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Archive for November, 2016

Nov
30

Earliest known Nikon camera fetches over $400,000 in Austrian auction

Filed Under News: Digital Photography Review

A Nikon 1 camera sold at auction in Austria this month has become the most expensive Nikon ever, achieving a sale price of €384,000 (approx $406,000) – double the expected maximum estimate. The camera, which is said to be only the third Nikon body ever made, is the earliest known surviving Nikon camera having been made in occupied Japan in April 1948. It was matched with the 11th 5cm F2 Nikkor H lens ever made.

Originally this rangefinder camera was known simply as the Nikon, but in later years it took on the name Nikon 1 as additional cameras, such as the M and S, were produced. Only available in Japan at first, Nikon came to the attention of the rest of the world when Life photographer David Douglas Duncan came across Nikkor lenses while covering the Korean war and spread the word among other press photographers.

The Nikon 1 camera is similar in design to the German Contax but used a 24x32mm film frame. This ultimately meant that it wasn’t taken up beyond Japan, and America wouldn’t allow the company to export to US because the film frames didn’t fit Kodak slide mounts. As a consequence the Nikon M was introduced in late 1949, which created standard 24x36mm frames. Japan finally got its way though, as many of us now use Micro Four Thirds and 6x4.5cm sensors with the same 3:4 ratio as that original 24x32mm film frame.

E. Leitz New York Leica Gun RITEL *

Second version of the famous RIFLE for the 40cm Telyt in 100% original, very fine and perfect working condition. Special viewfinder engraved 'E.LEITZ INC. NEW-YORK PATENT PENDING', modified PLOOT mirror housing no. 2486, special extended bottom plate, special leather belt, modified Leica IIIa no.235568, Telyt 5/40cm no.492069 with hood and cap, complete with extremely rare carrying case NUFIR. This is the only set in this combination we know to exist !
Leica M3 black paint 'Herbert List'

Extremely rare and fully original double-stroke black paint M3 with black film counter and all early features of these un-official pre-series black cameras, the camera was delivered on March 15th, 1958 to Tiranty, Paris (code "Igemo" for black paint M3), with rigid Summicron 5cm no.1510883 (IROOA hood) - only about 90 of these pre-series cameras were produced, much less are known to exist. Camera and lens were owned and used for many years by the famous German photographer Herbert List (1903 – 1975) who worked for magazines, including Vogue, Harper's Bazaar, and Life, and was associated with Magnum Photos.

The sale took place at the WestLicht Photographica auction along with a collection of 685 other lots of cameras, lenses, accessories and prints, including two Leitz New York Leica Gun rifles which sold for €168,000 each and a Leica M3 in black paint that belonged to Magnum photographer Herbert List – which reached €78,000.

For more information on the Nikon 1 auction and the other items visit the WestLicht

Auction notes

Nikon One

The earliest known surviving production Nikon in the world! Nikon started in March 1948 to assemble cameras (with serial number 60922). The offered camera is one of two cameras made in April 1948 and the 3rd of all Nikon production cameras. It comes with the original early Nikkor-H 2/5cm no.70811 (this is the 11th lens made, with matching Nikon cap) and is still in fantastic original condition. As all very early cameras it has the "8" screw front plate and sharp corner edges on top plate. The camera has still the original shutter. The interior shows the single pair of guide rails, with removable take-up spool. The baseplate with large 'MADE IN OCCUPIED JAPAN' engraving. It comes with the original and extremely rare double strap everready case. Published in: 'The Complete Nikon rangefinder System' by Robert R. Rotoloni (ps 51-59), 'Nikon 100 Anniversary' by Uli Koch (p 68) - provenience: collection of the famous Japanese collector Tad Sato.
World records at WestLicht Anniversary Auctions

Post sale report

384,000 Euro for the earliest Nikon camera

A Nikon One climbed from 90,000 to 384,000 Euro, the highest price ever paid for a camera from the long-standing Japanese manufacturer at an auction. The world record was achieved at the 30th Camera Auction in WestLicht’s 15th year. The record lot is the earliest known surviving example of a Nikon camera in the world, manufactured in April 1948 as the third ever serially produced camera by Nikon. This was also an early birthday present for Nikon company, which will celebrate its 100th anniversary in 2017.

Nov
30

GoPro ‘restructuring’ effort will layoff 200 full-time employees

Filed Under News: Digital Photography Review

GoPro has announced plans to restructure the company, saying it will layoff 200 full-time workers, close its entertainment division, reduce its facilities, and cancel open positions. By doing these things, GoPro will reduce its workforce by 15% and will, it anticipates, reduce its non-GAAP operating expenses next year.

GoPro announced the news today as part of its quarterly earnings report. According to the company, GoPro camera sales in the U.S. were up more than 35% this past Black Friday in comparison to the same time period last year. However, its turbulent financial state over the past year has spurred the company to make some big changes.

In addition to shedding 15% of its workforce, GoPro President Tony Bates will step down from his position at the end of 2016. GoPro didn't provide a reason for his departure. Assuming all goes as planned, GoPro expects to reach non-GAAP profitability next year, with its full 2017 non-GAAP operating expenses dropping to about $650 million.

Press release

Solid Holiday Demand In The U.S. For GoPro HERO5

Nov 30, 2016

Week of Black Friday Camera Unit Sales Up 35% YoY in U.S.
Company Restructuring to Reduce Operating Expenses and Improve Efficiency

SAN MATEO, Calif., Nov. 30, 2016 /PRNewswire/ -- GoPro Inc. (NASDAQ: GPRO) today announced solid holiday quarter sell-thru in the U.S. for its new HERO5 cameras.

Based on internal data, GoPro's week of Black Friday camera unit sales were up more than 35% year-over-year at leading U.S. retailers. Thanksgiving through Cyber Monday sales of camera units at GoPro.com were up approximately 33% year-over-year. According to the NPD Group, since the launch on October 2, HERO5 Black has been the best-selling Digital Imaging device in the United States.

HERO5 cameras are available at major US retailers including Amazon, Best Buy, Target and Walmart.

"We have a lot of work to do to finish the quarter and our fiscal year, however our HERO5 cameras have been very well-received by critics and consumers alike," said Nicholas Woodman, Founder & CEO of GoPro. "Both HERO5 cameras can now auto-offload new content to the cloud and our Quik mobile app makes accessing and editing your footage fun. Its clear consumers are excited about these new features."

GoPro also announced a company-wide restructuring that will reduce full-year 2017 non-GAAP operating expenses to approximately $650 million (GAAP: $735 million) and achieve its goal of returning to non-GAAP profitability in 2017. The restructuring includes the closure of its entertainment division, facilities reductions, and the elimination of more than 200 full-time positions plus the cancelation of open positions for a reduction in force of approximately 15 percent.

Additionally, Tony Bates will depart his position as president of the Company at the end of the year. "My time at GoPro has been an incredible experience," said Tony Bates. "In the past three years, GoPro has seen enormous progress in camera technology, software and international growth. Today GoPro has a solid leadership team deeply focused on its core business and profitability."

GoPro estimates that it will incur total aggregate charges of approximately $24 million to $33 million for the restructuring, including approximately $13 million to $18 million of cash expenditures as a result of the workforce restructuring, substantially all of which are severance costs, and approximately $11 million to $15 million of non-cash expenditures, consisting primarily of stock-based compensation expense and accelerated depreciation associated with office consolidations. The company expects to recognize most of the restructuring charges in Q4 2016.

"Consumer demand for GoPro is solid and we've sharply narrowed our focus to concentrate on our core business," said Nicholas Woodman. "We are headed into 2017 with a powerful global brand, our best ever products, and a clear roadmap for restored growth and profitability in 2017."

