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Capture One 21 Has Been Released, a Powerful Alternative to Lightroom

14 Dec

The post Capture One 21 Has Been Released, a Powerful Alternative to Lightroom appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Phase One releases Capture One 21

Just last week, Phase One launched the latest version of their Capture One software: 

Capture One 21, which offers several powerful new features, plus all the tools that made the post-processing program so compelling in the first place. 

While Capture One is often pitched as a Lightroom alternative, it’s known among photographers as the “advanced” all-in-one photo editor, geared toward serious hobbyists and professionals looking for extensive editing capabilities in a single package.

In other words:

Compared to Lightroom, Capture One is more difficult to learn – but also the better program, once you get the hang of it. In nearly every area, Capture One (including Capture One 21) matches Lightroom edit for edit. But the program also outperforms Lightroom in a few key ways, which is why more and more serious photographers have been making the conversion to Capture One.

So what does Capture One 21 offer? 

First, the new features: 

Capture One 21 now boasts a Dehaze slider, which removes haze from your photos for a crisp, contrasty look. 

Capture One 21 release dehaze slider

You also get improved color profiles for certain cameras, including Sony’s high-end mirrorless models, plus a handful of Nikon and Canon DSLRs and MILCs.

Phase One has also promised performance upgrades, claiming that with Capture One 21 it’ll be “faster than ever to search and browse photos.” There’s also a brand-new “Speed Edit” feature, which lets you quickly edit images without using sliders; instead, you can make changes with a few hotkeys and the scroll wheel.

Additional new features include Capture One’s support of 8-bit HEIC files, so you can edit your HEIC smartphone photos directly in Capture One, and a set of integrated tips and tutorials for mastering Capture One 21 as quickly as possible.

Of course, Capture One 21 also packs its usual standout features. First, there’s the class-leading color tools, which allow you to take your photos to the next level with selective color adjustments and precise color grading. 

Capture One 21 release color tools

Then there’s the powerful digital asset management capabilities, which allow for both session-based and catalog-based organization, plus keywording, comprehensive export options, and seamless Photoshop integration. 

Finally, there’s a suite of powerful adjustment tools, including layers, luminosity masking, levels, curves, and more. 

For advanced photographers looking for a comprehensive alternative to Lightroom, Capture One 21 is the way to go. You can grab it here starting at $ 129 USD for a one-time license, or you can purchase a subscription starting at $ 9.99 USD per month. Alternatively, you can download a 30-day free trial right here. 

Now over to you:

Have you tried Capture One software? Are you a fan? And which do you prefer, Capture One or Adobe Lightroom? Share your thoughts in the comments!

The post Capture One 21 Has Been Released, a Powerful Alternative to Lightroom appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Hands-on: What you need to know about the Leica SL2-S

13 Dec

Hands-on with the Leica SL2-S

Leica’s third full-frame L-mount camera, the SL2-S, has just landed. Based on the SL2 which launched just over a year ago, the SL2-S has a 24MP sensor and it’s a bit more video-focused than its higher-resolution forebear.

If you’re familiar with the SL2, there frankly isn’t much that’ll surprise you about the SL2-S. But if you’ve overlooked the SL2 previously or are just new to the Leica SL-series in general, then follow along for a closer look at the newest model in the lineup.

Sensor, grip and logo

The most immediate change on the SL2-S relative to its sister model is right here, front-and-center: the sensor. It’s a 24MP unit that sits on an in-body stabilizer, and it grants users the ability to capture oversampled (meaning, very detailed) 4K/30p video using the sensor’s full width. You can also opt for 4K/60p capture, though you’ll need to crop in to a smaller APS-C portion of the sensor to access that. There a few other nitty gritty video details to cover as well, which we’ll get to shortly.

As for the rest of the camera, the most obvious outward change on the SL2-S relative to its sister model is the blacking-out of the ‘LEICA’ lettering on the viewfinder hump. It does make for a slightly more subtle look, but of course, the bright red dot next to it will probably still draw some attention for those in the know. Lastly, the grip remains pretty comfortable despite its blocky shape, helped by an indent for your fingertips just visible in the shadow here.

Rear controls and screen

On the rear of the camera, along the screen’s left side, you’ll find Leica’s standard set of buttons. ‘Play’ enters playback, ‘Fn’ can be pressed once to access a custom function, or can be ‘long-pressed’ to select a different custom function for the next time you short press. It’s a handy way to change the button’s behavior without diving into the full menus.

Hitting the ‘Menu’ button enters a quick menu where you can control some key functions via the touchscreen, including the shooting mode, drive mode, focus settings, and more. A further press of the Menu button brings up the main menus, which let you delve a little deeper into the camera’s settings. You can continue to press the ‘Menu’ button to navigate along the six pages of options, or you can use the top command dial to do so. The rear dial will navigate up and down various settings.

