It seems only a short while ago when I was undecided on the RAW processing software that would replace Lightroom. I shortlisted several potential alternatives – Capture One Pro, RawTherapee, DxO Optics and Darktable among others – but was able to try out only Capture One Pro properly. A demo version 10 of Capture One gave me 30 days to test it, after which I was able to continue evaluation by signing up for a beta copy of version 11. After using Capture One for several weeks, I made a decision to stick with it despite its hefty price tag. Now seems to be the right time to publish this, with the last standalone version of Lightroom 6.14, having just been released. Needless to say, my attempts at using other software I listed earlier were quite lukewarm. So to the reader who is here expecting a comparison between different alternatives to Lightroom, this post is unfortunately not it. Instead this post documents my migration from Lightroom to Capture One.
We’ve all been there. You’re standing in front of an amazing landscape with the camera in your hands ready to take beautiful pictures but there’s one problem: there are hundreds of people surrounding you and obscuring the scene, making it difficult to capture a good-looking image.
Who hasn’t dreamt of a trip to Alaska? It may not seem such a big deal for residents of west coast or NW USA, but for the rest of us it seems as far away as the moon. Even so, wherever we traveled we’d run into someone who waxed lyrical about their Alaskan cruise. Finally, the opportunity of snapping those images of bears catching leaping salmon was too much to resist.
Most photographers have heard of infrared photography and many have shot with infrared film or digital cameras converted to infrared. However, few have had the opportunity to experiment with infrared flash photography. For me, the cool thing about shooting with infrared flash is that you can shoot candid street photography, and also handheld architectural night shots.
There are only so many locations around me that I have deemed worthy of visiting, of spending time to find a composition. With this in mind, I am left with a choice: travel multiple hours away, or simply revisit locations multiple times a year. Quitting is never an option. Even though I do travel hours away at times – such as when I went camping in Western Pennsylvania or when I went out to Wyoming – I am more often inclined to travel short distances, spending the entire day exploring the same location. Why would a person do this, besides saving for gas?
In the past, hardware calibration feature was limited to premium wide-gamut models from companies like NEC or Eizo. Those models offer wide gamut, great uniformity and advanced calibration features…but at a fairly high price. Affordable wide gamut solutions with hardware calibration started in 2013 with Dell and after that other companies like LG, BenQ and Samsung begun to offer “similar” products with more or less success. It is important to point out that LG and Samsung wide gamut models cannot be properly calibrated internally with the i1Display Pro colorimeter using their software and the same applies to some BenQ models like SW2700PT and its Palette Master Elements software. The main issue with those models is that they bundle an outdated X-Rite SDK (Software Development Kit) in their software without GB-LED support, which is the current main* (see the footnote at the end of the article below) LED wide gamut backlight technology. Hence, their software won’t get accurate readings, which in turn leads to inaccurate calibration. The BenQ PG2401PT and its Palette Master software, on the other hand, come with proper GB-LED support.
It was the last Saturday of May and it was already time to go. After spending more than a week in the Fiordland National Park, walking around this New Zealand’s jewel, and a few days in Invercargill waiting for the weather forecast to get better, it was now or never. The forecast predicted a splendid weather until the following Monday, perfect to finish the 3 days of trekking on the Rakiura Track, one of the 9 Great Walks of New Zealand.
In this article, I would like to give you some tips on photographing dragonflies with minimal gear. I’m an amateur landscape and wildlife photographer from France. I graduated in ecology (biodiversity management and biology of conservation) last year before I decided to leave to New Zealand for a one-year trip. I discovered landscape and astrophotography in this beautiful country, but I feel like I sometimes need to get back to wildlife photography which is what I was first interested in. Because of my studies, I spent a lot of time in the field working on insects and especially dragonflies, learning how they live, observing their behavior and understanding the importance of their preservation.
A few years ago, after a request, I started to photograph stage shows. Generally I would classify myself more as a landscape and wildlife photographer, but I was intrigued and certainly up for the challenge technically. My brief was pretty straightforward – no flash, to confine myself to a discreet location by the stage and photograph the main performance of a private school’s annual dance. Firstly, this was a pretty special private school with a great auditorium, professional level choreography and lighting and really high level production values. The performances are sometimes astonishing and the dancers often go on to professional careers.
How do you create clean compositions in a messy environment? It’s a problem every wedding photographer has as bridal prep rarely just means the bride. Bridesmaids, moms and grandmas could all be getting ready in the same location. This inevitably means, for want of a better word, a messy room. Make up brushes, hair dryers, spare clothes. You name it, it will be on the floor or on the work surfaces. So how do you overcome the detritus and create beautiful photographs? In this article, we will explore three tips and tricks that you can experiment with to create clean photographs and hide unsightly objects.