Nov
30

Meizu Pro 6 Plus features 12MP Sony sensor and LED ring flash

Filed Under News: Digital Photography Review

Chinese smartphone maker Meizu has today unveiled the Pro 6 Plus, a high-end model with metal housing and large 5.7" pressure-sensitive AMOLED screen with Quad-HD resolution. The Sony Exmor IMX386 sensor in the camera module has been deployed in some previous Meizu models but at 1/2.9" and a pixel-pitch of 1.25µm it is a touch smaller than the 12MP Sony chips used in some of the other current high-end devices.

The camera also features optical image stabilization, a lens with F2.0 aperture and laser-assisted autofocus. The front-facing camera is surrounded by 10 dual-tone LEDs forming a ring flash, and comes with a 5MP sensor and F2.0 lens.

The Android OS is powered by the same Exynos 8890 chipset that can be found in the Samsung Galaxy S7 and 4GB of RAM. Buyers can choose between 64 and 128GB storage versions. The Pro 6 Plus also features a fingerprint reader that doubles as a heart-rate monitor and a dedicated audio chip. Power is supplied by a 3,400mAh battery that is charged via a USB Type-C port with fast charging. 

The new model will be available in Champagne Gold, Deep Ash and Moonlight Silver. The 64GB version will set you back approximately $435 while the 128GB requires an investment of $480. No detail on availability outside China has been provided yet. 

Nov
30

10 of the Biggest Business and Marketing Mistakes Photographers Make

Filed Under Digital Photography School, Make Money From Photography, Photography Tips and Tutorials

James ebook Creative Freelance Marketing is on sale now at 50% OFF over at Snapndeals (only until December 13th, 2016)

Photographers can be some of the best business people around or some of the worst. But realistically, if you’re building a photography business, you probably didn’t get into it because you enjoyed business and marketing. This is why some photographers struggle at being successful. They got into it for the passion, and then wake up one day to the reality that it is a business like any other.

The 10 Biggest Business and Marketing Mistakes That Photographers Make

Dancer Portrait

However, fear not. The business and marketing aspect of photography can actually be rewarding and interesting. It’s necessary to learn it to be able to succeed, but once you start to see it work, it becomes empowering. It’s a way to guarantee your success as a photographer so you can continue to do what you love.

But you can’t do that if you make too many mistakes. Here are the biggest mistakes that I see photographers make (and which I have also made myself).

Mistake #1 – Not charging enough

Business Portrait Photography - The 10 Biggest Business and Marketing Mistakes That Photographers Make

Business portrait photography

How much you charge is going to be the backbone of your entire business. You cannot let clients lowball you over and over again. By doing that you are lowering the perceived value of the work for the entire industry, and you are not even giving yourself a chance to succeed. By not charging enough, you will inevitably go out of business. Even if you feel desperate for a job, know that it will take up time that would be better spent on marketing yourself to get jobs that pay what you need to survive and thrive.

Many young photographers are afraid of losing jobs, but that’s a regular part of the business. You should not feel bad about it if the client cannot afford you. If they can’t afford you, then it was never a real job in the first place. How can you do good work or create a portfolio worthy piece if you’re not being paid enough to have your heart in it? In addition, these cheap jobs always end up to be the biggest headaches anyway. Every photographer has a story from when they were starting out about that client who just wouldn’t go away.

Commercial Photography

Commercial Photography

Even worse than a client lowballing you, are situations when you do not charge enough! Sometimes you will have no idea that a client has budgeted much more than you quoted them. A simple and fantastic question to ask to help you handle confusing pricing situations is, “What is your budget?” This question is sometimes not appropriate, but there are many ways to say it, such as telling them that you offer multiple levels of service based on the cost and asking what their budget is for the project. Or if they say they are tight on budget, you can offer to help them and simultaneously ask what they can pay. When introduced in the right way, this can get your client to lay all their cards on the table.

Mistake #2 – Not responding to inquiries quickly enough

Musician Photography - The 10 Biggest Business and Marketing Mistakes That Photographers Make

Musician photography

Every ounce of business development and every second of time spend on the tedious aspects of building a business serves the specific purpose of getting someone to contact you with a job. Well then answer them! I get nervous if it takes me 24 hours to respond to an inquiry, and the clients usually come back thanking me for responding so quickly. If you answer your emails and calls efficiently, then you immediately put yourself ahead of the majority of photographers. I can’t tell you how many times I’ve been told that we were able to have a whole back and forth and book a job before a competitor even replied.

In addition, responding regularly and efficiently will add to their comfort in working with you. Showing that you are responsible enough to do this also shows them that you are probably responsible in all aspects of your business. It is a great way to set the tone for what working with you will be like and can be excellent for gaining referrals in the future.

Mistake #3 – Not having a focused business plan

Business Photography - The 10 Biggest Business and Marketing Mistakes That Photographers Make

Business or corporate photography

You need to know how you are going to make money. Having a focused plan with an income target, price per job needed to reach that target, and a strategy to reach clients will become the basis for your entire business. The more focused that plan is, the more focused you will be. Figure out the strategy with the most potential to help you make a living and start with that. Focus on that before you waist your time on anything else. You do not want to fragment yourself too early in the building process.

Mistake #4 – Not setting aside enough time for personal work

Fine Art Photography - The 10 Biggest Business and Marketing Mistakes That Photographers Make

Fine art photography

Personal work is what you do to renew your passion for photography. Without that, it will be very difficult to succeed in the photography business. However, it is also the way that you get jobs and build your portfolio. It’s where you test out new strategies and ways of photographing, and it is a way to improve overall at your craft. If there is a type of job that you want to start booking, then build a portfolio of work that will help sell you as a photographer to those clients. They don’t have to know that this portfolio wasn’t made of paid jobs, and in many cases they will enjoy knowing how passionate you are in pursuing your personal work.

Mistake #5 – Not researching colleagues/competitors

As a business owner, you need to know what’s out there. Learning from your competition and even your friends is incredibly important. Go through their work and figure out what you like and what you dislike. Try to figure out the different ways that they market themselves and where their jobs come from. See how they use social media and where they get press from. Learn their pricing and test out their website.

All of this information is so important to helping you find your way. Take the best aspects of everyone you research, and put them together into your own plan. All of the information is out there for you to be successful, it’s just up to you to find it.

Family Photography - The 10 Biggest Business and Marketing Mistakes That Photographers Make

Family photography

Mistake #6 – Not having a plan for editing and delivering

One of the biggest problems that I see newer photographers have is that they take way too much time editing. They end up missing deadlines, wasting their time, and worrying too much. This is not a good situation for anybody and is one of the quickest ways to hold your entire business back. Learn to cull your images from a job quickly. Right away, knock 800 images into the top 200 or 150 as fast as possible and work from there. Organizing and attacking a job’s editing in an efficient matter will make your life so much better, and it will make your clients very happy.

Always tell a client that you will deliver a job to them a couple days after you plan to (under promise over deliver). That way you will look very good when you deliver the work early, and if you have some unfortunate setback or issue in your life, you will still have extra time to complete the job.

Mistake #7 –  Not doing enough local networking

Writer Portrait Photography - The 10 Biggest Business and Marketing Mistakes That Photographers Make

Writer environment portrait

Friends, family, and colleagues are your first line of people who can help you gain work. The second line is your local area. Figure out the businesses and people in your community that might need your services, and figure about the best way to reach them. Find business meet-up groups, local meet-ups, and trade shows that occur in your community and become a part of them. And this tip doesn’t mean that you should only show up once and never again. Become a regular part of them. Spend more time socializing within your community and that will come back to you business-wise.

Mistake #8 – Not using a mailing list

Business Portrait Photography- The 10 Biggest Business and Marketing Mistakes That Photographers Make

Business portrait photography

Social networks come and go. They all change constantly and hold you at their whim. While they are necessary to be a part of, social networks are in it for themselves, not for you. Diversify your marketing and build up a mailing list of all your contacts, clients, and friends. This way there is nothing between you and reaching them with important news. Mailing lists have a significantly higher open and click-through rate than social networks, and won’t charge you (per email) to reach your list.