Speaking of that rear dial, it’s also how you quickly change shooting modes without entering the quick menu at all; you press it in, and then rotate it to swap between PASM modes.

The AF Joystick allows you to move your AF area around the frame, and it allows you to manipulate settings in the main and quick menus as well. The button next to it defaults to manually swapping between the LCD screen and electronic viewfinder (EVF), but a long-press allows you to change its behavior, just like the ‘Fn’ button. Speaking of the EVF…

Viewfinder

The viewfinder alone could be a reason for someone to consider an SL2-S. It’s big, bright and detailed, offering 5.76M dots of resolution. The only other 24MP camera you’ll find that type of detailed picture on is the Panasonic Lumix S1; other comparable 24MP offerings from the likes of Nikon, Canon and Sony have viewfinders that are a similar size but lower resolution.

The ring surrounding the viewfinder is a large diopter adjustment dial for those glasses-wearers among us; its size makes it easy to set it just right, but there’s enough resistance that you won’t knock it out of place accidentally.

Top plate controls

On the top of the camera we see a generously sized display that shows pertinent exposure and camera settings. To its right are two more custom buttons that, again, you change the behavior of using a long press. A close look reveals, in fact, two more custom buttons well-placed to be manipulated with your middle or ring fingers on the front of the camera, though we wish they were separated a bit more.

You also get a flash hot-shoe, and on the right side of that you’ll see an engraving reading ‘LEICA SL2-S’, the only place on the camera you’ll find its model name. (A rather cryptic ‘Type no.: 9584’ is printed on the bottom of the camera.)

Video

The headline video spec of the SL2-S is 4K at up to 60p, which, on paper, looks a lot like that of the SL2. There are differences, though. The SL2 shoots sub-sampled video from nearly the full width of its sensor for all of its video modes, whereas the SL2-S shoots full-width oversampled video for its 24, 25 and 30p modes. This means the SL2-S is using all its pixels to shoot 6K footage which is then downscaled to 4K. This should give more detailed video and possibly better low-light performance. The ‘S’ uses an APS-C region for its 60p footage, which gives up some of this benefit but should still look good.

In addition, the SL2-S includes features such as built-in display correction LUTs to give a usable preview when shooting in Log gamma (both of which are also available as ‘Cube’ files which can be applied as you edit the footage). A future firmware update will add options such as waveforms for assessing exposure, and the ability to set exposure time as shutter ‘angle’ rather than shutter speed, along with a ‘tally’ lamp mode that indicates when the camera is recording.

Ports

Behind a thick, flexible rubber door on the left side of the camera body are headphone and microphone ports, which also double as remote release ports, as well as a full-sized HDMI port (which feels a lot sturdier than the ‘mini’ or ‘micro’ ports on many competing cameras). Immediately beneath these, behind its own rubberized door, is a USB-C port that supports charging, tethered shooting and image transfer.

Storage

On the other side of the camera is a set of SD card slots; both support the faster UHS-II type memory cards, and you’ll likely want to use reasonably quick cards if you’re planning on using the 25 fps silent shutter burst feature, or shooting at the camera’s highest video quality settings.

Battery

On the bottom of the Leica SL2-S you’ll find a BP-SCL4 battery pack, the same as you’ll find in the SL2 and the Q2 and Q2 Monochrom fixed-lens cameras. It’s good for a CIPA-rated 510 shots per charge, though you’ll likely get many more than that in normal use. We find that a rating of 500 or so is good for at least a couple of days of focused photography if you’re, say, exploring a new city.

Interestingly, there’s no battery ‘door’ per se; the entire unit pops out and leaves a hole in the bottom of the camera. But each BP-SCL4 has its own gasket around the bottom, ensuring that the camera lives up to its IP54 weather-sealing rating.

Hands-on with the Leica SL2-S

And there you have it: Leica’s latest full-frame mirrorless camera, the SL2-S. Although compared to the SL2, the exterior differs only by the blacked-out logo, its lower resolution sensor will likely be welcomed by those who don’t need 47MP of resolution, or those who need better quality video (which will be augmented further in a promised firmware update next year). The SL2-S also comes with its own high-res shot mode, which can churn out 96MP files on the occasion that you do need more resolution (though you also need a tripod and a pretty static subject).

What do you make of the SL2-S? Is it something you would consider adding to your camera bag? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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7 Tips for Taking Better Photographs of Cars

13 Dec

The post 7 Tips for Taking Better Photographs of Cars appeared first on Digital Photography School. It was authored by Desmond Louw.

car photography

Taking photos of cars is such an interesting activity; it’s like doing science. Every time you shoot a car, you’ll learn something from it!

That’s why I would like to share some basic guidelines to get you started with car photography.

And by the time you’ve finished this article, you should be one step closer to getting gorgeous photos of cars!

1. Shoot at the right time of day

This is by far the most common mistake people make when shooting cars.

