It has been a while since I posted the “How was this picture made #11?” article, where I showcased a very high resolution image of sand particles with tons of detail. The image was massive in size and resolution when I extracted it out of Lightroom. In fact, the image was so big, that I had to downsize it to 4096 pixel long resolution in order to keep the size at less than 10 MB with as much JPEG optimization as I could. When dealing with so much detail, even the highest JPEG compression levels will still yield large files, since there is so much pixel-level data. And that’s what you get when you have an image produced from a sensor that moves one pixel at a time in order to create a super high resolution image! And combined with the power of focus stacking multiple images, you get insane levels of detail from a macro shot like this. So how did I do it? Let’s talk about the specifics of this particular shot.
The Lightroom import dialog is one of the most essential components of the software, not just because that’s how one gets images into Lightroom, but also because with the proper use of the import dialog, it is possible to properly organize images and apply specific presets that can potentially save quite a bit of time when post-processing images. In this article, I will go over the import dialog and cover its settings to hopefully help our readers in understanding its use and advantages.
As smartphones are getting better at capturing images year after year, one might be wondering when, if at all, we will see smartphones directly competing with larger cameras. Are we at the point, or perhaps might be soon approaching one, where it won’t make any sense to buy a high-end DSLR or a mirrorless camera to capture professional-looking images? Now that smartphones like the iPhone 7 Plus are shipping with dual lenses (one standard wide-angle lens and one telephoto lens to capture portraits) and some manufacturers are even pushing larger sensors to specifically appeal the photography market, it is no wonder why some photographers might think that a smartphone is all they need to get professional results. During the past few years, I have been using a variety of different cameras with sensors ranging from tiny 1/3″ all the way to medium format, so I thought it would be a good idea to write an article about this particular topic, with some images to represent different cameras and sensor sizes.
Our readers know how much we love the MIOPS Smart Trigger, which we have previously reviewed and praised for its amazing features and capabilities, including the ability to capture lightnings. Now our Turkish friends are unveiling a smaller brother to the MIOPS Smart Trigger called “MIOPS Mobile”. As the name suggests, it is primarily intended to be used with a mobile device such as your smartphone, in order to capture images with your camera. We are excited about the MIOPS Mobile, because it combines the power of your smartphone with the power of this little device in order to capture those unique moments. Utilizing your phone’s integrated capabilities such as the GPS, MIOPS mobile can take advantage of them by offering specific modes, such as “Roadlapse”, allowing one to capture timelapses from a moving vehicle. The MIOPS engineering team made sure to include all the bells and whistles it could into the MIOPS Mobile, so you will find numerous different modes to fire your camera remotely, such as Vibration, Sound, Motion, Distance and the regular Timelapse modes have also been upgraded to now include HDR Timelapses. The connection between the MIOPS Mobile and the camera is wired (connects to the camera’s shutter release port), just like on the MIOPS Smart Trigger, but the connection between the MIOPS Mobile and your smartphone is wireless (via Bluetooth), which means that you do not have to stand right next to the unit in order to trigger action – everything can be done remotely. The product is being launched via KickStarter and with only one day of funding, it looks like it is getting very close to reaching its funding goal.
Today Apple unveiled the brand new iPhone 7 and iPhone 7 Plus mobile phones and it looks like a lot of attention has been given to the camera features of the two devices. With the “Shot on iPhone” campaign showing huge billboards featuring iPhone images, it is no wonder that Apple has been spending quite a bit of R&D towards the image capture capabilities of the new iPhone. The keynote presentation was filled with camera verbiage – in fact, the Apple team specifically used such words as “bokeh” to describe the new dual lens design of the iPhone 7 Plus. Speaking of which, it will only be the Plus model that will have two lenses – one wide-angle f/1.8 lens for wide shots and a 56mm equivalent telephoto lens for zooming in and capturing portraits (the regular iPhone 7 will have a single wide angle lens).
