Wednesday, July 6, 2016

A Local Car Show

Now no one’s ever going to accuse me of being a motorhead any more than they could accuse me of being a gearhead. Cars don’t provoke a tachycardic enthusiasm from me in the same way as other subjects do. But there happened to be a car show at a summer festival nearby yesterday so I ambled along with my camera to see the display. I was certainly tempted by the beautiful lines, form and colour of classic car anatomy.

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4

Perhaps in keeping with my relative ambivalence I only took one lens with me, mounted to my E-M5 (no bag or accessories or even a lens cap; just the camera and lens). The Panasonic 20mm F/1.7 pancake is not the best or worst lens on the planet but it does allow for a light and compact set-up to walk around with (in contrast to the few visitors sweating profusely with their DSLRs and backpacks in the humid afternoon heat!). It also focuses pretty close and quickly.

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Having one prime lens, of course, also forces one to think more about compositional options. The 40mm equivalent field of view did make some of my framing choices a little tight, as you can see here, but it also helped me exclude unwanted elements, such as the hordes of people wandering around. It was not easy to isolate a car from the one next to it but with a tighter field of view the cars could fill the frame and bring the viewer closer to them.

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No one will accuse me of finding particularly original compositions either but I did try looking for more interesting angles and spaces to shoot from. Sometimes it’s enough to just focus on the details and features rather than the entire vehicle, and such features were often more interesting to me than the car as a whole.

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Forgetting to bring my polarising filter led to some vigorous head-banging against a few bonnets but once I regained consciousness I realised that the reflections in the windows and metal panels actually gave me some appealing results.

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12b

A polariser would certainly have helped me see into the interiors through the windows but all that would have given me were images of the interior. Luckily on some cars the windows had been rolled down.

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And speaking of reflections, it’s always an easier way of taking a selfie 🙂

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Cars mean engines and mechanics, of course, and there was ample opportunity to capture the internal organs, albeit while suffering the deafening roar of their revving.

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All of these images were shot using the flip-out LCD to frame and the touchscreen to lock the AF point and shoot. I shot in Aperture Priority at a variety of apertures and between ISOs of 100 and 200. The camera chose the shutter speed, of course. As many of these were classic and muscle cars I processed the images in Lightroom to emphasise the shape and form of their anatomies, pushing the contrast, black and white points, and clarity sliders to deepen the blacks and accentuate the lines. I’m sure someone will someday write an article about tailoring one’s post-processing to the subject but alas it won’t be me. I just did what I felt worked for these images.

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For certain shots, I found that black and white was appropriate to the subject, either because it was an older car or because it enhanced the classic appearance. Or simply because colour added nothing to the overall image.

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Anyway, I hope you enjoyed at least some of these. T’is the season for summer fetes and festivals so do get out and have a look. There will always be something to shoot and make a study out of. Try to pack light, perhaps using just one small lens or a compact camera so that you don’t become consumed by the image making endeavour and actually enjoy the experience of whatever it is that you are shooting. It will also allow you to hold an ice-cream in your other hand. That’s obviously way more important than the photography.

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More images from this car show can be seen here.

Regards,
Sharif.

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DJI Looks to Increase Safety by Updating GEO System for Drone Photography and Videography

The DJI Geospatial Environment Online (GEO) is the company’s built-in system for helping drone operators abide by airspace rules and regulations. Today, DJI has released a major update for the system that should go a long way in augmenting responsible flying and preventing incidents.

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Tuesday, July 5, 2016

Canon G7 X Mark II added to studio scene

JPEG Performance

One of the obvious changes to the G7 X Mark II’s image processing is with sharpening. For the G7 X Mark II, the large radius sharpening has been increased, which does enhance certain types of detail, but ultimately emphasizes lower frequency detail over high frequency detail. A significant downside of large radius sharpening is more pronounced sharpening halos compared to the G7 X, which can look particularly egregious next to the more refined sharpening the RX100 IV demonstrates (pay attention to the edges of the color patches).

