http://ift.tt/2wlWeIO

Motorola Moto X4 brings a dual-cam with super-wide-angle to the mid-range segment

http://ift.tt/2wm1Wds

Lenovo has introduced the Motorola Moto X4 at its IFA 2017 event and closes the gap in its line-up that was created after the Moto X series went into hiatus with the launch of the Moto Z models last year.

The Moto X4 is an upper-tier mid-ranger that slots in between the Moto Z and Moto G series and aims to offer a comprehensive feature set at an attractive price point. 400 Euros (no US pricing has been revealed yet) get you a 5.2" 1080p IPS display, a sleek metal body with glass back, IP68 water-resistance, Snapdragon 630 chipset, Amazon Alexa integration and a dual-camera.

The latter combines a 12MP main camera with an 8MP 120-degree super-wide-angle, a similar concept to what we've seen on more recent LG high-end devices. The main cameras features a 12MP sensor with 1.4um pixel size, F2.0 aperture and PDAF. The super-wide angle has a smaller sensor with 1.12um pixels and F2.2 aperture. Bokeh effect and 4K video recording are on board as well.

The front camera specification looks quite impressive for a device in this class as well: a 16MP sensor is accompanied by a F2.0 lens and a front LED flash. A 4MP low-light mode uses pixel-binning for reduced noise in dim lighting conditions.

We are having our hands on a test unit and first impressions are promising. The device feels very solidly built and, as always with Moto devices, the lean Android implementation feels smooth and responsive in operation. The super-wide-angle lens looks like a useful addition to the main camera but we'll have to do some proper testing before commenting on image quality. The Moto X4 will be available in Super Black and Sterling Blue this fall worldwide.

Motorola #motox4 with dual-cam and glass-back, looks like a contender in the upper mid-range #ifa2017

A post shared by Lars Rehm (@larsrehm) on Aug 31, 2017 at 12:43pm PDT

Key specifications:

• Dual-camera with 12MP main camera and 8MP 120 degree super-wide-angle
• 1.4um pixel size, F2.0 aperture and PDAF on main camera
• 1.12um pixel size and F2.2 aperture on super-wide-angle
• 4K video
• 16MP / F2.0 front camera
• 5.2" 1080p IPS display with Gorilla Glass
• Snapdragon 630 chipset
• 3GB RAM, 32GB storage
• 3,000 mAh battery

Photography News

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

August 31, 2017 at 03:29PM

http://ift.tt/2vMIWBE





Photography

via DIYPhotography.net -Hacking Photography, One Picture At A Time http://ift.tt/JM7Yq9

August 31, 2017 at 03:06PM

http://ift.tt/2vve7WE

The Lily Drone is Back from the Grave and Ready to Try Another Takeoff

http://ift.tt/2wlZhRj

In January 2017, the company behind the highly anticipated Lily drone announced that it would be shutting down after raising over $34 million from backers. The company was quickly sued and accused of misleading people with a faked promo video. However, it looks like Lily is now making a bit of a comeback.

A California-based drone company named Mota Group has acquired the assets of Lily Robotics for a cool $750,000, and you could soon see this smiley drone buzzing about above your head soon.

The drone will now come with a new design and new features, and you can see the immediate aesthetic change in these two comparison images:

What are the main differences? Well, the design is no longer circular, and will instead feature a shape more akin to the GoPro Karma. The rotor arms are also foldable, with foldable legs underneath them.

There are also two batteries instead of just one, meaning they can be easily swapped out instead of requiring users to recharge a single internal battery. Although flight time suffers, at only 18 minutes vs. 20 minutes (although the previous Lily’s flight time was really 0 minutes since it never took to the air).

The camera has been updated, with 4K resolution instead of just 1080p, and it’s lighter too at 385 grams vs. the original 1.3 kg. There should also be an internal stabilizer, as well as electronic image stabilization too, but the drone is not waterproof this time round.

