Photography News

4 Basic Town & City Photography Tips For You To Read

  Take a walk around your town and you'll soon realise there's plenty to make a photographic project from. You'll have a collection of buildings housing a variety of businesses all with their own architectural quirks and highlights. Even if you live in a small village with a pub, a post office and a few small shops you'll still find plenty to photograph.

 

1. Gear Suggestions

A zoom will let you capture details and a wide-angle lens will give you a bigger depth of field to help the viewer understand the location. A tripod is useful but as you're on the move a monopod is even better as is a bag that will give you quick, easy access. Spare batteries are always handy, too.

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2. Time Of Day

As you live there you'll have a rather good idea about what's around your town but do you always go there at the same time? By taking a walk during different times of the day you'll be able to see how the light/angle changes and how many people will be there. If you go early morning you'll find that the light is more diffused whereas twilight will give you a dark blue sky and detail from the lights in the town/city. If you don't want people in your shot then early morning is better and the streets are cleaner, less cluttered. If you want people in your shots, the town at nine o'clock in the morning will have those on the commute while three hours later you'll have shoppers. Also, people do draw attention away from the surroundings so unless they add to the composition of the image do you really want them in the shot?

  3. Patterns, Textures And Reflections

Contrasting architecture, colours and textures work well and all towns feature buildings built in different years, even centuries. A brand new, metal and glass tower block will contrast an old, pub well for instance. 

Reflections in buildings, in puddles or even water features, can add a twist to an architectural image. You should take your time to see what angles work best and if glare gets too much use a polarising filter.

 


 

4. Themes And Stories

Why not shoot to tell a story or pick a theme? You could choose to photograph the theme of food suppliers, for example, and this could be anything from greasy spoons to greengrocers and supermarkets. Or how about a project on shop windows, or numbers, or signs? If there's any construction going on, make a series out of the building work. If you know of a major renovation you could do a photo a day from start to completion.

Look for shots that show how your community live. Meeting places, parks or even washing lines full of washing outside someone's house can all make for good pictures - and have a social element.

 



 

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Categories: Photography News

Canva Acquires Design Platform Affinity To Bring Professional Design Tools To Every Organization

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Wed 27 Mar 2024 8:57pm

Affinity CEO Ash Hewson and Canva Head of Europe Duncan Clark


Company reinforces its focus on the enterprise in a step to build an all-in-one platform for every type of designer.

Canva, the world’s only all-in-one visual communication platform, announced the acquisition of Affinity, the award-winning creative software suite for professional photo editing, illustration, graphic design and page layout.

The acquisition significantly bolsters Canva’s vision to build the world’s most comprehensive suite of visual communication tools. While the last decade has seen rapid growth for Canva amongst the 99% of knowledge workers without design training, the integration of Affinity’s professional design software now unlocks the full spectrum of designers at every level and stage of the design journey.

As visual communication becomes the status quo in teams and organizations around the world, the acquisition also accelerates Canva’s enterprise ambitions, unlocking a future where professional designers can craft designs and templates with Affinity to scale across organizations with Canva.

“Visual communication is now ubiquitous in the workplace and investing in strategies that enhance our B2B offerings is core to the future of our business," said Canva co-founder and COO, Cliff Obrecht. “From sales and marketing, to brand and creative teams, the need to create effective and engaging visual content is on the rise. The Affinity team comes with an incredible caliber of talent and technology and we're delighted to welcome them to Canva as we enter our next phase together.”

 

Empowering professional designers

Affinity stemmed from a vision to empower designers to produce high quality content in an effective and affordable way. In 10 years, the Affinity suite of creative products has become beloved and renowned for delivering powerful experiences for professional designers. This includes offering extremely fast and highly responsive tools which deliver on all the photo and vector editing tasks required by professionals.

Today, more than 3 million users around the world trust Affinity to create everything from complex multi-layered graphics to detailed technical diagrams, art and illustration, logos, mockups, documents, magazines and much more.

Designed for the latest hardware and packed with features to simplify real-life professional workflows, Affinity’s all-inclusive photo editing, graphic design and desktop publishing products serve as a powerful, cost effective and subscription-free solution for photographers and designers requiring versatility and precision.

Their core products - Affinity Designer, Affinity Photo and Affinity Publisher - have been lauded for their lightning-fast performance and seamless cross-platform compatibility across macOS, Windows and iPadOS. To date, Affinity has won a number of industry awards, including an Apple Design Award, Apple App of the Year for Mac and iPad and the Microsoft Application Developer of the Year.

 

Affinity Team Photo

 

Canva growth surge continues

Now entering its second decade, Canva has pioneered the model for simple and effective design and is now used by more than 175 million people across 190 countries and in more than 100 languages. As visual communication becomes an imperative for every kind of industry and organization, the last few years has seen Canva make significant strides in this arena, bolstered by the introduction of Canva’s Visual Suite in September 2022.

Since then, the company has added more than 90 million new users, experiencing nine years’ worth of growth in just 18 months. The acquisition of Affinity will increase Canva’s offering of design tools by expanding into the professional design market.

Canva will continue to invest in the Affinity suite to ensure it not only meets the needs of professional designers, but also enhances their experiences and empowers them to do their best work. Together, Canva and Affinity will be a powerhouse combination built to supercharge the goals of every type of designer.

“Since the inception of Affinity, our mission has been to empower creatives with tools that unleash their full potential, fostering a community where innovation and artistry flourish," said Ashley Hewson, CEO of Affinity. “We've worked tirelessly to challenge the status quo, delivering professional-grade creative software that is both accessible and affordable. Canva’s commitment to empowering everyone to create aligns perfectly with those values. We couldn't be more excited about becoming part of the Canva family and can't wait to see what we will achieve together.”

 

Europe Based Acquisitions Continue To Fuel Canva’s Product Strategy

Acquisitions from Europe’s startup ecosystem have elevated Canva’s technology and continue to play an important role in expanding the company’s physical presence in the region. Over the years, Canva has found high caliber talent and compatible technology in Europe with a number of acquisitions that have become key to the company’s product strategy. Affinity marks Canva’s latest Europe-based acquisition, joining Flourish (2022), Kaleido (2021), Smartmockups (2021), Pexels (2019) and Pixabay (2019). Canva opened their first European HQ in 2023, based in London.

 

Please visit the Affinity website for more details.

For the latest news and updates, you can visit our news section.

Categories: Photography News

6 Outdoor Flower Photography Tips Every Compact Camera User & Smartphone Photographer Needs

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Wed 27 Mar 2024 2:57am


As the above image shows, with lenses designed for macro photography attached to a more advanced camera, you can capture great outdoor flower shots. However, just because you're a compact user doesn't mean you shouldn't shoot outdoor flower shots. In fact, with these few tips, you'll soon be on your way to capturing an excellent example of flower photography. 

  1. White Balance

Compact cameras come with various white balance presets that tell the camera what type of light source you are taking your photographs under. Some settings vary from camera-to-camera but there are four you'll see on all models which are: Auto, Daylight, Cloudy, Tungsten and Fluorescent. When working outdoors, try the Daylight setting (usually a sun symbol) when working on bright days and the Cloudy setting for overcast days. 

  2. Use Macro Mode

If you want to make one flower your subject rather than focusing on a group, switch to macro mode. The Macro mode, which has a flower head icon, can be found either on the mode dial if your camera has one, or, in your camera's menu system. Some compacts focus within millimetres of your subject while others have a minimum focusing distance of a few centimetres. However, results can still be excellent. 

 

 

3. AF Mode

If you struggle to get the camera to focus on the point you want then switch your focus mode. Various modes are available and different modes suit different purposes. Spot can be useful when you have one specific flower to focus on as this mode is fixed more towards the centre of the screen. You can position your camera so the target marker is over your the subject you want to focus on then all you have to do is half-press the shutter button to focus then take your shot. 

 

4. Try Using Exposure Compensation

Dark backgrounds are great for shooting lighter coloured flowers against as it'll allow them to 'pop' from the frame. However, a large dark background which only has a small area of highlight in can fool your camera into thinking the scene is darker than it actually is and as a result, it can end up looking overexposed. Switching to spot metering can help with this but you may also need to have a play with exposure compensation to produce a more balanced exposure.

 

 

5. Think About Distance

By Zooming in closer to your subject, it'll fill the foreground of the frame and chances are the background will be thrown nicely out of focus so it's blurred. This is because the depth of field becomes shallower. Ensuring there's distance between your subject and background will also make it easier for your camera to throw the background out of focus. By doing so, the background won't be a distraction and all attention will fall on your flower rather than what's around or behind it. 

