Tuesday 31 July 2018
Equipment List for Making Better Smartphone Videos
In case you haven’t noticed, smartphone cameras keep getting better and better. Not only do they take better still photos, but they also record high-quality video. Many latest generation smartphones are equipped with image stabilization, focus tracking, and the ability to shoot in 4K.
This is especially notable with the recent release of IGTV and social media platforms encouraging more video creation. With that in mind, it’s worth investigating how to use your smartphone to take better smartphone videos. As usual, it comes down to the tools you use. Here are several accessories worth investing in to take your smartphone videography to the next level.
A Way to Secure Your Phone
Smartphones today are being built tougher, but they still have a sleek body that makes them easy to drop. To keep your phone more secure, consider getting one of these accessories. This will help you take sharper and better videos.
Pop Socket
In case you’re not already hip to the Pop Socket, here’s why they’re so popular.
Image courtesy of Pop Socket.
These little devices look deceptively simple. They’re just a plastic backing that sticks to your phone and pops out to give you a better grip. This helps you hold your phone with one hand while taking selfies or shooting tricky angles. They are especially helpful while shooting video.
But there are some problems with the Pop Socket. For one thing, they’re bulky. Even when retracted, the Pop Socket sticks out just enough to make it a hassle to stick your phone in your pocket or put it into your car’s cell phone holder.
Secondly, Pop Sockets look about as cheap as they cost, at least in my opinion. This can ruin the aesthetic of the pricey phone you’ve invested in. Finally, these suckers are pretty permanent. Once they’re attached to your phone, they’re useless if you remove them. For that reason, I prefer using the next accessory to keep my phone secure.
Black Rapid WandeR Bundle
Image courtesy Black Rapid.
Black Rapid is known for their camera straps, but they also have a cool new product for smartphones. The WandeR Bundle is a nylon tether wrist strap that attaches to your smartphone’s case (above).
You can also use the included TetheR-Clip to secure your phone to a bag or camera strap (see below). It’s a simple concept that is very well executed and will make it hard to drop or lose your phone again.
Image courtesy Black Rapid.
A Smartphone Tripod
Like any other camera, there’s a time and a place to use a tripod with a smartphone, especially when creating videos. The good news is that you don’t need a giant tripod for your smartphone, although you can certainly adapt any basic tripod for use with a cell phone using an adapter (more on that below).
But if you want a more compact setup, consider getting a dedicated smartphone tripod. The Manfrotto PIXI EVO is a popular option, as is the JOBY GorillaPod Hybrid Mini. Both are small, yet sturdy enough to hold a smartphone or even a small mirrorless camera if needed.
No matter what kind of tripod you end up with, make sure you get a cell phone tripod adapter to properly mount your device.
External microphone
Most smartphones have pretty good built-in audio recording features. But sometimes you need an enhanced audio solution. Note that for both of these microphones, you may need a smartphone audio jack adapter if you have a phone without a traditional audio jack.
One of the best smartphone microphones out there is the Rode VideoMic Me microphone. It’s very compact and comes with a fluffy windscreen (also known as dead cat). To use it, simply plug it into your smartphone’s audio jack. It worked well with my Samsung Galaxy S8 but didn’t work at all with the Google Pixel.
The reason is the location of the audio jack. On the S8, it’s located on the bottom of the phone, on the opposite end of the cameras. The Pixel’s audio jack is located on top, next to the camera. Thus, the microphone was in the shot both with and without the windscreen. So check the audio jack’s proximity to your camera before investing in this mic.
Another type of microphone you may need is a lavalier (or lapel) mic. It is placed in close proximity to the speaker’s mouth to isolate their voice from environmental noise. Lavalier mics are generally wired, meaning they can be difficult to use when plugged directly into your video recording device.
So the most convenient setup is to record your visuals with one camera, and record audio with a lavalier mic plugged into a smartphone. You’ll need an audio recording app to do this. A top of the line lav mic option is the Rode smartLav+, or the more affordable Stony-Edge Simple Lav. Note that sound quality typically corresponds with price, but it truly depends on your budget.
Smartphone gimbal
Many smartphones come with built-in stabilization that will help minimize or remove shake from your videos. However, you still need an extra tool if you want buttery smooth, cinematic video footage. The simplest video stabilization tool is an electronic handheld gimbal.
