Winter Photography Tips

Winter can be a very beautiful time of the year, especially if you live in a region that gets plenty of snow. We all know how children love the snow – there are endless possibilities for having fun and cold weather is usually not enough to stop them from enjoying it. On one hand, winter poses a beautiful time of the year for photography, particularly landscapes and portraits, and can be equally refreshing for wildlife photographers. On the other hand, it creates certain problems that are hard to figure out for beginner photographers, let alone their cameras. In this article, I will give you tips on how to photograph in winter and end up with well exposed, beautiful color images. I will also provide you with suggestions on when to go out to photograph and how to use snow to your advantage.

Snowy Landscapes (6)

1) Plan Your Day

First and foremost, remember – days are much shorter during the winter. Sunrise is late, and sunset is early, so you only have a few hours of potentially beautiful light to capture those photographs, be it landscapes or portraits. I know from experience how engaging landscape photography can be during winter and those hours just fly by. Plan your day carefully – remember that you will need to revise your location no matter what you choose to photograph, so you’d better get there before the time of the day that you find most suitable. No less important is your safety. I’ve suffered from cold weather myself having stayed still in one place for too long. Bring some hot tea along with you, and some food, even if it’s just a sandwich. Dress warmly – it is better to be hot than cold. Make sure your mobile phone is fully charged – cold eats up those batteries very quickly. The same goes for your camera, bring at least one spare battery and keep it somewhere warm and close to your body.

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Mastering Lightroom: How to Use External Editors

In every Mastering Lightroom series article, I mention certain strengths of this, in my opinion, superb piece of software. Only every now and then do I find something small to complain about, as I have in my “How to Manage Presets” article. I strongly believe Lightroom offers more or less everything needed to process a well captured image and offers plenty of powerful yet simple photographic tools. However, as our readers have wisely noticed in the comments section of my “How to Use the Spot Removal Tool” article, on rare occasions these tools may not be powerful enough. Here comes another strength of my favorite photo processing application – flexibility. You can use other programs to do what Lightroom can’t, and then go back with the processed image to its familiar and simple environment. In this Mastering Lightroom series article, I will show you how to use external editors with examples provided using the most popular and capable you can buy – Adobe’s own Photoshop.

How to Use External Editors

1) What Software can be Used with Lightroom 4?

A good question, this. As of late, I’ve found my photography changed in such a way I rarely, if ever, need to use something other than Adobe Photoshop Lightroom 4, but if such an occasion does present itself, I know I have enough choice. First and foremost, Lightroom supports the all-powerful Photoshop, which itself is likely enough to satisfy your every need when editing images. If Photoshop alone is not enough, remember the huge library of amazing specialized plug-ins you can find for it, including Google’s very capable Nik Software and the (rightly) popular Topaz Labs products (which we have plans to review). In other words, you may use Photoshop and, through it, all the plug-ins you can find and purchase or download as freeware.

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Mastering Lightroom: How to Add Film Grain

With mainstream days of film long gone, one would expect all the disadvantages it had on offer to be rid of for all times, as well. Digital is all about clean, high quality images now. Contrary to such an assumption, however, film has not left our everyday lives without a trace. A trace that is even more noticeable now that photographers got used to the differences between the two “religions”. Now, I say “got used to”, but the truth is plenty of photographers got bored of the sterile digital look and thus would seek ways of livening it up (instagramed anything lately?). One notable featured of photographic film has always been grain. Although, like high ISO noise in digital world, it was a result of increased light sensitivity and as such, an undesirable degradation of image quality, film grain was loved even during the past era of photography. Reasons behind it would make a fine discussion – in short I would say that grain was simply organic and beautiful – but one to be had with a pint of beer in hand and complimented by laughter and warm fire light. Instead, we will concentrate on actually applying film grain, or what is closest to it, with digital photographs. In this Mastering Lightroom series article, I will explain how to add film grain to your images. You will learn how to increase the size of grain, make it rougher or smoother and also hide high ISO noise (or make it more appealing) with it without the need of applying noise reduction.

How to Add Film Grain

1) What is Film Grain?

In essence, it is the chemical equivalent of digital high ISO noise, or, rather, the other way around. As film sensitivity went up, the amount and character of grain increased, just as ISO noise levels increase as you push sensor sensitivity to light up. Noticeably, film grain became visible at much lower sensitivities than current digital noise. Certain film of 400 ASA/ISO would already show visible graininess, and producing fine-grain film of 400 value was no small feat. Understandably, there weren’t any ISO 12800 equivalent films. One of the most sensitive films, the wonderful B&W Ilford Delta 3200, rendered so much grain, it would be thought quite unusable by some all-modern, technical quality junkies of digital era who have never been familiar with film aesthetics. Some prefer to see Delta 3200 as 1600 film pushed one stop during development. Think underexposing an image and correcting exposure by one stop in Lightroom with Exposure slider.

