Photography News

4 Top Tips On Photographing Beach Huts

Ephotozine - 14 hours 15 min ago
    1. Use The Sky

A popular shot to capture when you're photographing beach huts is to use a wide-angle lens to get a full line of these colourful structures in the frame. If you plan on doing this, try to get a large expanse of sky in the shot too. Be careful if you're using a particularly wide lens as you can end up with objects creeping into frame that you didn't want to capture and keep an eye on your exposure.

Most of the time you'll find the sky will come out lighter than the foreground and you may need to use a graduated ND filter to balance the light levels in the shot. In some cases, you might even find the foreground to be brighter than the sky, such as when there's a storm brewing behind the huts. The highlight detail is our main focus so make sure you meter from this (usually the sky) and leave the shadow areas to their own devices. If you find your foreground looks a little dull after doing this try using +1EV and reshoot. For shots where the sky's really interesting try lining the roofs up along the bottom of the frame.

 

2. Get In Close

An alternative option is to move in close for a more abstract viewpoint. You won't have to move your feet very far to find ropes, padlocks, panels, signs, ornaments, cobwebs etc. You could even shoot a few photos of peeling paint and rust which can be used as textures in other shots. If you want to be more focused pick a theme, colours work well and shoot it. This isn't something that just has to be restricted to one day either as you can build your collection up over a few weeks then combine them to make an interesting piece of wall art.

Make sure you move in close and concentrate on balancing the shot so the composition works. You can shoot close up shots on any days, but overcast ones are easier to work in, giving you a more balanced look to the tonal range.

 

3. Include People

If the owners of the beach huts are home, ask if you can shoot a few portraits of them. For more candid shots try working further away with a wider lens so you can look like you're photographing something else but still capture the person you want in the frame. If the huts are open you could also ask if you could shoot a few shots inside them as you'll find some that are well decorated and full of trinkets or other items worth a quick shot for the album.

 

4. Out Of Season

When summer ends head back to the coast when everything is boarded up as the tired exteriors and the peeling paintwork on the lonely beach huts will still make interesting photographic subjects even if there's not much going on in the rest of the seaside town.

Winter light is low and will give colourful beach huts more punch. If you're lucky to visit on a sunny day, a blue sky will lift a shot taken at the coast during winter while a sky full of rain will help emphasis the sense of loneliness and abandonment.

 

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Categories: Photography News

Learn To Convey A Sense Of Place And Culture With Your Travel Shots

Ephotozine - 14 hours 15 min ago

When shooting travel images, as well as showing people back home that you had a really great time and that it was sunny every day, try capturing shots that convey a sense of place and culture as well. By doing so you'll have a much more memorable record of your trip and you should gain a collection of shots which are much more varied. To help you out, here are a few pointers that should help you improve your travel photography.

 

1. Do Your Research

 

If you're going on holiday to shoot photos every day rather than spending time sitting by the pool or building sandcastles on the beach with your kids you need to choose your location and work out when would be the best time to visit. For example, some locations have a monsoon season or there will be times when temperatures are way too high for visitors to be out, wandering around with cameras. By doing your research before you arrive will save you time and also allow you to plan correctly for the weather, terrain etc. you'll be facing.

You can take a look in online galleries to see where another photographer's visited and review travel guides so you can make a note of the places you want to visit and the type of images you want to create.

The more information you collect before your trip, the more productive you'll find it to be. In fact, if you make a shooting plan or note down a few ideas in a notebook you can take the notes with you so you're not always searching for shooting suggestions. Of course, there will be tourist information centres, maps and reps you can find more information from once you arrive at your chosen destination.

 

2. It's In The Details

 

As well as shooting sweeping vistas and portraits, use your zoom to shoot frame-filling, close-ups of detail. These detailed shots will help sum-up the essence of the location you're shooting in and you're more likely to capture something unique if you focus your attention on smaller items and detail rather than wider, popular shots. Small details such as spices on a market stall or strings of chillies drying in the sun are often very colourful and make interesting close-up subjects.

 

3. How Many Shots?

 

If you enjoy visiting new locations every year it'll probably be a while before you return to the same location so make sure you shoot plenty. However, we don't mean just point and click as you still need to think about good composition etc. Just remember to try different angles of the same subject and always have your camera ready to shoot the unexpected.

 

4. Don't Overlook Landmarks

 

Many places around the world have well-known landmarks that when photographed will instantly tell the person who's looking at your photograph where you went on your week off. It's always worth taking a shot or two of these landmarks during your break but do look for new ways to shoot them. This could include getting closer, shooting a panorama or using crowds of tourists to add another level of interest to your shot.

 

5. Capture Culture

 

Get away from main shopping and tourist areas and you'll often find the culture of the country/town becomes more prominent. Do be careful though and keep an eye on your gear as you will stand out and tourists do sometimes get targeted by thieves.

See if there are any festivals, ceremonies or other events happening that'll be worth photographing. You'll be able to capture lively shots and if you shoot with a telephoto lens, you'll be able to throw backgrounds out of focus more easily which should blur tourists and other distractions, allowing all attention to stay with your subject.

 

6. Photograph People

 

Even though candid shots of people in crowds, at work etc. do have a place, generally, it's advised and polite to ask permission before you take a photo of a stranger. Having said that, when people play a minor part in your image asking permission to shoot, particularly if it's a large crowd, can be impossible as there are just too many people.

If language is a barrier try smiling and pointing to your camera you should soon have a quick nod or shake of the head in response.

Always give your subject eye contact when you're talking to them between shots, smile and don't forget your manners. Try to learn what hello, please and thank you are in the language of the country you're visiting and if your subject looks uncomfortable when you start taking photographs, it is usually just best to stop and move on to something else as some people will say yes just to be polite when really they'd prefer to hide from your lens. If you have a willing subject who tenses up and becomes a little too rigid when you put the camera to your eye take the shot any way then quickly snap another when they think you've finished capturing a moment when they're more relaxed.

Once you've got your shot(s) be polite and show your subject the results. Just be wary of some people who'll expect a tip for helping you out. You can find out how much people generally ask for in tips before heading out on the street and you can barter if you think the fee is too high.


7. Time Of Day

 

Shooting early morning or later in the evening will give you the best light for landscapes and architectural shots. In a morning, the sun is at a lower angle so your shots won't have large, deep shadows running through them. There will be fewer people around at this time too as many holidaymakers enjoy staying in bed a little longer when they are away. Don't dismiss shooting a few shots of a busy beach though as a scene where no sand can be seen because of towels and deckchairs will be just as interesting.

Categories: Photography News

How To Capture Patterns On Your Travels

Ephotozine - Sat 20 Jul 2024 1:59am

 

Photography has a fantastic ability to isolate things: details, shapes, colours or patterns. You can remove a subject from its distracting surroundings in just the same way that you can place it there; by thoughtful framing. During your travels see if you can find patterns in the places you visit that will remind you of the trip later.

 

1. Gear Choices

There is no special equipment needed to photograph pattern, though standard and slightly longer lenses can make the framing easier, but you do need to look carefully at what you are shooting. Very long lenses are also useful since they will flatten the perspective of distant shapes which often uncovers the patterns they make. Try and fill the frame aligning the pattern carefully. A tripod makes this easier but is not essential. You can crop out distractions later, but it is better to get it right ‘in camera’.

 

2. Patterns Are Everywhere

 

Patterns can be quite addictive: once you start seeing them it is hard to stop. Look for quantities of a single item and see how they fit together, regularly or random. In nature, this could be stones on a beach or marks in the sand, clouds or a flock of birds, even the leaves on a tree. In towns, look along streets at how the buildings fit together, sometimes just the steps leading to the door of a building make a good pattern.

Markets and Souvenir Shops are great places to find patterns: stockpiled high or artfully displayed is a gift to a photographer. Whether it is tourist tat or delicious-looking local produce it is likely to work as both a reminder of your holiday and an interesting composition. Look out especially for shops selling lots of versions of a similar thing; they often fit together really nicely. Don’t be afraid to get right in close.

Buildings and architecture by their very nature are full of patterns, but look beyond the obvious: bricks and tiles work, but so do whole buildings if viewed from the right angle. If you can get above the roof level of a town the rooftops will often make beautiful patterns. The great thing about patterns is that they do not have a particular scale; they can be vast or macro, but to make a good picture out of a pattern, the pattern needs to be the star.

 

3. How To Capture Patterns Successfully

 

There are no rules other than that you should crop tight to fill the frame. You may like to avoid irregularities (though I rather like them since they seem to emphasize the pattern). You can shoot square on or oblique and, if you are shooting oblique, you can shoot wide open to isolate a detail in the shot or stop down to keep it all sharp, so set the camera to aperture priority to make life easier. Whatever you choose make it a definite choice, very narrow depth of field or very deep, otherwise, it won’t look intentional.

You will generally only need to add a little extra contrast to emphasize the pattern, this can be achieved with a simple curves adjustment. But the graphic nature of patterns means that they are often ideally suited to image manipulation if you want to.

Even the most mundane subject can give you a good picture; you just need enough of it to make a strong pattern.

 

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Categories: Photography News

ePHOTOzine Daily Theme Winners Week 2 July 2024

Ephotozine - Fri 19 Jul 2024 7:56pm

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Alffoto (Day 12 - Signs).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 11

Vertical Lines

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  Day 13

'Out Of Focus'

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Day 14

Summer Trees

[COMMENT_IMG]portfolio|154993|3782907[/COMMENT_IMG]

 

Day 15

Street Photography

[COMMENT_IMG]portfolio|48973|2487883[/COMMENT_IMG]

 

Day 16

Interesting Angles

[COMMENT_IMG]portfolio|44582|3776214[/COMMENT_IMG]

 

Day 17

Waterfall Close-Ups

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Day 18

Close-Up Faces

[COMMENT_IMG]portfolio|191758|3604179[/COMMENT_IMG]

 

You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

Categories: Photography News

PortraitPro 24 BIGGEST SALE: 50% Off + Exclusive 20% Discount

Ephotozine - Fri 19 Jul 2024 4:55pm

 

Anthropics Technology is giving ePHOTOzine members the chance to save on the new PortraitPro 24.

