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How to Use Graduated Neutral Density Filters for Landscape Photography

03 Jan

The post How to Use Graduated Neutral Density Filters for Landscape Photography appeared first on Digital Photography School. It was authored by Francesco Gola.

graduated neutral density filters landscape photography

If you want to create stunning landscape photos without significant post-processing, then you need a graduated neutral density filter.

But why are GND filters so important? What do they do? And how do you use them?

That’s what this article is all about.

So if you’re ready to discover how you can capture beautiful landscape images with GND filters, let’s get started!

Dynamic range

Since the camera was invented, we have tried to copy one of the greatest wonders of our body: the human eye. Unfortunately, while it’s been nearly 200 years since we first captured light with the camera, we are still far from overcoming Mother Nature.

Why?

Because the eye sees much better than the camera.

beautiful lighthouse at sunset

The parameter that describes this behavior is called dynamic range. It basically defines the difference between the minimum and maximum value of brightness that a device (like your eye or the sensor of your camera) is able to record. From a practical perspective, dynamic range defines the ability of your camera to see details in very dark areas and very bright areas of a scene.

If you’re wondering how much more your eye sees compared to your camera, the answer is staggering. Your eye can see about twice as much dynamic range as older cameras (though camera technology has come a long way in recent years!).

long exposure seascape

The problem

Thanks to the eye’s massive dynamic range, when you look at a marvelous sunset, you’re able to see all the details in the scene (in both the sky and the land).

But as soon as you try to capture the scene with your camera, you’ll get an overexposed sky or an underexposed foreground. The dynamic range of your camera is limited, and can therefore capture detail in only one of these areas, so you have to choose.

Given that limitation, how can we hope to shoot a beautiful sunset or a wonderful sunrise and capture all the marvelous details, both in the sky and on the land?

There are different methods to overcome this problem, but my favorite is the use of graduated neutral density filters (also known as GNDs).

stormy seascape

What is a graduated neutral density filter?

A graduated neutral density filter is a piece of glass made up of two distinct parts:

A completely transparent area, and a darker section.

Now, by positioning the darkest part of the filter to correspond with the brightest portion of the scene you’re photographing, you can reduce the exposure difference (dynamic range) in the frame.

In other words, by positioning the dark part of a graduated neutral density filter over a bright sky, you can reduce the difference in brightness between the sky and the land for a much more even exposure.

To reduce the exposure difference is to reduce the dynamic range of the scene – so your camera can simultaneously capture detail in both bright and dark areas of the scene. GND filters are like sunglasses for your camera – except that the sunglasses are only applied to a portion of the image, rather than the entire shot.

Types of graduated neutral density filters

Graduated neutral density filters are typically distinguished by the type of transition between the transparent and dark areas of the filter. There are three main families of GNDs:

  1. Hard-edge filters are characterized by a clear boundary between the transparent and dark areas. You use a hard-edge GND when the separation between the bright and dark areas of your scene is very defined, such as when photographing a seascape with a flat horizon.
  2. Soft-edge filters are characterized by a soft transition (they change from light to dark more gradually), and are therefore used when the transition between light and dark areas is less distinct. A classic example is a mountainous scene, where the mountains intersect with the sky.
  3. Reverse filters are nothing more than hard-edge GNDs with a dark area that fades away as you move from the line of separation to the upper border of the filter (so the filter is darker in the middle than on the edge). Reverse GNDs were invented to better manage sunrises and sunsets, where the light is more intense on the horizon line (in the middle of the scene). If you love seascapes (like me!), this filter will be your best friend forever.
beach and castle at sunset

Another difference between filters is the material. Higher-quality filters are made of optical glass. Putting an inexpensive resin filter in front of a lens worth hundreds (or thousands) of dollars is not a great idea.

Finally, GND filters are distinguished by their ability to block light. In other words, how dark are they at their most extreme?

In landscape photography, you generally need one to four stops of darkness during sunrise and sunset, depending on the weather conditions. This is the reason why most filters on the market offer these gradations.

You can shop for graduated neutral density filters on Amazon or at B&H Photo Video (they ship worldwide).

How to use a GND filter in the field

Using graduated neutral density filters in the field is very simple.

First, try to take exposure readings off the darkest and brightest areas of the scene (usually the foreground and the sky, respectively). The difference in exposure will indicate the intensity of the filter you’ll need.