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Mastering Lightroom: How to Tether Your Camera

Lightroom is a very flexible image management and processing software, but apart from powerful tools and settings to enhance your photographs, it also offers features that help you during the actual process of photographing. Have you ever felt that, even with the constant resolution and physical size growth, camera LCD screens just aren’t big enough for comfortable image viewing in the field? Luckily, Lightroom offers a way to import photographs and review them as you shoot. This function, called Tethered Capture, is especially useful for studio photographers who don’t tend to move about too much. It can be equally useful for landscape photographers, too. In this Mastering Lightroom series article, I will explain how to tether your camera. This allows you to import images directly into the Lightroom 4 environment for quick and comfortable revision as you photograph.

How to Use Tethered Capture

1) When Should I Use It?

The best time to use Tethered Capture is when working in a less active environment. For example, studio and landscape photographers, who tend to bring their laptop computers along on a shoot, will find it to be very simple and fuss-less. However, wedding photographers, who tend to move all the time and change their shooting position, would find Tethered Capture to be annoying at the very least. Who’d want to photograph a wedding with a USB cable strapped to the camera constantly, and through it, a laptop? You’d need an assistant just to have that laptop lugged around behind you! In many other situations, Tethered Capture can make reviewing images that much more pleasant.

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Sony SLT-A77 and NEX-7 Instant Savings

Two highly regarded Sony cameras have received generous instant savings at B&H, our most trusted reseller. Both SLT-A77 and NEX-7 mirrorless camera offer great 24 megapixel APS-C sensors, durable magnesium alloy bodies and extensive manual control with lots of professional features, and are of the most desired cameras among Sony users.

Traditionally, Sony offer a lot of bang for your buck (a strategy to counter photographic pedigree of its fierce competition). Now, with instant saving, they are even cheaper, especially compared to competition. We were very impressed with the A77 (click here to read our review) and although NEX-7 has not yet been reviewed, it’s baby brother, the NEX-6, left Nasim with positive feelings as well (click here to read our reaview of the NEX-6).

Sony Alpha A77
Sony NEX-7

Purchase Links

Mastering Lightroom: How to Use Virtual Copies

As all previous versions of Adobe’s popular photography management and post-processing software, Lightroom 4 offers catalog system. Such a choice has both positives and negatives. One of the positives is non-destructive editing, which basically means the original image file remains intact no matter what you do to it within Lightroom environment (you can, however, delete the file entirely if you wish so). A side result is a very useful feature called Virtual Copies. In this Mastering Lightroom series article, I will explain how to use Virtual Copies. By the end of the tutorial you will learn how to copy, delete and compare them, as well as see different situations when creating a Virtual Copy can be very useful.

Mastering Lightroom: How to Use Virtual Copies

1) What are Virtual Copies and Why Should I Use Them?

As the name suggests, Virtual Copies are copies of an image file created virtually. In other words, they are copies created within Lightroom environment only. Creating a Virtual Copy does not copy the source file physically. Lightroom only stores editing information within its catalog. Among other things, such an approach also saves disk space (you only need to store information about the adjustments, not both that and a copy of the RAW file itself).

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Fujifilm X100S and X20 Available for Pre-Order

Some manufacturers seem to fail to understand what photographers of this day seek in a compact, digital package (I’m talking to you, Nikon), some choose a safe and dependable bet. Add a couple of manufacturers who don’t really know what they are doing, and you have a whole bunch of cameras which are often good, but a little… predictable? Yes, that seems to be the word. Happily, there are those who strike a certain balance between innovative technology and character to stand out from the crowd. On the expensive side, we have Leica. On the less expensive side, we have Fujifilm, which has been steeling thunder for the last whole year at the very least. Now, if there are two cameras in 2013 our team is most intrigued by, it’s the recently announced Fujifilm X100S and X20. So for those of you who feel one of these is the right tool for you, read on for the pre-order links.

Fujifilm X100S Front

As always, the links will lead you to B&H, our most trusted reseller we use more than any other to buy our own gear. We haven’t mentioned this very often, but once you buy from B&H using one of our affiliate links, we receive a small funding which we use solely to support and expand this website.

