The post Weekly Photo Challenge – Orange appeared first on Digital Photography School. It was authored by Sime.
“Orange, oh, that’s easy!” I hear you say, well, let’s see how easy it is and how creative you can get with such a simple theme!
You can see all of our challenges right here, go back and try your hand at ones you’ve missed.
Need some ‘Orange’ inspiration? Have a look here or here! Or use the ‘search’ function at the top of our website.
Tag your photograph #dPSOrange if you share it on social media.
As ever, take a look below to check out how to upload your image under this blog post, or visit us on our Facebook group, or post your image on socials, @digitalps and use the hashtag #dPSOrange – Sounds good!
Great! Where do I upload my photos?
Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.
The post Weekly Photo Challenge – Orange appeared first on Digital Photography School. It was authored by Sime.
Roger and Aaron are back at it again for Lensrentals, this time with a teardown of a Canon RF 100–500mm F4.7–7.1 lens with a little secret inside.
As Roger tells it, Lensrentals has come across ‘several’ copies of Canon’s RF 100–500mm F4.7–7.1 lens with a cracked element inside. He believes this crack occurs during shipping, but notes that ‘if you’ve ever rented from [Lensrentals], you know how we pack […] Nothing should break in shipping.’ As such, he did what he usually does when he can’t get an answer from the outside, he tore the lens down (with the help of Aaron, of course).
The large crack, seen through the rear elements of the lens. Click to enlarge.
Upon taking a closer look, Roger suspected the cracked element was inside the image stabilization module of the lens, due to the crack appearing to move when the lens was shifted around. He explains that while Canon was known for physically locking down IS units in its EF lenses, that practice has become less commonplace with RF lenses due to improved engineering measures. Naturally, he assumed this lack of lockdown could be the culprit for the cracked element in shipping.
As it turns out though, that wasn’t quite the case.
Roger and Aaron went through the usual routine, starting at the front of the lens. Despite easily removing the filter barrel and front optical group, they hit a roadblock with the light baffle inside. So, ‘like the cowards [they] are,’ Roger and Aaron turned the lens around and started to take it apart from the lens mount side.
A close-up view of the ribbon cables neatly tucked away inside the barrel of the lens.
Along the way, the pair ran into the usual array of screws, ribbon cables and sensors. But it wasn’t all that bad to take apart, thanks to the lens’ modular construction. Roger particularly appreciated how Canon managed to integrate almost all of the ribbon cables into the barrel of the lens, meaning there was little need to trace and mark down where every cable was supposed to be routed to:
‘I get accused every so often of being a Canon fanboy (or Sony, or Sigma, etc.). I’m not, but I’ll readily admit I’m a Canon lens construction fan; these are a pleasure to work on compared to most brands.’
A comparison of how the internals of the lens look when zoomed out versus zoomed in. Click to enlarge.
With the rear barrel off, Roger and Aaron took a look at the intricacies of the zoom section of the lens. Roger notes ‘everything moves in an impressively complex fashion’ and is almost overbuilt in some areas. Specifically, Roger points out that the front barrel moves along six heavy-duty rollers (as opposed to three in most other zoom lenses), each of which has custom-fitted nylon bearings to ensure the tightest fit possible while still offering a smooth glide. To this, Roger says ‘This is why nice things cost more; a lesser lens has three same-size small nylon bushings over screws.’
A close-up of one of the nylon bushings precisely fitted to the guide rail. Click to enlarge.
Another detail Roger noticed is that the two optical groups responsible for zoom operate independent of one another. That is, rather than both optical groups extending together with the barrel, the rear zoom optical group moves into the barrel, but isn’t doing so at the same rate as the front optical group.
From there, it was on to the inner barrel to see if the duo could get to the broken element. Before getting to the IS module though, Roger noted the use of springs to hold the rear baffle in place. He says Canon has been using more and more tensioning springs in its lenses over the years, ‘which suggests they originally thought it was a good idea, found out they were correct and increased usage.’ This particular lens has ‘over a dozen springs.’
A look at the tensioning springs used to hold the rear baffle tight. ‘It’s a complex little bit of engineering for a baffle,’ says Roger. Click to enlarge.
Eventually, Roger and Aaron hit the IS module, which Roger describes as ‘a pretty robust unit.’ He elaborates:
‘In older lenses, we sometimes saw IS units that were encased in a ‘cage’ of plastic bars, which broke sometimes. This is not that at all, it’s heavy-duty interlocking plastic shells with multiple screws and tension springs. We could (OK, we did) shake the heck out of it. It just rattled a bit, but there was nothing but solidness here.’
A close-up view of the ‘robust’ IS unit inside the RF 100-500mm F4.7-7.1 lens. Click to enlarge.
However, as you can see in the above image, there was no crack in sight. So it was on to more disassembling to get to the problematic element. After removing countless cams, spacers, screws and more, Roger and Aaron were able to find the cracked element — a thin, single element that sits right behind the aperture assembly and is also the forward focusing element.
Note the aperture assembly in front of the cracked element. Click to enlarge.
Still confused as to how the element cracked, the pair measured and tested everything around the element and determined there’s no way it could’ve impacted anything inside the lens. So, what could’ve caused it to crack? Roger doesn’t really know.
In his conclusion, Roger says:
‘My first thought, given that it’s winter, was perhaps temperature shock, moving from sub-zero trucks to warm indoors or something. But I’ve asked several people more knowledgeable than I and none think that’s a possibility. The ones that cracked are all early copies from a similar serial number range, perhaps there were some flawed elements early on. Maybe it’s just a statistical anomaly; we have a lot of copies and stuff happens. Or maybe it’s something we do or something with shipping. Nobody else has reported this. It’s worth looking into further, there are a number of things we’ve noticed before anyone else just because we have a lot of gear and a lot of repairs and inspections. But it may be an oddity that never happens again.’
Whatever the case, Lensrentals has sent all of its data and broken lenses to Canon, who already has a team assigned to more thoroughly investigating the issue. Roger says ‘Canon is always proactive about investigating these things and [is] one of the few companies willing to publicly say when they actually have a problem.’
Broken element aside, Roger says the rest of the teardown is what he’s come to expect from Canon RF L series lenses:
‘It’s filled with very robust construction, neatly and clearly laid out in a modular manner. It’s a very well-built and sturdy lens with cutting edge technology.’
To conclude, we’ll let Roger’s Rule of Broken Parts speak for itself: ‘the hardest to get to part is the one that’s broken.’
