Smartphone photography is fast becoming a significant genre within the industry. Many professionals actually use their smartphones for commercial purposes and for good reason. The portability and connectivity many smartphones offer, give it a great advantage in many scenarios.
Articles written by Usman Dawood
For the longest time, I've been trying to move away from using Lightroom and instead use Capture One all the time. Even with the latest update, Capture One is still much faster and more effective for editing, especially when it comes to the high-resolution files I normally work with. The only thing that prevented me from switching over completely was the lack of support for the X-Rite ColorChecker Passport.
For many architectural photographers, tilt-shift lenses from Canon are the go-to option. These particular lenses are quite possibly the best available, and although Nikon has their variants, they just don't seem to be as good as Canon. The problem, however, is that Canon doesn't currently offer the best camera to put those lenses on with cameras like the Nikon D850 and Sony a7R III offering much better noise performance and dynamic range. In this video, I adapt Canon lenses to Fuji's medium format camera.
Ten years ago if you posted a video of kittens playing, you may have gained a significant number of views. YouTube was still relatively new at that point and the perception towards it was very different. The perception has gradually changed and this is due in part to the kind of content now on YouTube and the success it has developed for many content creators. In his latest video, Casey Neistat discusses an article posted on Bloomberg describing how success on YouTube still means a life poverty.
Making videos on Premiere Pro using just my mouse has been getting really old really fast. Keyboard shortcuts are a way to make the whole process a little less monotonous, but it's still not perfect. Recently, however, I've been testing the Sensel Morph tablet and I think I've found the best thing for Premiere Pro.
Ever since the Canon 5D Mark II, it seems as though Canon has been dragging their feet when it comes to innovating. Their new announcements and releases tend to be met with quite a strong negative response, and although this may not be an overall consensus, it's prominent enough.
One of the really great things about the Fuji GFX 50s is the fact that it has a shutter built into the camera instead of it being in the lens. With a sync speed of only 1/125 of a second, on the surface, this may seem like a massive downside for the Fuji compared to the Hasselblad X1D which uses a leaf shutter mechanism. Instead, this one feature opens the GFX to a whole world of adaptable lenses and possibilities.
There have been far too many occasions in the past where I've been holding back from either starting a project or completing it. I would start procrastinating, finding different reasons and excuses to do anything but the project at hand. This mostly came down to the fact that I was unhappy with the work I was producing. I wanted my work to look like the stuff I saw on Instagram or Fstoppers, however, no practice no progress. Fortunately, for the most part, I have been able to remedy that mentality, although the feeling does creep up from time to time.
Up until now, Canon is still the only full-frame manufacturer that offers a 50-megapixel camera. The Canon 5DS R is still very much my favorite full-frame camera to use for any professional work. The usability and image quality are what appeals so much to me. Medium format, however, has always been seen as something that's a little out of reach for many photographers, but with releases from Pentax and Fuji the price has really come down and they're much more viable now than they have ever been. In my latest video, I decided to compare the Canon 5DS R, The Fujifilm GFX, and the Pentax 645Z to see how they perform against one another.
When it comes to filming, using a fast shutter speed is generally a bad idea. For most applications, you'll probably want to keep your shutter speed somewhere around 1/60 of a second, maybe even slower, depending of course on what frame rate your shooting at. The reason for this is because it allows for more smoother and cinematic looking footage which isn't choppy or harsh looking. Faster shutters speeds generally can be a little jarring to look at. The problem with this is that to compensate for this slower shutter speed you may need to stop your lens down. This, in turn, prevents you from getting that shallow depth of field, especially when filming outdoors.
To many of us, it's become apparent that mirrorless is the future for cameras. The huge advancements in short period of time have made them very popular. Companies like Fuji, Sony, and Panasonic have developed some fantastic cameras, and their respective ecosystems are growing fast with new lenses and accessories. Currently, Canon and Nikon have remained behind when it comes to effective and professional mirrorless systems and many disappointed professionals have already jumped ship to other manufacturers. As it becomes clear that Canon is developing their own model, here's what I think it needs to compete with those alread out there.
Medium-format cameras have long been known for their excellent image quality and incredible ability when it comes to rendering colors. Phase One's latest camera, the IQ3 100MP Trichromatic, takes this a step further and you can now get extremely accurate and effective colors, straight out of the camera. To learn more about the Trichromatic and how it compares to the "standard" 100MP back from Phase One, check out my previous article. The main issue with medium-format cameras such as these is that they cost significantly more than what most of us would like to pay. What if we could attain that level of quality without needing to spend anywhere as close?
Wildlife photography is one of the more expensive kinds of photography, with some popular lenses costing over $10,000. For many photographers, trying to get close enough to the subject may require longer 600mm lenses, but when you consider the price for each of them, a little research can definitely go a long way. The Canon 600mm F/4L II is a little cheaper than the Nikon 600mm F4E; however, sometimes the price isn't a major factor when deciding which to buy.
Medium-format cameras have long been known for being able to produce incredible and vibrant colors. This is one of the main reasons behind why many professionals upgrade and spend so much on these systems. The colors that you can achieve with the 16-bit sensors are very desirable and allow much more flexibility in post. Currently, the 100MP sensor is the only CMOS sensor that is 16-bit capable based on the hardware, and most people who shoot with these cameras are very happy with the results. Phase One, however, decided it wasn't good enough and released their new Trichromatic back.
2018 is coming up fast and Tony Northrup has uploaded his latest video with his camera predictions. Although predictions can very often be wrong, it doesn't stop us from trying. On occasions, many of us, including myself, tend to make predictions based on what we hope to see in the future.
On the surface, this may seem crazy, performing a drop test on a glass ND filter, but, hear me out. I've been speaking with Breakthrough Photography about their filters and one of the things that came up was the fact that their filters are made of tempered glass. They seemed really confident about how strong their filters were so I, of course, wanted to know how strong. After a few initial, probing questions, I asked them if I could do a drop test on their filters to demonstrate their durability. To my surprise, they not only agreed but, they sent me an extra filter specifically for the test.