quad-XGA high-definition OLED display and refined optics deliver the highest resolution in its classiv. It also offers 0.90x[xix] viewfinder magnification, a 41° diagonal FOV, and a 25mm-high eyepoint for clear, low distortion viewing from corner to corner.

    Advanced Autofocus

    Sony continues to push the boundaries of autofocus technology with the introduction of the Alpha 1, which can easily track complex, fast-moving subjects with high precision. The camera features 759 phase detection points in a high-density focal plane phase-detection AF system cover approximately 92% of the image area – ensuring accuracy and unfailing focus in environments where focusing might otherwise be difficult.

    Sony’s advanced Real-time Eye AF improves detection performance by 30% over the previous system[i], thanks to the powerful image processing engine, BIONZ XR. It ensures accurate, reliable detection, even when the subject’s face looks away. In addition to improved Real-time Eye AF for humans and animals, the Alpha 1 employs high-level subject recognition technology to provide Real-time Eye AF for birds[xi], a first in an Alpha series camera. Optimized algorithms ensure that tracking is maintained even if a sitting bird suddenly takes flight, or the framing suddenly changes[xx].

    The Alpha 1 also features AI-based Real-time Tracking that automatically maintains accurate focus. A subject recognition algorithm uses color, pattern (brightness), and subject distance (depth) data to process spatial information in real time at high speed.

    Silent, Vibration-free Electronic Shutter

    High-speed readout from the new image sensor has made it possible to reduce rolling shutter by up to 1.5 times when shooting stills, compared to the Alpha 9 II. It also offers silent anti-flicker continuous shooting with an electronic shutter for the first time[v] in the world. The electronic shutter[xxi] operates silently, without mechanical noise, and is vibration-free. Stress-free continuous shooting is now possible even when shooting in challenging lighting situations with florescent or other flicker-prone types of artificial lighting. And for the first time in an Alpha camera, electronic shutter flash sync up to 1/200 sec[xxii] is possible. The advantages of the electronic shutter advantages can now come to life even when using flash for broadly expanded shooting versatility.

    Dual Driven Shutter System for 1/400 Flash Sync

    The Alpha 1 boasts the world’s fastest flash sync speed[v] of 1/400 sec. with mechanical shutter, making it even easier to capture dynamic action. In addition to a carbon fiber shutter curtain, the Alpha 1 features the newly developed dual driven shutter system utilizing spring and electromagnetic drive actuator, offering high durability and lightness at the same time.

    High Resolution Shooting Enhancements

    Even with this sensor’s high pixel count, the Alpha 1 offers high sensitivity with low noise, plus 15+ stops of dynamic range for video and 15 stops for stills, for smooth, natural gradations from shadows to highlights thanks to its cutting-edge processing system, throughout a wide ISO sensitivity range of 100-32,000 (expandable to 50-102,400, when shooting stills).

    Additionally, the new camera features an evolved Pixel Shift Multi Shooting mode that composites up to 16 full-resolution images. In this mode, the camera precisely shifts the sensor in one pixel or half-pixel increments to capture 16 separate pixel-shifted images containing a total of 796.2 million pixels of data, which are then composited into a 199 million pixel (17,280 x 11,520 pixels) image using Sony’s Imaging Edge™ desktop application. With a flash sync of up to 1/200 sec. in this mode, it is ideal for photographing architecture, art or any other still life subject with a level of detail and color accuracy that is simply stunning.

    Professional Video Quality

    8K High-resolution Movie Shooting

    For the first time in an Alpha camera, the Alpha 1 offers 8K 30p 10-bit 4:2:0 XAVC HS recording with 8.6K oversampling for extraordinary resolution. Combined with Sony’s acclaimed autofocus technology, gradation and color reproduction performance, the Alpha 1 will help the user realize their creative vision with the finest detail. It’s 8K footage can also be used for flexible 4K editing during post-production.

    Supporting Various Video Formats for Professionals

    The Alpha 1 offers in-camera 4K recording at up to 120 frames per second[viii] which allows the user to shoot up to 5X slow-motion video[xxiii]. In addition to supporting 10-bit 4:2:2 recording, this feature can be used with efficient Long GOP inter-frame compression or high-quality Intra (All-I) intra-frame compression.