 

6. Learn To Use The Histogram

LCD screens can be used to preview images on but when it's sunny it can be hard to judge if the exposure is correct and this is where the histogram comes in useful.

Basically, you don't want the graph to be touching the left or right border and you want it to peak more in the middle and get lower towards either end. There are times when this won't apply but generally, it works. 

 

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Categories: Photography News

SIGMA 50mm F1.2 DG DN | Art Lens Announced

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Tue 26 Mar 2024 11:56pm

Image Credit: Sigma

 

Capture portraits with beautiful depth-of-field effects, moody low-light landscapes and expressive travel shots with the new SIGMA 50mm F1.2 DG DN | Art for L-Mount and Sony E-mount mirrorless systems. The bright F1.2 aperture, reliable auto focus and lightweight construction make it a versatile photographic tool to use in any situation. Designed with 13 rounded diaphragm blades and optics that effectively reduce aberrations, the SIGMA 50mm F1.2 DG DN | Art produces ultra sharp images with outstanding bokeh. Its weight of 745g*, compact size and internal focus system with dual HLA motors allow for rapid and reliable focus for both still and video. Perfect for use on lightweight gimbal setups.

 

*L-Mount specification

 

Key features

 

Bright F1.2 aperture with outstanding optical quality

The SIGMA 50mm F1.2 DG DN | Art features a bright F1.2 aperture with a 13 rounded diaphragm blades that produces beautiful bokeh effects. Utilising the latest optical design techniques, the lens produces sharp images across the whole frame with exceptional contrast and colour. Focus breathing is also heavilysuppressed allowing videographers to capture creative shots with ease.

 

Impressive optical quality through the entire focusing range

By correcting spherical aberration, sagittal coma flare, axial chromatic aberration, and other aberrations such as double-line bokeh, the lens produces a natural bokeh with a smooth blur and without colour bleeding from the focal plane. The lens also implements a floating focus system that improves its short-range performance. This ensures a high-level of optical quality throughout the entire focusing range.

SIGMA’s first ever 13 diaphragm blade lens

New to the SIGMA 50mm F1.2 DG DN | Art is the implementation of a 13 rounded diaphragm blade design. When shooting subjects at F1.2, the aperture maintains its circular shape. Photographers can effortlessly create portraits and still life shots with impressive background separation and pleasingly round bokeh balls.

Designed to minimise focus breathing, flare and ghosting

The lens has been optimised through its optical construction and focus group arrangements to significantly suppress focus breathing. Focus shift is also minimised, creating a natural focus shift look when recording video. Flare and ghosting are also effectively reduced, even when shooting in heavily backlit environments such as street and event photography.

Image Credit: Sigma

 

Lightweight design suitable for a wide range of applications

Designed to be used anytime, anywhere, the SIGMA 50mm F1.2 DG DN | Art has been constructed using new design techniques and technology to produce an incredibly lightweight and portable lens. Perfect for photographers who require lightweight kit without compromising on quality.

 

Dual HLA motor

Effortlessly and reliably focus on your subject thanks to the newly revised focusing system. The lens features a floating focusing system that uses dual HLA (High-response Linear Actuator) motors. The use of these motors reduces the lens’s size without compromising performance. Focusing is fast, quiet and accurate, perfect for every situation.

Unique lens and mechanical design

By utilising state-of-the-art production technology at SIGMA’s manufacturing base in Aizu, Japan, each glass element has been reduced in size whilst retaining elements with a high refractive index. Four aspherical glass elements and a floating focus system are also implemented to further reduce the lens’s overall size and effectively reduce aberrations. These reductions make the SIGMA 50mm F1.2 DG DN | Art the lightest lens in its class, with a weight of 745g*. It is 30% lighter than the SIGMA 35mm F1.2 DG DN | Art which shares the same aperture.

 

* L-Mount specification. As an AF 50mm F1.2 interchangeable lens for full-frame mirrorless cameras. (As of March 2024 by SIGMA)

 

A variety of shooting assist functions

The lens is equipped with an AFL button which can be assigned to a range of functions via the camera menu on supported cameras. L-Mount users can customise the button further using the UD-11 USB Dock. Effortlessly control the depth-of-field using the built-in aperture control ring and make your images stand out from the crowd. The aperture ring lock switch prevents the ring from accidental knocks. Use the aperture click switch to turn the click of the aperture ring on or off. Ideal for when shooting video and quiet scenes.

Dust and splash resistant structure

In addition to a dust and splash resistant structure, the front element of the lens features a water and oil repellent coating, allowing photographers to shoot without concern even in harsh outdoor environments.

 

* The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

 

Including a petal-type hood with lock

A dedicated petal-shaped hood is supplied. A locking mechanism is provided for secure attachment.

Image Credit: Sigma

 

Feature summary

 

• Lens construction: 17 elements in 12 groups (4 aspherical elements)

• Inner focus system

• Compatible with high-speed autofocus

• HLA (High-response Linear Actuator)

• Compatible with Lens Aberration Correction

 

* Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.

* On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON‘(AUTO).

 

• Supports DMF and AF+MF

• Compatible with AF assist (for Sony E-mount only)

• Super Multi-Layer Coating

• Water and Oil Repellent Coating (front element)

• Aperture ring

• Aperture ring click switch

• Aperture ring lock switch

• AFL button

 

* Function available on supported cameras only. Available functions may vary depending on the camera used.

 

• Focus Mode switch

• Support for switching between linear and non-linear focus ring settings (for L-Mount only)

 

* Function available on supported cameras only.

 

• Dust and Splash Resistant Structure

• Petal-type hood with lock LH782-03

• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)

• Designed to minimize flare and ghosting

• Every single lens undergoes SIGMA’s proprietary MTF measuring system

• 13-blade rounded diaphragm

• High-precision, durable brass bayonet mount

• Mount Conversion Service available

• “Made in Aizu, Japan“ craftsmanship

 

Image Credit: Sigma

 

Key specifications (The figures below are for L-Mount)

 

Lens construction: 17 elements in 12groups (4 aspherical elements)

Number of diaphragm blades: 13 (rounded diaphragm)

Minimum aperture: F16

Minimum focusing distance: 40cm

Maximum magnification ratio: 1:6.2

Filter size: 72mm

Dimensions (max diameter x length): 81.0mm x 108.8mm

Weight: 745g

 

The SIGMA 50mm F1.2 DG DN | Art lens’s on-sale date is on 18 April 2024 with a UK SRP of £1,299.

For more information, please visit the SIGMA website.

Categories: Photography News

7 Top Boat Photography Tips For When You're next By The Sea, A Lake Or River

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Tue 26 Mar 2024 2:54am



 

Gear Suggestions 
  • Standard zoom (35mm-80mm range is fine) – wide enough to get the whole boat in but long enough to focus in on the detail.
  • Longer lens (80-200mm) - shoot small detail on boats further away. 
  • Polarising filter – reduce reflections on the water and in paintwork and deepen blue sky.
  • Tripod - extra support when working on uneven surfaces such as wet sand.

 

Pick A Sunny Day

If you want to capture the postcard shot of colourful boats lined up, reflecting in the water while a bright blue sky frames them from behind you'll have to head out on a sunny day when there's not much of a breeze in the air so the water's still. Make sure you use a polarising filter to saturate the colours and enhance the sky.

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The Tide Is Out

If you get to the harbour and find the tide is out don't think you need to head for fish and chips while the water trickles back in. Instead, photograph the boats which are now stuck in the mud and take advantage of the mooring ropes which are now fully visible, using them as lead-in lines for your photograph. A small aperture is needed to ensure everything from the front of the rope to the distant boat(s) or other objects are sharp.

 

 

Don't Clutter Your Scene

Harbours are bursting with photographic potential but don't make your scene too busy. If you can, single out one boat and place it near the foreground of your shot as this will give the photo more impact and will certainly be better than a shot of several boats that are fighting for your eye's attention.


Further Inland

Away from the coast, you'll still find plenty of boats on canals, rivers and in reservoirs waiting to be photographed. Canals create leading lines that will help with composition while the winding curves of a river will guide the viewer through the image to a boat making its way through the bends. If there's a bridge find a position where you can use it to frame a boat passing under it, just watch your exposure as the light under the bridge will be lower than the outside and it's easy to end up with a shot that's underexposed if the camera's meter reads from the brighter part of the scene. Switch to spot metering where possible, taking a meter reading from the sidewall of the bridge and use that as the starting point.

