Sunday, March 31, 2019
Saturday, March 30, 2019
Friday, March 29, 2019
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Thursday, March 28, 2019
Wednesday, March 27, 2019
Tuesday, March 26, 2019
This episode of the reCOMPOSE podcast is a continuation of the conversation we started in our last podcast on Marc Muench’s latest Ebook, The Art of Seeing. For this episode we’ve invited Marc to tell us a bit more about his book and the techniques and insights he shares with us.
The post reCOMPOSE Podcast 051: The Art of Seeing, Part 2 appeared first on Outdoor Photographer.
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Marc Muench has recently released a new Ebook titled The Art Of Seeing, and in this Ebook he relates how he sees through the camera. On this episode, Juan and Andy take a look at the Ebook and talk about some of the points and techniques Marc makes. This is the first part on the discussion on this Ebook. In the following episode, we will have Marc himself giving us further insights into some of his techniques.
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Monday, March 25, 2019
Sony has released a significant update to the firmware of its flagship a9 camera. The Sony a9 firmware version 5.0 brings what Sony calls AI-driven Real-time Tracking capabilities to the camera, as well as Real-time Eye AF.
The system uses AI object recognition to help the camera identify moving subjects and follow them throughout the frame. First introduced in Sony’s a6400 earlier this year, Real-time Tracking keeps your selected subject in focus using a combination of image data, including color, distance and face recognition as well as pattern and eye detection. The system works by first identifying the subject’s general outline as an object. If the subject is a person, face recognition narrows the AF target, and once an eye is identified, the focus point is narrowed even further to ensure that the eye is the primary AF target. If the subject turns away or the eye is otherwise obscured, the system falls back to face recognition if possible, or defaults to more generalized object recognition until the eye can again be identified.
As you’re photographing, the camera displays changing icons to let you know where it’s focusing. When Real-time Tracking has identified your subject, you’ll see an icon that’s a square with two vertical lines on either side. Once the system has found a face, it will be enclosed in a green box that follows the face as it moves throughout the scene, and when an eye is detected, that box shrinks further and stays with the eye. This information overlay allows you to know instantly what the AF system is targeting.
Real-time Eye AF in Firmware version 5.0 is limited to human subjects, but Sony is working on enhancements to the technology that will also allow the system to track animal eyes, which would be an incredible tool for wildlife photographers. That technology is planned for Firmware Version 6.0, currently due to be released this summer. That update will also reportedly add interval timer capability to the a9.
For now, a9 Firmware version 5.0 is available as a free download for all a9 users. In addition to the autofocus system enhancements, it also includes a touch-to-focus capability via the LCD screen when shooting in electronic shutter mode, new flexibility for customizing control dials and changes to the camera’s image processing to improve rendering of subtle tonal transitions.
Along with the a9 firmware update, Sony is also debuting new Imaging Edge mobile applications for iOS and Android. Imaging Edge replaces the Sony PlayMemories app and offers an experience and controls better suited to pros and serious enthusiast photographers.
For additional details, see the Sony a9 Firmware version 5.0 bulletin below. To get the firmware update, visit:
https://www.sony.com/electronics/support/e-mount-body-ilce-9-series/ilce-9/articles/00220555
###
Sony a9 Gains Powerful New Autofocus Capabilities and More through Software Version 5.0 Update
Sony’s industry-leading a9 camera has received a significant software update that brings AI-driven autofocus capabilities to its award-winning autofocus (AF) system, improves image quality, and introduces a range of customer-requested workflow improvements.
Autofocus Improvements
Firmware version 5.0 for the Sony a9 adds Sony’s newly-developed, AI-driven Real-time Tracking mode for precise and robust subject tracking. Real-time Tracking uses Sony’s latest AF algorithm—which includes Artificial Intelligence-based object recognition—to detect and follow subjects with unprecedented accuracy.
Real-time Tracking AF works in conjunction with Real-time Eye AF, also added with Firmware version 5.0. The latest iteration of Sony’s best-in-class Eye AF technology, Real-time Eye AF also uses AI-based object recognition, resulting in an unprecedented level of speed and performance for locking on and holding focus on a subject’s eyes. Additionally, with Real-time Eye AF, users can now activate eye detection via a half-press of the shutter release, and can enjoy focus tracking accuracy even if a subject’s eyes are temporarily obscured during shooting.
Also added with firmware 5.0 is Fast Hybrid AF for video, which now provides smoother, more accurate focus during video shooting, even if/when objects move in front of the subject.
Image Quality
Firmware version 5.0 offers notably improved image processing, which maximizes the capabilities of the full-frame sensor. The camera now more accurately reproduces subtle changes in light for smoother, more natural tonal gradations and improved auto white balance results.