The post The Best Way to Delete Photos From Your Memory Card appeared first on Digital Photography School. It was authored by Meredith Clark.
When it comes to photography, we spend most of our time thinking about taking photos – lighting, composition, exposure, and posing. Then, once the photo is taken, we may start to think about post-processing, gently nudging the photo along until it becomes exactly what we’ve pictured in our mind’s eye. Once that’s accomplished, we do it all over again.
Back in high school and college, I shot film. I can vividly remember running out, and sometimes having to wait weeks until I was able to buy more. Our public high school relied heavily on film donations, and sometimes when there wasn’t any left, our teacher would have us walk around campus with our pointer fingers and thumbs shaped into a rectangle, pretending to take photographs. Now that digital cameras are on the scene and we’re using memory cards in place of film, the number of photographs that we can take in any given week or month is nearly endless.
You may have noticed that I said “nearly” endless, and that’s because memory cards do have a lifespan and will not last indefinitely. That said, there are a few things we can do to maximize the lifespan of our memory cards, including deleting our photos off the memory card in the most efficient manner possible. This isn’t something that’s talked about all that often, but when it comes down to it, it is really simple.
So if you’re looking for the best way to delete photos from your memory cards, read on!
Less desirable ways to delete photos
If your memory card is full, you may be tempted to use one of these methods to delete your photos.
However, I recommend you avoid them if at all possible.
So here are the ways you should not delete your photos:
Getting rid of each photo individually through the camera by using the Delete or Erase button
If you’re in the middle of a shoot and you take a bad photo, you may be tempted to delete it right then and there with the Delete button.
But this is far from ideal. First, it’s always a good idea to check your images on the computer screen before deleting them forever, because you never know; your image may have some redeeming quality, one that you missed on your tiny camera LCD.
Plus, it’s just not the best way to get rid of your images from a card-health perspective, as I’ll explain in a moment.
Deleting all photos in-camera with the Delete All option
Once you’ve transferred your photos over to your computer, you can always pop the memory card back into your camera and hit the Erase all images on card button.
But again, this isn’t the best way to keep your card healthy.
Deleting via your computer
Here’s a third way to delete photos from your memory card:
Plug the camera or memory card into the computer, then drag all the photos into the Recycle Bin.
Is this a convenient way to delete images?
Absolutely.
But it’s not the most desirable way to get it done.
Most desirable way to delete photos
If you’re looking to delete photos off your memory card in the quickest, most efficient, least harmful way, then here’s what I recommend:
Delete with your camera’s Format function
In other words:
Transfer your photos to your PC or an external hard drive.
Stick the card back in your camera and head into the menu.
Find the Format option.
And hit OK.
This is my suggested way of deleting photos off your memory card, and I recommend you use it every single time you need to delete photos, without fail.
(It’s what I do!)
Why are some methods better than others?
In the end, all of the above methods work toward the same end, in that they remove the images from your card.
However, the first three deletion methods are actually more taxing to the memory card than using the card’s Format function. I’ve heard it explained like this:
Imagine that your memory card has a shelf-life of 1,000 uses. Let’s say that you go out and take 500 photos; that’s 500 uses of your memory card. You then upload the photos to your computer, and then individually delete each photo using the Delete button on your camera. Deleting each photo individually counts as another 500 uses on your card. So in all, you’ve just spent 1,000 uses of your memory card, leaving you with no uses left on that card.
On the other hand, imagine that you’ve captured your 500 photos, but instead of deleting them with your Delete button, you use your camera’s Format function. Formatting works in a different way than deleting, because it only deletes the directory files rather than the images themselves. This allows the images to be overwritten the next time you take a picture. Therefore, formatting only counts as one use of your memory card, regardless of how many photos you’re deleting.
So in the scenario above, you’d have used only 501 of your memory card’s uses, as opposed to 1,000 when deleting manually. Certainly, memory cards available today will be able to handle far more than 1,000 uses, but the general logic still holds – formatting your card causes less wear and tear on your memory card than other ways of deleting images.
Additionally, because formatting only deletes the directory file instead of the images themselves, images on a card that has been formatted are typically much easier to recover (if needed) than images that are deleted manually, assuming you did not overwrite the formatted images by taking more photos.
Not a bad trick to have up your sleeve in case of emergencies, right?
I’d also like to add that I have personally seen a difference in the amount of corrupted images/cards that I’ve come across since I’ve been formatting cards.
These days, it’s pretty rare that I delete even a single image using any method other than formatting.
How often should you format?
Some people like to wait until their card is totally full and then do their formatting.
Personally, I like to format my card before each new photo session. It just makes sense to start fresh each time, because I can then upload everything on the card to one location and keep my files organized.
But this is really a matter of personal preference, at least as far as I’m concerned.
The one hard and fast suggestion I do have when it comes to formatting is simply to format the card in whichever camera you plan to use it in next. So if you’re going to be shooting with your Nikon body, make sure you’ve first formatted your card with that Nikon body. And if you’re going to be shooting with your Canon body, format with the Canon body before heading out.
Make sense?
How to delete photos from a memory card: Conclusion
Now that you’ve finished this article, you’re well-equipped to delete photos from your memory cards (the right way).
So make sure to always format in-camera.
Your photos and your memory cards will thank you for it!
Now over to you:
How do you typically delete images, and why? Share your thoughts in the comments below!
The post The Best Way to Delete Photos From Your Memory Card appeared first on Digital Photography School. It was authored by Meredith Clark.
The post Backlighting in Photography: The Ultimate Guide to Beautiful Backlit Images appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
When used creatively and intentionally, backlighting can be an incredible tool to take your photography to the next level.
However, the concept of backlighting seems somewhat counterintuitive.
After all, when your subject is backlit, the main source of light is coming from behind, not from the front – and conventional photography wisdom generally says that your subject should be well-lit from the front.
So how can you create backlighting that looks good? How can you capture backlit images that really stun the viewer?
In order to understand how to use backlighting, you should know what the term means.
So what actually is backlighting?
The following diagram depicts a standard photography scenario with the main source of light behind the camera.
Using this type of setup, the subject is well-lit, and there is a shadow cast on the wall directly behind the subject. The result is a detailed, evenly-exposed image that conforms to the basic principles of photography.
In contrast, backlighting reverses the subject and the light source.
The light goes behind the subject (and points toward the camera), which causes the shadow behind the subject to vanish. Backlighting results in a photograph where the subject is usually much darker than normal.
Also, placing the light behind the subject often results in a silhouette or glow effect. This makes the final image look different from a normal photograph and can be jarring, at least at first.
But with a little practice, you can use this technique to create images that are unique and stand out from the crowd.
Backlighting in portraits
Backlighting is a tried-and-true portrait photography technique – one that can get you some stunning photos.
How does this work?
It helps to see some actual portrait photos that illustrate the concept of backlighting versus frontlighting. This first image is a fairly standard portrait shot:
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 122mm | 1/350s | f/4 | ISO 800
The subjects are lit from the front, and the image is evenly exposed without any harsh shadows. It’s a great photograph, and it meets all the normal criteria for a maternity shot someone would want to put in a frame or a photo book.
Now, let’s look at another photo of this couple, this time shot using backlighting:
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 180mm | 1/3000s | f/2.8 | ISO 400
The parents-to-be are shrouded in shadow (which I was able to boost in Lightroom, thanks to the RAW file format), and the woman’s hair is glowing with a brilliant golden halo. The man has a glowing outline around his head, and the entire scene has a slightly mystical quality to it.
This is all due to the creative use of backlighting.
When you light your subjects from behind, you can get images like this, which pack glowing hair, brilliant outlines, and a beautiful background. This type of photo does take practice, but with a little trial and error, you can use backlighting to get similar results.
Here’s a head and shoulders portrait of a young man:
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/250s | f/2.8 | ISO 100
The sunlight is coming from the front, his face is evenly lit, and the background is colorful and easy to see.
Now compare that image to its backlit counterpart:
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/180s | f/2.8 | ISO 320
His hair suddenly looks like it’s on fire, and his ears have a bit of a glow. The right side of the background is lush and green, whereas the left side, where the sun is positioned, is almost entirely blown out. Even the man’s shoulders are outlined in gold, and the photo has an energy to it that the frontlit photo just can’t match.
As you can see, knowing how to use backlighting to your advantage can result in portraits that stand out from the pack. It may be a little tricky at first, especially if you’re using natural light instead of studio light.
But with a little practice, you’ll get the hang of backlighting – and you’ll get the type of pleasing reactions from your clients you never knew you were missing.
Backlighting isn’t just for portraits, though! It can be used in a variety of situations for creative, inspiring images, including nature photography:
Backlighting in nature
To illustrate the power of backlighting for nature photography, check out this backlit landscape image:
Once you start looking for the light, you’ll notice shots like this everywhere. In fact, one of the best ways to learn backlighting is to go out in nature and simply experiment by putting your subjects between the camera and the sun.
Sunrise and sunset are great times to try out backlighting. Look for situations where your subjects are at a bit of a distance; it also helps to have a general idea of where the sun will be at dawn and dusk. Metering with backlight is tricky, so I like to use Aperture Priority to control the depth of field and then dial in exposure compensation to get my shots as light or as dark as I want.
A rule of thumb I like to use in these situations:
Expose for the highlights, then bring up the shadows in Lightroom. Basically, try not to make your photo too bright, because you may end up with clipped highlights (i.e., white, informationless areas that cannot be darkened).
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/4000s | f/22 | ISO 100
You can also look for more mundane subjects on which you can practice, like interesting leaves:
When shooting in nature, the main source of light is the sun, but you don’t have to use direct sunlight. In the image above, the mid-afternoon sun made these leaves glow. The sun isn’t in the frame, but it still lit the leaves from the back and gave me a fun photo opportunity.
I used a similar technique for the image below. You can see how my use of backlighting made this large blade of grass appear almost translucent. The shot was not an accident, and I was only able to capture it by looking for new ways to shoot familiar subjects. In this case, I was only photographing a simple piece of grass!
Most people would pass by this scene without a second thought, but it just goes to show how backlighting can give new life to even mundane subjects.
Silhouette backlighting
One interesting way to use backlighting is to obscure your subject altogether. This technique is known as silhouette backlighting, and it can be a fun and creative way to showcase people, animals, and other objects.
How does this work?
You create silhouette images by shooting directly into the light source – which completely darkens your subject. The result is a photo that shows a shape or outline instead of a well-exposed subject.
To get the image below, I pointed the camera at my main source of light, then waited for someone to walk by. The fountain itself doesn’t emit light, but instead reflects what comes from the sun – and it was so bright that it completely darkened my subject. The image tells a story, even without seeing any details of the person.
I knew where the sun was positioned, so I waited patiently until a person walked into the frame. By putting my subject directly between the camera and the main source of light, I was able to capture a silhouette. The end result is much more interesting than a normal, properly-exposed image taken in broad daylight.
Silhouettes aren’t just for people. You can use silhouette backlighting for a variety of subjects; all it takes is a little creativity and a willingness to try something different.
Some type of Manual mode (either full Manual or Aperture Priority with exposure compensation) is best for these shots. It’ll give you better control over the final image, and you won’t need your camera to make exposure decisions in tricky lighting conditions.
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/4000s| f/2.8 | ISO 100
One of my favorite ways to use silhouette backlighting is to create sun stars, like this:
I start by putting a large building between my camera and the sun.
Then I move around until the sun is poking out from behind a corner of the building. I shoot with a small aperture, usually f/8 to f/11, and I shift the camera position until I get the shot just right.
This technique takes practice, but you can easily get the hang of it in under 15 minutes.
Use Aperture Priority and exposure compensation, and look for ways to use the light that might not have occurred to you before.
Backlighting in photography: Conclusion
If you’ve never experimented with backlighting, then I encourage you to give it a try and see what happens.
You might think shots like the ones in this article are beyond your skills, but all it takes is a bit of practice, a dash of patience, and a willingness to try something different.
Backlighting is a fun, creative technique, and you might just find yourself using it far more than you expected!
Have you ever tried backlighting? What did you think of it? Share your thoughts in the comments below!
The post Backlighting in Photography: The Ultimate Guide to Beautiful Backlit Images appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
The arrival of a newborn into a family is an amazing and exciting (albeit sleep deprived) time. You can find yourself in this blissful bubble of just you and your little family as you adapt to life as parents. Most parents will attest to how precious yet fleeting these days are and its why so many choose to capture them Continue Reading Photodoto
The post Dodging and Burning in Lightroom: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Rick Ohnsman.
Digital photographers who have never worked with film or never even set foot in a darkroom still encounter terms from the early days of photography. The phrase “dodging and burning” is a throwback to those times.
Now, the reasons for using this technique still apply, but the tools and methods for dodging and burning are much easier today. In fact, you can do effective dodging and burning in most post-processing programs, including Lightroom.
So let’s dig into the what, why, and how of dodging and burning in Lightroom – and show you how this technique can improve your photos.
Working with an enlarger in the orange glow of a safelight. This is how photos used to be printed.
A history lesson
Adobe’s “Lightroom” is a tip of the hat to the place photos were made in days gone by, the darkroom. I had a makeshift darkroom in a corner of my garage and remember the tanks and trays of smelly chemicals, working in the orange glow of a safelight, developing negatives, and making prints. It was a laborious process, and one for which there was no “undo” when a mistake was made.
The standard darkroom workflow went something like this:
Load the film (sheet film for larger “view cameras,” roll film for smaller cameras)
Make shots in the field
Return to the darkroom, and in total darkness or using a film bag, put the film in a developing tank
Develop the film in a multi-step series of chemical baths (develop, rinse, stop bath, rinse, fix, rinse, Photo-Flo, rinse, dry)
At this point, you’d have your negatives, which were film with reversed lights and darks (and colors if you were using a color film.) Next, you’d need to print. Photos were prints; you couldn’t view images on a computer screen.
(Later came reversal film, “slides” that still were physical renditions of your photo but able to be shown with a projector.)
If you were a DIY photographer and made your own prints in a darkroom, you had to have a lot of tools – including a device like this, called an enlarger. People who think photo printing is challenging today have no idea how it used to be!
At this point in the darkroom workflow, you’d be getting to the dodging and burning part.
You’d put your negatives in an enlarger – a projector of sorts which would shine the negative image down onto a piece of photo paper.
(This was all done in the darkroom under a “safelight,” which allowed you to see your work because the orange color wouldn’t expose the photo paper.)
Now, you had to decide how much time was needed to expose the photo paper to the light in order to make a proper exposure. Often, you’d create a “test strip,” a print where you’d create a succession of incremental exposures (shown below). Of course, that would have to be developed in a series of chemical baths, too.
How long should you expose the photo paper to the negative image projected by the enlarger? Better print a test strip.
Finally, you’d be ready to make your print. You’d put a piece of photo paper under the enlarger, set your timer for the exposure duration you established, hit Start, and expose the paper to the light of the projected negative image.
But wait! What if you wanted some parts of the image to be darker and others lighter?
Well, the amount of time the paper was exposed to the light determined how dark the image was.
So if you used an instrument to block light from portions of the image during the projected exposure or, in a second exposure, exposed select portions of the paper to more light, you’d selectively brighten or darken parts of the final print.
The term for selectively blocking the light from the photo paper is “dodging,” and the term for exposing areas of the photo paper to more light is “burning.”
You could buy a dodging kit – or you could just get some wire and make some cardboard cutouts.
Granted, that was a long story just to explain these key terms, but you need to feel the pain just a bit. Imagine doing all those things, then developing the photo paper, spending time and money, only to find that your print didn’t turn out as you hoped. Frustrating, right?
(Guess you weren’t the…wait for it…”artful dodger” you thought you were.)
These are the origins of the terms: “Dodging” meant using various tools to block the light from reaching the photo paper, thus lightening that part of the print. Burning used tools to allow extra light to reach portions of the paper, thus darkening those areas of the print.
Lighten and darken
We have it so much easier, cheaper, and safer with digital photography. No chemicals, no working in the dark, and maybe best of all, the ability to experiment, undo, and replicate the finished results with ease.
So while you will still hear about dodging and burning in Lightroom (as well as in Photoshop and most other digital editing programs), and the tools are still labeled as such, let’s substitute something easier to understand:
Dodging = Lightening.
Burning = Darkening.
Why dodge and burn?
When we use the sliders in Lightroom to adjust our image, we are working with “global” controls. These uniformly apply the effect to the entire image.
For instance, increase or decrease the Exposure slider, and the entire image will get lighter or darker.
What we may want to do is selectively control portions of the image, making some areas darker and some areas lighter. A major reason for doing this is because viewers tend to look at brighter portions of an image first, concentrating less on darker areas.
So to emphasize and deemphasize portions of our image, we may wish to selectively lighten or darken them.
(Remember, lighten=dodge and darken=burn).
The “quick and dirty” method
Dodging and burning in Lightroom can be complicated – but it can also be very simple, and that’s what I’m going to discuss in this section.
Here’s how it works:
Bring up the image you wish to edit in the Develop module of Lightroom. Perform whatever global adjustments you like using the sliders.
Select the Adjustment Brush tool. Double-click the word “Effect” to zero all the sliders. First, we’ll work on areas we wish to lighten (dodge) in the image.
Now let’s “load” the brush. In the Basic panel, drag the Exposure slider up to about +1.0. Set your Feather, Flow, and Density all to 100. This will likely create too much of an effect, but will make it easier to see what you’re doing. You can always back off the brightness later by bringing down the Exposure slider.
Pick an area of the image you wish to lighten and start painting on it with the brush. You will see the area get lighter. Only work on one area. When you’ve painted over all the desired sections, go back to the Exposure slider and drag it up or down to get the final amount of lightness you desire. Click Done when finished with this area.
To work on another area of the image, click the Adjustment Brush again (which will add a new “pin”) and repeat the steps explained above. Because adjustments with the sliders will affect everything done via that “pin” adjustment, you will have more control if you work on multiple smaller areas, rather than lightening multiple areas all at once so you’re forced to apply the same degree of lightening (dodging) to each one.
To darken areas of the image, you can use the same procedure, though you’ll need to drag the Exposure slider in the negative ( -) direction.
Combine global adjustments with simple dodging and burning in Lightroom and you can get a nice result. Before (left) and after (right).
With the Adjustment Brush and the Exposure slider, you can selectively lighten (dodge) and darken (burn) areas of your image.
It works, but maybe you’d like to refine your skills a bit, which is what the next sections are all about:
Tools of the trade
When we talk about dodging and burning in Lightroom, we have three tools we can use:
Adjustment Brush
Radial Filter
Graduated Filter
These tools allow you to select areas of your image where you can apply lightening and darkening.
Let’s discuss how each of these tools might be used and look at some examples that illustrate these concepts.
The Adjustment Brush
The Adjustment Brush in Lightroom allows you to selectively “paint” the area of the photo you wish to affect. It might help to think of how you’d control an airbrush rather than a regular paintbrush.
You can make several changes to the Adjustment Brush, including:
Size: Changes the size of the brush. Roll the mouse wheel, use the left and right bracket keys, or use the slider.
Feather: Changes how hard the edge of the brush is and how rapidly the effect falls off. Use Shift while rolling the mouse wheel, Shift and the bracket keys together, or the Feather slider.
