Thursday, February 28, 2019

Review: Filterbooth Preset Collection for Lightroom and Photoshop

The post Review: Filterbooth Preset Collection for Lightroom and Photoshop appeared first on Digital Photography School. It was authored by Stacey Hill.

When it comes to post-processing, I have to admit, I like to use presets as part of my workflow. So when I came across this collection of filters from Filterbooth, I was keen to test them out and see if they were a pack I would benefit from using in my day-to-day editing.

The Filterbooth Preset Collections

Filterbooth has 12 collections in total, and each collection holds between 11-15 individual presets. The preset packs are available for both Lightroom and Photoshop ACR. For the purpose of this review, I have used the Filterbooth Professional Package which consists of:

Amber – rich warm autumn tones with a vintage touch
Azure – shades of seaside blue
Clean/Standard – clean standard finish
Emerald Forest – give landscapes and foliage and other greens some pop
Faces – adding impact to portraits
Night Owl – inspired by starry skies and deep nights
Food – for food
Golden Hour – warm and inviting tones to enhance sunrise/sunsets
Moody Vibes – what it says on the tin
Monochrome – black and white filters for all subjects
Urban Vibes – street scapes, city scenes, architecture
Interior – for inside of buildings

Mostly, the names are relatively descriptive concerning the intended use.  The names of the individual presets are similar, in that they mostly describe what the effect they can do.  If you would like to see examples of the effects, there are some Before/After slider examples on the website, which is always helpful to get an idea of the outcomes.

The whole collection has some common styles; Clean, Classic, Lucent, Vintage, and Warm are some examples that pop up in several collections.  The style and result of the preset seem to be reasonably consistent for these as well, so if there is one style you particularly like, it may be repeated across different collections for some variations.

System Requirements – Filterbooth requires Lightroom™ CC, Classic CC, 6, 5, or 4 and for ACR requires Photoshop™ CC or CS6 to work properly.

Pricing

There is a free sample of 5 Presets to try out (which is a lucky dip of sorts as the website doesn’t tell you which ones they are).  However, this is a nice touch, as a lot of the expensive professional preset makers don’t always offer a free sample.

Next, there is a Starter Kit (US$45) which includes 5 samples from each of the 12 collections (again, it doesn’t tell you the specific ones).

Lastly, there is the Professional Kit (US$115) which gives you every preset.

Keep an eye out on their website for special offers too, because, at the time of writing this, some discounts were on offer.

Testing out the presets

Presets use all the settings within Lightroom to do their job.  Depending on their design, they may edit key things like exposure, white balance and so on.  Some do, some don’t. Any image you are using should already have had your basic edit applied to correct for White Balance, Exposure, Lens Correction, Horizon Angle, Crop, etc.  Therefore the preset affects the other editing tools.

As a result, some presets can be ‘stacked’ on top of each other to build up layers of effect.  This works if the presets alter different settings from the previous one, and only those elements are selected to be active in the preset.  I found it isn’t generally obvious until you try them out.  The image at the head of this article did have several presets applied for a stacked effect, and then some manual edits to finish it off.

In general, most of presets don’t adjust the exposure when you apply them – however, some do, and it varies by the amount.  So keep that in mind when you are applying them to your image.

Testing Technique

The example image I used for this review was edited in Lightroom from a RAW file so that the finished image was suitable for having presets applied.

After the preset was applied, I did NO FURTHER EDITS – all you see is the result of applying the preset.  Once the I exported and saved the file, I removed the current preset from the Lightroom image.  Therefore each time a new preset was applied, it was against a clean copy of the Base Image to maintain consistency.

I chose to use the flatlay food image because of it’s color range and texture. It also provided a good comparison on a close-up shot.

The second image I chose to use is a landscape with a bright blue sky, snow, grass, and rocks.  This offered a larger scale scene with a typical contrast range of a landscape on a bright sunny day — typical of many landscape images.

I have noted the Collection Name, and the Preset Name in the captions and examples are in Alphabetical order of Collection Type.

BASE IMAGE FOR TESTING

Amber -Classic

Azure- Blues

Azure- Blues

Emerald Forest – Rich

Faces – Clean

Food – Classy

Golden Hour – Soft

Interior – Dim

Monochrome – Ageless

Moody Vibes – Blog

Night Owl – Crimson

Standard – Moody

Urban Vibe – Chilly

Next we have a Landscape shot of the New Zealand high country, taken from the rocks at Castle Hill. It has a nice blue sky, highlights in the snow, quite a lot of mid tones and it lacks a little contrast making it interesting to see how the presets work with it.



