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How to do Photography of a Funeral Tastefully and with Respect
For most of us, most of the time, photography is a fun and joyful activity, where we get to do something we enjoy and share it with others. Indeed, all the time and all over the world, professional photographers are asked to immortalize the happiest times of people’s lives: beginnings of families and lives, important rituals, celebrated accomplishments. Having someone ask you to photograph a funeral is obviously very different – on many levels.

Note: All the images in this article have been approved for use here by the families. No images have been used without written permission for this sensitive subject matter.

Photography of a funeral

Although a funeral may not seem like the kind of event people would seek to remember, it often is. After all, it’s an important ritual, a celebration of a life, and a gathering of people who may not know each other well but who are united in their mourning. In my experience, many people find it important to have their loved one’s funeral documented, even though it’s a photography service that isn’t advertised or discussed as much or in the same way as most others.

To some extent, preparing to photograph a funeral differs little from any other photography job. There are obviously some unique considerations, though, and in this article, I’ll go through both the similarities and the important differences.

Remember, don’t photograph a funeral as your first photography job – or even your second. It’s something that calls for a professional and calm attitude, a lot of experience, and high-quality work.

Before the funeral

The funeral is a very important event to the person asking you to photograph it. However, funeral photography isn’t discussed as much as other kinds, there are no magazines or fairs about it, and there’s little sharing in social media. So good communication with the customer is even more important than usual. Remember that the person you’re dealing with may not be able to express exactly what they want and that they will naturally be stressed and upset.

Note: If you can, taking some photos before the mourners enter the venue is a good idea. Always ask before entering, though.

The most important things you need to find out before the ceremony are:
- When and where will the ceremony take place? If possible, visit the place beforehand to familiarize yourself with the venue and the lighting situation.
- What kind of ceremony is it? If it’s one that’s unfamiliar to you, make sure you learn all you can about it.
- Which photographs are particularly important to the customer? For instance, someone might want you to focus on the sermon, the eulogy, the mourners, or the religious details.
- What kind of relation does the customer have to the deceased?
On the day of the funeral, wear something dark and shoes that will let you move around without causing a disturbance. Naturally, be sure to be at the venue on time, greet your customer and offer your condolences.

The ceremony

The biggest challenge when photographing a funeral is finding the right balance between getting beautiful photos and not disturbing the ceremony. Make sure to be quiet and to avoid blocking the mourners’ view, but remember that you have been paid to capture the event. They’ve asked you to help family and friends remember a momentous day and the life of a loved one.

The photos you need to make sure to capture depend on the kind of ceremony in question, so these are very general points:
- Mourners paying their respects.
- The essential parts of the religious (if it is religious) ceremony.
- The burial and final goodbyes.
You’ve been asked to photograph a very intimate event, so remember that photographing the guests needs to be done discreetly and with respect. To many, these are some of the most important photographs: they signify different parts of the deceased person’s rich life and represent the people in whose memories the deceased will continue to live on. Some might want a group photo of all the guests.

Another important part is the details and specific parts of the ceremony, such as the flower arrangements, the lowering of the coffin, and the priest or leader of the ceremony.

After the funeral

When the ceremony (or the part of it you have been asked to photograph) is over, let your customer know you’re leaving, offer your condolences again, and compliment them on how beautiful the event was.

Immediately afterward, go home, and back up your photos. Then, give yourself a breather and take care of yourself. Being a part of this kind of event might affect you more than you realize.

The processing happens the way it always does. Just remember to be very respectful and create the most tasteful pictures you can.

Conclusion

Funerals are events of sorrow, of remembering, and of togetherness – it’s important to capture all of that, not only the darkness. What do you think?

Do you have any other tips or warnings for someone who has been asked to photograph a funeral? Please share your advice and opinions in the comments below.

The post How to do Photography of a Funeral Tastefully and with Respect by Hannele Luhtasela-el Showk appeared first on Digital Photography School.

Digital Photography School
September 14, 2017
How to Photograph the Aurora Borealis – Nature’s Night Light
The Valkyrior, the “Dance of the Spirits,” polar lights, Goddess of the dawn, the mythical firefoxes of Lapland, the Northern Lights, Aurora Borealis. By any name, Aurora has intrigued, scared, excited, and fascinated humans since the dawn of time.