Ever since I started using Lightroom back in 2007, I have been keeping a backup of every single version on my computer, making sure that I had the latest version of that particular release. With the very first version of Lightroom having a few issues and not having 64-bit architecture support, I ended up deleting it, so the first release of Lightroom I actually preserved was Lightroom 2 (the latest build of that release was Lightroom 2.7). The next stable build I preserved was Lightroom 3.6. From there, it was Lightroom 4.4 that I used the most before Adobe released Lightroom 5. With the release of LR 5, Adobe introduced Lightroom CC, which was the first cloud version of Lightroom. From there, Lightroom CC 2014 was rolled out, which was equivalent to version 5.4 of LR standalone. The big release was Lightroom 6 (CC 2015), which is the most current version, the latest release being Lightroom 6.6.1, or Lightroom CC 2015.6.1 if you use the cloud version of the software. So what do you do when you have all these versions of the software? Well, I installed them all on my Windows 10 PC and decided to give them all a try and see how much Adobe has been improving the performance of the software over the years. The results are quite interesting to say the least!
Many Photography Life readers already know how much our team likes the Tamron 150-600mm f/5-6.3 lens – we have written a few articles on how amazing the lens is for reach and our detailed review of the Tamron 150-600mm attracted a lot of people, with over 200 comments in the review. Today, Tamron announced a big update to this lens in the form of SP 150-600mm F5-6.3 Di VC USD G2. This second generation (G2) lens went through a number of changes, including improved image stabilization, faster AF speed and a few other mechanical and design tweaks. The biggest changes, however, are in the updated optical formula and weather sealing – the G2 now features better optical design with improved overall sharpness and a fluorine coated front element, while the lens barrel has been reworked in order to reduce both dust and moisture from entering the lens (which is one of the biggest issues of the previous design). Lastly, the new 150-600mm now joins the list of lenses compatible with Tamron’s TAP-in console, for future firmware upgrades and customization. The lens will retail for $1,399 and it is scheduled to start shipping at the end of this month. In addition to this lens, Tamron has also announced two new 1.4x and 2.0x teleconverters, both of which will be compatible with the lens.
Having been primarily shooting with the Nikon D810 ever since the camera was announced (which as of today is my primary camera for most types of photography I am engaged in), I have been compiling a list of features that I would like to see on the upcoming Nikon D820, so I decided to share this list with our readers. My goal with this article is not only to share my list of most wanted features, but also to potentially expand it based on the feedback I get from other D800/D800E/D810 shooters out there. Once we put together a list of highly desirable and realistic / implementable features, I am planning to send a letter to Nikon to request the features to be incorporated into the future design of the camera. I think as a large community of Nikon shooters, we should do our best to reach out to Nikon directly and put in our requests, so that the company knows what its dedicated user base expects from the future generations of their cameras.
Today Canon officially unveiled its update to the popular Canon 5D line, with the much anticipated EOS 5D Mark IV. The new Canon 5D Mark IV comes with a 30.4 MP CMOS sensor (native ISO range of 100-32,000) with on-sensor Dual Pixel AF that allows for phase-detection AF when shooting video and continuous focusing when shooting stills in live view mode. The camera got a few upgrades for shooting video – it now can shoot 4K video (1.64x crop) at up to 30 fps (Motion JPEG format), 1080p at up to 60 fps and 720p at up to 120 fps. One of the biggest improvements is in the AF system: the 5D Mark IV gains the same 61-point AF system as the 1D X Mark II, with 41 cross points, larger AF coverage and better sensitivity (up to -3 EV in low light and -4 EV in live view). Although Canon utilized the current DIGIC 6+ Image Processor, it is still able to yield 7 fps continuous shooting speed, which is quite impressive, considering the resolution of the camera.
We had a few last minute cancellations for the upcoming Colorado Fall 2016 Workshops and I wanted to let our readers know, that it is the last chance to secure a spot. Airline tickets can often be really cheap in the off-season timeframe and sometimes there are some really good choices available for not only US, but also international travellers (check out Cheapoair for some good deals). So if you would like to come learn landscape photography with us this year, please join us!