You see, the best time to do car photography is a few minutes after sunset (or a few minutes before sunrise). Use a tripod and get that perfect soft light on the paint.

This photo was taken for Top Gear a few minutes before sunrise:

Car photography BMW M135i

2. Be on the lookout for reflections

You must carefully control what reflects in the car. Have a look around you, then look closely at the car and see what reflects off its surface.

A car (especially a new, shiny one) is like a mirror. So try to have an open space behind you, like a field. Also, try to avoid shooting with buildings or trees in front of the car. One of the most important things you want to show in your car pictures is the design lines of the car. But reflections can spoil these lines very quickly.

Also, be very careful not to include your own reflection in the photo. If you can’t avoid your own reflection, it’s best to put the camera on a tripod, set the timer, and move out of the shot. Just look at this photo I took of a dark shiny BMW 428i (below); behind me was nothing except the horizon. In fact, you can clearly see the horizon reflecting in the car:

Car photography tips BMW428i

3. Take driving shots

One very easy way to get a cool image is to shoot the car out of another moving car. (Please be super careful when doing this!) 

For instance, try shooting the car out of a window while driving at 37 mph (60 km/h) with a shutter speed of 1/100s or so.

By doing this, you’ll get some nice movement on the road and on the wheels. You can even decrease the shutter speed further, though this will increase your chances of ending up with blurry photos.

This Audi S3 was shot before sunset; it was driving at 70 km/h (43 mph), and I used a shutter speed of 1/125s:

Car photography tips S3 driving shot

4. Pay attention to the color of the car

All types of paint react differently at different times of the day with different light. Most colors hate direct sunlight, but some colors actually handle direct sunlight really well.

Just look at this baby blue Beetle shot in the middle of the day:

Car photography tips beetle

5. Choose your background carefully

Make sure your background suits the car and the theme. Avoid including objects in the background that will distract the eye.

Things like dustbins, power lines, and other cars can kill a picture. For this Aston Martin shot (below), I used a simple background. The yellow paint matches the car’s color:

Car photography aston martin

6. Pan for motion blur

A cool way to get some motion in your car photography is to stand next to the road and let the car drive past you.

Follow the car with your lens in one smooth action and set the shutter speed to 1/125s. You will be amazed by how easy this is!

This Ferrari was shot at 1/125s at 200mm. The car was driving roughly 37 mph (60 km/h):

Car photography tips ferrari

7. Let the car interact with nature

Here’s another way to capture a photo that speaks to you:

Make the car interact with its surroundings.

Examples of this could be a car creating dust or a 4×4 driving over an obstacle. Look at this Chevrolet Trailblazer climbing over a rock:

Car photography tips trailblazer

And this G-Class AMG drifting on loose sand:

Car photography tips G AMG

8. Shoot at night

Photographing cars at night might sound daunting, but you will be amazed by how easy and awesome it is! The biggest secret here is to find a spot where it’s completely dark; any streetlights or even a full moon could make life tricky.

Once you’ve found the right spot, set up your camera on a tripod. Set your ISO to 100, the shutter speed to 30 seconds, and the aperture to f/9.

When the shutter opens, take a strong constant light source and walk around the car, “painting” it with your light. A normal household flashlight works for this.

There are no rules here. Paint the car in different ways to get different effects, and you will be blown away by the results! Here are some examples of this technique:

Car photography tips Opel Astra
This is an Opel Astra shot next to Table Mountain with Cape Town in the background.
Dodge Charger with the skyline of Detroit City
This is a Dodge Charger with the skyline of Detroit in the background. The photo took me no longer than five minutes to set up and capture.

Tips for taking better photos of cars: conclusion

Car photography may seem difficult, but with these handy tips, you’re well-equipped to take some stunning car photos of your own.

So pick your favorite technique from the article, get outside, and start shooting!

Do you have any other car photography tips or favorite images you’ve taken of cars? Please share them in the comments below.

  • Light Painting Part One – The Photography
  • Showing Speed: Using Panning When Shooting Action
  • 3 Tips for Creating Dramatic Images Using Motion
  • Do You Pack Up and Leave After Sunset and Miss the Fun of Night Photography?

The post 7 Tips for Taking Better Photographs of Cars appeared first on Digital Photography School. It was authored by Desmond Louw.


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DPReview TV: Nikon Z6 II review

12 Dec

The Nikon Z6 II looks a lot like its predecessor, but Nikon has made some significant updates to its current midrange full-frame interchangeable lens camera. These include more processing power, a bigger buffer, faster shooting and better low-light autofocus performance.

Oh, yeah – and dual card slots!

Chris and Jordan have been shooting with the Z6 II for a little while up in the frozen wastes of Alberta. Watch their video review to find out how they got on.

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

  • Introduction
  • Sample Photos
  • Dual Card Slots
  • Image Quality
  • Screen Articulation
  • Interface
  • Displays
  • Autofocus
  • Battery Performance
  • Video Performance
  • Who is it for?