For instance, if the meter reading for the sky is 1/250s and the meter reading for the foreground is 1/30s, then the difference between those readings is three stops (1/250s > 1/125s > 1/60s > 1/30s), so to balance the exposure you should use a 0.9 (3-stop) GND.

At this point, just mount the filter with its dark side over the brightest part of the scene. This is why a GND screw-in filter doesn’t make sense. You would not be able to align the transition area with the scene, whereas a drop-in filter lets you position the transition area perfectly.

sea stacks long exposure GND filter

To avoid holding the filter with your hands, you can buy a filter holder. Once the holder is mounted in front of your lens, it will hold your filters in place. (Note that you can stack multiple filters this way.)

There are many nice holders on the market, but the best one (in my opinion) is the V6 Holder by NiSi filters. It’s the only filter holder that lets you simultaneously install three different filters and a polarizer without any vignetting issues (plus, it works as wide as 16mm on full-frame cameras).

Graduated neutral density filters in landscape photography: Conclusion

Without graduated neutral density filters, capturing sunrise and sunset scenes will be hard – and sometimes impossible.

That’s why I recommend you always have at least one GND in your bag.

And the limited dynamic range of your camera will just be a bad memory!

How to Use Graduated Neutral Density Filters for Landscape Photography

The post How to Use Graduated Neutral Density Filters for Landscape Photography appeared first on Digital Photography School. It was authored by Francesco Gola.


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Weekly Photo Challenge – 2021 Goals

02 Jan

The post Weekly Photo Challenge – 2021 Goals appeared first on Digital Photography School. It was authored by Sime.

Last week we all shared our ‘Best of 2020’ and this week, for something completely different, we want you to reflect on 2020 and your photography (try to forget everything else for a minute!) and think about what you’d like to do with your photography in 2021, and, rather than share an image, just let us know what you’d like 2021 to look like for your photography?

  • Maybe you want a new camera?
  • Maybe it’s time for that new lens you’ve been thinking about?
  • Perhaps you’re thinking it’s time to ‘go pro‘
  • Maybe you’re going to put the camera away for a while?
  • Could it be time to try a different genre?

I’ll start! I’ve been photographing food for a little while now, and this year I’m going to focus on portraiture and learning all I can about portrait lighting and photography!

Weekly Photo Challenge – 2021 Goals

If you’ve already started heading towards your goal, feel free to include a photograph of the journey! We’ll be back to our regular weekly challenge next week.

As ever, comment in the comment’s section below, include a photo as per above, but mostly just tell us what you hope to achieve with your 2021 photography.

Happy New Year everyone, from all of us here at dPS.

–Simon

The post Weekly Photo Challenge – 2021 Goals appeared first on Digital Photography School. It was authored by Sime.


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Tamron 70-300mm for Sony Review: A Compact, Well-Priced Telephoto Lens

02 Jan

The post Tamron 70-300mm for Sony Review: A Compact, Well-Priced Telephoto Lens appeared first on Digital Photography School. It was authored by Suzi Pratt.

Tamron 70-300mm for Sony review

The new Tamron 70-300mm f/4.5-6.3 lens is the “world’s smallest telephoto zoom lens for Sony E-mount full-frame mirrorless cameras.”

But does this lens live up to the hype?

Let’s find out in this Tamron 70-300mm for Sony review!

Tamron 70-300mm for Sony review

Tamron 70-300mm for Sony: Overview

The Tamron 70-300mm is made to be used on a full-frame camera, but you can also mount it on an APS-C camera; the equivalent focal length just gets cropped to 105-450mm. This can be an advantage if you prefer getting more zoom out of your lens.

Besides its compact and lightweight build (more on that below!), the biggest appeal of this lens is the price. At just $ 550 USD, the Tamron 70-300mm is more than half the price of the Sony alternative.

For comparison’s sake, the Sony FE 70-300mm f/4.5-5.6 has a slightly faster f-stop and also comes with image stabilization. But it is larger, heavier, and more expensive than the Tamron model. So if budget, size, and weight are a concern, the Tamron 70-300mm is the way to go!

  • Released: September 2020
  • Focal Length: 70 to 300mm
  • Maximum Aperture: f/4.5 to f/6.3
  • Minimum Aperture: f/22 to f/32
  • Lens Mount: Sony E (full-frame)
  • Minimum Focus Distance – 31.5″/0.8 m
  • Focusing: Autofocus
  • Image Stabilization: No
  • Filter Size: 67 mm
  • Dimensions: 5.8” x 3″/148 mm x 77 mm
  • Weight: 19.2 oz/545 g
Tamron 70-300mm for Sony review

Lens design

The Tamron lens follows on the coattails of some impressive Tamron releases, such as the 28-200mm f/2.8-5.6. And if you’ve used any recent Tamron lenses, the 70-300mm will feel very familiar in your hands. It has a similar look and feel to other Tamron lenses, and it takes a 67 mm front filter, just like many other Tamron lenses.

