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First shots from new Nikon 28mm F1.4E ED

5/31/2017

First shots from new Nikon 28mm F1.4E ED

http://ift.tt/2rVas1C

First shots from new Nikon 28mm F1.4E ED: Digital Photography Review

Nikon's new 28mm F1.4E ED is the latest in a series of wideangle F1.4 primes, and if it's as good as its sister models, we're expecting it to deliver great results. Among the first people to get hold of the then-unreleased lens was wedding photographer and Nikon Ambassador Marko Marinkovic.

Shooting in Marrakech, Marko captured portraits and landscapes, working almost exclusively wide-open at F1.4, with the lens attached to a D5. He has written a blog post detailing his initial findings (images are reproduced here by kind permission).

According to Marinkovic, he favors 28mm because it offers a wide field of view without being unnatural - allowing him 'to fit things into a frame without overflowing it or distorting the corner elements'.

Although the new lens is 'significantly larger and heavier' than the slower 28mm F1.8, Marinkovic found that the build quality of the F1.4 version 'is a great compromise between robustness and weight'.

Marko's verdict on the new lens? 'If you are a professional looking for an upgrade of your old 28 2.8 or 28mm 1.8G – this is the lens to go with'.

Read Marko Marinkovic's full article here

View unprocessed versions of Marko's images on the Nikon website

Photography News

via Articles: Digital Photography Review (dpreview.com) http://ift.tt/i0r8o5

May 31, 2017 at 06:17AM

First shots from new Nikon 28mm F1.4E ED

5/31/2017

First shots from new Nikon 28mm F1.4E ED

http://ift.tt/2rVas1C

First shots from new Nikon 28mm F1.4E ED: Digital Photography Review

Nikon's new 28mm F1.4E ED is the latest in a series of wideangle F1.4 primes, and if it's as good as its sister models, we're expecting it to deliver great results. Among the first people to get hold of the then-unreleased lens was wedding photographer and Nikon Ambassador Marko Marinkovic.

Shooting in Marrakech, Marko captured portraits and landscapes, working almost exclusively wide-open at F1.4, with the lens attached to a D5. He has written a blog post detailing his initial findings (images are reproduced here by kind permission).

According to Marinkovic, he favors 28mm because it offers a wide field of view without being unnatural - allowing him 'to fit things into a frame without overflowing it or distorting the corner elements'.

Although the new lens is 'significantly larger and heavier' than the slower 28mm F1.8, Marinkovic found that the build quality of the F1.4 version 'is a great compromise between robustness and weight'.

Marko's verdict on the new lens? 'If you are a professional looking for an upgrade of your old 28 2.8 or 28mm 1.8G – this is the lens to go with'.

Read Marko Marinkovic's full article here

View unprocessed versions of Marko's images on the Nikon website

Photography News

via Articles: Digital Photography Review (dpreview.com) http://ift.tt/i0r8o5

May 31, 2017 at 06:17AM

First shots from new Nikon 28mm F1.4E ED

5/31/2017

First shots from new Nikon 28mm F1.4E ED

http://ift.tt/2rVas1C

First shots from new Nikon 28mm F1.4E ED: Digital Photography Review

Nikon's new 28mm F1.4E ED is the latest in a series of wideangle F1.4 primes, and if it's as good as its sister models, we're expecting it to deliver great results. Among the first people to get hold of the then-unreleased lens was wedding photographer and Nikon Ambassador Marko Marinkovic.

Shooting in Marrakech, Marko captured portraits and landscapes, working almost exclusively wide-open at F1.4, with the lens attached to a D5. He has written a blog post detailing his initial findings (images are reproduced here by kind permission).

According to Marinkovic, he favors 28mm because it offers a wide field of view without being unnatural - allowing him 'to fit things into a frame without overflowing it or distorting the corner elements'.

Although the new lens is 'significantly larger and heavier' than the slower 28mm F1.8, Marinkovic found that the build quality of the F1.4 version 'is a great compromise between robustness and weight'.

Marko's verdict on the new lens? 'If you are a professional looking for an upgrade of your old 28 2.8 or 28mm 1.8G – this is the lens to go with'.

Read Marko Marinkovic's full article here

View unprocessed versions of Marko's images on the Nikon website

Photography News

via Articles: Digital Photography Review (dpreview.com) http://ift.tt/i0r8o5

May 31, 2017 at 06:17AM

Manual Mode or Exposure Compensation Which is Best?

5/31/2017

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As you may know, cameras often get exposure wrong. The question is, what do you do when you realize that the exposure settings suggested by your camera are not right?

