With the release of the much anticipated Canon 6D Mark II, one might be wondering how it stacks up against the three year old Nikon D750 in terms of specifications and features. Since the 6D Mark II has a similar feature set and price point as the D750, it makes sense to compare these two cameras, even though Nikon has not announced a replacement yet. While I am planning to work on a detailed review of the 6D Mark II, along with high ISO comparisons later this year, I thought it would be interesting to see the strengths and weaknesses of each camera when put side by side.
Earlier today Canon unveiled the much anticipated Canon 6D Mark II, which offers a number of incremental updates over its predecessor. The new 6D Mark II comes with a slightly higher resolution 26.2 MP full-frame sensor featuring Dual Pixel AF and its image processor has been also bumped up to DIGIC 7. But the more exciting news has to do with the autofocus system – the 6D Mark II comes with a powerful 45-point all-cross-type AF system, which is significantly better than the 11-point center cross-type AF system found on its predecessor. With a native ISO range of 100-40000, a 7560-pixel RGB+IR metering sensor, a tilting LCD screen, continuous shooting speed of 6.5 fps and an MSRP of $1,999, the 6D Mark II is aimed as a great all-around camera for Canon shooters.
Have you ever wondered what the difference is between a snapshot and a virtual copy in Lightroom? They are both options that you can use to preserve image settings, but they work in very different ways. A while back I posted an article and video titled how to create a Lightroom snapshot that briefly explained what a snapshot is. We’ve also posted an article about virtual copies before. In this article, I want to explain the differences between a virtual copy and a snapshot in Lightroom, the benefits of each one, and when you might want to use one instead of the other.
In this article, we will go over what exposure compensation is on a digital camera and how you can take advantage of it to make adjustments to your exposure when shooting in camera modes such as aperture priority, shutter priority, program mode and other scene modes of your camera. Every modern camera today has a built-in capability to adjust exposure settings in order to make it easier to properly expose images. In simple terms, the idea is to be able to control the brightness of an image, so that it does not end up looking too bright or too dark. To be able to do this, one has to use the Exposure Compensation feature, which is typically provided either as a dedicated button on a camera, or as a dial that one can move from positive exposure compensation to negative. Let’s take a look at how you can utilize this great feature on your camera and take a full control of your exposure.
It is a fact that as content creators, we are always in need for more storage. Thanks to all the latest and greatest cameras on the market that offer incredible detail with their high resolution sensors, we find ourselves constantly reassessing our storage requirements. Old computers are getting too slow to handle all the media and data we have to deal with, while storage solutions that used to be good enough a few years back do not seem to cut it anymore. Our clients have become technology-savvy and they are now demanding to see high resolution media files to deliver exceptional experience to their viewers, so we have to keep up. While building a fast computer for photography needs is definitely not for everyone, one does not have to go through the same process when assessing storage needs. Since there are a number of great, low-cost storage solutions out there that do a phenomenal job and provide excellent connectivity options, I have been in favor of such arrays instead of running a beefy tower computer. One such array that I recently have been introduced to, is the QNAP TVS-882T. In this review, I will provide detailed information about the TVS-882T and compare it to my Synology DS1815+ that I have been running for the past few years, along with the latest DS1817+ that I will be thoroughly testing soon.
Any photographer who has ever lost some of their photos will tell you how important it is to have a good backup system. For your best photos, you should have three or more copies, located in at least two different physical locations at all times. You absolutely shouldn’t have any of your photos located in just a single spot, or you’re asking for trouble. But how do these recommendations apply when you’re traveling, particularly if you’re out in the middle of nowhere and don’t have access to your normal backup equipment? In this article, I’ll cover some ways to back up your photos in a secure way no matter where you are.
One of the easiest ways to substantially improve the image quality of your daytime cityscapes is to use a circular polarizing filter. Putting a polarizing filter on your lens is like wearing a pair of polarized sunglasses over your eyes; the polarized glass blocks random light waves from passing through, creating a clearer image. Randomized light tends to be lower quality than direct light. As such, a polarizing filter will help ensure that only the sharpest, most colorful light hits your image sensor.
There are some popular conditions for landscape photography that every photographer already knows: sunrise and sunset, storm clouds, fog, and so on. But one that doesn’t get mentioned very often is the light produced by a full moon on a clear night. The subtleties of moonlight aren’t always visible to the naked eye, but long exposure photography can lift the curtain. The results may have hints of familiarity, but they also have unique characteristics that make them stand out from typical, daytime photos. Photographing landscapes under the full moon (also referred to as “moonscapes”) is a process with its own set of challenges, so I will explore it in more detail in this article, and hopefully provide some tips for those who are interested in trying it out.
Once the good weather breaks, from the late spring through to the fall, many small towns in Ontario hold festivals. Quite often displays of antique and custom cars are featured at these types of events and represent great opportunities for photographing automotive details. This past weekend the town of Smithville held its annual PoultryFest, which I had the opportunity to attend. The day started out with bright, sun-filled skies…a significant change from the torrential rains that had hit much of Southern Ontario on Friday. The heavy rains caused quite a bit of flooding in the areas north of Toronto and resulted in many owners of custom cars changing their display plans and bringing their vehicles to Smithville instead.
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.