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Canon has released new firmware for the Canon EOS R, and just like the new EOS RP firmware, we’re only getting added support for the RF 24-240mm f/3.5-6.3 IS USM lens. Firmware Version 1.3.0 incorporates the following enhancement:
Photography via Canon Rumors https://ift.tt/2v4dYqS August 23, 2019 at 05:03PM
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Next week, we’re obviously going to see both the Canon EOS 90D and Canon EOS M6 Mark II announcements. Along with the two new camera bodies, we should also see 3 more RF lenses officially announced. The RF 15-35mm f/2.8L IS USM, RF 24-70mm f/2.8L IS USM and RF 70-200mm f/2.8L IS USM. We have received pricing for the 3 mentioned lenses, but the pricing came to use in Thai Baht, so we’ve done a bit of converting to get what we think the USD pricing will be.
The RF 15-35mm f/2.8L IS USM and RF 24-70mm f/2.8L IS USM are scheduled to begin shipping in October, while the RF 70-200mm f/2.8L IS USM will be coming in December. There is still no word on pricing or availability for the RF 85mm f/1.2L USM DS. Please keep in mind currency conversion with camera gear is not an exact science, but you won’t have to wait long to see the official USD pricing. Thanks Mark Photography via Canon Rumors https://ift.tt/2v4dYqS August 23, 2019 at 04:39PM
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The post Weekly Photography Challenge – Hands appeared first on Digital Photography School. It was authored by Caz Nowaczyk. This week’s photography challenge topic is HANDS! Hands can say so much about a person! So go out and take some fab photos of hands! They can be wrinkly, newborn, working, dirty, or clean. They can be color, black and white, moody or bright. Just so long as they include hands! You get the picture! Have fun, and I look forward to seeing what you come up with! Check out some of the articles below that give you tips on this week’s challenge. Tips for Shooting HANDSWeekly Photography Challenge – HANDSSimply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Share in the dPS Facebook GroupYou can also share your images in the dPS Facebook group as the challenge is posted there each week as well. If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPShands to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun. The post Weekly Photography Challenge – Hands appeared first on Digital Photography School. It was authored by Caz Nowaczyk. Photography via Digital Photography School https://ift.tt/29wB9CX August 23, 2019 at 02:10PM
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The post Equipment and Camera Settings You’ll Need for Better Moon Photography appeared first on Digital Photography School. It was authored by Jeremy Flint. As the brightest object in the night sky, the Moon has captivated people around the world for centuries. The Moon is simply fascinating, particularly with the recent 50th anniversary of the first humans landing on the Moon. It is also one of the most incredible subjects to learn to photograph. Everyone loves to observe the Moon, but have you ever looked up to the sky at night and thought, “how can I capture this magnificent phenomenon?” Well, as photographing the Moon can be a challenging undertaking, I have highlighted some information about the Moon and recommendations regarding equipment and camera settings you’ll need to consider to achieve better moon photography. It is initially worth considering what the Moon actually is. Well, in general, the term “moon” denotes an object that orbits something other than the star in a solar system. Earth’s Moon is an astronomical body that orbits the planet and acts as its only permanent natural satellite, orbiting the Earth every 27.3 days. It is the fifth-largest Moon in the Solar System and is an average of 384403 kilometers (238857 miles) from Earth. When you look up at the night sky to view the peaceful and tranquil Moon, you might notice that the Moon looks a little different each night. This is due to our Moon’s many phases and types. Phases of the moonThe amount of sunlight that reflects on the Moon’s surface that we can see from our point of view on Earth varies every day, and this is what we refer to as a Moon phase. Moon phases change during the lunar month from a New Moon (which occurs the moment the Sun and Moon are aligned, with the Sun and Earth on opposite sides of the Moon) to a Waxing Crescent moon (when a thin sliver of the Moon becomes visible after a New Moon), First Quarter Moon (the moment the Moon has reached the first quarter of its orbit around Earth), Waxing Gibbous Moon, Full Moon, Waning Gibbous Moon, Third Quarter Moon and Waning Crescent Moon. Different types of full moonsA full moon occurs when the side of the Moon facing Earth is fully lit up by the