The Moto X Style is Motorola’s brand new flagship smartphone and replaces the 2014 edition of the Moto X, using a 1/2.3″ 21MP BSI CMOS sensor and F2.0 lens. We’ve had a chance to try the new model before launch, and we took it out to capture a range of sample shots in varying light conditions. Read more
Articles: Digital Photography Review (dpreview.com)
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Facebook may not be the best place to show off your photography, but it is still a fantastic way to quickly share snaps with close friends and family. After all, not everyone is on Flikr.
You’ve likely noticed that FB compresses photos causing minor, but super irritating, artifacts. Which basically negates all the hours you spent editing them to perfection. GUH.
There is a way to ensure your photos come out looking sharp on FB. Three ways, actually!
Read about the how and why these tips work in this article by Photoshelter, and start uploading pics to FB without losing your hard-earned quality.
Photo by Allen Murabayashi
© Erin for Photojojo, 2015. |
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Sony defined a category when it rolled out the enthusiast-focused Cyber-shot DSC-RX100. This shirt pocketable compact’s fourth iteration brings a new 20MP 1″-type stacked CMOS sensor to the table, maintaining an F1.8-2.8, 24-70mm equivalent zoom lens from the preceding model. Our full review analyzes its performance in the field and in our studio. Read more
Articles: Digital Photography Review (dpreview.com)
Not too long ago, the path to choosing your gear was very clear. If you wanted to take professional quality images, the DSLR reigned supreme. Yet, the landscape of available camera gear is constantly evolving, and today there are more options than ever before. Instead of just one or two dominant companies, you now have outstanding systems from no less than seven manufacturers. Mirrorless cameras have matured from a niche product to a complete solution, while DSLRs have been further refined. This may sound daunting at first, but with a bit of research, it’s possible to find a model that meets your specific needs. Here are the main points to review when considering whether you get a DSLR or mirrorless camera next.
Buying a high megapixel camera body won’t spare you from the the negative effects of a poor lens. In fact, more resolution can bring greater attention to the lens’s optical flaws. For example, if you pair a full frame sensor with a kit lens you’ll have soft corners and mushy detail. Alternatively, high quality lenses can maximize every pixel of your camera’s sensor providing tack sharp focus from corner to corner. There may be some who will argue this theory and point to studio tests and technical charts. Yet in practice, a camera with a smaller sensor and less megapixels paired with a stellar lens can provide more clarity than a high resolution full frame coupled with an average lens. For this reason, the selection of available lenses is the first consideration when deciding on a camera.
Sharpness is not the only part of this decision, but also the speed in which the lens achieves focus. A constant aperture is also a nice convenience for low light shooting as opposed to slower variable aperture lenses that span from f/3.5 to f/5.6. Finally, if you envision a super shallow depth of field in your images, f/5.6 will not be as desirable as f/2.8. Map out your kit with each manufacturer using your dream scenario. For example, can you build a system with f/2.8 lenses that span from ultra wide to super telephoto? How much would this cost for each manufacturer, and what would it weigh? While it’s true that DSLR users once enjoyed a significant advantage in lens availability, that gap is quickly closing. Most mirrorless systems now offer a complete line of professional quality glass that is of equivalent quality to a DSLR counterpart.
Ultimately, the image quality from a camera is only as good as the person controlling it. The best photographers in the world can capture stunning imagery, with the most basic cameras. Simply put, they know how to maximize the potential of any situation, and work around the limitations to get the shot.
Ideally, you want to find a camera that doesn’t get in the way of your creative process. If you’re fumbling with confusing menus and buttons, chances are you will miss a number of fleeting opportunities. Still, photography is also a game of confidence, and you want to feel as if the photo you are capturing will have all of the detail you need it to. I have good news for you! Nearly every DSLR and mirrorless camera today has more than enough resolution for professional work. Whether you are shooting for large prints, billboards, magazine spreads, stock submissions or your own personal satisfaction, today’s modern cameras are up to the task. This is a game changer, as a DSLR is no longer a prerequisite for professional work.