Enhance your portrait work for pro-style portraits with new features:

 

Key New Features:
  • Face painting
  • New gender and age detector
  • Mouth inpainting & teeth replacer
  • Glasses reflection remover
  • Face recovery
  • Skin and hair masks

 

Improved Workflow:
  • Seamlessly switch between faces in group shots.
  • Effortlessly share presets.
  • Utilise a streamlined preset search box.
  • Explore more image save options.
  • (Exclusive to Studio Max) Apply multiple presets to each picture.

 

Learn more about what’s new in PortraitPro 24 on the Anthropics website. Enjoy a free trial before downloading this smart portrait software.

Buy new PortraitPro 24 or upgrade at 50% off all downloads. Get an EXCLUSIVE EXTRA 20% off when you use the code EZS24 at checkout.

Shop Now

 

Categories: Photography News

How To Use Horizontal Lines Successfully In Your Images

Ephotozine - Fri 19 Jul 2024 4:55pm

 

 

1. Where To Find Them?

The horizon has to be the most popular horizontal line photographers shoot. It's easy to find and most of the time rather simple to shoot. Just remember to not cut your image in half, position the horizon in the top or bottom third of the image, keep it straight and try to break it up with other shapes to give your shot more interest. Fallen trees and people laid down will give you horizontal lines that are a little less obvious while frame-filling shots of lots of horizontal lines together, such as boards on sheds or even lines on stripy jumpers, will give you more abstract shots that focus on the pattern the lines create.

 

2. Which Orientation?

Generally, lines which are obviously flowing in a particular direction such as left to right or up and down are best photographed in the same orientation. However, flipping to portrait when you're photographing horizontal lines can create the impression that there's so many and they're so wide that they can't fit in the frame. Where possible, shoot straight on for more impact and make sure shadows from surrounding objects, including yourself, aren't in the shot. Talking of shadows, if you're photographing something such as wooden panelling, bright sunlight can form deep shadows along the ridges of the individual planks, enhancing the shapes or even adding more lines to your frame.

 

3. Keep It Straight

Horizontal lines need to be straight or as straight as you can possibly get them for your shot to work. If they're wonky it'll just annoy the person who's viewing your shot and make them tilt their head to one side. Check the horizon is level with your frame before hitting the shutter, using a grid line that's built into most cameras or by using a tripod with a built-in spirit level. If your tripod doesn't have one you can buy spirit levels that sit on your camera's hot shoe. You can also correct any tilting horizons in Photoshop.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Categories: Photography News

15 Essential Stone Circle Photography Tips

Ephotozine - Fri 19 Jul 2024 1:42am

 

Always an interesting subject for photographers, standing stones and stone circles have fascinated people for centuries; but what is the best way to photograph them?

 

1. Lens Choice

Use a wider angle lens 16-20mm (about 24-30mm in 35mm terms)
 

2. Focus On Parts Of The Circle

Try isolating two or three of the stones and shoot from a low angle.


3. Get Up High

Find a vantage point at a distance where you can shoot the entire ring from a higher point to show its shape.
 

4. Check The Weather 

Shoot on a bright day for contrast and texture in the stones, but watch for shadows.
 

5. Get Down Low

Shoot from a low viewpoint to make the stones appear large and dominating.

 

 

6. Go Mono

Try switching to black & white or shoot in infrared for a more moody result.
 

7. Use Filters

Use a polariser to darken the blue sky to give the shot more impact.
 

8. Try HDR

Bracket the exposure and merge using HDR technique rather than using a graduated filter as the filter will darken the top half of the stone.
 

9. No People

Avoid shots with people if you don't want to date the photograph.
 

10. Create Scale

Include people if you want to show a sense of scale.

 

 

11. Look For Angles

Walk around a few times without taking pictures to get a feeling for the stones and the best angles.
 

12. Early Or Late?

Light is usually better at the start or towards the end of the day, however as fewer people prefer early starts, photographers tend to have to get up early if they want to capture people-free shots.
 

13. Think About The Sky

If you're trying to capture the whole circle, you'll need an interesting (large) sky to add balance to your shot as the foreground will appear to be long and thin.
 

14. Give Panoramas A Try

Try shooting a panorama where you take a series of images that can be joined in post-production (or most cameras have this feature built-in) to capture the whole circle.
 

15. Do Your Research

For inspiration and to find out the location of some of the most photogenic stone circles do you research before you leave your house. We have an article listing some of the most popular stone circles in the UK, you can read it here: Stone Circle Locations

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Categories: Photography News

6 Ways To Challenge Yourself & Better Your Photography In The Process

Ephotozine - Thu 18 Jul 2024 7:35am

 

If you're looking for a way to improve your photography skills then a challenge is probably right up your street. To give you some inspiration on how you can challenge yourself next time you're heading out with your camera here are 6 shooting suggestions that'll get your grey matter working a little harder: 

  1. Use One Lens /Focal Length

Basically, we want you to select one lens, yes just one, go for a walk, visit a museum etc. and see what images you can capture. Try to make it a lens you've not used for a while as this should make your work even harder. 

A lens with a fixed focal length would be our choice for this but if you only have a zoom take that along and pick just one focal length to use. If you don't, it won't be much of a challenge!

Before you start snapping away you really need to think about what you're going to photograph because without a zoom your focal length is limited so rather than relying on the lens to do the work you have to get those grey cells warmed up and your feet moving to find a position/shot that works.
 

2. Limit The Shots You Take

As memory cards are reasonably priced and can hold hundreds if not thousands of images, it's easy to just click the shutter button continuously and pick the best shots when you're back home. However, by taking just one shot of each subject you plan on photographing you'll have to really think about your composition, framing etc. as you don't have the option of having another shot to correct your mistakes with. If you find this too restricting try setting a shot limit before you head out of the door and make sure you stick to it. By doing so you should be able to improve the quality of the images you take as you'll be finding the best shots through planning and careful thought. 

 

3. Photograph Just One Colour

Pick a colour, it can be any colour, and stick with it. It can be similar objects or totally different subjects, but their colour must link. You can write down a colour then make a note of possible subjects that fit the theme or just head out and search for potential subjects with your camera in-hand. The final results can give you a great set of images that you can also use in a panel for your wall. 

 


4. Focus On One Subject 

Instead of taking many photos of a variety of subjects why not spend a day, or longer if you wish, photographing just one subject. Take a tree, for example, you can photograph the whole thing, get in close with a macro lens, capture shots of leaves, stand further back with a wide-angle lens and capture it in its landscape etc. Visit your subject at different times of the year or at different times of the day and pay attention to how the light changes and when it's at its best. Venture out on foggy mornings, when the clouds are grey or when snow has covered the ground. You'll end up with lots of images and not all will be great but there will be some gems and they could be from ways you've not considered photographing a particular subject before. 

  5. Get Out Of Your Comfort Zone

It's easy to stick with the familiar but by getting away from what you're used to, you'll discover new things and improve as a photographer in the process. So, if you tend to shoot landscapes, why not try photographing portraits instead? You'll be shooting with different settings, lenses and in different ways, learning as you go and expanding your creativity. You'll pick up new tips and more than likely learn more about the settings/options your camera has to offer, too. 

 

6. Enter A Photography Competition

If you're out taking photos that are specifically for a competition you'll probably think that bit longer about composition, lighting etc.to improve your chances of getting your hands on the top prize. It's also a good way to find new subject inspiration for your shots as a vast number of themes are used in competitions right across the web as well as in magazines.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Categories: Photography News

Canon Launches Flagship EOS R1 and Advanced EOS R5 Mark II Mirrorless Cameras Setting New Standards for Performance and Creativity

Ephotozine - Thu 18 Jul 2024 5:32am

 

Canon Europe announces the launch of its highly anticipated flag bearers for the EOS R System – the EOS R1 and EOS R5 Mark II, designed to take professional photography and videography to new levels. With unparalleled high performance, both products offer the most streamlined workflow processes and intuitive user experience ever, with assistive technologies powered by a new Accelerated Capture imaging platform and Deep Learning.

The EOS R1 boasts advanced features that enable news and sports professionals to capture the headline shot every time, whilst the EOS R5 Mark II is built for a wide range of hybrid professionals to tackle any creative project.

 

EOS R1 and EOS R5 Mark II – the most anticipated editions of the EOS R mirrorless range

 

The release of the EOS R1 and EOS R5 Mark II full frame mirrorless cameras marks a monumental moment in Canon’s history – the EOS R1 being the first camera in the EOS R range within the EOS-1 series – known for its legacy of high performance and reliability. The EOS R5 Mark II succeeds the highly acclaimed EOS R5 which combined high resolution, speed and 8K movie performance.

For the first time, both cameras are introduced with the new ‘Accelerated Capture’ imaging platform comprised of a new processor – the DIGIC Accelerator – along with the well-known high-performance DIGIC X image processor and newly developed high-speed image sensors featured on both new camera models.

The DIGIC Accelerator is newly added to support the processing of large volumes of data, alongside Deep Learning technologies. This combination unlocks higher performance and new features in several areas including auto focus, continuous shooting and image quality.

Thanks to this new imaging platform, the EOS R1 and EOS R5 Mark II both feature the latest version of Dual Pixel CMOS – Dual Pixel Intelligent AF. This includes multiple enhancements including the ability to more accurately track subjects, by identifying the face and upper bodies of players and avoiding obstacles or other players. This is further enhanced by the ability for users to register specific faces and track and prioritise them consistently over other players.

The newly added ‘Action Priority’ mode automatically identifies common action poses in basketball, soccer and volleyball, identifying and tracking the main subject in fast and dynamic situations and capturing the headline-grabbing moment of action.

Eye-control AF is offered for the first time in the EOS R5 Mark II and is improved to twice the level of the EOS R3 in both models including a higher pixel count sensor, enhanced LEDs, a larger eye detection area, and an updated detection algorithm allowing a unique and instinctive way to select a subject to track in a complex scene.