Mistake #9 – Trying to do too much all at once

Event Photography - The 10 Biggest Business and Marketing Mistakes That Photographers Make

Event photography

There are so many strategies to market yourself in photography. Every situation is unique, and every marketing plan should be different. It is important to learn as much as you can about marketing, but at the same time you need to prioritize. Five strategies done with a small amount of your attention on each will be much less effective than one strategy with all of your attention focused on it. Spend some time to figure out which strategies will have the most potential for your situation and rank them. Then start with the first one and over time move down the list.

Mistake #10 – Not putting yourself out there

Artist / Writer Portrait Photography focused

Artist / Writer Portrait Photography

Nobody is going to give you an opportunity if you don’t ask. The biggest difference between the people who make it and the people who fail is that the ones who succeed will wake up tomorrow and take these steps. None of this is rocket science – it just takes dedication, organization, and follow-through.

Many people won’t give you an opportunity the first time you ask. Learn to take rejection because rejection isn’t that bad. It means you’re pushing yourself and it’s inevitable along the way. Keep a thick skin and pride yourself on trying. Marketing is a grind at first. The photographers who can dive right in despite every frightened feeling their brain gives them will be the most successful.

James ebook Creative Freelance Marketing is on sale now at 50% OFF over at Snapndeals (only until December 13th, 2016)

The post 10 of the Biggest Business and Marketing Mistakes Photographers Make by James Maher appeared first on Digital Photography School.

Nov
30

The dPS Ultimate Guide to Landscape Photography

Filed Under Digital Photography School, Photography Tips and Tutorials






 

Download “The Ultimate Guide to Landscape Photography”

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Introduction

Landscape photography is one of the most challenging and most rewarding hobbies a person can have. One of the things I like most about it is that there is always more to learn. It keeps our brains active! Between learning about what type of gear you need, how to use it, understanding light and composition, and learning to process your photos, you will quickly come to the realization that making a striking landscape photograph involves a number of essential ingredients.

Note: this is one of the most comprehensive articles we’ve written – get a free downloadable copy to print and/or refer to later above.

DPS ultimate landscape photography guide 12

The goal of this guide is to touch on each of these essential ingredients because you need to know a little about each one before you’ll start making the quality of images you are after.

My journey in landscape photography began 25 years ago, and since then I’ve constantly thought about what makes a truly great landscape image. I hope that you will take what I have learned over the past 25 years and use it to jump start your own journey in photography and start making striking images you are proud of.

Gear Essentials

I want to emphasize that gear is not the most important factor in landscape photography. The other chapters outlined in this guide are all more important when it comes to making striking images. However, you do need some gear, and it can be hard to make the right choices when you are just getting started. This chapter will help you understand the most important things to look for when buying your gear.

DPS ultimate landscape photography guide 14

Your Camera

There are three basic categories of digital cameras: point-and-shoot; digital single lens reflex (DSLR); and mirrorless.

Point and shoot cameras are the small digital cameras that most people start with. These cameras do not have interchangeable lenses, and they have tiny sensors that have limited image quality. Point-and-shoots are used for making snapshots. If you are getting serious about your photography, you’ll want a camera that has a bigger sensor for better image quality, manual functions, and one that accepts a variety of different lenses.

DSLRs are the most popular type of camera for landscape photography for a number of reasons. They allow you to shoot in RAW format for maximum data capture (more about that later). They have a variety of shooting modes including fully manual. DSLRs have large sensors and you can use a huge variety of lenses with them.

DPS ultimate landscape photography guide 08 DPS ultimate landscape photography guide 09

Mirrorless cameras are relatively new technology. They have all the same features as a DSLR, but they don’t have the internal mechanism that includes the mirror, which is why the camera bodies are smaller and lighter. However, they are not cheaper! But if weight and size are important factors to you, you may want to check out a mirrorless system.

Sensor size

When it comes to image quality, the only thing you should concern yourself with is sensor size. Megapixels are not nearly as important as sensor size.

The largest sensor is known as a Full frame because it is the same size as a 35mm film negative. You’ll pay the highest price for a system with a full frame sensor, whether it is a DSLR or mirrorless system.

Sensor sizes smaller than full frame are known as Cropped (or Crop) Sensors. The largest cropped sensor is an APS size. You’ll find a wide variety of cameras with these types of sensors at a more affordable price.

DPS ultimate landscape photography guide 10

The next smaller size is the four-thirds sensor. There are actually quite a number of sensor sizes in between the three I have mentioned, but these are the most common. Sensors smaller than these three are what you find in point-and-shoots and mobile phone cameras.

Personally, I use a mirrorless camera with an APS sensor for my landscape photography because the weight of the kit makes a huge difference for me when carrying my gear on long hikes.

I recommend that when you are choosing a camera, you pick the sensor size you can afford, then choose the camera that feels good in your hands and has a menu system that makes sense to you. These days, all of the DSLR and mirrorless cameras available are capable of making great images so don’t worry about whether Canon, Nikon, Sony or another brand is better. They are all good.

Lenses

DPS ultimate landscape photography guide 11 DPS ultimate landscape photography guide 17

Once you have your camera picked out, you’ll want to pick a few quality lenses that give you good focal range from wide-angle, which puts everything in your field of view into the frame, to telephoto, which will allow you to zoom in to something in the distance.

Lens choice is important because your photograph is influenced much more by your lens than by your camera. Sharpness, contrast, depth of focus, clarity, and detail are all determined almost exclusively by the glass (lens). It forms the image, while the camera simply captures it.

While it may seem absurd to spend more on a lens than on the camera itself, most photographers agree that they would always prefer to have a less expensive camera with a quality lens, rather than the other way around. And because lenses don’t depreciate in price as quickly, the investment is far more worthwhile.

DPS ultimate landscape photography guide 13

Prime versus zoom lenses

Lenses come in two forms; prime and zoom. A prime lens has one fixed focal length, such as 35mm. A zoom lens has a focal range, such as 18-55mm. Prime lenses are often slightly sharper than zoom lenses. However, zoom lenses are much more versatile and allow you to carry fewer lenses in your bag.

I recommend that you start out with three zoom lenses that cover a focal range from 10mm to 200mm for maximum versatility. These are the three that I use for my landscape photography:

  • Wide Angle Zoom 10-18mm
  • Regular Zoom 18-55mm
  • Telephoto 55-210mm

DPS ultimate landscape photography guide 15

Tripod

For landscape photography, a tripod is an essential piece of gear. When you have lots of light, you might get away with hand holding your camera. But if you want to make images in low light situations such as sunrise or twilight, you’ll need a tripod so that you can use longer shutter speeds.

This is the purchase where everyone seems to make the same mistake. Buy cheap, buy twice. Most landscape techniques require long shutter speeds – sometimes very long. A bargain bin tripod is not strong enough to hold your camera steady with a telephoto lens on it. It’s not strong enough if there is any wind. It’s a waste of money. On the other hand, if you purchase a sturdy, well-built tripod from a reputable brand it can last you a lifetime.

Make sure you check the load capacity of your tripod and ensure it can handle your camera with its longest (heaviest) lens attached. Expect to spend as much money on your tripod as you did on your camera.

Filters

Many landscape photographers also carry filters, which can help you enhance your images. The two most commonly used are a Polarizing Filter and a Neutral Density (ND) filter. Graduated ND filters can be helpful as well, but become tricky to use if you do not have a clean, straight horizon.