Improved Usability And Workflow
With Firmware version 5.0, the Sony a9 adds several customer-requested features:
- New My Dial menu
- Revised Custom Key menu
- Improved touchpad capability,
- Enhanced dual-card functionality
- Enhanced tagging
Imaging Edge
Sony is also announcing the release of Imaging Edge
mobile applications, plus updates to the ‘Remote,’ ‘Viewer’ and ‘Edit’ desktop applications that brings exciting new features to all Sony imaging customers.
For professional photographers, Sony is also releasing a new mobile application ‘Transfer & Tagging add-on’ that supports instant delivery workflow by allowing users to transfer content to their mobile devices via the camera’s FTP background transfer functionality. It also enables voice input for text captioning to streamline overall workflow between photographers and other team members.
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Gear Acquisition Syndrome is an ailment. Is it real? Are there some who suffer with it? If so, can it be cured? What will it take to cure those who agonize over the ailment? Judge for yourself whether or not GAS does exist. Below are the 10 phases of GAS that appear in some who have contracted the malady. Here’s to hoping we can assist those in need.
Phase 1: Welcoming-pathy
You vow to yourself that if you do purchase that new camera body, lens, flash, filter or gadget, you’ll go out in the field every day for the next 365 days regardless of the weather, personal commitments or life interferences. You pledge to be in the field for a year straight, every day. After all, this purchase is the one that will make you stick to your vow.
Phase 2: Malcontent-itis
You go through a spell where you’re not happy with your photos. You return from every session hoping to find that winner that pops off the computer screen. But with each subsequent session, you return with the same result. You look at your gear with disdain and blame it for the poor captures. Gear Acquisition Syndrome kicks in and you experience another bout—better buy a new lens or flash so your photos will once again be good.
Phase 3: Waste Not, Want Not
The years go on and your best friend, who’s also a photographer, taps you on your shoulder. Because he’s a good buddy, he suggests you’re buying too much gear and you never give yourself time to learn how to use what you’ve already purchased. He suggests you rent a lens, body or flash to first try it out. He thinks he’s doing you a favor. In his disbelief, you back away and bellow the word, “Rent?!” You wouldn’t be caught dead renting anything. It would be a waste of money because you know you’re going to buy it anyhow.
PHASE 4: Sell-arrhea
You invite your friends to your home to show them the photos on your walls. It’s time to tour your office, and on every shelf and in every closet lives a piece of camera gear. Casually, one of your buddies mentions selling some of the older gear. You immediately ask everyone to leave. After all, how could a real friend suggest you sell any photo gear? The thought has you break out in a cold sweat. You return to your office and talk to everything on your shelves and in your closet comforting them, as if they were pets, that all will be good. “Don’t worry,” you say, “daddy isn’t selling any of you.”
Phase 5: Manual, Manual, Manual
“Now that I own all this photo gear, when will I ever have time to read the manual for each?” you think. You set aside one day a week to attack one at a time, but you find yourself exploring the internet for new gear on that day. You get so lost in your search, the entire day passes, you buy more equipment and another manual gets placed on top of the pile.
Phase 6: Disregard-oholic
Years have passed and you have enlightenment. You admit you show signs of having Gear Acquisition Syndrome, but you’re not quite ready to see the psychologist. You’ve convinced yourself you’ll create an interval of time and not allow yourself to make a new purchase for at least a two-month period. But, while you scroll through Facebook, you see a post of that new 18-500mm f/4 super lens, but it’s only been three weeks since you purchased the newest flash that was just released. You succumb and pull out the credit card.
Phase 7: Must Obtain It
You reconcile in your mind that the only way to improve your photography is if you purchase that new camera bag. This way, all your gear will be more neatly organized and you’ll be able to find all the other gear you’ve acquired. Because if you know where everything is, it will help alleviate your GAS.
Phase 8: Exploration-stenosis
You Google that new piece of photo equipment and every review is positive. You ignore the negative ones because you want the new [insert gear here] so badly. You shrug off the negatives by justifying that those reviewers aren’t experts in the field. You can’t believe everything you read on the internet unless it’s in your favor and supports your opinion—a common symptom of Gear Acquisition Syndrome.
Phase 9: Acquisition-alysis
You finish your Google exploration and head to the internet to find the best price. You want to establish a relationship with the local camera store owner, but because you’ve purchased tens of thousands of dollars of gear online, the owner doesn’t even know your face. You decide this is the time to get to know each other. You walk in, introduce yourself and ask the owner to hand you the new body on the shelf. One click of the shutter brings an instant smile across your face. Knowing that you’re going to spend an extra $50 doesn’t prevent you from saying “Sold.” The sound of that shutter click is music to your ears. You walk out of the store feeling good because your affliction has created a working relationship with your local camera store owner.