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A Seattle photographer's 'obsession' with an ill-fated osprey family leads to the kind of emotional attachment the environment could really use - Seattle Times

A Seattle photographer's 'obsession' with an ill-fated osprey family leads to the kind of emotional attachment the environment could really use  Seattle Times

OVER THE COURSE of 3½ months, I made more than 30 visits to a nest site that's surprisingly urban, in the middle of Seattle, in the shadow of the University of ...



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Step Into Houses Designed by Frank Lloyd Wright Acolyte Kaneji Domoto - Metropolis Magazine

Step Into Houses Designed by Frank Lloyd Wright Acolyte Kaneji Domoto  Metropolis Magazine

These twelve photos of Domoto's Lurie and Bier houses were taken for "Domoto: Visions of Usonia," a new exhibit at SUNY Purchase.



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Photographer Laurie Simmons Captures Lifelike Dolls, Fake People - WTTW News

Photographer Laurie Simmons Captures Lifelike Dolls, Fake People  WTTW News

From Meryl Streep to ventriloquist dummies, Laurie Simmons has had some unusual collaborators. A look at a career-spanning show by a photographer who ...



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Tallahassee photographer Arnold Abellera earns Master of Photography degree - Tallahassee.com

Tallahassee photographer Arnold Abellera earns Master of Photography degree  Tallahassee.com

At the PPA convention, Arnold Abellera was one of only 95 recipients to receive a Master of Photography degree.



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These Pictures by Early African-American Photographers Did More Than Capture a Moment - TIME

These Pictures by Early African-American Photographers Did More Than Capture a Moment  TIME

African Americans were among the first photographers in the United States. Some white photographers created sympathetic portraits of black people. However ...



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Don't let spoons ruin your food photography - DIYphotography

Don't let spoons ruin your food photography  DIYphotography

Silverware can be a beautiful and often important addition to food photos. But the trouble with it is that it reflects light, and these reflections can be so strong that ...



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BJP-online's month in photobooks - British Journal of Photography

BJP-online's month in photobooks  British Journal of Photography

Publications we loved, and the big news stories from the last month in photobooks - including the nominees from the 2019 Mack First Book Award and an ...



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Photographer Yves-Richard Blanc | Day in the Life of a Firefighter - Buffalo Rising

Photographer Yves-Richard Blanc | Day in the Life of a Firefighter  Buffalo Rising

How long have you been dedicating your spare time to photography? I have been a professional photographer for well over 30 years. Where did you get your ...



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USB 3.2 specification arrives this year with confusing new naming structure

The USB 3.2 specification announced by the USB Implementers Forum (USB-IF) in 2017 will be arriving soon, and it'll bring a relatively convoluted new naming structure with it. As was the case when the USB 3.1 specification launched, the new USB 3.2 spec will absorb the previous generations before it, designating them as Gen 1 and Gen 2.

The new USB 3.2 specification, which brings speeds up to 20Gbps, will be known as USB 3.2 Gen 2x2. Joining this will be USB 3.2 Gen 1, which originally launched as USB 3.0 and was later renamed USB 3.1 Gen 1; this specification supports transfer speeds up to 5Gbps.

Between the two will be USB 3.2 Gen 2, which originally launched as USB 3.1 and was late renamed USB 3.1 Gen 2; this specification supports transfer speeds up to 10Gbps. In order to hit the 20Gbps speed, USB 3.2 Gen 2x2 will utilize two of these 10Gbps high-speed channels.

To help consumers understand which version they're getting, the USB-IF suggests manufacturers use the following terms:

  • USB 3.2 Gen 1: 'SuperSpeed USB'
  • USB 3.2 Gen 2: 'SuperSpeed USB 10Gbps'
  • USB 3.2 Gen 2x2: 'SuperSpeed USB 20Gbps'

According to The Verge, the new USB 3.2 specification will hit the market sometime this year.



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US transportation agencies ban passenger aircraft from transporting lithium-ion batteries in cargo

The U.S. Department of Transportation and Federal Aviation Administration have announced a new Interim Final Rule banning the transportation of lithium-ion batteries in passenger aircraft cargo. As well, the new rule requires lithium-ion batteries transported on cargo planes to have no more than a 30% charge.

The new rules were revealed by U.S. Secretary of Transportation Elaine L. Chao on Wednesday. The regulation is intended to help protect passenger and cargo aircraft from potentially catastrophic fires that may result from faulty lithium-ion batteries, which are prone to catching on fire and exploding when they overheat. Below is an older video shared by the FAA showcasing what can happen when a lithium-ion battery fault.