The EOS R1 and EOS R5 Mark II offer new high-speed image sensors, resulting in faster shooting speeds and faster sensor readout with a 40% reduction of rolling shutter in the EOS R1 compared to the EOS R3 – putting it on the same level as the mechanical shutter in the EOS-1D X Mark III. With a similar 60% reduction in the EOS R5 Mark II both models are highly capable in capturing action without any reduction in image quality or dynamic range. The cameras newly feature a pre-continuous shooting function offering up to 20 frames (for EOS R1) and 15 frames (for EOS R5 Mark II) to be captured in HEIF/JPEG or RAW format at any frame rate before the shutter is pressed, allowing the key moment to be captured even if it was missed. Both feature large, high brightness and resolution blackout-free viewfinders with the EOS R1 featuring the highest resolution at 9.44M dots and the EOS R5 Mark II offering twice the brightness of the EOS R5.

Thanks to the new imaging platform, the EOS R1 and EOS R5 Mark II benefit from enhanced image quality with Deep Learning in-camera image upscaling and noise reduction, providing an additional four times resolution or reduced noise in-camera when using JPEG or HEIF formats. Users can also crop and upscale in-camera making it that much easier to send out photos without editing via separate applications.

Both cameras feature up to 8.5 stops of image stabilisation with effective shooting capabilities particularly in low light or in other difficult conditions.

For videographers, the EOS R1 and EOS R5 Mark II offer video in 12 bit RAW recording internally to the memory card as well as using Cinema EOS Movie Recording formats alongside Canon Log 2 and 3 with proxy video recording that is now fully supported between two cards, and four channel audio. This takes professional video production to new heights, delivering outstanding quality and creative flexibility no matter the scenario. The cameras are also able to record high resolution stills and Full HD video simultaneously, with the option to record externally via the HDMI type A ports in both cameras.

To support the workflow of professionals, several features ensure fast and stable connectivity and failsafe options, with multiple routes to image/video destinations for filing news with support for the C2PA content authenticity format or reviewing the first rushes of a film. Industry standard file naming, separate photo/video folders, and advanced tagging in News ML-G2 standard are also supported. Both cameras support Wi-Fi6E/11ax 6GHz in-body, making them the first EOS series cameras to offer new levels of transfer speed, with the EOS R1 additionally supporting 2.5Gbps Ethernet connectivity and dual-threaded FTP in the body and the EOS R5 Mark II providing 2.5Gbps Ethernet via an optional grip.

 

Introducing the EOS R1 – Canon’s new flagship camera

 

With 35 years since the introduction of the original EOS-1, the EOS R1 takes on a legacy of cameras that represent the ideal option for professionals worldwide, thanks to its groundbreaking autofocus, speed, reliability and durability.

Engineered for elite sports photographers the EOS R1 is designed to ensure the moment is never missed in the fast-paced world of sports and news photography. Auto focus alongside speed is the key to obtaining previously unobtainable results. The EOS R1 is uniquely equipped with a groundbreaking, new Cross Type AF system, meaning it excels in challenging conditions such as when shooting through a tennis net, picking out smaller subjects and locking on to vertical detail in situations where horizonal detail is missing from the subject under the AF area. This latest technology is a first for Canon and requires a completely new Dual Pixel CMOS AF sensor arrangement in which individual Gb pupil divisions of pixels are rotated by 90 degrees to offer auto focus tracking sensitivity along the vertical and horizontal axis of the sensor, offering users fast and accurate results and the ability to capture an image that could have previously been missed.

The camera offers an astounding 40fps silent electronic shutter with AF tracking and 20 frames of pre-continuous shooting, meaning that users can follow a scene without sacrificing image quality. Its 24.2 megapixel resolution delivers exceptional high-speed performance, while also achieving up to 96 megapixels in-camera with Deep Learning and image upscaling and noise reduction. Enhanced flash sync speeds up to 1/400th of a second and improved white balance and image exposure evaluation means more consistency and versatility for a variety of genres.

The EOS R1 also champions hybrid multimedia functionality with 6K resolution at 60fps or 4K at 120fps, along with Full HD at 240fps.

Designed to withstand the toughest conditions, the EOS R1 features a newly designed weather-resistant body with renewed outer texture and integrated vertical grip. A high-resolution EVF with an anti-fog design and a wide viewfinder eyepiece make it a comfortable camera for shooting sports over long durations. Newly added is the two-stage AF-ON button which allows the instant activation of two programmable functions within one button allowing photographers to quickly respond to changing action in front of them.

 

Presenting the EOS R5 Mark II, the pinnacle of all-round versatility and hybrid creativity

 

Building on the legacy of the EOS R5 and pushing the boundaries of what’s possible for emerging genres, the EOS R5 Mark II is aimed at creative storytellers and hybrid users ready to elevate their craft, making it the ultimate tool for a wide range of applications, from wildlife to wedding, event coverage, filmmaking and news reporting.

Designed to capture fast-moving subjects without compromising on high-quality detail, the EOS R5 Mark II features a revolutionary new back-illuminated, stacked sensor design with a stunning 45 megapixel resolution. Auto focus tracking and an electronic shutter capable of 30fps with low rolling shutter allows users to truly excel in fast-paced action situations. The pre-continuous shooting mode captures 15 frames before the shutter is even pressed, while advanced image upscaling can achieve up to 180 megapixels with exceptional noise reduction, preserving the finest details.

Seamless hybrid multi-media functionality is at the heart of the EOS R5 Mark II as well as a greater synergy with Canon Cinema EOS line with shared features and formats. Improved from the EOS R5, the EOS R5 Mark II offers 8K 60p resolution from the full width of the sensor and 12-bit RAW recording internally, along with 4K video at up to 120p with sound. The newly introduced Cooling Fan Grip is designed specifically to extend shooting periods for event coverage, interviews and high-quality live streaming.

The possibility to record video proxies, industry-standard file naming, and structured folders enhances post-production workflows. Shooting Virtual Reality is also made simpler with enhanced preview and playback navigation.

A new higher performance LP-E6P battery and heat-dissipating and durable magnesium alloy body ensures the EOS R5 Mark II is ready for any challenge, even in unpredictable weather environments.

The EOS R5 Mark II maintains a compact and lightweight design, but with key enhancements such as a fog-resistant, two times brighter viewfinder and larger opening making it an indispensable tool for hybrid creatives seeking top-grade performance and versatility all in one package.

 

Ushering in a new generation of EOS R System products

 

The EOS R1 and EOS R5 Mark II together represent a complete professional pairing with the ultimate in reliability and speed matched with versatility and practicality. These new bodies join a roster of recently announced EOS R System cameras and RF lenses, cementing Canon's commitment to delivering cutting-edge technology for creative storytellers across all genres of photography and videography.

 

For more information, please visit the Canon UK website.

Categories: Photography News

How To Create Catchlights In Your Portrait Shots

Ephotozine - Thu 18 Jul 2024 1:35am
  1. What's A Catchlight?

A catchlight is simply a light's highlight reflected off the surface of your subject's eyes. They subtly breathe life into portraits by adding a little more depth to the eyes and are something that painters were using in portraits long before photography was a popular pastime.

 

2. How Do I Create Them?

What light source you're using, how strong it is and how far it is from your subject will change the shape and size of the catchlight. The larger the light source, the bigger the catchlight will be and if you have multiple light sources, you can end up with more than one catchlight appearing on the eyes.

You can use artificial or natural light to create catchlights, just remember that direct flash will produce a much smaller catchlight than flash that's reflected off a brolly and if you're working outside, the catchlights can have a slight blue tint to them. When working indoors with fill-in light as well as a key / main light source, your additional, fill-in light may create an additional set of catchlights in your subject's eyes. Some people like the effect so if you're one of these, just make sure one is dimmer than the other so they're not too distracting. You can always try removing one set in your editing software too, but it's always easier to get it right in-camera first rather than relying on Photoshop.

 

 

3. Where To Position The Catchlights?

If you look at the eye as if it was a clock you should try and get the catchlight to sit, ideally, at 10 or 12 o'clock but anywhere between a quarter to and quarter past should work just as well. Of course, this isn't set in stone and you may prefer to use a lower position. Placing your light source above your subject's head will also help you get the positioning of the catchlights right.

 

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Categories: Photography News

Fujifilm Announces 'Life As You See It' Competition Winners

Ephotozine - Wed 17 Jul 2024 11:50am

Overall winner: Justin Goulding with 'Hectic

 

  • Winners of Fujifilm 'Life As You See It' competition selected from 2,500+ diverse photos submitted
  • Winning photos featured in Fujifilm brand film and exhibited in main gallery at FUJIFILM House of Photography
  • Community Gallery open until 28 July 2024 – visitors can print photographs free of charge and still be part of the exhibition until end of July
  • 'Life Captured' exhibition to showcase all shortlisted entries from 5 to 25 August 2024

 

Fujifilm has announced the three winners of its 'Life As You See It' competition, which was launched to celebrate the grand reopening of the FUJIFILM House of Photography in London in May 2024. Participants were invited to submit up to five photos that captured 'life as they see it' with a one-word description of each image. More than 2,500 photos were entered into the competition, depicting an extensive range of subjects, and shot on a wide variety of cameras and devices. The titles of the images were extremely diverse, including everything from 'Fantastical' and 'Carefree', to 'Lonely' and 'Pride'.

 

First runner-up: Vasil Boyanov with 'Unexpected'

 

Second runner-up: Trevor Romain with 'Breath'

 

First prize winner Justin Goulding was presented with a FUJIFILM X100VI Limited Edition digital camera worth £1,934. The first and second runners-up received vouchers to the value of £500 and £250 respectively.

The three winning photos are currently being exhibited in the FUJIFILM House of Photography gallery alongside all shortlisted entries, as well as being featured in a new Fujifilm brand film. The brand film premiered at a private event on 12 July at the FUJIFILM House of Photography, with the winners announced at the same time. The film and winning images can be viewed here.

The Life As You See It exhibition will continue until 28 July 2024, and all visitors to the FUJIFILM House of Photography are invited to print one of their photos free of charge on Fujifilm's Easy Print kiosks, and then personally hang the photo on the gallery wall to be part of the community gallery exhibition. For more information, please visit the website.

Participants also have the chance to win an instax mini Link 2 printer, with winners chosen weekly. Terms and conditions can be found here.

Theo Georghiades, General Manager – Imaging Solutions, FUJIFILM UK, commented, "Entries to the competition showed outstanding creativity, portraying a powerful range of subjects that celebrate the way people see life – regardless of whether they are a Fujifilm user or not. We would like to thank everyone for taking the time to submit their photos, and to welcome all visitors to the FUJIFILM House of Photography to participate in our ongoing celebration and become part of this inspiring community exhibition."