  • Circular polarizing filter – This is an essential piece of equipment when photographing water to allow you to remove reflections and glare from the water’s surface and allow you to see through the water to any interesting rocks underneath.  It can also help enhance the richness of a clear blue sky, or remove reflections from windows and other shiny surfaces in urban settings.
  • Neutral density (ND) filter – If you decide to shoot a long exposure and it happens to be the middle of the day when there is a lot of light, you will need this gray-tinted piece of glass placed in front of your lens. It blocks some of the light from hitting your sensor, allowing you to use a slower shutter speed. These are sold in varying strengths, and can be stacked for different levels of light absorption.

Make sure to get the right filter size for your lenses. Better yet buy one for your biggest lens (look inside your lens cap for the filter size) and step down rings to your smaller ones.

Recommended Camera Settings

DPS ultimate landscape photography guide 19

Shooting in RAW

Most people are used to shooting pictures that come out as JPG (jay-peg) files since this is the default setting on most cameras. JPG is a compressed format meaning that some of the data the camera captures is discarded to make a smaller file size. Raw format, on the other hand, is completely uncompressed with no information thrown away.

What results from this is a digital negative – a large file that can only be accessed through Adobe Camera Raw, Lightroom, Photoshop and other compatible image editing software products. We’ll talk more about processing your photos later, but start off by capturing a RAW file so you have more information to work with when you process your photos.

Shooting Mode

Your camera will likely have a mode dial on the top where you can choose your shooting mode from one of the following; auto; aperture priority; shutter priority; program; or manual. For landscape photography, I highly recommend shooting in aperture priority mode, likely marked on your camera’s mode dial as “A” or “Av”.

DPS ultimate landscape photography guide 30

The reason for using aperture priority is because aperture controls the depth of field in your image – the amount of the scene (in your image) that will be in focus. Generally, for grand landscapes, you will want everything from the foreground to the background sharp, so you’ll pick an aperture like f/11 or f/18. But sometimes, you might want only your subject to be sharp and everything else to be blurred and out of focus. For this, you might pick f/4 or f/5.6.

More information about how aperture affects depth of field is coming up in the chapter on exposure below.

Using aperture priority shooting mode allows you to make this choice based on your artistic vision and the camera will choose the corresponding shutter speed to give you a good exposure.

Metering Mode

DPS ultimate landscape photography guide 27

Evaluative or Average metering is the most common metering mode to use in landscape photography because the camera reads the light information from the entire frame. This is your best bet most of the time when the highlights and shadows are spread relatively evenly throughout the scene.

However, if there are very dark blacks or very bright whites, this can throw your camera’s meter off. In this case, you might want to switch to Spot Metering. Using Spot Metering, your camera will take its reading based on one single spot in the frame, which you choose. Choose the most important part of the image, likely the main subject, and let the rest of the scene fall where it may.

Note: Just a word of caution. Make sure you are familiar with how your camera meter works and how to do Spot Metering before you attempt this. Remember, your camera meter will always try to measure for medium or 18% gray. Therefore, if you meter off something that is black or really light in tone, your camera will compensate and try and make it gray. So you will need to adjust accordingly by using Exposure Compensation

DPS ultimate landscape photography guide 22

Focus Mode

Your camera likely has at least four focus modes, they are; single shot autofocus; automatic autofocus; continuous autofocus; and full manual focus. If you have good eyes and focusing comes easy to you, use manual focus. For the rest of us, one of the autofocus modes is better.

For landscape photography, single shot autofocus is the best option because it will focus the camera once (and lock on) when the shutter button is pressed halfway down. The other focus modes are good when you have something moving in the frame that you want to lock on to, as you would with wildlife photography.

Location Scouting

Now that you have your equipment sorted out, you’re ready to do some shooting! But how do you find those specific spots where you can make images with impact?

DPS ultimate landscape photography guide 26

The first step is to research the location to get a good overview of the place and see what kinds of scenes are on the menu. These days, my favorite tool for doing this type of research is Pinterest. Keyword searches on Pinterest will bring up loads of photos of any given location. You can create a Pinterest board, which is like a virtual scrapbook, where you can collect these images in one place for future reference.

The next step is to map out the specific locations you have chosen so you know how to get there on the ground. You can look on Google Maps or pick up a hard copy map at a visitor center.

Next, visit the location in person and have a walk around looking for good compositions. I like to do this during midday when I’m not likely to be photographing due to the bright, harsh, light. Finding your spot during the day means you will know exactly where to go and you’ll be ready during the limited hours on the edges of the day when the light is just right.

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Helpful apps

Speaking of good light, the final tool you can use in your location scouting is something that will tell you sunrise and sunset times, when moonrise and moonset occur, and the direction that those things will take place. This will help you immensely when thinking about the direction the light will be coming from on the edges of the day.

My favorite tool for this part of my research is an app called The Photographer’s Ephemeris. You can use it on your desktop or mobile device. It will tell you exactly what is happening in the celestial sky at a particular time. So if you want to get a photo of the full moon rising behind a bridge, you can find out when the full moon is, exactly when it will rise, its position in the sky and then it will calculate where you have to be to get the point of view you want.

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Making the Most of Natural Light

Understanding natural light is a critical aspect of landscape photography. Even when you’ve done everything else right, if the light isn’t right for your scene, your photos are not going to look their best. That is not to say there is such a thing as “good light” and “bad light”. You just have to know what to do with various types of lighting situations.

Remember, you can change the direction of light simply by moving around your subject. Or, you can photograph subjects that are in the shade.

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Sidelight

Sidelighting occurs when light hits your subject on one side casting a shadow on the other. It is often thought to be the most pleasing type of light for landscape photography because the contrast between light and dark emphasizes texture and shape.

If you have a round object with light hitting it on the side, it will have a shadow on the other, and the gradation of light will emphasize the round shape. Similarly, subjects with textures will have shadows that serve to emphasize the texture. Without the shadows, the texture will be more difficult to convey in an image.

Ultimate landscape photography guide 01

In this photograph from the Palouse region in Washington, sidelight emphasizes the curves in the hillside.

Backlight

Backlight occurs when the light source is directly in front of you, hitting your subject from behind. It is a bit more difficult to create a good exposure in these kinds of high contrast situations, though.

Backlighting is wonderful when your subject is somewhat transparent, like the petals of a flower for instance, because it will make your subject appear to have an inner glow (image below left). This is especially effective when you have a dark background. In this situation, make sure you meter on your subject and allow the rest of the image to fall into shadow.

Ultimate landscape photography guide 02 Ultimate landscape photography guide 03

Backlighting is also useful when you have a subject with a great shape that you can make into a silhouette (image above right). To do this, meter on the sky portion of your frame so the sky will have a proper exposure and your subject will go completely black.

When you have backlight and you want to meter on a specific portion of the frame, this is a good time to use spot metering instead of evaluative metering mode. It’s a little bit more difficult but well worth the effort for the dramatic images you can create using this method.

Front Light

Front light occurs when the sun is behind you hitting your subject directly in front of you. This is my least favorite type of light because it is often intense and unforgiving causing a scene with a lack of texture and depth.

However, used at the right time it can be the best kind of light! When the sun is low in the sky, such as at sunrise and sunset, the light is not so harsh and it can cast a golden glow on your subject, especially when your subject is tall such as a mountain or a cityscape. The golden light will fall on the tallest part of the scene, casting its golden glow, while the rest of the scene remains in shadow creating a dramatic shot.

Ultimate landscape photography guide 04

Diffused Light

Diffused light happens on an overcast day or when your subject is in the shade. Under this type of light, your subject will have soft pastel colors and soft or no shadows. You will not get the same sense of shape and texture that you would under different types of lighting situations. As well, your scene will have very low contrast.

However, this is the best type of light for creating soft, gentle images. For example, flowers and colorful scenes work especially well under diffused light.

Ultimate landscape photography guide 05

But remember, when you have a bright overcast sky, it is best to exclude it from the frame and get in closer to your subject.