While the build is mostly plastic, the lens is weather-sealed with a dust- and moisture-resistant construction. This makes the 70-300mm ideal for shooting in a variety of outdoor conditions. I wouldn’t take the lens out in pouring rain, but a light drizzle is totally fine.

Aside from its low price point, the biggest advantage of the Tamron 70-300mm is its compact size. With a weight of just 545 g (1.2 lb) and a length of 5.8 in, it’s easy to forget that you’re hauling a rather long-range telephoto lens. The small size also makes it easier to hold the lens for long periods of time, especially compared to bigger lenses like the Sony 100-400mm. 

Tamron 70-300mm for Sony review

Ease of use and performance

The Tamron 70-300mm is a very straightforward lens. There’s a zoom ring and a manual focus ring with no additional buttons or switches on the lens.

It would be nice to have a lock switch to prevent the zoom barrel from sliding out when you use the lens – and while it’s not a dealbreaker, the lack of a lock is something to be aware of.

All Sony autofocus modes (including Eye AF) are as snappy as they’d be if using a native Sony lens. If you have any concerns about using a third-party lens, rest assured that all modern Tamron lenses work flawlessly with Sony E-mount cameras.

Image quality

Snowy owl
300mm | 1/1600s | f/6.3 | ISO 400

Photos on the 70-300mm Tamron are razor sharp. Color rendition is also accurate, with absolutely no chromatic aberration or distortion.

While this lens doesn’t have a fast f/2.8 or f/1.8 aperture, beautiful bokeh can still be achieved with sufficient distance between the subject and the background. The bokeh is pleasing and smooth. The lens’s sweet spot seemed to be between f/4.5 and f/11.

The lens also has a nice minimum focusing distance of 31.5 in (0.8 meters) when shooting at 70mm. This allows you to get pretty close to your subject and still get crisp shots. 

autumn leaves
186mm | 1/800s | f/5.6 | ISO 1600

Best uses

Given its focal range and features, the 70-300mm is best used as a complementary lens to a wide-angle or mid-range zoom, such as the 24-70mm.

Shooting purely at 70-300mm may suit some photography styles, but most photographers will want to occasionally get a shot wider than 70mm, which is when a wider second lens will come in handy.

snowy landscape
70mm | 1/320s | f/6.3 | ISO 640

However, you can use the Tamron 70-300mm as your sole lens and get some great wildlife, landscape, and portrait shots. Just make sure you have enough light or a camera that can shoot at high ISOs because of the narrower maximum lens aperture. If you plan to shoot indoors or in low light, the Tamron 70-180mm f/2.8 will better suit your needs.

The Tamron 70-300mm can also work as a great video lens. Just note that it lacks image stabilization (IS), so it is best used on a tripod or a gimbal stabilizer if shooting video.

Tamron 70-300mm for Sony review: Conclusion

For the budget-conscious photographer, or for those wishing to have the smallest and lightest camera kit, the Tamron 70-300mm is a bargain of a lens.

One of the only reasons why you may not opt for this lens is if you prefer the all-in-one Tamron 28-200mm lens. The 28-200mm is smaller and slightly more expensive, and it gives you a much wider focal range at the expense of not being able to zoom as far as 300mm. 

If you are interested in purchasing the Tamron 70-300mm for Sony, you can grab it here.

So what do you think? Would you buy the Tamron 70-300mm, or would you opt for a different lens? Let me know in the comments below!

The post Tamron 70-300mm for Sony Review: A Compact, Well-Priced Telephoto Lens appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Lensrentals’ most popular gear: Canon once again dominates with Sony, Nikon far behind

01 Jan

It’s the end of the year and that means Lensrentals has once again rounded up a list of the most popular camera bodies, lenses and accessories rented from Lensrentals and LensProToGo customers in 2020. Although this year has been, shall we say, different than most, the macro-level look at the most popular rental gear hasn’t changed much. That said, there are a few interesting trends emerging based on the 2020 data.

As it has been since 2017, the Canon 24–70mm F2.8L II lens takes the top spot of the most popular item to fly off Lensrentals’ shelves. Following it is the Canon 5D Mark IV, Canon 70–200mm F2.8L IS II, Sony a7 III and Canon 70–200mm F2.8L IS III. It isn’t until sixth place that we see a change of places. Instead of the Ronin-S, Canon’s 35mm F1.4L II lens snatches up sixth place.

A list of the most popular individual pieces of gear for 2020. Click to enlarge.

As has been the case for a number of years now, Canon absolutely dominates the list of most-rented gear. Canon holds 7 of the top 10 (70%) items and 13 of the top 20 (65%). Lensrentals also note Canon easily took the top spot for new releases in 2020, suggesting people seem more comfortable renting newer Canon gear compared to new offerings from other brands. To that end, Lensrentals’ data also shows that RF mount lenses rent at eight times the rate of Nikon Z mount lenses—a rather staggering statistic considering the new mirrorless mounts were released at the same time and have roughly the same number of lenses available for both mounts.

It shouldn’t come as a surprise, but there’s been significant growth in mirrorless camera and lens rentals. This backs up essentially all other data showing the migration away from DSLRs is undoubtedly happening. Another interesting trend is third-party lenses, such as those offered by Sigma and Tamron, are on the rise.

An ordered list of the most popular brands by rental market share. Click to enlarge.

All in all, across the board, the top five rental brands are Canon, Sony, Nikon, Sigma and Blackmagic, respectively. The only change in the top five compared to 2019 is Blackmagic, which overtook Panasonic for the final spot.

The full blog post from Lensrentals is a great read, so be sure to visit via the link below to ingest all the data there is to offer.

The Top Rented Photo and Video Products of 2020

Articles: Digital Photography Review (dpreview.com)

 
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Happy New Year from the dPS Team (Plus Our Ultimate Guides)

01 Jan

The post Happy New Year from the dPS Team (Plus Our Ultimate Guides) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Happy New Year 2021 from the dPS team

On behalf of the entire dPS team, I’d like to extend the warmest of New Year’s greetings!

2020 hasn’t been easy, but it’s over – which means it’s time to think about 2021.

Here at dPS, we’ll continue to bring you photography tips, tutorials, and techniques of all kinds, so make sure you check back regularly for our best new content.

And for those of you looking to get a head start on your photography education, I’ve shared our dPS Ultimate Guides below – which offer a quick way to master new photography topics. You can even download the guides as PDFs; that way, you can take them with you wherever you go.

Simply click on the links below to view the Ultimate Guides:

  • The dPS Ultimate Guide to Photography for Beginners
  • The dPS Ultimate Guide to Landscape Photography
  • The Ultimate Guide to Learning How to Use Your First DSLR
  • The Ultimate Guide to Street Photography
  • The dPS Ultimate Guide to Getting Started in Lightroom for Beginners
  • The dPS Ultimate Guide to Taking Portraits and Photographing People
  • The dPS Ultimate Guide to Photography Terms
  • The Ultimate Guide to Nature and Outdoor Photography
  • The Ultimate Guide to Night Photography
  • The dPS Ultimate Guide to Food Photography
  • The dPS Ultimate Guide to Fine Art Photography

And if you feel these ultimate guides are valuable, make sure you share them with your friends!

The post Happy New Year from the dPS Team (Plus Our Ultimate Guides) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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SLC-OE-08: Turning the Corner

01 Jan

Whew. What a year. 

But if you're reading this, you made it through! 
As we all move into a hopefully much better 2021, here are three things you can do to improve your experience as a photographer for the coming year.

Read more »
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When to Shoot in RAW vs JPEG (and Why)

31 Dec

The post When to Shoot in RAW vs JPEG (and Why) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

when to shoot in RAW vs JPEG and why

There has been a longstanding debate in the photography community about RAW vs JPEG file formats. Both have their benefits and drawbacks, so determining which one to use isn’t as simple as you might think.

In fact, rather than thinking about RAW vs JPEG as a single choice to make, it’s best to reframe the question entirely. So don’t think about which format to always use.

Instead, think about when to use RAW and when to use JPEG.

RAW vs JPEG example photo
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 180mm | 1/350s | f/4 | ISO 2000

Understanding RAW and JPEG formats

If you’re new to digital photography, terms like “RAW” and “JPEG” might seem a little strange. So what actually is a RAW photo? And what is a JPEG photo?