Phase 10: The Setback
You welcome the new piece of gear as if it were a new family member. It’s precious and it’s going to make a huge difference in the quality of your pictures. But, remember your promise to go out every day for a year when you bought that new [insert gear here]? You never stuck to it and you feel guilty you broke your promise. But, with this piece of equipment, it will be different. You promise, vow, commit and guarantee yourself you’ll honor all the above phases.
GAS: Now you know why it’s called a syndrome. It’s not the camera or lens that takes a great picture. It’s the person behind the camera who makes the picture. If you suffer from GAS, take the above to heart and really get to know every photo item in your arsenal. Once you outgrow the capability of each, let yourself upgrade. Until then, try to alleviate your GAS. Think about all the money you’ll save so you can now take the gear you own on many more photo trips while you learn to master each.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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Sunday, March 24, 2019
Saturday, March 23, 2019
Today’s Photo Of The Day is “Scaling Turret Arch” by Timothy Joyce. Location: Arches National Park, Utah.
“Turret Arch is best viewed through the rock window nearby,” says Joyce. “Unfortunately, most photos show it with little regard for its massive size and scale.”
See more of Timothy Joyce’s photography at www.timothyhjoyce.com.
Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
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Friday, March 22, 2019
Thursday, March 21, 2019
Wednesday, March 20, 2019
Tuesday, March 19, 2019
Monday, March 18, 2019
Your brain is a complex organ. It controls the way you think, what you do, feel, decide, etc. It consists of the left and right hemisphere. While they’re almost identical in looks, they’re completely different in what they regulate. The left side is more analytical. It governs functions that relate to logic, math, analysis, sequencing and numbers. The right side is more intuitive, creative and visual. Functions that relate to the arts, music, rhythm and daydreaming are controlled by it.
People often identify themselves as being more right-brained or more left-brained depending on the job they choose or how they see the world. Photography is said to be a right-brain field, but ironically, as cameras have become very complex and continue to grow even more sophisticated, photographers need to be both right- and left-brained. While it pains a large percentage of camera purchasers to RTM (Read The Manual), to get the most out of the bodies they purchase, it’s important to engage left-brain functions so the right-brain creative aspects can be utilized to the fullest.
When you finalize one of your digital files, a direct relationship between yourself and the optimized file is created. As your photography evolves and you develop a specific “style,” viewers of your images will be able to identify your “signature” look. This, in turn, creates a psychological relationship between you and the viewer. The way you go about creating a RAW capture while you’re in the field says something about you as a photographer. The techniques you use while in the field reveals something as well, as does the amount of time you spend at a location and the way you optimize your RAW files. So what does your photography say about you?
How You Go About Making A Capture: When you’re in the field, can you patiently wait for the light to be perfect or do your thoughts constantly think about that potential photo that’s around the corner or down the road? Can you wait for the sleeping lion with her four cubs to awake from a nap and capture the potential they offer or do you have to drive on to find another subject that may or may not be encountered? Patience can be rewarded or you also stand the chance of securing a once-in-a-lifetime shot if you move on. The bottom line is to be happy with the choice you make and don’t dwell on the opportunity on which you pass if you find nothing around the corner.
Your Techniques: Do you incorporate the time you spent using your left brain and utilize all the features your camera body offers? Do you take advantage of depth of field? Do you engage focus stacking? Do you make a bracketed series and run the files through HDR? Do you set the camera to quiet mode to not scare away a skittish subject? Do you adjust your ISO to complement the amount of ambient light to obtain the best file? Do you use a tripod? If you answered “no” or “sometimes,” when it comes time to optimize your files and they’re not technically perfect, the bottom line is that although you may have a gifted right brain, open the door to your left brain to maximize your potential.
Optimization: Learning how to use a given app can be expedited if you watch videos or read the manual, but who has time to do that? After all, you’re a right-brained person and you can experiment using every slider and learn the program in that fashion. There’s validity to this and I applaud you for taking the time to experiment—it shows dedication. However, what your file looks like as an end product definitely reveals something about your inner psyche. Is the final product oversaturated, did you minimize digital noise, do you optimize a file even though it’s not tack-sharp and hope people don’t notice it or do you simply output the RAW file and do nothing? The bottom line is you want to develop a signature look so when viewers see your images, they elicit a WOW. Most successful photographers don’t post images that are oversaturated, over sharpened, far too noisy or flat with no contrast. The bottom line is to show the work that makes you feel proud and hold it to a standard you can accept.