Sun. There are several types of unusual full moons that look different in color and size due to its position to the Sun and Earth. These include blood moons (that appears reddish and occur during a total lunar eclipse, when Earth lines up between the Moon and the Sun); Supermoons (a moon that appears larger because it is closer to Earth), Blue Moons (the “extra” Moon in a season with four Full Moons or the second Full Moon in a calendar month) and Harvest Moons (the full, bright Moon that occurs closest to the start of Autumn), for example. The equipmentWhen photographing the full moon or different phases of the moon, you will need some essential pieces of equipment. I recommend you use a tripod for stability. Whilst you may get away with hand-holding your camera, you will get better results by mounting your camera on a tripod and avoiding camera shake. In addition, a remote shutter release cable is a useful bit of kit to help prevent camera shake. It is not essential as you can use your cameras self-timer function. Which lens to useThe type of lens you use largely depends on whether you would like to capture the moon in the landscape, or as a detailed close-up. Wide-angle lenses are great to photograph the moon as it moves over an interesting landscape. Alternatively, a telephoto lens is a great choice for getting closer to the moon to reveal its surface details. Consider using a long focal length lens with a range of 300-400mm. Which camera settings to useOnce you have chosen a lens and set your camera on a tripod, you will need to select your settings. Firstly, I would recommend setting your ISO to 100 to prevent noise and grain in your images. Next, select an aperture in the region of f/8 – f/16 to achieve clearer and cleaner shots. In terms of shutter speed, 1/60th to 1/125th should be a great starting point. Focus on the moonWhen you have applied the settings, all you now need to do is set the focus of your camera. I like to use my cameras manual focus to focus on the Moon. Once the focusing distance to the Moon looks sharp using manual focus, you are ready to shoot the Moon. In my experience, manual focus works better than autofocus as the Moon’s surface is sometimes too dark to be recognized by the camera’s autofocus and I find manual focus to be more reliable in obtaining sharper shots in low light. By using manual focus, if you’re camera settings aren’t spot-on for any reason, you will still have reasonably sharp photos that you can recover in your editing software. If you apply all of these tips, you’ll achieve better Moon photography and be equipped to photograph the Moon at the best time. ConclusionIn summary, photographing the Moon is one of the most enjoyable subjects any photographer can learn. To achieve better photos of the different phases and types of the Moon, be sure to use a tripod. Also, consider a remote cable release, choose a wide-angle or telephoto lens, get your settings right, and focus your camera on the Moon manually. Do you have any other tips for better Moon photography? Alternatively, share your pictures of the Earth’s natural satellite or the Moon shining brightly over your chosen scene with us below.
The post Equipment and Camera Settings You’ll Need for Better Moon Photography appeared first on Digital Photography School. It was authored by Jeremy Flint. Photography via Digital Photography School https://ift.tt/29wB9CX August 23, 2019 at 07:38AM
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The post How to Photograph Architecture as Sculpture appeared first on Digital Photography School. It was authored by Herb Paynter. Architects design buildings based on form as much as functionality. Many of these creative structures serve as works of art as well as mere brick and mortar buildings. Viewing subjects for their form as well as their function, and capturing that beauty with creative eyes and a little careful planning, can deliver stunning results. In this article, you’ll learn how you can photograph architecture as sculpture. Rule One: Observe before you shootToo often we are struck with the initial appearance of a subject and immediately start shooting. However, this knee-jerk snapshot approach rarely provides the kind of result that it could if we took our time. Take the time to walk around the subject and observe it from several different angles. Those angles will provide different vantage points, reflections, and shadows that will change and influence the framing you use for each shot. Investigate the uniqueness that each structure presents and appreciate the visual statements the architect is making. Structures are more than a collection of connected boxes with passageways and windows. They are the physical housing of the community. We should study the features that make each structure unique. Throughout time, architects