Following thousands of earthquakes beginning in February, the Fagradalsfjall volcano on Iceland’s Reykjanes Peninsula erupted on March 19. Since then, the volcano has been erupting with new fissure vents opening, including a new one over this past weekend. Given the volcano’s accessible location, thousands of people have visited the site and seen the eruption for themselves. Photographer and wildlife conservationist Donal Boyd and director and filmmaker Frank Nieuwenhuis created a short human interest film, ‘Volcano for the People,’ about the incredible natural event and the experience of enjoying it with others.
Nature is often enjoyed in solitude or in small groups. However, the ongoing volcanic eruption in Iceland is attracting hundreds to thousands of people at a time. Enjoying nature has transformed from something enjoyed independently to something enjoyed as a collective experience. The video below touches on that shift and what it means to the people enjoying the spectacle. The video includes breathtaking visuals, including stunning drone shots.
Boyd and Nieuwenhuis also created a behind-the-scenes video, showing how they were able to make the short film above. The duo spent just under a week planning, shooting and editing their video. Isn’t it dangerous to visit an active volcano? The eruption event on the Reykjanes Peninsula is unique. As Iceland was hit with thousands of earthquakes, scientists could track the magma flowing underground until it finally broke through the surface. The eruption occurred in a valley, so there are many safe viewing areas surrounding it. So long as the wind is at your back, blowing away toxic gases from the eruption, it’s safe. The Icelandic Meteorological Office, Icelandic Search and Rescue, and on-site advisors have regularly updated safety protocols so that risks to visitors are minimized. It’s an ever-changing situation, of course, so what was safe during the making of Boyd and Niewenhuis’s video may no longer be safe.
Although the volcano site was accessible, the hike to and from the area was still 2-3 hours. This meant that Boyd and Nieuwenhuis wanted to keep their gear as light as possible, although it’s easier said than done. Since they wanted to record not only the eruption itself but also the people at the site, their bags were essentially packed to the brim. Interview sequences were shot on Sony A7R III, Sony A7R IV and Canon EOS R5 mirrorless cameras with a Sigma 24mm F1.4 Art lens. Distant shots of spectators were captured with a Sigma 135mm F1.8 Art lens or a Sony FE 135mm F1.8 G Master lens. Other lenses used during production included the Canon RF 50mm F1.2 and an older Canon 300mm F2.8 lens for extreme close-ups. Aerial shots were captured using a DJI Mavic Air 2. At times, the lava was so bright that Boyd needed to attach his strongest ND filter to the Mavic Air 2.
Alongside the pair of videos above for Adorama TV, Donal Boyd also wrote an article for Adorama about how to photograph an active volcano. The article includes some background about the volcano, tips on gear and, importantly, safety advice and where to get the latest viewing conditions. In addition to a lot of useful information, Boyd’s article also includes amazing images, so be sure to check it out.
If you’d like to see more from Boyd, follow him on Instagram. More of Niewenhuis’s work can be seen on Instagram and YouTube.
The post 11 Surefire Landscape Photography Tips (+ Stunning Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.
Want tips for stunning landscape photography? You’ve come to the right place.
In this article, I’m going to share 11 easy landscape photography tips – which are guaranteed to get you taking beautiful images, no matter your experience level. I’ve also included plenty of example photos, so you can see the tips in action (and know that they really do work!).
Let’s get started.
1. Maximize your depth of field
In landscape photography, a deep depth of field is almost always the way to go.
In other words:
You want as much of your scene in focus as possible. The simplest way to do this is to choose a small aperture setting (i.e., a large f-number, such as f/11 or f/16). Because the smaller your aperture, the greater the depth of field in your shots.
Do keep in mind that smaller apertures mean less light is hitting your image sensor. So you’ll need to compensate for the narrow aperture either by increasing your ISO or lengthening your shutter speed (or both).
PS: Of course, there are times when you can get some great results with a very shallow depth of field in a landscape setting. It’s just a tricky technique that requires a lot of finesse.
2. Use a tripod
To maximize your depth of field, you’ll be using a small aperture – and you’ll also likely shoot with a long shutter speed.
But unless you’re careful, you’ll end up with an unusably blurry image.
That’s where a tripod comes in handy. You can use it to stabilize your camera and keep your photos tack sharp for 1-second, 5-second, and even 30-second long exposures.
In fact, even if you can shoot at a fast shutter speed, a tripod can still be beneficial. It’ll force you to slow down and consider your composition more carefully.
Also, to prevent camera shake from pressing the shutter button, consider a remote shutter release.
3. Look for a focal point
Pretty much every shot needs some sort of focal point, and landscape photography is no different.
In fact, a landscape photograph without a focal point ends up looking rather empty. And it’ll leave your viewer’s eye wandering through the image with nowhere to rest.
Focal points can take many forms in landscape photos. They can range from a building or a structure (such as in the photo above) to an eye-catching tree, a boulder or rock formation, a silhouette, or something else entirely.
Also, think not only about what the focal point is, but where you should position it within the frame. The rule of thirds can be useful here.
4. Think foregrounds
Here’s one key tip that can make your landscape shots stand out:
Think carefully about the foreground of your composition…
…and include clear points of interest.
When you do this, you give those viewing the shot a path into the image. And you create a sense of depth, which is always a nice bonus.
5. Consider the sky
In landscape photography, you should always think about the sky.
Most landscapes will either have a dominant foreground or a dominant sky. And unless you include one or the other, your shot will end up looking boring.
Start by observing the sky. If it’s bland and lifeless, don’t let it dominate your shot; place the horizon in the upper third of the image (though you’ll want to make sure your foreground is interesting).
But if the sky is filled with drama, interesting cloud formations, or colors, then let it shine! Place the horizon in the bottom third of the frame to emphasize the heavens.
(Also, consider enhancing skies, either in post-production or with filters. For example, you can use a polarizing filter to add color and contrast.)
6. Use lines to lead the eye
One of the questions you should always ask yourself as you do landscape photography is:
“How am I leading the eye of those viewing this composition?”
There are a number of ways to lead the eye (and including a clear foreground subject works well). But one of my favorite ways is to provide viewers with lines that lead them into the image (such as the road in the photo above).
Lines give an image depth and scale. Plus, they can offer a point of interest by creating patterns in your shot.
7. Capture movement
When most people think about landscapes, they think of calm, serene, and passive environments. However, landscapes are rarely completely still – and if you can convey this movement, you’ll add drama and mood to your image. You’ll also create a point of interest.
But how can you convey movement in a landscape?
You can focus on wind in the trees, waves on a beach, water flowing over a waterfall, birds flying overhead, moving clouds, etc. Capturing this movement generally requires a longer shutter speed (sometimes a shutter speed of many seconds!).
Of course, a slow shutter speed means more light hitting your sensor, so you’ll either need a narrow aperture or an ND filter. You might also choose to shoot at the start or the end of the day when there is less light.
8. Work with the weather
A scene can change dramatically depending upon the weather, so choosing the right time to shoot is of major importance.
Many beginner photographers see a sunny day and think that it’s the best time to go out with their camera. However, an overcast day that is threatening rain might present you with a much better opportunity – you can create an image with real mood and ominous undertones.
Look for storms, wind, mist, dramatic clouds, sun shining through dark skies, rainbows, sunsets and sunrises, etc. And work with these variations in the weather rather than just waiting for the next sunny, blue sky.
9. Photograph during the golden hours
I chatted with a landscape photographer recently who told me that he never shoots during the day. His only shooting times are around dawn and dusk because that’s when the light is best, and that’s when the landscape comes alive.
These golden hours, as they’re often called, offer great landscape photography for a number of reasons.
For one, you get gorgeous golden light. I also love the angle of the low sun; it creates interesting patterns, dimensions, and textures, all of which can enhance a landscape photo.