Named after the Roman goddess of dawn, Aurora, and the Greek name for the north wind, Boreas, in Northern latitudes, they are known as the Aurora Borealis (or the Northern Lights), in Southern latitudes (e.g., Antarctica, South America, New Zealand, and Australia), the Aurora Australis (or the Southern Lights).

These phenomena are commonly visible between 60 and 72 degrees north and south latitudes, which place them in a ring just within the Arctic and Antarctic polar circles. Aurora sightings, while occasionally seen at lower latitudes are not as common. Thus, making the trek to extreme Northern or Southern latitudes is a necessity if you want greater viewing opportunities along with greater success in photographing the Aurora.

If you are interested in learning more about exactly what the Aurora are, where they come from, and what produces the various colors that often accompany an Auroral display, there are countless books you can read and websites that one may search for this information.

This article will provide you with insider tips on how to successfully photograph the Aurora. Return home with lasting memories and images of one of life’s most amazing experiences.

Okay, I am ready to photograph my first Aurora – now what?

Observing and photographing the Aurora is subject to local weather conditions, patience, geographic location, dark sky venue, patience, minimal ambient light, patience, being in the right place at the right time, patience and some luck.

You see a central theme developing here, patience. If you are not willing to spend time in the field, sometimes in extremely cold weather, your opportunity for both bragging rights and capturing that awesome image, will be severely limited.

When all is said and done, you are at the complete mercy of the Sun, Earth, solar winds, nature and space. The Aurora is not a man-made light show, the cosmos rule here.

So, beyond patience, what does it take to capture that jaw-dropping image of this wonderful phenomena?

Location, Location, Location

Your first challenge is getting yourself to the right location in either the Southern or Northern hemisphere that will maximize your potential and opportunity to see the Aurora.

The best Northern hemisphere latitude is within the Auroral zone – between latitude 65 to 72 degrees. In the Northern hemisphere, you will need to head to destination cities laying on or slightly above the Auroral zone (also referred to as an Auroral oval, is centered about the magnetic poles) and north of the Arctic Circle.

You will stand a good chance of viewing the Aurora, if you head to Tromsø, Norway, Yellowknife, Northwest Territories, Canada or Bettles, Alaska. Other excellent choices are Svalbard, Norway, Jukkasjärvi, Sweden, Kakslauttanen, Finland, Kangerlussuaq, Greenland and Reykjavik, Iceland. This is only a representative list as there are many Northern latitude cities, which make good Aurora viewing destinations.

Under the right conditions, you can see the Aurora Australis from Ushuaia, Argentina, Tasmania, Australia, Stewart Island, New Zealand and the Southern tip of South Africa, all destinations more easily accessible in the Southern hemisphere.

Estote Parati (Be Prepared)

Photographing the Aurora by its very nature requires heading out at night. Here are some things to watch out for and prepare.
- Be aware of your surroundings, especially if you are visiting unfamiliar territory, a foreign country, or even your own neighborhood park.
- Take extreme caution when walking in deep snow, ice, and across frozen bodies of water. You may not be able to see or identify potential hazards.
- Team up with someone as excited about viewing and photographing the Aurora as you are or who is just willing to sit in a nearby warm car, in case you need support. Always ensure you head out with a full tank of gas.
- Conduct visual reconnaissance during the day, identify potential ground hazards, layout a destination path and test snow and ice conditions en route to your evening’s photographic destination.
- Let someone know your planned photographic destination(s) and anticipated return time, especially if you are headed out on your own.
- Don’t count on your mobile phone working if you are far from service towers or in a foreign country.
- At all times consider your intended shooting location and ensure that you comply with all local laws regarding access to properties (private and public), lakes, bridges, etc.
Dress for Success

Dressing for the location, season, and weather conditions are essential both for your safety and for the ability to remain outside for an extended period of time in potentially body-numbing temperatures.
- Wear many wicking, warm, and insulating layers and consider clothing appropriate for the local geographic and weather conditions.
- Protect your entire body from exposure to what will probably be the coldest temperatures you may ever experience.
- Carry a fully charged torch/flashlight (although wearing a headlamp frees up your hands).
- Outfit your torch or headlamp with a red light or filter. The red light allows you to easily see where you are walking yet, preserves your night vision so you can easily and quickly operate your camera.
- Pack chemical hand and foot warmers. Take more than you think you will need because you will need more than you think.
- Use extra hand warmers to keep your camera batteries warm. This helps to extend their useful life in extremely cold conditions.
- Invest in a really good pair of boots, e.g., affordable military surplus Bunny boots are rated to -60F (-51.11C) in cold, dry climates.
- Bring a warm (non-alcoholic) drink and a snack, it may be a long night.
Camera Equipment

You really don’t need much technical equipment to photograph the Aurora but there are some essential kit items you simply cannot do without.