At the same effective focal range and aperture, the actual depth of field each format provides will appear different based on sensor size. For example, a full frame camera at f/2.8 dramatically throws a background out of focus. This is ideal for reducing distractions and bringing attention to the subject. To achieve the same look with an APS-C sensor you would need to open the aperture to f/1.8. With micro 4/3, you’d need f/1.4. Clearly, this makes shallow depth of field easier to achieve with a full frame. Having said that, micro 4/3 users can create similar results with fast lenses like the Voigtlander 42.5mm f/0.95.
While larger sensors enjoy a slight advantage for shallow depth of field, the opposite happens with great depth of field. This means f/5.6 on a micro 4/3 camera provides the equivalent depth of field to f/8 on APS-C and f/11 on a full frame model. This provides the micro 4/3 user with 1-2 extra stops of light while still creating sharp focus from near to far. As a result, the ISO doesn’t need to be as high, providing better image quality. For the same exposure and equivalent depth of field, here is an example of how the sensor size would affect the settings.
This is summed up nicely by Cambridge in Colour who noted, “Larger sensors (and correspondingly higher pixel counts) undoubtedly produce more detail if you can afford to sacrifice depth of field. On the other hand, if you wish to maintain the same depth of field, larger sensor sizes do not necessarily have a resolution advantage.”
The technology you’ll find, in even the most entry level mirrorless camera, can make a DSLR feel like stepping back in time. This is not solely due to the weight, but the glaring absence of useful features that make simple tasks more convenient. No longer do you need to stand beneath a shaded tree to check your images on the LCD. The quality of EVF in today’s mirrorless cameras is astonishing. It’s similar to using live view, but the image appears in the viewfinder where the display is not affected by harsh sunlight. Without removing your eye from the viewfinder you can check critical focus and exposure while viewing the histogram, highlight alert, and exposure settings.
With in-viewfinder image magnification and focus peaking, manual focus has never been easier or more accurate. Tapping the shutter lightly will activate the shooting mode so you’re always ready to capture the action. This can certainly reduce time spent chimping, and helps one remain focused on the subject in front of them. Depending on the model, you may enjoy other features like double exposures, silent electronic shutter, keystone correction, live time, time-lapse, touch screen autofocus that covers most of the frame, and built-in wifi. It’s these little things that ultimately make the shooting experience more enjoyable.
For those who are struggling with depth of field, the EVF on mirrorless cameras offers a huge advantage. As you look through the viewfinder and adjust your aperture, you will see a real-time look at how the depth of field will alter your image. This makes it so convenient to establish your settings for any given shot. In fairness, some DSLRs have a DOF preview button, but its functionality is far from ideal. Using that method the screen gets very dark, and you have to really look hard to determine what will truly be sharp. The EVF simplifies all of this as what you see is what you get.
A DSLR is a commitment. You make a decision to take pictures, pack your gear, and head out. This has proven to be an effective formula for a very long time. Yet, I’ve spoken with countless photographers who leave their DSLR home to avoid carrying extra weight. Some even purchase expensive telephoto zoom lenses only to complain they’re too much of a hassle to bring along. If you do the math, DSLRs are about twice as heavy as mirrorless cameras and approximately 40% bulkier. When you’re traveling to distant places, or hiking deep into the woods, every ounce matters. I’ve been on small international airplanes with a strict 25 pound luggage limit, which included personal items.
Advances in technology can allow us to go places that were previously inaccessible. No longer do you need to leave important things behind. That’s one of the reasons carbon fibre tripods have become the preferred choice for many. Since they are much lighter than aluminum models, you can go further. Couple this with a lighter camera system, and it’s possible to reach remote locations faster, giving you the competitive edge.
15 years ago, on countless pages of photography magazines, experts debated the topic of film versus digital. What followed was undoubtedly one of the biggest revolutions in the history of photography. Despite some of the early limitations, digital imaging forged ahead, ultimately winning over many of the initial naysayers. While this current shift in camera gear may not be quite as dramatic, there are many who are still resistant to change. Yet, as George Bernard Shaw said, “Progress is impossible without change, and those who cannot change their minds cannot change anything.” If you’ve never tried a modern mirrorless system, you are short changing yourself. Visit a local camera store and have a look, or better yet, rent one for a weekend photo adventure. It may take a real world test to experience the benefits that don’t translate well on paper.
DSLRs take the crown when it comes to battery life. Where one DSLR battery can go a full day with 1000 plus shots, a mirrorless camera will require approximately three batteries. The obvious workaround is to carry several spares, but it’s worth noting as it is one definitive area that requires improvement. The issue is largely due to the heavy power demand from the EVF. As a result, it’s a concern for all mirrorless manufacturers with no one brand having a distinct advantage.
If you’re looking for a camera that’s weather sealed and built like a tank, both types of cameras have models to check out. Still, in order to enjoy a fully weatherproof system, the lenses need to have the same level of durability. With a DSLR this build-type is often reserved for the professional models. These are typically more expensive and heavier than non-sealed lenses. Alternatively, Sony, Fuji and Olympus all have rugged systems that boast features like splash, dust, and freeze resistant. If you find yourself in extreme situations often, this may be the better option for you.
Do you rely on image stabilization as part of your photography routine? With a DSLR, this convenience comes at a significant cost. Lenses with this feature are often priced hundreds of dollars more than a non-stabilized model. Perhaps a more cost effective method would be a camera with built-in 5-axis stabilization. This will work on any lens you mount, making it possible to capture sharp hand held images at 1/15th of a second or slower. If you’re skeptical, as I certainly was, there are a myriad of tests that prove its accuracy.
This is an important development that changes the way you works in low light scenarios. For example, if you’re photographing a dark interior where tripods are not allowed, a typical setting would be around 1/125, f/4, ISO 6400. That same shot with 5-axis IS could be captured at 1/15, f/4, ISO 800. Noise won’t be nearly as prevalent at the lower ISO, and you’ll still have a tack-sharp image. This cutting edge feature gives photographers yet another tool to solve common everyday problems.
There have never been as many viable options as we have right now. It is indeed a great time to be in the market for a new camera. The system you decide on will certainly have a big impact on your work, so do thorough research and choose wisely. Remember, the ideal selection should not be based on what everyone else is doing, but what will allow you to realize your unique vision. This can only be decided by you, not a salesperson, or forum chatter. Above all, your next camera should be one that inspires you to pick it up and use it more often.
As for my gear, I don’t leave the house without my Olympus OMD EM1. Sometimes I also carry an EM10 as a backup body. I recently sold a Canon 40D, retired the old 10D, and am still determining the fate of my Canon 6D.
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The post 8 Factors to Look at Before You Choose a New DSLR or Mirrorless Camera by Chris Corradino appeared first on Digital Photography School.
[ By WebUrbanist in Architecture & Cities & Urbanism. ]
Already infamous for its curved facade that ignited fires in adjacent buildings and melted nearby cars basking in its reflected sunlight, the Walkie Talkie skyscraper in London is now being blamed for toppling signs, overturning food carts and even knocking passers-by off their feet. Dubbed ‘Walkie Scorchie’ as well as the ‘Death Ray’ during its last public debacle, critics may need a new name for this building more suited to its fresh source of infamy.
Local business owners, employees and residents have reported a dramatic increase in downdraughts since the completion of the 36-story downtown structure, suggesting its completion coincides with an upsurge of urban wind tunnel effects on surrounding streets.
A worker at a local retail outlet told The Times: “It has only really been windy since the Walkie Talkie has been here. When they were building it and there were the building works going on, it was fine. But ever since they’ve completed it, the wind really picked up.”
A temporary screen erected at street level, eventually replaced with permanent shades hung from its concave side, solved the previous heat-generating problems tied to light reflection; it is unclear if something analogous can be done to address current wind-related concerns. For now, local food trolleys have been instructed to carry warning signs indicating they could tumble over and crush customers or pedestrians, a very incomplete and unsatisfactory solution for all potentially impacted parties.
Meanwhile, officials suggest there will be stricter reviews for new construction. According to Gwyn Richards, the City of London Corporation’s head of design, “The wind outcome at street level experienced post-construction on a number of projects differs somewhat to the conditions we were expecting from the one outlined in the planning application wind assessments. This is why we are asking for an independent verification of the wind studies on a number of new schemes to ensure as rigorous and resilient an approach as possible.” (images via Matt Brown and Duncan H).
A nearly-complete London tower is being investigated thanks to reflected daylight that is dazzling (and sizzling) the neighborhood in extreme, surprising and …
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Architects in Melbourne cite the cloth-clad dancers in the music video for Ghost by singer, songwriter and performer Beyoncé as the source of this …
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Following an economic downturn in Venezuela, many are left without affordable housing. This abandoned building and others have become impromptu homes.