    The Alpha 1 features S-Cinetone, the same color matrix that produces the highly regarded FX9 and FX6 color and skin tones. It delivers natural mid-tones, plus soft colors and gorgeous highlights to meet a growing need for more expressive depth. The S-Log3 gamma curve makes it possible to achieve 15+ stops of dynamic range, while the S-Gamut3 and S-Gamut3.Cine color gamut settings make it easy to match Alpha 1 footage with video shot on VENICE cinema camera, FX9 and other professional cinema cameras.

    Heat-dissipating Structure

    A unique heat dissipating structure keeps image sensor and image processing engine temperatures within their normal operating range, preventing overheating while maintaining compact body dimensions. This makes it possible to record 8K/30p video continuously for approximately 30 minutes[xxiv].

    Supporting Hand-held Shooting

    A high-precision stabilization unit and gyro sensors, plus optimized image stabilization algorithms, achieve up to a 5.5-step shutter speed advantage, maximizing the quality of the high-resolution images derived from the camera’s 50.1-megapixel sensor. The Alpha 1 also features an Active Mode[xxv] that offers outstanding stabilization for handheld movie shooting. When using Sony’s desktop applications Catalyst Browse or Catalyst Prepare[xxvi] for post-production, an accurate image stabilization function is available which utilizes metadata generated by camera’s built-in gyro.

    Other features that the Alpha 1 offers include; 16-bit RAW output[xxvii] to an external recorder[xxviii] via HDMI for maximum post-production flexibility, a digital audio interface has been added to the camera’s Multi Interface (MI) Shoe for clearer audio recordings from a compatible Sony external microphone, 5.8K oversampled full pixel readout without pixel binning for high-resolution 4K movies in Super 35mm mode and more.

    Enhanced Workflow with Network Technologies including Connectivity to 5G Compatible Devices

    The Alpha 1 has been designed and configured to support photo and video journalists and sports shooters who need to deliver stills or movies as quickly as possible with advanced connectivity options. It offers several features for fast, reliable file transfers. Industry’s fastest[xiii] built-in wireless LAN allows communication on 2.4 GHz and 5 GHz[xxix] bands with dual antennas to ensure reliable communications. 5 GHz includes 2×2 MIMO support (IEEE 802.11a/b/g/n/ac) offering 3.5 times faster wireless FTP transfer speed than the Alpha 9 II – a notable advantage for news and sports shooters who need to deliver with reliable speed. There is also a provided USB Type-C® connector to support fast data transfer when connected to a 5G mmWave compatible device such as Sony’s Xperia PRO and makes high-speed PC Remote (tethered) data transfer available for smooth handling of large image files. The Alpha 1 also has a built-in 1000BASE-T LAN connector for high-speed, stable data transfers, including remote shooting. FTPS (File Transfer over SSL/TLS) is supported, allowing SSL or TLS encryption for increased data security.

    In addition to compressed and uncompressed RAW, the Alpha 1 includes efficient lossless compression with no quality degradation, Lossless Compressed RAW. There is also a new “Light” JPEG/HEIF image quality setting that results in smaller files than the “Standard” setting, allowing faster deliver for news and sports photographers who depend on speed. Along with a versatile range of RAW and JPEG formats, the Alpha 1 includes the HEIF (High Efficiency Image File) format for smooth 10-bit gradations that provide more realistic reproduction of skies and portrait subjects where subtle, natural gradation is essential. Images shot on the Alpha 1 can be trimmed in-camera to a desired aspect ratio, size, or position for versatile usage.