When asked about the lack of waterproofing, an original unique selling point of the Lily 2015 version, MOTA Group told DroningOn, “For Lily Next-Gen, we gathered a user survey between creating a waterproof [drone] or [a lower] cost drone, and the majority of users chose less expensive. The waterproofing creates major restrictions such as [being] significantly heavier, and reduced battery life, so altogether it is not waterproof. But it is a really good drone with up to 36 minutes (2×18 minutes) batteries, carrying case and 16GB memory with 2017 technology.”

Lily 2.0 will be available for purchase from the Lily website, and it’ll cost $500 for the standard package, or $800 for a “fully loaded” package. Both options will come with an extra battery, charging cable, spare propellers, prop guards, 16GB memory card, and a rapid charger.

The fully loaded package, however, will come with a portable case, remote controller with a built-in screen, and a 1-year loss and damage protection warranty.

The price of Lily is said to increase soon, with orders placed now being dispatched within 30 days of purchase. It remains to be seen whether the Lily brand can overcome the huge failing of its first launch and regain the trust of drone enthusiasts.

(via Lily via WeTalkUAV)

Photography News

via PetaPixel https://petapixel.com

August 31, 2017 at 02:58PM

http://ift.tt/2iLVyHF

Photographers face three felonies after climbing bridge for cityscape shot

http://ift.tt/2vJo9iT

Benjamin Franklin Bridge at night by Jeffrey Phillips Freeman

Breaking the law to get the perfect shot can have serious legal consequences, a harsh reality currently facing photographers Martin J. Romero-Clark and Andrew Lillibridge, who were arrested after climbing onto the Ben Franklin Bridge in Philadelphia.

According to local news site Philly.com, police received an alert at 12:50AM on July 25th about a potential jumper on top of the bridge; this prompted a response from the Philadelphia Police marine units, port authority police, and the Philadelphia Fire Department. Upon arriving at the scene, authorities reportedly discovered the two photographers with camera gear. By the time the two were arrested at 1:20AM, the incident had drawn 36 firefighters, eight port authority officers, and seven port authority rescuers.

Statements from authorities to local news indicate that the photographers' climb onto the bridge had tripped security alarms and was captured on security cameras. In addition, the bridge had to be shut down for 103 minutes.

In a statement to Philly.com, Delaware River Port Authority CEO John Hanson said the two had worn black clothing and climbed the bridge on a wet night, putting both themselves and everyone on the ground at risk. "They could have fallen, they could have been injured in the process of apprehending them, and they put the heroic men and women of our police department and the Philadelphia Fire Department at risk," Hanson said. "We’re going to prosecute them to the fullest extent of the law. I am not amused, and I am very angry."

The pair now face two third-degree felonies, one fourth-degree felony, and their photography equipment has been confiscated.

Photography News

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

August 31, 2017 at 02:33PM

http://ift.tt/2xa5Lna

Sony a9 vs. Canon 1D X II vs. Nikon D5: A Flagship Camera Shootout

http://ift.tt/2gm5enX

The flagship cameras from Sony, Canon, and Nikon — the a9, 1D X II, and D5 — are all brilliant pieces of kit, but which is right for you? This 45-minute shootout from Michael Andrews (aka Michael The Maven) objectively compares the three cameras in great detail.

Table of Contents

Here’s a breakdown of the sections found in the video:

01:04 – Intro
05:30 – Sports Shooting
16:05 – Low Light Focusing
16:45 – Video Focusing
18:06 – Dynamic Range
22:27 – High Portrait ISO
23:48 – Moire Test
24:12 – Thermal Test
24:53 – Rolling Shutter
25:24 – Real World Video
29:07 – Portrait Test
32:10 – Ergonomics
32:11 – Conclusion

Here are some of the interesting highlights from Andrews’ tests and comparisons…

Cost

Andrews kicks things off by comparing the raw specs of the three cameras, as well as their price. The D5 is hardest on the wallet at $6,800, the 1D X II is $6,000, and the a9 is only $4,500. However, Sony’s lens lineup costs more than the Nikon and Canon equivalents, bringing the total cost back in line with the other cameras.