Travelers flying in passenger aircraft retain the option of packing lithium-ion batteries in their carry-on luggage. This includes devices with non-removable batteries, such as phones and laptops, as well as standalone batteries, including power banks and spare cameras batteries.

The Interim Final Rule follows the FAA's 2017 proposal for a global ban on lithium-ion batteries in checked airline luggage. The recommendation was made based on tests conducted by the FAA, which found that fires caused by lithium-ion batteries in a plane's cargo hold could potentially result in 'the loss of an aircraft.'

The full Interim Final Rule can be read here [PDF].



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Don’t let spoons ruin your food photography

Silverware can be a beautiful and often important addition to food photos. But the trouble with it is that it reflects light, and these reflections can be so strong that they ruin your shots. Fortunately, there are ways to manage these reflections, and Joanie Simon of The Bite Shot will teach you how to do […]

The post Don’t let spoons ruin your food photography appeared first on DIY Photography.



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Want to take your social media to the next level? Then you’d better call Paul [NSFW Language]

Is your social media getting you down? Need some help raising your profile? Well, then you’d better call Paul. German photographer, cinematographer and part-time comedian Paul Ripke, that is. Having amassed almost 450K followers on his own Instagram, he’s now put out a commercial offering to help you get your Instagram “Lit as f**k”, too! […]

The post Want to take your social media to the next level? Then you’d better call Paul [NSFW Language] appeared first on DIY Photography.



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Review: DJI Mavic Air

The DJI Mavic Air is a compact, foldable drone and is the smallest member of DJI's Mavic family of products. It offers high image quality in a travel-friendly size, as well as a solid obstacle avoidance system and powerful automated flight modes. It can shoot 4K/30p video at 100 Mbps, but uses Wi-Fi for connectivity instead of DJI's more robust Lightbridge or OcuSync signal transmission systems, both of which perform better over long distances.

The Mavic Air is a compelling offering, positioned between the consumer and professional-grade drones that DJI currently offers. When used correctly, it can produce content difficult to distinguish from its professional-grade cousins. If you're in the market for a drone that delivers features close to the Phantom 4 Pro or Mavic 2 series while keeping size and cost factors in check, the Mavic Air is the perfect aerial companion for you.

Key Features:
  • 1/2.3" 12 megapixel CMOS sensor
  • 3-axis stabilized gimbal
  • 85 degree FOV (24mm equiv)
  • Lightweight, 430 grams (15 ounces)
  • 21-minute flight time
  • Top speed of 68 km/h (42 mph) in sport mode
  • DNG Raw support
  • 100 Mbps 4K video up to 30 fps
  • Forward and rear-facing APAS obstacle avoidance
  • 8GB of internal storage
  • New intelligent flight modes

The DJI Mavic Air is in some ways an evolution of the DJI Spark, but also borrows liberally from DJI's Mavic series of drones. The Mavic Air has a smaller footprint than the Spark when the legs are folded and the drone is in travel mode. On top of that, it also includes 4K video (the Spark maxes out at 1080p). The Air also offers DNG Raw stills, longer flight time, D-Cinelike color profile in video, and upgrades the gimbal from two to three axes of stabilization. The use of Wi-Fi for signal transmission matches the Spark, which keeps this small-but-mighty drone beneath the more robust transmission offering of the Mavic and Phantom series.

The Mavic Air has an improved obstacle avoidance system, which protects it from objects in front, behind, and beneath its flight path. Additionally, DJI's Active Pilot Assistance System, or APAS, also helps the drone avoid obstacles intelligently, by moving around them, instead of just stopping when it encounters them. It has many features that make it suitable for new and experienced drone pilots alike. It's a near-perfect travel drone for hobbyists and creators of all levels.

The Mavic Air shoots high quality video at resolutions up to 4K/30p, but not without a few compromises. Read the video quality page to learn more. Video by Kjell Redal
How it compares

Learn about new features found on the Mavic Air, and find out how it compares to other DJI models, including the original Mavic Pro/Pro Platinum.

Read more

Aircraft, Camera and Controller

The Mavic Air's incredible portability may be the best part if its design. We take a closer look at the hardware, and explain a few of the compromises that come with its small size.

Read more

Is it right for you?

We'll help you figure out whether the Mavic Air is the right drone for you based on how you intend to use it.