10. Think about horizons
This is an old tip but a good one. Before you take a landscape shot, always consider the horizon on two fronts:
Is it straight? While you can always straighten images later in post-production, it’s easier if you get it right in-camera.
Where is the horizon positioned in the frame? A natural spot for the horizon is along one of the rule of thirds gridlines rather than in the middle of the frame. Of course, rules are meant to be broken – but I find that, unless you’re photographing a very striking scene, the rule of thirds usually works here.
11. Change your point of view
You drive up to the scenic lookout, get out of the car, grab your camera, turn it on, walk up to the barrier, raise the camera to your eye, rotate left and right a little, zoom a little, then take your shot – before getting back in the car and driving to the next scenic lookout.
We’ve all done it. However, this process doesn’t generally lead to the “wow” shot that many of us are looking for.
Instead, take a little more time with your landscape photos. Find a more interesting point of view.
You might start by finding a different spot to shoot from than the scenic lookout.
You can also look for new angles; this could mean getting down onto the ground to shoot from below, or heading up high to gain a nice vantage point.
Explore the environment and experiment with different viewpoints. You might find something truly unique!
Landscape photography tips: conclusion
Now that you’ve finished this article, you’re ready to capture some stunning landscape photography!
So grab your camera, head out, and find a subject to shoot.
It’ll be a lot of fun!
Now over to you:
Which of these landscape photography tips are you going to try first? And do you have any landscape photo tips of your own? Share your thoughts (and images!) in the comments below.
The post 11 Surefire Landscape Photography Tips (+ Stunning Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.
Arriving just one year after its predecessor, the Mavic Air 2, the Air 2S is DJI’s newest mid-range consumer drone. The new model sheds the familiar Mavic branding in favor of a shorter naming scheme, following the lead of DJI’s Mini 2 model, but receives some significant upgrades in return. Most notably, the Air 2S features a camera with a 1″-type sensor – something that was previously exclusive to DJI models costing over $ 1,500.
Whereas the Mavic Air 2 emphasized resolution over sensor size, with features like 48MP stills and 8K hyperlapse modes, the Air 2S pivots in the direction of image quality; its larger 20MP sensor easily outperforms the camera on the Mavic Air 2 and addresses one of the most frequent requests from users.
The downside is that the retail price of the Air 2S is $ 200 more than the Mavic Air 2, coming in at $ 999. The good news is that the Mavic Air 2 will continue to sell alongside the new Air 2S, so consumers can choose the option that best fits their needs – not to mention their budget.
There’s also a Fly More combo that includes two additional batteries, a charging hub, a set of three ND filters, and a shoulder bag for $ 1299. The addition of ND filters to the Fly More combo should please a lot of users as they’re a common add-on purchase.
Jump to:
Aircraft| Photo and Video| Flight Modes | What it’s like to fly | Conclusion | Samples
Key Features
20MP, 1″-type CMOS sensor
22mm (equiv.) lens with 88º FOV and fixed F2.8 aperture
5.4K/30p, 4K/60p, and 1080p/120p video
H.264 and H.265 recording at 150 Mbps
10-bit D-Log and HDR video capture
Raw and JPEG image capture
OcuSync 3.0 (O3) image transmission (12 km range)
Four-way obstacle avoidance
APAS 4.0
‘MasterShots’ cinematic capture mode
‘RockSteady’ electronic image stabilization
31-minute flight time
595g (1.3 pounds) total weight
Compared to…
On paper, the Air 2S compares favorably to both the Mavic Air 2 as well as the more expensive Mavic 2 Pro.
DJI Air 2S
Mavic Air 2
Mavic 2 Pro
Price
$ 999
$ 799
$ 1599
Camera
20MP, 1″-type sensor
22mm equiv. F2.8 (fixed)
48MP, 1/2-inch sensor
24mm equiv. F2.8 (fixed)
20MP, 1″-type sensor
28mm equiv. F2.8-11
Video transmission
OcuSync 3.0 (O3), 4 antennas, 12 km, 1080p
OcuSync 2.0, dual antenna, 10 km, 1080p
OcuSync 2.0, dual antenna, 10 km, 1080p
Video resolution
5.4K/30p, 4K/60fps
4K/60p
4K/30p
Video bit-rate
150 Mbps
120 Mbps
100 Mbps
Log video
10-bit D-Log, HDR video (10-bit)
HDR video (8-bit)
10-bit D-Log, HDR video (10-bit)
APAS version (Advanced Pilot Assistance System)
APAS 4.0
APAS 3.0
APAS 1.0
Obstacle avoidance
Forward, Backward, Downward, Upward
Forward, Backward, Downward
Forward, Backward, Downward, Left, and Right
Flight time
31 minutes
34 minutes
31 minutes
Dimensions
180×97×80 mm
180x97x84 mm
214×91×84 mm
Weight
595g
570g
907g
There’s no question the improved camera alone warrants an upgrade. In fact, the Air 2S one-ups the Mavic 2 Pro in an important area. The Mavic 2 Pro could record 4K video using the full width of its sensor, but it did so using pixel binning. As a result, the best 4K footage was obtained by shooting from a native crop of the sensor, which also narrowed the camera’s field of view.
In contrast, the Air 2S captures 5.4K video using the full width of the sensor – with no pixel binning – resulting in more detailed video capture. The upgraded sensor appears to put the Air 2S on par with the prosumer Mavic 2 Pro. Or does it? Let’s take a look at what the Air 2S has to offer and determine if it’s a must-have for hobbyists and professionals alike.
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Aircraft and controller
At 180x97x80 mm folded down, the DJI Air 2S has a frame that’s almost identical to the Mavic Air 2 and can fit in the palm of your hand. What’s noticeably different is that the 2S has obstacle avoidance sensors placed on top of the drone.
The Air 2S (L) and Mavic Air 2 (R) side-by-side. The Air 2S boasts a camera with a larger 1″-type sensor plus upward obstacle avoidance sensors.
In fact, DJI has equipped the Air 2S with four-way obstacle avoidance detection and APAS 4.0 – the latest iteration of an autopilot system that automatically avoids, and will fly around, obstacles it encounters, when recording up to 4K/30p footage. There is also an auxiliary light on the bottom of the aircraft to aid in takeoff and landing during low-light situations.
The Air 2S uses the same remote as the Mavic Air 2.
DJI has opted to use the same remote that powers the Mavic Air 2 and Mini 2. It doesn’t have external antennas, and it can still be a challenge to attach a smartphone. However, it’s comfortable to hold and includes everything you need to operate, including a gimbal wheel plus buttons to instantly start and stop taking photos and video. It’s easy to switch between Cine, Normal, and Sport Modes while the Return to Home feature is instantly accessible.
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Photos and video
The camera on the Air 2S has a 20MP, 1”-type CMOS sensor, mounted on a 3-axis gimbal stabilized with the ‘RockSteady’ EIS system introduced on DJI’s FPV drone. It has a 22mm (equiv.) fixed-aperture F2.8 lens with an 88º FOV.
Until now, getting a 1″-type sensor on a DJI drone required you to purchase a much more expensive model like the Mavic 2 Pro or Phantom 4 series. So the fact that it’s now available on a model costing under $ 1,000 is notable. Where the camera on the Air 2S differs from the Mavic 2 Pro is that the Hasselblad color profile is not included.
The camera on the Air 2S uses a 1″-type CMOS sensor capable of 20MP photos and up to 5.4K/30p video.
Like its predecessor, the Air 2S is powered by the DJI Fly app. The pared down, intuitive menu showcases all the photo modes on the same screen. Single, SmartPhoto, AEB (in brackets of 3 and 5 images), and Burst mode can be easily accessed. The shutter allows up to an 8-second exposure, and together with DJI’s RockSteady EIS, make’s low-light, night time, and motion blur photos possible.
The shutter allows up to an 8-second exposure, and together with DJI’s RockSteady EIS, make’s low-light, night time, and motion blur photos possible.