Nikon Z6 II sample gallery (DPRTV)

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6664732276″,”galleryId”:”6664732276″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)

 
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Posing Guide: 21 Sample Poses to Get You Started with Photographing Couples

12 Dec

The post Posing Guide: 21 Sample Poses to Get You Started with Photographing Couples appeared first on Digital Photography School. It was authored by Guest Contributor.

poses for photographing couples

This is a guest post by Kaspars Grinvalds from Posing App.

In this posing guide series, we’ve looked at posing female subjects, posing male subjects, and posing children. In those individual portraits, the main subject is a single person with a single personality. But couple photography is more about connection, interaction, and above all, feelings between two people. Generally, you’re working with very deep and passionate feelings, which is what makes couple photography so delightful and positive.

Couples are pretty easy to engage in a photoshoot. If they are initially a bit shy or feeling uncomfortable, just ask them to show you how they felt and looked when they met for the first time. You will touch them on an emotional level, providing you with natural and loving expressions in their portraits.

However, creating strong couple poses presents its own difficulties. That’s why we’re offering 21 simple, easy poses for photographing couples – so you can get started taking stunning couple photos, today.

1. Standing face to face (but looking at the camera); one partner should hold an arm on the other partner’s chest

Make sure you take both close-up and vertical shots.

Posing Guide: 21 Sample Poses for Photographing Couples

2. Standing close together and looking toward one another

Ask the couple to stand very close to one another to create intimate close-up portraits. Don’t be afraid to zoom in and crop real tight!

intimate close up pose

3. Hugging from behind

This is a very easy and cordial pose, with one partner holding the other from behind. The couple may look straight into the camera or at each other. They can even kiss for a more emotive shot.
Posing Guide: 21 Sample Poses for Photographing Couples

4. Holding from behind

This is a fun and loving pose, with one partner holding onto the other partner’s back and shoulders.

Pay attention to hand positioning; it should be simple and natural.

Posing Guide: 21 Sample Poses for Photographing Couples

5. Holding from behind (alternative)

This is just a variation on the previous pose, with one partner holding the other from behind.

Remember that the couple doesn’t necessarily have to look into the camera. For better results, make them interact with each other by talking, offering flirtatious looks, laughing, etc.
Posing Guide: 21 Sample Poses for Photographing Couples

6. Holding and looking out

This pose creates a very romantic mood, and it works best when outdoors with some open space in the background.

Shoot only slightly from behind the couple.

And remember that you have to be far enough to the couple’s side to capture each person’s closest eye. Otherwise, you will create an impersonal, empty shot.

Posing Guide: 21 Sample Poses for Photographing Couples

7. Looking up

Find some elevation and shoot your subjects from above.

A common pose shot from an unusual angle is always creative and will often reward you with surprisingly good results.

shoot from above

8. Intimately holding hands

This is another romantic pose. It works best outdoors with some open space in the background.

It also works very well as a silhouette against a bright background (in front of a sunset, for example).

Posing Guide: 21 Sample Poses for Photographing Couples

9. The gentle, staggered pose

This is an easy-to-create pose for a full-height shot. It’ll give your photos a calm and affectionate mood.

Posing Guide: 21 Sample Poses for Photographing Couples

10. The piggyback pose

This one’s a fun pose, but don’t assume that it only works with younger people. If an older couple feels fine with it, this pose will work superbly with them, as well.

Try different framings, take full-height shots, half-height shots, and close-ups.

Posing Guide: 21 Sample Poses for Photographing Couples

11. Standing face to face and kissing

This is a very nice way to show the affection a couple felt when they first met each other.

It works very well in crowded places, such as a famous meeting point in a city, at a train or metro station, etc.

couple kissing

12. Jumping and hugging

This pose offers a little bit of fun!

The crucial part is the leg positioning of your jumping subject; each leg should be bent at different angles.

Oh, and take a close-up portrait shot, as well.

woman jumping into a man's arms

13. Walking and holding hands

Take shots of the partners walking hand in hand as they approach from a distance.

Shoot in Burst mode only, because the majority of your shots will look awkward thanks to the leg movement. Therefore, the second part of your job is to select the photos with the best leg movement and positioning afterward.

couple pose holding hands

14. Walking and holding each other

This is another pose with a walking couple. This time, the couple should walk close together and hold onto each other.

As with the previous pose, take several shots and choose the ones with the most elegant leg positioning.

Posing Guide: 21 Sample Poses for Photographing Couples

15. Walking away from the camera

Never forget that there are often good opportunities when shooting from behind! This is a simple pose, but one that looks amazing when done right.

couple walking together

16. Lying on the ground

For this one, the couple should lie close together on the ground.

Ask them to lift their upper bodies a bit and use their arms for support. One partner might embrace the other partner gently. Shoot from a very low angle.

couple lying together on the ground

17. Lying on the ground and looking at each other

Here’s another variant with the couple lying on the ground, but this time with a little space between the partners.