Noise reduction has also changed. When we took the G7 X Mark II to Sasquatch! music festival, we noticed noise reduction at base ISO was fairly strong. Compared to the G7 X, we can see the stronger algorithm in action, especially when compared to the amount of detail visible in Raw mode. The excessive noise reduction combined with the large radius sharpening we mentioned earlier mean that fine detail isn’t as well preserved in the JPEG as it could be.

The benefit of both the sharpening and NR parts of the new engine is better detail retention at higher ISOs, with an ISO 1600 shot from the G7 X Mark II shot showing as much detail as an ISO 800 shot from the G7 X. At the highest ISOs, 6400 and 12800, the image engine oddly remains unchanged.

Raw Performance

Raw high ISO performance in low light remains largely the same as the G7 X, which is right where we expect image quality to be from the Sony sensor used across many 1-inch type cameras. 

These improvements come with many other changes for the G7 X Mark II, which will be covered in our full review. Stay tuned!

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How to Emphasize Your Main Subject in Photography

In most cases, a photograph comes to life when it contains one main point of interest. A landscape, for example, may contain a single tree, beautifully lit, that stands out from its surroundings.

landscape photography

“Single Willow” captured by PictureSocial member Al Michael Genabe

When you have decided on your main subject, there are a number of photography tricks that you can use to put it into prominence. By ‘tricks’, I am not referring to alteration in Photoshop or similar tools. I mean that choosing your viewpoint and composition thoughtfully and carefully, when shooting, will greatly enhance the power of your image. Here are three ideas that will help emphasize your intended subject:

1. Lines

Lines are created in an image wherever distinct or long lines occur between colours and tones. This needs not be just one element, but can be a whole series, e.g., roads and trees, clouds or shadows, which together form one strong linear element. When these lines radiate from, or converge into your main subject, they can create clearly dramatic lead-in effects. If your main subject is a cottage in the distance, and a distinct road lined with trees leads the viewer’s eyes straight to it, this can be much more pleasing than the same cottage pictured from another viewpoint that does not contain these elements.

linear photography

“Santa Monica Pier” captured by PictureSocial member Aaron Osorio

2. Positioning

Typically, digital photography beginners seek out a central position in the frame in which to place their main subject. This may work well in certain circumstances, such as a conventional head and shoulders portrait. However, when used exclusively, this type of composition can become boring.

Photography works well when we borrow from an old artists’ trick and place our main subject on an intersection known as the ‘rule of thirds’. Imagine your frame divided into nine equal boxes (like a noughts and crosses game). Place your subject at a point where two of these lines intersect, and you will create a far more pleasing composition. So, in the example above, the cottage could be placed on the right side of the image (at one of the intersections), with the road and trees leading to it starting from the bottom left of the picture.

photography composition

“The Guardian” captured by PictureSocial member J. Railey Samuel

3. Contrast

Making your main subject the lightest or darkest element of the picture (or even the only element containing a certain colour) will make it stand out strongly. This also helps emphasize shape and set a mood.

contrast in photography

“Walk into Shadow” captured by PictureSocial member Mohamed Rafi

An instance where I found this worked well was at sunset on a beach in Barbados. A couple was standing on some rocks photographing each other. They were backlit by the evening sunshine, and their silhouettes made a strong contrast with the reds and yellows of the sky behind them. The photographs I took of them in this situation remain some of my favourites to this day; they excellently capture the relaxing mood of a Caribbean holiday.

These are just a few of the digital photography tricks that can help your main subject stand out, and comfortably lead your viewer where you want them to go. Try hard to capture the image you want in the frame as you take it so that any subsequent Photoshop work is used with subtlety to enhance, rather than repair, your photograph.

About the Author:
This article is by Raymond Winters who previously wrote for photographycourseonline info.

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Sunday, July 3, 2016

How Was This Picture Made #10?