Sports Shooting

For the tests, Andrews uses the most current 24-70mm f/2.8 non-IS lenses from each manufacturer, as well as the 70-200mm f/2.8 IS lenses.

The first tests starting from 05:30 are comparing the performance of the cameras in sports shooting. This is where the Nikon especially excels, while the a9 struggles with dropping focus while rack zooming in. Despite the lower accuracy, however, the faster frame rates afforded by the a9 and 1D X II resulted in more ‘keepers’ from both cameras when compared to the D5.

Andrews says that he would gravitate towards the Canon and Nikon offers over Sony’s a9 due to the consistency. He says that the a9 feels more like cutting-edge tech with less polish and stability compared to the other cameras.

Dynamic Range

For testing dynamic range test at 18:06. Andrews uses a Stouffer wedge, which allows him to test the camera’s ability to differentiate between one-third stop intervals at ISO 100, 1600, and 6400.

At all ISO ratings, the cameras perform comparably, though each with their own unique issues. The 1D X II shows higher color noise, the D5 suffers from some banding, and the a9 has issues with posterization.

High ISO JPEGs

From 21:35 Andrews tests the ability of the cameras to produce sharp JPEG images at increasingly high ISOs, measuring the way the cameras apply noise reduction. In this test, the a9 is the standout performer.

High ISO Video

He then moves on to a video test at high ISO, in which the a9 blows the competition away.

Color Tone Blind Test

Color tone comparison is a very subjective thing, so for this test, Andrews leaves it to the viewer. From 29:00 he takes a number of identical portrait sets with each camera and randomizes them.

By scoring each image and calculating the results, you can get a good idea of which camera produces images that you prefer the most. You can find the camera models matched with the photos at 30:44.

Conclusions

Andrews’ overall conclusion is at 32:00. “This is not a comparison of apples to apples,” he says. “The 1D X II and D5 are two different flavored apples, but the a9 is an orange”.

Nikon D5

Pros: Incredible focusing system; excellent ergonomics and usability making it the most enjoyable to use; super high-speed dual XQD slots.

Cons: Most expensive; not a great choice for video use.

Canon 1D X II

Pros: Michael’s favorite for flesh tones and reds. All-round excellent performer for both still and video – excellent video performance compared to the D5.

Cons: Michael found difficulty listing any cons, although more efficient video codecs would be a plus.

Sony a9

An orange, but Michael’s preferred pick of the three.

Pros: Michael says the a9 is better in many ways, but it does have some rough edges. The camera itself is the lowest price; it has the best sensor design; it is excellent for video purposes; the eye detection performs extremely well; it has great focus coverage; the tilting monitor is a plus.

Cons: The camera is not as consistent when rack zooming, dropping focus especially while zooming in. The menu lockout while writing is frustrating; the available memory cards are slower, and the biggest con is that it is currently lacking the lens lineup to support it.

---

Watch the full 45-minute video at the top of this article for an in-depth look at these tests and more. You can also find more of Andrews’ videos on his popular YouTube channel.

(via Michael the Maven via ISO 1200)

Photography News

via PetaPixel https://petapixel.com

August 31, 2017 at 02:24PM

http://img.youtube.com/vi/T71S8kZhzWw/0.jpg

DIYer creates 'Polaroid' camera that 'prints' instant animated GIFs

http://ift.tt/2iKYrIU





Photography News

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

August 31, 2017 at 01:43PM

http://ift.tt/2vFEi8Y

It is no secret that the popup flash which comes built-in to your digital camera simply isn’t enough in most situations. For a variety of reasons, shooting using just the popup flash is not a feasible option. That is why you will find photographers everywhere you look, going for an external flash and using it increasingly during their shoots.

External flash, also known by the term “speedlight” provides many benefits and advantages to photographers, even while shooting in extremely low light conditions. They allow us to have a far superior control over the lighting of an image. Flashes are available in the market from a variety of manufacturers including camera makers like Canon and Nikon, or third-party companies like Godox, Yongnuo, Nissin, etc.

If you step out in the market to buy your first flash, you will come across two variants, a fully manual flash, and a TTL (Through The Lens) flash. You may end up getting confused over which flash will suit you the best and which one you should invest your money in. Both the Manual and TTL flash have their own plus and minus points which appeal to photographers. What is important is to properly understand their systems, functionalities, advantages, and disadvantages.

Understanding Manual Flash

On a fully Manual flash, there is no control (d either by the camera or the flash) over the intensity or duration of the light emitted from the flash. Instead, it is the photographer who controls the output of the flash by adjusting the settings, either in-camera or on the flash itself.

While using a manual flash, there are four controls you can use to set your flash output manually as per your requirements:

• Adjust the aperture value on the camera.

Not all flashes are equal

An important point to remember and consider is that the majority of flashes can shoot in manual mode, but not every flash can shoot in TTL mode. A manual flash also gives you specific control over the light and exposure, and allows you to set it exactly to your requirements. You do not have to use exposure compensation while using a manual flash as your composition, frame, etc., does not have any affect on the overall exposure and lighting of the scene.

Pros and cons of manual flash

In situations where the distance between the flash and the subject is constant and fixed, you can opt to use manual flash settings. A manual flash is extremely useful in situations where you have to fire away a series of shots of the subject repeatedly, under similar exposure conditions. E.g., in food photography, product shoots, and more this is the case. The power level is fixed, and it remains the same, which ensures that the exposure does not vary from shot to shot.

One of the main drawbacks of using a flash in manual mode is that you still need to figure out the optimal power output needed to obtain the correct exposure, which can be a time consuming process. And thus, a manual flash can mainly be used while shooting portraits, headshots, and fine art. In other words, in situations where you can take time to setup the scene.

Many also believe that manual mode is the best to use to learn about external flash photography. You choose the output, click the picture and then review it. If it does not come out the way you were expecting and wanted it to, then you can tweak the settings and try again. So you end up learning more in the process.

Understanding Automatic or TTL Flash

When the flash output is directly controlled by your camera, it is called Through-the-Lens metering or TTL. In the case of an Automatic or TTL enabled flash, the flash output is directly controlled by the flash or by the camera’s exposure metering system. Thus, using a flash in TTL mode will give you varied flash output.

The only method to control a TTL enabled flash is to use the flash exposure compensation function on the flash or through your camera settings. Also, while using a TTL flash, your chosen Aperture and ISO levels do not affect the flash output because the camera tells the flash to emit a particular output based on the camera’s readings. If the settings change, so will the output to compensate automatically.

When you half-press our shutter release button on your camera to focus, your camera not only focuses, but it also takes a metering of the scene and its exposure. It measures the amount of ambient light which is being returned “Through the Lens” to the sensor.

How it works

A TTL enabled flash fires a “pre-flash” before the actual shot is taken. The camera then measures the pre-flash with the ambient light level to calculate the power needed from the actual flash to make a correct exposure. This pre flash happens really quickly, only micro-seconds before the main flash, and thus cannot be seen by the human eye. Based on the model of your flash, this pre-flash can be an actual white light flash or an infrared one.

Using a TTL enabled flash is extremely helpful in situations when you are moving around a lot, shooting in different or changing lighting settings, etc., and do not have the time to fire a series of test shots before the shoot.

One of the drawbacks which accompany the use of a TTL flash is less control and less precision over the lighting. If you get an incorrect exposure while using a flash in TTL mode, it is really difficult for you to know the power setting which was used for that shot.

Conclusion

If you have recently purchased your first digital camera and plan to buy an external flash, then you have two options.

Either go for a manual flash, as it will urge you to learn more about how to control and adjust the lighting in various situations. But if you want to take up professional assignments and cannot afford to experiment with a manual flash, then go for a TTL enabled flash.