have designed structures that reflect social attitudes and serve the full spectrum of cultures from very conservative and business-like to modern and avant-garde. If you carry optional lenses in your bag, consider how each will render the scene. Don’t hesitate to stop long enough to find out. Lenses not only provide a distance variable, but they also change the dynamics of dimension. Longer lenses tend to compact the range much more than wider lenses. Remember, backgrounds play a large role in the process. It is easy to get carried away with the subject and not see the effect that items in the foreground and background have on the final result. You can shorten major post-production chores, and even eliminate, by carefully seeing and shaping the background. Rule Two: Think before you shootDigital cameras tend to override the cardinal rules of photography by allowing us to haphazardly capture dozens of shots without thinking them through. Remember, photography is a discipline and technical science as much as it is a process of documentation. Don’t allow yourself to excuse sloppy shooting. The basic tradeoffs of exposure should run through your mental checklist as you think through each shot. Here’s where “Auto” settings can work against you as a photographer. Briefly weigh the big three factors behind correct exposures before you click the shutter: Shutter speed, ISO, and Aperture each contribute to the shot, and each affects the result. The most important of these three variables in architectural photography is the aperture. Aperture controls the depth of field (DOF), particularly in long lenses. Since buildings rarely move around and daytime outdoor lighting is usually ample, shutter speed is of little consequence in the final analysis. As is ISO, but your choice of framing and DOF will make all the difference. Rule Three: Plan your shot before you shootMake it a point to develop specific intent for each shot and develop at least a mental shot list of the project. Without this exercise, you’ll end up with a multitude of lookalike shots that you’ll have to cull through. Ask yourself if you want to capture the entire scene or just highlight a particular aspect of the scene? Rule Four: Account for KeystoningBuildings are always taller than the camera lens and thus always distort the parallel nature of the vertical lines. The only way to avoid this is to keep the camera axis parallel to the horizon. The moment you shift the lens skyward, the vertical lines will keystone. This is both normal to the human eye and advantageous to adding drama to tall buildings, but the camera lens can exaggerate it. If you’re fortunate, and a bit creative, you can shoot the building from the inside (or atop) another structure. This will allow you to keep the vertical surfaces parallel. The other option, and the one most utilized, is to adjust these angles in post-production. Almost all imaging software provides the ability to straighten the lines by either automatically or manually stretching the image using the software’s Transform function. However, be aware that every time you distort an image’s shape, you reassign pixel values which can affect the sharpness of your image. Rule Five: Assess White BalanceThe general assumption is that you should capture outside photos in Daylight mode. But this isn’t always the case. Outdoor lighting changes constantly. Images captured either in the shade or in mixed lighting (dusk with street lighting, windows illuminated with tungsten lighting, or interior shots that include sunlight coming from outside) can create problems. The best way to address this issue is to capture your images in RAW mode. Doing so, allows you the latitude to experiment with the color temperature during post-production. Rule Six: Carry a tripodThere are many good reasons to carry a travel tripod when shooting architecture. Exposures can vary greatly, and a tripod eliminates the possibility of camera shake during longer exposures or shooting to match precise angles of structures. Since buildings don’t move much, a tripod allows you to lock down the focus and the steady the camera even at strange angles. Tripods also allow you to use your camera’s timer for hands-free exposures. Rule Seven: Choose the right lens for the shotWider-angle lenses allow you to capture larger buildings in areas of limited access. However, extreme wide-angle lenses (both zoom and non-flat field) can also introduce undesirable issues like barrel distortions that bow straight lines. Moderately wide-angle lenses and reasonable distances from the subject will most times address these issues. Rule Eight: Pay attention to textures and geometryThe array of interesting textures, colors, fixtures, and surfaces used in building materials is quite diverse and makes for very interesting detail shots. Textures