4 Marketing Mistakes – How NOT to Promote Your Photography Business

You can market your photography business in hundreds of different ways — some incredible effective, and some a total waste of your time. Here are four marketing mistakes or wrong ways to promote your photography business and what you should be doing instead.

How To Market Your Photography Business1

Mistake #1 – You’re Too “Professional”

By no means does this mean you should act or present yourself unprofessionally in your photography business — but often we hide behind a front of professionalism. If being a professional means a headshot on your website holding your camera (or no headshot at all) and a story about how you love love, and love photographing weddings, it’s unremarkable. Every other photographer does and believes those things.

Through trying to be perceived as a professional, you’ve becoming boring! Yes, you need to conduct your business professionally – but add some zest to your brand. What makes you unique as a human, and therefore, a photographer?

What 5-10 things could you talk about all day? Which things make you excited? What 5-10 things do you dislike? What are 5-10 ways you could describe your personality and your images?

4 Marketing Mistakes - How NOT to Promote Your Photography Business

Brainstorm the list of you! Get clear on your interests, personality, photography style, brand, and voice and consistently communicate this uniqueness to your clients.

It’s simple to do a brand audit of your website, blog, and social media accounts. Within 30 seconds, would a new client know what makes you different? What facts will they remember? This is the key to non-boring, but still professional marketing.

4 Marketing Mistakes - How NOT to Promote Your Photography Business

Mistake #2 – You’re Advertising Without Intention

In the name of honesty, I have never paid to advertise my photography business. But I’m not against advertising in magazines, wedding shows, or placing Facebook ads. However, advertising without intention is a big marketing mistake many photographers make.

Before you pay hundreds or thousands of dollars for an ad, ask yourself this question, “Is my ideal client hanging out here?”

4 Marketing Mistakes - How NOT to Promote Your Photography Business

If you’re not clear on who your ideal client is, that will be the first step! Think back to some of your favorite clients and scribble a list of describing words about their personalities, wedding day, and photos. After you’ve reviewed at least 10 of your past couples, circle any common themes that occur.

4 Marketing Mistakes - How NOT to Promote Your Photography Business

Testimonials are a gold mine for sketching out your ideal client. If you don’t have one already, start a document with feedback from your clients and look for themes. What are clients most excited about after working with you? A few more details to include in your client profile include their age, location, career, income bracket, and hobbies.

Once you get clear on who your ideal client is, then you can filter every advertising opportunity through your client profile. Would your ideal client be looking for a wedding photographer in that magazine, at the bridal show, through Facebook ads? If so, wonderful but if not, perhaps your marketing efforts and dollars are best spent elsewhere.

4 Marketing Mistakes - How NOT to Promote Your Photography Business

Mistake #3 – You’re EVERYWHERE on Social Media

You have a limited amount of time to market your photography business, and you have to make your moments count. Before you get involved on Google Plus, Pinterest, Facebook, Twitter, YouTube, Tumblr, Instagram, etc. – pause.

Is your ideal client finding their wedding photographer on that platform? If you’re not sure — a good place to start would be surveying your past clients and asking “Where did you find me?”

4 Marketing Mistakes - How NOT to Promote Your Photography Business

Chances are that a few social media platforms (2-3 maximum) are bringing in most of your inquiries. The other platforms are a waste of your time. For photographers, I have found Instagram and Facebook to be front-runners, perhaps with Pinterest as a third. But you’ll have to investigate the stats for your business.

Once you’ve narrowed down the platforms you want to pursue, let go of the ones that aren’t working! On your chosen platforms, engage consistently with a mix of personal and business posts – sharing your face regularly, sharing work you love and calling prospective clients to action.

4 Marketing Mistakes - How NOT to Promote Your Photography Business

Mistake #4 – You’re Sending Cold Emails

One of the best ways to market your photography business is building a strong network within your own industry. By this, I mean connecting with other photographers as well as wedding vendors and venues. However, sending cold impersonal emails is the wrong way to market your business.