There are two main gimbals out there worth considering, and they’re very competitive in terms of features and price. One is the DJI Osmo Mobile 2, and the other is the Zhiyun Smooth Q. I’ve been using the Smooth Q for the past few months and have been blown away by how much my smartphone video quality has improved.
Best of all, a gimbal is easy to use and quite affordable for the features it offers.
Extra Power
While smartphone battery life keeps gradually improving, it’s still a good idea to bring a portable cell phone charger with you.
There are tons of external batteries on the market, but Anker is by far one of the more reputable brands. In particular, the Anker PowerCore 10000 is a compact, efficient, external battery. It can charge either your smartphone or electronic gimbal or both at the same time. Just be sure to charge the battery ahead of time and bring the right cables.
Over to You
In short, you don’t need a lot of tools to start using your smartphone to make better videos. However, if you add these tools to your kit, you’ll be well on your way to producing more professional-looking videos.
Do you have any smartphone video accessories? Let us know your essential tools in the comments below!
The post Equipment List for Making Better Smartphone Videos appeared first on Digital Photography School.
from Digital Photography School https://digital-photography-school.com/equipment-list-making-better-smartphone-videos/
How I Shot a Light-Painting Levitation Portal Photo
My Name is Swen Cubilette, and I’m a 34-year-old photographer living in the Central Pennsylvania area. I’ve been shooting photos for about 5 years. In this article, I’ll share how I shot this levitation portal photo.
To achieve the results in this image I first locked my camera on my tripod after I had found an area that had a suitable background that I felt would make the shot interesting.
To prep the scene, I used a bucket and filled it with water from the river in order to wet the ground as to get more reflection from the light painting and to make the elements in the photo look more appealing.
Now that I had set up the shot, I gathered 3 objects from the environment (usually random debris) to use as markers. One of the objects serves as a marker for my focal point. The other two objects I place to the left and the right of my focal point marker to get a reference on where to start and stop my light painting portal, I placed them about 4 feet on either side of the focal point marker to give me about an 8-foot light-painting portal.
I then go back to my camera to dial in my settings (settings will vary depending on the available light in your scene) and to make sure my lens is on manual focus. Since this is an image stack I have to make sure I used the same amount of light for each image, to do this I set my camera to manual and set my exposure time to about 2 seconds and adjust my ISO and F stop to balance out the exposure and to make sure that the background and scene will be properly exposed.
At this point, I’m ready to start capturing assets for the final composition. I took a total of about 3 images for this comp. The first image is a two-second exposure with no light painting to get a clean plate of my background in case I have to mask out some motion blurs of myself from when I light paint the portal.
Then I take a second two sec capture of just me light painting a portal so I have a clean plate of the foreground elements with the proper lighting to use as a mask.
For the third image, I get a stool and place it right on my focal point marker and get my model to lay on the stool and pose in a way that makes it looks like she’s falling or being levitated.
With the model in position, I ask when she’s ready so that she can hold the pose for two seconds while I light paint a portal above. I take a couple captures with her in different poses to make sure I get a good solid capture of her to edit in post.
Now that I have my images to edit, I export everything into Lightroom and choose the 3 images I want to use for my edit and stack them. Once I have my images stack I send them to PS as layers and begin to create my masks. The first image is a clean plate with no lighting for the background which goes on the bottom of the layer stack, so I take that layer and mask out everything except for the city lights. The second layer is the clean plate shot with the just the lighting so mask out everything in that picture to prepare it so I can paint over the image with the model as to hide the stool and other elements that need to be edited out to create the levitation effect.
After finishing all the masking and I have the results I desired I save the file and go back into Lightroom to make some additional color edits and tweaks.
I used a Canon 5D Mark II, a Canon 16-35mm f/2.8L, a remote radio trigger, a tripod, an Eagletac D25 tactical flashlight, a blue acrylic fluorescent light tube guard, and a stool. The EXIF details of this photo are: f/2.8, ISO 400, 2s, and 23mm. The model was Shey Herrell.
About the author: Swen Cubilette is a photographer based in Harrisburg, Pennsylvania. The opinions expressed in this article are solely those of the author. You can find more of Cubilette’s work on his website, Instagram, Facebook, and Viewbug.
from PetaPixel https://petapixel.com/2018/07/31/how-i-shot-a-light-painting-levitation-portal-photo/
Shooting a Sunrise Portrait with a Drone-Mounted Flash
This idea had been rolling around in my head for years. I use flashes a lot in my photography. Whether that is a Speedlight on or off camera or in the studio with some big strobes and modifiers. But this is the first time I have ever used an aerial drone-mounted flash.