Camera

A camera with interchangeable lenses will be best, but in principle, any camera can be used, even your mobile phone. Handholding your mobile phone, attempting to capture a shimmering, undulating Aurora, will not produce the same quality image that you can get with a digital camera, supported by a sturdy tripod, using a remote shutter release. This, however, should not stop you from capturing that moment and preserving the memory.

Be sure to keep your camera dry and avoid contact with snow or moisture. When walking about, it is always a smart idea to place your camera in a large zip lock plastic bag. Should you trip, slip or accidentally drop your camera (numb fingers will do that to you) in the snow, your camera body will stay dry and protected from the elements and the lens free from moisture, grime, etc.

Lens

To take in as much of the sky as possible and a bit of interesting foreground, using a wide or super wide-angle lens (focal length between 10mm and 24mm, with an aperture of f/1.2-2.8) will give the best results overall. In reality, almost any lens will work, keep in mind, however, your images will look different than those you see posted on the web, taken with wide or super wide-angle lenses.

Prior to your first shot, focus your camera at a distant point, back off slightly from the infinity setting and then turn off the autofocus feature on your lens. Given the dark sky, you don’t want your camera and lens trying to automatically focus on an ever-changing, moving Aurora. Locking in on manual focus, set slightly south of infinity, will give you well-focused images.

If the temperature warrants a brief duck into your car for a “warmup,” leave your camera and tripod safely outside. Bringing your camera into a nice warm car and then back out again into frigid arctic temps, will cause lens fogging, condensation, and other nasties to potentially damage your camera.

Read more on shooting in tough conditions here: How to Take Care of Your Camera in Cold Weather.

If you notice lint, dust or any other foreign material on your lens, NEVER blow on it. Your warm breath will instantly fog the lens. Depending on the ambient temperature outside, even small traces of moisture vapor in your breath may crystallize and freeze your lens, rendering it useless until it defrosts. Use only a lens brush pen or dry microfiber lens cleaning cloth.

Sturdy Tripod

To avoid blurring your picture due to camera movement, shaky hands, or unsteady footing on snow or ice, a sturdy tripod is essential. If you will be photographing in arctic conditions, be certain that your tripod is up to the task. Plastic tripod legs will snap in extremely cold temperatures.

Here are a few tripod options to check out:
- Product Review: Polaroid Carbon-Fiber Travel Tripod and Varipod
- Benro FGP18C SystemGo Plus Travel Tripod with B2 Ball Head – Review
- Induro PHQ-3 Head and CT-214 Tripod [REVIEW]
- Review of the K&F Concept TC2534 Lightweight Carbon Fiber Tripod
Remote Shutter Release

A remote shutter release, designed to be used with your camera, provides important benefits in obtaining that memorable photo of the Aurora. First, it will be invaluable in its contribution to creating sharper images by reducing camera shake, which occurs naturally when you depress the shutter release. Secondly, for longer exposures, which may be necessary depending on changing atmospheric conditions and your ISO setting, you can hold the shutter open without physically touching the camera’s shutter release button.

Memory Cards

Pack extra memory cards, having formatted them prior to going outside. Backup and clear your memory cards prior to your next outing. Extra cards are essential if you do not have a means to download each evening’s images to a backup device. Plan to use a single card each evening you head out. If you shoot all of your Aurora images on a single card, and that card fails, for whatever reason, well – enough said.

Spare Batteries

Photographing in cold temperatures drains batteries very quickly, photographing in arctic temperatures drains batteries exponentially faster. Always pack extra camera batteries. Running out of fully charged batteries when the Aurora is on full display is heartbreaking, especially when proper preparation would have prevented this situation.

Keep all extra batteries in an interior pocket of your jacket, close to your body. Trapped body heat, created by your insulated jacket and multiple layers of clothing will help keep the batteries reasonably warm, holding the charge longer.

Airtight Waterproof Dry-bag

Tough, waterproof and airtight, a dry-bag is essential. It protects your camera’s sensitive internal optics and circuitry from moisture and condensation buildup that occurs due to the extreme fluctuation in temperature when you bring your camera inside after a long evening photographing outside in sub-zero temperatures. Lens fogging and damage to your camera itself may occur if you don’t let your camera acclimatize gradually to the warm inside temperatures.