Flow: Controls how quickly the effect is applied with each stroke of the brush. Use the slider to adjust the flow, or with the Adjustment Brush selected, change the flow with the number keys on the keyboard. Using multiple strokes will build up the effect.
Density: Controls the maximum opacity of the brush effect. For example, if the Flow was at 100 but the Density was at 50, one stroke of the brush would apply the effect at 50% opacity.
The Radial Filter
The Radial Filter works somewhat like the Adjustment Brush – but rather than allow you to paint randomly, your adjustments are restricted to a circle or oval shape.
You can control the size and shape of the Radial Filter, and you can also feather the edges. Plus, you can control whether the effect takes place inside the circle or outside the circle.
I often use the Radial Filter with the Invert box checked (so only the inside of the circle is affected), and then adjust the filter strength with the Exposure and Feather sliders. You can create what appears to be a spotlight and use it to selectively lighten (dodge) areas of your image.
Some other tips for working with the Radial Filter:
Hold down the Shift key when you drag out the Radial Filter to constrain it to a circle
Use the “handles” on the top, bottom, and sides to drag the Radial Filter into other oval shapes
Once the Radial Filter is created, move the cursor just outside the shape until you see the double-headed arrow and then drag to rotate the shape
Get another “spotlight” to use on a different area by right-clicking a previously-created Radial Filter pin, choosing Duplicate, and then dragging the new Radial Filter off to the next place you want to work.
The Coquille River Lighthouse near Bandon, Oregon doesn’t use the light any longer. But with some creative use of the Radial Filter…
…we can turn the light on! A Radial Filter was used to dodge the lighthouse itself, to put a light in the tower, and (as highlighted by the green overlay) to create a light beam.
The finished result.
A Radial Filter was applied to the first window to dodge it, then the Filter was duplicated and moved to each of the other windows. The window at the bottom-right shows how the round shape of the filter can be modified using the Erase brush – which you can switch to by holding down the Alt (Option on Mac) key. The window is showing red because the mask overlay is turned on.
The Graduated Filter
The Graduated Filter can also help you lighten and darken selective areas of your image, but in a more gradual way.
While you might not immediately think of the Graduated Filter as a dodging/burning tool, the concept is the same – you can use it to choose which areas of your image are affected. While it’s a separate subject, combining the Graduated Filter with range masking in Lightroom can provide a very powerful method of selective dodging and burning, which is why I suggest you also read up on range masking.
You might want to burn (darken) a sky in Lightroom. The Graduated Filter is a great tool to use – and combined with the Range Mask, it can help you keep the effect where you want it and away from where you don’t, such as the trees in this shot. The red overlay shows where the effect will be placed.
The vignette
A vignette is used for darkening or lightening the edges of your photo.
When used to darken the frame edges, a vignette puts more attention on the center, brighter areas of the image, and helps direct the viewer to the center of the photo.
The Post-Crop Vignetting option is found under the Effects tab in the Lightroom Develop module.
Behind the mask
Any of the tools you use for selective dodging and burning – the Adjustment Brush, the Radial Filter, or the Graduated Filter – are all applying “masks” to your work, controlling how and where the effect is applied.
Often, it can help to see exactly where the masks are applied.
When we first choose one of our dodging and burning tools and begin to work with it, Lightroom will create a “pin,” a marker showing that an effect has been applied.
There is a control to choose when a pin will be displayed, which pins are active, and where the mask has been applied. You can even choose the color of the mask to help you best see it while editing. Hold down Shift, and each time you tap the “O” key, the mask will cycle through its available colors: red, green, white, and black. Use whichever color helps you best see where you’re working.
Turning on the mask overlay can help you see where your effect is being applied.
Paint on, paint off
Even once you’ve created a dodge or burn effect, there are ways to further refine your selected areas.
Let’s take a quick look at a few of them.
Adjustment Brush: If you need to erase portions of your mask, turn on the overlay so you can see what you’re doing (hit the “O” key). Hold down the Alt (Option on Mac) key, and the “+” sign in the middle of the brush pin will change to a “-” sign. Keep holding down the Alt key, and erase the portions of the mask you don’t want.
Radial and Graduated Filters: After applying a radial or gradient mask, click the word Brush (at the top of the adjustment panel). Then hold down the Alt/Option key so the symbol turns to a “-” sign. Finally, brush out portions of the radial mask you don’t want.
Auto Mask: Checking this box will help the Adjustment Brush find edges and may assist you in selectively masking areas. I suggest you do some further reading to understand how this tool works.
Using the histogram
One feature of the histogram is the ability to show any shadow or highlight clipping. Tap the “J” key, and if any shadows are clipped they will show in blue, while clipped highlights will show in red.
By using the tools we’ve already discussed, you may be able to “rescue” such areas by selectively lightening or darkening them.
There could also be images where you purposely want to black out or white out areas. The “J” key will show you any clipping, then you can dodge or burn areas you wish to black out or white out.
Have a look at the images below, where I used this technique:
You don’t want to completely clip your highlights or shadows in a photo…except when you do. This was the straight-out-of-camera (SOOC) photo. It needed some cleanup.
Here, I’m using the Adjustment Brush for some “extreme burning,” a way to black out the background and remove distractions in this shot.
Here is the final edited shot.
I used the same technique for this photo. The rose shot against the black background was cleaned up by burning the background until the shadows were totally clipped. The rose on the white background was cleaned up by dodging the background until the highlights were totally clipped. Turn on the clipping indicator (hit the “J” key), set up your Adjustment Brush, check the Auto Mask box, and go to work.
Complexifying the light
When I was first learning to use Lightroom, I spent quite a few hours watching French photographer Serge Ramelli’s Youtube videos. He would often use the term “complexifying the light” when speaking about dodging and burning, and when talking about how you could use dodging and burning to make images more interesting.
I suggest you take a look at some of his tutorials; below is an image I edited with similar techniques.
Less is more
A good chef knows that a little salt can enhance the flavor of a dish, but too much can ruin it. A good photo editor learns that any manipulation of an image needs to be subtle, enhancing the image while not drawing attention to itself.
After a session of dodging and burning, it’s a good idea to get away from the screen for a while, then come back and view the image again. If you didn’t know, would you suspect that areas had been lightened or darkened with dodging and burning techniques?
I think you’ll often find that – especially when learning – you’ll need to dial back the sliders a touch to make the effects more subtle.
The technical and the aesthetic
As with all of photography, there are two sides to dodging and burning.