New Nikon 1 Cameras and Lenses, Same Mistakes

We may be a bit late to publish this particular announcement, but it did take some time to comprehend what Nikon has done, or, to be precise, hasn’t done. Along with the USA availability of their D5200 DSLR camera, they have also introduced two new Nikon 1 cameras and lenses. Firstly, there’s the J3, which is a successor to the J2, which was announced less than half a year ago (click here for our review). If, previously, the J-series were thought to be entry-level Nikon 1 offerings, such positioning has changed with the introduction of a lower-end S1 camera. The two lenses are 6.7-13mm F3.5-5.6 VR wide-angle zoom (18-35mm equivalent) and 10-100mm F4-5.6 VR super-zoom (27-270mm equivalent).

Nikon 1 J3 Front

Key Specifications and Commentary

Lets start with the recent update to Nikon 1 J-series, the J3.

1) Nikon 1 J3

1.1)Specification Highlights
  • 14.2 megapixel CX (1″ sized) CMOS sensor with 4608 x 3072 image size and 2.7x crop factor
  • Tough metallic body construction, as with previous Nikon 1 cameras
  • Well-received Hybrid AF with both contrast- and phase-detect systems for very fast and accurate focus acquisition and up to 135 focus points
  • 3″ 921k dot LCD screen
  • Shutter speed range of 30s-1/16000s
  • 15 frames per second shooting speed
  • 1080p/60 video support with max 1200 frames per second recording at 320×120 resolution for super-slow motion playback
1.2)Commentary

In short, this is a Nikon V2 camera in a J2 body. If previously the J2 was only a minor update to the original J1, this time the newest camera in J-series gains 14.2 megapixel sensor from its bigger brother. As usual, it is very fast in both shooting speeds and autofocus, offering 15 frames per second with continuous AF. The high build quality is also a reassuring factor, no doubt. However, all is not so good when you take a closer look at what Nikon has done with the controls. I am about to rant now.

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Fujifilm X20 Announced

Along with X100S, Fujifilm has also announced a new high-end compact camera. Replacing the very popular and attractively styled in recent Fujifilm X-series fashion, Fujifilm X10, the new camera retains all of predecessors’ strengths and gains a few more. With what X20 has to offer, it should end up as a very nice little camera for those who want a camera for simple occasions but with the usual flexibility of higher-end gear.

Fujifilm X20 Announced

Fujifilm X20

1) Commentary

Fujifilm X20 fits nicely into category first started with the Canon G series. It is a compact camera for advanced photographers. The things that make it different from ordinary point-and-shoot cameras is the amount of manual control available, high build quality, larger-than-average sensor for better performance as well as a bright, sharp, 28-112mm equivalent zoom lens with an aperture of f/2-2.8. X10 shared all of these features, but the new X20 further improves the camera’s capabilities. A new X-Trans sensor is present, which uses the same technology as larger sensors found in Fuji’s X-Pro1, X-E1 and X100S cameras. Employing a different, more random color filter pattern that traditional Bayer sensors, this one goes away without needing a low-pass filter, which results in better image sharpness. The new sensor has 12 megapixels, is 2/3 inch in size and is aided by a more powerful image processor.

Just as with X100S, the new sensor and processor are both dubbed “II”. X-Trans again contains phase-detect AF system in addition to the previous contrast-detect AF. As a result, hybrid AF should provide quicker and more reliable focus acquisition. But that is theory, of course. Canon M, which we reviewed very recently, also incorporates hybrid AF system, but its performance is disturbingly poor. We are yet to see how Fujifilm X100S and X20 stack up.

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Nikon D5200 Now Launched in USA

UPDATED WITH PRE-ORDER LINKS.

Having been launched in Europe countries a while earlier, the new Nikon D5200 has just become available in USA, too. The 24 megapixel camera slots nicely between Nikon D3200 and D7000, gaining the latter’s great 39-point AF system. Articulated screen, 1080p/60 video, Expeed 3 image processor ad 100-6400 ISO range completes the attractive package for beginner photographers and those wanting a small, lightweight DSLR.

Nikon D5200

One notable difference from the previous European introduction is the price. In the first announcement, Nikon claimed a $1,150 MSRP price, which was staggeringly high for such a camera. We were right to doubt such price policy, luckily. The camera will cost around $900 with the 18-55mm VR kit lens. Click here to see image samples from the 24 megapixel APS-C sensor, and here to read our D5200 vs D5100 comparison.

Pre-Order Links

You can pre-order Nikon D5200 from our most trusted reseller, B&H, by following these links: