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Adobe won't support older operating systems with its next major Creative Cloud update

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August 29, 2018 at 10:09AM

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The Dark and Surreal ‘Big Eye’ Portraits of Kelly Robitaille

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American artist Margaret Keane is famous for creating “big-eyed waifs” and drawing her subjects with big eyes. Canadian photographer Kelly Robitaille creates surreal portraits in the same vein through her “Whimsy Waifs” series.

With a background in painting and commercial beauty retouching, Robitaille uses Photoshop to retouch each portrait and give her subjects an illustrated look featuring big eyes and unnatural body proportions.

Here are some views of what her portraits look like before and after retouching:

Photoshop tools and techniques used by Robitaille for her portraits include dodge and burn, frequency separation, compositing, blend modes, liquify tool, and puppet warp. If you’re interested in learning her technique, you can buy a 21-video lesson series on it over at RGG EDU for $129.

You can also find more of Robitaille’s work on her website and Facebook.

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Image credits: Photographs by Kelly Robitaille and used with permission

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August 29, 2018 at 10:08AM

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Why Crazy ND Filter Stacking Is Not A Wise Move

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Have you ever noticed how much an image's quality decreases when stacking a bunch of filters in front of the lens? No? Well, that's because nobody in their sane judgment tries to decrease stops of light with such a dumb technique.

But I did. 

Stack Stack Stack… Oops

I had a really hard time finding a decent 77mm ND filter that allowed me to stop light down to 10 stops. So I had the brilliant idea of stacking 3 ND filters of 3 stops each and a circular polarizer that allowed me to get that extra stop to reach 10 stops of light reduced. After spending money on 3 poor quality filters and ruining some pictures, I began to wonder what was going on.

Finally, a friend of mine explained to me that even with high-quality filters stacked together, the beams of light passing through any lens began to fragment in a funny way. He also lent me a 77mm 10 stops ND filter when I went to Costa Rica. I was super excited because I wanted to capture some waterfalls with ghostly people surrounding the water.

After a few attempts, all I got were ugly overexposed photographs because I was rushing into things. And you know what was the saddest part? I didn't have time for making those pictures right because it suddenly started raining and I had to stop taking pictures.

The good lesson for me was that I shouldn't have taken ND filters for granted and I made some further research on how to actually use them.

6 Quick Steps To Using ND Filters

So how do we do it properly – particularly during the day? Here are some quick points to get you started:

1. If you want long shutter speeds in daylight you are probably going to need a 10-stop ND filter – you can probably pick up a good one for under USD$50, so it is worth your time and money.
2. You will need your tripod
3. Lock up your mirror to minimize camera vibration
4. Compose and focus – you'll need to do this manually
5. Calculate the correct exposure – use the lowest ISO; aperture set at f/11 or f/16; use this mobile app to calculate the time (it does the mathematical thinking for you!)
6. Use a remote shutter release

I hope you enjoyed reading about my first attempts with ND filters, but if you want to go further into mastering long exposure photography, then this guide is going to be worth looking at.

Please let us know in the comment section about any doubts about ND filters or successes you've had. Also, don't forget to share your work in the forums.

The post Why Crazy ND Filter Stacking Is Not A Wise Move appeared first on Light Stalking.

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August 29, 2018 at 10:01AM

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ETK OPTIKS: Artisan Camera Bags with Traditional Handmade Textiles

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Ethnotek has launched its new ETK OPTIKS collection, a series of “socially responsible” camera bags made by artisans using traditional textiles from five countries around the world.

The company partners with artisan villages in Ghana, Guatemala, India, Indonesia, and Vietnam, and sales of the camera bags help sustain employment for villagers working in hand printing, weaving, and embroidery.

“Ethnotek is much more than just a bag; it’s a celebration of culture, community and a global movement,” the company states.

The ETK OPTIKS collection consists of three main camera-carrying products: the Raja Full Photo Camera Pack, the Desa Camera Sling Pouch, and the Kota Camera Strap.