    The Alpha 1 is also compatible with a variety of apps, add-ons and tools. With Imaging Edge Mobile and Imaging Edge Desktop[xxx], professionals can easily transfer RAW files and files that use lossless compression and remotely control Touch Tracking and Touch Focus for convenient AF operation. The Transfer & Tagging add-on (Ver. 1.3 or later) can automatically covert voice memos attached to image files to text captions or transfer the files to an FTP server from a mobile device. Desktop applications Catalyst Browse/Catalyst Prepare[xxvi] allow professionals to browse and manage video clips shot by Sony’s camera. In addition, the Remote Camera Tool[xxxi] can remotely change camera settings and shoot from a computer connected via LAN cable and feature a number of refinements for the Alpha 1: faster transfer, touch response, dual slot and HEIF support, and more.

    Reliable and Easy Operability

    Professional users need more than just refined features and performance. They also need the reliability and durability demanded of any professional tool. The Alpha 1 has two media slots that both support UHS-I and UHS-II SDXC/SDHC cards, as well as new CFexpress Type A cards for higher overall capacity and faster read/write speeds. It also features a durable magnesium alloy chassis, long battery life with the Z-battery which can be extended using the optional VG-C4EM Vertical Grip (sold separately), an improved dust removal feature, shutter close function on power-off to protect image sensor, plus dust and moisture resistance[xxxii] that maximizes reliability in challenging environments. It includes a durable, reliable HDMI Type-A connector, and USB PD (Power Delivery) support, allowing higher power to be supplied from an external source so that users can record for extended periods with minimal internal battery usage.

    A revised menu structure provides easier navigation, and touch-responsive menu operation offers fast, more intuitive control with Touch Focus and Touch Tracking on its 3.0 type 1.44 million-dot (approx.) LCD monitor. For easy customization, a subset of the camera’s shooting settings now changes according to the selected shooting mode, making it easier than ever to use different aperture, shutter speed and other settings for shooting stills and movies.

    The Alpha 1 Full-frame Interchangeable-Lens Camera will be available in March 2021 for approximately $ 6,500 USD and $ 8,500 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

    Notes:

    [i] Compared to the BIONZ X imaging processing engine.

    [ii] “Hi+” continuous shooting mode. In focus modes other than AF-C, effective at 1/125 sec. or higher shutter speed. In AF-C mode, effective at 1/250 sec. or higher shutter speed, and the maximum continuous frame rate will depend on the shooting mode and lens used. 20 fps max. when shooting Uncompressed or Lossless compressed RAW.

    [iii] At shutter speeds of 1/125 sec. or higher. The number of AF calculations will depend on the lens used.

    [iv] As of January 2021, Sony survey. Among full-frame mirrorless cameras.

    [v] As of January 2021, Sony survey. Among full-frame interchangeable-lens digital still cameras.

    [vi] Up to 1/200 sec. Synchronization via the sync terminal is not available for electronic shutter.

    [vii] [APS-C S35 Shooting] is fixed [Off] when shooting 4K 120p and 8K movies.

    [viii] 10% image crop.

    [ix] Sony internal tests.

    [x] When recording with S-Log3. Sony internal tests.

    [xi] Still images only.

    [xii] CIPA standards. Pitch/yaw shake only. Planar T* FE 50mm F1.4 ZA lens. Long exposure NR off.

    [xiii] As of January 2021, Sony survey. Among interchangeable-lens digital still cameras.

    [xiv] Field of view is fixed at 33° and resolution is UXGA when selecting frame rate at 240 fps.

    [xv] 3.5 times faster when compared against the Alpha 9 II.

    [xvi] “Hi+” continuous shooting mode, compressed RAW, CFexpress Type A memory card. Sony tests.

    [xvii] “Hi+” continuous shooting mode, CFexpress Type A memory card. Sony tests.

    [xviii] At 20 frames per second, users can shoot up to 238 full-frame compressed RAW images or 400 full-frame JPEG images.

    [xix] 50mm lens, infinity, -1m-1 diopter.

    [xx] Accurate focus may not be achieved with certain subjects in certain situations.

    [xxi] Shutter speed slower than 0.5 sec. cannot be set while continuous shooting. Tracking performance and max. aperture differs by settings and lenses.

    [xxii] Up to 1/200 sec. Synchronization via the sync terminal is not available for electronic shutter.

    [xxiii] Post-production editing and S&Q mode recording required. Data must be recorded to a CFexpress Type A memory card when the frame rate is 120 (100) fps or higher.