Posing Guide: 21 Sample Poses for Photographing Couples

18. Cuddling on the ground

This is a nice example of an asymmetrical pose, with one person positioned slightly above the other.

Posing Guide: 21 Sample Poses for Photographing Couples

19. Lying together, looking up

This is an informal and fun way to pose – with the couple lying on their backs.

couple lying on backs

20. Sitting together on a sofa

Here’s a very cordial pose; ask the couple to sit comfortably on their favorite sofa.

couples sitting on a couch

21. The classic maternity pose

Shooting a couple may mean maternity photography.

Some poses from this couples series work pretty well for such an occasion. Simply adjust the pose accordingly to show the couple’s feelings about the baby!

This one here is a classic, and looks nice for pretty much any couple:

maternity pose

Grab our printable posing guide for photographing couples

Here’s 16 of our favorite couple poses for you to print and take with you on your next couple shoot:

Posing Guide for Photographing Couples

Also, make sure you look at these couple poses as a starting point only.

That’s the reason why they are rough sketches instead of real photos. You cannot, and should not, repeat the poses exactly; instead, adjust the poses creatively according to your shooting environment and scenario.

Check out the other posing guides in this series

  • Posing Guide: Sample Poses for Photographing Women (Part 1)
  • Posing Guide: Sample Poses for Photographing Women (Part 2)
  • Posing Guide: Sample Poses for Photographing Men
  • Posing Guide: Sample Poses for Photographing Children
  • Posing Guide: Sample Poses for Photographing Groups of People
  • Posing Guide: Sample Poses for Photographing Weddings

Grab our guide to portrait posing

Posing Guide: 21 Sample Poses to Get You Started with Photographing Couples

The post Posing Guide: 21 Sample Poses to Get You Started with Photographing Couples appeared first on Digital Photography School. It was authored by Guest Contributor.


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Weekly Photo Challenge – Landscape 2020

12 Dec

The post Weekly Photo Challenge – Landscape 2020 appeared first on Digital Photography School. It was authored by Sime.

We’ve done ‘Landscape’ before now, but after Darren posted this over on our Facebook page, and with the number of awesome replies, I thought it might be a nice time to see what landscape photographs you’re taking, around where you live, in 2020.

Make sure you tag your photograph #dPSLandscape2020 if you post on social media

If you haven’t had a look at the images that jumped out at us from our November Challenges, take a look over here, and see all of the previous challenges HERE.

Weekly Photo Challenge - Landscape 2020

We want to see your ‘landscape’ and for some, that might be the confines of your house or your local area, you can interpret the theme to suit your environment, or you can wander out into a forest – take a moment, get outside and make your landscape photograph.

Make sure you tag your photograph #dPSLandscape2020 if you post on social media

Great! Where do I upload my photos?

Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.

Weekly Photography Challenge – Looking Up

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

The post Weekly Photo Challenge – Landscape 2020 appeared first on Digital Photography School. It was authored by Sime.


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Google Photos now syncs ‘liked’ images with Apple’s iOS Camera Roll

11 Dec

Apple and Google haven’t always gotten along, but there are times when the two work together to make life easier for end-users, regardless of what mobile operating system they’re using. One of the latest examples of this is a new feature baked into Google Photos that makes it possible to sync ‘liked’ and ‘favorited’ images between Google Photos and the iOS Camera Roll app.

Screenshots of the new settings in the Google Photos iOS app. Click to enlarge.

As visible in the below demonstration from Android Police, who first reported on the feature, a simple setting within the Google Photos app will make it so images ‘liked’ in the iOS Camera Roll app will become ‘starred’ in your Google Photos account.

We tested the new feature and can confirm we had a similar experience to Android Police; syncing happens slightly faster when ‘starring’ an image in Google Photos than it does when ‘liking’ an image in the iOS Camera Roll. This is likely because when ‘liking’ an image in the iOS Camera Roll, Google Photos is running as a background task, whereas when using Google Photos, the synchronization process can be triggered immediately.

The feature should be live for all Google Photos users and has worked seamlessly across both an iPhone XS and iPad Pro (11-inch) in our testing. If you don’t have it already, you can download the Google Photos app for free in the iOS App Store.

Articles: Digital Photography Review (dpreview.com)

 
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Viltrox announces $399 85mm F1.8 lens for Nikon Z-mount mirrorless cameras

10 Dec

Viltrox has released its new 85mm F1.8 STM autofocus prime lens for Nikon Z-mount mirrorless camera systems.

The autofocus lens is constructed of 10 elements in 7 groups, including five ‘short wave length and high transparency’ elements and one low-dispersion element. Viltrox claims the lens, which uses a stepping motor (STM) to drive the autofocus elements, features full autofocus support, including compatibility with Nikon’s Eye-AF technology. Other features include an aperture range of F1.8–16, a nine-blade aperture diaphragm, an 80cm (31.5″) minimum focusing distance and a 72mm front-filter thread.