Prior to going inside for the evening, slip your camera into the dry-bag, roll and seal it tightly and then bring the bag and your camera inside. While there is no official rule as to the length of time your camera should remain in the dry-bag, a good rule-of-thumb is to let the camera sit in the bag for two to four hours. That’s plenty of time to acclimatize to the much warmer indoor temperature and for you to remove multiple layers of clothing and secure a warm beverage of choice.

Include several small bags of silica, moisture absorbing dry-packs in the dry-bag prior to sealing it. The silica protects against mildew, corrosion, fogging and condensation, which might damage your camera’s sensitive electronics.

Taking that Memorable Aurora Picture

While the mechanics of taking a picture of the Aurora are not complex, there are a few guidelines that will enhance your success of taking that amazing and memorable picture.

1. Select and shoot in the RAW format – this will provide you with the maximum amount of digital information needed to create a final image.

2. Remove the protective clear, polarizing or UV filter on your lens prior to going out to photograph the Aurora. The UV filter will likely cause concentric rings to appear in your final image.

3. Set your camera to M (manual) and turn off the camera’s flash settings.

4. Dial the lens focus ring to infinity and back off slightly.

5. Turn OFF any autofocus capabilities associated with your lens. You don’t want the autofocus feature of your lens attempting to continually refocus on the quickly moving, shifting Aurora.

6. Open up the aperture as wide as possible. This is when the f-number is as low as possible, i.e. f/1.2 – f/2.8 or lower for many prime and pro lenses, or f/3.5 or f/4 for many consumer zoom lenses.

7. Set the shutter speed to Bulb. This allows you to use the remote shutter release necessary to keep the shutter open for longer exposures. Depending on the intensity and movement of the Aurora, you may need to hold the shutter open anywhere between three and 12 seconds. Check your image using your camera’s live view function (if so equipped). Too long of an exposure time will tend to blur both the Aurora and the stars as they move across the sky.

8. Determine the proper ISO setting. This is somewhat both a technical and a personal decision. Technical as it will depend on the type of camera you have and the camera’s inherent ISO range. Personal depends on how much noise you are willing to live with in your image, again as a factor of an increasingly higher ISO setting. Start off with an initial ISO setting of 800 and adjust as your personal preferences and the photographic conditions warrant.

9. Bring and use a sturdy tripod. You want sharp Aurora images and to keep your camera as still as possible. If you don’t have a tripod, you can use a beanbag, flat rock, or another solid surface. Do not touch the camera until it is done exposing, and shield it from the wind if you can.

10. When possible, include a contrasting foreground. The Aurora by its very nature looks best when photographed to include a foreground, which provides scale, context, and perspective. A suitable foreground can be a tree, a building, fellow photographer, a car, etc.

11. Consider joining a professional tour if (a) this may be your first trip to the Arctic or (b) you are headed to a new international destination. Most professional “Aurora hunting” tour operators have many years of seasonal experience are very familiar with the local area, best viewing venues, are eager for you to see and photograph the Aurora and know where you can tread both safely and legally.

Ah…The Amazing Aurora

Being present during Aurora’s magical dance fills the observer with wonder, awe, and excitement and the experience often leaves one speechless. Capturing the Aurora in a photograph preserves that experience for a lifetime.

I hope that you may be fortunate enough to be at the right place, during the right months, at the right time, to observe and photograph Aurora’s magical dance.

For most of us, getting to the dance is not easy. But once there, none of the logistics, long flights, cost, or cold, make a difference. You are witness to the most spectacular light show orchestrated by Mother Nature.

The next time you gaze into the night sky, be assured that the Aurora is there dancing the night away…just waiting for you.

The post How to Photograph the Aurora Borealis – Nature’s Night Light by Al Marcella appeared first on Digital Photography School.

Digital Photography School
September 14, 2017
Kodak will bring back Ektachrome film this year, start selling it in 2018

Kodak first announced its plans to bring Ektachrome 35mm film back from the dead in January at CES. But if you were worried that the announcement was just a lot of marketing hype, you have nothing to fear: it seems the resurrection of Ektachrome is proceeding apace, with full production scheduled for 2018.