 

Activities On And Around The Boat

Barges found on canals are often very colourful and feature flower pots and other accessories that are worth a quick snap. Just remember to use a wide aperture to blur the background. Round the harbour, you can crop in on sails, boat hulls, lifebuoys and fishing nets.

 

  Action

For those who like things to be a little more fast-paced head for a water-sports centre where water-skiing, jet-skiing and other adrenalin-pumping activities take place. A camera which has fast autofocus will help you capture action shots where your subject is pin-sharp. A little blur in the background can enhance the sense of movement/speed in your shots, however. 
 

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Categories: Photography News

A Portrait Of A Double Bass Virtuoso Wins 'Photo Of The Week'

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Mon 25 Mar 2024 9:28am

 

An evocative image of Marie Peifer and her double bass, has been selected as our ‘Photo of the Week’ (POTW). This stunning image was shot by our EPZ member, bliba.

Simply titled ‘Double Bass’, the piece features Marie standing proudly with her double bass, which she intriguingly played using a pair of pipe tongs. The composition is straightforward, yet the image is compelling. We appreciate the candidness of the shot, revealing a story of dedication and passion. It has a timeless feel, creating a captivating portrait that is undoubtedly POTW worthy.

All of our POTW winners will receive a Samsung 128GB PRO Plus microSDXC memory card with SD adapter offering memory storage across multiple devices. Plus, we will also announce our 'Photo of the Year' winner who'll win a Samsung Portable 1TB SSD T7 Shield in January 2025 courtesy of Samsung.

Categories: Photography News

10 Top Action, Movement & Motion Photography Tutorials For You To Peruse

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Mon 25 Mar 2024 2:51am

Motion, movement and action are wide and varied photographic subjects and as a result, there are many ways a photographer can create a sense of action, motion or movement in their shots. ePHOTOzine has written many tutorials that cover motion/action in some shape or form and as a result, we've decided to group the most popular tutorials together so you can find all of the inspiration you need in one place. 

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Our 10 Top Action, Movement & Motion Photography Tutorials:

 

1. A - Z Of Light Trail Photography Tips

Night + city = the perfect opportunity to capture light trails. Plus, you get to practise your long exposure photography technique while shooting the colourful lines created by traffic weaving through the city streets. 

 

2. Tips To Help You Shoot Sharp Action Shots

When it comes to action and sports photography, one of the main problems you face is your subject moves quick and they don't tend to stay in the same place for very long. As a result, it can be a bit of a challenge to try and get a sharp photo where your subject is in focus, however, there are a few things you can do to capture your moving subject perfectly.

 

3. Tips On Shooting Water Sports Photography

 

Head to the coast on a sunny day or even to your local reservoir and you'll probably find someone skimming along the water, holding onto a sail fasted to a windsurf board or getting pulled along by a boat on a board. The pros make it look easy and their jumps, turns and sheer speed make water sports a great photographic subject.

 

4. How To Capture The Action At Running Events

 

Many sports take place some way from the spectators which makes taking decent pictures without long lenses a challenge. However, accessible sports photography comes in the form of road running events. Something which can be captured right up and down the country. Plus, good action shots can be captured with modest gear at local events because you just stand by the roadside - often there are no barriers or anything to get in the way.  

 

5. 7 Top Tips On Using Blur To Create A Sense Of Action In Your Photos

 

Contradictory to what you're told when you first pick up a camera, it is OK to have blur, and quite a lot of it, in your shots when you're photographing the right subject and want to emphasise speed or create a sense of motion. When we say it's OK we don't just mean a shot you accidentally took out of focus will pass off as something creative, you have to deliberately adjust your camera's settings or know how a quick twist of your lens will give you the blur that's needed to add a sense of action to your shot.

 

6. Photographing Fairground Rides At Night

 

If you want to shoot general wide shots of the fair then head out just as the lights are coming on when there's still a touch of colour in the sky. That way you'll be able to get the lights, stalls and other foreground interest of the fair set against a deep blue sky. Leave the flash at home though as it can kill the atmosphere you're trying to create. For more abstract images, wait until the sky's a little darker and turn the rides into streams of light patterns. Look for rides that spin quickly or are bursting with colour as these tend to produce the better results. 

 

7.  Top Long Exposure Subjects For You To Photograph

 

See how long exposures can turn what can be described as ordinary into something much more interesting. From atmospheric shots to northern lights and, of course, blurry water, plenty of topics are covered in this tutorial. 

 

8. Waterfall Photography Tips: 3 Ways To Photograph Waterfalls

 

When it comes to photographing waterfalls, you can either capture the power and intensity of every cascade or you can slow things down and make the movement the focus of your photo.

 

9. 10 Top Tips On Adding Blur To Water For A Creative Effect

 

Love it or loathe it, blurred water can look great in the right situation so it is always worth a try. For those who are new to the technique, here are 10 tips to get you started in turning even small cascades can look like raging torrents. 

 

10. 5 Top Ways You Can Add Creative Movement To Your Landscape Shots

 

The idea of movement isn't usually a thought that first springs to mind when you try to describe what a landscape shot is. However, when you start to think of popular landscape topics such as waterfalls, rivers, trees, clouds and the sea, you suddenly realise movement, which makes shots more dynamic, crops up more often than you think.

 

Bonus Top List: Best Action And 360 VR Cameras

To help you capture all of the action, an Action or 360 camera might be useful and as there are so many action cameras available, we've put a handy guide together which talks you through action cam features as well as what's currently available on the market. 

 

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

Categories: Photography News

ePHOTOzine Daily Theme Winners Week 3 March 2024

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Sun 24 Mar 2024 8:47pm

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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 NDODS (Day 17 - Towns At Night).

 

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 18

Macro Photography

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  Day 19

Low Light Photography

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  Day 20

Moon

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Day 21

Rivers & Waterfalls

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Day 22

Seascapes

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Day 23

Faces

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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

5 Top Garden Macro Photography Tips - How To Photograph Dew Drops

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Sun 24 Mar 2024 2:44am

 

When you look out of your window and you see your lawn covered in morning dew, sparkling in the sunlight you need to get out of your PJs, pick up your camera and get outside to photograph it. If you can't face getting up quite so early you can try using a spray bottle on your plants and shrubbery as this will create the same kind of effect.

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1. Macro Lens Is A Must 

You'll need a macro lens as you're going to be working at close focusing distances but if you're a compact user you should switch to macro mode (usually a flower symbol on your mode dial) to let your camera know you're going to be working close to your subject).
 

2. Find Your Tripod 

If you have a tripod with a centre column that can be turned horizontally or upside down, set it up, otherwise, you might find a bean bag more useful. If you have one, use a cable release or remote release as even the slightest touch on the camera can cause enough camera shake to blur your image. Alternatively, a two-second self-timer gives you enough time to press the button and let go or, if your camera supports it, use your Smart Device to trigger the shutter.
 

3. Aperture Choices

A mid-range aperture will give you a decent depth of field, throwing the background out of focus while the subject stays ultra-sharp. Keep an eye on your shutter speed as you don't want a blurry photo. Do try a larger aperture too but if you find it blurs more of the shot then you intended, just change the size.
 

4. Focus On The Drop

Make sure your focus is on the drop(s) so you get a nice clear shot of them. You may have to sacrifice foreground sharpness as a blurry drop will just distract the viewer.
 

5. Refraction Photography

Dewdrops falling down blades of grass look great but another cool and simple trick is to get an image inside the dewdrop. To do this take another flower or grass blade and move it behind your subject until you can see it in your viewfinder. Do remember that everything you see is reversed in the dewdrop though so if you want to centre the object that's to the left you need to move it more to the right.

 

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

Categories: Photography News

Leica Launched Limited Edition Classic Black Summilux-M 35 Lens

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Sat 23 Mar 2024 3:55am

 

Leica’s legendary M-Lenses reputation precedes them. One of these outstanding lenses is the Leica Summilux-M 35 f/1.4. Still highly regarded today, it first appeared in 1961 as the world’s fastest wide-angle lens at the time and experienced a renaissance with its new edition. Now, Leica Camera presents the classic lens in a strictly limited design variant with a special serial number.

Based on the first edition, the Summilux-M 35 f/1.4 now appears in a black anodised finish, featuring the iconic silver stainless steel front ring, commonly referred to as the “Steel Rim”. The engraving on the front reads “LEITZ WETZLAR”. Another detail can be seen on the black painted brass focus lock button which acquires a unique patina with frequent use. In order to come as close as possible to the original, the engravings on the special edition’s focus ring have been adjusted, and the arrangement of the feet and metre scale have been modelled on the original regarding the colour and has been swapped in comparison to the silver series lens.