    [xxiv] Sony internal tests with [Auto Power OFF Temp.] set to [High].

    [xxv] Active Mode is not available for 8K recording.

    [xxvi] Catalyst Browse™ version 2020.1 or later, Catalyst Prepare version 2020.1 or later are required.

    [xxvii] 8K is not applicable.

    [xxviii] Compatible recorders to be announced.

    [xxix] 5 GHz communication may be restricted in some countries and regions.

    [xxx] The Imaging Edge (Remote/Viewer/Edit) desktop application Ver. 3.1 or later is required for compositing.

    [xxxi] Remote Camera Tool version 2.3 or later is required.

    [xxxii] Not guaranteed to be 100% dust and water resistant.

    Sony a1 specifications

    Price
    MSRP $ 6500 (body only)
    Body type
    Body type SLR-style mirrorless
    Body material Magnesium alloy
    Sensor
    Max resolution 8640 x 5760
    Image ratio w:h 1:1, 4:3, 3:2, 16:9
    Effective pixels 50 megapixels
    Sensor photo detectors 51 megapixels
    Sensor size Full frame (35.9 x 24 mm)
    Sensor type BSI-CMOS
    Processor Dual Bionz XR
    Color space sRGB, Adobe RGB
    Color filter array Primary c olor filter
    Image
    ISO Auto, 100-32000 (expands to 50-102400)
    Boosted ISO (minimum) 50
    Boosted ISO (maximum) 102400
    White balance presets 7
    Custom white balance Yes
    Image stabilization Sensor-shift
    CIPA image stabilization rating 5.5 stop(s)
    Uncompressed format RAW
    JPEG quality levels Extra fine, fine, standard, light
    File format
    • JPEG (Exif v2.32)
    • HEIF
    • Raw (Sony ARW v4.0)
    Optics & Focus
    Autofocus
    • Contrast Detect (sensor)
    • Phase Detect
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Touch
    • Face Detection
    • Live View
    Autofocus assist lamp Yes
    Number of focus points 759
    Lens mount Sony E
    Focal length multiplier 1×
    Screen / viewfinder
    Articulated LCD Tilting
    Screen size 3″
    Screen dots 1,440,000
    Touch screen Yes
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Electronic
    Viewfinder coverage 100%
    Viewfinder magnification 0.9×
    Viewfinder resolution 9,437,184
    Photography features
    Minimum shutter speed 30 sec
    Maximum shutter speed 1/8000 sec
    Maximum shutter speed (electronic) 1/32000 sec
    Exposure modes
    • Program
    • Aperture priority
    • Shutter priority
    • Manual
    Built-in flash No
    External flash No
    Flash X sync speed 1/400 sec
    Continuous drive 30.0 fps
    Self-timer Yes
    Metering modes
    • Multi
    • Center-weighted
    • Highlight-weighted
    • Average
    • Spot
    Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
    AE Bracketing ±5 (3, 5 frames at 1/3 EV, 1/2 EV steps)
    WB Bracketing Yes
    Videography features
    Format XAVC S, XAVC HS, H.264, H.265
    Microphone Stereo
    Speaker Mono
    Storage
    Storage types Dual SD/CFexpress Type A slots (UHS-II supported)
    Connectivity
    USB USB 3.2 Gen 2 (10 GBit/sec)
    USB charging Yes
    HDMI Yes (mini-HDMI)
    Microphone port Yes
    Headphone port Yes
    Wireless Built-In
    Wireless notes 802.11ac (Dual Band)
    Remote control Yes (via Bluetooth or tethered PC)
    Physical
    Environmentally sealed Yes
    Battery Battery Pack
    Battery description NP-FZ100 lithium-ion battery & charger
    Battery Life (CIPA) 530
    Weight (inc. batteries) 737 g (1.62 lb / 26.00 oz)
    Dimensions 129 x 97 x 70 mm (5.08 x 3.82 x 2.76″)
    Other features
    Orientation sensor Yes
    GPS None

    Articles: Digital Photography Review (dpreview.com)

  • Sony to Announce “the One Never Seen” on January 26th

    The post Sony to Announce “the One Never Seen” on January 26th appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

    Sony a9 model

    Last week, Sony offered a mysterious announcement, displaying only the words, “The one never seen,” as well as a date, January 26th, 2021, 10 AM EST.

