The Weekly Wrap-up compiles interesting articles published during the last seven days on Photofocus. This week we posted articles on why non-wedding and portrait photogs would go to WPPI, a first look of the Nikon Z6 mirrorless camera, lighting with the Spiffy Specklur Core kit, Blackmagic RAW for Pocket Cinema Camera 4K and learning the basics for flying UAVs. Good reading!
Capturing Red Rock panoramas - Photographing in the panoramic format can give your images a different look. Anything out of the ordinary can help set your images apart. And that’s a good thing. Here’s how. Photographing panorama images: Technique Let’s talk for a moment about the technique of making a panoramic capture of a scene. While this may seem obvious to many I find that it is a common error in holding your camera in the horizontal orientation. While there might be a time for this, the resulting panorama will be very thin. You can add some pixels and height to your final image by holding the camera in a vertical orientation. When making your captures, give your software an easier time of turning out a solid result by overlapping your frames by about 30 to 50 percent. With more overlap your stitching software has more “points of contact,” which makes it easier to create a seamless final image. Ideally, if you are going for super accuracy in your final photo you would have your camera mounted on a special tripod head allowing the lens to be rotated around the nodal point of the lens. Using the nodal point makes for almost no distortion when the images are combined. The heads also have markings and click stops so the overlap can be exact. This lesson is a bit more casual as I was hand-holding and will share some ideas for making the casual work for you also. Additional possibilities In addition to the technique above if you are trying to make your image quite large (adding pixels to the scene) you can repeat the panoramic captures making more rows and overlap in rows above and/or below the previous row of images. You can use an old videographers’ trick for getting a level and smooth rotation as I do. Point your feet in the direction of the end of your panorama. Then twist your belly back to the beginning of your scene. With elbows locked to your side and the camera focus set to manual and infinity and a suggested fairly small aperture of f/8 to f/11. Then fire your frames in sequence starting left and moving right. Shooting in this direction allows you to get a quick visual of which images go together when you head off to post production. One other aside — depending upon the lighting density of the scene I’ll also bracket exposure for possible HDR work before assembling the final photo. My Lumix cameras have a built in level that is visible on the screen which is extremely helpful in keeping the horizon from shifting while making the captures. How many frames should you make? Shoot as many as necessary to cover your landscape with the overlap suggested. The number of frames can change the feeling of your panorama immensely. The two examples I include in this post have four and five images respectively. Panorama software I’ve found Adobe Photoshop to be perfectly useful in joining the images. If you are doing lots of panoramic imagery with multiple rows it would be well worth getting a specialty panoramic software. I invest in software when it will save me time. Let’s take a quick look at my Photoshop workflow. First images are selected in Adobe Bridge. Highlight the respective images and open in Adobe Camera RAW. After the same adjustments have been applied to all the images click Done. The files will now have those settings applied when the images are handed off to Photoshop in the next step. Highlight the images. Click on the Tools Menu > Photoshop > Photomerge. Use the Auto Layout with all the boxes checked. If you find the result not exactly to your liking, try a different Layout option. If you have any questions let me know in the comments below.
My move to mirrorless - Ever since Sony released their first full-frame mirrorless camera in 2013, I have been wanting to make the switch from DSLR to mirrorless. But I did not want to switch to Sony, for a handful of reasons. Some of which are: The camera is built on the Minolta system, which to me is a turnoff. (Here come the hater comments). You see, I used to work at a large camera warranty company and could see first hand how poorly made Minolta cameras were, how poorly made Sony cameras were. Yes, Sony has evolved over the years, and they’re much (much) better now. But the mount is still based on Minolta. I did not want to switch lenses. I have always been a Nikon user, thanks to my grandfather who left me his Nikon equipment when he passed. I like having good battery life, and the Sony batteries just aren’t up to par. When I tried the a7 II, I was not impressed by its low light capabilities. I used it at an indoor birthday party as an experiment and it couldn’t handle the event. As mentioned in the first noted reason, Sony has evolved. They’ve come a long way and the newer cameras are far better than the “older” models. So a big kudos to Sony for working hard to make better equipment. There are additional reasons, but I thought I’d share a few before moving on. Over the years I’ve tried a bunch of mirrorless cameras, both full frame and cropped: Leica M9 Sony a7 II Sony a7R Fuji XT-1 Panasonic Lumix GH5 Of those, the one with the best build and image quality was the Leica M9, but it was also the slowest due to the nature of a range finder, and the most expensive to maintain because, well, Leica is simply overpriced. The Panasonic Lumix GH5 worked well for a short time because of its video capabilities, but I was not fond of the still image quality. Due to my dislike of all the mirrorless cameras I tried, I stuck with my Nikon D850 for video and still work. Until the Nikon Z series was released. With that, though, I had my