are the fabric of life and vary wildly both inside and outside modern architecture. Architects are perfection artists who love geometry, and good geometry is the foundation of good structure. From the earliest days of piling and arranging huge stones into pyramid shapes to today’s massive sports arenas, you can see the mathematical beauty of creative geometry everywhere. Look for geometric design in the biggest and smallest elements of architectural structures. Rule Nine: Break the rulesDon’t be scared to see your subject from very strange vantage points. This includes looking both straight up from the floor and straight down from balconies. You may look a little silly to passersby, but chances are you’ll never see those people again, and they may well marvel at the photos you produce. The result of your creative vantage point will let your viewers see life from a fresh angle. Almost everybody takes pictures from eye height (which is quite boring), and most of us are between five and six feet tall, so this means that most photos appear…average and “normal.” Get un-normal and show people life from a fresh viewpoint. Rule Ten: Look for contrast and balanceThis applies to subjects as well as tone curves. Today’s buildings are focused on issues that reflect environmental and social issues. Pay attention to the juxtaposition of natural and human-made elements that are designed to coexist in total harmony. Colors and textures emphasize cooperation between human achievement and nature. The balance of the practical and artistic aspects of modern engineering reflect a renewed sense of respect between progress and responsibility in today’s world. ConclusionMost of all, take the time to appreciate the marvel and beauty of human creativity. The more you look, the more you’ll appreciate the ingenuity and genius of today’s architectural masterpieces. Don’t rush through this process. Exercise the same level of care and skill that you observe in the design and structure of the buildings and interiors that you capture, and you’ll produce some amazing pictures. Shoot inspired.
The post How to Photograph Architecture as Sculpture appeared first on Digital Photography School. It was authored by Herb Paynter. Photography via Digital Photography School https://ift.tt/29wB9CX August 23, 2019 at 05:08AM
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The post 5 DIY Macro Photography Hacks for Stunning Macro Photos (on a Budget) appeared first on Digital Photography School. It was authored by Jaymes Dempsey. Do you want to take stunning macro photos… …on a budget? In this article, I’m going to show you exactly how you can capture amazing macro photos (without breaking the bank). You’ll discover 5 DIY macro photography hacks which you can use for consistently gorgeous images. Sound good? Let’s dive right in, starting with: 1. Use a board for a stunning macro photography backgroundFirst things first: In macro photography, the background matters almost as much as your main subject. Because the background is what makes your main subject stand out. One of my favorite backgrounds is a solid, uniform color: Dark black. Black backgrounds allow you to capture somber, moodier macro photography. Like this: Now, achieving a natural black background in nature can be tough. Which is why this DIY hack is so valuable. Because you can use it to create a deep black background in all of your macro photos. Here’s what you do: Step 1: Go to your local hardware store and purchase a plywood board. I’d suggest something ultra-thin (because wood can get heavy, fast). I’d also go for a decent size: at least two feet on all sides. Step 2: Purchase black paint and primer. I recommend getting a sample paint pot (one should be more than enough). These are cheap and work just fine. The primer is to prevent the wood from tainting the color. Step 3: Add the primer and paint the board. I’d recommend two coats of black paint for that ultra-dark look. Step 4: Let the board dry. Now comes the fun part: Actually taking the photos! You should choose a main subject that’s fairly light (e.g., yellow and white flowers). Position your main subject so that it’s in the sun, with the black board in the shade, a foot or so behind it. You want to create as much contrast as possible between the board and your subject. That is, you want a light subject on a dark board. The goal is to lose absolutely all detail in the background. If you don’t fully achieve this in-camera, you can use an editing program to drop the blacks in your images. You can still make this work with diffused (i.e., cloudy) light. But you’ll need to do a bit more work in post-processing to bring down the blacks. Bottom line? You can work some serious magic with just a board and some paint. Try it yourself! And watch as you capture amazing macro images. 