 

With its imaging performance, the special edition corresponds to the series model. Photographing with open aperture creates pictures with an especially soft, almost magical bokeh which is hard to achieve even with digital image processing. Its extraordinary image look earned the Summilux-M 35 f/1.4 the title “True King of Bokeh”. After stopping down to f/2.8, it produces very sharp and particularly distortion-free pictures which also meet modern requirements for image quality.

In addition to the lens, and its special packaging that nods to the new variants origins with a vintage look, buyers will also receive a lens container, a clip-on lens hood as well as an additional round lens hood with E46 thread for the use of filters.

The black anodised Leica Summilux-M 35 f/1.4 with an engraved special serial number will be available in selected Leica Stores worldwide starting now. The recommended retail price will be £8,600.00 including VAT.

 

For further information, please visit the Leica's website.

You can also visit our news section for the latest updates on Leica lenses.

Categories: Photography News

How To Find A Model To Photograph - 8 Top Tricks & Tips

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Sat 23 Mar 2024 2:41am

© Joshua Waller

 

If you fancy trying your hand at portrait photography, you will need a model. If you have the money you could go to an agency and hire one – at least, that's the theory - but there are plenty of other options that aren't quite as expensive and you can do the leg work yourself.

Find tips on where you can find models, how to contact them and what all of the acronyms models/photographers use mean.

Below you'll find 8 tips/ideas/suggestions on where you should start your search as well as tips on working with 'pros vs new models' and what exactly MUAs, TFCD, TFP stand for. 

 

1. Join A Model Community Website

© Joshua Waller

 

A really great alternative to using a model agency is joining a model community website. There are several good ones and joining at the lowest membership level is free so there is no risk. In time, if you feel being a member has benefits you can pay a subscription and get more benefits. These usually include being to include more portfolio images, the ability to send more personal messages, for example.
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2. Modelling Sites That Are Worth Joining 

© Joshua Waller

 

These sites usually let you search for models in your locality and also in the styles or ‘levels’ that you want to shoot. If you want to do glamour, topless or fine art nude, you can specify that or if you are after models within a certain age range. Check the sites below for details.

 

3. Get Down With The Lingo 

© Joshua Waller

 

When you first join a modelling website, it can be very daunting. There are strange expressions (togs, MUAs, TFCD, TFP, for example) and it is all a little scary. By the way, togs are photographers, MUAs are make-up artists, TFCD is time for CD and TFP is for time for prints. TFCD and TFP are really important and means the model will give their time and pose in return for CD or prints of the shoot. 

 

4. Not Everyone Will 'Work For Pictures' 

© Joshua Waller

 

A professional model is unlikely to work with you in return for pictures unless you can benefit their portfolio with some amazing shots. In time, this could be you but you are probably not there just yet.

 

5. Where To Begin?

© Joshua Waller

 

So how do you start? If you are new to model photography, it makes sense to find a model also just starting out. This means you can learn your respective trades together and expectations are lower. As mentioned above, some will work with you in return for photos, too, or they'll charge less than someone with a lot more years of modelling under their belt. 

 

6. Pros Of Using A Pro 

© Joshua Waller

 

On the other hand, working with a more experienced model will make it is easier for you in that they can create poses without too much instruction from you. They will probably be more knowledgeable about make-up for photography - again it is unlikely you will be using a make-up artist at this stage.

 

7. Making Contact 

© Joshua Waller

 

Once you find a model or two you like the look of – as in terms of experience, cost etc. or literally – send them an email, explaining what you are about and what you want and go from there. If you are new to this, say so. If you have some pictures already, post them on your profile and ask prospective models to look at your look.

It is worth saying that the odds are that you are not going to get a response from every model you approach and this is true even if a model is looking for photographers. The important thing is not to take it personally and it can be for any number of reasons.

 

8. Don't Forget The Shoot! 

© Joshua Waller

 

It's rare, but you can arrange a shoot with a model and they not turn up – it happens the other way round, too, with photographers so don't be that person! Make sure you arrive with plenty of time and do contact the mode if you're going to be late. 

To prevent 'no shows', it is worth reading feedback on the site from fellow members. Unreliable models/photographers will have negative feedback.

 

More Advice On Working With Models
Categories: Photography News

The Photography & Video Show Wraps Up For 2024

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Fri 22 Mar 2024 5:40pm

 

The Photography & Video Show, which took place from March 16th to 19th at Birmingham's NEC, has concluded with resounding success, marking yet another milestone in the world of photography and videography. Bringing together a diverse community of enthusiasts and professionals, the event showcased the latest innovations from leading brands and provided a platform for inspiration and skill enhancement.

With a rich lineup of esteemed speakers representing a global spectrum of talent, attendees were treated to captivating stories, live demonstrations, and insightful tutorials across six dynamic stages. The Masterclass series, tailored to cater to beginners, aspiring professionals, and seasoned veterans, delved deeper into the intricacies of the craft. Noteworthy sessions included focused workshop sessions led by headline speakers Kelly Brown and Forough Yavari.

 


This year, the Creator Playground was expanded to incorporate interactive areas strategically placed throughout the venue, enhancing the immersive experience for attendees. Complemented by galleries and competitions embracing the theme of 'Change Your Perspective,' the event fostered an environment of creativity and exploration. With its three core objectives - to facilitate hands-on experience with cutting-edge equipment, impart new skills, and inspire - the show truly left an indelible mark on all who participated.

Pei Ketron, Product Marketing Manager of Photography at Adobe says "We were so pleased to make our return to The Photography and Video Show. The reception was incredible, and the community building has been extremely valuable for us, and we look forward to being involved more with the UK community in the future."

Luke Curtis, Digital Imaging Events Manager at Sony comments "Overall the exhibition has been fantastic, we've seen some really great days of footfall of fantastic interactions and some great sales opportunities, and i think it's been very enriching for people who've come along, and we've fully enjoyed it as a team."

 


Reflecting on the event's success, Ruth Folkard, Event Director, expressed her delight at welcoming back the vibrant Photography & Videography community to NEC and eagerly anticipated the next installment  "We're delighted with this year's show. The atmosphere has been fab and we're just so pleased with how much effort our exhibitors went to, and how well received our speaker line-up has been. We are really looking forward to March 2025!"

The Photography Show & The Video Show is to return to a different venue next year. London's Excel in March 2025, promising another exhilarating weekend for photography and videography enthusiasts alike.

The show returns to London's Excel March 2025.

Please visit The Photography & Video Show's website for more information.

Categories: Photography News

FUJIFILM UK Announces X100VI Limited Edition Digital Camera Ballot

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Fri 22 Mar 2024 7:52am

© FUJIFILM UK

 

Due to unprecedented demand for the FUJIFILM X100VI Limited Edition digital camera, Fujifilm has announced that the 110 cameras allocated to the UK will be placed into a special ballot, ensuring that all customers have a fair chance to purchase when the product goes on sale on 6 April 2024. Just 1,934 units of the camera have been manufactured for sale worldwide.

The ballot will open at 8.00am on 25 March 2024 and close at 8.00am on 27 March 2024. Anyone wishing to enter the ballot should be signed up to the Fujifilm-X.com UK mailing list prior to the ballot opening (at https://cloud.xgfx-europe.fujifilm.com/subscribe) and then visit the ballot link emailed to them on 25 March, where they can register their details during this period.

The 110 randomly selected successful entrants will be notified by email on 2 April 2024. They will then be invited to purchase their X100VI Limited Edition in person at the FUJIFILM House of Photography in Covent Garden, London, at an exclusive event on Saturday 6 April 2024. They will be given 24 hours to confirm their purchase request from time of notification.

 

© FUJIFILM UK

 

Theo Georghiades, general manager at Fujifilm UK, explained, "Interest in this camera has been extraordinary – possibly the most coveted model we have ever released. We've taken note from the sale of the X100VI Limited Edition from other Fujifilm subsidiaries around the world, and we believe this is the most appropriate way to make sure that customers in the UK will have a fair opportunity to own this very special limited model."

To ensure a fair system to all, each camera will be recorded by its limited-edition number and serial number and registered to the individual customer. Customers will be asked to bring along photo ID and proof of address when collecting their camera. Payments will need to be made on the collection day itself. The UK price will be £1,934 including VAT.

Full terms and conditions for the ballot will be available on the ballot website. This link will be released to subscribers by email at 8.00am on 25 March 2024.

 

© FUJIFILM UK

 

About the FUJIFILM X100VI Limited Edition

The X100VI Limited Edition model is being released to celebrate Fujifilm's 90th anniversary year in 2024, with just 1,934 units available worldwide. These limited-edition models are individually numbered and delivered in a special box with strap, soft release button and history cards. The camera body is engraved with the original Fujifilm corporate brand logo from 1934, along with the unique serial number.