concerns. Here are some of those: The Z cameras use XQD cards, which are expensive and not common among camera brands. However, the card slot is firmware upgradeable to CFexpress which would make the cards (even) faster as well as less expensive. The Z cameras require new lenses, the S line for Z bodies. Go figure. Why not just called them Z lenses? The Z camera requires the use of an adapter (model FTZ) to use Nikon F mount lenses on the new body. This is just like if I want to use my Nikon F mount lenses on a Sony body. Although the advantage of the FTZ adapter is as follows: You can full autofocus capabilities even with F mount lenses You get in-body stabilization even with F mount lenses There is only one card slot when Nikon could have easily made 2 XQD or 2 SD card slots if they really wanted to. This doesn’t bother me too much as I carry a WD My Passport Wireless Pro with me when traveling to do on the fly backups. But I can understand why this would bother some photographers. That was the extent of my concerns. But after spending some time with the Z7 and now owning a Z6, I can honestly say that it’s one of the best Nikon cameras I’ve owned, and definitely the best mirrorless. Not only is the EVF spot on and incredible. Not only is the autofocus (including in video) fast and accurate, but the battery life is amazing. It uses the same long-lasting battery as the Nikon D850, and it continues to last a long time in the mirrorless body. I can go an entire day of capturing images and video on one charge. I almost forgot to mention that people were complaining that the camera has no Eye-AF (which uses software to guarantee a focus on eyes). Nikon already announced that it’s coming with a firmware update soon. Now I’m a mixed camera type. I use a Nikon D850 for work that requires the megapixels, like commercial work. I use the Nikon Z6 for all my videos now as well as street work, photos of my own family and other daily things. It’s on my hip via the Spider Holster, all day every day. It’s light, compact and flawless. So far so good, and I might switch from the D850 to another mirrorless (with that high of megapixels and dynamic range) in the future. Maybe the second iteration of the Z7, or whatever comes next. Maybe something with two card slots if they make it. Why? Because once you use an EVF and find yourself loving it you never want an optical viewfinder again. But for now, split use is what I’ll be doing. My Nikon Z6 setup is as follows: 24-70mm f/4 Spider Light Holster Spider Pro Clamp Really Right Stuff L Bracket Wine Country Camera 72mm 3-Stop ND Filter Nikon FTZ Adapter (for F mount lenses) Spider Light Hand Strap Eventually, I’ll be adding the 14-30mm f/4 for video work. This is my move to mirrorless. It’s been a slow road, but I’m glad to finally be on this journey for the long haul. If you’re interested in seeing that quality of videos to come out the Nikon Z6, visit my YouTube channel and click subscribe.
Photographer or model: Who owns the image? - As a photographer, protecting the images you create is critical to your success. Your photography is your product, your art and your brand. As a model, protecting your likeness and how it is used is critical to your success. So when a photo is made by a photographer of a model, who owns it? And the answer is, the photographer. Shortest article I have ever written. The end. Copyright explained There may be a little more to copyright law and image usage than that. But, in most situations, the moment a photographer presses the shutter button on their camera and creates an image, they own the copyright to that image. Copyright not only sets ownership, but also gives the owner the rights to copy, display, create derivative works (example, transforming a photo into a new original painting) and transfer any of these rights to others. Straight from the authority on copyright law, the US Copyright Office, “copyright is a form of protection provided by the laws of the United States to the authors of ‘original works of authorship’ that are fixed in a tangible form of expression.” There are two important elements in that to understand: An original work of authorship is a work that is independently created by a human author and possesses at least some minimal degree of creativity. A work is “fixed” when it is captured (either by or under the authority of an author) in a sufficiently permanent medium such that the work can be perceived, reproduced, or communicated for more than a short time. It is also established that copyright protection in the United States “exists automatically from the moment the original work of authorship is fixed.” In other words, the moment you press the shutter, you own the photo. Who can use the image? Be aware of intellectual property appearing in photos The image above causes all kinds of problems for licensing. First, a model release is needed. But, her shirt also features a trademarked logo, covered under a completely separate set of laws. Logos and other trademarks may be used without permission of the owner as long as it isn’t being used “in commerce” and does not cause “consumer confusion.” So as long as no one thinks that we are selling whiskey, odds are this editorial use is OK. Editorial vs. commercial uses Under copyright law, the photographer owns the copyright and can use it for any editorial use without permission of the person in the picture. Editorial uses are works like this article, where you are sharing information, not selling something. A person cannot have their picture used without their permission for anything that sells or promotes a product or service. For example, if the company that made the outfit a model is wearing contacted the photographer and said, “Hey we want to pay you so we can put that picture in our ads,” that would be promotional use. The photographer would have to get permission, in writing, from the model to sell the rights to use a