When you press the shutter button on your camera, it takes in color and light data, then converts the data into a photograph. RAW is one type of file format that your camera can use, and it’s found on dedicated cameras like DSLRs and MILCs.

A RAW file is the unprocessed image data straight from the sensor. It must be converted to a usable image format via a program such as Lightroom or Luminar. RAW files are much larger than JPEG files, and they often don’t look good until they are edited. Therefore, a longer post-processing time is required, and memory cards fill up quicker. But you do get a flexible file that can be endlessly edited to look exactly how you want.

beautiful sunset shot in RAW
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/500s | f/11 | ISO 100.
A RAW file gave me far more freedom to edit this photo compared to if it had been shot as a JPEG.

JPEG images are RAW files that are instantaneously converted by the camera into a format that is easy to share. In the process, however, JPEGs lose some of the data captured by the image sensor.

JPEG files have widely used since 1992, and the original intent was to create an image format that was a nice compromise between quality and file size. If you’re old enough to remember the early days of the internet, you know that bandwidth was a precious commodity, and a single image file could take several minutes to download on a dial-up modem. JPEG helped solve that problem and quickly became the dominant format for digital photos. This legacy lives on today, and nearly every digital camera and mobile device can shoot JPEG photos.

So which format is better? That’s a question only you can answer, and it all depends on your photographic goals. But it’s a bit like deciding between a truck and a sedan, a microwave and an oven, or whether to wear shoes or sandals.

In other words, it’s not a question of whether JPEG is better than RAW or RAW is better than JPEG. Instead, it’s about deciding when to shoot in RAW or JPEG and why.

fungus shot in JPEG
Fujifilm X100F | 23mm | 1/170s | f/2 | ISO 200.
I didn’t want to edit this photo, so I shot a JPEG and was perfectly happy with the result.

When to shoot in RAW

There’s no question that RAW files offer much more flexibility during the editing process. When it comes to recovering highlights, bringing out detail in the shadows, adjusting exposure, and all other types of edits, RAW reigns supreme.

While RAW does have some downsides, the advantages can easily outweigh the disadvantages.

In general, I recommend shooting RAW in the following situations:

You’re shooting paid photos for clients

When working with clients, you want all the flexibility you can get. The best-laid plans can often go awry, and despite all your preparedness, you can still end up with images that are too dark, too bright, or need severe color-correcting.

This is where RAW excels, as it lets you recover as much information as possible to fix errors or tweak the image to your liking.

couple portrait
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/3000s | f/2.8 | ISO 400.
Here, the backlighting resulted in a severely underexposed image. I was able to save it because I shot in RAW.

You know you’ll be doing extensive editing

If you are shooting in extreme conditions, you’re pushing your camera and your skills to the limit, or you’re even just taking normal pictures that you know you will be editing, then RAW is a good choice.

If I’m taking more than just casual snapshots, I like to err on the side of caution; I’ll shoot in RAW, even if I’m not sure how much editing I’ll be doing.

a tree branch hanging in front of the water
Nikon D7100 | Nikon 50mm f/1.8G | 50mm | 1/350s | f/1.8 | ISO 110

You might want to edit your images years later

This one is a little tricky, since it’s difficult to predict whether you will or won’t want to edit your pictures years or decades down the line.

Some photographers like to shoot everything in RAW just to be on the safe side. While it’s impossible to predict the future, it’s difficult to imagine any scenario in which RAW files would offer less flexibility than JPEGs or other file formats.

We might reach a point years down the road where machine learning and artificial intelligence are able to give RAW-style flexibility for lossy formats like JPEG, but we’re not there yet. RAW formats are used by world-class institutions like the National Archives in the United States. Such facilities certainly know a thing or two about storing images for the long term, and if RAW is good enough for them, then it’s likely good enough for you.

boy running RAW vs JPEG
Nikon D7100 | Nikon 50mm f/1.8G | 50mm | 1/350s | f/4 | ISO 200.
When my kids were little, I didn’t know as much about photography as I do now. I shot everything in RAW, just in case I needed to edit my photos years later.

When to shoot in JPEG

Some people are of the opinion that all pictures should be shot in RAW, but I tend to disagree.

While RAWs do have advantages over JPEGs, there’s nothing wrong with capturing JPEG files if they work for you. Just because some people shoot in RAW doesn’t mean you have to!

In general, I recommend using JPEG in the following situations:

You like the look of your camera’s JPEG files

The biggest advantage of RAW is also one of its key disadvantages; having the freedom to adjust your photos ad infinitum isn’t much of an advantage if you don’t really want to edit them.