Read more

Photography Features and Image Quality

The Mavic Air's camera is capable of capturing some very high quality images – as long as you're aware of its limitations.

Read more

Video Features and Quality

The Mavic Air boasts some impressive video capabilities, including high quality 4K/30p capture. Find out how it performs and whether the camera's small sensor comes with any limitations.

Read more

Conclusion

Our overall impression of the Mavic Air, as well as some alternative models you may want to consider.

Read more

Review Publication History
February 28, 2019 Review published


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CP+ 2019: Hands-on with Nikon Z 14-30mm F4 S

CP+ 2019: Hands-on with Nikon Z 14-30mm F4 S

Announced earlier this year, Nikon's new Z 14-30mm F4 S is a compact wideangle zoom lens for Nikon's Z-series mirrorless cameras. We just got our hands on a working sample at CP+. Click through for more details and some initial handling impressions.

Locking zoom mechanism

Shown here on a Nikon Z6 (one of two cameras capable of mounting it, the other being the ergonomically identical Z7) this compact lens weighs just 485g (17oz). Like the Z 24-70mm F4, the 14-30mm is most compact when 'locked' (indicated by a white dot on the zoom ring).

Size and weight

Unlocking the zoom ring and moving the ring to the 14mm position increases the overall length of the lens, but this is as long as it gets. When zoomed in toward 30mm, the zoom extension is gradually reduced. Compared to the AF-S 14-24mm F2.8 for F-mount, the Z 14-30mm F4 S is a good deal smaller and lighter, and very nicely balanced on the Z6/7.

We'd expect a degree of size and weight reduction considering its more modest continuous aperture, and for many (probably most) photographic purposes, the more portable form factor, and the option of adding a conventional protective filter, will outweigh the penalty in brightness.

Compared to Z 24-70mm F4 S

Shown here alongside an Z 24-70mm F4 S (on the right) the new lens is almost indistinguishable at a casual glance. The biggest difference - literally - is the 82mm filter ring. While in no way unreasonable for a wideangle lens of this kind, it's substantially larger than the 72mm ring on the front of the Z 24-70mm F4.

Neither lens features the control ring found on the forthcoming Z 24-70mm F2.8 S, but the focus ring can be customized to provide direct control over various functions if required.

Optical construction and 82mm filter thread

The front element of the Z 14-40mm S is only slightly domed, which is what allows for a filter to be attached in the first place. If you take a look at the reflections in this image though, you'll see the telltale curves of at least one aspherical element in the foremost optical group. In total, the Z 14-30mm contains no fewer than four aspherical elements, and four ED (extra low-dispersion glass).

Lenshood and coatings

While pleasantly compact overall, the Z 14-30mm S comes with a large, shallow hood to help protect against flare. Inside the lens, Nikon's Nano Crystal Coat provides another layer of defense.

Weather-sealed construction

As with all of Nikon's Z-mount lenses released so far, the 14-30mm F4 is sealed against dust and moisture. It will be available soon for $1299.



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7Artisans announces a new 60mm macro lens for multiple mounts

7Artisans is set to launch a new macro lens in a range of mounts from MFT to APS-C in May this year, according to Photo Rumors. Details are a little thin on the ground, but what is known so far is that the lens will cost in the region of $200 and will have a close-focus distance of 65mm.

The maximum aperture will be F2.8 and with the help of an optional extension tube users can expect to achieve 5x magnification for extreme macro photography. The website says the lens will be available in Sony E, Canon EF-M, Fujifilm X and Micro Four Thirds mounts and we should expect it to arrive in May of this year.

The 60mm focal length is a popular choice for photographers using cameras with APS-C sensors, as the angle of view achieved is similar to that of the classic 90mm macro on a full frame system. Mounted on a Micro Four Thirds model however the focal length will seem much more like a 120mm. For more information keep an eye on the 7Artisans website where it will probably pop up a little closer to the launch date, or during the CP+ show starting today, where the lens may well be exhibited.



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Reverse Lens Macro – How to Make Macro Photos with “Backward Thinking”

The post Reverse Lens Macro – How to Make Macro Photos with “Backward Thinking” appeared first on Digital Photography School. It was authored by Rick Ohnsman.

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Occasionally a little “backward thinking” can be a good thing, especially when it comes to coming up with an economical way to do macro photography. Sure, you can shell out a few hundred dollars for a nice macro lens. You might give extension tubes or bellows a try, or even buy some closeup diopter lenses. But what if I told you how you could use that old film camera lens and an adapter easily purchased for under $15 to make some nice macro images? Might that not be a great and inexpensive way to explore the macro world? Great… now get ready to “think backwards.”