This is the tenth post in our “How Was This Picture Taken” series, and this one features a photograph I took at Great Sand Dunes National Park in Colorado. Since this is the tenth installment in our series, and because we have a number of exciting projects coming up, we’d like to do something a bit special this time:

The reader with the closest answer will receive a free copy of the eBook that Nasim and I are writing: “Creative Landscape Photography: Light, Vision, and Composition.” 

Great Sand Dunes
Before getting to the questions, here is a bit of background information:

I took this image at sunrise. Strong winds had erased every footprint from the dunes, which left a pristine canvas for landscape photography. There weren’t any clouds, so I focused on abstract images of shadows and lines in the sand. This image was taken with my Nikon D800e and 70-200mm lens. I needed a tripod because the sun was still low in the sky, so the dunes were not yet particularly bright. I took the photo at ISO 100.

Here are the questions:

  1. This image is a blend of multiple photographs. Is it a focus stack, a luminosity/HDR blend, or a panorama?
  2. What focal length did I use for this photograph? (If you believe that it is a panorama, use the focal length of the individual images within the blend.)
  3. What were my shutter speed and aperture? (Name all exposures if you believe that it is an HDR/luminosity blend.)
  4. Tiebreaker: Why did I convert this photograph to black and white?

The winning response will be judged as follows:

  1. The questions are in order of importance — in other words, you must get the first question correct in order to win.
  2. I used a focal length somewhere from 70mm to 200mm. To remain in the running, you simply need to guess within 30mm of the correct focal length, either above or below. Beyond that, it doesn’t matter how close you are (except for the tiebreaker); I will treat a perfect answer and an answer that is wrong by 30mm exactly the same.
  3. For question three, you want to be as correct as possible on both the shutter speed and the aperture. If you are two stops over on the shutter speed and two stops under on aperture, they don’t cancel out!
  4. In the event of a tie, the first tiebreaker is the millimeter value you guessed in question two. It doesn’t matter whether your answer is over or under — all that matters is the total number of millimeters between your guess and the correct answer. If that still results in a tie, the winner will be decided by question four: the reason I converted this image to black and white (an intentionally subjective question).
  5. None of these are trick questions, but the nature of these questions means that the winner may be decided subjectively.
  6. You must provide a response to all four questions in order to remain in the running, and you may only answer once. Feel free to ask questions to clarify any of the rules.

To have a shot at winning “Creative Landscape Photography,” or if you are simply interested in sharing your guess, leave an answer in the comments section below. The book will be available later this month — production of our upcoming video on workflow and post-processing has pushed everything back a few weeks. These next couple months will be very exciting!

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‘Idiot’ Takes Selfie Every Day For 16 Years

The full name of this video is “Idiot continues to take daily self-portrait for 16 yrs despite better projects, longer projects, more popular projects, his face,” and it’s massively entertaining. JK Keller spent over 5,000 days taking photos of himself, and the result is fascinating.

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Independence Day: Magnificent Fireworks Photography

On the 4th of July in the United States, after you’ve had your fill of barbecues and parades, it’s time to find the best vantage point for watching and photographing fireworks displays. Here’s a sampling of what you can catch with your camera if you get a good spot!

people, sky, fireworks

photo by Always Shooting

fireworks, color, night, light

photo by Sacha Fernandez

blue, night, sky, fireworks

photo by CityofStPete

fireworks, colors, park

photo by Matthew Paulson

light, bright, woods, sky

photo by Eli Christman

red, lines, sky, dark, fireworks

photo by Zach Zupancic

blue, fireworks, city, 4th, july

photo by Randy Lemoine

4th, july, indipendence, fireworks

photo by Jeff Krause

fireworks, 4th, july, suburbs

photo by Allen

wtaer, city, lights, 4th, july

photo by Jeff Krause

pittsburg, 4th, july

photo by Alan Charness

fireworks, suburbs

photo by James Jordan

city, park, people, 4th, july

photo by Pat Kight

For Further Training, Deal Ending Soon:

Fireworks photography is indeed one of the most daunting types of photography. This popular 50 page eBook explains the process from start to finish, everything from gear and camera settings to composition and post-processing to achieve great results with fireworks of any kind. We were able to arrange a 28% discount until the 4th of July ($ 10 marked down from $ 14).