 

For more information about the FUJIFILM X100VI Limited Edition, please visit the Fujifilm's website.

Categories: Photography News

8 Top Tips On Photographing Seascapes With Slow Shutter Speeds

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Fri 22 Mar 2024 2:36am

 

When photographers turn their attention to using lengthy shutter speeds at the coast, the sea takes on a silky, mist-like quality that meanders and contrasts against dark rocks and other strong static subjects found in the coastal landscape. These images are popular with landscape fans and with the right gear and a little bit of know-how, you too can capture these types of eye-catching imagery.  

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1. Time Of Day 

Early morning is a time that's favoured by photographers and it's also the perfect time when trying to create this particular effect as lower light levels increase exposure times. The downside is that ideally, you do have to get up really early, we're talking before dawn, however, if you have an ND filter in your bag, you don't have to worry about setting your alarm clock too early if you prefer later starts. 

 

2. Using ND Filters 

For those who are wondering, an ND filter will stop as much light reaching your camera's sensor and as a result, increase your exposure times. This means you can use longer shutter speeds even at times when normally, you wouldn't be able to as your shots would turn out overexposed. ND filters are available in a variety of strengths and the stronger the filter, the longer your shutter speeds will be. Variable NDs are useful when you're not sure what strength you'll need but normally, exposure times of around 30 seconds or more will really blur the motion of the water.

The problem with ND filters which have a greater density is they're very dark which can make it tricky to compose your shots through your viewfinder or when using LiveView but you can sort your settings and composition before fitting the filter under these circumstances. It's also worth noting that some cameras allow you to boost the image when using LiveView so it's worth checking your camera settings. 

Another filter you might find useful is an ND Grad for when the sky is appearing too bright when the land is correctly exposed. By fitting one in front of your lens, the exposure will be balanced and the final image is closer to how the eye sees the real thing. 

 

LiveView without the filter in place.

 

LiveView with the filter in place.

 

3. Carry Your Tripod 

Make sure you use a tripod as you'll just end up with shaky shots if you try to work without one when using longer shutter speeds. Plus, a tripod will help you ensure your horizon's straight along with your camera's grid or even a small spirit level fitted to your camera's hot-shoe. A remote or cable release will minimise shake and if your camera has the feature, put LiveView into good use but do keep an eye on your battery levels as power will be depleted quickly and you don't want the battery to die half-way through your long exposure. Finally, pack a lens cloth to keep your lens/filter sea-spray free and always clean your equipment when back home. 

 

4. Location, Location, Location

If you get the chance, scout a few locations out before you head off with your kit. Obviously, you need to be along the shore but lookout for locations where foreground detail such as rocks and driftwood will add interest to your image. Try using lower angles to exaggerate the size of rocks etc. sitting in your foreground and don't forget about your main focal point. You could even use foreground interest to guide the eye through the shot to the lighthouse, pier etc. 

 

 

5. Tide Times 

Noting the tide times is not only important from a safety perspective but you also want the water level to be at the right point along the shore. Plus, if you can time your visit for when the tide's going out, the sand will still be damp and decorated with patterns created by the receding tide and rocks will have more definition thanks to the wet surface creating shine. If you don't mind a little trial and error, you can also use the line created by the sea as it moves back out to guide the eye to your main point of interest.

 

6. Apertures, Autofocus & ISO

Narrow apertures (try f/11 or f/16 and go from there) are what you're aiming for and stick to lower ISOs. Frame up and check your composition carefully, without the filter attached if it's particularly dense. Use the autofocus function to focus on your main focal point, although the low light levels can mean your lens keeps searching so you may need to use a torch to highlight part of the scene so it can focus on it. Once happy, lock your focus, making sure you don't knock the focusing ring on your lens in the process.

 

 

7. Test Shots

Again, if you are working with a particularly dense filter, now's the time to take a test shot and check your histogram as well as the image on the screen to ensure the exposure is correct (no blinking highlights or shadows). Make a note of the shutter speed and attach the filter. You then need to use this shutter speed to help you calculate the correct exposure length. Most filters come with an information chart/conversion table to help with this or you can download an app that'll provide the same information.

If there's some of the scene visible when using LiveView it's worth just checking your composition once more before hitting your shutter release. You won't be able to make/see tiny adjustments but if something's not quite right with the overall composition, you should be able to adjust for it. If you find you need a shutter speed that's longer than the maximum shutter speed that your camera provides, use Bulb mode but make sure you have a remote / cable release to-hand so you don't introduce shake. 

If you're using a filter that's lighter (around 1-5EV stops) you should still be able to see the scene through the viewfinder or when using LiveView so you shouldn't have any problems working in aperture priority, focusing and composing your image with the filter fitted.

  8. Try Again 

If you don't get the results you want straight away, try decreasing the aperture further, use a denser ND filter or wait for slightly darker lighting conditions if you don't own another ND filter. If you don't own an ND filter at all, decrease the ISO (if possible), use an even smaller aperture and keep decreasing the shutter speed until you gain the correct exposure. Again, keep an eye on your histogram and be patient!   

 

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

Categories: Photography News

Fujifilm GFX100 II Camera Review

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Thu 21 Mar 2024 5:35pm

[SECTION]INTRODUCTION[/SECTION]

 

Quick Verdict

It's big, it's heavy, it's incredible, yielding a fantastic amount of detail and virtually no noise. This all comes at an admittedly high but realistic price. If we add to that a great selection of lenses, including some highly specialised optics, then the overall Fujifilm package looks a very strong medium format choice, be it for stills photographers or videographers.

 

+ Pros
  • Excellent to outstanding sharpness
  • Superb colour rendition
  • Staggering detail from 102MP CMOS sensor
  • High class manufacturing quality
  • Wide lens choice
  • Fujifilm Film Simulations
  • Fantastic EVF and monitor detail
  • Weather resistance
  • Impressive video capability
- Cons
  • Bulk and weight
  • Price

 

Fujifilm have a long history of producing interesting medium format cameras of the highest quality. We can look back at the medium format rangefinder designs of the film era, with cameras covering 645, 6x7, 6x9 and even panoramic formats. All of these cameras were relatively compact compared with the huge SLR designs of the day and found a strong following. This continues to this day with the medium format mirrorless designs, offering large pixel counts of 50MP and even 100MP for unparalleled depth and detail. The GFX 100 II adds new levels of video performance and many tweaks to improve handling and the final result is a superb camera, albeit at a price. We have been given a fairly long look at the new camera, alongside the 55mm f/1.7 fast standard lens and the two, 30mm and 110mm, Tilt/Shift lenses. Let's see how it all panned out, using all three lenses but mainly the 55mm f/1.7 for the technical shots.

 

Fujifilm GFX100 II Features

As alluded to, the camera is heavy, weighing in at a substantial 948g. Although not overly large for its format, it still measures at a bulky 152.4mm x 117.4mm x 98.6mm. Under the skin, the body houses a CMOS 102MP II HS sensor, along with the X-Processsor 5. 5-Axis IBIS gives up to 8 stops advantage, which is extremely welcome. Burst mode is 8fps, along with a 120fps display that can keep up with the action for sports photography. If we want the highest quality and 102MP is not enough, then the Pixel Shift facility can offer images of 400MP, bringing us into the realm of struggling to find enough superlatives to describe the potential amount of detail.

Processing speed enables remarkable subject detection, which now incorporates Human eye/face, Animals, Birds, Cars, Bikes, Planes and Trains. Needless to say our computers will need plenty of processing power to deal with the large file sizes. The camera can save the images produced in various ways, including CFExpress Type B, SD Cards, Frame.io camera to Cloud, WiFi, Bluetooth and direct saving to SSD via USB-C connection.

The impressive interchangeable EVF-GFX3 boasts 9.44 Million dots and 1.0x magnification. The 3 Way Tilting Monitor is touch sensitive and offers 2.36M dots.

The top plate has a simple mode dial that covers the basics of P, S, A, M plus no less than 6 custom settings. Just in front of the mode dial is a small switch for choosing stills or video. Moving across to the right end, there is a very clear info display that can be lit by pressing another small button. The Q button is an essential part of Fujifilm operational logic and that is on the thumb rest at the back of the camera. There is no tendency for it to be accidentally pressed. The other buttons are on the back, covering menu and play options. The monitor itself is crisp and clear and the three way movement gives a degree of versatility.