Yes, literally… You will need to think backward to take advantage of what is called “Reverse-Lens Macro Photography.” You will be mounting a lens backward on your camera so what is normally the front of the lens is the part that attaches to your camera. Before we look at how to do this, let’s first define “macro photography.”

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The Reverse Lens Macro Technique is a great way to enter the world of macro photography economically.

What is “true” macro?

Many lens manufacturers indicate their lens has “macro capability” and they might even put the word “macro” on the lens. These lenses indeed allow you to focus closely on your subject. However, in the true sense of the term, a macro photo is one in which the size of the image recorded on the camera sensor is the same size (or larger) than the physical object photographed – a 1:1 magnification ratio or greater.

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This might be a close-up, but is not a “true” macro photograph.

Here’s a practical example: A U.S. Quarter is 0.955 inches (24.26 mm) in diameter. A full-frame digital camera sensor measures 24mm x 36mm. So shot with a true macro lens on a full-frame camera, the uncropped image below represents a 1:1 magnification ratio or a true macro photograph. On a crop sensor camera where the sensor is 14.9×22.2mm (Canon) a 1:1 shot of a quarter would more than fill the frame. So, if the lens you’re using cannot focus close enough to fill the frame with a quarter, it might be a close-up lens but isn’t a true macro. Don’t be fooled by cropped images either. An image can be cropped tighter in editing, but that alone does not make it a “macro” photo.

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This is a full-frame shot. Notice the width of the shot is about 36mm, the size of the camera sensor. This is a true 1:1 macro shot.

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I shot this image with the reverse Pentax 50mm lens. It’s not giving “true” macro magnification

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This Is how close I could get with the reversed Vivitar zoomed out to 28mm. Remember, the wider the focal length, the closer you can get to your subject.

Does it matter? No, not really. The fun is getting close to your subject. Close enough to see things you might not be able to see with your unaided eye. Whether it is a “true macro” may not matter unless you are entering a contest where only true macro shots are allowed. How close you can get depends on the equipment you have. How close is close enough? Well, that’s an artistic judgment.

Before we start… some cautions

Anytime you take the lens off your digital camera you expose the sensor and the insides to dust. You will be taking your lens off for this procedure. If you aren’t placing another (reversed) lens onto the camera, use a body cap to keep dust out until you are ready.

When you do put the reverse lens on your camera, know that the back end with its associated controls, connection pins, rear element and such will also be exposed. Use a rear cap on it when you’re not working with your set-up. Practice the same cautions you use with regards to dust and all will be fine.

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Ordinary objects like this set of keys become subjects for interesting photos when viewed as macro images.

Macro options

There are several ways to make macro photos.

These include:

  1. A Dedicated Macro Lens – The easiest but the most expensive
  2. Extension tubes or a bellows which increase the distance between the lens and the sensor
  3. Magnifying lenses (diopters) put in front of an existing lens
  4. Reversing a lens on the camera – This is the technique we’ll be teaching here.
What lenses work?

Almost any lens can work for this technique including those you usually use on your digital camera. Do you want to see? Take the lens off your camera, hold it backward and tight to the camera body, turn on the camera and get close – very close to a subject. Move very slightly toward and away from the subject to focus. The focus ring has little impact.

You can see this technique shown on numerous online videos and while it may give you a macro in a pinch, it’s not very practical. Trying to hold the camera with a loose lens and adjusting focus might be okay if you’re in the field and have nothing better, but it’s hardly optimal.

You’ll also note that once you disconnect the lens from the camera, you no longer have autofocus or aperture control. The camera may show a blank where the f/stop would typically be. I’ve seen the technique where you set the aperture with the lens on the camera, push the depth-of-field preview button and then disconnect the lens, so the aperture stays fixed at that setting. Right… funky at best. Let’s teach you how to do this right.

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Old film camera lenses are perfect for this technique as they usually have an aperture ring on the lens.

Got an old film camera lens?

If you’re an old guy like me, you remember film. You might even have your old film camera and a few lenses for it kicking around. If not, film camera lenses are cheap at pawn shops, online, or even at garage sales. For this technique, lens brand or mount type doesn’t matter since you’re not going to be connecting the lens to the camera in the usual way. Almost ANY lens will work so long as it has filter threads on the front.