This news broke over Twitter, of all places, thanks to an inquisitive Kodak fan named Karen Wink. She asked Kodak what the ETA on the Ektachrome comeback was, to which Kodak replied:

We’re working towards having limited supply of Ektachrome film available for market testing by year end with availability in 2018

— Kodak (@Kodak) August 21, 2017

If you’re a fan of the old film, it won’t be long before you can get your hands on a fresh roll of 36 exposures in the 35mm format.

Articles: Digital Photography Review (dpreview.com)

September 13, 2017
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September 13, 2017
Phase One unveils IQ3 100MP Trichromatic digital back, promises unmatched color quality

Phase One unveiled its newest IQ3 model today. A 100MP digital back designed in partnership with Sony, it’s called the Trichromatic because of its focus on exceptional color reproduction that supposedly matches the capacity of the human eye. In many ways the photographic foil of the Achromatic digital back, the Trichromatic is the “brain child” of Phase One’s long standing collaboration with Sony.

Not to put too fine a point on it, Phase One promises the Trichromatic will bring “unsurpassed color quality to the hands of the finest photographers across the globe.” No big deal… just unsurpassed color quality.

Here’s a quick video introduction to the new camera, and a hands-on look/ad by fine art photographer Tony Hewitt:

The Trichromatic achieves these color feats thanks to new Bayer color filter technology that has been implemented on the ultra-high res 100MP CMOS sensor. This technology is allegedly “exclusive” to Phase One, and “transforms digital color capabilities to render color more authentically than ever.”

Phase One also claims that the Trichromatic’s sensor design offers the “absolute lowest digital noise” of any medium format CMOS camera on the market thanks to a new base ISO level of just ISO 35.

Here are a few high res sample photos courtesy of Phase One:

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The IQ3 100MP Trichromatic Digital Back is available today at a wallet-shrinking suggested retail price of $ 44,990. Or, if you have an extra five grand and want to get a slightly better deal, you can pick up the Trichromatic alongside an XF camera body, a prime lens of your choice from the Schneider Kreuznach Blue Ring lineup, and a 5-year warranty for $ 49,990.

To learn more, head over to the Phase One website or read the full press release below.

Press Release

Introducing the Phase One IQ3 100MP Trichromatic Digital Back

The art of expression. The science of color.

COPENHAGEN, September 13, 2017 – Phase One today announced the Phase One IQ3 100MP Trichromatic Digital Back, based on a new CMOS sensor designed to capture color as perceived by the human eye. The new sensor technology in the IQ3 100MP Trichromatic Digital Back is the brainchild of a longstanding collaboration between Sony and Phase One. The result is astonishing color definition – with which champions of photography are able to create and express their artistic visions more accurately than ever before.

In this way, Phase One’s latest product brings unsurpassed color quality to the hands of the finest photographers across the globe.

The 100MP CMOS sensor in the IQ3 100MP Trichromatic Digital Back incorporates new Bayer Filter color technology, the result of Phase One’s close working relationship with Sony. Available exclusively through Phase One, this new technology transforms digital color capabilities to render color more authentically than ever – giving the world’s foremost photographers 101-megapixels of unprecedented creativity.

Click on the following link to learn more about the Phase One IQ3 100MP Trichromatic Digital Back: www.phaseone.com/trichromatic

“As a photographer, one of the things that excites me the most is having the opportunity to use color to evoke emotion. The Trichromatic Camera System itself becomes a true extension of my vision, and what my eye sees and what my eye wants to express – the camera delivers.” – Tony Hewitt, Fine Art Photographer

This pioneering sensor design has also established the lowest and therefore cleanest base ISO of any medium format CMOS sensor. At an impressive ISO 35, the results of the IQ3 100MP Trichromatic are crisp and clean, providing the absolute lowest digital noise for any CMOS system of its size.

“The ability to capture an image that reflects exactly what you see the moment you press the shutter button, with little interpretation or conjecture, is a fantastic leap for photography and more importantly, for the integrity of image quality,” said Niels Knudsen, Phase One Image Quality Professor.

Availability and Pricing:

The IQ3 100MP Trichromatic Digital Back is available now through Phase One Partners: www.phaseone.com/partners. Contact your local Phase One Partner to arrange a demo.

The Manufacturer Suggested Retail Price for the IQ3 100MP Trichromatic Digital Back is $ 44,990 USD.

The Manufacturer Suggested Retail Price for the XF IQ3 100MP Trichromatic Camera System, including XF Camera Body, free Prime Lens choice and a 5-year warranty is $ 49,990 USD.