SmartPhoto mode, which uses computational photography technology similar to smartphones, automatically gives you an ideal image using one of the following methods, depending on lighting conditions:
HDR photos: The camera automatically captures seven different exposures and combines them for greater dynamic image.
Hyperlight: Images taken in low-light conditions tend to be grainy and contain noise. Hyperlight takes multiple photos and merges them for a clearer image.
Scene recognition: This mode allows the drone to recognize five major components of a photo – sunsets, blue skies, grass, snow, and trees. It will analyze these objects and maximize tone, clarity, and colors.
DJI’s RockSteady EIS makes it possible to capture night shots with long exposure and motion blur. ISO 200 | 6 sec | F2.8
The Air 2S allows you to record video at resolutions up to 5.4K/30p, 4K/60p, and 1080p/120p at 150Mbps with either the H.264 or H.265 codec. You can also zoom up to 4X at 4K/30p, 6X at 2.7K/30p, 4X at 2.7K/60p, 6X at 1080p/60p and 8X at 1080p/30p. That’s an upgrade from the Mavic Air 2, which maxed out at 4K/60p and 120 Mbps (which is still impressive in its own right).
This video shows an example of 5K/30p video captured on the Air 2S.
One area where the there’s a big difference between the Air 2S and Mavic Air 2 is support for HDR and Log video. The Mavic Air 2 could capture HDR video but was limited to 8-bit, and it didn’t include a Log gamma profile. In contrast, the Air 2S includes 10-bit D-Log and 10-bit HLG capture in addition to the Normal (8-bit) color profile for video. That’s a substantial upgrade for serious video shooters.
Also, as noted above, the Air 2S captures 5.4K video using the full width of its sensor, with no pixel binning, for detailed video capture. That’s a step up from the Mavic 2 Pro which could record 4K video using the full width of its sensor, but did so using pixel binning. As a result, the best 4K footage on that model was obtained by shooting from a native crop of the sensor, which also narrowed the camera’s field of view.
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The DJI Fly app and flight modes
The Air 2S uses the DJI Fly app, which was first introduced with the Mavic Mini. Unlike the DJI GO 4 app, which is more fully-featured and suitable for prosumer drones, they Fly app was created with newer pilots in mind. It’s easy to navigate and basically every photo and video setting you need is right on the same screen.
When switching out of Auto mode and into Manual, or Pro mode, in this case, the bottom-right-hand corner gives you sliders that allow you to adjust white balance, ISO, shutter speed, and choose JPG or Raw+JPG imagery. Resolution can be adjusted on the video end.
DJI’s Fly app is pared down, simple, intuitive, and easy to navigate.
Three dots on the upper-right-hand corner of the app will allow you go deeper into the main settings. This is where you can select which video color profile you’d like, whether you wish to brake in front of or bypass obstacles, which codec you prefer, and how high an altitude or far a distance you’d prefer the drone to fly.
A new feature called MasterShots has been introduced as a way for pilots to generate professional-grade footage that’s ready to share on social by simply selecting a few parameters, such as proximity and portrait or landscape orientation. DJI has equipped the Air 2S with ActiveTrack 4.0 and Point of Interest 3.0 for increased accuracy in tracking subjects during automated flights. The usual QuickShots, including Dronie, Circle, Helix, Rocket Asteroid and Boomerang are included.
This is an example of a completed MasterShots sequence, complete with title and music, that was automatically edited together using the DJI Fly app.
I tried the MasterShots feature and have mixed feelings about it. Upon launching it, a notification to ‘watch out for obstacles’ immediately appears. The drone then autonomously launches into a series of pre-programmed shots including Dronie, Rocket, and Boomerang along with some other sweeping movements. It’s best to focus on a static object versus a moving one as the Air 2S will lose track of the latter.
I paused the flight two separate times while a MasterShot was in progress because I was afraid it was going to fly into the side of a mountain I was close to, and over moving traffic in another location. Anyone wanting to test out this feature should make sure they’re at a high enough altitude that the drone won’t encounter a tree or building as the Air 2S tends to pitch down at one point during the recording.
I aborted this MasterShots sequence to avoid having the drone fly over a highway with vehicles, but it it illustrates how MasterShots runs the drone through a series of pre-programmed shots.
MasterShots was made with the casual consumer and beginning pilot in mind. Select shots are stitched into a final clip and music is automatically added in for something that can be instantly shareable on social channels from the DJI Fly app. This is not likely to be something a professional with access to Adobe Premiere Pro, Final Cut Pro, or similar software will be interested in using, but they’re also not the market DJI is targeting with this new feature. Finally, it only works in Auto mode which makes for some potentially awkward lighting switches.
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What’s it like to fly?
The first thing anyone will notice when operating the Air 2S is that the drone is incredibly quiet. It’s clear that DJI has updated the electronic speed controllers and continues to create more aerodynamic propellers for a noticeably more pleasant experience. It maneuvers well too. Unfortunately, it doesn’t hold up in moderate to high winds. In low winds, however, it’s steady. RockSteady EIS image stabilization makes low-light imagery especially easy to capture.
What impressed me most was the improved APAS 4.0, the latest version of DJI’s Advanced Pilot Assistance System, which maneuvers the drone above, below, or to the side of an obstacle. With the Mavic Air 2, I felt that APAS was a bit lacking. This version of the technology worked seamlessly. In the example below, it flew above a tree and then to the side, missing every branch. Keep in mind, this feature works on 4K/30p video and below.
This clip shows APAS 4.0, DJI’s Advanced Pilot Assistance System, in action as the drone navigates around the tree. APAS 4.0 is noticeably improved over previous versions.
Overall, everything feels vastly improved and more more reliable. Hyperlapse, especially, looks much cleaner and more stable on a 1″-type sensor coupled with RockSteady EIS. I was impressed with how easy it was to get smooth footage on a mildly windy day.
Hyperlapse sequence captured on the Air 2S.
Odds and ends
Equipped with OcuSync 3.0 (O3) transmission technology, the Air 2S can fly at a distance up to 12 km (7.45 miles) when free of obstacles or interference. Like its predecessor, it supports both 2.4GHz and 5.8GHz frequency bands. The maximum flight time clocks in at 31 minutes in ideal conditions, on par with the Mavic 2 Pro but less than the 34 minutes the Mavic Air 2 offers. It can travel up to 68.4 km/h (42.5 mph) in Sport mode.
The Air 2S supports memory cards up to 256GB and also has 8GB of onboard internal storage should you forget a card or run out of space. Equipped with ADS-B, pilots are warned when manned aircraft are nearby. One feature I appreciated was the fact that the Air 2S automatically returned to home after losing its connection, even as the remote screen remained dark.
The Air 2S Fly More combo includes a set of ND filters that help create better videos and hyperlapses. A simple twist attaches them to the camera.
I would also recommend considering the Fly More combo – particularly since it now includes ND filters, which are very helpful for shooting video and hyperlapses.
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Who’s it for?
DJI has created a top-of-the-line consumer-grade drone with the Air 2S. To have access to a camera with a 1″-type sensor that is capable of capturing 20MP imagery and video up to 5.4K/30p, for under $ 1,000, is truly remarkable. While the camera doesn’t include the vibrant Hasselblad color profile of the Mavic 2 Pro, it still produces decent color. Imagery feels cleaner and crisper compared to past models, overall.
The Mavic 2 Pro (right) is slightly larger and heavier than the Air 2S. It can fly in more turbulent conditions, and at higher altitudes, but costs significantly more as well.
With that context, what does it mean for the Mavic 2 Pro, DJI’s other foldable drone with a 1″-type sensor? Professionals shouldn’t write off the Mavic 2 Pro just yet. Slightly larger, heavier, and sturdier, it can withstand high winds like its larger peer, the Phantom 4 Pro. It also has obstacle avoidance sensors on each side making it more suitable for inspections and other high risk gigs that require maneuvering in tight or treacherous areas. Let’s not forget the adjustable aperture either.