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[ By WebUrbanist in Architecture & Cities & Urbanism. ]
[ WebUrbanist | Archives | Galleries | Privacy | TOS ]
See that? That's the high water mark to date for my dual-purpose creativity with a speedlight case. Being padded, I use it as a thermos for my station-purchased beverage when home-bound from New York City on the train.
(Works totally ace, BTW.)
But that bar just got seriously upped today by the LumoPro LP742 "LightSwitch" speedlight case.
Read more »
Strobist
DxOMark has put Motorola’s brand new Moto X Style to the test. With a 1/2.3″ 21MP BSI CMOS sensor, F2.0 lens and dual-LED flash it’s no slouch in the camera department. See where it lands in DxOMark’s mobile rankings. Read more
Articles: Digital Photography Review (dpreview.com)
Ein Beitrag von: Matthias Koch
Manche Bilder kommen erst nach Jahren an die Oberfläche des Bewusstseins, wie Treibgut, das eines Morgens plötzlich am Strand liegt. Erst zwei, drei Bilder, die ersten Inseln eines Archipels, der seinen Platz in der mentalen Geografie beansprucht.
kwerfeldein – Fotografie Magazin | Fotocommunity
Hey there FashionPhotographyBlog.com readers. Recently, I received a request from a student fashion journalist on our FPBlog Facebook page asking me to offer opinions to help her out with her latest assignment. The question she posed was “Why online is overtaking print as the medium for hobby and trade magazines?” and more specifically those around the photography field.
I was really glad to have been asked this question, because, not many people are aware that I have been involved in the digital space for almost a decade and have observed communication trends evolve over this time. I’ve made predictions over the years that have since came true, funnily enough. What this means is that I’m able to share my insights in regards to why the internet is steamrolling print and other traditional forms of media and what this means for photography as an industry.
What we tend to forget as photographers is that photography as a craft, has always evolved with the technology at the time. It came into this world when painting was the respected art form, but gained its popularity after. From black and white film to photographs in color; from film to digital; from handheld cameras to smart phone photography. As you can see, the medium of photography is a product of human evolution.
The print industry, that includes book, magazine and newspaper publishing, are also susceptible to technological changes. Look how we read text these days; it’s through Kindles, smart phones, tablets, laptops and desktops. It’s how you are viewing this website :). This is why there are at least 3 reasons why I see photography trade and hobby magazines, jumping ship over the online threshold and providing their circulation on the web. These include being reachable, affordable and measurable.
– People can purchase and view hobby magazines online from the comfort of their homes anywhere in the world. Online publications are portable and accessible with the growth of smartphone usage.
– Nowadays anyone can access the internet in the palm their hands wherever they are.
– Online has a significant advantage in terms of reach, compared to products that are bound to physical locations, because consumers do not need to be in a specific location to purchase and interact with the product.
– The cost of production and distribution is significantly less in creating digital products than it is with physical products.
– Overheads such as warehousing and transportation logistics, are no longer expense factors and replaced with the price of portable hard drives and cloud hosting.
– The price tag on technology-based services continue to trend down making it even more possible for consumers to have access to household internet, and digital product creators can create virtual products, such as online magazines, at much lower costs than manufacturing these products in physical form.
– Interactions consumers make with online magazines or any virtual product, can be tracked. This means that data is more easily collected and decisions about the product can be made based on statistics rather than guess work.
– By analyzing the behavior of their customers, online magazine creators can evaluate what actually worked and what didn’t worked and make improvements based this feedback in time for the next issue, therefore continually improving and making changes in real time.
– With physical magazines, customer interaction and engagement is a lot harder to track.
The purpose of this article is not to discredit print mediums like photography hobby and trade magazines, or film. To this day I still love the smell of books and the feel of a glossy magazine in my hand, however as technology continues to evolve new doors open. Technology will make advancements whether we like it or not, so we should embrace it rather than trying to resist it and remember that, as photographers, we are participating in an art form that was born out of new technologies and innovation.
So what do you think of this discussion? Do you have an opinion on the future of printed photography hobby and trade magazines? Where do you see technology taking photography as a craft? Make your predictions the comment section below.
I do a lot of wandering at dawn, taking photos of the city as it wakes. Mostly I am on my own, but occasionally I come across someone, a worker or a person coming home from a party. In Paris, a few summers back, I came across this guy.
“Take my photo, friend!” he said to me.
So, of course, I did. He was brash, but when I was done he hugged me and carried on with his early morning adventures.
If only all interactions with strangers, when I’m out with my camera, could be that easy! But, unfortunately, they are not. So when you don’t have random strangers accosting you on the street, here are some thoughts on how to get amazing shots of people you don’t know.
Tips for photographing strangers
Let’s start with what holds most people back from approaching that cool looking stranger, or from raising their camera when they see a great shot of interesting people.
Having fear come up when you are approaching strangers to photograph is totally normal. All photographers who do this have experienced fear, and may continue to. Sometimes we give in to fear and walk away without the shot, but if we can get through it and push ourselves to do what we love, then gradually the practice of photographing strangers becomes much easier.
When you look up the definition of fear it says it is: an unpleasant emotion caused by the threat of danger, pain, or harm. Now I have occasionally been shouted at when out and about – usually in situations I would expect to be shouted at, like in an Italian market where people were selling fake designer handbags – but I’ve never had a threat of danger. So I like to think – “Okay fear, there is nothing that is likely to cause me pain or harm, I’ll just let you hang around until you feel the urge to go.” It probably sounds weird talking to your fear like that, but it works for me. Just letting it be there until it drifts away on its own.
But actually there is a secret to this – most people are not just happy to be photographed, they love to be noticed. It’s a massive compliment to them that you have sought them out and want to take their picture. This is your secret key!
I was wandering around Montmartre in Paris about 5 a.m. and walked past two men having their early morning coffee and chatting. They looked at me curiously, and to be honest I faltered. I walked straight past them. A language barrier can sometimes add to the intimidation. But I knew if I didn’t go back I’d be kicking myself all day. So even though I’ve been doing this for twenty years, even though I’d photographed hundreds, if not thousands of strangers, the fear does sometimes return. Just don’t let it get in the way of taking shots of those awesome strangers that you see!
So I went back and smiled at them. They smiled back, and I gestured to my camera. They both nodded and I took a few shots. It took a minute or two at most, and I loved the result:
Diane Arbus talked a lot about her fear of photographing strangers. She described spending a summer hanging around a park in the hope of getting up the courage to talk to a group of people who hung out there most days. Gradually over days and weeks she started to get to know them. Her constant proximity helped to make them trust her and she started to chat to them. Over time, she developed a relationship, and it was only then that she introduced the camera. Because they trusted her she was able to get some stunning portraits of people.
“If I were just curious, it would be very hard to say to someone, ‘I want to come to your house and have you talk to me and tell me the story of your life.’ I mean people are going to say, ‘You’re crazy.’ Plus they’re going to keep mighty guarded. But the camera is a kind of license. A lot of people, they want to be paid that much attention and that’s a reasonable kind of attention to be paid.” Diane Arbus
I’ve had a few occasions where people have been sticking cameras in my kids’ faces, snapping away without asking me or my wife, and it has really irked me. There are photographers who seem to think that anything and everything are your subjects, regardless. I know that the law is on your side in most countries (see note at the bottom) but I don’t think it’s respectful to just treat everyone as a subject regardless – and I think people can feel if you are being respectful of them as human beings.
I will always show the subject the photo if they want to see it and give them my business card or take their details so I can send them photos.
It doesn’t matter what you say to people, the most important aspect of approaching people is being genuine, warm, friendly and calm. People will read your body language before you open your mouth, so if you come off as tense they will probably think you are shifty. If you are not smiling, people are going to think you’re unfriendly. Of course being a bit nervous is natural, I still get nervous too. It’s totally normal. But the more you practice, the calmer you’ll become. Then you’ll settle into yourself more, get a little pattern going and it’ll be much easier. It doesn’t matter much what you say, how you say it, or what you are working on, how people react to you is almost 100% because of your body language and the feelings you have when you approach them.
“You can find pictures anywhere. It’s simply a matter of noticing things and organizing them. You just have to care about what’s around you and have a concern with humanity and the human comedy.” Elliott Erwitt
That’s not to say I won’t take a good anonymous portrait – I love them. At the moment I seem to be having a good time with this selfie trend:
I took the photo above in Venice a few months back. I was walking up some steps with a group of students and bang, there it was. Because I was prepared with my camera, and because I always see what’s going on around me, I was able to capture it straight away.