All camera manufacturers configure their cameras to process JPEGs with a certain look or style. As such, the straight-out-of-camera JPEG files can look much better than RAW files. And if you don’t plan on editing your pictures, then these JPEGs are probably the better option.

girl photographed in JPEG
Fujifilm X100F | 23mm | 1/200s | f/2 | ISO 200.
I like the Fujifilm JPEG files just fine, and as such, I almost never shoot in RAW with my Fujifilm camera.

I shot in RAW frequently – until I got my Fujifilm X100F camera. I quickly realized that I quite liked the look of its JPEG film simulations such as Classic Chrome and Provia. Soon, I had stopped shooting in RAW entirely on my Fujifilm, because I just liked the JPEGs better. I could certainly edit the RAW files, but I realized over time that I didn’t want to. I liked the JPEGs just the way they were (and I still do!).

If you like how your JPEG files look, then don’t worry about RAW and keep using JPEG. It doesn’t make you any less of a person, or photographer, just because you want to let your camera do some of the editing for you.

And even though JPEG files can’t be edited as much as RAWs, you can still make some basic changes, such as adjusting exposure and correcting the color. You shouldn’t expect the same flexibility that you’d get when editing RAW files – but if that’s not your goal, then JPEGs will be fine.

JPEG vs RAW sheep
Fujifilm X100F | 23mm | 1/2000s | f/2 | ISO 200.
I shot this as a JPEG and was still able to tweak the white balance just a bit in Lightroom. Would RAW have worked better? Perhaps. But I like this shot anyway.

You’re capturing casual snapshots of friends and family

RAW files have more flexibility than JPEG files – but if you’re shooting lots of casual pictures or snapshots of friends, family, and everyday life, then RAW just might be overkill.

RAW files take up more space on your memory card, they can be a chore to edit, and they are also difficult to share. The latter is especially important for these slice-of-life photos, and most casual shots don’t really require much in-depth editing, anyway.

people on a dog walk
Fujifilm X100F | 23mm | 1/480s | f/5.6 | ISO 200

When you shoot JPEG files, you lose some of the flexibility of the RAW format – but you gain the ability to easily share photos, and you don’t have to deal with conversions and editing software.

On family vacations, it’s not uncommon to share memory cards before everyone leaves, just to make sure everyone has everyone else’s photos. This is just easier with JPEGs, since every device and operating system works great with the JPEG file format.

You’re photographing sports and fast action

This might seem a little counterintuitive because sports and action shots sometimes need to be edited afterward. It’s difficult to nail the exposure and white balance when shooting some types of sports, which is why photographing in RAW can be useful.

However, it’s not uncommon to end up with hundreds or even thousands of photos after a sporting event, especially if you use your camera’s continuous shooting mode. The sheer quantity of images can turn the task of editing into an arduous process that ends up taking far too much of your time.

boy kicking a soccer ball
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 98mm | 1/750s | f/2.8 | ISO 100.
I shot JPEGs with the Overcast white balance setting, so all I had to do was crop a few shots, instead of meticulously editing the hundreds of photos I got from this game.

As a result, it can actually be a good thing to shoot in JPEG when you know you will end up with a massive amount of photos. You can learn to tweak JPEG settings in-camera, such as lifting the shadows and manually setting the white balance to maintain uniformity across your pictures. This isn’t the same as editing each image by hand, but it’s a lot easier!

The internal buffer on your camera won’t fill up as quickly when shooting in JPEG mode due to the smaller file size. This means you can take more images without waiting around while your camera transfers them to your memory card. Those precious seconds can make all the difference at sporting events or other situations where the action comes frequently and you don’t want to miss a shot.

backyard pool
Fujifilm X100F | 23mm | 1/450s | f/5.6 | ISO 200

A Compromise: RAW+JPEG

If you’re still not sure when to use RAW vs JPEG files, just know that there is no correct answer. Whichever file type you choose is fine as long as it works for you.

If you feel comfortable using RAW, then great. If you’d rather shoot in JPEG, go for it. And if you want the best of both worlds, you really can have your cake and eat it, too.

You see, most cameras let you choose a mode called RAW+JPEG. As you might expect, this mode saves both RAW and JPEG files for every shot. It can eat through your memory cards in a hurry, but as long as you don’t mind the increased storage requirements, you can avoid making the RAW vs JPEG decision altogether and just use both formats.

coneflower close-up
Nikon D7100 | Nikon 50mm f/1.8G | 50mm | 1/350s | f/2.4 | ISO 100

RAW vs JPEG: Conclusion

When I first started getting into photography, I suffered from a severe case of RAW guilt.