The Air 2S would be a terrific drone for a professional to take to a wedding, for example, particularly with its quieter props. However I wouldn’t dream of taking it with me to shoot around a high rise building, where winds get stronger the higher you ascend, or to a boat race where it would be whipped around. The Air 2S is built for more casual situations.
The Air 2S would be a terrific drone for a professional to take to a wedding, for example, particularly with its quieter props.
With its fixed aperture and user-friendly features, the Air 2S is still targeted more towards everyday consumers and those who want a solid option to get into drone imaging. DJI isn’t going to cannibalize its professional and prosumer lines of drones by allowing it to operate in the same manner. MasterShots and some of the QuickShots features were created for travelers and content creators who want to capture impressive imagery and share it instantly. The Fly app has even been updated to make adding a soundtrack and subtitles easy for anyone.
Final thoughts
The release of the Air 2S is a strong indication that next Mavic Pro (or even Phantom or Inspire) will see significant bumps in features and capabilities. Also, with Remote ID finalized, DJI has a lot of incentive to start rolling out some new models that both hobbyists and professionals have been wanting for the past few years.
I tested DJI’s Fly More combo, which includes two additional batteries plus a set of ND filters, and was thrilled to be able to carry the entire set around in a bag the size of a small purse. I can imagine a professional commercial pilot wanting one of these for fun or impromptu shoots, especially now that it includes a 1″-type sensor. This really is an ideal solution for travel and on-the-go content creation.
What we like
1″-type CMOS censor
5.4K/30p video with 10-bit D-Log and HLG support
Quiet flight
Improved APAS 4.0 performance
Ability to shoot long exposures
What we don’t
Fixed aperture lens
Can be unsteady in windy conditions
1080p recording in Quick and MasterShots modes
Sample gallery
Please do not reproduce any of these images without prior permission (see our copyright page).
The post Weekly Photo Challenge – Green appeared first on Digital Photography School. It was authored by Sime.
Green! That’s our theme this week and, for some, will be really easy! But, as I say pretty much every week, we want you to take a minute and think about the theme and make it a new photo rather than dipping into your Flickr account for the old stuff! (like I’m doing as it’s school holidays and I’m building tree houses and not out making photographs!) (For how to enter your photo, scroll to the bottom of this post)
Make sure you tag your photos #dPSWeeklyChallenge and #dPSGreen on social media.
Here’s an interesting article about GREEN in images, if you’re interested, but mostly, lets just crack on with four examples of green, and then let’s see you make and share yours!
A green leaf?
A green path?
A green car?
All things green I’ve previously spotted on my travels, you can find ‘green’ pretty much anywhere! (I looked up and the only thing green in the room is the Nerf gun my 7yo shot me with earlier… ha!)
What will you find and photograph? Will it be unique?
#dPSWeeklyChallenge #dPSGreen
How do I upload my photo to the comments?
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 favorite photo-sharing site and leave the link to them.
The post Weekly Photo Challenge – Green appeared first on Digital Photography School. It was authored by Sime.
Gimbal manufacturer Gudsen has updated its Moza Slypod electronic monopod, adding a longer extension, faster motion and better battery life. The Moza Slypod Pro is essentially a motor-driven monopod that allows videographers to create smooth slider and jib-style camera movements using automatically extending telescopic tubes.
The Slypod Pro can be controlled via the Moza App to extend the telescopic tubes at a given pace to allow mounted cameras to slide across the scene, towards or away from the subject, or to raise or lower the shooting angle. In this new version the range of movement has been increased, allowing a shift from start to finish of up to 53cm/21in, and the speed at which the camera can be moved has been increased to 40mm per second. A further improvement over the previous models is the 4 hour battery life, which can be supplemented with USB power via an external battery pack.
Made of carbon fiber, to keep the weight down, at 1460g it is still heavier than the previous Slypod and Slypod E due to the extra extension, and probably the bigger battery. It can support kit of up to 2kg for horizontal movement and 6kg when being asked to move vertically.
The Slypod can be linked to the Moza Aircross 2 gimbal to allow both devices to be controlled from the same app when the gimbal is mounted on the Slypod, allowing the camera to move in many more directions at the same time.
The Slypod Pro stores at 650mm and extends to a maximum of 1180mm, and comes with an Arca Swiss type mount instead of the Manfrotto mount used on the original Slypod and the E version. The company is launching the Pro version via a Kickstarter campaign that exceeded its very modest funding goal almost immediately. The campaign is offering the Slypod Pro for $ 459, with an estimated shipping date of May 2021. For more information see the Moza Slypod Kickstarter campaign page or the Gudsen Moza website.
Press release
MOZA Announces Launch of Slypod Pro – World’s First Electronically Adjustable Monopod
Imaging solutions experts MOZA, just announced the launch of Slypod Pro – an innovative electronically adjustable monopod for phone and camera photography. This impressive new monopod combines an electric slider & jib arm that lets users capture amazing photos at any angle and with smooth transition effects. Now, there is an affordable way for anyone to achieve professional results easier than ever. Slypod Pro is available now live on Kickstarter. https://www.kickstarter.com/projects/mozaslypodpro/moza-slypod-pro-do-wonders
This impressive new device is more than just a monopod. It’s a 3-in-1 monopod that combines an electronic slider & fully adjustable jib arm that lets users capture amazing photos at any angle and with smooth transition effects. As the world’s first electronic height adjustable monopod, Slypod Pro can be controlled with just one hand. Its motorized slider is internally geared and silky smooth, and extends out 530mm for a total length of 1460mm. It provides rock-steady support for perfectly smooth motion shots and compelling video.
With Slypod Pro, there are no more lost moments. The slider and jib arm can be placed at any angle and camera position. Previously impossible angles become easy to achieve for photos that come to life from new creative perspectives. Users can find the perfect shot by extending the slider in and out for compelling video and high camera angles.
Slypod Pro Redefines motion control when combined with the MOZA Master App other MOZA’s products such as the MOZA AirCross 2 gimbal to capture dynamic motion footage, and seamless cinematic shots with perfect stability.
“Collapsible monopods are a great option when it’s impractical to carry a bulky tripod. Combined with extensions and jib arms, they allow users to capture stable images at a variety of camera angles. At MOZA, our goal with Slypod Pro was to create the ultimate monopod, one that combines the smoothness of an electronic slider with a versatile jib arm for greater control and creativity. Fully electronic, Slypod can be operated with just one hand, or remotely by app. It gives users the features normally found in high-end photography gear, in a compact, portable and affordable option. Slypod Pro redefines the monopod so that you save time, streamline the photo process, and never, ever miss a shot.” Terry Guan, Founder Of MOZA
Sometimes the best photos happen without being behind the camera so the included MOZA Master APP works with smartphone to enable total control of the monopod to operate the motorized slider, perform precise movements at variable speeds and pre-program movements so users can concentrate on creativity instead of setup.
This full-featured monopod is durable and strong but made for portability. With a rigid carbon fiber body, and tri-legged support stand, it works on any surface. When it’s time to leave the studio and capture location shots, or during travel, the monopod collapses to a compact size that is lightweight, easy to carry and fits in a backpack.
SlyPod Pro supports most of the mainstream entry-level or pro-level photo and video cameras and other camera accessories for versatility and professional results and is available now on Kickstarter with special pricing for early adopters. To learn more visit the campaign here: https://www.kickstarter.com/projects/mozaslypodpro/moza-slypod-pro-do-wonders
Note/disclaimer: Remember to do your research with any crowdfunding project before backing it. Pledges to crowdfunding campaigns are not pre-orders. DPReview does not have a relationship with this, or any such campaign, and we publicize only projects that appear legitimate, and which we consider will be of genuine interest to our readers. You can read more about the safeguards Kickstarter has in place on its ‘Trust & Safety’ page.