The lenses I used with my old Pentax ME Super film camera are a 50mm Pentax lens with a 49mm filter ring and a Vivitar 28-105mm zoom with a 72mm filter ring. The thing to remember when using reversed lenses is the wider the focal length, the closer you can get to your subject. A zoom lens gives you a “variable macro.”

The biggest reason old film camera lenses work best for this is, unlike most digital lenses, they have aperture control rings on the lens. You won’t have aperture control from the camera, so having it on the lens is perfect.

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Reversing rings are what you need to mount your lens backward on your camera.

Setting it all up

Here’s where the “backward thinking” comes in. To mount your lens to your camera you need to attach it backward. You need to use an adapter with male threads on one end and the proper mount type for your camera on the other end.

In my case, I used a Canon EOS mount so I could attach the lens to my Canon 6D. I bought two Reversing Ring adapters, one with 72mm threads on one end and a Canon EOS mount on the other. The second, with 49mm threads and a Canon EOS mount on the other. Mine are cheap Fotodiox rings, at $7.95 US each for the 49mm, and 72mm from Amazon. The things to remember when buying these is to get the proper filter thread size and camera mount type.

They are available for Canon, Nikon, Sony, Pentax, Panasonic, and many other camera mount types.

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This, shot with the reversed Pentax 50mm might be a close-up, but is not a “true” macro photograph.

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This is shot with the reversed Vivitar at 28mm giving even more than a 1:1 macro magnification. Note how sliver-thin the depth-of-field is

The mechanics of making your macros – a step-by-step approach to making this work Mount the lens

Screw the adapter to the lens filter threads and then mount the lens (backward of course) to the camera. Choose the lens you want by considering how much magnification you want – Shorter focal lengths allow you to get close to the subject with more magnification, longer focal lengths allow you to be further from the subject.

With my lenses, the 50mm Pentax prime gave a little more than a 1:1 ratio. The Vivitar 28-105mm zoom at 28mm was almost a 2:1 ratio. At 105, it was more a “close-up” rather than a macro lens and around 70mm was 1:1.

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This is the Vivitar 28-105 reverse-mounted on a Canon 6D.

Use a tripod

The magnification of macro greatly amplifies any camera movement and, with very limited depth of field, trying to work handheld will be frustrating, if not impossible. If there’s any wind, shooting outside probably won’t work either.

Subject Selection

Your depth of field with this technique will be sliver-thin, sometimes only a few millimeters. Beginners might want to start with subjects with minimal depth and shoot them, so they lie in the same “focal plane” as the camera. Stamps, coins, paper bills, or other flat objects are great, especially when you’re learning the technique.

Lighting

You’ll often be really close to your subject and in your own light. You’ll also be wanting to use smaller apertures to get more depth of field, further reducing light. Get creative with how you light your subject.

Camera settings – Use Manual Mode

You will be able to control ISO and Shutter Speed, but not Aperture. Remember, that’s on the lens ring.

Open the Aperture Ring all the way while you focus. Move the camera or subject in tiny increments to get focus (the focus ring won’t have much effect.) If you’re using a zoom, you can use the zoom feature to help you focus. If your camera has Live View, use that. Use the Zoom feature of Live View to magnify your image and check the critical focus. If not, you’ll have to use the viewfinder. Also, remember that autofocus doesn’t work here and so LCD screens where you touch to focus aren’t going to help.
Stop down the Lens with the Aperture Ring once you’ve focused. Smaller apertures (like usual with all photography) give greater depth of field.

You will usually be struggling to get more depth of field in macro photography! Also know that as you stop down the lens, things get darker. It’s sometimes hard to adjust the aperture ring without bumping the focus slightly, so be prepared to refocus.

Making your shots

Shoot, “chimp,” adjust exposure, and repeat. To control exposure typically adjusting shutter speed on the camera should be the easiest. Expect to make LOTS of shots, making adjustments as you go to get that..



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‘Mapplethorpe’ Review: A Timid Biopic of a Bold Photographer - New York Times

‘Mapplethorpe’ Review: A Timid Biopic of a Bold Photographer  New York Times

Except when Robert Mapplethorpe's pictures are on the screen, this film does the seemingly impossible and makes him and Patti Smith, well, kind of boring.



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Robert Voltaire: Flawless Photography - The Frisky

Robert Voltaire: Flawless Photography  The Frisky

Recently there has been a lot of news about a young and successful photographer from California, Robert Voltaire. He is an amazing and very talented ...



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How to Deal With Silverware Reflections in Food Photography - Fstoppers

How to Deal With Silverware Reflections in Food Photography  Fstoppers

Silverware can be really pretty, but it can also be a complete pain in the you know what when it comes time to photograph it. This great video tutorial will give you ...



