After almost a year of hard work, John and I are excited to finally release our first photography course “Level 1: Photography Basics“. It has been an awesome experience creating this video and I can proudly say that we have done our best to produce truly educational material for our readers to learn from. Compressing years of photography knowledge and experience into a 5 hour course was not easy, but we managed to do it! Although this is our first commercial product, we have huge plans for making more of such videos in the future, as detailed below.
While I am getting ready to leave for the upcoming PL fall workshops this week, it was exciting to hear today that Sony is finally going to address the Lossy 11+7 bit RAW issue we have seen on all Sony A7-series cameras (you can read about the Lossy RAW issue in my Sony A7R review). Although the press release below states that Sony will feature uncompressed 14-bit RAW beginning with the A7R II and the newly announced A7S II, I really hope that the company adds this must-have feature to its older A7-series cameras as well, since landscape photographers could really benefit from shooting true 14-bit RAW, without worrying about seeing artifacts in images. This is great news and I am glad that Sony responded to our complaints – it is great to see such a large company listen to customer and expert feedback.
I have been using ACDSee Pro for many years, because I found it to be pretty convenient to use for viewing different image formats. It has great built-in tools for viewing EXIF / exposure data and customizing exactly what I want to view, which is great. Although I have switched to FastRawViewer for fast viewing of RAW files and culling images, ACDSee can be a great tool for reviewing other images and graphics – it can literally open any image format out there. We have previously published a detailed review of ACDSee Pro 8 and although we found it to be quite messy and cumbersome for photo editing when compared to Lightroom, ACDSee still worked out great as a general purpose image viewer. However, since we published the review, I have been very annoyed by all the pop-ups and ACDSee’s attempts to lure me into upgrading to their Ultimate version (which started out at around $70+, then eventually came down to $40), showing up way too often, sometimes several times a day! And now I am getting pop-ups for the new upcoming version 9 of the software, as seen below:
This may not help anyone’s photography much but I recently had the opportunity to enjoy a childhood fantasy by driving the car from the 80s TV show Knight Rider (yes, I really am that sad). Obviously I took my camera with me to get some shots and I thought I might share some ideas about photographing cars.
Just wanted to let our readers know, that our favorite RAW viewer and RAW image culling software is currently on 25% sale as part of the Labor Day sale. FastRawViewer, which we have previously reviewed in detail is the fastest RAW viewer software available and it keeps getting better and better (both PC and Mac compatible). Ever since I mentioned lack of being able to see thumbnail previews of images, folks at LibRaw, LLC added that feature into the software pretty much right away! Now I can navigate through folders with ease and have a quick preview of images before I click on them, which saves even more time during the image culling process:
We don’t really get much choice here in the rain capital of the Universe (well, ok, it’s not quite Cherrapunji but it feels like it sometimes). But rather than avoiding the wet and water one can see it as … wait for it … yep, an opportunity to do some shooting.
You may find this article to be useful in a practical way, not just as an isolated case of RAW data damage. Often, just a casual look into raw data provides arguments allowing one to persuade technical support that there is a problem with your camera body that needs to be addressed. The case started with this post at DPReview:
I have never liked the phrase “rules of composition.” To me, it seems too formal, suggesting that such a complex topic as composition can be boiled down to a few quick tips. So, in a blatant attempt to out-do John Sherman’s provocative “Is Nikon’s New 500mm FL Too Sharp?” title, I have aimed this article at the heart of photography school’s most basic lesson in composition: the rule of thirds.
With the proliferation of SSD storage on the market, today we see a huge increase in all kinds of small, yet insanely fast gadgets that help us increase our productivity. One of such gadgets has been brought to us by Samsung in the form of the portable SSD T1 – the smallest and the fastest external drive available today. Based on Samsung’s 850 EVO SSD (mSATA version), this little SSD drive only measures 2.8″ x 0.36″ x 2.09″ (64 x 9 x 53mm) and weighs a total of 0.9 oz (25 grams), making it look like a large thumb drive. But there is a major difference – unlike the slow thumb drives we see today, the Samsung SSD T1 has the same amazing speed of SSD drives, capable of up to 450 MB/sec transfer speeds. I have been testing out the SSD T1 pretty much since it came out and I have been amazed by its performance and rock solid reliability. My last external hard drive died on me a year ago and although I had been backing up my data regularly at the time, it certainly did not leave a pleasant feeling when I wanted to buy another external device for travel and remote jobs, as it was not the first one that failed. Sadly, hard drives have a tendency to fail faster when they are constantly carried around and frequently plugged and unplugged. Drop them and the chance of losing the drive and its data are extremely high. In contrast, SSD drives are much more reliable and they have no issues with extreme shock and vibration.
In this third installment to this series on visualization and film photography, I have selected a sample of photographs (mostly made in the 35mm format) to share and discuss. Although I heavily focused on technical aspects in film photography in Part I and Part II of this series, my goal with this article is to provide a more aesthetic description and simplified approach to the construction of photographs. I thought it would be of interest to beginning 35mm photographers to briefly discuss some of the film choices available. Although the choices of film stocks have dwindled over the years, fortunately there remain a plethora of excellent professional and consumer 35mm films from which to choose and enjoy. Even though I have used many – but not all – of the available film stocks, I cannot possibly discuss all of them here. For one particular film stock, I am delighted to share a pair of interviews with more experienced photographers that readers might find interesting and helpful. Of note, Photography Life contributor Vaibhav Tripathi has previously shared his experiences and beautiful photographs made on 35mm with Fuji’s Velvia 50 and Kodak’s Portra stocks in his inspiring photo essays on Acadia National Park, landscape photography, and Waterfalls of New England series that may also be of interest.