You have two options. One is to switch to Manual mode and set the ISO, aperture, and shutter speed yourself. The other is to use exposure compensation (and Aperture or Shutter Priority mode).

The best solution depends on the situation in which you find yourself, plus the configuration of your camera’s dials. For example, with a Canon EOS digital SLR it’s easy to apply exposure compensation by moving the Quick control dial on the back of the camera. It’s so simple you don’t need to take your eye away from the viewfinder.

Exposure compensation versus manual mode

The Quick control dial on the EOS 77D.

On my Fujifilm X-T1, the exposure compensation dial is on top of the camera. It’s harder to get at and nearly impossible to adjust without taking your eye away from the viewfinder. But the aperture ring on the lens makes it easy to go to Manual mode and adjust exposure by changing the aperture. An optional live histogram in the viewfinder helps you see if exposure is accurate before pressing the shutter (an advantage of some mirrorless cameras).

Exposure compensation versus manual mode

The exposure compensation dial on the Fujifilm X-T1 is much harder to reach.

These are good examples of how hardware can push you in one direction or another. My Canon SLRs pushed me towards exposure compensation, and my Fujifilm X-T1 pushes me towards using Manual mode.

Using Manual mode

Let’s look at Manual mode first. In Manual, you set the ISO, aperture, and shutter speed yourself. There are certain situations when using Manual mode (as opposed to Programmed Auto, Aperture Priority or Shutter Priority with exposure compensation) is beneficial. Let’s look at a few.

1. Shoot in Manual when the light level is constant

If the ambient light level is steady, you don’t need to change the exposure settings once you have decided which ones to use. Automatic exposure modes are influenced by the reflectivity of the subject and the exposure reading can change even if the light levels don’t.

That makes Manual mode ideal for this kind of situation. Once you’ve set the exposure you don’t need to change it. I like to use Manual mode when making portraits in natural light. Once I’ve set the exposure I’m free to concentrate on directing the model.

Exposure compensation versus manual mode

2. Shoot in Manual when you’re photographing landscapes and using a tripod

In this situation, you have plenty of time to assess exposure. Manual mode is ideal because you can set a low ISO (for image quality), a small aperture (for depth of field) and change the shutter speed to suit the light levels. It’s also easy to make adjustments to allow for any polarizing, neutral density or graduated neutral density filters you may be using.

If you’re shooting landscapes at dusk, while the light is fading, Manual mode also works well. After you take a photo, just check the histogram. As it moves to the left, which it will as the light fades, dial in a slower shutter speed to compensate.

Exposure compensation vs. manual mode

3. Use Manual Mode when you’re using manual flash

If you’re using a flash set to manual the output from the flash is the same every time. In that situation, it’s best to adjust the camera settings manually so the exposure is consistent from frame to frame.

To create the portrait below, I worked with both the camera and flash set to manual. Setting your flash to manual only works when the flash to subject distance doesn’t change.

Exposure compensation vs. manual mode

4. Use Manual mode for long exposure photography

If you’re doing long exposure landscape photography and your shutter speed (exposure time) is longer than 30 seconds then you need to use Bulb mode. This is another form of Manual mode. Except that rather than telling the camera what shutter speed you want it to use, you do so by using the camera’s bulb setting and a remote release.

I used Bulb mode to make this landscape photo with a shutter speed (exposure time) of 82 seconds.

Exposure compensation vs. manual mode

Using Exposure Compensation

The alternative to Manual mode is to set your camera to an automatic exposure mode and use exposure compensation to override the camera’s settings.

The three best automatic exposure modes to use are Aperture Priority, Shutter Priority or Programmed auto. Other exposure modes, such as Landscape and Portrait, don’t give you enough control. On some cameras (such as Canon EOS) you can’t adjust exposure compensation when using one of these modes.

These are some of the situations where exposure compensation may be better than Manual mode.

1. Use Exposure Compensation for street and travel photography

If you are taking photos of people in the street the required exposures can vary wildly. One moment you may take a photo of something in the sun, the next you may photograph something in the shade. The sun may also be going in and out between the clouds.

In this situation, you want to concentrate on finding interesting things to photograph and creating a good composition. If you have to stop and think about exposure, then you may miss the shot. Automatic exposure modes help greatly.

Exposure compensation vs. manual mode

2. Use Exposure Compensation when you are using on-camera flash in an automatic mode (TTL)

If you have the on-camera flash set to an automatic mode, then the camera needs to be set to evaluative or matrix metering, the camera’s most advanced metering mode, to take full advantage of that. The camera and flash work together to calculate the correct exposure.

Setting your flash to automatic (TTL or E-TTL) works best when the subject to flash distance is constantly changing. Using automatic means your camera can adjust the output of the flash as it needs to.

3. Use Exposure Compensation when shooting sports or wildlife

This is another situation where the light level is likely to change frequently and you need to concentrate on tracking the action and capturing important moments. You don’t want to be thinking about exposure when trying to capture the peak of the action in sports or photographing fast-moving wildlife. Let your camera do the work, and use exposure compensation if you have to.

Conclusion

Everybody works differently, so the points in this article should be taken as suggestions only. The more experienced you become as a photographer the more you will learn to judge whether you should use Manual mode or Exposure Compensation to take control of your exposure.

It may make it easier to think of it in terms of time. If you have more time to think about your camera settings, then use Manual mode. If you have less thinking time and need to be ready to react quickly to capture the action, then use an automatic exposure mode and Exposure Compensation.

Do you prefer to use Manual mode or an automatic exposure mode with exposure compensation? Please let me know in the comments below,

Want to learn how to get perfect exposure on your digital camera? Then check out my new ebook Mastering Exposure and say goodbye to all your exposure problems!

The post Manual Mode or Exposure Compensation – Which is Best? by Andrew S. Gibson appeared first on Digital Photography School.

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May 31, 2017 at 02:10PM

5 Surprising Habits That Will Make You a Better Photographer

5/31/2017

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When you’re learning photography, it seems natural to pay the most attention to the gear and techniques you use to create images. You’ve probably received advice about developing great habits like photographing every day, carrying your camera everywhere you go, trying different compositions, learning processing skills, and backing up your photos. These things are important, no doubt! But there is more to becoming a better photographer than that.

Getting the shot often comes down to being there at the right time, so these tips have to do with getting out in the field and staying out in the field. If you cultivate these surprising habits, you’ll surely become a better photographer.

Canon Beach, Oregon, by Anne McKinnell - better photographer

#1 – Research Locations

Before you set off on your photo shoot, doing a little research can go a long way to making better images. First, think about what potential subjects are available. I like to create a Pinterest board and start collecting images I like from the location. Once you get an idea of what is there, how can you create images that are different from what you have seen? Is there a different perspective you want to check out? Or maybe a night shot? Don’t forget to take note of the direction of light in the images you see. Imagine what it would look like at a different time of day.

Once you get an idea of what is there, how can you create images that are different from what you have seen? Is there a different perspective you want to check out? Or maybe a night shot? Don’t forget to take note of the direction of light in the images you’ve seen. Imagine what it would look like at a different time of day.

Joshua Tree National Park, California, by Anne McKinnell - habits better photographer

This is the location where the Joshua Trees are the densest in Joshua Tree National Park, California.

The second part of your research should be looking at maps and figuring out where exactly the best subjects are located and how to get there. Is the location close to the road or will you have to hike there? How long will it take?

#2 – Watch the Weather

Keeping a close eye on the weather forecast will dramatically affect your photos. Remember, bad weather is usually a good thing for photography! Storms bring the potential for seeing dramatic clouds, wet leaves, and even rainbows. You’ll get photos with fewer people in them too.

Red Rock State Park, Sedona, Arizona by Anne McKinnell - habits better photographer

Waiting for a break in the weather resulted in this rainbow at Cathedral Rock, Arizona.

When I was visiting Cathedral Rock in Sedona, Arizona, I noticed that there were a lot of people around and it was difficult to get a photo without a lot of tourists in it. Then it started to rain and everyone left. I waited in my truck for 45 minutes during the downpour. Mine was the only vehicle in the parking lot, and when the rain began to die down, I headed out and was rewarded with a beautiful rainbow. I had the location all to myself.

If a clear sky is in your forecast, instead of photographing your scene with a plain blue sky, you might have the potential for a great night shot.

While you’re at it, don’t forget to check when the sun rises and sets and when the moon rises and sets. If you’re going to be on the beach, tides are also important.

#3 – Carry Less Stuff

Whether you choose to go out with your camera and only one or two lenses or switch your whole system to a lightweight mirrorless system, you’ll undoubtedly find that you can hike farther and get to more remote locations with less weight on your shoulders. The potential for finding unique subjects and unique compositions increases the farther away you get from the beaten track.

Big Bend Ranch State Park, Texas, by Anne McKinnell - habits better photographer

I don’t think I would have made it this far up the hill if I had carried all of my heavy gear.

#4 – Don’t Forget the Comfort Essentials

Despite the last tip about carrying less stuff, it’s equally essential that you carry the right stuff to allow you to stay out there longer. Anything that makes you uncomfortable in the field will probably cause you to leave earlier than otherwise.

Thirst, hunger, being cold or wet, getting bitten by bugs and looming darkness are just a few things that can make you leave a location too soon. A few things on my “always carry” list are food, water, rain jacket, sweater, bug spray, and a headlamp. These items will get you more potential shots than that extra lens.

Organ Pipe Cactus National Monument, Arizona, by Anne McKinnell habit better photographer

I probably wouldn’t have this photo if it were not for my trusty headlamp that I used to make my way back through the cacti in the dark.

#5 – Hike With a GPS

Getting lost is one of my fears when I’m out exploring, so I have started hiking with a handheld GPS. It took me awhile to get used to it because it’s not the fancy kind with built-in maps. All I do is mark a waypoint where I park my truck and then it tracks me as I walk. No cell signal or internet required. I can always figure out the direction to get back to my waypoint, or even follow my tracks to go back using the exact route I took to go out. It’s worth it to carry a couple of extra batteries for it too.

Now that I have the GPS, I am more willing to go off the trail and explore new things. It’s a whole new level of freedom!

Bisti Badlands, New Mexico, by Anne McKinnell - habits better photographer

At Bisti Badlands, New Mexico, it is very easy to get lost with no trails and strange rock formations in every direction. My GPS was a lifesaver.

Conclusion

These tips should help you figure out where to go when to get there and make sure you are comfortable in the field so you can stay as long as you like to get that special shot. Sometimes photography is a waiting game, but if you are comfortable you can be patient and wait for the magic moment to happen.

The post 5 Surprising Habits That Will Make You a Better Photographer by Anne McKinnell appeared first on Digital Photography School.

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May 31, 2017 at 02:10PM

First shots from new Nikon 28mm F1.4E ED

5/31/2017

First shots from new Nikon 28mm F1.4E ED

http://ift.tt/2rVas1C

First shots from new Nikon 28mm F1.4E ED: Digital Photography Review

Nikon's new 28mm F1.4E ED is the latest in a series of wideangle F1.4 primes, and if it's as good as its sister models, we're expecting it to deliver great results. Among the first people to get hold of the then-unreleased lens was wedding photographer and Nikon Ambassador Marko Marinkovic.

Shooting in Marrakech, Marko captured portraits and landscapes, working almost exclusively wide-open at F1.4, with the lens attached to a D5. He has written a blog post detailing his initial findings (images are reproduced here by kind permission).

According to Marinkovic, he favors 28mm because it offers a wide field of view without being unnatural - allowing him 'to fit things into a frame without overflowing it or distorting the corner elements'.

Although the new lens is 'significantly larger and heavier' than the slower 28mm F1.8, Marinkovic found that the build quality of the F1.4 version 'is a great compromise between robustness and weight'.

Marko's verdict on the new lens? 'If you are a professional looking for an upgrade of your old 28 2.8 or 28mm 1.8G – this is the lens to go with'.

Read Marko Marinkovic's full article here

View unprocessed versions of Marko's images on the Nikon website

Photography News

via Articles: Digital Photography Review (dpreview.com) http://ift.tt/i0r8o5

May 31, 2017 at 06:17AM

First shots from new Nikon 28mm F1.4E ED

5/31/2017

First shots from new Nikon 28mm F1.4E ED

http://ift.tt/2rVas1C

First shots from new Nikon 28mm F1.4E ED: Digital Photography Review

Nikon's new 28mm F1.4E ED is the latest in a series of wideangle F1.4 primes, and if it's as good as its sister models, we're expecting it to deliver great results. Among the first people to get hold of the then-unreleased lens was wedding photographer and Nikon Ambassador Marko Marinkovic.

Shooting in Marrakech, Marko captured portraits and landscapes, working almost exclusively wide-open at F1.4, with the lens attached to a D5. He has written a blog post detailing his initial findings (images are reproduced here by kind permission).

According to Marinkovic, he favors 28mm because it offers a wide field of view without being unnatural - allowing him 'to fit things into a frame without overflowing it or distorting the corner elements'.

Although the new lens is 'significantly larger and heavier' than the slower 28mm F1.8, Marinkovic found that the build quality of the F1.4 version 'is a great compromise between robustness and weight'.

Marko's verdict on the new lens? 'If you are a professional looking for an upgrade of your old 28 2.8 or 28mm 1.8G – this is the lens to go with'.

Read Marko Marinkovic's full article here

View unprocessed versions of Marko's images on the Nikon website

Photography News

via Articles: Digital Photography Review (dpreview.com) http://ift.tt/i0r8o5

May 31, 2017 at 06:17AM

First shots from new Nikon 28mm F1.4E ED

5/31/2017

First shots from new Nikon 28mm F1.4E ED

http://ift.tt/2rVas1C

First shots from new Nikon 28mm F1.4E ED: Digital Photography Review

Nikon's new 28mm F1.4E ED is the latest in a series of wideangle F1.4 primes, and if it's as good as its sister models, we're expecting it to deliver great results. Among the first people to get hold of the then-unreleased lens was wedding photographer and Nikon Ambassador Marko Marinkovic.

Shooting in Marrakech, Marko captured portraits and landscapes, working almost exclusively wide-open at F1.4, with the lens attached to a D5. He has written a blog post detailing his initial findings (images are reproduced here by kind permission).

According to Marinkovic, he favors 28mm because it offers a wide field of view without being unnatural - allowing him 'to fit things into a frame without overflowing it or distorting the corner elements'.

Although the new lens is 'significantly larger and heavier' than the slower 28mm F1.8, Marinkovic found that the build quality of the F1.4 version 'is a great compromise between robustness and weight'.

Marko's verdict on the new lens? 'If you are a professional looking for an upgrade of your old 28 2.8 or 28mm 1.8G – this is the lens to go with'.

Read Marko Marinkovic's full article here

View unprocessed versions of Marko's images on the Nikon website

Photography News

via Articles: Digital Photography Review (dpreview.com) http://ift.tt/i0r8o5

May 31, 2017 at 06:17AM

First shots from new Nikon 28mm F1.4E ED

5/31/2017

First shots from new Nikon 28mm F1.4E ED

http://ift.tt/2rVas1C

First shots from new Nikon 28mm F1.4E ED: Digital Photography Review

Nikon's new 28mm F1.4E ED is the latest in a series of wideangle F1.4 primes, and if it's as good as its sister models, we're expecting it to deliver great results. Among the first people to get hold of the then-unreleased lens was wedding photographer and Nikon Ambassador Marko Marinkovic.

Shooting in Marrakech, Marko captured portraits and landscapes, working almost exclusively wide-open at F1.4, with the lens attached to a D5. He has written a blog post detailing his initial findings (images are reproduced here by kind permission).

According to Marinkovic, he favors 28mm because it offers a wide field of view without being unnatural - allowing him 'to fit things into a frame without overflowing it or distorting the corner elements'.

Although the new lens is 'significantly larger and heavier' than the slower 28mm F1.8, Marinkovic found that the build quality of the F1.4 version 'is a great compromise between robustness and weight'.

Marko's verdict on the new lens? 'If you are a professional looking for an upgrade of your old 28 2.8 or 28mm 1.8G – this is the lens to go with'.

Read Marko Marinkovic's full article here

View unprocessed versions of Marko's images on the Nikon website

Photography News

via Articles: Digital Photography Review (dpreview.com) http://ift.tt/i0r8o5

May 31, 2017 at 06:17AM

First shots from new Nikon 28mm F1.4E ED

5/31/2017

First shots from new Nikon 28mm F1.4E ED

http://ift.tt/2rVas1C

First shots from new Nikon 28mm F1.4E ED: Digital Photography Review

Nikon's new 28mm F1.4E ED is the latest in a series of wideangle F1.4 primes, and if it's as good as its sister models, we're expecting it to deliver great results. Among the first people to get hold of the then-unreleased lens was wedding photographer and Nikon Ambassador Marko Marinkovic.

Shooting in Marrakech, Marko captured portraits and landscapes, working almost exclusively wide-open at F1.4, with the lens attached to a D5. He has written a blog post detailing his initial findings (images are reproduced here by kind permission).

According to Marinkovic, he favors 28mm because it offers a wide field of view without being unnatural - allowing him 'to fit things into a frame without overflowing it or distorting the corner elements'.

Although the new lens is 'significantly larger and heavier' than the slower 28mm F1.8, Marinkovic found that the build quality of the F1.4 version 'is a great compromise between robustness and weight'.

Marko's verdict on the new lens? 'If you are a professional looking for an upgrade of your old 28 2.8 or 28mm 1.8G – this is the lens to go with'.

Read Marko Marinkovic's full article here

View unprocessed versions of Marko's images on the Nikon website

Photography News

via Articles: Digital Photography Review (dpreview.com) http://ift.tt/i0r8o5

May 31, 2017 at 06:17AM