Viltrox has also included an onboard micro USB port for updating the lens’ firmware. The lens measures in at 92mm (3.62″) long, 80mm (3.15″) in diameter and weighs 540g (1.2lbs).

The lens is currently available to purchase on Amazon for $ 399. That’s $ 300 less than the MSRP of Nikon’s own Nikkor Z 85mm F1.8 S lens.

Articles: Digital Photography Review (dpreview.com)

 
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Focus, Compose, and Expose with Intent in Photography

10 Dec

The post Focus, Compose, and Expose with Intent in Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

photograph with intent

Why do you take photographs? What’s your intention each time you press the shutter button? Do you visualize how you want your photo to look before you take it? When you photograph with intent, the pictures you make resonate more with the people who view them.

All of us have a unique worldview. No two people perceive what they see precisely the same way. Learning to express what you see through the lens of your camera requires paying attention to more than what you are looking at. You must also have intent as to how you want your photos to turn out.

Woman on a red couch outdoors for photographing with intent
© Kevin Landwer-Johan. Nikon D800 | Nikon 35mm f/1.4 | 1/125 sec | f/1.8 | ISO 100 | Manual Mode | Pattern Metering

Your camera does not take photos

Just as a musician’s instrument or a painter’s brush creates nothing on its own, your camera does not take photographs.

Instead, the interaction you have with your camera is what creates photos. The quality and creativity of your photographs depends on the level of synergy between photographer and camera. The connection between you and your chosen subject is also significant.

Modern digital cameras are all designed to be as simple as possible to use – especially consumer-level cameras. Scene modes, auto-exposure, autofocus, auto-everything allows unskilled photographers to take snapshots that turn out pretty well.

When I was a kid, our neighbors had a pianola. This was a piano that had a handy mechanism: we could push pedals with our feet and the pianola would play tunes. There were special rolls of paper with holes punched in them that could be loaded into the front of the pianola. As we pedaled, the paper roll would turn. The configuration of the holes determined what tune was played. We were playing music without being musicians.

This is similar to using a camera with its auto-functions turned on. It can be fun, and there will be a certain, but limited, satisfaction as pictures are created. Just as we loved “playing” the pianola, you can take photos with minimal creative input or skill.

To take truly wonderful photos, however, you must interact with your camera and your subject with intent. Relying on camera technology to make it easy to take photos will not make you a great photographer.

woman taking photo
© Kevin Landwer-Johan. Nikon D800 | Nikon 35mm f/1.4 | 1/400 sec | f/2 | ISO 100 | Manual Mode | Spot Metering

Know your camera well

Being familiar with your camera and its controls means you can concentrate more on the art of photography. You’ll no longer be distracted by the technical aspects of the camera.

Learn to control your exposure, focus, white balance, and all the other settings. As you do this, you will grow in confidence and begin to “see” what you are photographing in different ways.

Cameras used in auto-exposure mode tend to make very generically-exposed images. Your camera is programmed to do things in certain ways to produce photos with an even exposure. But the more you take charge of what your camera is doing, the more creative your photography becomes.

Lahu man smoking a bong photograph with intent
© Kevin Landwer-Johan. Nikon D800 | Nikon 105mm f/2.8 | 1/200 sec | f/5.6 | ISO 400 | Manual Mode | Spot Metering

Understand the exposure meter. Use your spot meter to measure the light from different zones in your composition. Experiment with manual exposure settings. Don’t always adhere to what the meter tells you is “correct.” Control where you are focusing and the amount of the image that is sharp.

This may all seem a bit overwhelming if you’re new to photography, or if you’ve been using your camera for years without adjusting the controls. But remember: We could not add any creative expression to the tunes we played with the pianola. Unless you intentionally set your camera’s controls, your photos will lack creativity.

Monk photographing with intent outdoors at a parade
© Kevin Landwer-Johan. Nikon D800 | Nikon 105mm f/2.8 | 1/200 sec | f/2.8 | ISO 400 | Manual Mode | Spot Metering

Visualize your photographs

Think about how you want your photos to look before you take them. Do you want to record a scene exactly as you see it? Or will your frame it in such a way as to exclude some ugly elements?

Make constant choices about what focal length lens you’ll use. How much of what you see will you include in the final shot? The same scene photographed with a 24mm lens will look very different than if you back up and photograph it with a 200mm lens.

How do you want your exposure to look? Will exposing for the highlights or shadows create a more interesting atmosphere? Are there things in the shadow areas you want to hide or reveal? When you have control over your exposure, you have the capability to express yourself in more creative ways.