First, there’s the technical side, which requires learning the tools and techniques for dodging and burning in Lightroom.
The other component is aesthetic; you need to understand how to artistically view your image and decide where to dodge and burn to better direct the eye of your viewer to and through the image.
The technical side requires study to learn the tools. The aesthetic side requires artful contemplation and practice.
The Union Pacific 844 is a “thundering beast,” the only steam locomotive owned by a North American Class I railroad that has never been retired. I wanted to capture its might. This unedited shot didn’t quite do it.
But bring to bear the diversity of editing tools in Lightroom, including some dodging and burning, and you get an edited version that does a much better job of capturing my vision.
Dodging and burning in Lightroom: Conclusion
There are many photo-editing programs, tools, and techniques for dodging and burning your photos.
Some photographers may favor Photoshop, Luminar, ON1, Corel PaintShop Pro, or any of the dozens of other choices.
So feel free to choose your weapon.
But realize that no one will ask you what tool you used to improve your image. Master the tool you choose and wield it well. For me, dodging and burning in Lightroom is one tool for adding flair to my photos.
Now over to you:
Do you do dodging and burning in Lightroom? Do you want to? Share your thoughts, tips, and tricks in the comments below!
The post Dodging and Burning in Lightroom: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Rick Ohnsman.
The post 15 Ways to Find Photography Inspiration in 2021 appeared first on Digital Photography School. It was authored by Megan Kennedy.
Photography inspiration is easy to lose.
Fortunately, there are plenty of ways to ignite your creativity and get you excited about shooting again!
In this article, you’ll discover 15 ways to feed your photographic inspiration.
Let’s dive right in.
1. Make a list
Photography inspiration can manifest in mysterious ways. And while it may seem removed from the photographic process, list-making can actually help inspire new creative photography ideas.
Try compiling a list of photography goals to work through, or make a list of subjects to photograph. These lists can be as detailed as needed, so grab a pen and paper and brainstorm your next move.
Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/6400s | f/1.8 | ISO 100
2. Get some exercise
Researchers have found that mood and creativity can be improved by physical exercise.
So if you’re in the midst of a creative lull, lace up your shoes and head out the door for a quick walk around the block – you could even bring your camera!
3. Try a new medium
Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/80s | f/4.0 | ISO 100
Trying a new artistic medium can often provide surprising artistic perspectives that feed into photographic inspiration.
Activities like drawing or painting can open you up to fresh compositional insights that inspire intriguing creative possibilities.
4. Keep a journal
Maintaining a written journal is a great way to get down your important photographic processes on paper.
Journaling encourages introspection, which will help you nail down the effective aspects of your photography (and which you can reflect on later).
Ultimately, keeping a journal can give you a clear sense of creative direction, inspiring new photography ideas and approaches.
5. Make time for photography
It’s easy to get wrapped up in the day-to-day. But actively setting aside dedicated photography time feeds photographic inspiration and facilitates creative growth.
Regularly making time for photography will help exercise your creative muscles – even if it’s only an hour a week.
6. Try new equipment
Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/250s | f/2.8 | ISO 100
Trying new equipment can broaden photographic possibilities considerably.
Simple and cost-effective accessories like extension tubes, prisms, and filters are economical ways to inspire new methods of photography.
7. Make a mood board or a visual diary
Mood boards and visual diaries are used by artists to keep creative information in one place. By creating an accessible source of inspiration, artists can more easily expand on their own processes and ideas.
Traditionally, visual diaries were kept on paper. Today, websites like Pinterest and Tumblr allow you to maintain a visual diary or mood board online.
No matter which method you use, mood boards and visual diaries are a tried-and-true source of valuable photographic inspiration.
8. Catch up on art history
Art has a rich and varied history dating back millennia. Familiarizing yourself with art history contextualizes, informs, and expands creative output.
In fact, a good knowledge of art history can help you identify the subjects and approaches that have inspired creatives over the centuries, which you can then use in your own photography!
9. Revisit old photographs
Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | 1/160s | f/5.0 | ISO 100
The depths of a photographic library can be a great source of inspiration. When sifting through old photographs, opportunities to revisit past subjects and locations may reveal themselves, inspiring new photography ideas.
Looking through old photographs can also reveal consistent errors to fix in future photoshoots. And it can draw attention to how far you’ve developed over a period of time, encouraging a positive sense of creative growth.
10. Check out art establishments
Art establishments, such as galleries, are full of inspirational material.
And since the beginning of the COVID-19 pandemic, plenty of galleries have added online tours and online events that allow you to experience art from the comfort of your own home.
11. Read photography books and magazines
Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/1000s | f/2.5 | ISO 100
These days, most visual art material comes from a digital screen. But reading photography books and magazines can inspire a greater appreciation for printed photography, which can feed new creative possibilities.
12. Find photography inspiration by learning from past mistakes
From forgetting gear to technical or practical mishaps, photography, like any art form, is full of easy mistakes.
But when mistakes happen, don’t get discouraged. Instead, make a note of what went wrong – and be inspired to do better next time.
13. Reach out to fellow photographers
Photography often seems like a single-person endeavor, but reaching out to other creatives is an important way to generate and share inspiration.
From Instagram to in-person photography meetups, there are plenty of ways to connect with fellow creatives; ultimately, you can encourage growth and creativity in yourself and other photographers.
14. Photograph a favorite subject
Canon 5D Mark II | Canon EF 100-400mm f/4.5-5.6L IS II USM | 1/400s | f/16 | ISO 100
Photographing a favorite subject can help you remember the reason you took up photography in the first place.
While it isn’t always easy, prioritizing a session of photography simply for the sake of reconnecting with a favorite subject is an effective way to boost photography inspiration.
15. Challenge yourself
Photographing challenging subjects supports creative growth. Sure, photographing tricky subject matter can be intimidating. But getting outside your comfort zone is a surefire way to generate photography inspiration.
If you like landscape photography, give portraiture a try. Or if you’re into abstract photography, why not focus on wildlife for a change?
In short, take the opportunity to branch out. This will broaden your photographic experience and help you develop a more versatile approach to capturing images.
Ways to find photography inspiration: Conclusion
From photographing a favorite subject to maintaining a journal, there are many simple ways to get out of a creative rut.
And while it’s true that photography inspiration can be elusive, making these changes to your creative habits is a great way to build your skills and develop new approaches!
Do you have any additional tips for finding photographic inspiration? Share them in the comments below!
The post 15 Ways to Find Photography Inspiration in 2021 appeared first on Digital Photography School. It was authored by Megan Kennedy.