    The title of the YouTube countdown reads, “New product announcement on January 26th, 2021.” And the caption simply states to “be ready for the announcement of the new Alpha.”

    In other words:

    We should have a new Sony Alpha mirrorless model – and our first compelling camera reveal of 2021 – before the week is out. 

    But what camera is this new Alpha, the “one never seen”? What model is Sony teasing?

    Unfortunately, we have no official knowledge, and Sony will undoubtedly stay silent until 10 AM on January 26th. But the internet has been abuzz with speculation, and plenty of suggestions have been thrown around regarding the identity of the new camera, including:

    • A Sony a9 III
    • A Sony a7 IV
    • A medium format camera

    According to SonyAlphaRumors, the new kit is most likely the A9 III, which will potentially offer 8K/30p – hence the “one never seen” designation, because up until this point, Sony has restricted their Alpha models to 4K (with even the video-centric Sony a7S III maxing out at 4K/120p). 

    8K capabilities do come with significant resolution requirements. The Canon EOS R5, for instance, sits at 45 MP, and the Sony a9 III may overshoot this by a few megapixels (SonyAlphaRumors suggests a possible 50 MP sensor).

    The Sony a9 and a9 II are action photography cameras through and through, offering blazing-fast autofocus and exceptional continuous shooting speeds, but at the cost of resolution. Both cameras sit at an “average” 24 megapixels, so a jump to 8K might even call for a doubling of the current resolution count.

    Regardless, a 50-megapixel camera with professional-level action chops will certainly satisfy some photographers, assuming they can afford the (likely exorbitant) price. 

    So make sure you check out Sony’s announcement on January 26th at 10 EST. Whatever Sony unveils, it’s bound to be exciting – and only the start of a thrilling 2021!

    Now over to you:

    What do you think about Sony’s announcement? What camera will the company reveal? Share your thoughts in the comments below!

    The post Sony to Announce “the One Never Seen” on January 26th appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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  • 8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images

    The post 8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images appeared first on Digital Photography School. It was authored by Tim Gilbreath.

    8 simple tips for stunning sunrise photography and sunset photography

    When we are asked to think of popular subjects for landscape photography, images of beautiful sunsets and sunrises immediately come to mind.

    What outdoor photographer worth their salt doesn’t have at least a couple of images of the sun dipping below the horizon?

    In most people’s minds, sunrise and sunset photography is an easy thing to capture; the beauty and scale of the event itself should carry the photo, with minimal interaction from the photographer.

    three birds at sunset

    But is this really the case?

    Unfortunately, it’s not. Unless you’re relying on luck alone, you’ll need to possess a few seeds of knowledge (eight, in this case!) to get you started capturing that epic sunrise or sunset.

    None of these guidelines are difficult to comprehend, and they can all vastly improve your chances of properly capturing one of Mother Nature’s most incredible events.

    So let’s jump right in!

    1. Scout the location

    As tempting as it is to just show up at a convenient location and start shooting, you greatly increase your chances of success by planning your sunrise or sunset photoshoot in advance. The first thing you’ll want to determine is the best location from which to shoot.

    Pick a location that is out of the way of road and foot traffic, where you’re unlikely to be disturbed. Go to the location in broad daylight before the shoot, and ensure your view of the horizon will be unobstructed and free of any hazards.

    The most important factor after the location is the time of day. Obviously, this will vary depending on whether you’re capturing a sunrise or a sunset.

    But start by checking the weather. If your shooting time coincides with an approaching or recently-ended storm, the results can be staggering. Rain and storm clouds can add a dramatic layer of dimension to the scene.