Found here: How to Photograph Fireworks eBook Deal

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Friday, July 1, 2016

Apple patents system for disabling cameras in no-photography areas

Apple has been awarded a patent that describes a mobile camera technology that can interpret infrared signals, which could then be used to disable the camera from recording at events like concerts, among other things.

An infrared transmitter would send encoded data to the device, which would be processed by the phone. Depending on the application, the device may temporarily disable its built-in camera in locations where photography and video capture are forbidden, for example music venues, classified company areas or museums. With the system activated a ‘RECORDING DISABLED’ message would pop up on the smartphone screen when the user tries to take a photo or video. The patent even mentions the ability to add a watermark to any images or video captured when certain infrared signals are detected. 

The patent also describes use of this technology to provide additional information or visuals in a different scenario: for example, an art gallery. Pointing a smartphone camera at an IR transmitter positioned next to a painting could provide more information on the device’s screen about the artwork. The patent also mentions applications in retail environments.

There is understandably some concern about how and where such systems would be implemented. Arguably, most people would be fine with concert venues protecting the intellectual property of their acts or companies preventing industrial espionage, but there are concerns that the technology could also be used to undermine the freedom of the press. As usual, the existence of a patent does not necessarily mean we’ll ever see the final product, but in this case it might be worth at least keeping an eye on how the idea is being developed further. You can read the full patent document on the USPTO website.

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DSLR Camera Cleaning & Maintenance Tips

Okay, so you’ve just shelled out your hard-earned coin for a sophisticated (codename for “expensive”) digital camera. Even if you’ve done the sensible thing and purchased a quality camera bag or backpack to keep it in one piece when not in use, you’ve only taken the first of two important steps toward keeping your camera in good working order.

You see, through the natural course of using your camera, it will get coated in microscopic bits of dust and grime, no matter how careful you are with it; the shiny lenses and camera bodies attract dust like you wouldn’t believe. So, you’re going to need to spend some time detailing your camera to keep it nice and clean and in good working order.

And it’s not just microscopic dust and dirt you that may cause you to have to take time to clean your camera. For instance, you may be out taking photos when it starts bucketing down with rain. Now, rain can be a good thing, making dull, dry-day photos into something more interesting, with the dark rain clouds adding a touch of moodiness and the rain water reflecting light in all sorts of interesting ways. Later on, though, what you may find is your camera has small streaks on it, where the rain water evaporated. This will need to be cleaned off, especially if water got onto the lens.

Or, maybe you’re taking photos around a barbecue or on bonfire night; the smoke from the fire can get on your camera and any residue left behind will need to be cleaned off.

Dust, sand, dirt, water, and smoke are all elements that photographers are likely to encounter that are harmful to cameras and camera gear. Keeping your camera(s) and lens(es) clean can:

  • Help to preserve the functionality of buttons, dials and touch screen LCDs
  • Save you both time and money (as you avoid unnecessary repairs)

Keeping your lenses clean will help keep specks of dirt or grime from showing up in your photos, which at best might mean extra minutes spent trying to erase them in post production (using software such as Adobe Lightroom or Photoshop) or, at worst, could render a prize photo unusable.

Bridge Camera Considerations

I’ve owned both a bridge camera (Panasonic FZ1000) and a proper DSLR (Panasonic GH4). Bridge cameras are much easier to live with, from a cleaning and maintenance perspective, as they don’t have interchangeable lenses, so all you need to worry about is keeping the lens clear of dirt and debris, so it goes on taking crisp, clean images, and keeping the rest of the camera clean of dust and debris, so that it doesn’t manage to find its way into any points that are opened or can be opened to the elements (e.g., battery and memory card slots, microphone sockets, or even down the ultra slim gap between the buttons or dials and the camera body itself).