If you want to send emails that not only get read but receive a reply back, make sure you do your research. Before you send an email, follow their accounts on social media, leave comments on their blog — so do that at least a week in advance of emailing. When you email, keep it short and to the point. Genuinely compliment their work. Share who you are, what you want and how you can help that person achieve their business goals.

4 Marketing Mistakes - How NOT to Promote Your Photography Business

Practically, this may mean helping a vendor by providing free headshots of their staff, photos of their storefront, or offering to help them improve their website or blog one afternoon. Most industry leaders want to help, they were new once as well – but not at a disadvantage to their own time.

If you want to connect with a fellow photographer, asking them for coffee for “tips” is a terrible way to get an email response. Instead, focus on relationship building, helping them in their business, sending a gift in the mail and asking to take them out to their favorite lunch spot. I guarantee your “cold emailing” success rate will increase if you follow these tips

Conclusion

What other mistakes have you make marketing your photography business, or seen others make? Please share your ideas in the comments below.

All the best to you as you work to market your photography business!

The post 4 Marketing Mistakes – How NOT to Promote Your Photography Business appeared first on Digital Photography School.

Five Common Portrait Retouching Mistakes to Avoid

When it comes to retouching portraits there are a number of mistakes that I see photographers make over and over. Part of the problem is that there are too many poorly made skin smoothing plugins. Another is that Photoshop gives you too many options for portrait retouching. There is a simple solution for this which I’ll mention at the end of the article.

In the meantime, let’s look at the most common portrait retouching mistakes photographers make so you can avoid them. Don’t feel too bad if you are making any of these errors. Consider it part of the learning process. You’ll learn to avoid these mistakes as your retouching skills improve.

Portrait retouching mistakes

1. Applying too much skin smoothing

This is a problem you see in commercial photography as well as in the work of hobbyist photographers. If you look closely at a typical cinema photo or a perfume advertisement you’ll see that the models and actors are often retouched to the point they are nearly unrecognizable. They certainly don’t look real or authentic. When this happens in the commercial world it’s little wonder that other photographers imitate what they see and make the same mistakes.

My advice is to consider whether skin smoothing is required in the first place and if it is to apply it with the lightest possible touch. Most photos of men don’t require skin smoothing. It’s conventional to apply some skin smoothing with most portraits of women, but it’s also important to retain skin texture to avoid the plastic skin look.

Portrait retouching mistakes

Two versions of the same portrait. The one on the left has had too much skin smoothing applied. The one on the right has less skin smoothing. You can still see skin texture and the result looks more natural.

The best way to apply skin smoothing that I know of is to use the Adjustment Brush in Lightroom with the Soften Skin preset (this preset comes with Lightroom and affects the Clarity and Sharpness sliders).

Portrait retouching mistakes

When you first apply the preset you’ll see that it’s very strong and as a result the effect is overdone. But you can get around that easily by clicking the black triangle above the Adjustment Brush sliders (below).

Portrait retouching mistakes

When you do so the sliders disappear and are replaced by a single Amount slider. You can set it anywhere from 100 (full effect) to zero (no effect). This lets you apply the skin smoothing effect with a light touch that retains skin texture.

Portrait retouching mistakes

2. Making the model’s eyes bigger

Amongst some photographers, it has become trendy to use Photoshop’s Liquify tool to make the model’s eyes bigger. The idea behind it is simple – large eyes are considered appealing, and enlarging a model’s eyes makes her more attractive.

Where this theory falls down is that most people are smart enough to recognize when this has been done, especially if they know the model personally. It results in an unnatural looking portrait that has lost any authenticity.

Portrait retouching mistakes

3. Making the model’s eyes too bright or too sharp

One of biggest advantages that software like Lightroom and Photoshop has given photographers is the ability to make highly accurate local adjustments. But it’s so easy to make the model’s eyes whiter, brighter or sharper that many photographers do so without thinking about whether or not it looks natural.