The right end of the camera houses the memory cards, giving the choice of either CFExpress Type B or SD. The left end of the camera houses the connectors, LAN, mike/remote, USB and USB-C. The camera can be recharged via USB-C. The battery is housed in the usual right hand end of the base plate.

 

Fujifilm GFX100 II Key Features
  • 102MP 43.8mm x 32.9mm CMOS II HS sensor
  • X-Processor 5
  • Formats DCF, JPEG, HEIF, RAW, TIFF
  • Shutter speeds 1/4000s to 30s (mechanical shutter)
  • Shutter speeds 1/32000 to 30s (electronic shutter)
  • 5 axis IBIS 8 stops
  • 8fps Burst Mode, 5.3fps with no blackout
  • Subject detection: human eye/face, animals, birds, cars, bikes, planes, trains
  • ISO range 40-51200 (Extended)
  • CF Express Cards Type B
  • SD Memory Cards: UHS-II, UHS-I, SD/SDHC/SDXC, V90
  • Save to SSD via USB-C
  • Pixel Shift 400MP
  • Interchangeable EVF-GAX3 9.44M dots, 1.0x
  • £ Way Tilt 3.2” LCD Touch screen 2.36M dots
  • WiFi
  • Bluetooth
  • 4K 60p 4:2:2 10-bit, no crop
  • 8K 30p, 1.44x crop
  • FHD 120p
  • Cine formats Premista, 35mm, Anamorphic
  • F-Log2

 

Fujifilm GFX100 II Handling

We had the opportunity to look at both AF and manual focus lenses. The AF is fast, sharp and not exactly silent but not obtrusive and it certainly shifts all the weight of glass from the larger medium format lenses, without any difficulty at all. Manual focus is actually very straightforward, provided the in-camera focusing aids are used. This works best with the camera on a firm tripod, and of course this also helps with the precision in composition that might be needed, especially for macro shooting.

When used as a field camera it is perfectly feasible to dispense with a tripod for most situations. Landscapes and urban locations where tripods may get in the way, or simply be a burden to carry, are not essential now we have such effective IBIS. This depends upon the kind of lens. Some are compact enough to be fine with this approach. Some of the more complex items such as Tilt/Shift lenses or macro lenses benefit from very accurate focusing and carefully worked out composition. This degree of precision is matched up much better with the use of a good solid tripod. This is especially true if we want to squeeze all the best quality out of 102MP or maybe even 400MP files.

 

 

One of the huge advantages of using the same marque for both smaller formats and medium format is continuity of operating logic. This might be a Pentax DSLR and a Pentax 645Z, or as in this case perhaps an APS-C Fujifilm camera and this Fujifilm medium format. The operating logic and control layout are very much the same and make life much easier for the photographer. This can even extend to simple things such as the direction a dial such as a focusing ring or aperture ring rotates.

In summary, the GFX100 II is a very satisfactory and enjoyable experience and the results speak for themselves.

 

[SECTION]PERFORMANCE[/SECTION]

Fujifilm GFX100 II 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 } Fujifilm GFX100 II Sample Photos Previous Next

Lens Performance – During the review period, three GF lenses were on hand, including the two Tilt/Shift lenses, plus the GF 55mm f/1.7 that was used for the majority of the technical tests. This lens was awarded an Editor's Choice and performance was summed up as follows:

Central sharpness is excellent from f/1.7 all the way through to f/16, pushing into outstanding at f/2 and f/2.8. Sharpness remains very good even at f/22. The edges are good at f/1.7, very good at f/2 and f/2.8 and excellent from f/4 to f/11. The edges are still very good at f/16 and f/22. An amazing amount of detail is recorded right across the frame and really any aperture could be used with confidence.

CA (Chromatic Aberration) is also very impressive, centrally being close to zero. The edges are also kept well under control. Overall, CA is unlikely to be a problem and in any event there are software solutions should they be required.

Distortion is almost zero, actually measuring at -0.05% barrel. This is purely academic, and we have a basically rectilinear lens that would put some macro lenses to shame in this respect.

Bokeh is smooth, relaxed and has that gorgeous medium format look about it. What a superb lens for portraiture and social photography such as weddings.

(Below you'll find images demonstrating the aperture range of the lens)

 

Fujifilm GFX100 II Lens test images Previous Next

 

Fujifilm's coating technology is well proven and excellent. Even with the most severe lighting tests it is almost impossible to generate any significant artefacts.

Vignetting is present at open aperture to a modest degree, but soon reduces to a very insignificant level.

 

Fujifilm GFX100 II ISO test images Previous Next

 

ISO Performance – ISO performance is truly excellent, and up to ISO 800 images are totally clean and sharp. ISO 1600 and ISO 3200 are almost at the same level, with just the slightest hint of noise creeping in. Sharpness is very slightly reduced, but the standard is so good that these ISO levels are still fully usable. Noise is steadily creeping in at ISO 6400 and ISO 12800, the latter seeing the sensor taken out of its base range and sharpness dipping slightly more. ISO 25600 sees definite levels of noise and lower sharpness, although the boxes of the test chart are still fairly well defined. This continues with ISO 51200, which although as usual really only for emergency use, still has sufficient quality to make images much better than average at this level. The boxes still have integrity on the chart but noise is high and sharpness relatively low. Overall, a really sparkling ISO performance that Fujifilm should be proud of.

 

Fujifilm GFX100 II White-balance test images Previous Next

 

White Balance – Presets are available for a wide range of options. AWB is joined by AWB White Priority and AWB Ambience Priority, the latter keeping some of the characteristics of the ambient lighting. This prevents AWB from being too stark and gives a very attractive result. There are three slots for custom WB settings, plus a Colour Temperature option for those who want to be very specific. Daylight and Shade are self explanatory, the latter being very useful in woodland shadow areas, preventing a purple cast creeping in. Missing is a Cloudy setting, and as this would replicate the effect of a Cloudy or 81A filter, which is so useful when warming up cold daylight, it seems a shame it is not there. Incandescent is there, even though tungsten lighting is not too common, and the palette of options is completed with Underwater. This reviewer would happily ditch Underwater and have Cloudy reinstated, but then others may have different requirements.

 

Fujifilm GFX100 II Digital filters Previous Next

 

Digital Filters – One of the glorious things about Fujifilm digital cameras is the wonderful range of Film Simulation digital filters. For those who have been brought up on film, the different film types offered will make perfect sense. For those who have entered a digital only route into photography will soon pick up the idea, and to help this along many of the settings have an explanatory subtitle. So, for example, we start off with PROVIA/Standard, a good place to start. Most photographers know of Velvia, and the description VELVIA/Vivid is well taken, as is ASTIA/Soft. Thus we can choose what type of “film” we want in our camera, and the huge advantage of digital photography is that this can be changed shot to shot if required. REALA Ace is a new addition, described as having faithful colour reproduction with hard tonality, suitable for all general purpose subjects. This brings the number of options to 20.

 

 

Video – A formidable set of functions make the GFX100 II suitable for high end video shooting. At full resolution, we have 4K/60p, AI based AF, 4:2:2 10-bit colour and FHD/120p 4:2:2 10-bit. At 8K/30p there is a 1.42x crop. Other features include:

  • Support of Cine Formats Premista/35mm, 35mm Anamorphic
  • F-Log 2
  • Record RAW output direct to SSD via USB-C
  • Record Frame.io to Cloud
  • ATOMOS AirGlu BT Wireless Timecode
  • Apple ProRes
  • Blackmagic RAW
  • GF to PL Adapter allows use of Fujifilm Premista and Cabrio zoom lenses

 

 

[SECTION]VERDICT[/SECTION]

Value For Money

The [AMUK]Fujifilm GFX 100 II|Fujifilm+GFX+100+II[/AMUK] is priced at £6999

The choice within the Fujifilm medium format range is quite extensive:

  • [AMUK]Fujifilm GFX100 S|Fujifilm+GFX100+S[/AMUK], £5499
  • [AMUK]Fujifilm GFX100|Fujifilm+GFX100[/AMUK], £9999
  • [AMUK]Fujifilm GFX100 IR|Fujifilm+GFX100+IR[/AMUK][/AMUK], £11,199
  • [AMUK]Fujifilm 50S II|Fujifilm+50S+II[/AMUK], £3499

Other marques also offer medium format cameras, but generally nowhere near as many lens options as Fujifilm.