I thought that if I didn’t use RAW, then I wasn’t a real photographer, because real photographers shot in RAW. I thought JPEGs were for the unwashed masses and should be shunned by any picture-taker who took themselves seriously. It took me far too long to realize that this type of gatekeeping has no place in photography.

As long as you have a process that works and you’re happy with the result, then don’t let anyone tell you that you’re doing it wrong. And if you haven’t yet figured out when to use RAW vs JPEG and you’re looking for some advice, then hopefully this article gave you some ideas.

I’d love to hear your thoughts about when you shoot in RAW versus JPEG and why. So share your opinion in the comments section below!

The post When to Shoot in RAW vs JPEG (and Why) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Gear of the Year: Carey’s choice – Sony a9 II

31 Dec
Photo: Dan Bracaglia

We were being out-paced by a semi-truck on a dirt road off an Idaho interstate in a mad gambit to skip an hour’s worth of stop-and-go traffic. As the 18-wheeler rounded a corner far ahead of us, leaving our sight, I felt a bit of humility. Mostly relief. Though if we’d wanted, we could easily have kept up with the truck in the little Subaru we were bouncing around in.

It was nice to take comfort in the certainty that every photo I would take on this trip would be reasonably exposed and perfectly focused.

But earlier, we’d been tailing the truck a bit closer and all the dirt it kicked up made us feel like we were crash-landing on the Red Planet in a Martian storm. The subsequent realization that we’d left our cell phone reception back by the highway also encouraged a little more caution.

Visitors visit parts unknown in Craters of the Moon National Monument. Processed and cropped slightly in Adobe Camera Raw.
ISO 100 | 1/500 sec | F8 | Sony FE 100-400mm F4.5-5.6 GM @ 141mm.

We were on our way back from Bozeman, Montana, from a DPReview video shoot on a farm. In normal times, road tripping to parts unknown is one of my favorite activities, and the ensuing uncertainty is honestly part of the appeal. But the additional uncertainty of the pandemic weighed on me a little bit. Every rest stop, every carefully vetted Airbnb stay was a risk, necessitating masks and buckets of hand sanitizer.

So it was nice to take a small bit of comfort in one thing – the certainty that every photo I would take on this trip would be reasonably exposed and perfectly focused. I had Sony’s a9 II with me, and free from worrying about whether or not the camera would do its job, I came away with some of my favorite photographs I was able to take this year.

Why it matters

It may not have bird detection, but the a9 II’s tracking is just solid.
ISO 100 | 1/1000 sec | F5.6 | Sony 100-400mm F4.5-5.6 GM @ 100mm

Back when I wrote our review of the a9 II, I said it had the best autofocus performance money could buy. Canon’s subsequent EOS R5 and R6 cameras have come close to closing the gap, and they have pretty awesome animal detection algorithms. But the a9 II’s tracking just works incredibly well, pretty much all the time; it’s tenaciously sticky and tracks anything I put the AF point over, and the camera can track human eyes that are absolutely tiny in the frame.

As a tool for the type of work I wanted to do, the Sony a9 II did the job.

It’s also easy to forget that there are plenty of cameras out there for which we don’t recommend using subject tracking all the time. Heck, even Sony’s a7R IV, which, on paper, features the same implementation, can struggle with fast action. (Admittedly, this could be the massive resolution, but if the AF can’t keep up, what’s the point of all those megapixels?).

The clouds roll into Mount Rainier National Park. Processed in Adobe Camera Raw.
ISO 125 | 1/160 sec | F8 | Sony FE 100-400mm F4.5-5.6 GM @ 137mm

Shooting with a camera that has the most dependable subject tracking I’ve used really freed my mind to focus on composition and capturing a variety of moments. As the camera tracked my chosen subject and kept it in critical focus, I could easily experiment with my composition with my eye to the finder and end up with an image I was happy with.

No camera is perfect, but this one is pretty darn good

I have to admit, one of the great frustrations of my job is that in over five years of living, breathing and testing cameras, there isn’t one camera that does everything exactly the way I want. Yes, I know that might be the most #firstworldproblem ever. Maybe I’m just too picky.