    You can also pinpoint the perfect time to shoot with an online tool or smartphone app that will display precise sunrise and sunset times for your location. Many low-cost (and sometimes free) solutions are available, including PhotoPills (for Android and iOS), and The Photographer’s Ephemeris (for Android and iOS).

    sunset photography over lake

    2. Sunrise or sunset?

    If you’re familiar with color temperature, you’ll know that there is a slight difference in the appearance of light at sunset versus sunrise. Early morning light tends to be cooler (higher blue) than light in the late evening, which leans toward warmer color casts consisting of orange and red.

    Since there are different color temperatures at work here, you might need to adjust your photos, depending on the look you’re after. You can do this through your camera’s white balance settings, through warming or cooling filters, or via adjustments in post-production – where you’ll need to add or remove warmth to achieve the perfect final photograph.

    Be aware that physical filters placed over your lens will degrade image quality slightly, because they’re an additional obstacle for light to pass through, so adjusting color temperature with camera settings or in post-production is often the better choice.

    sunflower sunrise photography

    3. Plan your shots

    Another important step to accomplish before heading out is to plan what you hope to achieve in your sunrise or sunset photo.

    Ask yourself:

    What look are you going for? Will you capture a definitive subject lit by the sunlight, or will the sunset itself be the star of the show?

    Planning beforehand is also a great time to determine any other special considerations, such as whether you’ll be shooting an HDR (high dynamic range) photo.

    If you do decide to use an HDR technique, you’ll need to prepare your camera for bracketed exposures to capture the full range of tones in the scene.

    But while HDR can be a bit tricky to pull off, it’s a great way to produce some truly dramatic images!

    4. Gather the proper gear

    You can’t capture the right shot without the right gear, so make sure you have everything ready to go before you head out.

    First and foremost, you’ll want to bring your tripod. Sunrises and sunsets are potential low-light situations (depending on the part of the sunset you’re trying to capture), so you’ll need a steady base for your camera.

    Second, you’ll want to determine the right lens to use for the shoot. While beautiful landscapes can be captured using a 50mm to 85mm focal length, a wide-angle lens is preferred, including any zoom lenses that can shoot at 40mm or below. If you have a prime lens in the 12mm to 40mm range, you’ll have a better chance of capturing an even sharper image, and using a wide-angle lens will allow you to capture a vast, sweeping portion of the scene.

    Do you own and use screw-on filters for your camera?

    Although using filters can degrade image quality a bit, some can be useful here. A GND (graduated neutral density) filter, for instance, will darken the upper portion of the sky and keep it well-exposed and dramatic, even without HDR techniques.

    A polarizing filter, on the other hand, may actually be a hindrance in these situations, so I recommend you avoid them. 

    (Polarizers reduce the amount of light coming in to the sensor, further increasing the required exposure time, which may not be ideal if you’re trying to freeze motion, such as ocean waves.)

    lifeguard at sunset

    5. Use the right settings

    Before you even arrive at your photoshoot destination, you can choose the settings on your camera.

    Since you’re shooting a landscape image, you’ll want to use a smaller aperture, such as f/8, f/11, or even higher, to maximize the depth of field and capture sharp detail throughout. If you’re using a tripod, this shouldn’t be a problem.

    Although you can shoot in Manual mode, I personally prefer to shoot almost everything in A/Av (Aperture Priority mode). This way, I can lock in my aperture and let the camera choose a proper shutter speed. Since low-light situations like this can confuse the camera and you run the risk of overexposure, you can always use your camera’s exposure compensation settings to drop the brightness a bit.

    If possible, you should use a low ISO, such as 100 or 200, to ensure there isn’t a lot of noise in the final shot. This should be very achievable if you’re working with a tripod. However, if you’re hand-holding your shot, you will need to bump the ISO up to get a shutter speed that’s fast enough to avoid a blurry photo.

    inlet sunset photography

    This is also the time to choose your white balance, and as I mentioned above, you can use this setting to boost (or reduce) the warmth of your shot. If you’re after a warm, orangish image, set your white balance to the Shadow, Cloudy, or Daylight option.

    And, of course, always shoot in RAW! To a certain extent, shadows and highlights that are lost in a shot can be recovered in post-processing later – but only if you have a RAW file.