Furthermore, the FUJIFILM House of Photography will hold a special exhibition entitled 'Life Captured' from 5 to 25 August 2024, showcasing every single shortlisted image from the competition.

The newly renovated FUJIFILM House of Photography in Covent Garden features a wide array of facilities and services, representing the company's continued dedication to the creative community, including:

  • A redesigned print workshop
  • A FUJIFLM School learning space
  • An extended gallery space
  • Dedicated areas for the company's professional GFX medium format system and X Series digital camera range
  • An updated photographic studio with professional headshot services for talent such as actors, models and dancers
  • An all-new merchandise and book shop offering key titles for photographers and creators
  • An instax Creator Cube booth, for visitors to capture fun, infinity room-style content
  • Kit and product loans for photographers to try before they buy

The store is located at 8-9 Long Acre, London, WC2E 9LH. Opening hours:

  • Monday – Wednesday: 11am – 7pm
  • Thursday – Saturday: 11am – 8pm
  • Sunday: 12pm – 6pm

 

For more information and to book tickets to events at the House of Photography, visit www.fujifilm-houseofphotography.com

Categories: Photography News

How To Capture Beachcomb Coastal Close-Ups

Ephotozine - Wed 17 Jul 2024 7:28am

 

Beachcombers find all sorts of treasures that make perfect photographic subjects. So while you're at the coast, take a walk along the beach to see what interesting objects you the sea has washed up for you to photograph.

 

1. What Gear Do I Need? 

A good zoom lens with a macro feature or good close-focusing ability will help you get in close to the various items washed up onshore. A proper macro lens will get you in even closer.

If you're out with the family at a time when the sun's high in the sky a polarising filter will reduce reflection, glare and boost the colours of the items you discover.

If you need some extra support a monopod is more convenient than a tripod, but generally, as you'll be on the move, it's easier to capture these shots hand-held. It all depends on who you are with and how much time you have got to linger. By the way, if you do use a monopod or tripod, wash the feet when you get home to get rid of the sand and salt.

  2. Safety And The Sea

Before we cover what there's to photograph we need to talk about safety. The sea can be a very dangerous thing and it needs treating with respect. Make sure you know when high tide will be and always be aware of the incoming tide so you don't get swept away or stranded. Broken glass, nails and other sharp objects can be washed up so take care to not cut or injure yourself.

Walking along the coast, searching for washed-up items can become rather addictive and before you know it you'll have been out on the beach for a couple of hours so don't forget your sun cream and if it's particularly sunny a hat!

 

 

3. Follow The Tide Lines

To find the most interesting objects you need to follow the tide lines just after a good storm or strong winds have blown in. head out not too late after high tide to give you the best chance of uncovering some photo treasures before they get picked up or the surrounding sand's spoilt with footprints.

 

4. More Subject Suggestions 

Seashells, fossils, shards of pottery and glass objects, driftwood and large plastic objects thrown overboard all wash up on shore and all have photographic potential. The key is to get in close to photograph the scratches, marks and cracks that make these objects unique. If you find larger items such as driftwood try taking a step back to give the item context. You could even collect lots of smaller items up and shoot a seaside themed still life. Obviously we do not encourage you remove stones, pebbles and the like.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Categories: Photography News

Snap Pro Camera App

Ephotozine - Wed 17 Jul 2024 7:28am

[SECTION]INTRODUCTION[/SECTION]

 

There’s a plethora of imaging apps out there, free and paid for. Snap Pro Camera from MIOPS is a free app but you can’t do anything until you’ve paid. Yearly cost is $11.99 but you can pay monthly at $2.49 or go all-in and buy it outright for $49.99.

We tried Snap Pro Camera v1.4.5 on an iPhone 14 Pro. The app is fully compatible with the MIOPS Spark, a grip selling for $119 due to be available later this summer that greatly improves the iPhone’s ergonomics and behaviour as a camera.

 

Quick Verdict

Snap Pro Camera is a very interesting imaging app with plenty of potential for the keen image maker to explore. There are trick features such as Motion Blur, Light Trail and Crowd Removal to experiment with, but as a keen photographer, what I really enjoyed was the chance to shoot different image formats, especially Raw. I appreciate that Raw does not excite everyone, but the potential of serious image tweaking got me interested.

Take out a yearly subscription to the Snap Pro Camera app for $11.99 and that’s effectively $1 a month. Looked at from that perspective, the app is leading value for money.

 

+ Pros
  • Very good value

  • Option of Raw, TIFF, HEIF and JPEG shooting

  • Live filters

  • Range of features

- Cons
  • Aspects of handling could be better. For instance, the use of orange in the interface isn’t very visible in bright sun

  • Some features work better than others and you could argue about the merits of Motion Blur, Crowd Removal, Zoom Timelapse and Tilt Shift

  • Precise control of ISO and white-balance could be better

 

Key Features
  • Raw (with compatible camera phone), TIFF, HEIF and JPEG shooting

  • Choice of aspect ratios

  • Live creative filters

  • ISO, WB, and shutter speed control in M mode

  • Creative features include Timelapse, Motion Blur, Light Trail, Tilt Shift, Crowd Removal, and Portrait mode.

  • Manual controls include ISO, shutter speed selection, and white-balance

  • Gallery and in-phone editing

  • iPhone – requires iOS 16.0 or later

  • Apple Watch – requires watchOS 8.7 or later

  • Apple Vision – requires visioniOS 1.0 or later

  • Yearly $11.99

  • Monthly $2.49

  • One time purchase $49.99

  • www.miops.com

  Snap Pro Camera Features

Snap Pro Camera is a powerful imaging app that gives a compatible iPhone impressive imaging powers. It will appeal to those keen to explore their photography more deeply. 

What features appeal most depends on your ambitions. Snap Camera Pro has the skills to allow exploiting different imaging formats including Raw, TIFF and HEIF. To shoot Raw means setting up the iPhone, but the process is straightforward. Go into Settings>Camera>Formats and you can select Raw under the Photo Capture menu. On the iPhone 14 Pro the options are HEIF Max (up to 48MP), ProRAW Max (up to 48MP) and ProRAW 12MP, which was the format we concentrated on.

You can shoot away in the app in fully auto and I was happy to do so; the results were first-rate. However, Snap Camera Pro gives the opportunity to dig deeper into camera settings so if you want to take control of ISO, explore aperture and shutter speeds and white-balance the app gives you that power. Add focus assist features, histogram and more, you can see that the app has potential.

If you want to get creative and have fun, the app provides various options to explore. There’s a good range of creative filters to impart an individual look to your shots, and if you want to go further, there’s a good lineup of features to check out: Video, Portrait, Motion Blur, Light Trail, Timelapse, Zoom Timelapse, Low Light, Crowd Removal, and Tiltshift. Some of these are more effective than others and the result could be quite unexpected and random, but it was fun experimenting.

 

Snap Pro Camera Handling

Generally, the Snap Pro Camera app behaves and handles well. Mode selection is simple enough and engaging the Live Filters, choosing aspect ratio, and choosing image format is dead easy. 

Open the app, and you see the large virtual shutter release at the bottom of the interface (if you’re holding the phone upright) with three rows of icons, which we’ll discuss shortly. 

At the top of the interface is a camera icon and touching this brings up the main menu where you choose the capture mode.

 

 

Select Photo mode, and across the top you’ll see aspect ratio, image format and burst shooting controls and finally top right is the settings icon.

There are seven image aspect options (1:1, 6:7, 3:2, 4:3, 16:9, 21:9 and Full) and four image formats: HEIF, JPG, TIFF, and Live.

At the bottom of the app, there are three rows of controls.

The very bottom row is where you will find the creative filters; there are nine settings for colour and mono capture. The creative filters are worth using for images with an individual look (there are images taken with each filter below). My personal favourites were Instant and Process because they are different. Mono and Noir modes are similar in that they are monochrome, but the latter is contrasty and gritty, which is right up my street. I enjoyed having these tools for out of phone results.

Next to filter control is a button to call up features such as grid where the options are Rule of Thirds and Golden Triangle, Zebra Stripes and live histogram with RGB and Luminance the options.

What you’ll find useful in the set-up menu obviously depends. The Rule of Thirds grid and histogram I found useful, Focus Peaking and Zebra Stripes less so.

The next row is where you can shoot fully A or get into M. With the Snap Prop app in A mode you basically get point and shoot simplicity and the shutter speed  ISO, WB and focus control are greyed out. Hit M and that changes and controls go white so you know they are active.

 

 

The controls are different from what you would expect to see on a traditional camera. There are no virtual dials or buttons, just sliders which are a tad more tricky to adjust precisely. The ISO control has marked settings at 50, 100, 200, 500, 1000, and 3000 but with the slider, the ISO can be 361 or 998 or anything within the range. Whether you want to be precise is another matter, but I’d personally prefer having presets for ISO setting rather than a tricky-to-control slider.

The shutter speed range (denoted by an iris icon) is 1sec to 1/12,000sec, and as with ISO, the speed is set by a slider. Adjust ISO and aperture, and the image preview is updated pretty quickly but not instantly to reflect the impact of the settings.

 

 

There is a lot of data on the default interface so if you prefer using a data-free view to compose your masterpieces touch the padlock icon and everything vanishes except that icon and the shutter button. 

A negative I found was the use of orange which was not very visible when using the phone out in bright sun and the touch controls sometimes lacked responsiveness. This might be due to finger grease on the phone fascia or an inaccurate touch, and sometimes multiple attempts were needed to call up a feature.

 

 

Images taken in Snap Pro Camera and shown in the Gallery, where there are three views. In-app editing is possible where key parameters can be fine-tuned and images cropped to taste.

 

[SECTION]PERFORMANCE[/SECTION]

Snap Pro Camera Performance

We used the Snap Pro Camera app on an iPhone 14 Pro. We also tried it on the much older iPhone X and the app performed less well notably in terms of stability. On the iPhone 14 Pro, though, there was a much better and more enjoyable all-round performance. 

I also took pictures in HEIF, JPEG, TIFF, and Raw (DNG) in a range of lighting types and at different ISO speeds. In the case of the Raw files, I processed them in Adobe Lightroom.