Which do you use? Do you have a flash that does both? Which do you prefer for different situations? Please tell us in the comments below.

The post How to Understand the Difference Between TTL Versus Manual Flash Modes by Kunal Malhotra appeared first on Digital Photography School.

Photography

via Digital Photography School http://ift.tt/29wB9CX

August 30, 2017 at 07:12PM

http://ift.tt/2vtMduh

Photographers are pretty savvy when it comes to saving money. This DIY  light box is a surprisingly simple method for photographing small, translucent objects like flower petals.

Remember holding sheets of paper against a window to trace out a design? This process is similar in technique. The sheet of baking paper will act as a diffuser, spreading light evenly through a translucent object so it can be photographed in detail. Using a well-lit sheet of paper also isolates the subject from the background with a nice, even, white backdrop. Plus, you get to take great photos without leaving the comfort of your own home. So really, it’s win-win!

Supplies you will need

• Camera
• Tripod
• Macro lens or extension tubes
• A well-lit glass window or door
• Butcher’s paper
• Clear sticky tape
• Glass cleaner or rubbing alcohol
• Eucalyptus oil (for removing any remaining sticky tape from the glass surface once you have finished shooting)
• Small transparent objects to photograph (I like using flowers)

Picking a location

Before you start, you’ll need to locate a light source. While the butcher’s paper will serve as a background for your image, you’ll need a strong, even amount of light to illuminate the subject.

Depending on the time of day, you might have to try different windows around your house.  The position of the sun will dictate the strength of the light penetrating the butcher’s paper. Choose a window that is unimpeded by exterior blinds or trees if possible.

Setting up

Once you’ve settled on a well-lit window, you’ll need to prepare the glass. Wipe a small amount of rubbing alcohol or glass cleaner over the window and pat down with a cloth. This will minimize any particles that may impede light from coming through. It will also allow the sticky tape to adhere to the glass more effectively. Make sure that the glass surface is completely dry, however, or the tape and butcher’s paper will become soggy and unusable.

Take your piece of butcher’s paper and hold it against the window. The reason I use butcher’s paper is because I’ve found that run-of-the-mill copy-paper disperses light in mottled and uneven patches, which looks poor in photographs. Butcher’s paper diffuses light more evenly and makes for a uniformly white background. You can use a piece as large as you like, just make sure there is enough paper to fill the viewfinder in your camera.

Fix your piece of butcher’s paper to the glass. I recommend using clear sticky tape rather than blue-tack or colored tape because it may show up in your photographs and can wrinkle the paper. Once you have fixed the paper flush with the glass, you can begin adding your subjects.

Carefully stick your objects to the butcher’s paper with small amounts of clear sticky tape. This can be tricky on a vertical surface, so having lightweight, translucent subject matter like flowers work best. I also like to sit on a chair for this part, to avoid a backache.

Taking the shot

Once your subjects have been adequately adhered to your butcher’s paper, it’s time to get the camera out. Mount your camera on a tripod and position it so that the subject and the butcher’s paper fill your viewfinder. To capture the detail in your subject, a macro lens is ideal. I used my Kenko extension tubes to get a nice detailed shot. Of course, you could also arrange larger subjects or patterns on the butcher’s paper, focusing on pattern and light rather than macro detail.

Set your camera to Aperture priority mode (Av on Canon and A on Nikon) and adjust the aperture to allow for the desired depth of field. Remember, to maintain focus throughout the whole image, use a smaller aperture like f/22. However, this may be limited depending on the lens you use.

For the sharpest detail, using a low ISO count is also a good idea. Although this will cause your camera to automatically increase the shutter speed, your tripod will minimize camera shake, especially if you view your composition using with the LCD screen and Live View rather than the viewfinder.

Conclusion

Once you start photographing, you’ll notice the diffused light enveloping and illuminating your subjects. With the abundance of the soft light, you’ll discover that detail is much easier to capture and view. Using this butcher’s paper method eliminates pesky shadows, allowing the subject to lift off the background with striking contrast and intricacy.