All Phase One XF IQ3 Camera Systems are supplied with a free lens of choice from the Schneider Kreuznach Blue Ring Prime Lens range, valued up to $ 6,990 USD.

Phase One also announced their Feature Update #4 today, which is available immediately for downloaded free of charge for all XF Camera System owners at www.phaseone.com/Feature-Update-4

For more details, please go to: http://www.phaseone.com or book a demo on: www.phaseone.com/DemoSignup

Articles: Digital Photography Review (dpreview.com)

September 13, 2017
3 Ways Luminar May Cure Some of Your Post-Processing Headaches

Lately, I’ve been playing around with Luminar by Macphun. I’ve found that this program reduces the number of my editing headaches. I’ll share a bit of my experience with it, and you can see if it can help solve some of your headaches or challenges as well.

Processing is a chore

I’m the impatient type; I hate sitting down. I spend my life trying to find ways to keep moving and being active. I love to create and build and explore. Sitting down to edit photographs is a true chore. You all know a photographer like me. They spend their time carefully composing, adjusting lighting, and building the image in the camera, so they don’t have to spend hours editing their images.

Let’s be clear I’m not criticizing those who build images using several layers and masks. Some of my favorite photographers are editing masters, and I truly appreciate the skills they use to create their work. It’s incredible. But it’s not me. Editing is a headache for me. I hate it, but I’m too possessive of my work to ever considering outsourcing my post-processing. So anything that reduces the time I spend behind a computer is a bonus for me.

I used the presets in Luminar to help process this image. I’ve been on an abstract kick lately and the blue of this painted wall drew me to photograph all the cracks in the paint.

Luminar is very quick to use. The program works as a stand-alone application, or you can install and use it as a plug-in for Lightroom and Photoshop. I chose to edit using Luminar as the standalone version. So here are three of my editing headaches that Luminar helped reduce.

1) Finding a starting point for processing the image

Often we photographers shoot with a finished look in mind. We know we are going to convert an image to black and white or we want to create a luminous light filled look, and we shoot accordingly. However other times we struggle to picture the finished image. We can’t figure out a starting point for processing the photo. That’s where presets come in.

You can use presets as an idea bank that helps to get the creative juices flowing. The only issue is viewing these presets and finding the right starting point. In Luminar the presets are large, and you can easily scroll through each look using the slider bar. The display of presets is easily accessible at the bottom of the screen. You can click through several different looks and return to the one you like.

Here you can see the open screen and all of the presets are displayed at the bottom.

The other bonus to this method is the slider located on each preset. If the look is just a little too strong for your liking, it’s easy to dial it back. You can adjust how strongly each preset affects the image. For someone like me who tends only to make global adjustments to images, these types of features are really useful. I am able to select a preset then gently adjust the image to my liking.

Luminar helps with ideas and possibilities

This is the image I created in Lightroom. The color version is more like the picture I had in my head but when I saw the preset in Luminar it sparked some creativity.

The image you see below was pretty much a quick snap on my way out the door. I was in Cuba and waiting for my aunt to get ready before we caught the bus. I had no vision for the shot other than a quick sighting of something interesting. So when I returned home, I struggled with what to do.

I would never have thought of doing a black and white conversion for this image if it were not for one of the presets in Luminar. A headache solved, the program gave me an idea. I used the preset as a base and tweaked the image slightly. In total it took me about five minutes to edit the image.

I would never have thought of processing the image in black and white if not for the presets provided by Luminar.

2) Soooo many buttons to manage and remember

For those of us who want to edit images quickly, it’s difficult to remember all those keyboard shortcuts, and it’s time-consuming to keep checking the cheat sheet by our desks.

In Luminar, the interface is very simple, and it’s quick to use with just a few simple buttons. It’s easy to crop, compare, and apply a brush or a gradient to your work. It’s easy to make both global and more isolated adjustments quickly and effectively.

As you can see I quickly added a layer to this image. I wanted to use the brush to apply some very specific adjustments just to some areas of the image. Notice the clean interface.

Here you see the simplified interface with some of the options hidden (presets and histogram). It is a workspace called Quick & Awesome which you can select from the pull-down menu.

3) Layers can get complicated and confusing

Managing layers and masks can be confusing in Photoshop and for some of it’s a real headache. In Luminar, the layers are easy to access and utilize.

You can add filters to an image by creating another layer or apply them directly to the image. I used the filters and brushed them into the image on separate layers.