A better approach is to apply the effect subtly and zoom into 100% to check that it looks realistic. Go too far and you end up with a portrait where the model’s eyes attract attention for the wrong reason – they are over-processed rather than being the windows into the person’s soul.

portait retouching mistakes

4. Applying too much Clarity

Even professional photographers make this mistake. Recently I saw a friend’s wedding photos and my first thought was that the photographer had applied way too much Clarity, making her look older than she really is. Of course, I didn’t say anything as I didn’t want to spoil her enjoyment of her big day or the wedding photos. But if the photographer had photographed my wedding I would have been very disappointed with the results.

Adding Clarity emphasizes skin texture, blemishes, and wrinkles. For this reason, it’s usually a bad idea to apply it to portraits of women. Normally you do the opposite and apply skin smoothing (which is a negative Clarity adjustment in Lightroom).

With men it’s different. You may want to apply Clarity in order to emphasize skin texture and make the model’s face appear more rugged. You have to judge it on a case by case basis as every portrait is different.

The key, once again, is to apply it subtly rather than with a heavy hand. Your processing technique shouldn’t draw attention to itself.

5. Over-sharpening

This is another big mistake that I see photographers make. Over sharpening can come from several sources. For example, if you use the JPEG format rather than Raw then remember that your camera sharpens the photo for you. Any sharpening you apply in post-processing is applied on top of an already sharpened photo.

If you use Raw there is very little need to set Sharpening to anything other than the default settings in your Raw converter. It’s rare that any additional sharpening is required on top of that. Remember that the effect of Sharpening is heightened if used in conjunction with applying Clarity.

The best approach to Sharpening is to use your software’s default settings and to never apply any additional Sharpening on top of that. If you do apply extra Sharpening, you need to zoom into your portrait to check the effect on the eyes and eyelashes, as this is where artifacts caused by over-sharpening are most likely to appear.

Note: Remember to use the mask feature of the sharpening tools in LR and ACR. That will help keep the sharpening to only edges and not smooth areas like skin or sky. 

Conclusion

Another aspect we haven’t discussed yet is to think about exactly what you want to achieve with your portrait processing. For example, you have probably guessed by now that I favor a natural, authentic approach to portraiture. That means using natural light, prime lenses, wide apertures and minimal processing. These techniques help me achieve the look I’m after.

Other photographers may be more commercially minded. If this is you, then a slightly more heavy-handed approach may be required. Even so, it’s wise to apply skin smoothing and other portrait retouching techniques subtly, rather than over-process your portraits.

At the beginning of the article, I mentioned a simple solution to the problem of over-processing portraits. The solution is this – use Lightroom. Don’t use Photoshop and don’t use a portrait retouching plugin.

There is no Liquify tool in Lightroom so you won’t be tempted to change the shape of a model’s eyes or face. There’s only one skin smoothing preset, so you should be able to avoid the temptation to over smooth the model’s skin. There is no high pass filter or other fancy sharpening techniques, so this should prevent you from over sharpening your portraits (be careful with the Clarity slider though!).

What are the most common portrait retouching mistakes you’ve seen or made yourself? Let us know what you think in the comments below.


Mastering Lightroom ebooks

Want to get a head start with Lightroom? Take a look at my popular Mastering Lightroom ebooks, written to help photographers learn how to use all of Lightroom’s powerful features. Use the code DPS20 to get 20% off your first order.

The post Five Common Portrait Retouching Mistakes to Avoid appeared first on Digital Photography School.

Panasonic interview: “Our business philosophy is based on ‘changing photography'”

From L-R, Hidenari Nishikawa, Asistant Chief, Merchandising Group, Kohei Fukugawa, Supervisor, Software Design Group, Tetsuji Kamio, Staff Engineer, Image ENgineering Group, Emi Fujiwara, PR / Communication Group, Naoki Tanizawa, Manager, Communication Group, Michiharu Uematsu, Advisor, Merchandising Group.

