Thanks to the super high-resolution sensors we see today in digital cameras, a fast computer is absolutely essential for an efficient post-processing workflow when working with RAW images. If a few years back a standard PC or a mid-range laptop were good enough for post-processing images, 30+ MP RAW files can put a huge burden on processing power and make a high-end machine seem obsolete. In addition, most commercial software targeted at professionals has also gotten pretty heavy, requiring more memory, faster storage and high-end CPUs and GPUs for a smooth, delay-free experience. Having spent most of my adult life in information technology, I have always been building my own PCs. In my recent articles and reviews of storage equipment, a number of our readers asked me to share my preferences for a solid, future-proof PC build that could take pretty much anything you throw at it for post-processing large numbers of RAW images and video. In this article, I want to talk about the ultimate PC build for photography and other needs, and discuss my personal preferences for working with Lightroom catalogs and RAW files in terms of file management and performance optimization.
With new lenses getting more expensive all the time, many photographers choose to purchase used gear and save money. While certain lenses can only be bought new (at least for a while), the used lens market is often full of great lens choices, especially for someone on a tighter budget. In this article I will try to explain the benefits of buying used lenses, as well as give you some tips on how to buy used lenses on-location knowing you’ll get a high-quality piece of equipment you will be happy with for years to come.
When editing a photograph in Lightroom, it is often useful to compare what the image looked like when you started out (the “Before”), to the changes you have made so far (the “After”). This way, you can keep track of your edits and understand how the different sliders and check marks within Lightroom affect your image. Thankfully, Adobe made it easy to switch between the Before and After screens and provided a number of different ways to view both vertical and horizontal images in a single window. Let’s take a look at this great feature in detail.
In this in-depth field review, we are going to have a look at the Nikon telezoom DX lens the Nikon AF-P DX NIKKOR 70-300mm f/4.5-6.3G ED VR, which was launched in August of 2016. This is one of the three existing DX lenses featuring the new AF-P abbreviation, along with the Nikkor 18-55mm (VR and non-VR versions) and the new Nikkor 10-20mm VR wide-angle lens. AF-P stands for a new piece of technology – a pulsing / stepping focusing motor.
Wondering about photographing fireworks on 4th of July, New Year or some other event / occasion? In this article, I will provide some basic tips on how to best capture fireworks, what type of equipment to use and what camera settings to use during the process. Although the process is relatively simple, there are some things that might be worth considering, as outlined below.
Tamron announced yet another new-generation lens for both Nikon F and Canon EF mounts, the Tamron SP 24-70mm f/2.8 Di VC USD G2. The new professional-grade lens sports an impressive optical design, with a total of 17 elements in 12 groups, four of which are aspherical elements, two have extra refractive and three have low dispersion properties. Just like the recent “G2” series lenses from Tamron, the SP 24-70mm f/2.8 Di VC USD G2 comes with eBAND and BBAR coatings to reduce ghosting and flare, and fluorine coating has been applied to the front element to protect the lens against dust, dirt and smearing. Sporting an advanced image stabilization system, the lens is capable of reducing camera shake by up to 5 stops. Lastly, the lens is weather sealed and is compatible with optional TAP-in Console for fine-tuning the focusing properties of the lens and updating lens firmware. All this technology available at a very appealing price point of $1,199, making the Tamron SP 24-70mm f/2.8 Di VC USD G2 even cheaper than the recently introduced Sigma 24-70mm f/2.8 DG OS HSM Art. This is a very exciting release and I am looking forward to testing and reviewing the lens later this year, as soon as it becomes available.
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.