Woman standing in a field with a cow
© Kevin Landwer-Johan. Nikon D800 | Nikon 105mm f/2.8 | 1/2000 sec | f/3.2 | ISO 200 | Manual Mode| Pattern Metering

Your choice of when you press the shutter release to take the photo can have an important creative influence on the outcome. This is sometimes a matter of a split second, or it can be a matter of waiting for the season to change. Picking the decisive moment when photographing a child playing versus photographing a landscape is very different. But timing is equally relevant to making good pictures.

Are you seeing in color or in black and white? Will your subject look more interesting as a monotone image? Will this alter the feeling of the photo? If you are intentional about color as you’re taking photos, you’ll create more compelling images.

portrait of a novice monk, high contrast black and white
© Kevin Landwer-Johan. Nikon D800 | Manual Mode | Spot Metering

Connect with your subject

As you’re taking photos, think about why you want to photograph your chosen subject. What has drawn you to want to make a picture of this person, thing, or scene?

When you think about the why, you can start to see your subject in new ways. Being aware of what motivates you can have an influence on how you photograph something.

Does your subject mean something personal to you? How can you show this in the photos you take? There are many ways you can choose to control your camera, or where you take your photos from, that will influence the final shot. Being aware of how you compose and expose your subjects will help build a story into your images.

Your photos will move from being snapshots to works of art that have depth and convey meaning.

black and white portrait of a woman photograph with intent
© Kevin Landwer-Johan. Nikon D800 | Nikon 85mm f/1.4 | 1/250 sec | f/2.8 | ISO 400 | Manual Mode | Spot Metering

Focus, compose, and expose with intent: conclusion

The more you are aware of what you want your photographs to look like, the more interesting they will be to you and to others.

Photographing with intent takes practice. It may seem somewhat abstract when you first try.

But, like anything creative, the more you apply yourself and practice, the better you will become – and this will show in your photos.

The post Focus, Compose, and Expose with Intent in Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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How to Take Sharp Images

09 Dec

The post How to Take Sharp Images appeared first on Digital Photography School. It was authored by Darren Rowse.

taking sharp images ibis

Taking sharp images is something that most photographers want – but clean, crisp, sharp images can be difficult to achieve.

Before we start exploring how to improve sharpness, let’s talk about the main causes of a lack of sharpness:

  • Poor focus – The most obvious way to get images that are ‘un-sharp’ is by shooting them out of focus. This might be a result of focusing on the wrong part of the image, being too close to your subject for the camera to focus, selecting an aperture that produces a very narrow depth of field, or taking an image too quickly without checking that it is in focus.
  • Subject movement – Another type of blur in shots is the result of your subject moving; this is generally related to the shutter speed being too slow.
  • Camera shake – You can get blur if you, as the photographer, generate movement while taking the image. This often relates to shutter speed and/or the stillness of your camera.
  • Noise – Noisy shots are pixelated and look like they have lots of little dots over them (get up close to your TV, and you’ll get the same effect).

10 Ways to Take Sharper Images: Tips for Beginners

Here’s a list of 10 basic things to think about when shooting – so you can get consistently sharp images.

(Note: There’s also a lot you can do in Photoshop after taking your images!)

how to take sharp images dahlia

1. Hold your camera well

A lot of blur in the photos that I see is a direct result of camera shake (i.e., the movement of your camera for that split second when your shutter is open).

While the best way to tackle camera shake is to use a tripod (see below!), there are many times when using one is impractical, and you’ll need to shoot while holding your camera.

I’ve written a tutorial previously on how to hold a digital camera, but in brief:

Use both hands, keep the camera close to your body, and support yourself with a wall, tree, or some other solid object.

2. Use a tripod

Regular readers of this site will have seen our articles on tripods and know that we’re a big fan of using tripods as a way to reduce (and even eliminate) camera shake.

While tripods are not always practical, the result you’ll get when you do go to the effort of hauling one around can be well worth it.

Related Article: A Beginner’s Guide to Tripods

3. Select a fast shutter speed

Perhaps one of the first things to think about in your quest for sharp images is the shutter speed that you select.

Now, the faster your shutter speed, the less impact camera shake will have, and the more you’ll freeze movement in your shots.

As a result, you reduce the likelihood of two of the main types of blur in one go (subject movement and camera movement).

But how do you pick the right shutter speed? I recommend the “rule” for handholding:

Choose a shutter speed with a denominator that is larger than the focal length of the lens.

So:

  • If you have a lens that is 50mm in length, don’t shoot any slower than 1/60th of a second
  • If you have a lens with a 100mm focal length, shoot at 1/125th of a second or faster
  • If you are shooting with a 200mm lens, shoot at 1/250th of a second or faster

Keep in mind that the faster your shutter speed is, the larger you’ll need to make your aperture to compensate (see the next section!). And this will mean you have a smaller depth of field, which makes focusing more of a challenge.

4. Choose a narrower aperture

Aperture impacts the depth of field (the zone that is in focus) of your images. Decreasing your aperture size (which means increasing the f-number) will increase the depth of field – meaning that the zone in focus will include both close and distant objects.