    6. Compose for interest

    Now that the preparation is over, we get to the fun part! Once you’re on location and are ready to take the shot, you’ll need to consider your composition.

    The most common error when shooting sunsets or sunrises is positioning the horizon exactly in the middle of the photo. While this can work, it normally causes a bit too much symmetry and can make the picture uninteresting.

    Take a moment to look your scene over. Ask yourself: What part of the sunrise or sunset is the most dramatic? Are there any parts that aren’t that interesting?

    Once you’ve done this, simply compose the shot to include more of the most dramatic scenery. If you have an angry, cloudy sky that accentuates the sunlight, let that occupy the upper two-thirds of the scene. If you have an interesting foreground or landscape but a less intriguing sky, let that occupy the bottom two-thirds of the image.

    You want to draw the viewer into the composition, then let their eyes drift to the most dramatic part of the image.

    sunset photography over trees

    7. Waiting for the right shot

    If you already have experience shooting landscapes, you know that sometimes waiting is the name of the game. Because of the dynamics of natural lighting, a scene can completely change from one hour to the next – and sometimes even from one minute to the next.

    That’s why a sunrise or sunset shoot is the time to be creative! Try different exposure times and play with your exposure compensation settings for different tones. Let the clouds and sun change positions, then reshoot, or try a slightly different angle.

    Maybe even include additional subjects in the frame, and shoot them in the foreground against the sunrise or sunset. The longer you’re at the location shooting, the more variety you’ll end up with!

    pier close-up at sunset

    8. Don’t leave too early

    One of the most common tips you’ll hear regarding sunset photography is to stick around after the sun dips below the horizon.

    This is certainly good advice, as the entire dynamic of the scene changes after sundown.

    grasses at sunset

    Specifically, the tones, colors, and hues in the sky often become more saturated and dramatic. You’ll need to compensate for the loss of your main source of light, probably with a tripod – but it’s hard to deny some of the most beautiful images can be shot right after the sun is out of sight.

    8 simple guidelines for sunrise and sunset photography: Conclusion

    Now that you’ve finished this article, you should be ready to capture some stunning images at sunrise and sunset!

    So get up early, stay out late, and create some gorgeous photos.

    Now over to you:

    Do you have any beautiful sunset or sunrise photography you’d like to share? Post it in the comments below!

    The post 8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images appeared first on Digital Photography School. It was authored by Tim Gilbreath.


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  • How to Pose and Angle the Body for Better Portraits

    The post How to Pose and Angle the Body for Better Portraits appeared first on Digital Photography School. It was authored by Alexis Arnold.

    how to pose and angle the body for better portraits

    One of the best ways to make a living with photography is to photograph people. People need photographs of themselves for their businesses, conferences, publications, acting, and more.

    Now, when a person comes to you to have their photo taken, they trust you to make them look good. That is really one of the biggest parts of your job as a photographer:

    Make your subject look great.

    When someone hires you to take their portraits or headshots, it’s important you understand how to pose them and how to angle their body toward the camera. With the right techniques, you will also be able to work more efficiently, which will benefit both you and your client.

    After all, most people don’t like to have their photo taken, so you want the process to move along swiftly.

    I have compiled clear examples of the slight changes you can make to create a more pleasing portrait. These photos are straight out of the camera; no post-processing or touch-ups have been done. The model in the photographs had professional makeup done before we shot.

    (I recommend that you refer your female clients to a makeup artist so they can have their makeup done prior to the shoot. This will make a big difference in the final look.)

    Okay, let’s get started.

    how to pose subjects for portraits (the edited photo)
    This is the final (edited) image given to the client.

    Shift their weight

    With the first set of images (below), the model on the left is standing straight on (i.e., square to the camera). Her body weight is on both of her feet equally.

    But as you can see with the image on the right, a subtle shift in her weight makes a big difference. All the model did was put the majority of her weight on her right leg – and this immediately created a subtle s-curve with her body.

    The model is still facing the camera straight on, but already looks slimmer.

    subject shifting her weight

    Lean forward from the waist

    The model is still facing you straight on, but you can now have her lean forward from the waist.