  • [AMUK]Hasselblad X1D II 50C|Hasselblad+X1D+II+50C[/AMUK], £5400
  • [AMUK]Hasselblad X2D 100C|Hasselblad+X2D+100C[/AMUK], £7369
  • [AMUK]Hasselblad 907 X 50C|Hasselblad+907+X+50C[/AMUK], £5990
  • [AMUK]Hasselblad 907 X 100C|Hasselblad+907+X+100C[/AMUK], £6729
  • [AMUK]Pentax 645Z|Pentax+645Z[/AMUK], £5499

There are quite a few offer prices available currently, so do check on the latest as there are substantial savings to be made. The new camera is looking good solid value, but the alternatives may suit some photographers just as well, depending on individual requirements.

 

Fujifilm GFX100 II Verdict

This is all about the quality of the results, which are right at the top of Fujifilm's game. Always a force to be reckoned with in the medium format stakes, nothing has changed in this respect since the film era and Fujifilm can still deliver the very best. The camera may be expensive, although fair value in its bracket, and it may be heavy and bulky, but in the end if medium format quality is required then it doesn't get much better than this. Admittedly not everyone will want the bulk and weight involved. Regardless of how, relatively, compact this is for a medium format camera it still is a fair weight to carry. Add a strong enough (i.e., heavy) tripod and it can be quite a burden. Of course, in the studio, once set up the kit operates flawlessly in that controlled environment. In the field, the weight must be carried if the results are what we are looking to take advantage of.

For those who need this quality, the camera is a sound choice, full of exciting possibilities and cutting edge features. It is definitely Highly Recommended.

 

Fujifilm GFX100 II Pros
  • Excellent to outstanding sharpness
  • Superb colour rendition
  • Staggering detail from 102MP CMOS sensor
  • High class manufacturing quality
  • Wide lens choice
  • Fujifilm Film Simulations
  • Fantastic EVF and monitor detail
  • Weather resistance
  • Impressive video capability

 

Fujifilm GFX100 II Cons
  • Bulk and weight
  • Price

 

[REVIEW_FOOTER]R_features=5|R_handling=4|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=HighlyRecommended – Superb medium format quality with a great selection of lenses|E_id=8016[/REVIEW_FOOTER]

 

View the Fujifilm GFX100 II specs in the equipment database.

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Categories: Photography News

4 Very Quick Waterfall Photography Ideas

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Thu 21 Mar 2024 2:35am

 

Waterfalls, no matter their size, are a pretty awe-inspiring naturally occurring element that stand tall in the landscape and are well worth a photo or two. With this in mind, here are some quick-fire ideas you can think about next time you're lucky enough to be photographing one. 

 

Do It Differently 

 

Instead of starting with slow shutter speeds and blurry water (we'll get to this in a bit) why not take the time to think how you can shoot the waterfall you've found on your travels differently?

1. Try standing on the curve of a riverbank so you can use the s-curves created by the flowing water to lead the eye to the waterfall. Look at the scenery to the sides of the waterfall. Do the wet rocks have particularly interesting patterns? Is the foliage particularly vibrant and as a result will make a colourful frame?

2. Closer to the waterfall take your wellies, waders and macro lens with you and photograph the bubbles that are formed.

3. When winter comes around again a few days of really cold weather can turn waterfalls into interesting ice structures and icicles on the edge of banks can turn an ordinary-looking shot into something more spectacular.

 

4. Enhance the power of the waterfall with fast shutter speeds then finally turn your attention to everyone's favourite technique - blurring water with slow shutter speeds. You need your tripod and your camera set to shutter priority. Then, pick a slow-ish shutter speed of around one to two seconds, check your composition and take your shot. If you find your shot's overexposed use a polarising filter or switch to aperture priority mode but then it can take you a while to find the right shutter speed. You can also go back to your chosen location at sunrise or sunset when the light's not as bright.

 



For more tips on photographing waterfalls, have a look at these tutorials:

 

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Categories: Photography News

Winners Of LCE Photographer Of The Year 2024 Announced

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Wed 20 Mar 2024 5:26am

‘Sunset at Shiprock’ by Curtis Blum

 

London Camera Exchange (LCE) has announced the winners of its inaugural competition LCE Photographer of the Year 2024. The contest featured 14 different categories including the ‘People’s Choice’ award open to public voting. The competition attracted nearly 13,000 entries from all over the globe and demonstrates photography’s continuing appeal. Entry was open to images captured on all types of devices: phones, action cams, drones and (the vast majority) using more ‘traditional’ camera equipment.

 

‘Long Tongued Bat Approaching Banana Leaf' by Marilyn Taylor

 

First prize winner: Marilyn Taylor

Taking overall first prize is Marilyn Taylor with her submission entitled ‘Long Tongued Bat Approaching Banana Leaf’, shot in northern Costa Rica. Marilyn recalls, “It was so dark that it was very difficult to see these tiny bats flying like ghosts. We could only photograph for a short time, as they soon flew off. This was probably one of the most interesting shoots I’ve ever been on – it was absolutely fascinating. The fact that I achieved a couple of super images out of it was a terrific bonus.”

Marilyn, from Woking in Surrey, has a background in engineering from Oxford and now balances her time between freelance photography and playing golf. She is no stranger to photographic competitions, having previously won several contests and national gold medals. She was the first recipient of the Royal Photographic Society Digital Group PDI Raymond Wallace Thompson Trophy. Marilyn is currently studying at the UCA in Farnham for a Master of Fine Art Photography, working on diverse projects including the ‘Impact of Artificial Intelligence on Fine Art Photography’ and ‘Visual Alchemy’. Marilyn received £5,000 in LCE vouchers as the overall first prize winner.

 

Category winners (£500 vouchers each):

  • Abstract – ‘Sailing’ by David Higton
  • Action – ‘Speedsters’ by Kaushik Majumder
  • After Dark – ‘Ready to Depart’ by Alexander Howard
  • Birds – ‘Incoming Gannets’ by Linda Ariss
  • Drone – ‘Haldon Belvedere Misty Sunrise’ by Daryl Baker
  • Landscape – ‘Sunset at Shiprock’ by Curtis Blum
  • Macro – Wasp Trio Drinking’ by Ian Mears
  • Music – ‘You!!’ by Dominic Beaven
  • Pets – ‘Anti Gravity Dog’ by Daniel Sheridan
  • Portrait – ‘Authenticity is a New Future’ by Laura Arkhypenko
  • Street – ‘The Last Train’ by A B M Nayeem Siddiquee
  • Travel – ‘Valencia Opera House’ by Graeme Hilditch
  • Wildlife – ‘Long Tongued Bat Approaching Banana Leaf’ by Marilyn Taylor
  • People’s Choice – ‘Yaks Nupse’ by Patrick Pfirrmann
 

The Landscape, Wildlife and Birds categories proved especially popular with entrants. Some of the shortlisted photographs featured particularly interesting stories, such as ‘Destination Dreamland’ by Becky Bailey, a deaf photographer who experiences the world through pictures.

‘Sycamore Gap – the Last Show’ by Ian Sproat, an electrician by day, is an outstanding image of the iconic Sycamore Gap tree on Hadrian’s Wall, captured just a week before it was maliciously chopped down.

 

‘Anti Gravity Dog’ by Daniel Sheridan

 

One of the judges’ favourites, and Pets category winner, was an image of a King Charles Cavalier Spaniel entitled ‘Anti Gravity Dog’ by Daniel Sheridan. An employee of Bournemouth Council, Daniel also runs a photography website named ‘A Billion Clicks’, which – of course – specialises in dog photography!

The awards were presented at a special ceremony at The Photography & Video Show on Sunday 17 March 2024 at The NEC, Birmingham. All winners and runners-up had their images displayed in an exhibition at the entrance of the Birmingham show, and shortlisted photographs have been made into a commemorative book.

Nick Richens, chief executive of LCE, commented, “We were thrilled by the sheer volume of entries to the competition and the outstanding quality and diversity of the photography submitted. Choosing the winning images was an especially tricky affair as there were just so many stand-out images. We would like to thank everyone for submitting their incredible work and making our very first POTY competition a resounding success. Congratulations to all the winners from the LCE team.”

The LCE POTY competition ran from October 2023 to January 2024, and was the first time the UK independent retailer had hosted a contest of this scale. Nearly 13,000 entries were submitted. Overall, there was a £12,000 prize fund generously supported by leading photo industry brands including Canon, Nikon, OM System, Fujifilm, Panasonic and Sony. Judges included Chris George, content director at Future Publishing, street photographer Peter Dench, journalist and SheClicks founder Angela Nicholson, and Nick Richens, Chief Executive at London Camera Exchange.

LCE is the UK’s largest chain of independent photographic stores and offers a wide portfolio of products and services for enthusiast and professional photographers and filmmakers. The company has been recognised for its outstanding customer service and support across the British photographic media for many years.