Do the opposite (by moving to f/4, for example), and the foreground and background of your images will be more out of focus. Therefore, you’ll need to be exact with your lens focusing.

Keep in mind that the smaller your aperture, the longer your shutter speed will need to be – which makes moving subjects more difficult to keep sharp.

5. Keep your ISO as low as possible

The third element of the exposure triangle is ISO, which has a direct impact on the noisiness of your shots.

Choose a larger ISO, and you’ll be able to use a faster shutter speed and a smaller aperture (which, as we’ve seen, helps with sharpness). On the other hand, this will increase the noise in your shots.

Depending on your camera (and how much you plan to enlarge your images), you can probably get away with using an ISO of up to 400 (or even 800 or 1600 on some cameras) without too much noise. But for pin sharp images, keep the ISO as low as possible.

6. If you have image stabilization, use it

Many cameras and lenses are now being released with different forms of image stabilization (IS).

Image stabilization won’t eliminate camera shake, but can definitely help reduce its impact. I find that using IS lenses gives me an extra two or three stops (i.e., I can drop the shutter speed by around two to three stops) when handholding my camera.

Keep in mind that IS helps with camera movement but not subject movement – so it’s not helpful in low-light action scenarios.

Also, don’t use image stabilization when you mount your camera to a tripod.

7. Nail focus as often as possible

Perhaps the most obvious technique to work on when aiming for sharp images is focusing. Most of us use our camera’s autofocusing, and this works well – but don’t assume that your camera will always get it right.

Make sure you check what part of the image is in focus before hitting the shutter. And if the focusing isn’t right, then try again or switch to manual focus. This is particularly important if you’re shooting with a large aperture (small depth of field), where even the slightest focusing error can result in your subject being noticeably out of focus.

taking sharp photos ibis

Most modern cameras have a range of focus modes you can shoot in, and choosing the right focusing mode is very important. You can learn how to do that here.

8. Make sure your lenses are sharp

This one is for DSLR and mirrorless owners:

If you have the budget for it, invest in good-quality lenses, because this can have a major impact upon the sharpness of your images.

For example, shortly after buying my first DSLR, I was in the market for an everyday zoom lens that would give me the ability to have both wide and telephoto zoom capabilities. I bought a Canon EF 28-135mm lens. It was a good lens (and reasonably priced), but it wasn’t as sharp as some of my other lenses.

A few months later, I borrowed a Canon EF 24-105mm “L” lens (“L” is Canon’s professional series of lenses) from a friend, and I was amazed by the difference in sharpness between the lenses.

While the first lens was good for what I paid for it, I ended up going for an upgrade. The new lens is now almost permanently attached to my camera.

9. Get your eyes checked

Since I was young, I’ve worn glasses. But in recent years, I’ve been a little slack in getting my eyes checked.

Recently, I got them tested for the first time in a number of years, and I was surprised to find that they’d deteriorated significantly. Getting new glasses improved a number of areas of my life, one of which was my photography.

Also connected to this is checking the diopter on your camera, if it has one.

What’s a diopter?

It’s usually a little wheel positioned next to your viewfinder that lets you tweak the sharpness of the image you see when shooting. The diopter is particularly useful for people with poor eyesight, because you can use it to compensate for your vision (so you won’t have to remember to wear glasses when out shooting!).

10. Clean your equipment

Recently, my wife and I went on a window-cleaning frenzy at our place. Over the previous months, the grime on our windows had gradually built up without us really noticing it.

But when we did clean the windows, we were amazed at how much more light got through and how much better the view outside was!

The same can be true for your lens. Keep it clean, and you’ll eliminate the smudges, dust, and grime that can impact your shots.

Similarly, a clean image sensor is a wonderful thing if you have a DSLR or a mirrorless camera, as getting dust on it can produce noticeable blotches in your final images.

taking sharp photos little blue heron

11. Use your lens’s aperture sweet spot

Lenses have some spots in their aperture ranges that are especially sharp. In many cases, the ultimate “sweet spot” is one or two stops from the maximum aperture.

So instead of shooting with your lens wide open (i.e., where the f-numbers are smallest), pull it back a stop or two, and you might get a little more clarity in your shots. Learn more about identifying your lens’s sweet spot here.

Further reading about how to take sharp images

Learn more about how to take sharp images with the following tutorials:

  • Advanced Tips for Tack Sharp Images
  • Getting Sharper Images – an Understanding of Focus Modes
  • How to Get Super Sharp Landscape Photography Images
  • 9 Ways to Ensure You Get Sharp Images When Photographing People
  • 5 Tips for Getting Sharper Images
  • The Secret to Ultra-Sharp Photos
  • 5 Simple Secrets To Sharper Photos
  • Making Sharper Wildlife Photographs

The post How to Take Sharp Images appeared first on Digital Photography School. It was authored by Darren Rowse.


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