The post Canon EOS R3: Eye-Control AF, 30 FPS, a BSI Sensor, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon has introduced the EOS R3, a full-frame, mirrorless “high-performance professional camera,” designed for sports and action photographers.
As Canon explains, “The camera will put great emphasis on superb AF performance and speed,” and will lie “squarely between the EOS R5 and EOS-1D X Mark III cameras.”
In other words, while the EOS R3 will be Canon’s most powerful mirrorless model to date, don’t expect it to outcompete the EOS 1D X Mark III in every way. The EOS R3 won’t be a mirrorless 1D X replacement, and it likely isn’t a high-resolution action camera, either.
That said, the EOS R3 sounds pretty darn impressive. Here’s everything we know about this upcoming mirrorless powerhouse:
Canon EOS R3 specs
The EOS R3 will feature Canon’s own back-illuminated sensor. BSI technology packs key circuitry behind the sensor – rather than in front – to further expose photodiodes to light. This makes for enhanced high-ISO performance, and it also delivers superior dynamic range, a feature appreciated by photographers of all stripes.
The EOS R3 boasts a whopping 30 frames-per-second continuous shooting speed (using the electronic shutter, that is; Canon hasn’t released any information on continuous shooting via the mechanical shutter). And while many action photographers have resisted mirrorless technology, in part due to slow electronic shutter read-out speeds, Canon has made significant strides toward eliminating the problem; the company claims the R3 “provid[es] substantially faster read-out speeds during still-imaging recording,” and that the camera “is designed to produce less ‘rolling shutter’ distortion during electronic shutter operation.”
As for the AF system itself, brace yourself. The EOS R3 packs technology from the Canon EOS R5 and R6, both of which deliver lightning-fast AF performance. And the EOS R3 offers “even better performance during portrait and action-type shooting” thanks to Canon’s Deep Learning technology. If you’re a sports photographer, wildlife photographer, or photojournalist, the EOS R3 may soon be the camera to beat – even if Canon officially ranks it below the 1D X Mark III.
Build quality is on par with the 1D X Mark III series, and like the 1D X cameras, the EOS R3’s design sports an integrated vertical grip:
Last but certainly not least, the Canon EOS R3 will debut a never-before-seen mirrorless feature: Eye-Control AF, which promises to set focus basedon where your eye is looking.
Canon writes:
The electronic viewfinder of the EOS R3 will offer photographers the ability to select the initial area for AF tracking by simply looking directly at the viewfinder location where they want to begin AF. With Eye-Control AF and Servo AF activated, the camera will focus on and track moving subjects at that location in the frame.
Of course, we don’t yet know how well Eye-Control AF will work. Canon has implemented a similar feature in the past, with mixed results. But given Canon’s recent autofocus successes, I’m cautiously optimistic that Canon can offer a pro-level Eye-Control AF this time around.
Canon EOS R3 release date and price
The EOS R3 is still under development and has no official release date. The R3’s sports-focused marketing does hint at a pre-Olympics (i.e., June or early July) introduction, however.
The EOS R3’s price is also a mystery, though the camera’s position between the $ 3900 USD EOS R5 and the $ 6500 USD 1D X Mark III suggests a $ 4500 to $ 5500 price tag.
Final words
While we’re still missing plenty of information on the EOS R3, new tidbits will likely leak in the coming weeks and months.
So make sure to keep an eye out for the latest R3 news.
Now over to you:
What do you think of the Canon EOS R3? Are you impressed? Excited? Disappointed? How much do you think the camera will cost? Share your thoughts in the comments below!
The post Canon EOS R3: Eye-Control AF, 30 FPS, a BSI Sensor, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post 15 Mountain Landscape Photography Tips for Stunning Images appeared first on Digital Photography School. It was authored by John McIntire.
Of all of the undertakings you can make with your camera, mountain landscape photography can be one of the most rewarding. Apart from the fact that mountains are straight-up beautiful, their imposing nature makes them a great landscape photography element.
This article will give you 15 quick tips – so you get better results the next time you go chasing after mountains.
1. Fill the frame
Mountains, by nature, are huge. You don’t have to get the entire thing in the frame. It’s just as acceptable to fill the frame with a certain element that draws your attention. This will make the mountain the background in your images.
Yes, it can be tempting to try and get a huge vista in the frame. But if you take a moment to look for smaller details that could make an interesting photo, you might find something unexpected.
Although the entirety of the mountain isn’t in the frame, it is still clear that the background is a mountain, and the tight crop gives a clue to just how big it is. Canon 5D Mark III | Canon EF 70-200mm f/4L IS USM | 200mm | f/5.6 | 1/2000s | ISO 200
2. Use reflections when possible
Using reflections in your compositions is a great way to show off mountains. Canon 7D | Canon EF 35mm f/2 | 35mm | f/16 | 1/50s | ISO 100
If the mountains you are photographing are near a body of water, you already have a ton of visual interest to use in your foregrounds.
If you can, wait until the water is still. Then you can use the reflections of the mountains in your composition. This may be personal taste, but it is always a winning combination in my book.
3. Show scale with smaller elements
This tiny village near the top of a mountain in Spain shows just how enormous the landscape is. Canon 7D | Canon EF 35mm f/2 | f/11 | 1/60s | ISO 100
Again, mountains tend to be huge, but when you shoot with an ultra-wide-angle lens, you wind up pushing the perspective back. And this makes it difficult to give your viewers a true sense of just how large things are within your frame.
You can combat this by including an element that shows the scale of things in the scene. Buildings, people, and animals all work well.
4. Include people in the landscape
As with the previous point, putting people in your mountain landscape photography can convey just how big the mountains are.
It does more than that, however. Because with the inclusion of a human element, you are adding something that your viewers can relate to.
5. Try a panorama
Stitching several images together into a panorama is a great way to ensure that you capture the entire scene. Canon 7D | Canon EF 35mm f/2 | f/16 | 0.4s | ISO 100
When you are photographing mountains, don’t be afraid to take a sequence of shots that you can stitch together as a panorama.
Mountain ranges tend to suit the panorama format especially well because there is just so much to see!
6. Fill your foreground
This may be standard landscape photography advice, but it still applies when shooting mountains. If you’re using a wide-angle lens, you will have plenty of space in your foreground – and you’ll need to fill it with something interesting.
So pick a foreground subject and get up close to it. This could be flowers, an interesting rock formation, or something simple like a sign.
Then take a shot that combines the interesting foreground and a beautiful mountain background, like this:
Having lots of visual interest in the foreground of your images can help your viewers stay engaged. Canon 7D | Sigma EF 10-20mm f/3.5 | 10mm | f/11 | 1/60s | ISO 100
7. Include a human element
Not all mountains are wild places. Including signs of human habitation can be a good way to capture something interesting. Canon 5D Mark III | Canon EF 70-200mm f/4L IS USM | 169mm | f/11 | 1/60s | ISO 100
By human element, I don’t mean people. Instead, I advise you to find something human-made that will show your viewers how the people that live nearby incorporate the mountain into their lives.
On their own, mountains are impressive. But as part of our world, they are also part of our lives. If you can show this in your images, you might be able to convey an interesting narrative.
8. Use a different focal point
In mountain landscape photography, the mountain doesn’t need to be the focal point of your image. Even in this case, where there’s a mountain, a glacier, and a volcano! Canon 7D | Canon EF 35mm f/2 | 35mm | f/11 | 0.5s | ISO 100
In your mountain landscape photography, the mountain does not need to be the focal point of your image. Instead, you can find a different focal point and use the mountain as environmental information.
Of course, you can still take a photograph of the sweeping vista. But once that is done, look smaller – and see if there are other subjects to be found in the scene.
9. Use your GND filters
Graduated neutral density filters are a great way to control your exposures. Canon 7D | Sigma EF 10-20mm f/3.5 | 10mm | f/16 | 0.3s | ISO 100
To help you get good exposures while in the field, don’t forget to pack your graduated neutral density filters. These will allow you to even out your exposures at the time of capture, making it easier to process your images when you get back home.