Also, dust on the camera body can easily find its way onto the lens. So, if you only bother to clean the lens and ignore the camera body, you may return from a long or important photo shoot to find one or two annoying specks of dust or debris that had been dislodged from the camera body or lens barrel, only to find their way onto the lens. Do you really want to take that chance? I’ve experienced this and it’s not something you allow to repeat too often.

DSLR Camera Considerations

If you’ve bought a DSLR camera, you will also need to:

  • Factor in keeping clean the rear of your lenses, including the metal contact pins (which allow the lens and camera to communicate the necessary data, making things like your camera’s autofocus work as intended)
back of a lens

photo by William Brawley

  • Potentially clean the ultra sensitive sensor, as well. You certainly don’t need to be cleaning the sensor every time you’ve changed lenses—only if you discover that there are specks of dust or debris on the sensor, which you will likely find if your photos still have spots on when you’ve made doubly certain the glass of the lens, at both ends, is clean and dust free. I’ll talk more about sensor cleaning, later on in this article.

Right then, this is the cleaning and maintenance process I followed with my two cameras, which has now become something of an ingrained habit, over the years…

Cleaning and Maintenance of Bridge Cameras

1. Preparation. I like to get organized, first, by taking out all of the cleaning tools I’ll need and putting them on the surface where I’ll be detailing my camera (whether that’s at the kitchen table or wherever’s most convenient at the time). Tools include:

lens pens

photo by othree

  • Lens Pen. It contains a soft bristled brush that I use on the camera body and lens barrel, as well as a statically charged tip, which I use primarily on the glass of the lens, but I’ve also used it on the LCD screen and viewfinder, from time to time.
air blower

photo by Keith Williamson

  • Air Blower. I blow off any dust and debris that can be easily dislodged with this tool. I do this before I use the brush from the lens pen, so as not to risk harder bits of debris potentially scratching delicate surfaces. Maybe it’s overcautious, but that’s just my way of doing it.
  • Microfiber Cloth. I wrap a clean area of the cloth so that it’s taut around a forefinger and then I use a circular motion for cleaning, especially on the glass of the lens itself. So, at this stage, I will have used, first the air blower, then the brush of the lens pen, and now the microfiber cloth for the rest of the job. While the statically charged tip housed underneath the cap of the lens pen, can be used for cleaning the glass of the lens, I typically like to reserve that for when I need to clean my camera away from home, as it’s less fiddly than using a microfiber cloth. When at home, I will opt for the microfiber cloth for this part of the job. Choose whichever method you prefer, if you have the choice of cleaning with both a microfiber cloth and a lens pen.
  • Lens Cleaning Fluid. This is used with the microfiber cloth. I tend to only use this fluid if the camera and/or lens becomes particularly grubby. First, I wrap the microfiber cloth around my cleaning finger and then I spray a small amount onto the cloth—not directly onto the lens or camera body, as it can be easy to spray too much, and then you’re effectively pouring liquid into the gaps of your camera—between buttons and dials, for instance—which could be just as harmful as getting any of the other unwanted elements in there. Spraying onto the cloth helps absorb any excess fluid, first, and then you’re good to clean the body, lens barrel, or lens.

2. Cleaning the Camera. I clean my cameras in the following order and now it’s just become a habit. First, I clean the Lens Barrel, so that no surface debris or dust falls off and onto the glass of the lens when I turn the camera over to access different parts for cleaning. Next, I clean the glass of the lens and, finally, I clean the LCD & Viewfinder.

Cleaning and Maintenance of DSLR Cameras

I follow the same procedure for cleaning my Panasonic FZ1000 Bridge Camera, only now, because my Panasonic GH4 is a “proper DSLR”, with interchangeable lenses, I have to be vigilant about not getting dust on the sensor or on the rear of the lens when switching lenses and, if that happens, I need to take steps to clean either the lens, camera sensor, or both.