Pushing the plus (+) button adds a layer quickly in Luminar. The layers can be used to overlay a second image, like a texture or to apply filters, brushes, etc. It’s easy to apply a preset to an image, globally. Then if you want to apply a preset to just a few areas of an image you can also create another layer and brush the preset onto specific areas of the image.

To illustrate this point, I’ve quickly applied a black and white preset to an image using the brush tool. You can see how quick and easy it is to make very specific adjustments to an image by painting in the preset as a layer mask, similar to tools like Adobe Photoshop. However, Luminar can take things even one step further. Filters themselves can also be applied in the same manner. To do this, simply click on the brush tool, then click on the title bar of a filter (not a layer). When you begin painting in the mask, you’ll see a small mask preview thumbnail appears in the title bar. After creating the mask, adjust the filter sliders as desired to apply the effect to the mask. Once you get the hang of filter masks, you’ll find it’s an extremely efficient way to make selective edits to your photos.

Filters themselves can also be applied in the same manner. To do this, simply click on the brush tool, then click on the title bar of a filter (not a layer). When you begin painting in the mask, you’ll see a small mask preview thumbnail appears in the title bar. After creating the mask, adjust the filter sliders as desired to apply the effect to the mask. Once you get the hang of filter masks, you’ll find it’s an extremely efficient way to make selective edits to your photos.

I really like how the program displays all the masks and layers I’ve created. I found it easy to manage.

In conclusion

For some of us, editing is a chore. It depends on your personality and your style. Post-processing is an essential part of the photographic process, but it doesn’t have to ruin your love of photography.

Many of the features in Luminar help to alleviate those editing headaches from which many of us suffer. The program simplifies complicated processes and allows users to create beautiful images in a fairly short amount of time.

Here’s a finished image I completed using Luminar.

The Mac version of Luminar is available for a free trial or purchase here.. If you’re on a PC, download a free public beta version of Luminar for Windows here.

Disclaimer: Macphun is a dPS advertising partner.

The post 3 Ways Luminar May Cure Some of Your Post-Processing Headaches by Erin Fitzgibbon appeared first on Digital Photography School.

Digital Photography School

September 13, 2017
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September 13, 2017
Aurora HDR 2018 pre-orders go live ahead of September 28 launch

Macphun has started taking pre-orders for Aurora HDR 2018, giving both Windows and Mac users a chance to purchase the software ahead of its launch later this month. The pre-order period will run from September 12-27 and includes a special lower price of $ 89 for new customers versus the regular $ 249 rate. Existing Aurora HDR customers can update for $ 49.

The Aurora HDR 2018 pre-orders are bundled with four free bonuses: a travel photo training video by Matt Granger, five sets of HDR Brackets by Pros, a 3-month membership to Zenfolio, and an HDR training video by Trey Ratcliff. According to Macphun, these bonuses have a value of $ 150.

Head to the Aurora HDR 2018 site to pre-order. The software will be available starting on September 28.

Via: CanonRumors

Articles: Digital Photography Review (dpreview.com)

September 13, 2017
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September 13, 2017
Hands-on with the Sony Cyber-shot DSC-RX10 IV

Introduction

The RX10 IV, as the name suggests, is the fourth in Sony’s series of 1″-type sensor, long zoom compacts. The Mark IV is the first to offer phase detection autofocus alongside a series of changes designed to boost the speed and capability of the camera, for both stills and video shooting.

Sony is adamant that the camera is much more than an RX10 III with an RX100 V sensor in it. Let’s take a look at what the latest version brings.

Autofocus

One of the biggest changes in the Mark IV is the addition of on-sensor phase detection autofocus. There are a total of 315 phase-detect points, which cover 65% of the total sensor area. This is a significant update as it should eliminate the RX10 III’s need to hunt for focus, which was a particular problem at the long end of the zoom.

In addition, we’re told the camera has “exactly the same” processor as used in the company’s flagship sports camera: the a9. This means the RX10 IV has the same autofocus algorithms for subject tracking and the improved Eye AF mode we saw on the a9.

Touchscreen

The RX10 IV also becomes the first camera in the RX series to gain a touchscreen. This can be used for tap-to-focus in both stills and video mode. In video mode it is designed to offer a smooth focus transition between subjects which, combined with on-sensor PDAF, should make it relatively easy to shoot good-looking video without having to worry about manual focus.