Getting a Good Exposure

Getting a good exposure means using a balanced aperture, shutter speed, and ISO so that you don’t have any areas of the frame that are too bright (known as blown out highlights). The problem is that if you have blown out highlights, there is nothing you can do in post processing to fix it. It will forever be a white spot. You may also want to make sure that you don’t have any areas that are too dark unless solid blacks are what you are after as in the example of creating a silhouette.

When you make an image, you can see the areas of light and dark using your camera’s histogram. Using a histogram is easy! It is simply a graph with the darks on the left and the brights or white on the right.

Ultimate landscape photography guide histogram good

All you really need to do is make sure there is not a spike on the right edge of the graph. If it spikes before the edge, that’s okay. You only need to be concerned if the spike touches the right edge. If your image is too bright, you can use your camera’s exposure compensation to reduce the brightness.

The Aperture is Key in Landscape Photography

So, how do you get the right exposure balance? For landscape photography, we are usually most interested in aperture because it affects the depth of field of the photo, so let’s start with selecting the correct aperture for the scene.

Aperture is the variable opening through which light travels to your camera’s sensor and its size is expressed in f-stops.

The smaller the f-stop number, the larger the opening. That’s kind of confusing, isn’t it? It’s because the f-stop number is actually a ratio. But I don’t want to get into too much mathematics here, just remember it’s like a fraction and 1/2 is bigger than 1/8 so f/2 is bigger than f/8.

Ultimate landscape photography guide aperture

The larger the opening the more shallow the depth of field. In other words, the amount of your scene that will be sharp, measuring from the object you focused on, is smaller.

Here are three images that illustrate the effect of aperture on the depth of field.

Ultimate landscape photography guide aperture f4point5Aperture: f/4.5 Ultimate landscape photography guide aperture f11Aperture: f/11 Ultimate landscape photography guide aperture f29Aperture: f/29

Once you have the aperture selected, the other two factors in exposure are ISO and shutter speed. ISO is the sensitivity of your sensor to light. A low ISO is good when you have lots of light. A high ISO might be necessary if you are shooting hand-held in low light situations. However, increasing the ISO causes noise in your image, so for landscape photography, we usually use the lowest ISO and if we need more light we reduce the shutter speed and use a tripod.

When you are in the field, set your ISO to 100. This is usually the lowest setting on most cameras. Then set your camera to aperture priority shooting mode and set the aperture you want for the depth of field you desire in the image. Then, the camera will calculate the appropriate shutter speed to create a balanced exposure. Remember to keep your eye on what that shutter is, because if it is any slower than about 1/100th of a second, you’ll need to use your tripod.

Composition Tips

DPS ultimate landscape photography guide 33

When you are just getting started in landscape photography, it can be hard to know what to include the frame to make a compelling composition. In this chapter, I’ll show a few different types of compositions to help get you started so you know what to look for in the field.

Of course, there are many more composition options than these to explore, and some that you’ll discover on your own through experimentation. But this will give you a starting place on which to base your own vision in photography.

Rule of Thirds

The rule of thirds is probably the most well-known “rule” in photography. I like to think of it as more of a guideline. As you grow in your photography, you’ll probably start to break these rules and come up with your own unique ways of composing images. But you have to understand the rule before you can break it.

Using the rule of thirds, the frame is divided into three vertical and three horizontal sections, like a tic-tac-toe game. The idea is that your main subject should fall on one of the lines in order to create a dynamic and interesting composition. Locating your subject on the intersection of two lines is ideal.

Ultimate landscape photography guide rule of thirds

A centered horizon gives equal importance (visual weight) to both the sky and land portions of your image, and the viewer is left with no direction where to look. For example, by placing the horizon along the bottom third line, you will give more visual weight to the sky area and direct the viewer’s eye to that area. A higher horizon placement will have the viewer’s eye going to the bottom of the image where there is more emphasis.

Symmetry

Symmetry is the exact opposite of the rule of thirds. A symmetrical composition has the center of the subject exactly in the middle of the frame with equal weight on either side. The two sides of the image are often a mirror image of each other. This works especially well with subjects that are naturally symmetrical like plants or architecture.

Another way to use symmetry is to put a shoreline in the center of the frame, especially when you have a reflection to balance out the image.

Ultimate landscape photography guide 06

DPS ultimate landscape photography guide 29

Leading Lines

Another effective type of composition uses leading lines to draw the viewer’s eye to the main subject. The lines can be man-made such as roads, fences, or bridges, or they can be natural elements such as rivers, shorelines or rocks.

Usually, the lines start from the bottom of the frame and move upward and inward to draw the eye into the image, connecting the foreground and background, and often leading to the main subject.

In the field, when you find a subject you want to work with, take a look around and see what lines you can use in your composition that would lead up to the subject creating depth and perspective in your image.

Ultimate landscape photography guide 07

Processing Your Photos

Processing your photos is an important part of digital photography. In the old film days, the lab technicians who processed the negatives and printed made a lot of decisions about color and contrast that affected the final outcome. These days, that job has become yours. If you find that your photos look gray and dull, it’s probably because you haven’t processed them.

When you shoot in RAW format, as mentioned earlier, you have collected the highest amount of data you can which will help you when it comes to processing. You’ll need to use Adobe Camera Raw, either on its own or within Lightroom, Photoshop or other Raw compatible software.

I recommend that you go with Lightroom. Not only does Lightroom include Adobe Camera Raw for processing your photos, but it also provides an excellent way to keep your photos organized and accessible. I do all of my basic processing in Lightroom and only use Photoshop if I want to do something unusual with my image.

Note: check out the dPS course Lightroom Mastery here.

DPS ultimate landscape photography guide 37

Using the sliders in Adobe Camera Raw, you can make subtle adjustments that will have a huge impact on the end product. For most of my images, I make adjustments to the following settings:

  • White Balance
  • Contrast
  • Vibrance and Saturation
  • Sharpening
  • Noise Reduction
  • Cropping

A little processing can go a long way. With solid ingredients like good composition and effective use of light, a little processing can turn a good image into a great one.

Taking it to the Next Level

If you want to take your landscape photography to the next level, beyond just snapshots and postcard-like images here are a few places to start, and links to articles on this topic in more depth.

Add a Foreground Element

One of the biggest hurdles in photography is the fact that our majestic three-dimensional scene is rendered into a mere two-dimensional image, and the physical depth that we experience in real life is lost. To resurrect this spacious feeling, we can create the illusion of depth where there is none, by using strong elements in the foreground.

Read more about how to add a foreground element to your images here: How to Use Foreground to Create Depth in Your Images.

Ultimate landscape guidebook foreground

Use Shadows to add Depth to Your Images

In music, they say the spaces between the notes are just as important as the notes themselves. Similarly, in photography, it is the spaces that are not in the light that can add impact to an image. Shadows help tell a story and enhance the mood and visual power of a photograph. In fact, they can be so interesting, that they “overshadow” the subject itself!

By focusing your attention on the shadows, you can create beautiful compositions full of contrast, form, and minimalist simplicity. An object and its shadow will strengthen each other. Sometimes you might even want to cut the object out entirely, and play with capturing only the interesting shadows that are cast by it.

Read more about how to use shadows in your images here: Add Impact to Your Photos by Including Shadows.

Summary

DPS ultimate landscape photography guide 32 DPS ultimate landscape photography guide 25

Landscape photography can be a fun and rewarding endeavor. Use these tips as a starting point for your journey and continue exploring this wonderful world and all it has to offer and share your images with others to enjoy as well.

Remember, photography is a journey, so continue to learn and grow as a photographer. Look back on your work from a year ago and see how far you’ve come. Then think about what you can learn and master next. Have fun, and enjoy the ride.