    With the photo on the left, the model is leaning away from the camera or backward, and it’s very unflattering. This angle creates a double chin and makes her look heavier. Anytime a client does this, you should correct them right away.

    To make the photo better, just have your subject lean slightly forward from their waist (toward you).

    As you can see from the photo on the right, when the model leaned forward, she automatically angled her head and shifted her weight. The pose is much more flattering!

    subject leaning forward from the waist

    Weight on the back leg

    Now have the model shift her weight to her back leg.

    In the examples below, the model shifts her weight to her left leg and brings her right leg forward. With the image on the left, you can see how, when she leans backward or away from the camera, the pose looks awkward and unnatural.

    So when your subject shifts their weight back, have them either stand up straighter or have them add a bit of lean toward you (as seen in the photo on the right).

    subject putting weight on back leg when posing for portraits

    Cross arms

    A very popular pose for business headshots is to have your model cross their arms (shown below). This projects a feeling of confidence and strength.

    It can go wrong, however.

    In the image on the left, the model angled her head backward. This mistake is more common in women, since they often tilt their head in photos.

    Instead, communicate clearly with your subject to bring their chin forward and down slightly. This easy adjustment makes a big difference and is the shot your client will want.

    two examples of a subject with the arms crossed

    Lean forward again

    You can get a very nice close-up headshot with the crossed-arms pose.

    The image on the left was shot wider to show you how and where the model has angled her body.

    Ask your subject to lean forward from the waist. Most people will think this feels weird, so just let them know that it’ll look great in the final image.

    Remember that most people are insecure about how they look, so always take time to reassure them that they look amazing!

    Then either zoom in tight with your lens or step in closer to get a beautiful portrait.

    subject leaning forward toward the camera

    Photograph on both sides of your model’s face

    The example below shows the model’s “good side.” We all have one side that is better than the other. However, it is not usually visible to the naked eye, so please be sure to always photograph your model from the left and the right sides.

    This is clearly shown with the model below. Her good side is when she angles her face to the right so her left side is more visible (below right). You can see more of her face, her neck looks better, both eyes are visible, the hair falls naturally, and her nose has a more flattering angle.

    model posing with a left side and a right side

    When repositioning your model, remember to shoot every pose from each side. Until you get good at recognizing your client’s good side just from looking at the image preview on your camera, always shoot from the left and the right.

    Sitting poses

    Let’s move on to portraits where your client is sitting down. Having your subject in this sitting position places you above them – so you will be shooting at a downward angle, which is very flattering for most people.

    Pose your subject on the seat edge

    First, have your subject sit on the edge of the chair. You do not want them sitting comfortably where they lean all the way back.

    In the left image below, the model is sitting on the edge of the seat, feet on the floor and shoulders square at the camera. Even though the angle isn’t the best, if you crop in tight, you can still create a nice portrait with the focus on the eyes, as seen in the image on the right.

    subject posing on a chair

    Consider crossing the arms and angling the face

    With your subject still sitting in the chair, have them place their elbows on their knees.

    Arms can be crossed or not; I suggest you play around with both options. This forces the subject to look up at you, taking away any issues with their neck.

    Make the image better by having your subject angle their face slightly to the left or the right, as shown in the right image (below). Remember that these are tight crops, focusing on the eyes and the smile.

    subject sitting and leaning forward how to pose subjects for portraits

    How to pose and angle the body for better portraits: Conclusion

    It’s easy to see how a simple posing adjustment can result in better portraits.

    A good rule of thumb to remember:

    Have your subject angle one shoulder toward you, and have them place their weight on the back leg. This will immediately make them look slimmer.

    Of course, now that you know how to pose for great results, the best way to improve is to get out and practice, practice, practice!

    And have fun shooting!

    (All images were shot in a studio with a 50mm lens, on a white paper backdrop, with one strobe light.)

    Now it’s your turn:

    How do you come up with poses when doing portrait photography? Do you have any additional posing advice? Share your thoughts in the comments below!

    The post How to Pose and Angle the Body for Better Portraits appeared first on Digital Photography School. It was authored by Alexis Arnold.


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