photo of that model. Model releases That is the purpose of a model release, so the photographer has that permission in writing to be able to sell their images without contacting the people in those photos each time. Most companies, stock agencies, etc., require those to buy or sell any photographer’s images. Copyright infringement Using that same example, let’s say the company finds the image and uses it in ads or on their website without the photographer’s or model’s permission. This is a copyright infringement. The artist can take a number of legal actions including pursuing civil damages or having websites taken down that feature the unlawfully used content (initiated via a DMCA Takedown Notice). The model could also pursue legal actions, usually called a “Claim for Unlawful Use of Name or Likeness,” which is protected under most state’s laws. For infringement cases, copyright registration of the images is a requirement. That’s a whole other set of posts. Work for hire If the photographer pays a model for a photoshoot, generally the assumption is the photographer owns the copyright and has permission to do what they want with the images. Even then, they still have to get a model release in writing to be able to sell those images for non-editorial (i.e. advertising/stock/marketing) type uses. If a model pays the photographer for a shoot, for example, “to build their portfolio,” the photographer still owns the copyright, unless the photographer transfers ownership of copyright in a written contract. Typically, this is an agreement that says the model has unlimited rights as the person who hired the photographer to use the pictures as they wish. However, by transferring copyright, the photographer gives up all rights to use those images themselves. Usually, an unlimited license to “display” the image is more appropriate, as it conveys rights to the licenser, the model, to use the images in whatever way and for however long they wish. But this also allows the photographer rights to use their own work, and specify any uses which are not permitted. In “Trade for Print” or TFP shoots, where neither photographer nor model is getting paid, the photographer still owns the copyright, and there is an agreement about who gets what pictures and how they can be used. This should always be in writing! Review In nearly all circumstances the creator of the artwork, the artist, is the owner of the copyright, and the ownership of it can only be transferred by that person, in writing. But, a model retains the right to deny certain uses of their likeness, unless they have signed a release giving up that right. So as an example, let’s say I created this image, “Fire-Spinning Dragon-Woman.” As the artist who created it, I own it. I have the copyright to it. However, I cannot get paid for it by a company that plans to use it to sell stuff if a model appears in the image unless I have
Be prepared to be spontaneous - Are you prepared to head out with your camera at any moment? Whether it’s a photoshoot or an epic trip that somehow falls in your lap, can you honestly say you’d be able to just pick up and go? Being ready can mean many things. Photoshoot If it’s a photoshoot here is a list of things that can always be ready so you’re able to be spontaneous. Charged batteries: Always make sure your batteries are charged and ready to go. Memory cards in your camera bag: If you’re like me there seems to be a memory card hanging out in my card reader on my desk many times. Get out of that habit. Download, put it back in your camera or bag, format and be ready. Camera and lenses cleaned: It’s a good habit to get into cleaning your gear when you are back from a shoot so you know it’s ready for the next one. Camera bag packed: Always put everything back in its place and back in your bag so you can grab and go if you need to. Traveling If an epic trip somehow magically appears in your life, you can be ready to go and make it easier to say yes with a few of these things in place. Besides the list above to make sure your gear is ready, these are a few other items to have prepared. Up-to-date passport Medical information handy Have one location to share itineraries, flight information and any other pertinent information with loved ones — Google Drive, Dropbox or any service that allows for quick sharing and access. Act on plans or ideas such as gear rental right away. It is quite possible if you act immediately. Keep travel bags stocked so you don’t have to run out to buy anything before you go. Try to keep prescriptions filled as much as possible Make sure you have space your external travel hard drive for new images Keep electrical plugs on hand that work for wherever you’re going. General things to help be prepared Be organized. Keep all of your gear in one place so you know where everything is and won’t have to hunt for things when you’re in a hurry. Take inventory of both your camera and travel gear. Fix anything that needs to be repaired or replace anything that is broken. Regularly back up your files, laptop, desktop, external hard drives — all of it. Keep a list of phone numbers so you know who to call if you need to. Travel agents, airlines, tour companies, insurance, doctors and anyone who you may need to notify if you’re traveling at short notice. Make sure you have space on your laptop so if you take it on your travels it has room to import and edit images on the road. Update your phone/iPad/tablet apps and check to see you have what you need for traveling Check your credit card balances, are you prepared to charge something in case of an emergency? This is a pretty general list but even this small amount of organization and being prepared can help you not panic if you need to fill in for someone on a photoshoot at the last minute or have the opportunity to hop on a plane with only a few days notice. Do you have any tips or tricks to add to this? Let us know in the comments.