 

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The post The dPS Ultimate Guide to Landscape Photography by Anne McKinnell appeared first on Digital Photography School.

Nov
30

How to Choose the Right Camera Mode to Get the Shot You Want

Filed Under Digital Photography School, Photography Tips and Tutorials

When starting out in photography, one of the scariest and most confusing things for a beginner is deciding which camera mode to use. While the automatic modes provide a bit of a safety net for those just starting out, there will come a time when you either want to or have to, take greater control of your camera to get the results you desire. But how do you know what camera mode to use?

Aperture Priority Mode

Aperture Priority mode is a perfect choice for a scene like this where you know you’ll want deep depth of field to keep the entire scene in focus.

First off, I won’t discuss any of the automatic modes here. A full discussion of what those do can be found here: Camera Modes Explained for Newbies. What I’d like to do here is discuss specific situations and the appropriate mode for each. Before we dive into that, I’ll explain the basics before we move forward.

Aperture

The aperture is the opening of the lens, which determines exactly how much light enters the camera and strikes the imaging sensor. The aperture also affects the field of focus from foreground to background, otherwise known as depth of field. A shallow depth of field is one that has a sharp focus on the subject, while objects in front of or behind the subject are out of focus. Deep depth of field is when the entire image is in sharp focus from foreground to background. And of course, you can have a depth of field that is somewhere in between those two.

Aperture is shown as a number on your lens, usually as a ratio. For instance, lenses with a maximum (widest) aperture of f/1.8 will have a very shallow depth of field. That same lens set to f/16 will have a deeper depth of field. An easy way to remember this is smaller numbers give you less and higher numbers give you greater depth of field.

Aperture Priority

When you know you want the background blurred, setting a wide aperture to create a shallow depth of field is key. Aperture Priority mode can be used in cases like this (keep reading to learn more on that a bit later).

Shutter Speed

Shutter speed determines the amount of time light strikes the sensor when it enters the camera. The faster the shutter speed, the less light strikes the sensor. In addition, shutter speed is directly responsible for how movement is rendered in an image. Shutter speeds are referred to in fractions of a second, such as 1/125th, 1/60th, or 1/1000th. Faster shutter speeds, such as 1/500th, freeze motion, while slower shutter speeds, such as ½, 1 second, or even 30 seconds,  will show motion as more of a blur. The longer the shutter speed, the more blur motion will create.

ISO

Your camera’s ISO determines how sensitive it is to light. Lower numbers such as ISO 100 or 200 mean your camera is less sensitive to light and are used in bright situations, such as in direct sunlight. When there is less light, such as in shade, or indoors, you might use a higher ISO such as 800, 1600, or 3200 to make your camera more sensitive to light. ISO plays an important part in the various situations I will discuss going forward, so always keep in mind that you can change this setting, and don’t be afraid to raise your ISO if needed.

Camera Modes

Before going any further, I want to clarify that there are multiple ways to get a specific desired result with your camera, using any of these modes. Once you understand the relationship between shutter speed, aperture, and ISO, you’ll be able to do whatever you like in any of these modes.

But which mode is best for which situation? You’ll have to visualize your image to decide.

Program Mode

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Program Mode resides on the advanced side of the camera mode dial, usually denoted by a P. In this mode, the camera will set the aperture, ISO, and shutter speed for you. So when should you use Program Mode?

Program Mode is good when you’re not looking for any effect in particular. Your camera, when set to Program Mode, will attempt to give you a proper exposure that can be handheld, meaning you won’t be required to use a tripod to steady your camera. This is a good mode for when you’re just casually photographing and just want to be sure your exposures are right.

It is a lot like Automatic Mode in that regard, except that you have the ability to override, or shift, the exposure the camera sets, as well as many other settings such as white balance and picture style. In addition, while in Auto mode, the camera will pop your flash up when it thinks it needs more light. But in Program Mode the flash will not pop up unless you tell it to.

Aperture Priority

On some cameras, this mode is simply denoted by an A on the mode dial, while on Canon cameras it is denoted as Av, meaning Aperture Value. In any case, in this mode, you set the aperture and ISO you want and the camera will set the appropriate shutter speed for you. So when should you use Aperture Priority mode?

Aperture Priority

When you want a shallower depth of field, such as in a portrait, using Aperture Priority and setting a wide aperture is an excellent choice.

To determine the answer, visualize your finished image in your mind’s eye. What do you want it to look like? Generally speaking, if you’ve decided that the most important factor in your image is a specific depth of field, you’ll want to use Aperture Priority Mode so that you can force your camera to give you the depth of field that you want. For instance, if you’re making a portrait, you probably want your subject in sharp focus, but you may also want the background to be a little blurred, to keep your viewer’s focus on the subject. An out of focus background can create a setting without distractions for the viewer. So you might decide you want to use a fairly wide aperture such as f/4, to create enough depth of field to keep your subject sharp, but let the background blur nicely.

But watch your shutter speed too

It’s important to note, however, that you also need to keep an eye on the shutter speed setting. While the camera will set this for you, unlike in Program Mode, the camera is not going to try and give you a fast enough shutter speed to handhold. If there isn’t enough light, this will result in a slower shutter speed that may not be fast enough to freeze any subject movement. This could result in a slight blur due to unsteady hands or slight movement by your subject. If the shutter speed chosen by the camera (based on the aperture you’ve set) isn’t fast enough to freeze motion in this situation, you’ll need to raise your ISO. Raising your ISO will effectively increase the shutter speed given for the aperture you’ve set.

Aperture Priority Landscape

Aperture Priority is a great choice when photographing a landscape where you want a deep depth of field, and the shutter speed doesn’t need to be set at anything specific to capture motion a certain way.

For landscape photography

Another situation for Aperture Priority would be a landscape photo, where you may want greater depth of field to keep the entire scene in focus. In this situation, your primary goal is to get lots of depth of field to keep the entire scene in focus, so you’d set an aperture of f/11 or even f/16 to capture a greater amount of the scene sharply. In this situation, if you’re using a tripod, the shutter speed may not be as big of a factor for you.

But if you’re handholding the camera,  you will want to pay attention to the shutter speed the camera sets to ensure it’s fast enough to avoid camera shake. In addition, if there is moving water or clouds, or the wind is blowing the trees or grass, you’ll want to ensure that the shutter speed the camera sets is appropriately stopping that movement to your liking. If not, you’ll want to adjust your ISO so the camera sets a more appropriate shutter speed.

Shutter Priority

Panning using Shutter Priority

When you know you need a specific shutter speed, such as this image where a panning technique was used, Shutter Priority is often the best choice.

Shutter Priority is usually denoted using an S on most cameras, while Canon uses Tv, representing Time Value to denote Shutter Priority mode. Shutter Priority Mode is just the opposite of Aperture Priority. In this mode, you set the shutter speed you want, as well as the ISO, and let the camera choose the appropriate aperture.  This mode is an excellent choice when you’ve decided that rendering motion in a certain way is the key component of your image.

Shooting sports

For example, suppose you are photographing a sporting event. Most likely, you’ll want to freeze the action of the athletes on the field. To do so, you need a fast shutter speed, such as 1/500th or even 1/1000th. In shutter priority, you’ll need to again keep an eye on your ISO to ensure that the camera is giving you a proper exposure. Usually, the exposure indicator in your viewfinder will flash to show that at the current settings, proper exposure cannot be achieved. In this case, raise the ISO to achieve the correct exposure for the shutter speed you want.

Shutter Priority for Fast Action

You might want to use Shutter Priority Mode when you know you need a fast shutter speed to stop action, such as when photographing sports.

As another example, let’s say you want a slower shutter speed to create a panning effect. Again you would set the correct shutter speed to create the effect, and let the camera adjust the aperture. Any time the primary concern is the appearance of motion in an image, Shutter Priority is a good choice for shooting or camera mode.