 

Snap Pro Camera Sample Photos

 

Snap Pro Camera Aspect Ratio

Of course, it is always possible to crop post-capture, but getting it right in camera is much more satisfying. Not only that, using the required aspect ratio in the first place means the composition is accurate.

Snap Pro Camera has seven image aspect ratios on offer.

 

1:1
Apple iPhone 14 Pro | 6.86mm | 1/10800sec | f/1.8 | ISO 80 | JPEG | 3024x3024 pixels
 

6:7
Apple iPhone 14 Pro | 6.86mm | 1/10800sec | f/1.8 | ISO 80 | JPEG | 2592x3024 pixels
 

3:2

Apple iPhone 14 Pro | 6.86mm | 1/10800sec | f/1.8 | ISO 80 | JPEG | 4032x2688 pixels

 

4:3
Apple iPhone 14 Pro | 6.86mm | 1/10800sec | f/1.8 | ISO 80 | JPEG | 4032x3024 pixels
 

16:9
Apple iPhone 14 Pro | 6.86mm | 1/9700sec | f/1.8 | ISO 80 | JPEG | 4032x2268pixels
 

21:9
Apple iPhone 14 Pro | 6.86mm | 1/10800sec | f/1.8 | ISO 80 | JPEG | 4032x1728 pixels
 

Full
Apple iPhone 14 Pro | 6.86mm | 1/10800sec | f/1.8 | ISO 80 | JPEG | 4032x1860 pixels

 

Snap Pro Camera Live filters

Snap Pro Camera offers instant creativity with its Live Filters, which can be applied to shots in real time. Having a live preview means you can check out the effect of each one and shoot with the look that best suits the scene. Each filter is pre-set, but perhaps in the future, there will be the potential to fine-tune the effect and save them as personal presets.

These are out of camera JPEGs taken with each setting. The full JPEG was 31MB and opened up to a 34x22.7cm file at 300ppi and image quality was first-rate when viewed at 100% on-screen with fine detail looking very good indeed.

 

Filter off
Apple iPhone 14 Pro | 6.86mm | 1/8900sec | f/1.8 | ISO 64
 

Chrome
Apple iPhone 14 Pro | 6.86mm | 1/8900sec | f/1.8 | ISO 64 | Out of camera | JPEG
 

Fade
Apple iPhone 14 Pro | 6.86mm | 1/8900sec | f/1.8 | ISO 64 | Out of camera | JPEG
 

Instant
Apple iPhone 14 Pro | 6.86mm | 1/8900sec | f/1.8 | ISO 64 | Out of camera JPEG
 

Mono
Apple iPhone 14 Pro | 6.86mm | 1/8900sec | f/1.8 | ISO 64 | Out of camera JPEG
 

Noir
Apple iPhone 14 Pro | 6.86mm | 1/8900sec | f/1.8 | ISO 64 | Out of camera JPEG
 

Proces

Apple iPhone 14 Pro | 6.86mm | 1/8900sec | f/1.8 | ISO 64 | Out of camera JPEG

 

Sepia Tone
Apple iPhone 14 Pro | 6.86mm | 1/8900sec | f/1.8 | ISO 64 | Out of camera JPEG
 

Tonal
Apple iPhone 14 Pro | 6.86mm | 1/8900sec | f/1.8 | ISO 64 | Out of camera JPEG
 

Transfer
Apple iPhone 14 Pro | 6.86mm | 1/8900sec | f/1.8 | ISO 64 | Out of camera JPEG
 

Snap Pro Camera ISO images

Snap Pro Camera has an ISO range of 50-3000, selectable in M mode. The shots here were Raws and edited to control highlights and shadows in Adobe Lightroom.

 

Apple iPhone 14 Pro | 9mm | 1/20sec | f/2.8 | ISO 100 | DNG processed in Adobe Lightroom

 

Apple iPhone 14 Pro | 9mm | 1/60sec | f/2.8 | ISO 1000 | DNG processed in Adobe Lightroom

 

Apple iPhone 14 Pro | 9mm | 1/100sec | f/2.8 | ISO 2500 | DNG processed in Adobe Lightroom

 

Snap Pro Camera Test pictures

 

Apple iPhone 14 Pro | 2.22mm | 1/250sec | f/2.2 | ISO 40 | Raw format edited to taste in Adobe Lightroom

 

Apple iPhone 14 Pro | 9mm | 1/250sec | f/2.8 | ISO 32 | HEIC format edited to taste in Adobe Lightroom

 

Apple iPhone 14 Pro | 2.22mm | 1/60sec | f/2.2 | ISO 640 | HEIC format edited to taste in Adobe Lightroom

 

Apple iPhone 14 Pro | 2.22mm | 1/800sec | f/2.2 | ISO 40 | HEIC format edited to taste in Adobe Lightroom

 

Apple iPhone 14 Pro | 2.22mm | 1/750sec | f/2.2 | ISO 40 | DNG Raw format edited to taste in Adobe Lightroom

 

Apple iPhone 14 Pro | 2.22mm | 1/100sec | f/2.2 | ISO 40 | HEIC format put through Adobe Lightroom

 

Apple iPhone 14 Pro | TIFF format put through Adobe Lightroom

 

[SECTION]VERDICT[/SECTION]

 

Snap Pro Camera Verdict

There are many imaging apps around for all sorts of tasks and their usefulness and value obviously depend on your needs. 

Snap Pro Camera has three buying options. Go monthly and the cost is $2.49; commit to $11.99 for a year, and monthly costs drop to under $1, and if you take the outright purchase option, the price is $49.99. 

For me, it would make sense to try it for a month and give the app a good test on your iPhone and see how you get on with it before taking the next step. With the summer ahead, it’d make sense to check it out sooner rather than later.

 

Snap Pro Camera Pros
  • Very good value

  • Option of Raw, TIFF, HEIF, and JPEG shooting

  • Live filters

  • Range of features

 

 

Snap Pro Camera Cons
  • Aspects of handling could be better. For instance, the use of orange in the interface isn’t very visible in bright sun

  • Some features work better than others, and you could argue about the merits of Motion Blur, Crowd Removal, Zoom Timelapse, and Tilt Shift

  • Precise control of ISO and white-balance could be better

 

[REVIEW_FOOTER]R_features=4|R_handling=3.5|R_performance=4|R_value=4.5|R_overall=4|A_level=4|A_text=Recommended – Snap Pro Camera is a good app with potential and definitely worth a try.|E_id=8016[/REVIEW_FOOTER]

Categories: Photography News

Meike Unveils New 50mm F1.8 Full Frame Auto Focus Portrait Lens for L-Mount Cameras

Ephotozine - Wed 17 Jul 2024 6:27am

 

Meike is thrilled to announce the launch of its latest 50mm F1.8 Full Frame Auto Focus Portrait Lens, now available for Leica, Sigma, and Panasonic L mount cameras. This versatile lens is now available for purchase!

The MK-5018FFSTM-L lens features a minimum focusing distance of 0.63m and an advanced optical design comprising 11 elements in 7 groups. It also includes a 58mm filter thread, making it a perfect addition to any photographer’s kit.

 

Key Specifications:
  • SRP: USD 169.99
  • Aperture Range: F1.8-F16
  • Focal Length: 50mm
  • Filter Thread: 58mm
  • Diaphragm Blades: 9
  • Weight: Approximately 382g
  • Focus Mode: Auto Focus
  • Minimum Focusing Distance: 0.63m
  • Lens Construction: 11 elements in 7 groups
  • Full Frame Angle of View: Diagonal 46.4°, Horizontal 39.4°, Vertical 26.8°
  • APS-C Angle of View: Diagonal 31.3°, Horizontal 26.2°, Vertical 17.36°

 

This lens is designed to deliver sharp and clear images, making it ideal for portrait photography. The nine-bladed diaphragm ensures a beautiful bokeh effect, enhancing the subject against a softly blurred background.

For more product information, please visit the Meike website.

Categories: Photography News

5 Alternative Ways To Photograph A Waterfall

Ephotozine - Wed 17 Jul 2024 1:27am

 

Waterfalls, the pools of water in front of them and streams will always be popular photographic subjects but just because everyone's taking photos of these photogenic landscape spots doesn't mean all of your shots have to be the same as the next photographer who comes along. With this in mind, let us share a few tips with you on how to shoot waterfall shots that have a bit of a twist. 

 

1. Capture More Close-Up Shots

 

Instead of capturing the whole scene why not focus on a small area of the waterfall. Focus on movement and colour rather than a landscape as a whole or use rocks that cause smaller cascades further downstream to fill your images with sharp shapes that contrast well against the smooth flow of water.  

 

2. Use Fast Shutter Speeds

 

When you think of waterfall images the shot of silky water cascading down rocks probably springs to-mind but there's no reason why you can't switch this around and capture a sense of motion and power. If you're working in aperture priority you can set a wide aperture (f/2.8 - 4) to get the quicker shutter speeds you need. You can also bump up your ISO to gain a faster shutter speed. To freeze movement you have to set a fast enough shutter speed to prevent the subject’s movement blurring as it moves across the sensor. What shutter speed you need will change depending on how fast the water is moving so experimentation is key but keeping the speed under one second should be a good starting point.

 

3. Go Abstract - Shoot Bubbles

 

At the foot of the waterfall or even further downstream you'll find water bubbles that can be captured and turned into abstract pieces for your wall. Please take care on slippery rocks and obviously take care of your kit. Remember to wipe it down after use and unless you are using a camera which is weather-resistant try not to stand in a spot where the spray will be a problem. Shoot plenty with fast shutter speeds and focus manually. For more tips on this subject, have a read of this: Why And How To Shoot Creative Abstract Photos Of Water Bubbles

Further downstream the currents of bubbles can be turned into spirals that decorate the surface of the water when shot with longer shutter speeds but try to not make the shutter speed too long as this will add too much blur and you'll lose definition. 

 

4. Head Out On 'Bad' Weather Days

 

Most of us aren't fans of rain and cloudy days but after a shower, foliage appears more vibrant and it'll help your image to really 'pop'. The contrast will be lower too which makes it easier to get the shot you want without having to worry about bracketing. Later in the year when frost and ice begin to make an appearance, you'll be able to capture shots with icicles decorating banks and if it's really cold, the waterfall may be frozen all together giving you the opportunity to capture a waterfall shot that's certainly different from the norm. Just remember to be careful when walking at the side of streams and rivers as surfaces will be slippery. 