Recently we visited the 2018 CP+ show in Yokohama, Japan and booked an in-depth interview with Panasonic. Among the topics covered were the company's new twin flagships, the Lumix GH5S and G9, as well as how Panasonic hopes to grow their appeal to professional and advanced amateur stills photographers.

The following interview has been edited slightly for clarity and flow.


Why did you feel that the GH5S was necessary, when the updated GH5 is in many ways so competitive?

The Panasonic Lumix GH5S comes with an oversized 10MP sensor that forgoes a stabilizer, but allows for shooting in multiple aspect ratios without cropping the field of view.

For the GH5, we aimed for hybrid users shooting both photos and video. We thought that we needed 20MP for stills, and that was kind of a compromise for video users. With the GH5S, we had a lot of video users who wanted more video capability, but with the conventional [20MP] sensor, it was quite difficult to shoot in low light situations because of [hardware and software] limitations.

Professional shooters will prefer a multi-aspect sensor versus IBIS

So we developed a video-centric camera to open up more freedom for video users by having a 10MP sensor, which is good for low light. Also, we incorporated multi-aspect ratios, which many people prefer to have. For example, professional shooters will prefer a multi-aspect sensor versus IBIS.

Is there a technical reason why the G9 and GH5-series continue to rely on contrast-detect autofocus with depth-from defocus technology in preference to a hybrid/PDAF system?

The speed-and-stills oriented Lumix G9 can shoot at up to 20fps bursts in Raw, and is the first Micro Four Thirds camera to come with a top-plate LCD.

When we were developing the GH4, we were discussing whether to go with phase detection AF, or hybrid AF system of contrast AF with our own DFD (depth-from- defocus) technology. We thought that by having contrast AF with DFD, we could maximize picture quality.

With phase detection AF, picture quality can be damaged

This is because with phase detection AF, picture quality can be damaged [by the phase detect pixels]. With contrast-detection AF and DFD technology, we don’t need any dedicated pixels [for autofocus] and we believe it is more precise.

With the release of the G9, since it’s so sports and speed-focused, is this an ongoing conversation, or are you committed to going forward with DFD?

After we put DFD and contrast AF into GH4, we’ve been continuing to develop this format. At this point, we’re not thinking about shifting, but rather trying to make it better and better. We do see room for improvement; we’re studying to improve the algorithms in DFD to minimize the range of hunting, or AF ‘flutter,’ required for accuracy.

Do you think there’s an opportunity for Panasonic to develop more fixed-lens large-sensor compacts?

Panasonic's LX100 incorporated a large Four Thirds type sensor and fast zoom lens. It remains a very capable camera, but in some ways – particularly its 12MP of resolution – it's looking a little dated.

Yes, we have lots of requests from editors and users waiting for the next LX100, so we are studying that. At this point, we can’t say when, but it is something that people are expecting.

As we head into 2018 and 2019, how will Panasonic send the message that it wants to be taken seriously by stills, as well as video professionals?

When we developed the GH5, a lot of video users were attracted to it, but we were aiming for stills users as well. In developing the G9, we wanted to communicate to customers that we are also capable of creating a more stills-focused camera; in terms of marketing, we are trying to communicate that we have cameras that are focused on stills, video, or a hybrid of both.

It's been ten years since Panasonic introduced the Lumix G1, the first Micro Four Thirds interchangeable lens camera.

Our business philosophy is based on ‘changing photography.’ And any change we make must be a benefit for the customer, and for the last two or three years, we’ve really focused on our video capabilities. But we still want to satisfy stills-focused users with our philosophy. It’s been ten years since we introduced the first mirrorless camera, and many things have changed in the mirrorless industry in terms of innovation, but we are trying to continue to change the market to satisfy our customers.