Try photographing all sorts of flowers, fruits, leaves and other transparent materials and see your subjects in a whole new light!

The post How to Make Your Own DIY Light Box with Tape, Paper and a Window by Megan Kennedy appeared first on Digital Photography School.

Photography

via Digital Photography School http://ift.tt/29wB9CX

August 30, 2017 at 07:12PM

http://ift.tt/2gkJgS8

ACDSee has released Photo Studio Ultimate 2018 for Windows and is the new update for their photo editing software. They have given it a new name, introduced new features, and made improvements to others. With so many people looking for other software packages that you don’t have to pay a monthly subscription for, this makes it a very attractive program for people to use.

I recently wrote an article, Photo Editing Alternative – An Overview of ACDSee Ultimate 10, that will guide you through the different modes and what they do. If you are new to this software, it would be best if you read that first. This review goes into more detail about Edit mode and what is possible. It will also look at some of the features that are now available in this new release.

First Impressions

It would be easy to expect it to look like Photoshop when you first open it up. However, there are many similarities that can help make it more familiar to use. You can work in layers for your images, which enables you to go back and make adjustments to particular ones or delete them if you no longer want them. Many of the adjustments and tools have similar names which make it easier for you to learn. You can use the History function to go back to see what you have done. You can work nondestructively so your original images are always protected.

There are also many differences. Some of the tools may have the same name, but to get the same results you have to use them in a different way. When you click on one of the tools and adjustments in the Edit mode menu, located on the left side of the workspace, you are taken to a different screen to make the changes. When you are done, you click either Done or Cancel, and you are taken back to the main Edit mode window.

New and Improved

As you start using Photo Studio Ultimate, you will find many new tools and adjustments to help you work on your images. The latest release features many new tools that work really well and will be mentioned soon. It also includes older tools, which have been developed over decades, yet still, stand up to today’s demand. The software is becoming very sophisticated and should suit the needs of most.

There are so many improvements, it would be hard to do them all in one article. So, this overview is focused on the ones that ACDSee is the most excited about and those that I really like.

Pixel Targeting

There is a new feature in the software that gives you more opportunities to be creative with your work. You can select a specific color to apply adjustments to, for example, you may want to make the reds brighter, or tone them down. You may want to sharpen only the greens. Or you can decide to change all the yellow tones to purple. With Pixel Targeting, you can do so as you please. You can also apply masks to specific colors or brightness ranges.

One application that a lot of people may use this feature for is to convert an image to black and white and have just one color coming through. By selecting your image and then going to Select to choose Pixel Targeting, you can decide which color you want to select. Once you click OK, you will see your selection and when you add the Black and White adjustment layer, the selection is turned into the mask. You will have your image in monochrome, except for the one chosen color.

It is easy to use, although, you may have to play around with it a little. Remember that all colors are made of other colors. You may also need to do more work on the mask to get the look you really want. Overall, it does a decent job of the task, and there will be many people who will like this function.

Smart Erase Tool

Along the top of the toolbar in Edit mode you will find the Smart Erase tool. This tool allows you to remove objects in your image that you don’t like, or don’t want. You often find unwanted subjects in your images, and being able to remove them is important. This has always been one of the best things about digital photography.

The tool is easy to use; you simply click on the image and start painting over what you want to be removed. You can set it to show up as a red overlay so that you can see what you’re doing.

The Smart Erase tool seems to work best on small areas and on images with a plain background. Think about what you want to remove and look at the size of it, and the background. If you don’t get the results you’re looking for, you can always run the Smart Erase command again and again until you get a natural look. Play around and see what you can achieve.

Liquify

The Liquify tool is what they use in the fashion industry to make models thinner. It is easy to use, however, should always be done with caution and used subtly. This tool allows you to move the pixels around to where you want them.

You can turn objects in your images into funny shapes with the Liquify tool. However, common sense and what works best for the image always must be the first consideration.