2. Use a lightbox for a stunning high-key, transparent lookHave you ever wanted to capture macro photos that look bright and high-key? Maybe even transparent? With this DIY hack, you can! All you need is a basic lightbox, often used by artists for tracing. You can purchase one for around 20 dollars on Amazon. While a bigger lightbox is generally better, anything A4 and above should work fine. Once you have your lightbox, you’ll need to choose a main subject. Flowers with translucent petals work best. And the flatter the flower, the better. You’ll want to work in a room that has only diffused ambient light. You want your flowers to have a soft, even look. Then turn on the lightboard, and place your flowers on top of it. I recommend shooting parallel to the lightbox from above. While you can do everything handheld, I don’t recommend this, especially if your flowers are more three dimensional. Instead, mount your camera on a tripod and use a narrow aperture (i.e., f/8 and above) to ensure perfect sharpness. Once you have your shots, you’ll probably need to do a bit of post-processing. I recommend increasing the whites, to give a slightly brighter, airier look. 3. Shoot with one flower in a vase for powerful compositionsThere’s no doubt about it: The way that flowers are positioned can make a macro shot look amazing…or terrible. If several flowers are overlapping, your photo may fall flat. But if you can isolate a single flower… …that’s when things start to look really compelling. Now, when you’re shooting in nature, you don’t have much control over this. You have to work with what you’ve got. But if you use this DIY macro photography hack, you can capture a gorgeous set of macro flower photos. Guaranteed. Here’s how it works: Go to your local grocery store, and purchase a bouquet of your favorite flowers. I like to work with tulips, but you can really use anything! When you get home, check over the flowers for blemishes and other issues. Find the biggest, best-looking flowers of the bunch. And then put them all in separate vases (or cups). Note: You want the flowers to extend pretty far over the top of the vase, which is why I suggest you avoid taller vases. The next time the light is good, take all the vases outside. Place them in front of a gorgeous background. (I often use an orange sky at sunset.) And then photograph all the flowers, individually. Because they’re in separate vases, they’ll all be perfectly isolated. And this will allow you to easily capture powerful compositions. Try it. You’ll love the final product. 4. Detach your lens for an artistic macro lookIf you’re bored of getting the same macro look over and over again, then this DIY macro photography hack is for you. It’ll help you capture photos with brilliant light leaks, like this: If you’re familiar with the concept of freelensing, it’s like that, but with a twist. Here’s how you do it: Choose a backup camera body and a cheap camera lens in the 50mm range. (There’s a slight risk of exposing your camera sensor to dirt.) Focus your lens to infinity. Then turn off your camera, and detach the lens. Next, turn the camera back on, and pull the lens just slightly away from the camera (it should still be detached!). This will actually magnify your subject, while often giving you some amazingly artistic light leaks. And while the technique may require a bit of experimentation, you’ll get the hang of it pretty quick, and you’ll capture some gorgeous macro photos. 5. Use fairy lights for amazing background bokehHere’s your final DIY macro photography hack (and it’s one of my favorites): Use fairy lights for gorgeous macro backgrounds. They’ll get you photos like this: To start, grab a set of fairy lights on Amazon (for around 10 dollars). I recommend a neutral or warmer color. Go out to shoot around dusk, when the light is really starting to fade. Find a nice subject, and position the fairy lights directly behind it. You can dangle them from surrounding vegetation, or you can hold them with your left hand. Now, you don’t want to position the fairy lights too close, or else you’ll capture the wiring in your photos. Instead, you want them to show some nice bright light without being prominently featured. You should also make sure to use a shallow aperture, in the area of f/2.8 to f/5.6. That way, the fairy lights will be fully blurred, creating some stunning bokeh. The trick is an easy one, but it’ll get you amazing macro photos! DIY macro photography hacks for stunning macro images: ConclusionYou’ve now discovered five DIY macro photography hacks. And you can use them for stunning macro photos all the time. So go ahead and start. Make your black board. Grab yourself some fairy lights. And take some amazing macro photos! Do you have any DIY hacks of your own for beautiful macro shots? Share them in the comments!