 

5. Do A Black & White Conversion 

 

If you think your shot is lacking punch, apply a black & white conversion and you may be surprised with the results. The cascade of water will really stand out against darker, wet rocks and foliage, plus a black and white conversion can often add mood to a waterfall shot that wasn't there in the colour version. 

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Categories: Photography News

8 Underwater Photography Questions Answered

Ephotozine - Tue 16 Jul 2024 4:25pm
  1. What Gear Is Needed? 

If you plan on taking your none-waterproof camera underwater you'll want to fix a wide-angle or even fisheye lens to it and secure it in a waterproof housing. There are also several waterproof compacts available which don't need housing as they're designed to survive a swim to certain depths.

 

2. How Well Do You Know Your Camera? 

Finding and changing your camera's settings underwater, particularly if your camera's in a waterproof housing, can be really hard work so if you don't want to miss a shot, set your camera up before you put the camera in the water. Fish move quickly, too so if you're fiddling about with your camera, chances are you'll miss the opportunity to capture your shot. Once you've taken your photos do remember your camera, even if it is waterproof, isn't a great fan of saltwater so wipe and dry it down.

 

3. What Are The Weather/Conditions Like? 

You need water that's clear as possible so avoid underwater photography on choppy days when visibility can be poor due to sand and other debris getting churned around in the swell. Light's less even and there's not that much of it underwater so you'll need higher ISOs and wider apertures. You'll also want to put as little distance between you are your subject as you can, otherwise, you'll have blurry shots where you can't make out if you've captured a fish or a piece of seaweed. Water has a habit of refracting light which can mean your subject appears closer and larger than it really is, too.

 

4. Is It Possible To Shoot Near The Surface?

If you can work closer to the surface do as colours are more vibrant as light is less diffused and the reflections on it, like when working above water, can add extra interest to your underwater shots. When you do venture into deeper water do remember to secure your camera correctly, after all, you don't want to watch it sink away from you.

 

 

5. Is Flash Needed? 

You can use your camera's built-in flash to add more light to your shot but it won't work if you're not working close to your subject as it'll light up any tiny pieces of matter floating around which can cause blob-like shapes to appear around your image. Instead of using the built-in flash try taking a more powerful strobe underwater with you as you can move these around the scene so the blobs of light won't make an appearance. You'll also be able to create different effects, adding more light to some areas and creating shadows in others.

Unless you're close to the surface where it's a little lighter, you'll most likely need flash to freeze the movement of the fish and plants you're photographing. Flash is also handy when you're taking a macro shot of coral.

 

6. Are White Balance Adjustments Needed? 

Unless you change your white balance your underwater shots will have the familiar blue/green cast to them. Adding flash can help remove it but the best way to control it is by manually setting the white balance. All you have to do is take a reading off something light and when you alter your depth, take another reading as variables change.

 

7. Is There A Method For Approaching Fish Without Scaring Them? 

If you have the time to learn a little about the fish species that will be around the place you're visiting do as knowing which species will be more willing for you to get close and understanding the behaviour of the more shy species will help you produce more, frame-filling, interesting results.

If you didn't plan on venturing out under the waves just move in gradually when you spot a fish you'd like to photograph and see how it reacts to you. Don't suddenly start flapping your arms or kicking your legs though as this will just cause them to turn around and head to safety. The bubbles you make from breathing out can also scare them but we're not suggesting you hold your breath! Just try and breath out in a different direction to where the fish is. Weights and a buoyancy compensator can help you keep still but these are generally used by more serious underwater photographers.

 

8. What About Backgrounds? 

Where possible, keep the background plain and clutter-free after all, a lot of creatures are designed to camouflage with their surroundings but you don't want your friends to be playing 'spot the underwater creature' when you show them your shots. The best plain background you'll find is the huge amount of water above your head. To get it in shot simple shoot from a low angle. This will also help your subject look more dominant.

 

For more hints and tips, have a look at our complete guide to underwater photography.

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Categories: Photography News

Leap Into Action With MPB

Ephotozine - Tue 16 Jul 2024 1:52pm

For cricket, a lens of around 400mm on 35mm format will give a decent image size from the boundary rope. The exposure was 1/2000sec at f/5.6 and ISO 500. Image by Will Cheung.

 

Action photography can be a real test of your hand-eye coordination. Keeping focus as a racing motorbike is hurtling towards you and then timing the press on the shutter button to capture the peak of the action might sound simple, but it’s a challenge and getting it right demands practice and good technique. What’s also important, though, is having the kit with the focusing and burst shooting skills capable enough to help you tackle fast-moving subjects.

Timing your shots is obviously important but having a camera that can rattle through a sequence of frames very quickly is a big benefit and may possibly give you several stunning shots to choose from. 

The camera manufacturers don’t just concentrate on innovating one feature because they need to take a global view, but they have certainly given burst shooting a lot of thought and speeds have progressed rapidly. For instance, the Nikon Z9 and Sony A9 III are incredible machines capable of racing through still photographs at 120fps (frames-per-second). Both are flagship models and priced accordingly; in the shops right now, the body only price of the Z9 is £4999 and the A9 III is £6099.

Buying a used camera from MPB can save you a lot of money. Using these two cameras as examples, from MPB a used Nikon Z9 is £3349 while a Sony A9 III can bought for £4329. You don’t need a calculator to work out that taking the MPB option will save you a tidy sum and you can put that cash towards a lens, more memory or a set of filters, also from MPB.

 

With excellent autofocusing and rapid shooting speeds, the Nikon Z9 (left) and Canon EOS R7 are great cameras for action photography, and both are available from used gear experts MPB.

 

We used two top of the range models to illustrate the point, but there are savings to be had at all price levels. Take the Canon EOS R7, for example. This camera boasts 32.5 megapixels and because it’s an APS-C format camera, its 1.6x crop factor gives more telephoto pulling power, which comes in handy for action shooting, and it can shoot at 15fps with its mechanical shutter. New, the EOS R7 sells at £1349 (body only) while a used sample in excellent condition from MPB is £1149, a saving of £200.

The Micro Four Thirds format, supported by OM System (formerly Olympus) and Panasonic, offers the even more useful crop factor of 2x. The highly featured OM System OM-1 Mark II in excellent condition from MPB is £1819 (body only) and it can shoot at 50fps with autofocus tracking. It also has Pro Capture mode which temporarily holds pictures in the camera’s buffer and only when you press the shutter button fully down are the past (up to) 99 shots written to the memory card. It’s a great feature for action and means capturing shots that even those with the most rapid reactions will miss.

 

Lens matters

Of course, you don’t get anywhere without a lens, and you need long lenses for the simple reason that sporting action often happens some way from the spectators. Having a telephoto lens means you can get a decent-sized image and crop out distracting stuff like advertising hoardings.

How long a lens you need depends on the subject. Cricket, for example, will need a focal length of 400mm (on the 35mm format) at least, and even on an average-sized ground this should be enough to get a decent view of the action at the wicket. If you have the budget, a fast aperture prime telephoto is a possibility, but that’s probably only worth it if you’re a frequent long lens user and a telezoom might be the best, most versatile and better value option. A couple of decent independent options include Sigma’s 150-600mm f/5-6.3 DN OS HSM Sport, available from MPB at £1099 (Sony FE mount), and the Tamron 150-500mm f/5-6.7 Di III VXD at £859 (Sony FE fit).

 

Panning a fast-moving subject with a relatively slow shutter speed can give fascinating results. This was taken with a Fujifilm XF 50-140mm f/2.8 R LM OIS WR lens (£884 from MPB) at 140mm. Image by Will Cheung.

 

Many sports, such as football, rugby and hockey, are much more fluid in that the players constantly change position so a zoom is a more viable option, especially if you have one with a f/2.8 maximum aperture to allow fast shutter speeds even in less than perfect light. Their downside is that fast telezooms tend to be expensive. As an example the new price of the Nikon Z 70-200mm f/2.8 VR S is £2139, but from MPB you can get the same lens in excellent condition for £1529. which is a very worthwhile saving.

There are sporting events that don’t need a telephoto lens to get you close to the action and you can shoot them with a standard zoom. Marathons and cycle races, for example, take place on public roads which means you can get very close and you might even use a wide-angle lens for dynamic compositions.

 

So, what are you waiting for?

Once you’ve the kit you need, check out the sporting events in your local area and get out there to hone your action skills. Have fun and good luck.

 

The latest news from MPB

 

MPB prides itself on its sustainability

MPB has published its second annual impact report, which details how the business is performing against its sustainability strategy. Sustainability to MPB is defined in economic, social and environmental terms and the business is committed to economic prosperity, social inclusion and the protection of the environment, now and in the future.

The report digs into the detail and there’s a downloadable pdf available if you want to learn more about MPB’s objectives and how it’s performing. 

Key takeaways from the report include 100% plastic free packaging, zero waste to landfill and 46% of MPB’s management roles are held by female employees. In terms of kit, over 570,000 items were recirculated in the past fiscal year and to give you an idea of how MPB performed, its global average Trustpilot score is a very impressive 4.83 out of 5.

Click here to read the full report.

 

MPB Explained

You need kit to take photographs and produce videos, and taking the used route is a cost-effective way of making the most of your budget and keeping up with the latest developments in imaging technology.

MPB is one of the biggest used retailers with bases in the UK, Germany and the USA.

Trading with MPB the process is fair, safe, painless and incredibly easy.

Whether you have kit to sell, want to make a purchase or part exchange, start by going to the MPB website which is intuitive and straightforward to use.

If you have kit to trade, just start typing the name in and a list of suggestions from MPB’s huge database will appear. If a name on that list matches your product click on it and add its condition; if not, continue typing in the whole name and condition.

It’s worth bearing in mind that MPB’s database covers much more than cameras and lenses so if you have, for example, a photo backpack, tripod or filters to sell these can be shown as you type in their name too.

With all your kit listed, add contact details and a quote will appear in your inbox soon afterwards, although manually entered items will take one working day.