Inside the tool, there is a Restore setting, which allows you to brush or push the moved pixels back into place without losing image quality. Even after you press Done in the Liquify tool, you can still undo while still in Edit mode. That said, since the Liquify tool is not a non-destructive adjustment layer, you cannot exit out of Edit mode and then later undo what you did.

Why would you use it? It is usually used to change parts of people, to remove a double chin, or a bit of overhanging skin. You can make people thinner, as previously noted. You can pull the waist in, or make legs that look a little less chunky, or make clothes fit better. Every time you use it, remember you are moving all the pixels in the area, and that includes the background.

The Liquify tool is great to play around with to familiarize yourself with what it does. Try out the different settings within the tool to see which one will suits your needs.

Frequency Separation

This is a technique used by many portrait photographers. It allows you to soften the skin, but keep detail around the eyes, nose, and mouth. When doing close-ups of people, you often find the skin looks dry, or you may see the pores. By using Frequency Separation, you can add some blur to the skin, but leave the detail at the same time.

In other programs, you need to do the layers yourself and work it all out. But with Photo Studio Ultimate, you just click the Frequency Separation button and it works like an action, separating the high-frequency and low-frequency layers for you. It will provide the low-frequency layer for blurring and then the high-frequency layer that holds the detail. You are all set to go.

This is a great tool and anyone doing portraits will find it useful. It doesn’t require a lot of research to figure out how to use it and anyone could start playing with it. You could try and use it with other types of photography as well. I’ve tried it on images of macro flowers and have found it really good. There are possibly other ways of using it as well.

Lens Correction and Perspective Correction

It’s always good to use lens correction wherever possible. It helps fix up any distortions that your particular lens will give an image.

You can also use the Perspective Correction, which will allow you to change the perspective. If you have an image that looks strange because all the buildings are pointing in towards the center, you can correct them. You can click on the corners and move them so you get what you remember seeing, buildings with straight lines.

In some ways, the Perspective Correction is far more useful than Lens Correction. It is not something that Photoshop seems to offer. You can do it, but have to do it in a completely different way. This works really well and I use it a lot.

Chromatic Aberration

These are colored lines that appear around objects in your images. They seem to appear around buildings a lot but can happen anywhere. Chromatic aberration is caused by your lens, and there is nothing you can do to stop it, but you can work on this in post-production.

Photo Studio Ultimate has a special adjustment for correcting chromatic aberration. You will find it under the Repair section in the column on the left. Click it and you will get a new window where you find five sliders. Zoom into 100% on the image so you can see the edges and the aberrations. Move the sliders around and see what happens. Each image is going to be different, so you might have to try different adjustments.

Once you are happy, press Done and it will take you back to the normal workspace.

Split Tone

A new split tone adjustment layer has been added so that you can nondestructively tint highlights and shadows in Edit Mode. As an adjustment layer, you have the advantage of being able to apply split toning any time in your processing, and on several layers. You can also easily delete the layer if you decide you don’t like it.

Clone Tool Pressure Slider

If you go to the Edit mode menu and look under Repair, you will see the Repair Tool. When you click on it, you are taken to the work area for the tool and from there, you can see the options, Heal or Clone. If you click Clone, a new slider will appear called Pressure under the Nib Width and Feathering sliders. This allows you to control the strength of the cloning.

At the default setting, it will do a straight copy. However, as you reduce it, the strength is also decreased. This is especially useful when you want to want to clone something out, but you don’t want to lose all the detail. A perfect example is when you want to reduce the darkness under someone’s eyes. You want to reduce the dark color, but you may want to keep the lines that are there as well but soften them at the same time.

A Couple More Options to Mention

A Grain tool has been added to Edit Mode. You can add grain to your images to give it texture and create a vintage effect.

A new tool has been added to the toolkit; the Polygon Selection Tool. This selection tool and allows you to select an object in your image by pressing on the outside of it and doing like a dot to dot to get the selection you want.