10. Wait for the light
Here, I waited from 4 AM to 8 AM for the fog to break. If you can, always, always try to wait out the weather. Canon 7D | Sigma EF 10-20mm f/3.5 | 11mm | f/16 | 0.5s | ISO 100
This tip cannot be understated. If you want the best-looking mountain landscape photography images that you can produce, wait for the light to be at its best. If you get on location early and find the composition that you want, don’t be afraid to stay until the light shifts – even if it takes a couple of hours.
Yes, I know it can seem boring, and it’s hard to justify the effort, but please, trust me. It is very much worth the time and effort.
11. Use longer lenses
When you are packing for your trip into the mountains, don’t forget to take your longer lenses with you. Standard-length primes can be great for panoramas, but telephoto lenses can help you pick out smaller details in your scenes.
In other words:
There is a lot of room in landscape photography for lenses aside from the wide angles that dominate the genre.
12. Plan for the light
With the technology available to us, it’s easier than ever to know exactly which direction the light is going to come from on any given day of the year.
So once you know when and where you are going, do your research and figure out where the sun is going to rise or set. Then plan your shots based on that.
13. Plan for the weather
Like planning for the light, it’s also a good idea to plan for the weather. Knowing the weather will help you determine if you need to pack any extra gear like rain covers and waterproof clothing.
Of course, it’s also in the best interest of personal safety to have an idea of when snow or rain might appear. This is even more important if you intend to be on the mountain, especially after golden hour.
14. Don’t avoid bad weather
After an entire day of low visibility, the fog broke for a total of five minutes, just long enough for a shot. Don’t avoid bad weather, even if you ultimately fail to get a photo. Canon 7D | Sigma EF 10-20mm f/3.5 | 20mm | f/16 | 1/30s | ISO 100
While planning for bad weather is good, you don’t always need to stay indoors. Many times, the most interesting photos will come in the worst weather.
In fact, some of the best light I have ever seen has been during a break in a storm; these breaks allow just enough light to make things look like a fairytale.
And if you lock yourself away when the weather is bad, you’ll never get to experience such moments.
15. Be safe
Above all, strive for safety. Mountain landscape photography can be incredibly rewarding, but don’t risk your personal well-being for a great shot.
Watch where you’re going, take weather-appropriate clothing, be aware of the forecast, and tell somebody where you are going to be. And if you’re going to stay out until after blue hour, make sure you know exactly how to get back.
Mountain landscape photography: the end
I hope this article has inspired you to get out and create your own mountain landscape photography.
The next time you’re out shooting mountains, remember these tips – and have fun!
Have you photographed mountains before? Do you have any tips of your own? Share them in the comments below!
What type of lens is best for mountain landscape photography?
All lenses have their uses. Wide-angle lenses are the most popular, but standard and telephoto lenses can work, too.
What’s the best time of day to photograph mountains?
It entirely depends on where the light is hitting the mountain. The golden hours are best as long as the sun isn’t behind your mountain.
How do you show how big a mountain is in a photograph?
You include an element that is easy for the viewer to identify, such as a person. This will give your images a sense of scale.
Why do the mountains in my photographs look so far away?
Wide-angle lenses distort perspective, and this can push everything back in the frame. Use a standard focal length (35mm to 50mm) for a perspective close to the human eye’s. To include more in the frame, consider shooting in a panoramic format.
The post 15 Mountain Landscape Photography Tips for Stunning Images appeared first on Digital Photography School. It was authored by John McIntire.
The post Affinity Photo vs Photoshop: Which Photo Editor Is Best in 2021? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Which is the better photo editor, Affinity Photo vs Photoshop CC?
Adobe Photoshop was released in 1988 and has become the most widely used digital image editing tool in the world. The program is so popular that its name has become a verb – and Photoshop is now the de facto standard for industry-leading professionals and amateurs alike.
Photoshop has also spawned a host of competitors, including Affinity Photo, a worthy alternative for anyone who wants a full-featured image editor without the expense of Photoshop. But is Affinity Photo now the superior choice? Or are you better off sticking with Adobe’s classic program?
In this article, I’m going to compare Photoshop and Affinity Photo. I’m going to give you the benefits and drawbacks of each program – and you’ll leave knowing which program is right for you.
Affinity Photo vs. Photoshop: overview
When considering Affinity Photo and Photoshop, it’s important to remember that there is no one single correct program for everyone. Both are highly capable photo editors, and either one will serve the needs of most photographers. They each have advantages and drawbacks, as well as very different pricing models, and both work well for many photographers.
So try not to think of this as a binary choice or even a competition. It’s not about which program is better, but which program suits your needs.
Before getting into the weeds of how these programs are different, it’s a good idea to take a look at how they are alike. This helps establish a sense of common ground, or perhaps a starting point, that will make the differences stand out.
Both Affinity Photo and Photoshop offer a layer-based workflow, meaning all edits are non-destructive and can be combined with other edits. Both include RAW converters, which allow you to open and manipulate the lossless file formats used by amateur and professional photographers around the world.
Affinity Photo opens RAW files and lets you manipulate the same properties and parameters as Adobe Camera RAW, the RAW editor used by Photoshop.
Affinity Photo and Photoshop both feature a dizzying array of tools to let you edit images any way you want. You can create detailed selections, use complex layer masking, warp and transform parts of your images, use dozens of filters and adjustments, go back to earlier edits with a history panel, insert and manipulate text…the list goes on.
Comparing the two programs, then, becomes less about looking at a bulleted list of features and more about value. Affinity is significantly cheaper with a one-time price of $ 50 USD. Adobe Photoshop is much more expensive and is available only as part of a Creative Cloud subscription, the cheapest of which is about $ 120/year. And while you certainly get a lot for that yearly fee, Affinity Photo is no slouch.
Photoshop is available as part of the Adobe CC Photography plan or for a standalone subscription. You can also find it bundled with other, more expensive plans, as well.
Affinity Photo doesn’t have the sheer quantity of features that Photoshop offers, but many of the tools in Photoshop aren’t used by a lot of amateur and semi-professional photographers, so it might not matter to you. For instance, Photoshop has tools for manipulating 3D objects and video, but if you just want to edit static 2D images, that probably isn’t important. Photoshop is also updated more frequently and has some interesting AI-based tools to alter faces and other image elements, but for some people, these aren’t worth the yearly fee.
User interface
Both programs follow a similar design language: tools on the left, options for customizing the selected tool on top, editing panels on the right, and a huge space in the middle of the screen for working on an image. Their tools share many core functions, as well. Both have tools for cropping, brushing, making selections, fixing blemishes, working with text and objects, and more.
The editing interface in Photoshop (shown here) is similar to the interface in Affinity Photo. They’re not identical, but they’re similar enough that if you’re familiar with one program, you can probably use the other.
The interface is not altogether dissimilar from Lightroom, Luminar, and other photography software. If you are new to Affinity Photo or Adobe Photoshop, it won’t take you long to figure out how to edit and where to find the tools and adjustments you need.
Adobe has a key advantage in terms of user interface design because it has built up so many tools and options over the years. But this is also its Achilles’ Heel and can be seen as a disadvantage, as well. Photoshop’s ever-expanding repertoire has resulted in a program with a staggering learning curve, and even simple options like changing the white balance on an image or refining a selection can lead to inordinate amounts of head-scratching and online searching.
Photoshop contains visual tooltips to help new users acclimate themselves to the buttons and options.
This has put Adobe in a bit of a tough spot – one that makes Affinity Photo seem quite attractive by comparison. Adobe must walk a fine line between catering to its professional customers, many of whom have been using Photoshop for years, and catering to new customers who find the growing feature set to be complicated and frustrating. Welcome screens, popups, tooltips, and other helpful hints stem the tide of confusion – but while these do help, it can still be difficult to locate the options you need to get your work done.