Psychological Photographic Food For Thought: We look at what confronts our eyes but do we see the scene photographically? We arrive at those iconic locations envisioning the shot in our heads but do we connect with it? We set up our tripods to get “the shot” but do we explore all options? Let your images express who you are. Look inside your photographic inner psyche and become one with the camera and lens. Your viewers will thank you.
For a related article, see the Tip of the Week I wrote in the summer of 2015 called In The Mood: The Psychology of Color.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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Sunday, March 17, 2019
Saturday, March 16, 2019
LEE Filters has introduced its new LEE100 Filter System, an update to its LEE 100mm System that incorporates multiple ease-of-use improvements while retaining compatibility with all current LEE 100mm filters, as well as its polarizer filters via an optional adapter.
The design allows you to slide in up to three LEE 100mm filters, and features a new locking dial with three settings allowing full movement, a half-locked position which allows rotation but keeps the filter holders in place, and a fully-locked position which also prevents rotation. Modular filter-guide blocks which snap onto the holder are available in one, two and three-slot configurations.
In addition to slide-in filters, the LEE100 Polarizer can be added to any filter configuration, snapping on to the front of the filter-guide block. Previous LEE 100mm polarizers can be adapted to the system with an optional ring screw-mount ring that is compatible with the snap-in feature.
The core of the system, the LEE100 filter holder, is available for $96. The new LEE100 Polarizer is $267, and the adapter ring for earlier 100mm polarizers is $48. There are also kits available that bundle the LEE100 filter holder and filters:
Landscape Kit—$192
- LEE100 filter holder
- LEE 0.6 ND medium grad
Long Exposure Kit—$409
- LEE100 filter holder
- Big Stopper
- Little Stopper
- LEE 0.6 ND hard grad
Deluxe Kit—$739
- LEE100 filter holder
- LEE100 Polarizer
- Big Stopper
- LEE 0.6 ND medium grad
- LEE 0.9 ND hard grad
- LEE 1.2 ND medium grad
- 50ml ClearLEE filter wash
- ClearLEE filter cloth
Contact: LEE Filters, www.LEE100holder.com.
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Friday, March 15, 2019
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Thursday, March 14, 2019
Wednesday, March 13, 2019
Tuesday, March 12, 2019
Monday, March 11, 2019
Whether you’re a seasoned pro, experienced enthusiast, serious hobbyist, enthusiastic weekend warrior or just starting out, never brush off the basics. If you fall into the more advanced category, never let go of the concepts that got you where you are: the basics. If you’re just starting out, learn the basics and never brush them off just because you now “know” them. It never hurts to revisit the path you took that helped you attain your goal. Arrogance breeds apathy, and apathy guarantees failure. It’s with this in mind I encourage all experienced photographers to walk down memory lane and all newbies to begin your trek as we stroll Basics Boulevard.
Your Tripod
I applaud the fact you use a tripod. For this, you earn points. But did you remember to level it or will you have to straighten your horizon in post-processing? Are the legs locked and solid or will your rig be destined for the repair shop? Did you attach a cable release to your camera since some shutter speeds transfer visible movement to the file when you press the shutter? Did you know that some companies offer a short center column so you can splay the legs to almost ground level if you need to get low? Another reason to not use a long center column— by raising it, you just turned your tripod into a monopod, which is much less stable! BASICS: know your tripod inside out and use it often.
Exposure
Do you often refer to your histogram to ensure you get the best exposure? Blown-out whites can never be recovered! Do you use your exposure compensation button to bias exposure when necessary? If so, I applaud you, but do you always remember to zero it out for subsequent exposures? At sunrise and sunset do you ignore the luminosity histogram and base your exposure on the red channel histogram? If so, excellent! BASICS: Always do a pre and post check of all settings at the end and beginning of each session.
Bracketing
HDR has become very popular and allows tonal range to be dramatically expanded. A series of different exposures are made and software takes the optimal parts of each and blends the files in post-processing. but do you always remember to cancel out the bracketing to capture the series? This can come back to haunt you if you end the day bracketing and don’t need it when you resume the next morning. You look at your first AM exposure and it’s way off, so you try to adjust it for the next one, but because bracketing is set, it now looks even worse. BASICS: Always do a pre and post check of all settings at the end and beginning of each session.
Shutter Speed
If you use aperture priority or program to make your exposures, your shutter speed is chosen by the camera. But did you know it’s possible to override the shutter to create different effects? Falling rain or snow, a running dog, your child at play and fast-moving clouds can all be photographed using different shutter speeds, and with each change, a different effect will be imparted to the photo. Do you want frozen raindrops or do you want to show their streaks? Do you want to pan with the running wildebeest to create a motion blur or do you want to freeze the action? BASICS: Experiment and do as I often say: Exhaust all possibilities.