Working in a Different Way

If you are used to using a program, like Photoshop, you will find that some functions don’t work the same. That is to be expected, it is different software. However, it doesn’t take you long to get your head around how you can do certain processes. In many ways, you do have to think outside the box, and so far I’ve managed to find many ways to do what I would do in Photoshop by using different tools.

Overall

It is good to see other software that makes it possible to do just about anything you want to your image. While Photo Studio Ultimate may not be as big as Photoshop, there is no doubt that it will enable you to do just about everything you want to your images. The new release will offer users more tools and adjustments to help them get the look they want. It is a great program and one of the best alternatives I’ve seen. You can download and have a free trial for 30 days. Just remember that you will have to work differently, but it is worth it.

The post Overview of Photo Studio Ultimate 2018 for Windows by ACDSee by Leanne Cole appeared first on Digital Photography School.

Photography

via Digital Photography School http://ift.tt/29wB9CX

August 30, 2017 at 07:12PM

http://ift.tt/2xHhqXA

There are many different pieces of hardware that help to hold camera equipment together and attach things to stands. Here is an overview of some of the photograph hardware you need to understand. It’s not glamorous but having the right parts will help you get things done.

Tripod connection

Ever since the early days of photography, the need to keep the camera steady has been a prominent issue. The long exposure times and the size of the equipment in those days made it impossible to handheld the camera with sharp results. So, the tripod was invented and to this day it remains as the go-to solution to stabilize your photographic equipment.

The tripod is connected to the camera via a thumbscrew that secures both parts. Virtually every camera on the market has a threaded hole on the bottom dedicated to the attachment of a tripod.

As recommended by The Royal Photographic Society and regulated by ISO 1222:2010 these female threads are compatible with one of these two stud sizes used on tripod plates:

• The 1/4 20 stud that measures 1/4 inch or 6.5 mm in diameter and has 20 threads per inch.
• The 3/8 16 stud that measures 3/8 inch or 9.5 mm in diameter and has 16 threads per inch.

The 1/4 20 thread is the most common and used in the majority of equipment in the market. Meanwhile the 3/8 16 is used for heavier equipment as it is much sturdier and able to stand heavier load. It is fairly easy to convert between the two threads with adapters like this male 1/4 to 3/8 or female 3/8 to 1/4.

Connecting light stands to gear

Even though camera tripod connection is the main use for these threads, there are a lot more uses for them as well. These are the standard size for a vast array of photography accessories connection compatibility.

The spigot connection complements the threaded system as it is quick and easy to use, and it is not limited by the thread tightness positioning. It is used as a building block for many things around the studio from holding flash heads on a light stand to background and reflectors holding systems.

The combination of these two systems allows the mounting of accessories like a flash and umbrella swivel bracket. You can use the spigot system to connect to the tripod and the 1/4 thread for a flash cold shoe.

All the female and male thread combinations are possible with a conversion kit. It is composed of three elements, a spigot with 1/4 and 3/8 female thread, a 1/4 to 3/8 male converter and a double 1/4 male stud.

Combining this three pieces in different positions allows all the threaded spigot combinations and interlocking of different pieces of hardware. Sets are available that contain all of these pieces.

Other uses

There are many other things you can connect using these bits. A good example is the use of a magic arm. It is a really sturdy system for holding things in place and has many thread options on each side.

Connecting it to a clamp with a female thread is a great combination for holding reflectors, lights, or positioning production accessories in your photography set.

Another great accessory that allows the combination of all these pieces of equipment in the same place is the universal junction sphere. This handy little gadget has multiple 3/8 threads and allows many accessories to be mounted on the same base.

Conclusion

So, here are just a few examples of photography hardware accessories that are not of great use by themselves, but make powerful tools when connected together. It is just a matter of picking the right combination to get the job done!

Let us know in the comments what combinations you use.

The post How to Make Sense of Photography Hardware Terminology by Ivo Guimaraes appeared first on Digital Photography School.

Photography

via Digital Photography School http://ift.tt/29wB9CX

August 30, 2017 at 07:12PM