1. Cleaning The Lens . There is a button on the body of the camera, which you push and then you turn the lens (typically in a counter-clockwise direction), to remove the lens from the body of the camera. Now, before I do anything else, I pop on the bottom lens cap (which will come with any new lens that you buy from any good manufacturer) and set the lens to one side. If you have a cap that will go over the exposed sensor on the camera body, now is the time to put it on (so that no household dust can find its way onto the sensor—there’s no sense in having to clean the ultra sensitive sensor if you don’t have to). Once done, now I can clean the lens, itself.

I tend to clean the body of the lens, first, using first an air blower to remove the loosest of the dirt or debris. Then, I’ll use the brush on the lens pen to get rid of the more stubborn bits of debris. If needed, I’ll use the microfiber cloth, with a spray or two of cleaning fluid, to finish cleaning the body of the lens. Next, I’ll take off the lens cap and clean around the edges of the lens, before using a circular motion with the cloth to clean the glass of the lens. After putting the lens cap back on, I’ll check the bottom of the lens (the end with the metal contact pins). If it needs it, I’ll clean this in the same way that I detail the front of the lens. However, I often find that there aren’t any marks, nor any grime or debris on this end (because I’ve been careful when changing lenses and have managed not to get any dirt on this end of the lens—I tend to go out of the house with the lens I intend to use, so changing lenses in the field isn’t something I have faced, as yet. That is when you’re more likely to find specks of dirt or debris on the bottom of the lens, and so will need to clean it).

And that’s it, the lens is cleaned and it can either go back on the camera or away into my camera bag, which is where I keep my lenses.

2. Cleaning the Sensor. I’m going to refer to the user guide for my Panasonic GH4, to explain how sensor cleaning is done with the this particular camera. If you have a different camera, because of the sensitivity of the image sensor, it’s recommended you consult the manufacturer’s user manual before attempting to clean the sensor.

The following is from page 411 of my copy of Panasonic’s “Operating Instructions” PDF user manual, for the GH4:

Dust Reduction Function

“This unit has a dust reduction function that will blow off the debris and dust that have affixed to the front of the imaging device. This function will function automatically when the camera is turned on, but if you see dust, perform the [Sensor Cleaning] (P68) in the [Setup] menu.”

Removing Dirt On The Image Sensor

“The image sensor is very precise and delicate, so be sure to observe the following when you do have to clean it yourself.”

“Blow off the dust on the surface of the image sensor with a commercially available blower brush. Be careful not to blow too strongly.

“Do not put the blower brush further inside than the lens mount.

“Do not let the blower brush touch the image sensor as the image sensor may get scratched.

“Do not use any objects except a blower brush to clean the image sensor.

“If you cannot remove the dirt of dust with the blower, consult the dealer or Panasonic.”

I would imagine the same advice applies for pretty much all digital camera sensors, but I still recommend you read the operating manual for your particular brand of camera, before proceeding with cleaning your camera’s sensor.

When to Clean Your Camera

dirty camera

photo by Mark Tighe

Finally, I’ll just let you in on when I clean my camera…

When I got my first “big” camera (Panasonic FZ1000), I was resigning myself to cleaning and detailing the camera and my gear after every time I used it. However, that soon changed to only when it looked like it needed a cleaning. If the camera had obvious specks of dirt or debris on it, then I’d clean it. But, if it all looked acceptably clean, and if there were no marks on the glass of the lens, I’d just put it straight back in the camera bag (changing to freshly charged spare batteries, before doing so, so that I wouldn’t find myself running out of power the next time I needed to use the camera).

That said, perhaps once a week, I’m likely to sit down and clean the camera, as general grime does accumulate on the camera through normal use, and it blends in with the black finish of the camera lens and body. If you don’t believe me, just go a week or so, using your camera daily, but without cleaning the surface. Then, at the end of the week, take a light/white colored microfiber cloth and wipe it into the crevices at the front of the lens barrel, surrounding the glass of the lens, and then take a look at the cloth. It will be grimy. Guaranteed.

About the Author:
Graham Wadden created and maintains the Creative Commons photography website, WaddenCCPhotography.com, specializing in creating stock photography primarily for home educators and those in education.

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