By contrast, the simplified nature of Affinity Photo seems downright pedestrian but remains quite powerful. Tools on the left are bright and colorful, and the adjustment panels on the right are a bit more streamlined for common use-case scenarios.
For example, adjusting the white balance is as simple as clicking the White Balance option and adjusting some sliders. In Photoshop there isn’t a White Balance option; you have to apply a Curves adjustment layer or use a filter to achieve the same effect.
Affinity Photo includes familiar adjustments like White Balance that are more complicated to implement in Photoshop.
This theme is prevalent throughout any comparison of Affinity Photo vs. Adobe Photoshop. Affinity Photo has a fresh, modern take on the interface elements that Photoshop invented. If you prefer a cleaner, simpler layout, then Affinity Photo might be the best option for you, but if you crave raw power and a slew of options, you might be better off with Photoshop.
It is worth noting that Affinity Photo also has a few tricks up its sleeve that Photoshop can’t yet match. Namely, speed: Adobe Photoshop is built on decades-old legacy code that makes some simple operations confoundingly slow. Tools like Liquify and even simple transformations are much snappier in Affinity Photo, and while Photoshop has made some great strides in recent years, there’s no denying that aspects of the program still feel slow and outdated.
Workflow tools
While both Affinity Photo and Adobe Photoshop have a huge number of editing tools, each program is at its best when you learn to use those tools to accomplish your work with minimal effort. Photoshop has a bit of an edge here if you want to make complicated, in-depth edits, but Affinity Photo is no slouch either.
For example, most of the items in Photoshop’s toolbar have sub-options with different variations on the same tool. There are three selection tools: Marquee, Lasso, and the Magic Wand. And each of those has its own subset of tools.
The tools in Photoshop are more comprehensive and contain a greater number of options and customizations compared to Affinity Photo.
From a workflow perspective, this bevy of options can be invaluable. You can get in, make your selections, and get on with your editing. And in that regard, Photoshop gets the nod over Affinity Photo. Once you learn all the options at your disposal and get familiar with the myriad keyboard shortcuts, Photoshop can dramatically cut your editing time. But getting to that point can take a lot of learning and a lot of patience, so some might prefer the relative simplicity – and fewer options – of Affinity Photo.
Both programs have all the standard adjustments you would expect: Brightness/Contrast, Exposure, Invert, and many others. These are applied using layers, and the layers can be blended using virtually the same sets of blend modes, including Darken, Multiply, Color Burn, Difference, Exclusion, Subtract, and so on. Layers can be moved up and down and combined in both programs, and both give you access to dozens of effects that can be applied, as well.
The Layer Effects panel in Photoshop contains many options for enhancing and editing your images, and it lets you customize the blend modes, as well.
The Layer Effects panel in Affinity Photo is similar but lacks the depth that Photoshop offers. Still, it should suffice for most people.
If you are thinking of transitioning away from Photoshop, there is one important thing to note:
While Affinity Photo does replicate many of the common keystrokes and shortcuts used in Photoshop, they’re not 1:1. You might find yourself pressing familiar keys and using shortcut commands out of habit only to realize that nothing happens, or worse, something happens that you didn’t intend. It can make the transition a bit rocky but might be worth it if it saves you time or money in the long run.
Compatibility
When you work with image editors, compatibility can be an issue. Photoshop’s PSD file format is the gold standard – but not necessarily because it’s the best, and certainly not because it’s the most efficient in terms of file size. Rather, after more than 30 years in this business, Photoshop’s PSDs have simply become the most widely used. PSD files are nondestructive, meaning they contain all the layers, history steps, adjustments, effects, and other elements of an image as it’s being edited.
Affinity Photo has a similar non-destructive file format, AFPHOTO. But as you might expect, it is not well known; it’s simply too new compared to the PSD format. While Affinity Photo can open PSD files and also export its own files in PSD format, Adobe Photoshop can’t do anything with AFPHOTO files. This can end up becoming a time-consuming hassle if you use Affinity Photo but find yourself collaborating or sharing files with Adobe Photoshop users (or vice versa).
Affinity Photo can export images in AFPHOTO (as well as nearly a dozen other formats). But Photoshop won’t open Affinity Photo documents and likely never will. Adobe has almost no incentive to do so.
It’s currently Adobe’s playground, and we have to play by their rules for the time being. Adobe doesn’t need to spend time and money making Photoshop compatible with Affinity Photo files, but Affinity needs to work with PSD files if it is to be relevant in the image-editing space. The old saying, “If you can’t beat ’em, join ’em” comes to mind.
So if you go with Affinity Photo because you like the price or appreciate its tools and features, just know your documents won’t always play nice with Photoshop.
Support
Learning any new tool takes time and effort, and this is doubly true for image editors. There are so many options and features in both Affinity Photo and Photoshop; it’s enough to make you want to give up and go with the one-click simplicity of a program like Luminar. Especially if you’re new to digital photography.
Just imagine trying to explain these Photoshop brush options to someone who has never used the program before.
When considering Affinity Photo vs. Photoshop, it’s important to take this into account and make sure you have access to the knowledge and training you need to get your editing done. While Photoshop has too many features to count, it also has over three decades of support behind it. The internet is jam-packed with every kind of Photoshop tutorial you can imagine: websites, forums, social media groups, YouTube tutorials, podcasts, classes, lectures, and Adobe’s own help files and rich knowledge base.
What’s more, since so many people use Photoshop, it’s not hard to find someone who can help you. Most friends, coworkers, and even casual acquaintances who use Photoshop will be happy to show you a few tricks or help you learn how to use the program.
I knew Photoshop could do a simple border with rounded corners, but I didn’t know the exact steps. A quick video call with my cousin, who uses Photoshop professionally, got me all the information I needed.
This is hardly the case with Affinity Photo. Affinity has its own set of video tutorials, as well as sample images you can import and experiment with to learn the basics. But while these are a good place to start, they’re just not at the same level as what you’ll find in Photoshop.
Tutorials will improve as more people use Affinity. But until then, you might find yourself frustrated when you can’t figure out more advanced features and aren’t able to find the help you need.
Editing and the cloud
As photo editing moves away from the desktop and into the cloud, it’s important that your tools can keep up with your workflow (and that you can adapt them as needed). Many photographers today want to edit images on tablets or even phones and have their pictures available whenever and wherever they want.
Thankfully, both Affinity Photo and Adobe Photoshop are up to the task, but they approach it in different ways.
Affinity Photo has an iPad app, available for a very reasonable fee, that mimics most of the functionality of the desktop version. It can’t do things like batch export, but it reads AFPHOTO files, and edits on the iPad are also available on the desktop version.
However, Affinity does not have a cloud-based infrastructure to support file syncing and storage. This means you have to transfer your images manually or sync them to a service like iCloud – then you must make sure all your files are properly synced again after you edit, lest you lose some of your changes.
Photoshop handles this differently, and it’s all due to the subscription fee you pay to use the program. Since every Photoshop plan comes with some degree of cloud storage from Adobe, it’s possible to have a cloud-based workflow where everything is stored remotely. This means you can load all your PSD files and other assets into your Adobe Creative Cloud storage, edit your images on desktop or mobile, and everything is automatically synced in real time.
Adobe gives you the option of storing files in the cloud; this is part of your Photoshop subscription.
Neither one of these approaches is necessarily better, but it’s important to determine which you prefer. Affinity Photo’s one-time pricing structure means it can’t support the ongoing costs of cloud servers for its customers. But if you already pay for cloud storage through another platform, then you might prefer Affinity’s approach.
On the other hand, Photoshop’s method is great for a lot of people, especially those who want a cloud-based workflow.
Affinity vs Photoshop: Which editing program is right for you?