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High Museum brings backwoods art, photography together - MDJOnline.com

High Museum brings backwoods art, photography together  MDJOnline.com

The unconventional character of the Southern avant-garde will be explored in a very unconventional way during a unique exhibition at the High Museum of Art in ...



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Samyang MF 14mm F2.8 RF and MF 85mm F1.4 RF Lenses for Canon RF

Samyang has launched its first two lenses in the Canon RF mount: MF 14mm F2.8 RF and MF 85mm F1.4 RF. The Samyang MF 14mm F2.8 RF is an ultra-wide-angle, manual-focus lens with excellent sharpness, even at its maximum aperture. The Samyang MF 85mm F1.4 RF is ideal for top quality portraiture and still images with its vivid colours and smooth out-focus quality.

The first two RF lenses from Samyang will be displayed at CP+ 2019. The Samyang MF 14mm F2.8 RF and MF 85mm F1.4 RF will be available during March 2019, suggested retail pricing to follow.



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Sony CFexpress Type B Memory Card Offers 1700MB/s Read and 1480MB/s Write Speeds

Sony have announced a new CFexpress Type B memory card which boasts ultra-fast read and write speeds of up to 1700MB/s and 1480MB/s. The Sony CFexpress Type B memory card offers a 128GB capacity, with higher capacity models of 256 GB and 512 GB planned for the future. A new Sony CFexpress card reader, the MRW-G1, takes full advantage of Sony CFexpress Type B’s high-speed performance.

The Sony CFexpress Type B memory card and the CFexpress MRW-G1 Card Reader will be released in early summer 2019.



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Readers' Photography Competition: Putting our readers in the frame - Irish Examiner

Readers' Photography Competition: Putting our readers in the frame  Irish Examiner

Our Readers' Photography Competition for 2019 is well underway and we would like to take this opportunity to thank all our readers who took part in our 2018 ...



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National Geographic names UK's best travel photography for 2019 - Kiwi.com

National Geographic names UK's best travel photography for 2019  Kiwi.com

National Geographic has named the UK's best travel photography for 2019, with a stunning close-up of a mountain gorilla on Mount Mikeno.



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Photography by Susan Sullivan | Art Gallery & Showings - Madison.com

Photography by Susan Sullivan | Art Gallery & Showings  Madison.com

After retirement from working in law offices for 30 years, we bought a new home and started the landscaping. I started a Memory Garden, making separate ...



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Up-close with Brush Strokes featured artist photographer Norma Woodward - Fredericksburg.com

Up-close with Brush Strokes featured artist photographer Norma Woodward  Fredericksburg.com

Norma Woodward got her first camera when she was 12. It was a Brownie Hawkeye—the little, boxy kind Kodak made between 1949 and 1961.



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The Best Way to Strengthen the Chances of a Long Career in Photography - Fstoppers

The Best Way to Strengthen the Chances of a Long Career in Photography  Fstoppers

It's one thing making the leap in to a photography career, but as is the case with most startups, longevity is the greatest obstacle to overcome.



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High Museum offers unique backwoods art, photography exhibition - MDJOnline.com

High Museum offers unique backwoods art, photography exhibition  MDJOnline.com

The unconventional character of the Southern avant-garde will be explored in a very unconventional way during a unique exhibition at the High Museum of Art ...



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Antonio 'Tony' Minifield on his picture perfect photography business - Birmingham Times

Antonio 'Tony' Minifield on his picture perfect photography business  Birmingham Times

Antonio “Tony” Minifield, photographer, has always been creative, especially when it came to visual arts. “My first hustle was painting and doing silk portraits of ...



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The Importance of Learning to Let Go of Your Need for Control as a Photographer - Fstoppers

The Importance of Learning to Let Go of Your Need for Control as a Photographer  Fstoppers

When you're an amateur photographer, you have complete control over what you shoot, how you edit it, where it gets posted, etc. A lot of that changes when you ...



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Friendship and photographs on display in Ukiah - Ukiah Daily Journal

Friendship and photographs on display in Ukiah  Ukiah Daily Journal

“Gathering Light: The Photographic Visions of Aryan Chappell, Roger Franklin, Amy Melious and Robert Taylor” is the latest exhibition at the Grace Hudson ...



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Photographer completes mission to capture every national park on film (again) - WGN TV Chicago

Photographer completes mission to capture every national park on film (again)  WGN TV Chicago

PORTER, Ind. — A bill passed quietly in the U.S. House of Representatives last week made the Indiana Dunes the 61st national park in the United States, and ...