We don’t want to just pick one feature and improve it; we want to improve more generally

We are going to continue to develop video features, but we also want to improve stills performance in terms of speed and autofocus. We don’t want to just pick one feature and improve it; we want to improve more generally, and we are trying to re-brand somewhat in the stills category. And we want to do this not only for professional cameras, but entry-level and midrange cameras as well.


Editors' note:

Always an influential and respected brand in professional video circles, Panasonic deserves a lot credit in recent years for introducing high-quality video capture into small cameras with a conventional form-factor. In fact it's arguable that without cameras like the Lumix GH-series laying the foundation, the prosumer hybrid ILC class would look very different today – if it existed at all.

It's clear from speaking to Panasonic's executives that the GH5S was designed as a no-compromises video platform. That's the reason for its low pixel count, and why the company opted to include a multi-aspect sensor in preference to in-body stabilization. I happened to be speaking to a professional filmmaker recently who told me that the GH5S is at least on a par, if not superior in some respects to his usual Arri Alexa cameras, and that's a pretty big deal for such a small camera. One of the reasons he said he likes the GH5S so much is that he can use the camera in tight spots – and in lightweight rigs – that he wouldn't normally be able to.

The LX100 is still one of our favorite large-sensor compacts, and we'd love to see some proper competition in a segment increasingly dominated by Sony

The market for stills cameras is pretty tough right now, and Panasonic could be forgiven for continuing to focus on video, but it seems that the company still sees some opportunity in the stills-dedicated market segment. The hint at 're-branding' in the stills market is intriguing, and could suggest that the high-performance G9 is just the beginning of Panasonic's renewed attempt to capture the hearts – and cash – of working stills photographers. The explanation for Panasonic's continued use of DFD contrast-detection autofocus technology in preference to phase-detection was interesting. It's true that PDAF-equipped ILCs can have issues with so-called 'striping' artifacts in images taken in certain conditions, but whether this is a solvable problem remains to be seen. For now, Panasonic clearly believes that DFD works well enough, and appears committed to continued improvement of the system.

We were excited too to hear that a successor to the LX100 is probably on the way. It's still one of our favorite large-sensor compacts, and we'd love to see some proper competition in a segment increasingly dominated by Sony.

Fotopro Mogo flexible monopod kits are designed for various photography needs

Photo gear company Fotopro has launched a crowdfunding campaign for a series of photography kits centered around Mogo, a flexible monopod based on the Fotopro UFO. Mogo features flexible legs that can be wrapped around a rail or post, used on uneven surfaces and more. The monopod has a universal screw-head and removable mount for use with mobile devices, action, mirrorless and any other type of camera.

"Our aim in delivering Mogo with additional gear was to ensure each gear kit was mobile, lightweight and easy to put together and apart for anyone," Fotopro explains on Indiegogo, where the campaign is live.

The company is offering a total of four kits (detailed below), each designed for a different usage scenario. The Mogo monopod itself has an 800g / 1.7lbs maximum capacity, can be used underwater and features a metallic wire core covered by a rubber skin. Fotopro expects to ship the kits to Indiegogo backers starting in June; the prices listed below are discounts from the planned eventual MSRPs.

Mogo Starter Kit ($39):

- Mogo Monopod
- Bluetooth Remote Trigger
- Small Metal Tripod Stand
- Smartphone Clamp (x2)
- GoPro Screw

Mogo Tablet Kit ($49):

- Mogo Monopod
- Bluetooth Remote Trigger
- Metal Tripod Stand
- Smartphone Clamp (x2)
- Large Tablet Clamp
- GoPro Screw

Mogo Mobility Kit ($59):

- Mogo Monopod
- Bluetooth Remote Trigger
- UGO2 Flexible Tripod
- Smart Metal Tripod
- Smartphone Clamp (x2)
- GoPro Screw

Influence Kit ($99):

- Mogo Monopod
- Bluetooth Remote Trigger
- Smartphone Clamp (x2)
- Large Tablet Clamp
- Sliding Metal Bar
- Metal Tripod Stand
- Mic Clamp
- Mic Dampender
- LED Light
- GoPro Screw

Via: Indiegogo

Pond5 and DJI to offer licensable collection of aerial footage

A new partnership between DJI and stock video library Pond5 might make it easier for Part 107 certified drone operators to connect with potential stock footage customers – and vice versa.