In addition to the artisan-made panels, the ETK OPTIKS collection features water-resistant 840-denier ballistic nylon, strong Kifco hardware, YKK zippers, nylon seatbelt webbing, scratch-proof brushed nylex and honeycomb ripstop nylon lining.

The Raja (“king” in Hindi) Full Photo Pack 30L is covered with the Raja Full Photo Interchangeable Strapped Thread, an interchangeable front panel that gives the backpack its distinctive color and design. The thread allows the Raja to be one bag with many possible styles.

The Thread has two buckled straps and a hidden zip pocket for holding a tripod and other small items. Hidden behind the Thread is a zip compartment that provides access to the main compartment that holds your camera gear.

Included with the backpack are padded inserts that allow you to customize the internal space for your personal camera kit.

The side of the backpack features a quick access zipper for an alternate means of accessing the main compartment.

Space-wise, the backpack can hold two bodies, a drone, multiple lenses, and a host of accessories.

The Desa (“village” in Bahasa Indonesian) Camera Sling Pouch can hold most DSLR and mirrorless cameras with extra space for an additional lens and/or accessories. An internal vinyl-mesh zip pocket and two external slip pockets can hold various small items as well.

If you’d like to nest the Desa in the Raja backpack (or any other larger bag), the shoulder strap of the Desa can be removed and stored within to convert it from a bag to a pouch. What’s more, the optional removable waist belt designed for the Raja backpack can also be used to turn the Desa into a waist bag.

Finally, the Kota (“town” or “city” in Bahasa Indonesian) Camera Strap features a neoprene underside and edges, an artisan fabric top, a hidden stretch-mesh memory card pocket under the shoulder pad, a detachable anchor-point system with anodized aluminum snap hooks, and easy adjustability.

Here’s a 3.5-minute video introducing the ETK OPTIKS collection:

Ethnotek is launching the ETK OPTIKS collection on Kickstarter. Early birds can snag (if the project successfully delivers) the strap for $49, the pouch for $84, the photo pack for $245, or the entire bundle for $378. The company is aiming to ship the hand-made collection to backers in July 2019.

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Full disclosure: Ethnotek provided a pre-release ETK OPTIKS sample bundle for the purpose of this article.

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August 29, 2018 at 09:23AM

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Do you find it difficult to take photos which hold people’s attention? In our digital societies where image sharing is prolific, it is challenging to have people really take time to look at your prized photos. Image composition is key here.

So I want to give you eight tips on how to create pictures that will grab hold your viewer’s attention. People will want to stop and look rather than keep scrolling past your images.

A good composition should have a clear main subject. It might be as plain as a landscape or a person’s face, or it might be something very small in the frame. If the composition is good the main subject will stand out like a sore thumb.

We all have a unique view of the world. Each of us takes in the world around us in different ways. If you have ever been on a group photo walk and taken part in a shared image review afterward, you will know this. Each photographer will have walked the same street, and the number of photographers that participated, there will be that same variety of pictures.

1. Choose a subject you can relate to

What catches your eye? Why does it appeal to you? You should be asking yourself these things when you are taking pictures. If you choose subjects that you feel a connection with you will create more interesting photos. This is simply because you are interested in the subject yourself.

So your initial choice of subject should be something that you can connect with. My subject of the portrait below is a woman my wife and I chat with at the local market. We connect with her. I wrote about her and her late husband in a recent article.

Because I have this lovely friendship with her it is easier for me to make lovely pictures of her. I know she will happily pose for me. I also know I will get a more interesting photo of her when she is that bit more relaxed and not looking directly at me. In this photo, she was chatting with my wife who was standing beside me.

2. Isolate the subject

About the most obvious way to have your main subject stand out in your photos is to isolate it.

My favorite two ways to isolate my subject is to use a narrow depth of field or a dark background. By using either of these techniques your main subject will be unmistakable.

Choosing a wide enough aperture and having your subject far enough from the background will allow you to have your background blurred and your subject sharp. If you are using a camera with a small sensor or a smartphone with only one lens, this may not be possible.

When you have a dark background your subject will stand out, especially when there is more light on the subject than the background. To achieve this look find a spot where the background is in the shade and your subject has more light on it/them.

3. Choose your lens carefully

Your choice of lens can affect how you compose the image and how your main subject will be seen. Sometimes a wide-angle lens is better than a telephoto. Other times you will need a longer lens.

Getting close to your subject with a wide lens has a different effect than if you use a long lens and position yourself further away. If you are not sure about how this works the best way to learn is to experiment.

Try taking a series of photos of the same subject with various lenses or zoom settings and see in which photos your main subject looks the best.

4. Frame your subject

Set up your subject how you want to see them. Move around your subject and study them from different angles. Watch closely how the background changes in relation to what’s behind them. Find an angle where your subject looks best.

Limit what you include in your frame. Fill your frame only with what is relevant to the photo you are making. If you can see anything in the frame which does not balance with or enhance your subject keep making changes until you can no longer see those things.

5. Exploit the foreground

Make use of something in the foreground of your composition to draw the viewer’s eye to your subject. This technique will add depth to your composition.

Use an object which is in front of your main subject, either in focus or out of focus. This can help bring the viewer’s eye to concentrate more on your subject.

6. Use leading lines and diagonals

Composing your photo so there are strong lines leading to your main subject will enhance it. The viewer’s eye will be lead along the lines to rest on your chosen subject. This is a very simple, very effective technique.

Diagonal lines used well in a composition can also be used to draw the viewer’s eye to the main subject.

7. Time it well

Choosing the right time to take your photo can help to bring attention to your main subject. When you are photographing in a busy location good timing is imperative. Having someone walk in front or behind your main subject just as you take your photo would detract from your main subject.

Watch carefully. When I am in a busy place I usually have both eyes open, rather than closing one. This way I can see more of what is happening around me and my subject and it helps me time my photos better.

8. Crop imaginatively

Don’t always stick to the rules of composition. Stepping outside the box can help highlight your main subject in unusual ways.

In this photo of the gold elephant statue against the gold wall of the chedi, everything tended to blend together. The harsh light was not helpful. Cropping tight to the elephant and only including half of it draws your attention there. The negative space balances the composition.

Conclusion

Try these tips sometimes. Be mindful of your main subject and whatever else is in your frame. If there are distractions, use one or more of these techniques to draw attention to your main subject and have it tell the story you want.

Having your primary subject stand out will make your photo easy for people to look at and relate to. But more than just having your subject stand out, you need to frame it so that it lets viewers see the subject and scene how you see it.

The post 8 Tips to Help Find the Subject for Your Composition appeared first on Digital Photography School.

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August 29, 2018 at 09:19AM

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August 29, 2018 at 08:44AM

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August 29, 2018 at 08:37AM

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Flange Distance and Mount Diameter Explained by a Lens Engineer

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Nikon has understandably made a big deal about launching their new Z-mount alongside the announcement of their new mirrorless cameras, the Z6 and Z7. The Nikon F-mount was originally released 59 years ago and the company has made backward compatibility of the system a brand pillar.

But technology has changed dramatically over that time, and the release of the new system allowed Nikon engineers to effectively design a lens system without being hamstrung by history. Two key design features are a much shallower flange distance and a much larger mount diameter.

But what the heck does that mean? Nikon optical engineer and technical liason Atsushi Suzuki explains it all:

Here are some common mounts and their respective flange distances, which, in part, affect the depth of the camera body.

And here are common mount diameters that, in part, affect the light gathering capability:

I’m no engineer, but I suspect that the Z-mount’s shallow flange combined with a huge inner diameter made it relatively easy to design an F-mount converter like the Nikon FTZ. And in fact, it should make other lens adapters possible as well.

Canon’s new mirrorless system is rumored for imminent release, and it will be interesting to see what types of design decisions they take to optimize size and performance.

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About the author: Allen Murabayashi is the Chairman and co-founder of PhotoShelter, which regularly publishes resources for photographers. The opinions expressed in this article are solely those of the author. Allen is a graduate of Yale University, and flosses daily. This article was also published here.

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August 29, 2018 at 08:33AM

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Which is better: Nikon Z7 vs Sony a7R III

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Mirrorless compared: Nikon Z7 and Sony a7R III

Nikon has finally announced its first full-frame mirrorless camera, the Z7, and it probably won't come as any surprise that it's poised to take on the current high resolution mirrorless king: the a7R III. But, as closely as these cameras may appear on a spec sheet, there are some notable differences in addition to the similarities.

At a high level, both models offer the maximum resolution within their respective product lines, with the Z7 capturing 45.7MP while the a7R III captures 42MP. Each is also designed with both still photography and video in mind, with Nikon leveraging its new mirrorless platform to include video features not found on its DSLRs. Even their prices come in at a similar point, with the a7R III body retailing for $3200 while the Z7 lists for $3400.

On the following pages we'll look at some specific comparisons between these two models to see where the similarities end and the differences begin.

Body and design

One of the things Nikon has done very well on the Z7 is to make the camera feel like... a Nikon. Its build quality is on par with the company's mid-range DSLRs, it includes a large comfortable grip that should make most Nikon users feel right at home, it has well-placed buttons and includes as a joystick controller on the rear of the camera.

Sony's mirrorless Alpha series has now gone through three generations of design and has reached a point where it's feeling pretty mature. In particular, the a7R III gained a larger, more comfortable grip than earlier models and also includes a joystick controller on the back. But among our team the consensus is that the Z7 is more comfortable to use, not the least because Sony's bigger grip is still far too small in height to fit most hands, causing increased fatigue over extended periods of use.

Both cameras claim to be weather-sealed, but the Nikon's weather-sealing feels more substantial all around; It also includes seals around the battery door, something notably absent on the Sony.

The Z7 also includes a top plate information display, a feature carried over from Nikon's DSLR designs, though now it's an OLED panel instead of LCD; It's something which may appeal to users moving over from a DSLR body.

We're inclined to give the nod to Nikon in this particular comparison, though we realize that ergonomics represent a highly personal preference.

User interface

Nikon tells us one of its design priorities on the Z7 was to provide a seamless transition for Nikon users migrating from its DSLRs, and this is clearly reflected in the Z7's user interface. The camera inherits its menu system directly from Nikon's DSLRs, and the Z7's menus are virtually identical to those on the D850, which we found generally easy to operate. In contrast, although Sony's menus have evolved and are easier to navigate than in the past, they can still be a bit confusing or occasionally leave you searching for that one feature you know is hidden somewhere. Both cameras offer customizable 'My Menus', mitigating this issue.

Both cameras also include a rear touchscreen. The Z7 embraces its touchscreen, letting you use it for numerous functions including setting the AF point, interacting with the menu, and smoothly zooming and navigating through images in playback mode. It also enables a touch-friendly version of Nikon's customizable 'i' menu, which lets you quickly change settings by tapping the screen. One curious omission is that the rear LCD can't be used as a touchpad to control the AF point when holding the camera to your eye. Overall, however, we're impressed with Nikon's touchscreen implementation, which feels as though it's an integral part of the camera's design.

In contrast, the a7R III's touchscreen feels like an 'add on'. Sony's decision to disable it by default only speaks louder to the issue that the touchscreen on Sony cameras is, currently, almost a nuisance. It doesn't offer enough benefit to outweigh the negatives of accidental to touch operation.

Sure it includes a touchpad mode for moving the AF point with the camera is to your eye, but it's cumbersome and unintuitive at best. Yes there's the ability to tap on the rear screen to set the focus point but, again, it's unresponsive and unintuitive at best, giving the sense that it's been bolted onto the system rather than designed to be part of the user experience from the product's inception.

Both cameras provide numerous options for customization, though we think most people will find the Nikon easier to pick up and use without spending a lot of time setting up the camera. However, the Sony certainly gets points for very deep features and customization options to meet your needs. There's not a clear winner here – each provides advantages depending on how you plan to use the camera - but if we were forced to choose one overall implementation, it would be the Nikon.

Image quality

It's hard to find fault with either camera when it comes to image quality as both are capable of delivering extremely high quality images when paired with good lenses, and from a practical standpoint the difference in resolution is negligible. Nikon tells us the Z7 uses a very similar sensor to the one found in the D850 (including its ISO 64 mode), and based on our experience so far we expect image quality and dynamic range performance to be similar to that camera. Of course, the a7R III is no slouch when it comes to dynamic range, either, performing similarly to the D850 despite having a base ISO of 100 and receiving a bit less light.

Generally speaking, we still prefer Nikon colors, though Sony has made significant improvements to its color science of late. However, Sony's high ISO noise reduction is a step ahead, leaving behind a nice random noise pattern while Nikon's JPEG engine can leave behind 'rice grain' artifacts.

We'll be able to provide an in-depth comparison of image quality once we've completed our studio scene tests using Raw image files, however most users should be able to extract beautiful, high resolution photos from either of these cameras, particularly when working from Raw files.

Autofocus

Both cameras provide autofocus using on-sensor phase-detect autofocus systems. The Z7 features 493 phase-detect AF points with an impressive 90% horizontal and vertical coverage of the frame. It also features face detection technology plus body movement (designed to continue tracking a subject even if they turn their face away from the camera), and is rated down to -1EV with an F2 lens attached (-4 EV if you enable 'Low Light AF', albeit at the cost of much slower autofocus). Nikon also gets credit for its bright AF points which are easy to see in the viewfinder, compared to Sony's grey AF points that can be difficult to see against, well, most backgrounds.

The a7R III has 399 phase-detect AF points, which cover a smaller area of the frame than the Nikon, but it also utilizes 425 contrast-detect AF points to provide greater coverage. It also includes Sony's very effective 'Eye AF' system, one of our favorite features on the camera. Using Eye AF, the a7R III identifies and focuses on a subject's eye, tracking it tenaciously if it moves within the frame. The Z7 doesn't offer an Eye AF mode. The a7R III is rated to focus, with F2 lenses, at lower light levels than the Nikon (outside of Nikon's 'Low Light AF' mode): an impressive -3EV in fact.

Although Nikon did a good job of translating its DSLR user experience to a mirrorless camera, one feature that didn't make the transition is its 3D Autofocus system, which we consider best-in-class. Instead, the Z7 inherits a version of the AF system used by Nikon's DSLRs in live view mode. Instead of simply placing an AF point over your subject and initiating focus, the Z7 requires you to press OK to enable subject tracking, and to press it again to change subjects. By comparison, Sony's Lock-on AF provides a more seamless experience for subject tracking: like Nikon DSLR 3D Tracking, you simply place your AF point over your subject and half-press to initiate tracking. Eye AF even works in a similar way. This simple method of quickly selecting your subject on the fly is, sadly, completely missing from Nikon's debut mirrorless, and that will undoubtedly impact fast-paced shooting with high demands on AF performance.

Overall, the a7R III wins here, despite the fact that Nikon has one of the best AF systems on the market in its DSLRs. If it can bring that system, or something similar, to its mirrorless cameras it may well change the equation.

Video

While Sony has a history of including a lot of video features on its cameras, video has typically been a secondary feature on Nikon's DSLRs. With the Z7, that changes: Nikon is making a statement that it can do video, and do it well.

Both the Z7 and a7R III can record video up to UHD 4K/30p, as well as 1080/120p for slow motion (though the Nikon can only do this from a Super 35 region). One challenge common to both cameras is processing video from very high resolution sensors, though Nikon and Sony have essentially taken the same approach to solving the problem. Each camera can capture 4K using the full width of its sensor, but with limited sampling (line skipping on the Z7 and pixel binning on the a7R III). For best results in 4K, both provide the option to record from an oversampled Super 35 (APS-C) region of the sensor, which adds a crop factor to your focal length but results in very high quality 4K video.

Resolution isn't everything, however, and the Nikon displays more rolling shutter in its full-frame 4K footage compared to the Sony. Both cameras offer Log gamma curves to support video shooters. In particular, Nikon has added its own Log gamma curve to the mix, and can output 10-bit 4:2:2 N-Log over HDMI. Internal recording is limited to 8-bit 4:2:0 at up to 100Mbps, and internal N-Log recording is not supported. In contrast, the a7R III supports internal Log capture using the S-Log2 and S-Log3 gamma profiles but only in 8-bit 4:2:0 color. HDMI output is also limited to 8-bit 4:2:2 signal, unlike the 10-bit found on the Nikon. The Sony offers an 8-bit implementation of Hybrid Log Gamma for capture and display on HDR TVs and monitors, which is particularly helpful because it's not as extreme as other log profiles and, therefore, a bit more friendly with 8-bit capture. Furthermore, Sony's HLG capture mode allows for perfect Raw histograms/zebras, so you can optimally expose your Raws.

Both models also offer an array of features designed to assist video shooters, including focus peaking, zebra warnings, and internal LUTs for use when shooting Log gamma ('view assist' on Nikon and 'gamma display assist' on Sony).

On the hardware side of things, both the Nikon and Sony include sensor-shift 5-axis image stabilization systems, as well as microphone and headphone jacks for recording and monitoring audio.

Thanks to on-sensor phase-detect autofocus, both cameras have very effective AF when shooting video. While we've come to expect excellent video AF from Sony cameras, this represents a significant step for Nikon and we're very impressed. Video AF on the Z7 is among the best we've seen on any camera, dependably focusing on and tracking subjects, matching or even outclassing the a7R III. More importantly, the ease with which you can specify who or what you want to track on the Nikon Z 7 is far superior to what's offered by any Sony camera, period.

We'll call this a draw for now since it depends on your specific video requirements and workflow, but we will say that for ease of use, the Nikon Z 7 wins without question.

EVF and LCD

When it comes to electronic viewfinders, the Z7 and a7R III both deliver a high quality experience with 3.68M-dot OLED EVFs, though with minor differences in magnification (0.8x on the Nikon and 0.78x on the Sony).

However, despite the similar specifications, both EVFs are not created equal. The a7R III delivers the full resolution to the EVF in playback mode, but not when shooting, and resolution drops when shooting in burst mode. The Z7, on the other hand, maintains full resolution even while shooting, and uses a relatively complex optical design with aspheric elements and a fluorine coating. In its effort to provide a seamless experience to DSLR shooters, Nikon has created a bright, sharp display that provides an extremely lifelike experience. The Sony, though, has a slightly deeper eye-point, meaning its full extent can be seen from slightly (2mm) further away.

Both cameras also have tilting rear touchscreens, though the Nikon is the clear winner here with a 2.1M-dot screen vs. a 1.44M-dot screen on the Sony. As we've mentioned elsewhere, Nikon has also done a better job of integrating the touchscreen into the camera's overall user experience, giving the impression that it was an integral part of the camera's design from the ground up rather than a feature bolted on later.

Nikon wins this one.

Card slots and media

One of the more controversial aspects of the Z7's design is Nikon's decision to include a single card slot in the camera at a time when dual card slots have been considered an expected feature, particularly among premium models. The a7R III, in contrast, includes dual card slots with a variety of configuration options, including the ability to save all files to both cards for backup, using one card for overflow, or storing Raw files on one card and JPEGs on the other. Though it's worth mentioning that Sony's confusing interface for setting up the dual card slots might make you wish it only had one card slot to begin with.