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Wednesday, February 27, 2019

See every detail with ViewSonic's 27-inch 2K USB-C Monitor at a new low

This monitor's nearly frameless design is perfect for multi-monitor setups.

ViewSonic's VP2771 27-inch 1440p USB-C Monitor just reached a new low price at Amazon. Previously priced at up to $500 last year with an average of around $480, now you can pick it up for $399.99 for the first time ever. This deal is also available at B&H which offers free expedited shipping and tax-free purchases in select states.

This professional monitor features a SuperClear IPS monitor with a 2K resolution and extremely precise color accuracy with a palette of over four trillion colors. That makes it a brilliant choice for graphic designers, photographers, and video editors, or anyone who wants to watch YouTube in all its glory. It's equipped with an ambient light sensor and a KVM switch, and thanks to its USB-C, HDMI, DisplayPort and Mini DisplayPort inputs, it offers a wide range of connectivity options as well, along with VESA mount compatibility. It even allows you to swivel, tilt, and pivot the screen, or adjust its height. ViewSonic backs up this product with a three-year warranty.



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These 19 photos from February are our Inland Empire photographers’ favorites - Press-Enterprise

These 19 photos from February are our Inland Empire photographers’ favorites  Press-Enterprise

Our photographers spend time out and about in your community. From crime scenes to mudslides and popular musicians to wildflowers, as well as everything in ...



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NexTech Acquires Hoot A Leader In 3D,360 Degree Photography Software - MarTech Series

NexTech Acquires Hoot A Leader In 3D,360 Degree Photography Software  MarTech Series

NexTech AR Solutions announced it has acquired Hoot, a major player in the 2D to 3D photography software industry. Hoot provides 3D and 360-degree ...



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Altavista Y Photography Show now underway | News - Altavista Journal

Altavista Y Photography Show now underway | News  Altavista Journal

Art lovers do not want to miss a splendid photography show underway now in the Altavista YMCA Athletic Center Lounge.



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Tender – In love with contemporary Czech photography - British Journal of Photography

Tender – In love with contemporary Czech photography  British Journal of Photography

On show in New York, a new exhibition gathers work by 10 Czech photographers, united by their tender - sometimes raw - approach. A group show of ...



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The Radical, Gender-Bending Photographs of Ulrike Ottinger - Hyperallergic

The Radical, Gender-Bending Photographs of Ulrike Ottinger  Hyperallergic

In the German artist and filmmaker's work from the '70s and '80s, Glinda the Good Witch becomes a bearded queen in a shopping mall, and that's just the ...



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NASA Astronaut Drew Feustel explains how he captured racetrack images from space

Spanish GP at Circuit de Barcelona-Catalunya — Formula 1

NASA astronaut Drew Feustel has detailed his love of cars and racing in a new interview with Hot Rod Network, as well as his work photographing racetracks from space. Feustel has shared a number of these images on social media, each providing a unique look at racetracks around the world.

The images were captured from the International Space Station, where Feustel served as commander from June to October 2018. During the interview, Feustel explained that he would work with mission control ground support teams to coordinate times when he could attempt to capture the images.

German MotoGP

Feustel shot the images during his free time in space, where he'd plan ahead to capture the racetracks as the ISS passed overhead. The photography project 'wasn't a trivial thing,' he said during the interview, explaining that he'd have to consider whether the conditions would be clear enough to capture the images and how he would get them.

Feustel said:

The photos were taken in my spare time—nights or weekends, or middle of the night or whenever, basically when I knew I was going to be flying over a track I would plan ahead for the day so that I had some free time to use the 5 minutes that I had to catch a track as I passed overhead, and then get back on with my work—I managed to capture all of them.

German GP F1

The images were taken using a Nikon D5 camera with an 800mm lens and a doubler. Locating the racetracks from space was tricky and, in some cases, didn't pan out:

When I looked out in the lens you could probably fit 30 tracks into the area, I couldn’t see them with the naked eye, usually, but if I pointed the camera in the right place, I could see them through the viewfinder. There were a lot of times where I couldn’t see them, and entirely missed a track because I pointed the camera in the wrong spot.

The ISS's high-speed travel through space compounded the difficulty, giving Feustel less than a minute to capture the racetrack before the window of opportunity closed.

The effort paid off, however, resulting in dozens of images of racetracks located around the world. The public can view Feustel's images on his Instagram and Twitter accounts.



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