The screen can also act as an AF touchpad when the camera is held to your eye, with the option of limiting the active area of the screen to one of nine regions of the rear panel, including the top (or bottom) right or left quadrants. There’s also a choice as to whether the AF movement is absolute (pressing on the left of the screen places the AF point on the left of the image) or relative (swiping left anywhere on the screen moves the AF point left from its current position), as different photographers prefer different methods. These are all welcome improvements over previous touchscreen implementations from Sony.

Continuous shooting

Continuous shooting speeds have been dramatically improved since the RX10 III, with the max frame rate increase from 14 to 24 fps, with continuous AF. The buffer is substantial, to say the least, topping out at 112 Raw and 249 Fine JPEGs.

If that’s too fast for you, middle (10 fps) and low (3.5 fps) options are also available.

Speaking of (very) quick, the camera’s electronic shutter allows for bullet-stopping 1/32000 sec shutter speeds. The RX10 IV uses the e-shutter in order to shoot at 24 fps, by the way.

4K and proxy shooting

The RX10 IV can shoot 4K video from the full width of its sensor, which is rendered and downscaled to give very detailed, “oversampled” footage. This can be shot at 30, 25 or 24p in either 100Mbps or 60Mbps using the XAVC S codec. Dropping down to Full HD (1920 x 1080) you’ll find 120p, 60p, 30p and 24p frame rates. If you’re so inclined, a 60i option is available if you switch to AVCHD. (The PAL equivalents for these are also available, of course.)

As mentioned earlier, the new touchscreen display allows for tap focusing. You can use this to “rack focus” with zero effort, and there are three transition speeds to choose from. Unfortunately, ‘Spot Focus’ continues to confuse, and there’s still no easy way to ‘tap to track’ a subject, as all Lock-on AF options are greyed out in 4K video mode. It is available in 1080p video, but only via the rather clunky (and old) ‘Center Lock-on AF’ method.

The Mark IV also gains a ‘Proxy’ shooting mode, where it captures a 720p stream of video alongside the main 4K stream, meaning you can edit using the proxies and then apply the edits to the full-res footage at the end of the process. This greatly speeds up the workflow, especially when using slower computers.

High frame rate shooting

In addition to 4K capture, the RX10 IV is able to shoot 1080 at up to 120p, which can either be saved as 100Mbps or 60Mbps clips or slowed down, in-camera, to 60, 30 or 24p.

The camera has the ability to capture at 240, 480 or 960 fps, with footage taken from increasingly low-res crops from the sensor (250, 500 or 1000 fps in PAL modes), which can then be output as 60, 30 or 24p super slow-mo footage (50 or 25p in PAL).

Other improvements

The RX10’s focus peaking has also been improved, with three intensity settings designed to make the peaking easier to see and distinguish between, as you shoot.

A new focus limiter button, found on the left side of the camera, lets you choose between the whole focus range or 3m to infinity. Sony has also added a new “AF-A” mode, which will choose between AF-S and AF-C depending on subject movement.

Fans of back-button focus will be pleased to hear that you can now activate autofocus with any of the custom buttons (we figure most folks will use the AE-lock button).

Another new feature is Bluetooth connectivity, which can be used to share location data with the camera. We’ll see what else it can do when we spend more time with the camera.

Something that’s a slight step backward is battery life, which drops from 420 to 400 shots per charge (CIPA standard).

Lens

The Mark IV uses the same 24-600mm equivalent, F2.4-4 zoom lens as its predecessor. As, no doubt, people will be highlighting in the comments, this is an equivalent aperture range of F6.5-10.9, which is not significantly slower than an F4.5-6.3 tele zoom on an APS-C camera. Even with that, the lens quality is superb, especially considering its long reach.

As one would expect, the lens is stabilized, and Sony claims 4.5 stops of shake reduction using CIPA’s testing methods. The company says that it has improved the IS system at the long end of the focal range, which should framing subjects easier.

Those who were hoping for the return of an ND filter (found on the RX10 II) will be sorely disappointed, as the RX10 IV lacks one as well. The lens is threaded for 72mm filters, however.

Wrap-up

$ 1700 is a lot of money, but Sony believes the combination of capabilities: high speed shooting, autofocus performance and 4K video capture, together with a 24-600mm equiv. zoom, is what makes the Mark IV a compelling offering.

What do you think? Share your thoughts in the comments below.

Articles: Digital Photography Review (dpreview.com)

September 13, 2017