Panning in Shutter Priority mode

Another example of using a slow shutter speed to create a panning effect in Shutter Priority Mode.

Manual Mode

Once you’re comfortable with changing settings and you really want to take control of your camera, Manual mode is the way to do that. You will set all of your settings according to how you want your final image to look. There is one caveat, however. Your settings will also be dependent on the available light in the scene. So if you want a fast shutter speed, and deep depth of field, you’ll probably need to raise your ISO a bit. Or compromise on one of the other settings as well.

Watch the meter

Just keep an eye on your camera’s meter and it will help you find the right combination of shutter speed, ISO, and aperture. The other modes do a nice job of taking some of the load off your brain by allowing you to choose one setting to have priority, but sometimes you just need to take full control.

Silhouette in Manual Mode

Manual Mode is the best choice when you want to create an effect that the camera’s normal exposure modes just don’t normally do, such as this silhouette.

Exposures long than 30 seconds

One instance where you’ll need to do this is when creating an exposure longer than 30 seconds. Today’s cameras don’t have shutter speeds for longer than that, so you would need to calculate in your head how long to keep the shutter open, and then use the Bulb setting to do so. Any time the camera can’t properly calculate exposure is a good time to use Manual Mode.

manual-mode-long-exposure

When creating images using a long exposure, such as this one with an exposure time of two minutes, Manual Mode is the best (or possibly only) choice.

Another time to use Manual Mode is when the lighting in a scene is especially challenging, such as when there are a lot of dark shadows. Your camera will try to expose for the deep shadows, causing the highlights to overexpose. Using a manual setting to override the camera’s choices will work well in achieving a satisfactory exposure.

Summary

As I mentioned, there are many ways to capture an image and arrive at similar settings. But each time I’m out photographing, I go through the following checklist in my head:

  1. Do I want deep or shallow depth of field?
  2. Do I want to stop action or is some motion blur okay?
  3. Which of the above two choices is more important for this image?
  4. Is one of the priority modes suitable for the available light of the scene?

The answer to those four questions should lead you to the correct mode for the shot you want.

Shutter Priority for fast action

Shutter Priority can be used when photographing sports to set a fast shutter speed to stop action.

The post How to Choose the Right Camera Mode to Get the Shot You Want by Rick Berk appeared first on Digital Photography School.

Nov
30

Venus Laowa 12mm F2.8 Zero-D sample gallery

Filed Under News: Digital Photography Review

Chinese optics company Venus caused a stir when it announced a 12mm F2.8 lens with claims of almost zero rectilinear distortion. The lens is comparably small in its super wide-angle class, and its claims of little barrel distortion are pretty tantalizing. Senior DPR contributor Damien Demolder spent some time getting to know it – check out his images below.

See our Venus Laowa 12mm F2.8
sample gallery

Nov
29

Google updates Earth Timelapse with petabytes of new data

Filed Under News: Digital Photography Review

Google has updated its interactive Earth Timelapse feature with better imagery and several years of new data. The massive update added petabytes of new data and brings it up to the current year. 

Detailing the update in a blog post, Google says updated images are sharper 'with truer colors and fewer distracting artifacts.' Earth Timelapse was introduced in 2013 and includes images recorded as early as 1984.

Basically, Google's Earth Timelapse presents users with 33 interactive images of the entire planet, but creating those images was a feat – Google says it sifted through 3 quadrillion pixels to maximize image quality. The final product represents 25,000,000 overlapping global image tiles that users can zoom in, zoom out, play and replay to their heart's content.

Check it out for yourself and see how the world has changed over the past three decades.

Nov
29

Fujifilm X-T2 tethered shooting firmware arrives, also adds button lock

Filed Under News: Digital Photography Review

Fujifilm has released its much anticipated new firmware for the X-T2 that enables tethered shooting with the forthcoming Tethered Shooting Plug-in Pro application, but has added a number of other fixes and a new feature.

Fujifilm X-T2 users will now be able to set up a function button to lock all the body buttons of the camera so that they don’t get pressed by accident during shooting. Users can determine which button they want to use for this purpose via the custom settings menu.

As with previous updates for the X-T1 and X-Pro2 this new firmware fixes an AF reliability issue when using the longer end of the XF 18-135mm F3.5-5.6 R LM OIS WR and a problem that meant that Nissin’s i40 flash unit wouldn’t fire.

Further fixes include issues around exposure in very specific conditions, connectivity and the high speed burst mode when used with flash.

For more information see the Fujifilm website.

Manufacturer's release notes

X-T2 Camera Body Firmware Update Ver.1.10

Detail of the update

The firmware update Ver.1.10 from Ver.1.00 incorporates the following issues:

1.Tether shooting is available by USB connection.

One of the application software below is required to use the tether shooting function.

  • Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom® Ver.1.3 or newer *1
  • Tether Shooting Plug-in for Adobe® Photoshop® Lightroom® Ver.1.3 or newer *2
  • Tethered Shooting Software HS-V5 Ver.1.3 or newer *3

[How to set the PC shooting]
Before connecting your camera to a computer, set the PC SHOOT MODE of the CONNECTION SETTING in the SET UP menu to USB AUTO.
*If the USB AUTO is selected, the camera mode will automatically change to tether shooting mode when the camera is connected to a computer via a USB cable.
*If the USB FIXED is selected, the camera always work as tether shooting mode. Therefore, the camera doesn't work as normal shooting mode when the USB cable is not connected.

*1: "FUJIFILM Tether Shooting Plug-in PRO" will be available from Adobe Add-ons website.
The launch of the Mac version is scheduled for release around the end of November 2016, and the Windows version is scheduled for release around the beginning of December 2016.
*Separately, you need to purchase Adobe® Photoshop® Lightroom® 6 / CC.

*2:"FUJIFILM Tether Shooting Plug-in" is available from Adobe Add-ons website. X-T2 will be supported with Ver.1.3 upgrade.
For Mac
For Windows
*Separately, you need to purchase Adobe® Photoshop® Lightroom® 6 / CC.

*3: You need to purchase the HS-V5 and download the latest version from the site below to upgrade it.

  • Tethered Shooting Software HS-V5 for Windows® Updater
  • Tether shooting function of X-T2 will be supported with HS-V5 Ver.1.3 or later.
  • Tethered Capture Plug-in for Adobe® Photoshop® Lightroom® Ver.1.3, which will enable the tether shooting function of X-T2, will be available for free download to those customers who purchased HS-V5.
  • Tethered Capture Plug-in for Adobe® Photoshop® Lightroom® Ver.1.3


2. Lock function during shooting mode is added. The update will let users prevent from the unexpected dial/button operation.

[How to set]
First, select the function you wish to lock in BUTTON/DIAL SETTING>LOCK>FUNCTION SELECTION" in the Setup Menu. And then, select the function in BUTTON/DIAL SETTING>LOCK>LOCK SETTING>SELECTED FUNCTION" in the Setup Menu.

*Select "ALL FUNCTION" to lock all the buttons and dials. This lock function can be allocated to a function button.

3. The shutter speed will be displayed in a preview image with the setting of SHUTTER AE OFF, ISO AUTO and Aperture-Priority.

4. The phenomenon is fixed that overexposure could happen with the setting of AF-C mode, AF-C PRIORITY SELECTION and FACE DETECTION ON.

5. The phenomenon is fixed that AF function doesn't work well in the tele-photo area with XF18-135mmF3.5-5.6 R LM OIS WR.

6. The phenomenon is fixed that hung-up could happen when carrying out SELECT FROM NETWORK LIST of MANUAL SETUP in PC AUTO SAVE SETTING.