At some point, you have to stop reading and just make a decision. There are definitely some good reasons to go with Affinity Photo, and there are some advantages to Photoshop. Here’s my advice if you’re on the fence and not sure which one is right for you:
Get Affinity Photo if you want an inexpensive, full-featured photo-editing program. While it doesn’t have decades of history in the photography community, it has an extensive list of features and workflow tools to suit the needs of almost anyone. Certainly, it’ll handle everything a casual or hobbyist photographer requires, and if you aren’t actively earning money with your images, then a one-time fee of $ 50 makes Affinity the better choice.
You can create some amazing artwork in Affinity Photo. And if you need inspiration, you can download sample images like this one (which are designed to help you learn the program).
Subscribe to Photoshop if you want a mile-wide set of features developed over several decades, as well as an endless supply of websites, articles, videos, books, and entire courses to help you learn how to use them. There are also many plugins you can get to extend the functionality of the core application; that way, you can tailor Photoshop’s capabilities to your needs. In terms of sheer product ecosystem, Photoshop is the clear winner.
While some have accused Adobe of resting on their laurels now that they have a steady stream of subscription income, that’s not really a fair criticism when it comes to their flagship product, Photoshop. Photoshop continues to add new options for demanding professionals while making the onboarding process easier for beginners. Adobe has also been incorporating artificial intelligence tricks such as allowing you to age (or de-age) human faces, alter smiles, and even change the direction that people are looking.
Adobe’s AI-based Neural Filters let you apply all sorts of strange, interesting adjustments such as changing expressions, smoothing skin, and aging (or de-aging) people.
The heart of the Affinity vs. Photoshop debate comes down to a simple question: What do you want to do to your photos? By identifying your needs first and then looking for a solution, you can be sure that the program you choose will more closely align with your requirements. It might be Affinity, it might be Photoshop, or it could even be something else.
Both Affinity Photo and Adobe Photoshop have free trials, and I recommend going that route before spending any money or getting too invested in one particular application. Download both products, try them, and see what you think. Then you can decide the Affinity Photo vs. Photoshop question for yourself.
Now over to you:
Have youused Affinity Photo and Photoshop? Which program did you prefer? Share your thoughts in the comments below!
The post Affinity Photo vs Photoshop: Which Photo Editor Is Best in 2021? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
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The post Triangle Composition in Photography: A Quick Guide (Plus Tips) appeared first on Digital Photography School. It was authored by Megan Kennedy.
Speaking about triangle composition, artist Wassily Kandinsky once said, “The impact of the acute angle of a triangle on a circle produces an effect no less powerful than the finger of God touching the finger of Adam in Michelangelo.”
Recognizing the momentum within a triangular shape, painters have regularly capitalized on the visual drama of triangular structures. But painters aren’t the only ones to utilize triangles; photographers have also made extensive use of the shape to add impact, lead the eye, and emphasize spirited angles unfolding within the photographic frame.
In this article, we’ll take a look at the dynamics of triangles in photographic composition.
What is triangle composition in photography?
Triangle composition relies on the use of triangular shapes or concepts to create a better image.
Triangles can be found everywhere. Signs, architecture, geography, sailboats, food, arrows, aviation, wallpaper, optical illusions (see the Penrose triangle); the list goes on!
Why are triangles useful?
Triangles are useful in composition for many reasons. Perhaps one of the most obvious selling points of triangles is their striking versatility.
For instance, triangles can represent direction and orientation; they can signal stasis or momentum. A triangle that recedes into the horizon creates the impression of perspective and depth. Off-kilter triangles paired with vivid colors create impactful shapes that express energy and dynamism. And depending on whether a triangle is facing left or right, it can represent progress, forward motion, or backtracking (just think of the symbols on a TV remote!).
Triangles in composition can also create order in chaos. That’s why triangles can be helpful in planning a photograph or figuring out why an image works the way it does.
Over time, artists have developed different compositional concepts to help create appealing imagery. The golden triangle is a visualization that divides the frame into four triangles, like this:
The golden triangle suggests one of three approaches:
Fill one of the triangles with a main subject.
Align some diagonal subject matter with at least one of the diagonal golden triangle lines.
Line up a significant point in the composition with a point of intersection.
Canon 5D Mark IV | Canon EF 50mm f/1.8 II with extension tubes | f/2.5 | 1/50s | ISO 100
Triangles found in both the natural and modern landscape can visually unite or disrupt a photograph.
And by incorporating triangles or the golden triangle overlay into a photographic composition, you can control the energy and focus of an image.
Common triangle types
There are several types of triangles you should know:
Self-contained triangles can be found throughout the natural and urban environment. These distinct shapes can command attention and often serve as a key component or structural element within a photograph.
(Interestingly, some triangles do extend beyond the frame, thus becoming more indirect triangular compositions.)
Other triangular formats include triangles with rounded edges, which deliver a softened visual effect.
Triangular patterns found in nature. Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/5 | 1/160s | ISO 100
Implied triangles are more subtle arrangements of subject matter that can generate the impression of a triangle composition. Implied triangles aren’t a single specific triangular subject. Instead, they borrow from different elements in an image to form a triangle-like arrangement.
Implied triangles formed from points of light. Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/4 | 1/100s | ISO 250
The type and behavior of triangles can significantly impact a photograph.
To create stability or instability within an image, triangles can teeter on a point or rest firmly on a vertical line. Symmetrical triangles can signal equilibrium whereas asymmetrical triangles can represent an object to overcome or act as a symbol of intensification.
A triangle pointing at the sky can represent the peak of a goal or journey toward success. A triangle pointing at the ground can represent direction, a downfall, or a lessening of intensity.
Other triangles can point to specific subjects or even represent the main subject.
Tips for working with triangles
Triangles are intriguing shapes, and working with them doesn’t have to be hard.
Here are a few tips for creating beautiful triangle compositions in photography:
1. Use variety
Triangles come in many shapes and forms. To add variety to your photos, include different triangle sizes, types, and orientations (this will also help you develop an eye for the shape).
Triangles can disrupt patterns and direct the viewer. Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/8 | 1/125s | ISO 100
2. Try the golden triangle rule
As I explained earlier, the golden triangle is a visual device used to help create harmonious compositions.
While the golden triangle takes practice to visualize (see the overlay displayed above), it encourages you to make the most of the available subject matter. The rule also draws attention to areas in a composition that might otherwise be ignored.
3. Rules can be broken
Although triangle composition is an engaging approach to photography, compositional rules can be bent and broken.
The golden triangle serves as a guide or exercise rather than a definitive rule – and can therefore be manipulated or ignored.
And using triangular subject matter in a composition is pretty flexible. For example, rounded points or points that extend off the edge of the photograph can still suggest engaging and cohesive triangle-based compositions.
Triangle composition in photography: final thoughts
Over the centuries, triangles and triangle composition have come to represent strength, vitality, energy, and momentum.
By incorporating triangles (and the golden triangle rule) into your compositions, you can create dynamic, eye-catching photos.
So the next time you’re out with your camera, look for triangles – and create some powerful compositions!
Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/9 | 1/250s | ISO 100
Triangle composition FAQ
What is triangle composition?
Triangle composition is either the incorporation of triangular shapes into photographic work or adherence to the golden triangle compositional rule.
What is the golden triangle?
The golden triangle is a compositional device. By mentally dividing an image into triangular sections, you can arrange elements to create beautiful compositions.
Where can I photograph triangles?
Triangles make up our world in many ways. Triangles can be found in the urban landscape as well as the natural environment. Once you start looking, you’ll find plenty of opportunities to photograph triangles.
How can I use triangle composition?
There are several ways to incorporate triangular compositions into a photograph. The most obvious ways involve photographing triangular shapes themselves and using the golden triangle rule to guide your compositions. You can also use implied triangles to loosely organize subjects in a triangular format.
The post Triangle Composition in Photography: A Quick Guide (Plus Tips) appeared first on Digital Photography School. It was authored by Megan Kennedy.
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