 

For more information, please visit the LCE Photographer of the Year 2024 website.

Categories: Photography News

How Do You Photograph The Moon?

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Wed 20 Mar 2024 2:29am

 

The Moon. We've walked on it, watched it eclipse the sun and many of us will have spent many an evening looking at it as it sits above us in the night's sky. Another popular moon-related activity is to photograph it and with the right kit, a little understanding on how cameras 'see' and a bit of patience, it's actually not that tricky to capture a decent image of this giant lump of rock that we see every night. 

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1. Camera, Lenses & A Tripod

Obviously, you won't get very far without a camera and while most will reach for long lenses and their more advanced camera, it is possible to capture a half-decent image of the moon with a compact so long as it has a good zoom range on it. If you are going for the interchangeable lens option, reach for something around the 300mm plus mark and you'll capture much more frame-filling shots. A tripod and remote release are handy, especially if you plan on capture multiple shots to blends together, and do wrap up warm. 

 

2. Overexposed Moon 

Once your kit's out and you've taken your first shot, you'll probably see an image that has a very dark sky with an extremely bright, white circle in it. This happens because of the large amount of black surrounding the moon confuses your camera's light meter. To fix this, dial down the exposure compensation or you can try using Spot metering (or meter manually) as this will tell the camera to take an exposure reading just from the moon.

It'll also help if you use a smaller aperture (try a few test shots around the f/11 mark and adjust from there), particularly if you're noticing small spots on the moon which are appearing brighter than others as you'll be able to keep adjusting your settings (shutter speed, aperture, ISO) until most are removed. It's also worth remembering that using a smaller aperture will mean less light reaches your camera's sensor and as a result, you may need to reduce your shutter speeds slightly but we're not talking so much that the movement of the moon is blurred (the moon moves quicker than you think). Try something around the 1/125sec mark and tinker from there.

You'll also need to work rather quickly as spend too long messing with settings and you'll find the moon will have already moved out of the frame and you'll have to adjust your tripod's position again.

 

 

3. Bracketing Your Shots 

Right, back to exposure. What we've mentioned previously is great if you just want to capture a frame-filling image of the moon set against the night's sky but it won't really work for images where you want to capture some foreground interest as well. For this, you'll need to bracket your shots. Many cameras have a feature that automates this process but if your camera doesn't, you can do it manually. In a nutshell, bracketing is where multiple shots of different exposures are captured and merged together, either in-camera or manually on a computer, to create one image that has all the elements you want to feature in your shot correctly exposed. Take a look at ePHOTOzine's 'Inspiration' section for more tips on this technique

 

4. Location, Location, Location 

If it's possible, you'll want to get away from towns and cities as light pollution can reduce the amount of detail you'll see in your moon shots and don't always think the sky has to be completely dark either as the blue of twilight can add an interesting twist to your moon imagery. The weather, how cold it is and levels of pollution can also change how your final image will look so do take plenty of shots and consider taking images on different nights, too. 

 

 

5. Half Moon Or Less

Your idea of the perfect moon shot will probably be of a full moon and there's nothing wrong with this, but to really capture the shapes and lines of the craters, wait until there's half or less of the moon visible. By doing so, you'll see how shadows and light emphasis shape and really enhance to 3-D feel thanks to the side-on light the sun creates during this phase. Using an app or having a look online for a moon phase calendar will help you figure out when will be the best time to set your camera gear up outside. 

 

6. Boost Contrast 

You may find you need to boost contrast levels in your editing software or have a play with curves to pull detail that might have become lost but don't be tempted to adjust the size of the moon in your shot as this will just look unnatural and spoil the composition of your image. 

 

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Categories: Photography News

Entries Open For The Nikon Comedy Wildlife Awards

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Tue 19 Mar 2024 5:28pm

Jason Moore, 'Air Guitar Roo', winner of The Comedy Wildlife Photography Awards 2023

 

Nikon, in partnership with The Comedy Wildlife Awards, is pleased to announce that the world-famous competition is now open for 2024 entries.

 

The Comedy Wildlife Awards is celebrating a decade of sharing charming images from around the world, and this year, Nikon is delighted to be able to support this strong legacy as partner of the competition. To commemorate this exciting new partnership, the competition has officially been renamed 'The Nikon Comedy Wildlife Awards', but the aim to help encourage the world to take part in the conservation conversation through hilarious wildlife images remains the same.

 

Entrants are invited to submit work that not only has the power to make people smile, but that encapsulates wildlife in all shapes and sizes - promoting the conservation of wildlife and their habitats through a humorous and positive message.

 

The entry shortlist will be judged by a panel of industry-leading photographers, which for the first time will include Nikon Creators such as Cameron WhitnallLara Jackson and Roxy Furman, who each possess a rich understanding and passion for both wildlife photography and conservation. They will be joining the regular cohort of expert judges, including renowned wildlife photographer and Nikon Ambassadors, Daisy Gilardini, and Charlie Hamilton James.

 

The competition is free to enter and is open to the public until it closes on July 31st 2024. The shortlist will be announced in September whereas the final winners will be announced in November of this year.

 

Submissions in the various categories will be in with a chance to win some impressive prizes, from a once in a lifetime safari in the Maasai Mara in Kenya, to a Nikon Z 30 camera. Other prizes include a Nikon Z 8 kit, and a brand-new iPad loaded with the latest Affinity Photo editing software for the Nikon Young Photographer winner.

 

Stefan Maier, Senior General Manager Marketing says, "We are thrilled to be partnering with The Comedy Wildlife team this year to become The Nikon Comedy Wildlife Awards. Utilising the natural affinity between our brands to celebrate global wildlife, we look forward to generating vital awareness surrounding conservation. Nikon has spent more than 100 years not only pioneering imaging technology, but also empowering creators and image makers around the world as they perfect their craft. We're therefore thrilled to combine forces, providing a platform for talented creatives to not only tell stories that make an impact – but that put a smile on people's faces too."

 

Paul Joynson-Hicks, Competition Founder says, "It is with great excitement that in our tenth anniversary, we have partnered with Nikon, one of the world's leading camera brands. It is a very special year for us as we celebrate thousands of funny images entered by photographers from all over the world and it is made even more special by being joined by a global brand such as Nikon. Welcome to Nikon and here's to a glorious future together; celebrating global wildlife, celebrating the people taking the photographs and by doing so encouraging the world to take part in the conservation conversation through our funny wildlife images."

 

Competition Categories include:

  • Alex Walker's Serian Mammals
  • Spectrum Photo Birds
  • ThinkTANK Fish and other Aquatic Species
  • Insects
  • Reptiles/Amphibians
  • Nikon Young Photographer (up to 25yrs.)
  • Nikon Junior Category (up to 16 yrs.)
  • Amazing Internet Portfolio Category
  • Video Category
  • Affinity Photo People's Choice Award
 

For more information, please visit the competition's website.

Categories: Photography News

5 Top Tips On Low Key Flower Photography

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Tue 19 Mar 2024 2:25am
 
 

Photographing a flower head on a black background is a simple but effective way to make yourself a piece of wall art. The bright petals against a stark, dark background make a vibrant image that wouldn't look out of place on the shelves of stores that are designed to fill your home with accessories and decorations.

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1. Gear Suggestions
  • Macro lens 
  • Window for light or two constant light sources placed either side of your set-up
  • Black background
  • Flower(s)
  • Tape
  • Container to hold your flower
  • Tripod - keep your hands free so you can adjust the position of the flower head etc.
  2. Constant Light Source 

If it's a sunny day you'll have plenty of free light falling through your windows to work with, however, if it's a gloomy and really overcast you'll need a couple of constant light sources to place at either side of your set-up. You want just enough light so the petals have contrast and don't blend together. Take a look at the edge of the flower too as you don't want it to vanish into the background too much.
 

3. Background Choices

You can use whatever you have to hand as long as it's black and not reflective. As holding a flower still is rather hard work, we used a plastic cup as a stand and taped the flower to it but a vase or any other container will work just as well.

  4. Do & Don't

Don't use an aperture that's too wide as you'll lose too much detail towards the edges of the flower and if you're shooting straight on make sure the centre of the flower is sharp. Experiment with your shooting distance, taking shots of just the centre of the flower or try changing the position of the flower to shoot it on a slight angle.
 

5. Photo Editing 

Once you have your shots why not get creative in Photoshop? Take a look at ePHOTOzine's technique section for Photoshop, Lightroom, Elements and GIMP editing tutorials. 

 

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Categories: Photography News

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