7. The phenomena is fixed that CH HIGH SPEED BURST (continuous high speed) doesn't work well with fixed exposure and fixed amount of flash luminescence (TTL-L or flash M mode) while used with FUJIFILM Shoe Mount Flash (excluding EF-X8)

8. The phenomenon is fixed that Flash i40 made by Nissin for FUJIFILM doesn't fire.

Nov
29

PogoCam is the world’s smallest wearable camera

Filed Under News: Digital Photography Review

The PogoCam is tiny personal camera that attaches magnetically to eyewear with a proprietary track called PogoTrack. At 10.9 x 12.5 x 42.8 millimeters, according to its makers it is the currently smallest wearable camera. A proprietary electronic architecture allows for high levels of miniaturization and low power requirements while maintaining comparable image quality, storage capacity and performance to competing products.

The camera comes with a 5 MP sensor and can capture and store 100 still images or up to two minutes of 720p HD video at 30 frames per second before you have to download data to a mobile device, using a cable or Bluetooth connection, and charge the battery. The makers of the device claim that image quality is comparable to a smartphone. However, looking at the PogoCam's specification this would most likely be a low-end smartphone.  

The camera is water-resistant and recharges in approximately 30 minutes. While attached to the spectacle frames it can be moved backwards towards the wearer's ears when not in use. It can also be removed quickly to store in a pocket. The PogoCam will retail from $129 after its official launch on March 30, 2017 and come with a free pair of non-prescription sunglasses with PogoTrack for initial buyers on the PogoTec websiteIt seems the PogoCam's main advantage over the recently announced Snapchat Spectacles is its ability to work with a variety of eyewear frames. That said, we'll have to wait and see how many frames with the PogoTrack feature consumers will be able to choose from.  

Press Release: 

Personal Photography Redefined With Introduction Of PogoCam

Combining Fashionable Eyewear with World's Smallest Attachable Camera

ROANOKE, Va., Nov. 29, 2016 /PRNewswire/ -- PogoTec today announced the invention of PogoCam™, the world's smallest wearable camera that attaches to fashionable eyewear. Unlike that of Snap Spectacles which has its camera integrated into one style of eyewear, PogoCam, is easily attachable and detachable to a wide variety of frame styles.

"We are experiencing a turning point that will make hand-held photography cumbersome and obsolete," said Ron Blum, Founder, President and CEO of PogoTec. "Our eyewear solution goes beyond the capabilities of Snap's Spectacle product with a more advanced camera that takes still images as well as HD video, attaches easily to many frame styles with or without prescription lenses and matches the fashion style of the user. It's a tiny, easy-to-use camera designed for everyone. It removes the user from the confines of a viewfinder, allowing people to enjoy and pay attention to the event while capturing it. The user can easily share their images or video with friends and family."

PogoCam utilizes a proprietary new electronic architecture that allows the highest level of miniaturization with lower power requirements than competitive cameras for the same level of high image resolution, memory capacity and performance. Multiple patent applications have been filed. PogoCam was designed for the mass market at large – those who require prescription eyeglasses and those who do not require prescription eyeglasses. PogoCam's extremely small size allows it to be worn without distracting from the fashion look of eyewear. Weighing less than two dimes and measuring only 10.9 x 12.5 x 42.8 millimeters, PogoCam attaches magnetically to eyewear having a proprietary track called PogoTrack™. PogoCam allows a user to capture a number of images taken by a typical user during the course of a day. PogoCam allows people to "look and shoot" up to 100 photographs or two minutes of continuous HD video with audio (or 12 ten second clips). When in use, the camera displays a visible courtesy light that blinks allowing those being photographed to know. When not in use or if in an environment where photography is discouraged, it can be slid back on the track or easily removed. PogoCam's accompanying patent pending mobile app includes auto centering, auto alignment and image rotation – eliminating the need for a camera viewfinder by automating certain post processing adjustments normally required for manual cameras. The image quality is comparable to that of one's smartphone.

Eyewear with PogoTrack is designed to serve as a universal platform for a wide range of future electronic wearable devices over and beyond the PogoCam camera. Additional potential compatible wearables would, by example only, include an alertness monitor to prevent drivers from falling asleep and a UV meter to prevent sunburn by alerting users when exposed to damaging rays.

PogoTec will be demonstrating and showcasing PogoCam, along with its eyewear partners and a large number of compatible frame styles for prescription eyewear and non-prescription sunglasses, at the ShowStoppers media event in Las Vegas during the 2017 Consumer Electronics Show on Thursday, January 5.

"This is the first practical, high-quality wearable camera for the mass market capable of being worn socially that allows people to experience the moment and at the same time take photos or video with audio," added Blum. "This is all accomplished while wearing eyewear in the fashion style of their choosing. Just "look and shoot", the camera and app do the rest of the work for you. Further, our proprietary architecture ensures that PogoCam will remain the smallest wearable camera when comparing image quality, memory, power requirements and performance."

"Eyeglasses are arguably the world's oldest, most successful wearable technology," added Richard Clompus, OD, FAAO, who is VP of Communication and Consumer Interaction for PogoTec. "PogoCam upgrades this wearable platform with the ability to capture visual memories without the intrusion of holding a camera or looking through a view screen. We look forward to introducing additional capabilities and enhancing the value of PogoTrack as a platform for wearable technology."

In addition to the current offering, PogoTec is exploring options to adapt PogoCam for use in such industries as construction, public safety, industrial, security and medical applications.

About PogoCam
PogoCam was designed for the mass market and is easy to use. It comes equipped with a five megapixel sensor providing quality photos or video comparable to a smartphone. PogoCam is capable of capturing in excess of what a typical user would take per day. PogoCam can capture and store 100 still photographs or up to two minutes of 720p HD video at 30 frames/second with full audio (12 10-second clips) before having to be downloaded and charged. The camera is activated by pressing a single button and images are uploaded to a mobile device. PogoCam's camera function is focus free with auto- white balance making it easy for the user to capture high quality images and video. Depending upon the accessory case, the images can be downloaded with a wired connection or with Bluetooth to a smartphone. The camera is resistant to water and perspiration and recharges in approximately 30 minutes. PogoCam is designed to attach magnetically to frames having PogoTrack technology. While attached, PogoCam can be moved along the length of the track – allowing the user to bring it forward only when in use. The camera can be attached and removed easily with one hand without removing the frames, allowing it to be stored in a pocket or purse when not recording images.

Distribution
PogoCam and PogoTrack plans to be available at thousands of consumer locations in 2017, including eye care offices and optical shops in the U.S. PogoCam and well-known branded non-prescription sunglasses with PogoTrack will be bundled for sale on the PogoCam ecommerce site, www.PogoCam.com and www.Amazon.com. Prescription eyewear with PogoTrack also plans to be available from optical shops and eye care offices in 2017. PogoTec's channel partners for optical shops, eye care offices, mass market and specialty retail will be announced at the upcoming Consumer Electronics Show in January 2017. Additional channel partners are being added for 2018 and beyond.

Pricing and Availability
PogoCam will retail for $129.00 and up depending upon the model purchased. PogoCam will be officially launched on March 30, 2017at the International Vision Expo East Conference in NYC. When purchasing a PogoCam on PogoTec's ecommerce site, PogoCam.com, initial customers purchasing PogoCam will receive a free pair of branded non-prescription sunglasses with PogoTrack.

About PogoTec
PogoTec™, Inc is a privately owned company incorporated in Delaware. Its core initiative is to enable electronic wearable devices with a special focus on eyewear. PogoTec's product offerings consist of; PogoTrack: a proprietary attachment means for attaching electronic wearable devices to eyewear while maintaining the fashion look of eyewear and PogoCam: the world's smallest look and shoot camera attachable to eyewear. PogoTec's management team and Board of Directors have extensive experience in creating and commercializing innovation. PogoTec has been extremely diligent in protecting its intellectual property and has numerous patent applications filed around the world. For more information about PogoTec, please visit www.PogoTec.com.