Anyone with a DJI drone and an FAA Part 107 Remote Pilot certification can apply to participate as a video creator. Accepted applicants' videos will be included in a Pond5 + DJI collection. Prospective customers will also be assured that the videos in the collection were shot by FAA certified drone operators, and can therefore be used for commercial purposes.

Applications can be submitted at Pond5's website.

Press release

Pond5 and DJI Join Forces to Create an Online Marketplace for Aerial Footage from FAA Certified Pilots and Filmmakers

Program will curate and promote collections of aerial footage captured by licensed pilots using DJI drones to Pond5’s millions of users searching for professional video

NEW YORK MARCH 28, 2018 – Global content marketplace Pond5 and DJI, the world’s leading manufacturer of civilian drones and aerial imaging technology, today launched an innovative collaboration to develop a premium collection of licensable aerial footage.

By applying to join this program, pilots operating with a Part 107 Remote Pilot Certificate issued by the Federal Aviation Administration (FAA), which is required for commercial use, will be eligible to have their footage included in a series of collections shot exclusively with DJI drones.

Pond5 will showcase these collections to its millions of users, while denoting video clips shot by licensed pilots in searches for customers who need to ensure their video assets comply with Part 107. Pilots will also be able to leverage Pond5’s industry knowledge to identify their most in-demand shots and obtain assistance in preparing their footage for licensing in the Pond5 marketplace.

DJI will be working closely with the team of video experts and curators at Pond5 to ensure that the most compelling and award-worthy aerial footage shot with DJI products is made easily accessible to customers searching for studio-quality shots to use in their productions.

“Drones have become powerful tools for storytellers, providing a cost-effective alternative for gathering aerial footage. They’re able to capture rapidly unfolding events and reach locations that would be otherwise inaccessible, costly, or dangerous,” said Pond5 CEO Jason Teichman. “As the world leader in their space, DJI is the ideal partner to bring the best in contemporary aerial footage to our marketplace.”

Select participants will also have access to Pond5’s premium clipping and tagging services, allowing them to save time by simply submitting raw footage, rather than having to do the work of editing, formatting, titling, and keywording the footage themselves. Footage receiving these services will then be made available exclusively through Pond5 for a limited time.

“Drone imagery creates exciting new possibilities for video creators and producers around the world, and DJI’s collaboration with Pond5’s industry-leading content marketplace helps establish a new standard for professional video that is safe, legal, and cleared for use,” said Michael Perry, Managing Director of DJI, North America. “We’re excited to elevate the presence of DJI-captured imagery in Pond5’s marketplace, and we can’t wait to see the projects that will incorporate this footage.”

Pilots with a Part 107 certificate who use DJI drones can apply to this program at http://www.pond5.com/dji, with selected DJI aerial footage being showcased on the Pond5 content marketplace in the coming months. Pond5 and DJI will both be onsite at the 2018 NAB Show to provide additional information for interested participants, as well as producers and editors who want to license professional aerial drone footage. For a look at the full collection of aerial footage from across the globe currently available on Pond5, visit http://www.pond5.com.

Weekly Photography Challenge – Dogs and Puppies

Last week we photographed our feathered friends, how about some furry ones this week?

Weekly Photography Challenge – Dogs and Puppies

Need some help? Try these articles:

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

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 Photography Challenge – Dogs and Puppies appeared first on Digital Photography School.

816 Gale-Force Winds

Chris tries to find out what STYLE in photography really means and why and if you should develop one. We’ll look at how to shoot video and do photography at minus seven degrees Fahrenheit while being on a ship in wind force eight and 16 ft waves. Talk about a challenge.