I also liked this photo because for me selfies feel a bit vacuous, and the background was not of Venice but a large photo of Venice covering a building. Both the background and the selfie seem to me to speak of how most people see the world, just on its surface. We photographers have to be prepared to get deeper and see more of what’s really going on.
Over the past several summers I’ve been working on a project, photos of people’s bellies. I always felt it was quite an under-appreciated part of the body and I wanted to see how people felt about theirs. So I started out experimenting by asking people if I could take photos of their bellies.
Now for this kind of project it’s a harder sell. I was asking people to reveal a part of their body that they mostly keep covered up. So the way that I did it was I would look for people on the street who were on their own (because for some bizarre reason people are usually more receptive to strangers taking their photo when they are alone and they seem relaxed). I would approach them, explain what I was doing, and give them a business card that I had made about the project – which had all of my business details on one side and a bunch of belly photos on the other.
Image from The Belly Project by Anthony Epes Photography
I also got people’s photos by hanging out at my local cafe, hanging around summer festivals, anywhere really where I could just hang out and chat to people. It’s a brilliant way to fall into conversation with people, so the approach can be more subtle and relaxed.
I am not a super chatty guy. I am not known in my private life to fill the space with epic conversation. You do not need to be a master of conversation – you just need to be genuinely curious and people will feel that, and start to open up to you. Most people love talking about themselves, and they love people who are interested in them. It’s a human trait that photographers must be aware of. Once you’ve approached someone, or when you are just hanging out – ask people questions about themselves. “Worked here long? What’s this festival all about? That’s an awesome t-shirt, where did you get it?”
What I hope you see in my shots is that the person is not the only subject – where you place your subject, the colours, the lines, the light – all of that will enhance, or detract from the portrait. Ideally you want to find a background that adds to the portrait in someway – almost like a comment on the appearance or pose of your subject. Ask yourself – what does this background add to the photo?
I find that many people use backgrounds that are too busy, so the subject gets lost. The camera can’t distinguish between the layers of a background the way that your eye can, so you almost want to over simplify the background to create the maximum impact for your viewers. Break down the elements that you see, and work out how a person would affect that.
If you are shooting posed portraits this is easier, but before you go about approaching people, get your background organized first. I often wander around looking for interesting locations, interesting elements out on the street, and then once I’ve found something I like, I wait around to see who comes along.
Image from The Belly Project by Anthony Epes Photography
When you are taking someone’s portrait, you are not just putting together an interesting combination of colour, light and shape – you are doing that as well – but there is something else too. You have an amazing opportunity to tell a story, and to communicate the emotion and feeling of your subject. The human face and body are the most expressive and revealing things on this planet.
“A picture of a guy in the street in New Guinea, with a bone through his nose is interesting to look at. But for it to be a really good photograph; it has to communicate something about what it is like to live with a bone through your nose. It is a question of the moment to reveal something interesting and profound about the human condition.” Steve McCurry
When you hold a camera up to a person, you will see that they start out with one emotion, but quite quickly that will change. After a few seconds most people start to get uncomfortable looking into a camera lens, then once they pass through that, other emotions start to appear as their minds move on to thinking about other things – perhaps how uncomfortable they are in the heat, the shopping they have to pick up later. People’s thoughts move at an alarming speed and their faces reveal it all. So just being with them, looking at them, photographing them, you’ll start to see how they peel like an onion.
So to sum up – be friendly, smile, enjoy yourself. Remember this is fun what we do! I have stayed in touch (through Facebook and the like) with a bunch of my subjects whom I’ve met on my travels. It’s a great way to get to know people and create really compelling photographs.
In most countries you only need people’s permission if you are going to sell the photos, or use them for commercial gain. Photos for art and editorial usage usually don’t require individuals’ permission (but there are exceptions – like Hungary where it’s now illegal to photograph anyone without their permission). There are exceptions, especially for children, so always check out the law in the country you’re in, and remember laws change all the time.
Plus, when you are travelling it’s important to be aware of cultural sensitivities before you blaze out there, camera in hand. There is a ton of info out there on the web. Load up on knowledge and that will also help you feel confident as you go out to shoot.
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