The whole point of this shoot was to light the impossible. I wanted to be able to get a flash where it would be impossible using any normal means. While location scouting I found this rock face with the eastern sky as the background. I first thought it would just be an amazing location for an engaged couple or something that I usually shoot. But when I realized that the sun would rise right behind the cliff I knew a sunrise session was in order. Rather than a traditional natural lighting sunrise session with a silhouetted subject I wanted to light the model so they would stand out from the background.
The only way to be able to light the model from this position would be with a light that could fly — so we did just that.
We rigged up a Canon 600EX Speedlite flash under a DJI Phantom 3 (the drone could fly, but the camera was damaged in a crash).
I was using the Canon ST-E3-RT Speedlite transmitter so that I would be able to control the flashes power while it was flying in the air. We did a few test flights to see how the drone would be able to handle the added weight, and we were surprised that it flew like there was nothing strapped to it.
We woke up at 3:30 AM to be able to get on location, set up and shooting before the sunrise at 5:12 AM. I really wanted to capture the predawn light and the red glow from the rising sun. Luckily on the morning of the shoot, it was a very calm day with little wind, so we didn’t have to fight against any strong gusts while flying and maneuvering the drone.
After I posed our model Michelle (who is also the 2018 Miss NH), I got into my shooting position and launched the drone. Once the drone was in the air I started shooting away, creating the compositions that had been in my mind for such a long time.
A lot had to come together for the shoot, but I am very happy with the results. It was exactly the vision I had in my mind.
Here is a behind the scenes video explaining more about the shoot and my mindset.
After we landed the drone safely I took advantage of the beautiful morning light and did a little fashion portrait session with Michelle.
A big thanks to the team that made this all possible: Model was Michelle McEwan, BTS video by JDM Video, and drone operator was Daniel Cavanagh.
About the author: Lee Germeroth is a wedding, engagement, and portrait photographer based in New Hampshire. The opinions expressed in this article are solely those of the author. You can find more of Germeroth’s work on his website, Facebook, Twitter, and Instagram. This article was also published here.
from PetaPixel https://petapixel.com/2018/07/31/shooting-a-sunrise-portrait-with-a-drone-mounted-flash/
Canon’s New PowerShot SX740 HS Has a 40x Optical Zoom and 4K Video
Canon has announced the PowerShot SX740 HS, a 40x zoom compact that replaces the SX730 HS and adds 4K video recording to the line.
The camera has a 20.3MP 1/2.3″ CMOS sensor and can shoot 10 frames per second continuously with AF lock on.
The 20x lens has a 35mm equivalent zoom range of 24-960mm.
The 3-inch LCD screen on the back of the camera tilts 180° for selfies and easy vlogging.
Other features include a pop-up flash and Wi-Fi/Bluetooth connectivity.
Here are some sample photos captured with the camera:
The CanonPowerShot SX740 HS will cost $399 and be available in August 2018 in silver or black.
from PetaPixel https://petapixel.com/2018/07/31/canon-unveils-the-powershot-sx740-hs/
Basic Photoshop Tutorial – How to Add Creative Overlays to Your Portraits
I’ve been shooting these moody portraits lately and I thought about adding some creative overlays to a few to make them a little different and more interesting.
Here is a basic tutorial on how to add an overlay using Photoshop. Take your images from simple portraits (top) to textured backgrounds (above) above and finally to incorporating some surreal or artistic elements in the finished portraits (below).
Getting started
First of all, I wanted my images to have a dark background and look more moody rather than smiling portraits. You can read here on how I have achieved these types of portraits in my home studio using natural light only.
Secondly, in order for you to be able to follow this tutorial, you need to have a good understanding of how to use layers and masks in Photoshop. It is a simple but extremely powerful tool which I believe to be the most fundamental editing technique you need to learn when using Photoshop.
Thirdly, you need to decide on the images that you wish to use as creative overlays. A quick search on Google provided me with some free overlays that have a high enough resolution to use with my images.
It is essential that these overlays are in PNG format because it supports transparency. If the background isn’t already transparent (which is indicated by the checkered grey and white boxes), you can extract the image from the background if need be before you can use it as an independent overlay. But that’s a lot more work.
I will walk you through this process step-by-step. You will need to refer to the layers shown on the Photoshop screenshots below to be able to understand the process.