Recently, I kicked off a new series of articles comparing the software provided by camera manufacturers with one of their most popular third-party alternatives, pitting Canon Digital Photo Professional head-to-head against Adobe Camera Raw. Now, I’m back with the second in the series, in which we’ll take a look at how Adobe’s raw processing rivals that offered for free with Nikon’s cameras.
Nikon ViewNX-i version 1.4.3’s user interface.
There’s a bit more to discuss this time around, as Nikon offers a choice of two different raw processing apps for free — the somewhat inconsistently-named ViewNX-i and Capture NX-D. As in the previous article, I’ll be limiting discussion mostly to each application’s user interface and image quality in the interests of keeping things to a readable length, and won’t be addressing features like image management, tethering or printing.
The ground rules
In this article, I’m comparing Adobe Camera Raw 12.4 alongside Adobe Bridge 10.1.1 versus Nikon ViewNX-i 1.4.3 and Capture NX-D 1.6.3, all of which are their current versions. My computer is a 2018-vintage Dell XPS 15 9570 laptop running Windows 10 version 1909.
To level the playing field as much as possible, I’ve once again aimed to reproduce the look of already-processed images from our galleries, without any prior knowledge as to the recipes behind them. I’ve chosen images from the Nikon Z6 for use in this comparison, since it’s similar in price and resolution to the EOS R used in the first article, and has been around long enough for Adobe to fine-tune its support.
Adobe Camera Raw version 12.4’s user interface.
To avoid getting too far into the weeds, sharpness and noise reduction were left at their defaults, while lens corrections were enabled for all three apps where possible.
Adobe Camera Raw doesn’t allow built-in corrections to be disabled at all. ViewNX-i doesn’t allow you to change whether or not distortion correction is enabled, and just abides by what’s set in the raw file. Only Capture NX-D allows corrections to be enabled/disabled (although even it prevents disabling distortion correction for certain lenses).
Images processed in ACR were saved at JPEG quality 11, just as used in our galleries. For NX-i and NX-D, I saved at JPEG quality 86, producing similarly-sized files.
The main differences
Click or tap for the full-sized ACR version; here for ViewNX-i version
Of course, the most immediately obvious differences between ACR and NX-i / NX-D are their camera support and price tag. You already paid for NX-i and NX-D when you bought your Nikon camera, so it’s effectively free. While it only supports Raw files from the company’s own cameras, you can expect full Raw support for every Nikon camera to be available pretty much immediately upon release.
By contrast, ACR comes with a recurring subscription fee. While it supports a vast range of cameras from many manufacturers – including every single interchangeable-lens Nikon camera made to date – that support can sometimes take a while to arrive after the release of new models.
It’s also sometimes more limited than that in first-party software, especially for Coolpix compacts. While Adobe offers ‘camera matching’ profiles for almost every Nikon ILC, for example, it’s not available for a fair few compacts, including the relatively recent Coolpix A1000.
As for the differences between ViewNX-i and Capture NX-D, we’ll describe those in more detail when we look at NX-D on the next page. Suffice it to say that NX-i is the simpler, more approachable of the pair, however.
ACR is a little cleaner, but NX-i is approachable too
Click or tap for the full-sized ACR version; here for ViewNX-i version
For the remainder of this page, we’ll focus solely on ViewNX-i. Although its interface isn’t quite as modern as that of ACR, it’s still pretty clean overall, with relatively few controls on offer. Some features like sharpening are combined into a single easy-to-use slider, while others like noise reduction are controlled entirely automatically.
The selection of controls available to the user is sometimes a bit odd, though. For example, I’d wager that most NX-i users won’t have the first clue what “axial color aberration” means, nor will they find any tooltip explaining it if they hover over the control. Yet several more common (and easily-understood) attributes like distortion and vignetting corrections cannot be controlled by the end-user.
The selection of controls available in ViewNX-i is sometimes curious. For example, there are controls for more obscure functions like aberration and diffraction, but none for more easily-understood variables like distortion and vignetting.
The good news is that, with fewer controls on offer, Nikon gives you access to everything up front. Editing functionality isn’t hidden behind buttons or under menus. Nor is it strewn across multiple tabs of controls, as in some applications.
Instead, you’ll find all available editing tools grouped together in a single, relatively short scrollable panel. And sliders move smoothly rather than in large steps, so making fine-grained adjustments is easy.
Like ACR, modern features like support for 4K displays, touch-screens and pen control are pretty good, although if you switch between 4K and Full HD displays — especially while NX-i is running — you’ll often have to resize panels or perhaps even restart the application entirely so it redetects the screen resolution before you can get to work.
ACR is still the speed champ, but ViewNX-i isn’t that far behind
Click or tap for the full-sized ACR version; here for ViewNX-i version
ViewNX-i isn’t quite as fast as ACR, especially when it comes to previewing changes as controls are adjusted. Still, it trails Adobe by only around a third in terms of final rendering times, which is much better than some rivals. All six images in this preview took ViewNX-i around 26 seconds to batch-process, compared to 19.5 seconds for ACR.
And while image previews aren’t adjusted in near real-time as in ACR, they never take more than a second or less to catch up to your changes, and render in a single pass. The accuracy of that preview isn’t perfect when viewing full images, so for the finest adjustments you’ll want to switch to a 1:1 view instead, but it’s certainly good enough to get you close.
Unfortunately, there’s no indicator to show when the preview is updating, which is a bit frustrating when making more subtle adjustments.
ACR gives you much more control, especially over shadows and highlights
Click or tap for the full-sized ACR version; here for ViewNX-i version
As noted previously, ViewNX-i offers a smaller selection of controls than does Capture NX-D, and the same goes doubly when compared to Adobe Camera Raw. A particularly surprising omission in an app aimed at less-experienced users is the lack of a one-click auto control to help get everything in the ballpark. Much like ACR, ViewNX-i includes slider control over brightness, contrast, shadows and highlights.
NX-i also has D-Lighting HS and Color Booster sliders, the latter replacing the separate saturation/vibrance sliders offered by Adobe, and providing a choice of people or nature modes for some control over skin tones. Sharpening control is likewise limited to a single slider with no fine-tuning possible. And Nikon’s app lacks ACR’s sliders for texture, clarity, dehazing or black-points and white-points entirely, as well as its noise reduction and curves controls.
The D-Lighting HS slider makes it really easy to recover shadow detail, but I found its interactions with the shadow protection and contrast sliders in particular to be a bit difficult to predict and control. With D-Lighting HS set in the upper half of its range, as little as a 2-3% change in the contrast slider could have a pretty major effect overall and badly block up deeper shadows. This was particularly true of the shots inside the aircraft hangar, as well as the backlit model shot.