Everything you need to know about photo math - Photo math isn’t math at all. It’s arithmetic. It’s adding and subtracting light. It’s also either multiplying by 2 or dividing by 2. That’s it. Photo arithmetic is easy. It all starts with a stop. What is a stop? A stop in everything but photography is coming to a complete halt. No movement. No motion. Photographically, a stop or more accurately an f/stop is a quantity of light. F/stop, by itself, always refers to an aperture value of a lens. F/8.0 is an aperture value. F/stops are used in relation to an amount of exposure to describe how much more light or how much less light. An f/stop of change in exposure is either half the amount of light or twice the amount of light. It doesn’t matter if the change is in shutter speed, aperture or ISO. A one-stop change is always either half the amount of light or two times the amount of light. Always. The origin of the term F/stops originated with a lens’s aperture. The f/stop is a ratio between the focal length of the lens and the diameter of the aperture opening. This is more than you want or need to know. Simply put, increasing the amount of light by one stop or f/stop doubles the area of the aperture. An aperture of f/5.6 is twice the area of one of f/8.0. The ratios, known as f/stops, were engraved on a ring on early lenses. The change from one f/number to the one next to it earned the name stop because there were detents built into the ring that made the movement “stop” in the proper place. Over time, the term “stop” or “f/stop” were understood to be either a doubling or a halving of the amount of light no matter if the change was made with the aperture ring on a lens, the shutter speed dial or by changing the ISO. Exposure changes in full stops This is where rough patches in understanding photography happen. Each of the three sides of the exposure triangle, shutter speed, lens aperture and ISO, honor the doubling and halving of f/stop. Whether the amount of light is adjusted and in which direction — double or half — is where confusion creeps into understanding. Lens apertures The hole light passes through inside a lens is called the aperture. Changes are indicated in f/stops. Like most things in photography, the numbering system seems a bit backward. F/2.8 lets in a lot more light than does f/16. The chart below shows some aperture openings with their corresponding f/stops. F/2.8 is a much larger opening than f/16. An aperture setting either cuts the amount of light that gets to the sensor or increases the amount of light that reaches the sensor. Open up one stop — move to the next smaller number (larger opening) If the aperture is set at f/8.0 opening up one stop means moving the aperture to f/5.6 (double the amount of light) 5.6 is a smaller number than 8 Close down one stop — move to the next larger number (smaller opening) If the aperture is set at f/8.0 closing down one stop means moving the aperture to f/11 (half the amount of light) 11 is a larger number than is 8 It’s easily apparent that the “smaller” number f/stop lets in more light than the “larger” number ones. Depth of field math The smaller the aperture is the more of the subject will be in focus. F/2.8 will have less in focus front to back than f/16 or f/22 will. These two photos of Confederate grave markers show the difference. At f/2.8 only the front marker is in focus. At f/22 all four markers are sharp. Which is better is a creative decision for you to make. Shutter speeds Shutter speeds either cuts the time light strikes the sensor or increases the time light strikes the sensor. Here are the possibilities. A shutter setting that reduces the time the light shines on the sensor by one f/stop is two times or twice as fast as the shutter speed before it. The shutter speed is two times faster so the exposure is One f/stop less light or One-half the amount of light A shutter setting that increases the time light hits the sensor by one f/stop is two times longer than the shutter speed before it. This is where the terms seem contradictory. Hang in with me. The shutter speed is one-half the speed so the exposure is One f/stop more light or Twice the amount of light Key terms: less & more A faster shutter speed is less light. A slower shutter speed is more light. Example Find 1/60th of a second in the chart above. Which shutter speed is shorter and lets less light strike the sensor? Hint: it is twice the speed of 1/60th of a second* And yup, that’s an asterisk. It has to do with rounding for ease of memory. Which shutter speed is longer and lets in more light? Hint: it’s one-half the speed of 1/60th of a second. Look at the chart. Shutter speeds to the left are two times longer (slower) and let in one f/stop more light than the one to its right. Speeds moving to the right are one-half of the time (faster) as the speed to its left. *To make the arithmetic easier there is rounding that happens in shutter speeds. The next shutter speed faster than 1/8th of a second is rounded down from 1/16th which is actually double the speed — twice as fast as 1/8th because the next speed would be 1/32nd and the one after that 1/64th. These speeds while more accurate, are very cumbersome. Don’t worry though 1/60th of a second doubles to 1/125th instead of 1/128th. ISO math ISO is a number that describes the sensitivity of the sensor to light. The higher the ISO, the more sensitive the sensor becomes and the less light it requires. As the ISO doubles, the amount of light needed drops by half.