The post 5 DIY Macro Photography Hacks for Stunning Macro Photos (on a Budget) appeared first on Digital Photography School. It was authored by Jaymes Dempsey. Photography via Digital Photography School https://ift.tt/29wB9CX August 22, 2019 at 07:45AM
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Canon News has uncovered a patent for a new RF mount optical formula, this patent shows an RF 17-70mm f/3.5-5.6 in various forms. This looks like some kind of wide kit style lens because of the variable aperture. Below are the three embodiments: Canon RF 17-70mm f/3.5-5.6
Canon RF 17-70mm f/3.5-5.6
Canon RF 18-80mm f/3.5-5.6
Photography via Canon Rumors https://ift.tt/2v4dYqS August 22, 2019 at 07:18AM
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Tamron USA has begun teasing four new mirrorless lenses on their Facebook page. There’s no mention of what the four lenses are as of yet, or what mount(s) these lenses will be available for. I think it’s still a bit early to see third party autofocus lenses for Canon’s RF mount from Tamron or SIGMA, but surprises do happen. Tamron currently has 2 mirrorless lenses for Sony’s FE mount, so it’s likely these will be for Sony as well. Judging by the teaser, it looks like a telephoto zoom lens and three prime lenses are coming. Photography via Canon Rumors https://ift.tt/2v4dYqS August 22, 2019 at 06:53AM
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Canon has released a minor firmware release for the Canon EOS RP. Firmware Version 1.3.0 incorporates the following enhancement:
Photography via Canon Rumors https://ift.tt/2v4dYqS August 22, 2019 at 06:38AM
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The post Stunning Capture of Kingfisher Catching a Fish – Behind The Shot appeared first on Digital Photography School. It was authored by Caz Nowaczyk. Do you want to know how to photograph a Kingfisher catching a fish? Then read on! About this stunning capture of Kingfisher catching a fishPhotographer: Janet Smith Camera Settings: 80mm focal distance, auto ISO, f5.6, 1/1200th. Camera set to manual and continuous silent shooting. Camera equipment: Canon 5D mark IV, Canon 70-200mm f2.8, Neweer remote trigger, Manfrotto tripod, and black bin bag as a rain cover. Where and when was the shot taken?Shropshire Photography hides, Market Drayton near Shropshire and Staffordshire borders, 6 July 2019, around 3:30 pm. What is the background behind getting the shot?This is my bucket list shot – a shot that I thought I’d never be able to take because I could not afford to buy a fast lens which I was told is required in this type of shot. Then almost a year ago, Brendan Van Son gifted me his old Canon 70-200mm f2.8 lens after learning I’ve wanted one but could not afford it. Having the lens opened up a whole new world for me. I saved and booked a hide day at Shropshire Photography Hides that got canceled three times because of bad weather and Minks decimating the Kingfisher nest and killing all the birds. On the 6th of July, I finally managed to get to the hide. The day was overcast, drizzly, and windy. I set up the camera at water level and wrapped in a black bin bag to keep it dry. Then I set the camera to manual, f5.6, auto ISO and 1/1200th, set up the remote trigger and waited. It took nearly six hours of waiting and shooting before I got this shot. I could not get the timing right, and this bird was super-fast. The light was also very low, and the drizzle persisted. I ended up with more misses than hits, but it was well worth it. One thing I learned is patience and determination pays off. And maybe nicer weather would have helped as well. What method or technique did you use to achieve the shot?I prefocused on the area where the bird was likely to enter the water with the camera set on silent continuous shooting to minimize noise. Describe any post-processing, including tools and techniques usedThere was very minimal post-processing. I did a close crop to show more of the water movement and the bird. Also, I lightened-up the shadows +25 on the photoshop slider, pulled up the vibrance to +15, and exposure to +5. What are your tips for others wanting to achieve a shot like this?My tip is to be patient, ask for advice from seasoned bird photographers and observe the bird’s behavior. I learned that this bird would move three paces either left or right and bob it’s head down before diving. As soon as it does that, I pressed the remote and continue pressing until it was back on the branch. You may also like:
The post Stunning Capture of Kingfisher Catching a Fish – Behind The Shot appeared first on Digital Photography School. It was authored by Caz Nowaczyk. Photography via Digital Photography School https://ift.tt/29wB9CX August 22, 2019 at 05:01AM |
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