The fixed noise reduction is too heavy-handed by far
Click or tap for the full-sized ACR version; here for ViewNX-i version
With less challenging scenes, though, I thought ViewNX-i did a pretty good job in most respects. It yielded pleasingly lifelike color with relatively little effort, and I found myself preferring its rendering of foliage and skies in particular over those of ACR.
The fly in the ointment is that its noise reduction – which, remember, can’t be disabled – is quite heavy-handed. This is particularly noticeable in portrait shots, where much fine detail is lost in things like hair or thread patterns in clothing, and skin can end up looking unnaturally plasticky. This, more than anything else, will push more experienced photographers to either Capture NX-D or a third-party alternative like ACR.
ViewNX-i’s default noise reduction can lead to slightly plasticky-looking skin.
If your shot doesn’t have much noise to start off with, though, ViewNX-i can extract about almost as much detail as can ACR. (And can appear a little crisper at default settings, thanks to slightly stronger unsharp masking).
Final thoughts on ViewNX-i
Click or tap for the full-sized ACR version; here for ViewNX-i version
Less experienced photographers might, perhaps, find ViewNX-i to be a bit less intimidating than Capture NX-D or Adobe Camera Raw, and it’s certainly capable of providing decent results if you can live with its noise reduction performance. Performance is decent too, especially in terms of final rendering, although Adobe still takes the win handily in this respect. But for many, the limited controls on offer and the heavy-handed noise reduction will push them to Capture NX-D or a third-party alternative instead — and rightly so.
Nikon ViewNX-i
Pros
Cons
Available free with your camera
Excellent support for Nikon’s cameras from launch day
Realistic color with minimal effort
Impressive shadow recovery from D-Lighting HS
Decent performance, albeit still not as good as ACR
Only supports Nikon cameras
Lacks many controls offered by ACR and other rivals
Selection of controls doesn’t make sense for less-experienced shooters
No one-click auto control
Can’t use distortion correction if it wasn’t enabled at capture time
Denoising robs fine detail and can’t be disabled
Interactions between controls can prove challenging
Adobe Camera Raw
Pros
Cons
More modern user interface
Supports a vast range of cameras from many brands
Great performance and accurate real-time preview
Great image quality overall
Holds onto more fine detail than ViewNX-i
Does a great job with highlights/shadows
Recurring subscription fee with no perpetual license option
Camera support can take a while to arrive
Less pleasing color than Nikon’s software by default
Leaves significantly more noise in images by default
And with our Nikon ViewNX-i vs. Adobe Camera Raw comparison complete, it’s time to see how Capture NX-D fares against its third-party rival. Continue reading on the next page!
The post Sony Releases a Gorgeous (and Expensive) 35mm f/1.4 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Just last week, Sony unveiled its latest high-powered creation:
A 35mm f/1.4 GM lens, designed for full-frame, E-mount cameras, and offering an impressive set of capabilities (for an eye-watering price).
As you’d expect from a G Master lens, the 35mm f/1.4 features a no-holds-barred, pro-level design. You get a beautifully-constructed barrel, a handy aperture ring (for changing the aperture on the fly without having to fiddle with camera dials), plus dust and moisture resistance. The lens is relatively light and compact (Sony highlights its 524 g/18.5 oz weight, as well as its ability to sit “comfortably in the palm of your hand”), which makes it ideal for travel and on-location photoshoots. In fact, Sony has managed to create a lens that you’ll want in your bag for pretty much any photography scenario, be it studio work, natural light portraiture, landscape photography, street photography, or event photography.
Aside from its build, what makes the Sony FE 35mm f/1.4 GM so special?
First, there’s the optics. Sony claims that the 35mm f/1.4 offers “extraordinary resolution” and “stunning contrast,” and early reviews bear this out, commenting on the lens’s impressive sharpness, even at f/1.4. This makes the 35mm f/1.4 a worthy choice for landscape photographers after a mid-wide prime, as well as for architectural photographers.
Then there’s the f/1.4 maximum aperture. Wide open, you can capture buckets of light; this is perfect for event photographers who frequently shoot indoors and need to keep their shutter speeds high, even at night. Plus, the f/1.4 setting combined with an 11-blade aperture is practically guaranteed to produce class-leading bokeh – for the kind of portrait backgrounds that will leave the viewer stunned.
Sony also promises speedy autofocus (specifically, “fast, smooth, and silent AF performance”), as well as effortless (“immediate and precise”) manual focus for those portrait photographers, landscape photographers, and videographers who require intense control when adjusting focus.
Of course, a big part of a lens’s appeal is its focal length, and here the Sony 35mm f/1.4 excels. On a full-frame camera, you get a medium-wide field of view for landscapes, environmental portraits, and wider street shots. Mount the Sony 35mm f/1.4 on a crop-sensor body, and you’ll have a handy 50mm lens, one that’ll work for standard portraits, tighter street photos, walkaround shooting, and more.
Unfortunately, the Sony 35mm f/1.4’s price tag sits just under $ 1400 USD. However, if you can afford the cost and require the absolute best image quality and bokeh around, the Sony 35mm f/1.4 won’t disappoint.
You can check out the Sony 35mm f/1.4 right here; shipping starts on February 15th.
Now over to you:
What do you think of the Sony 35mm f/1.4 GM? Are you interested? Is the lens too pricey? Or is it worth the cost? Share your thoughts in the comments below!
The post Sony Releases a Gorgeous (and Expensive) 35mm f/1.4 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
TTartisan has announced a new special-edition version of its fully-manual 50mm F0.95 Leica M mount lens to celebrate the Year of the Ox.
The lens is optically identical to its more monochrome siblings, featuring eleven elements in eight groups including one double-sided aspherical element, one ultra-low dispersion element and five high-refractive elements. It features an aperture range of F0.95 to F16, offers a minimum focusing distance of 70cm (28“), uses a 14-blade aperture diaphragm and has a 67mm front filter thread.
What sets this lens apart is its bright red paint job and a custom-engraved lens cap with a stylized silhouette of an ox. TTartisan says it’s only produced 500 units, which will be sold by retailers around the world.
The lens measures 89mm (3.5″) long, 72mm diameter and weighs 687g (1.5lbs). While it’s available at various retailers, Photo Rumors has it listed for $ 909 (international shipping included) — a roughly $ 132 premium over the black and silver version of the lens.