Great eye detection means the a9 II didn’t get tripped up at all by the foreground elements in this Montana farm photo. Processed in Adobe Camera Raw.
ISO 100 | 1/160 sec | F2.8 | Sony FE 24-70mm F2.8 GM @ 70mm

The Sony a9 II, for all its impressiveness, still has some interface lag, convoluted menus and a handful of other quirks. It’s overkill for many people, while others would value more megapixels or slightly greater dynamic range over the a9 II’s speed and AF tracking. Oh, and the touchscreen kind of stinks.

You’ll also notice that the images presented here are processed through Adobe Camera Raw (original JPEGs in the gallery below). Sony’s JPEG engine has some of the best detail retention and noise reduction on the market, but I just felt like some images needed a more personal touch to really replicate what I saw in front of me as I hit the shutter button. That would admittedly be an issue were I a full-time sports shooter on a tight deadline.

The road ahead will always be windy and more than a little uncertain. Processed in Adobe Camera Raw.
ISO 100 | 1/500 sec | F8 | Sony FE 24-70mm GM @ 24mm

But as a tool for the type of work I wanted to do, it did the job. It may not be a camera that I fully enjoy the experience of using, but the confidence it inspires is hard to overstate. And that made all the difference on an uncertain road trip in these uncertain times.

And lastly, happy new year to everyone reading (and thanks for reading this far). Here’s to hoping for some slightly more certain times ahead, and thank you for being a part of DPReview.

Read our full Sony a9 II review here

Sample gallery

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Articles: Digital Photography Review (dpreview.com)

 
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dPS Top Nature and Wildlife Photography Tips of 2020

31 Dec

The post dPS Top Nature and Wildlife Photography Tips of 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

top nature and wildlife photography tips of 2020

Do you want to improve your nature and wildlife photography, fast?

Then take a look at our best nature and wildlife photography tips from 2020. They’re packed full of helpful advice, all designed to help you capture stunning photos!

Starting with our most popular nature photography article of the year:

1. 5 Camera Settings Every Bird Photographer Should Know

5 Camera Settings Every Bird Photographer Should Know

2. 10 Must-Use Bird Photography Camera Settings for Beginners

10 Must-Use Bird Photography Camera Settings for Beginners

3. How to Take Vibrant, Razor-Sharp Macro Photos of Flowers

How to Take Vibrant, Razor-Sharp Macro Photos of Flowers

4. Tips for Doing a Backyard Photo Safari

Tips for Doing a Backyard Photo Safari

5. Macro Photography for Beginners

Macro Photography for Beginners

6. 10 Incredible Bird Photography Tips for Beginners

10 Incredible Bird Photography Tips for Beginners

7. Photographing on Your Home Patch and Why You Need One

Photographing on Your Home Patch and Why You Need One

8. How to Choose the Best Lens for Wildlife Photography

How to Choose the Best Lens for Wildlife Photography

9. How to Photograph Beautiful Winter Snowdrops (or Other Flowers)

How to Photograph Beautiful Winter Snowdrops (or Other Flowers)

10. Nature and Wildlife Photography Tips for Beginners

Nature and Wildlife Photography Tips for Beginners

11. 10 Ideas for Photographing Nature in Your Backyard

10 Ideas for Photographing Nature in your Backyard

12. How to Photograph Sun Flares: 14 Tips for Beginners

How to Photograph Sun Flares: 14 Tips for Beginners

13. 10 Tips for Improving Your Wildlife Photography

10 Tips for Improving Your Wildlife Photography

14. 6 Tips for Near-Macro Photography With a Telephoto Lens

6 Tips for Near-Macro Photography with a Telephoto Lens

15. Tips for Photographing Birds in Flight

Tips for Photographing Birds in Flight

Conclusion

I hope you’ve enjoyed these nature and wildlife photography tips!

And if you want to keep improving your photos, make sure you subscribe to the dPS newsletter. We’ll send you weekly tips, tricks, and techniques – so that you can take your photos to the next level as quickly as possible!

The post dPS Top Nature and Wildlife Photography Tips of 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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DPReview TV: We share our 2021 predictions while freezing our asses off

30 Dec

It’s time for our annual predictions episode! Chris and Jordan tell us what to expect from each camera company in 2021. And like true Canadians, they do it while ice fishing.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Canon
  • Pentax
  • Fujifilm
  • Leica
  • Nikon
  • Sigma
  • Olympus
  • Panasonic
  • Sony
  • See you next year!

Articles: Digital Photography Review (dpreview.com)

 
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