If you are happy with the quote, accept it and follow the instructions to get the kit ready for courier collection on a day to suit you. For higher-value deals, an MPB account manager will also be in touch, so you have a personal point of contact if you have any queries.

Once received by MPB, you will get a notification and after checking by its product specialists you will receive a final quote. This can vary from the original quote if there is a missing item —like a battery not being supplied—or your assessed condition differs from the actual condition.

A quote can go down, but it can also increase if the kit’s condition is better than your assessment.

The whole process doesn’t take long and MPB are in touch by e-mail at every step so you’re never in the dark, and only when you are totally happy with the deal, pass on your payment details or pay the balance in the case of part-exchange. Either way, the money or your new kit will be with you soon after.

Get A Quote From MPB Today

 

About MPB
  • MPB is the largest global platform to buy, sell and trade used photo and video kit.
  • MPB is the simple, safe and circular way to trade, upgrade and get paid.
  • MPB is not a marketplace, instead buying directly from visual storytellers and evaluating all items before reselling MPB-approved kit.
  • MPB's dynamic pricing engine provides the right price upfront for all items.
  • Circularity is at the centre of MPB, promoting sustainability, diversity and inclusion in everything they do.
  • MPB prioritises inclusive recruitment and supports employees with extensive training and development. They promote inclusive visual storytelling and an inclusive circular economy.
  • MPB's business model is 100% circular. All packaging is 100% plastic-free. Their cloud-based platform uses 100% renewable electricity.
  • MPB recirculates more than 570,000 products annually
  • MPB provides first-class customer service. Customers can receive support through their Help Centre or by speaking directly with a kit expert.
  • MPB's product specialists are trusted by thousands of visual storytellers in the UK.
  • MPB is rated ‘Excellent’ on Trustpilot with over 37,000 reviews.

Visit The MPB Website

Categories: Photography News

10 Top Ways To Use Different Angles In Your Photography

Ephotozine - Tue 16 Jul 2024 1:21am

1. Sit Down

Be it on the floor, or on a seat, sitting immediately gives you a lower perspective and therefore new photo opportunities. Trees and people, for example, can tower over you when sat down for that overbearing feel. Often photographing children look more natural from a seated position too, as you're at their level rather than shooting down on them.

 

 

2. Go Out To Sea

While on your travels, if you have a waterproof camera try turning round to face the beach. If you don't fancy getting wet, just walk towards the water and stand at the edge, shooting up the beach rather than out to sea as most people do. You could also get on a boat of some sort and see what spectacular pictures of the coast you can get while out there. An organised boat trip will also give you a fantastic opportunity to capture some amazing wildlife photos while you're at it, too. If you do head out to sea, taking a weather-resistant camera will mean it's protected against sea spray but do remember to wipe your kit down once back home to remove any residue. Here are some more tutorials on photographing the sea.

 

3. Climb Up High

Head for the nearest tower or hill to get a stunning view of a town or landscape below you. Night vistas of cities work well as do misty mornings in the countryside where valleys are filled with fog and only the peaks above can be seen. To give your shot even more impact, capture a panorama, a topic discussed further down the page. If landscape photography takes your fancy, then here are 10 Quick Landscape Photograph Tips.

 

4. Take A Stepladder Out

It might sound silly but if you're trying to take photos at a busy event where there's a big crowd, you'll be able to shoot above them. It will help you avoid getting people's heads in shots and give you a great opportunity to get a general overview of the scene. A stepladder will also get you closer to items that are slightly too high for you to shoot from the ground and offer a slightly alternative angle to everyday objects that are shot straight-on most of the time.

  5. Go Underwater

If you have the right equipment, shooting underwater is well worth a try. You don't even have to go diving, you could simply buy an underwater camera and have a go in a pool or at the beach in shallower water. This is a fun one for kids to have a go at, too. 

 

  6. Hold Your Camera Up High

The easiest way to change your view is by simply holding the camera up above you to give you a different perspective of the scene. Cameras with a tiltable screen let you see everything comfortably when you shoot - even from very high angles. 
 

7. Go Wide

Why settle for a standard 4 x 6 shot when you can shoot a panorama? With built-in panorama modes, it's now easier than ever to take these wider shots. All you have to do is select the Panorama Mode and sweep your camera in the direction you want to create your panorama. The camera then stitches the images together so you have a sweeping shot of the scene you're shooting.
 

  8. Lie Down

Again, this can get you some funny looks but it's worth it as you'll get an ant's eye view that can give surprisingly good photographic results. Use a small aperture to maximise depth of field and keep an eye on your exposure if you're including the sky in your shot. This position is also great for macro and close-up shots of insects and plants, and any other small items on the ground.

  9. Shoot From Under/Below Things

This involves positioning your camera so it's low to the ground but facing up towards the sky. This can produce some great images of flowers, for example, as it makes it look like they're leaning over your lens and provides a unique opportunity to get a lot of sky in the picture too.

  10. Use Reflections

Reflections can be great tools for changing perspective. As well as the obvious choices such as landscapes reflected in mirror-like lakes, look for puddles you can reflect people with umbrellas in, new buildings made of glass which can reflect slightly older structures and more abstract shots when the winds blowing so the water's surface isn't still.

    You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition
Categories: Photography News

Nikon Z6 III Camera Review

Ephotozine - Mon 15 Jul 2024 7:17pm

[SECTION]INTRODUCTION[/SECTION]

 

Quick Verdict

It's perhaps expensive, but the handling soon reveals that this is a premium product that is yet another example of Nikon being at the top of their game. The images are great, the videos are smooth and even using the basic default

settings results in excellent results. With faster AF, a new partially stacked sensor, premium weather sealing and superb lenses, the Z6 III is a strong contender for being called the best in its class.

 

+ Pros
  • New Partially Stacked 24.5MP CMOS Sensor
  • New ultra bright 5.76M dot EVF
  • Enhanced video specs
  • Premium weather sealing
  • AF and subject recognition to -10EV
  • Significantly improved AF speed
  • Superb high ISO performance
  • 8 stops 5-axis VR
  • Outstanding range of Nikkor Z lenses
  • Nikon Imaging Cloud
- Cons
  • High cost

 

The Nikon Z mirrorless range has been moving steadily onwards and upwards, with APS-C and Full Frame models, hybrid and high resolution alternatives and even modern and retro designs side by side. The new Z6 III reaches new heights for the hybrid design ethos, having both photographers and videographers firmly in its sights. It has clearly delivered a fantastic specification, so let's have a close look and see how this translates into features and handling. Does the new camera achieve best in class status? Using the Nikkor Z 24-70mm f/2.8S that has already earned itself the accolade of Editor's Choice, let's find out if the Z6 III can match its excellence.

 

Nikon Z6 III Features

The Z6 III weighs in at a solid 750g, including battery and SD card. It's a moderately sized 138.5mm x 101.5mm x 74mm and balances well with the Nikkor Z 24-70mm f/2.8S lens used for this review.

The camera is not cluttered with switches and dials, but has enough to make its operation intuitive and practical without having to constantly delve into the menus. Those items frequently used that are menu based can be easily accessed vis the i button, often called a Q button in other marques.

 

 

The 5.76M dot EVF is amazing, with a brightness of 4000 nits meaning that its visibility in bright light is not unduly impaired. It also boasts a wide DCI-P3 gamut for realistic colour rendition. The 3.2" Vari-angle monitor is also very respectable with its 2.1MP dots. It delivers crsip images, albeit it not in the same class as the EVF.

The 24.5MP Full Frame CMOS sensor is described as Partially Stacked, less expensive to manufacture than a fully stacked sensor and yet almost as fast. It delivers stunning quality for both stills and video.

 

 

The EN-EL14c battery is housed in the baseplate. The EN-EL14b and EN-EL14a can also be used. The b version can charge in camera, the a version needs a separate charger, but both have reduced capacity compared to the current battery. The door on the right of the camera reveals the two card slots, one for CF Express Type B/XQD and the other for SD up to UHS-II. On the left side of the camera are the connectors, under two rubber flaps. It might have been good to have proper doors in terms of longevity. Connectors are USB-C, suitable for changing the camera, USB Type A and Ultrasynch Blue. Under a separate flap are the headphone jack and the external mike stereo jack.

A key feature is the low light capablilyty of the AF, down to -10EV, the same also being true of the subject tracking, now virtually at the same level as the Z8. At the other extreme, at high ISO values the quality is maintained to an extraordinary degree. Pre-release capture and 3D tracking are also provided.

 

 

Keeping things on an even keel is the 5-axis 8 stop VR, built into the body. IBIS also applies to video shooting and certainly the image in the viewfinder looks stable enough. The resulting videos are smooth and easy on the eye, no wavering about that can be fatiguing for an audience.

There are plenty of external buttons to access some useful and often used features directly, such as drive options, exposure compensation and ISO; there are various options for programming buttons to suit the individual. Some time spent setting up preferences will be well invested.

A unique first for the Z6 III is the new option of using Nikon Imaging Cloud. Once connected, this offers direct to camera firmware updates during charging. This can be automatic or selected manually as desired. When switched on, the camera can be automatically connected to the web service and any number of images uploaded for free for 30 days storage. Also offered are image recipes from Nikon and from other users. Once downloaded these will appear as new Picture Control profiles. There is no charge for NIC.

 

 

Nikon Z6 III Key Features
  • Partially Stacked 24.5MP Full Frame CMOS sensor
  • Exspeed 7 Processor
  • Pre-release capture
  • Mechanical shutter 30s - 1/8000s
  • 14fps mechanical shutter 
  • Electronic shutter 30s - 1/16000s
  • 20fps electronic shutter
  • 5 axis VR 8 stops with focus point stabilisation
  • Pixel Shift 96MP stills
  • AF and subject detection to -10EV
  • Metering from -4EV to +17EV
  • ISO range 50-204800 (Extended)
  • ISO range 100-64000 (Standard)
  • SD UHS-II Card slot
  • CF Express Type B/XQD Card slot
  • Vari-angle 3.2” LCD Touch screen 2.1M dots
  • EVF 1.27cm (0.5") UXGA OLED 5.76M dots/4000 nits DCI-P3 wide colour gamut
  • EVF 100% view, 0.8x magnification
  • WiFi
  • Bluetooth
  • Nikon Imaging Cloud
  • USB-C, Type A HDMI and timecode Ultrasynch Blue 
  • 138.5mm x 101.5mm x 74mm
  • 750g with battery and SD card
  • EN-EL 15c battery
  • Premium weather sealing
  • Operation down to -10C
  • Optional vertical battery grip MB-N14

 

Nikon Z6 III Handling

There is little to complain about with Nikon cameras. They are robust, beautifully engineered and operate as slickly as their high end status demands. The initial menu settings can be a bit convoluted, and it still rankles slightly that instant image review has to be switched on, but of course once it's done, it's done, but I have seen it fox some new users.