RECEIVE EMAIL FOR NEW EPISODES

Links:

Photo tours with Chris Marquardt:
» May 2017: Svalbard — Arctic (sold out)
» Oct 2017: Bhutan — The Happiness Kingdom (only 1 spot open)
» May 2018: New York Tilt-Shift
» Aug 2018: Ireland — Giant's Causeway
» Sep 2018: Norway — Lofoten Fantastic Fjords
» Oct 2018: Morocco
» all photo tours

The post 816 Gale-Force Winds appeared first on PHOTOGRAPHY TIPS FROM THE TOP FLOOR.

Panasonic Lumix GX9 sample gallery updated

We're continuing to shoot with and test the Lumix GX9, Panasonic's latest range-finder style Micro Four Thirds camera. Priced at $1000 with kit lens, the GX9 offers a 20MP sensor, 5-axis stabilization and promises a 90% reduction in shutter shock compared to its predecessor. It's been a little more than a month since the camera's launch, so we've updated our existing sample gallery with some fresh shots.

See our updated Panasonic Lumix GX9 sample gallery

How to Choose the Best Portrait Lens According to Three Professional Photographers

Here on dPS, we’ve covered this topic in previous articles. For example: How to Choose the Perfect Portrait Lens.

In the following videos, see which lens these photographers chose and why.

85mm versus the 70-200mm f/2.8

Portrait photographer, Manny Ortiz takes you to a live shoot in this video. Watch as he shoots the same subject, in the same location with both the 85mm f/1.4 and a 70-200mm f/2.8 lenses.

See how they differ and watch all the way to the end to find out which is his favorite lens and why.

Is there such a thing as the “best” portrait lens?

In this next video, Gabriel Sanchez (Gabe) talks about the four lenses he uses most often for portraits and which are his go-to and favorites.

He goes over the 24mm f/1.4, 35mm f/1.4, 50mm f/1.2, and a Sigma 85mm f/1.4, and the benefits and results you can get with each lens. See why he says there is no “perfect” or best portrait lens, watch to the end.

Favorite lenses – fashion photographer

Finally, get a different point of view from fashion photographer Julia Trotti as she explains why the 35mm f/1.4 and 50mm f/1.2 are her favorite lenses.

Which lens do you use for portraits?

So at the end of the day which lens are you going to choose for doing portraits? Do you have any favorites? Tell us which lenses you use and why in the comments below.

If you’re still undecided here are some more dPS articles to help you out:

The post How to Choose the Best Portrait Lens According to Three Professional Photographers appeared first on Digital Photography School.

DJI launches Zenmuse XT2 4K visual and thermal camera for enterprise drones

DJI has teamed up with FLIR Systems to launch the Zenmuse XT2, its newest thermal camera for drones. As with the original XT model launched in 2015, the XT2 captures heat signatures to reveal things otherwise invisible to the naked eye. On-board FLIR MSX tech combines both the heat data and visual data from the camera into a single image for easier object identification.

The model features a 12MP 4K visual camera with a 1/1.7" CMOS sensor (up to 8x digital zoom) and two different thermal resolutions: 336 x 256 (up to 4x digital zoom) and 640 x 512 (up to 8x digital zoom). It also sports 9mm, 13mm, 19mm, and 25mm lenses, and an IP44 rating for flights in fog, rain, snow, and smoke.

DJI's Spotlight Pro tech utilizes both HeatTrack and QuickTrack flight modes to automatically track objects while the operator concentrates on incoming data and flight operations.

The Zenmuse XT2 thermal camera is designed for use in search and rescue operations, to perform industrial inspections, and more. The camera is compatible with the DJI Matrice 600 Pro and Matrice 200 Series enterprise drones; support will arrive first in the Android app followed later on by the iOS app.

Authorized DJI Enterprise dealers around the globe are now offering the Zenmuse XT2 thermal camera, but DJI hasn't revealed the price. FLIR is accepting quote requests from potential customers, though.