Additionally, the two cameras use different card formats, with the Nikon relying on XQD cards while the Sony utilizes the more common SD format, though only includes support for UHS-II cards in one of its slots. Although Nikon may be somewhat forward-looking in going XQD-only (it tells us the camera will also support CFexpress media in a future firmware update,) if you've been using SD cards up until now you may need to budget for some additional memory along with the camera body.

Furthermore, the Z 7 doesn't write all its files to the XQD card as fast as, say, a D5 - possibly due to the increased processing overhead of large 46MP images - hence the XQD experience on the Z 7 may not feel as finessed as with the D5. That may make you question the advantage of XQD on the Z 7, but it's fair to say that, for now, XQD is more future-proof performance-wise than SD.

Lens mount and lenses

Nikon's new Z-mount has a very short 16mm flange distance, slightly shorter than the 18mm distance on Sony's E-mount, and both cameras have the potential to serve as 'universal lens' platforms for adapting older or third party lenses. However, while the E-mount has a relatively svelte 46.1mm diameter, the Z-mount is much larger at 55mm. In theory, this gives Nikon an advantage as it will be able to design fast lenses in the future without working around the constraints of the narrower E-mount.

At the moment Sony does have the advantage. Sony has been rolling out E-mount lenses for a number of years, and several third-party companies, including Sigma, have jumped on the bandwagon. There's also a healthy ecosystem of E-mount lens adapters that have grown up around E-mount. However, the Z-mount has the potential to be the most adaptable mount ever thanks to its short flange distance, and in theory you could even adapt E-mount lenses to it. Unfortunately, Nikon isn't sharing technical details of the mount, so third party makers will need to reverse engineer it.

Nikon has presented an impressive roadmap of Z-mount lenses, though only three have shipped to date. However, that doesn't mean Nikon users will need to wait around for more lenses to appear. The company's FTZ adapter will allow you to mount over 350 of its F-mount lenses to the system, including over 90 more recent lenses that will retain full functionality when mounted with the adapter. So, even without native Z-mount lenses, Nikon users should have plenty of options to choose from.

Sony probably comes out on top here today, but Nikon's forward-looking Z-mount may give it a leg up in the future.

Extra features

While there are many differences between the Z7 and a7R III, many of them ultimately come down to different ways of implementing the same or similar features. However, each also has unique features not found on the other.

The Z7 includes built-in focus stacking and multi-frame mode, which provides an overlay of your existing frame as you take a second shot. It also includes an intervalometer for shooting time-lapse sequences and creating 8K time-lapse footage in-camera. This is a bit of a sore point for some a7R III users as there's no built-in intervalometer and the camera does not have access to Sony's PlayMemories store to add one.

While the a7R III lacks those features, it does have a pixel shift mode which combines four shots captured while shifting the sensor one pixel at a time. This can produce incredibly detailed images since it essentially eliminates the Bayer pattern on the sensor, ensuring full color data for every pixel, and also has the inherent noise and dynamic range benefits of combining four shots – though it has limited utility with moving subjects.

Performance

The Nikon Z7 can shoot 5.5 fps in continuous drive with live view updated between shots. If you need to shoot higher frame rates it's possible to do so in High+ mode, which captures 8 fps in 14-bit Raw or 9 fps in 12-bit Raw. High+ maintains autofocus between shots, but locks exposure settings after shooting the first image. By comparison, the a7R III can shoot up to 10 fps with continuous AF/AE.

Speed matters, but so does a camera's buffer, and the Z7 doesn't have a large one. It fills up after 23 12-bit Raw files, 18 14-bit Raw files, or 25 fine quality JPEGs. Even though its fast XQD card can clear the buffer fairly quickly, you still notice the limit when you hit it. The a7R III's buffer can store 28 frames of uncompressed Raw files or 76 frames when shooting compressed Raw, giving it an edge over the Nikon.