#1 Open your image in Photoshop
Once you open your image in Photoshop it will become the Background Layer. In my case, here I have renamed the layer as the file name “lsp-portraits-13” which appears at the very bottom of the file next to the “eye” icon. This just means it is visible and it is what I am showing you now.
#2 Open your texture image in the same Photoshop file
The texture I’m using is called Chambord as you can see on the layer name. You can easily add a new image onto an existing open Photoshop file two ways:
- By dragging your image from its source folder on your computer into Photoshop directly.
- Or by opening your texture file in Photoshop as a separate image, selecting the entire image, copying it and then pasting it into the portrait image you are working on.
The latter is the long-winded way. The former is quicker and it is the smarter way too because Photoshop automatically makes the new texture a Smart Object. That means it matches the size of your image yet you can still change the scale without losing any pixels.
Change the blend mode of your texture image layer (Chambord in this case) to Overlay on the Layers tab. Add a layer mask to the Chambord layer and remove the texture from the person on the image by painting on the mask with black using a soft brush.
Your layer should look like the second layer below with the “eye icon” turned on. You can also adjust the opacity of your texture to your liking by moving the layer opacity slider next to the blend mode.
Note: If you don’t mask out the texture, the person will also be covered in texture and would look really odd! You only want the texture to fill the background and nothing else.
#3 Now you can proceed with adding overlays
The set of leaf overlays, however, come as one image, so I’ve had to use the latter method mentioned above. I opened the overlay file separately in Photoshop and used the marquee tool to select the specific leaf I wanted to use. Then I copied and pasted it onto the other file that I was working with the portrait image opened.
It is essential that you set the blend mode for each texture overlay to “Overlay”. You can experiment with various modes but for this type of work, I’ve found the Overlay and Soft Light modes tend to be the most suitable.
You can see that I added a mask on the leaf layer so that I could remove anything else around the specific leaf that I didn’t want to use. I have added four leaves in total to this image, each one on separate layers with their respective masks. I have also played around the opacity for each layer.
You will also notice that three of the leaves have a separate Levels Adjustment Layer on top of them. This is a simple way of adjusting the look of the overlay, for example, brightening it, darkening, increasing the contrast, etc. You just need to make sure that you clip the levels layer to the corresponding overlay it is adjusting by pressing Alt+Cmd/Ctrl+G. The arrow down indicates it is clipped (only applies to that and no others) to the layer below it.
You will also notice that there is a layer called Group 1 with the folder icon next to it. I grouped all four overlays after I have made individual adjustments with the levels layers. This is in case I want to make further adjustments to all of them, I only have to clip the adjustments to the Group rather than repeating myself for each overlay layer. Especially if all the adjustments are to be exactly the same anyway.
You can do this by selecting all the overlay-related layers and choosing “New group from layers” from the drop-down menu at the top of the Layers panel.
#4 Use adjustment tools to make final changes
Although the leaves are now where I wanted them to be, the leaves are far too saturated for my liking and they stand out too much. Not to mention they do not match the green tone of the entire image.
To correct this, I added a Hue/Saturation adjustment layer and clipped it to Group 1 so that it only affects that group and not the other layers. I played with the sliders to get the green looking similar to the green leaves on the little boy’s shirt. I wanted the overall image to have the look and feel of an old illustrated postcard with subdued tones and muted colors.
#5 It’s time to save your work!
If you want to keep all the layers and the original image, you need to save your file as a PSD image (Photoshop Data File). As long as you don’t merge or flatten the layers, you will have access to all the original elements used in making your composite image.
This is a non-destructive process but the files can take up a large space on your computer drive. However, if you change your mind later on about some of the elements, you can always go back into it without starting from scratch. Just choose the layer you wish to make changes on.
You must also save a compressed version of your image, usually a JPEG, which is a flattened lossy file. It is much smaller and only contains the final finished image without all the layers that went into creating it.
Conclusion
So that’s the simple process of using overlays! Below are the other two images showing the various layers using exactly the same process as shown above.
I hope you enjoyed this little tutorial.
Have you used texture overlays before? If you have more tips, please share them below.
The post Basic Photoshop Tutorial – How to Add Creative Overlays to Your Portraits appeared first on Digital Photography School.
from Digital Photography School https://digital-photography-school.com/basic-photoshop-tutorial-add-creative-overlays-portraits/