Press Release

DJI Gives Drones More Power For Commercial Use

Zenmuse XT2 Thermal Camera And Payload SDK Transform DJI’s Drones Into Specialized Platforms For Any Industrial Purpose Including Inspections, Public Safety And Saving Lives

DJI, the world’s leader in civilian drones and aerial imaging technology, unveiled new technology and tools to customize its enterprise drone platforms for specialized tasks such as infrastructure inspection, precision agriculture, firefighting and search and rescue.

The new Zenmuse XT2 thermal imaging camera, created in partnership with FLIR Systems, is a critical tool for drone operators to capture heat signatures invisible to the naked eye. Its side-by-side visual and thermal imaging sensors provide unparalleled data capture and situational awareness during emergency services, disaster recovery and industrial inspection uses. DJI’s powerful new Payload Software Development Kit (SDK) allows innovative drone startups, developers, and sensor and device manufacturers to easily integrate custom cameras, sensors and other types of payloads onto DJI drones, unlocking the true potential of drone technology for businesses, governments and researchers around the world.

“The Zenmuse XT2 continues our longstanding partnership with FLIR to create the most powerful thermal imaging solution available on a drone today. This is a significant advancement for public safety professionals who are using drones to save lives and creating new industrial applications across different verticals,” said Jan Gasparic, Head of Enterprise Partnerships at DJI. “Our new Payload SDK makes it possible for any manufacturer to create a payload specific to their customers’ needs that will work seamlessly with DJI’s aircraft. We believe these two advances will not only strengthen DJI’s leadership in the commercial drone industry, but will also provide a powerful, flexible and standardized platform which customers from different industries can build upon.”

Intelligent Thermal Data for Critical Missions

The Zenmuse XT2 is a powerful thermal imaging camera that transforms data into actionable insights. Its gimbal-stabilized, dual-sensor design combines an advanced FLIR® radiometric thermal imager and a 4K visual camera to allow drone operators to view thermal and visual data while in flight, delivering an unmatched level of versatility and image detail for high-performance uses from industrial inspections to public safety operations.

Professional drone operators can use on-board intelligent features like FLIR MSX® technology to combine visual and temperature data into one image, allowing operators to easily identify objects of concern. DJI’s unique Spotlight Pro features let operators focus on safe flight operations and data interpretation while the camera automatically tracks an object through two intelligent flight modes: QuickTrack centers the camera on the selected area while HeatTrack automatically tracks the hottest object in view. The Temp Alarm feature interprets thermal data in real-time and alerts drone operators when an object’s temperature exceeds critical thresholds.

“We are excited to continue our collaboration with DJI to develop sensors for their industry leading drone platforms,” said Frank Pennisi, President of the Industrial Business Unit at FLIR Systems. “The Zenmuse XT2 uses a radiometric thermal imaging camera core to capture accurate temperature data for every pixel, ensuring that drone operators have access to as much information as possible during critical and often lifesaving missions.”

The Zenmuse XT2 is compatible with DJI’s Matrice 200 Series and Matrice 600 Pro enterprise drones. It will be first available for the DJI Pilot mobile app for Android and later for the DJI XT Pro mobile app for iOS devices. Its rugged design and IP44 ingress protection rating gives it versatility to be flown in a wide variety of conditions including rain, snow, smoke and fog[1]. With a 12-megapixel visual camera, it is available in two thermal sensor resolutions of 640 x 512 or 336 x 256, with 9mm, 13mm, 19mm, and 25mm lenses.

For more information on the Zenmuse XT2, please visit: dji.com/zenmuse-xt2.

The Future of Commercial Drone Customization

DJI’s new Payload SDK enables non-DJI cameras, sensors, and payloads like air-to-ground communications tools and devices to be mounted and integrated directly into DJI’s Matrice 200 Series drones. By opening this layer of DJI’s core technology to the commercial drone ecosystem, any manufacturer, developer or researcher can create a drone that is customized for a specific purpose or industry.

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