Control placement falls to the right fingers and grips and the controls are resposive and smooth. There is plenty of customisation available, so whatever the photographer's needs there will be a way to set things up as desired.

Ergonomically the design is well thought out, and for those who prefer a bigger camera there is always the new vertical battery grip.

In terms of video, the start/stop is smoother than many. To be kind to the audience a tripod will of course solve most problems, unless the video style pursued is the camera roaming free of constraints. The basic video setup delivers well, with some interesting effects from rotating car wheels and no doubt aircraft propellors as well.

All in all though, handling the Z6 II is a real pleasure, a fine camera well designed and well made and giving exceptional results.

 

[SECTION]PERFORMANCE[/SECTION]

Nikon Z6 III Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

.table-responsive table, .table-responsive table tr, .table-responsive table tr td { border: 1px solid #ddd !important } Nikon Z6 III Sample Photos Previous Next

 

Lens Performance – The solidly built Z6 III balances very well with the Nikkor Z 24-70mm f/2.8S lens provided for this review. The lens is a beauty and was duly awarded an Editor's Choice in the ePHOTOzine review. The lens is a superb match for the Z6 III body.

 

Nikon Z6 III ISO test images Previous Next

 

ISO Performance – At ISO values up to ISO 400 there is virtually no noise and an impressive amount of textural detail. The actual detail does slowly tail off, but we remain noise free up to ISO 1600. A trace of noise creeps in, and this is only a trace, at ISO 3200 and ISO 6400, but it is not until ISO 12800 that it becomes more obvious. At ISO 25600, the edges of the test target boxes show signs of feathering and this is more pronounced at ISO 51200. The plot is lost at ISO 102400, but in very low light conditions where any image is a bonus this does still produce a viable image. ISO 204800 reveals a noise pattern of unpleasant worm like structure and is a setting of last resort. Overall, the performance is very, very impressive and the versatility enabled by this should not be underestimated.

 

Nikon Z6 III White-balance test images Previous Next

 

White Balance – There are various white balance presets available, these being Auto, Natural Light Auto, Direct Sunlight, Cloudy, Shade, Incandescent, Fluorescent, Flash, Choose Colour Temperature and Preset Manual. These options can all be fine tuned to taste. Most of the review samples were shot using Natural Light Auto, which serves well for general shooting with a slight emphasis towards a warmer image.

 

Nikon Z6 III Digital filters Previous Next

 

Digital Filters – Digital Filters apply all sorts of styles and special effects to JPEG images and are well worth exploring in detail. We have Picture Controls: Auto, Standard, Neutral, Vivid, Monochrome, Flat Monochrome, Deep Tone Monochrome, Portrait, Rich Tone Portrait, Landscape and Flat. Then there are the 20 digital filters: 01 Dream, 02 Morning, 03 Pop, 04 Sunday, 05 Somber, 06 Dramatic, 07 Silence, 08 Bleached, 09 Melancholic, 10 Pure, 11 Denim, 12 Toy, 13 Sepia, 14 Blue, 15 Red, 16 Pink, 17 Charcoal, 18 Graphite, 19 Binary and 20 Carbon.

Probably any given photographer will look at some of these options and wonder why they would be there, but then another will latch on to the same and use it creatively. If we find just a few that appeal to us creatively then they are doing their job.

 

 

Video – Being a Hybrid design, the Z6 III has eyes on both photographers and videographers, and in terms of video does indeed produce clean, stable movies. The essentials are:

  • 6K 60p RAW internal recording
  • 5.4K 60p (YUV) recording
  • 4K 60p UHD oversampled from 6K in-camera 240p (10x slow motion)
  • N-RAW and ProRes compatibility
  • 12-bit RAW
  • 10-bit Log recording
  • 10-bit H.265 option
  • CFExpress/XQD/SD UHS-II cards supported
  • External mic input for pro quality sound
 

[SECTION]VERDICT[/SECTION]

 

Value For Money

The [AMUK]Nikon Z6 III Body|Nikon+Z6+III+Body[/AMUK] is priced at £2699.00

Body plus Nikkor Z 24-70mm f/4, £3249

Body plus Nikkor Z 24-120mm f/4, £3539

Full frame alternatives include:

  • [AMUK]Canon R6 II body|Canon+R6+II+body[/AMUK], £1999
  • [AMUK]Panasonic Lumix S5 IIX body|Panasonic+Lumix+S5+IIX+body[/AMUK], £1899
  • [AMUK]Sony A7 IV body|Sony+A7+IV+body[/AMUK], £2079

APS-C crop sensor alternatives include:

  • [AMUK]Panasonic Lumix G9 II body|Panasonic+Lumix+G9+II+body[/AMUK], £1689
  • [AMUK]Sony A6700 body|Sony+A6700+body[/AMUK], £1429
  • [AMUK]Fujifilm X-S20 body|Fujifilm+X-S20+body[/AMUK], £1149
  • [AMUK]Fujifilm X-T5 body|Fujifilm+X-T50+body[/AMUK], £1449
  • [AMUK]Fujifilm X-H2 body|Fujifilm+X-H2+body[/AMUK], £1849
  • [AMUK]Fujifilm X-H2S body|Fujifilm+X-H2S+body[/AMUK], £2499

The Nikon Z6 III looks expensive, but on the other hand is a very high performance camera that is extremely well built.

 

Nikon Z6 III Verdict

The Nikon Z6 III is a beauty, both in relation to its high quality of construction and to its highly intuitive and ergonomic design. At the top of the line of Z series cameras with 24MP sensors, it delivers in every respect, and is an obvious choice if the extra features of the higher resolution models are not required. For a Hybrid design, 24.5MP seems a good solid choice and the ease of use in both stills and video is exemplary.

There are plenty of outstanding Nikkor Z lenses to complement the Z6 III and Nikon's description of it being a Powerhouse seems fair enough. It does seem the price is high when pitched against some very strong competition, so the final choice between marques is in terms of handling and whether or not the operational ethos of the camera fits well with the photographer or videographer.

A new innovation that broadens the possibilities is the introduction of Nikon Imaging Cloud. The concept of real time connectivity may have its applications, but perhaps the most useful is the direct firmware updating when the camera is being charged. No more unzipping and installing files, which seems a very useful convenience.

The Nikon Z6 III is, in any event, an obvious Editor's Choice.

 

Nikon Z6 III Pros
  • New Partially Stacked 24.5MP CMOS Sensor
  • New ultra bright 5.76M dot EVF
  • Enhanced video specs
  • Premium weather sealing
  • AF and subject recognition to -10EV
  • Significantly improved AF speed
  • Superb high ISO performance
  • 8 stops 5-axis VR
  • Outstanding range of Nikkor Z lenses
  • Nikon Imaging Cloud

 

Nikon Z6 III Cons
  • High cost

 

[REVIEW_FOOTER]R_features=5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – A  superbly made high level body that delivers on both handling and quality|E_id=8016[/REVIEW_FOOTER]

 

View the Nikon Z6 III specs in the equipment database.

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Categories: Photography News

7 Top Tips On Juggling A Family Holiday And Photography

Ephotozine - Mon 15 Jul 2024 4:15pm

 

Going on holiday with your family and your camera isn't the same as going on a photographic holiday. So here are a few tips on how you can still go out and enjoy your photography but keep the peace with your family at the same time:

 

1. Pick The Right Gear

A DSLR and a variety of lenses packed in a case are OK for photographic holidays but it can get a little heavy when you're heading out with bags of sun cream, hats, buckets and spades, too. If you want to use a DSLR try fitting a zoom lens that gives you a variety of focal lengths in one lens or pocket a compact or mirrorless camera so you can still capture the shots you want but in a less obtrusive way. Point-and-shoot cameras are easier to pack too as they don't take up too much room and many can fit in a pocket so can be accessed quickly if needs be.

 

2. Balance Your Time

Just because you're on holiday with your family doesn't mean you can't enjoy a few hours here and there taking photographs. It helps if you have an understanding partner, friends or whoever is travelling with you, as they can watch the children for half an hour while you take your photos. Try heading out while everyone else is still sleeping at sunrise, for example, but don't get too carried away with your photo taking as, after all, you're on a family holiday and not a photographic one.

 

3. Allocate Time

Set yourself certain times to go and enjoy your photography. Plan these into the trip so your family know about them to save arguments and set time restraints so you don't find yourself vanishing for a day with your camera. By doing so, you'll find you'll think more about what and how you're going to photograph your chosen subject and your hobby will also annoy your family less.

 

 

4. Have A Plan

Doing your research and making a plan will mean you can put the locations and subjects that really interest you at the top of your 'to do' list. Then if you have to forget about some of your lists, you'll have the important ones, hopefully, already in the bag. Having ideas on what angles work, what don't and what time of day your chosen location looks its best will stop you making wasted journeys and using the time that you could have spent playing around in the pool or on the beach.

 

5. Visit Places You All Want To Go

A little bit of compromise goes a long way so if you want to go on some day trips, pick ones which you'll all enjoy. That way you'll be able to go out and take some photos while the rest of the family will still be entertained.

 

 

6. Get Your Family Involved

See if you can get them taking photographs with you and if that fails, make them your main subject for most of your shots. This doesn't mean you have to pose them all the time though.

 

7. Be More Relaxed About Your Photography

You'll probably find that the process of you putting a tripod up then working out every setting to make sure your shot's as perfect as it can be is what your family get bored of waiting around for so instead of always worrying about everything having to be just right, work a little off the cuff to get fewer complaints. Try shooting from the hip or instead of posing your family every time you want to photograph them, shoot some candids of them eating ice cream and playing in the sand. By working more spontaneously, you'll probably find you'll have fewer complaints.

 

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Categories: Photography News

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