The above just scratches the surface of all the things that too often are taken for granted by the pro and need to be learned by the novice. Regardless of where you are, never brush off the basics.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Brush Off The Basics? Balderdash! appeared first on Outdoor Photographer.
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Sunday, March 10, 2019
Saturday, March 9, 2019
Friday, March 8, 2019
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Thursday, March 7, 2019
Wednesday, March 6, 2019
Tuesday, March 5, 2019
On this episode of the reCOMPOSE podcast, Juan and Andy chat with their friend Jefferson Graham. Jefferson is the tech columnist for USA Today as well as a professional photographer. He just returned from CES, the consumer electronics show in Las Vegas, and he got to see first hand some of the upcoming technologies coming to the photo world. Take a listen.
The post reCOMPOSE 049 Podcast: Interview with Jefferson Graham appeared first on Outdoor Photographer.
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Monday, March 4, 2019
I was optimizing some of my photos taken in Tanzania while listening to my iTunes library. I LOVE my photography, and I LOVE my music. When I synchronize the two, life is good! Back in the day, I was enamored by a band named Spooky Tooth. A leading member, Gary Wright, went solo and I continued to follow him. Gary was the keyboardist—I LOVE keyboards. Long story short, one of his songs from his solo career came on iTunes, which sparked this week’s Photo Tip of the Week.
If you read this week’s title and you’re now singing the song, send me an email and I’ll meet you at a local pub and we’ll listen to some tunes! It wasn’t until the song ended that the inspiration hit. The final line is repeated three times and upon my second hearing, I knew I’d write this tip. “Sky Eyes, your creation is the glory of the day.” What better motivation do I need to encourage photographers to use the sky as a clean background. I always tell students, “the background is equally as important as the subject.” A clean sky background works great 98 percent of the time. (Thanks, Gary, for your inspiration.)
A clean and dramatic sky as a backdrop is an asset. Great sunsets, a clear blue sky, an impending storm or one full of puffy white clouds all contribute to making better images. This is dependent upon your foreground subject, and much more often than not, the effect is clean and dramatic. When a subject is shot against a clear blue sky, it’s separated from the background. It makes it visually easy for the viewer to know the intent of the photo. Psychologically, a human’s brain is in tune to a blue sky, therefore when a subject is placed in front of one, the eye naturally accepts the blue and distinguishes what’s in the foreground as the subject.
Ominous light from an impending storm is extremely moving. Whenever I encounter magical moments with this look, I search out a foreground subject to use as a center of interest. This type of light doesn’t last long, so I work quickly. The windier the conditions, the faster the clouds move, so speed is essential. Study the viewfinder to make sure you don’t create tone mergers. Dark parts of the subject shouldn’t be superimposed against the darker parts of the sky. The same holds true for the brighter components. The idea is to create separation in tone, shape, color and contrast.
Other “sky eyes” backdrops are the colorful hues of a sunrise or sunset once it reaches its climax. A clear horizon associated with high, thin clouds is necessary for the conditions to develop. Once the sun drops below the horizon and is refracted through the atmosphere, color is transmitted to the high clouds, and they come alive. Again, avoid placing dark parts of the subject against the dark parts of the sky. Move around as efficiently as possible to find the best composition based on the tonality, color and brightness of each portion of the sky.
Sky eye images can commonly be enhanced through the use of filters or via post-processing. The one caution I implore you to avoid is to take the saturation slider too far to the right. The result is an over-cooked, unnatural color. While it may look dramatic at first, please refrain and stick to a more natural look. I admit this is bias and you can do how you feel, but keep the end result within reason.
For blue skies, I use a polarizer to enrich the saturation of colors or a graduated neutral-density filter to bring the exposure values of the sky closer to the value of foreground elements. When I use a polarizer, I make sure I’m as close to 90 degrees to the sun as possible to prevent the unnatural transition from dark to light as one deviates from the 90-degree position. For sunrise/sunset shots, I also use a graduated neutral-density filter to bring up foreground detail or I shoot a bracketed series of photos and blend them in post.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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Sunday, March 3, 2019
Saturday, March 2, 2019
Friday, March 1, 2019
Our recent Your Best Photo of 2018 assignment received some beautiful submissions. Here’s a look at the winner and some of your best shots from last year.
[See image gallery at www.outdoorphotographer.com]The post Your Best Photo Of 2018 Assignment Gallery appeared first on Outdoor Photographer.
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