Of course, battery performance is important as well, and there are some big differences here. The a7R III uses Sony's new NP-FZ100 battery, which has a CIPA rating of 650 shots, though in practice we typically see much better battery life than that. The Z7 uses Nikon's EN-EL15b battery, an updated version of the D850's battery which is capable of charging over USB. (Nikon says the older EN-EL15a will work in the camera as well, but won't support USB charging.) Although we appreciate Nikon's desire to keep a consistent battery format across cameras, there's a cost to maintaining compatibility with earlier models: the Z7 has a CIPA rating of only 330 shots. We'll get a better sense of how it performs in the real world as we continue testing, but the advantage definitely tilts in Sony's direction, by a large margin in this case.

Conclusion

Sony's early adoption of full-frame mirrorless means that it has owned the category until now, but the Z7 is a shot across the bow from Nikon. Overall, it's matched very well against the a7R III, and some might argue that it even follows some of the Alpha's design cues while still feeling distinctly Nikon-like in your hands. Both cameras are capable of delivering stunning image quality when paired with good lenses, so the main differences come down to other factors.

Nikon has done an excellent job of creating a good user experience on the Z7, despite it being a first-generation product. Ergonomics are generally quite good, the EVF is bright, crisp, and responsive, and the touchscreen is well integrated into the overall experience. It also steps up Nikon's game with respect to video, including very good 4K video, support for 10-bit 4:2:2 N-Log via HDMI and potentially the best video AF we've seen on a mirrorless camera. What we really miss, however, is the 3D Tracking system found in Nikon's DSLRs, which has consistently been best-in-class.

The a7R III has its advantages as well. In our opinion, it still has a better AF experience than the Nikon thanks to Eye AF and Lock-on AF, and its dual card slots will be a significant differentiator for a lot of users. It also boasts superior performance when it comes to continuous shooting and battery life. Sony has a much larger lineup of native lenses for its system, and the ecosystem of third-party adapters that has evolved around E-mount is impressive. Of course, Nikon's Z-mount has a lot of future potential, but its decision not to share technical details of the mount means third parties will need to reverse engineer it.

The good news is that we now have two companies committed to full-frame mirrorless systems, and that should mean more competition and, ultimately, better products and more choices for consumers.

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August 29, 2018 at 08:06AM

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17 Vertical Drone Photography Compositions for Inspiration

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Getting photography composition right has always been the greatest challenge for the photographer. And while there are many traditional compositions to be taken from the air, aerial photography from airplanes introduced the vertical “straight down” composition that produced some very interesting shot. With the explosion in drone photography, the availability of this as a realistic option for many photographers has seen a massive increase in this wonderful way of looking at the world.

Now, the vertical composition is wonderful, but you really should take things even further with advanced composition choices. Take a look at Kent Dufuault's excellent guide to Advanced Composition for that, but in the meantime enjoy this inspirational post of vertical compositions from drones.

In Kent Dufault's Advanced Composition, you'll discover concepts such as:

• Why the human eye is attracted to light objects over dark objects
• How to train your mind to simplify composition for professional results
• Why the use of repetition is so important
• How to tell a story through graphic elements
• Why your choice of aspect ratio can vastly affect a viewer’s reaction to your photograph
• Get it here today

Now, while the vertical composition that you see in this collection is a fun way to compose images with a drone, all photography is subject to the power of composition at its core. Vertical shots are just one of the limitless ways to get a powerful image. If you want to get a good grasp of advanced composition, then you should read Kent Dufault's Guide to Advanced Composition for an excellent grounding.

Take a Look Here >>

The post 17 Vertical Drone Photography Compositions for Inspiration appeared first on Light Stalking.

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August 29, 2018 at 08:01AM