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Archive for February, 2021

How to Take Creative Landscape Shots Using Intentional Camera Movement

21 Feb

The post How to Take Creative Landscape Shots Using Intentional Camera Movement appeared first on Digital Photography School. It was authored by Richard Beech.

how to take creative landscape shots using intentional camera movement

If you’re looking to capture some unique, creative photos, then I highly recommend trying out intentional camera movement photography.

Now, many photographic situations rely on ensuring your camera is still as possible during exposure for pin-sharp images. But is keeping your camera still always a good thing?

Instead, why not throw caution to the wind, move your camera while the shutter is open, and explore the range of creative opportunities this offers you as a photographer?

In this article, I’ll show you how to do exactly that!

What is intentional camera movement and why should you use it?

Intentional camera movement (or ICM for short) is a photographic technique where you move the camera as the image is taken.

bluebell woods intentional camera movement

One example of ICM is panning. The camera follows a moving subject in order to keep the subject sharp and the background blurred.

But while panning can get some great results, it’s actually a pretty tame form of ICM. Moving your camera during the exposure can open up many more creative options for you to try out.

In particular, intentional camera movement can be used to take some truly unique landscape shots. The technique can be exceptionally liberating, and by reducing the number of sharp details in a landscape, it allows you to concentrate on line, form, and color in your images.

In fact, with ICM, a scene that you may ordinarily consider too cluttered might just come to life – by letting you blend colors and shapes for an interesting abstract shot.

intentional camera movement on a beach

One of the reasons I have grown to love ICM is that it enables you to capture a landscape in a unique and personal way that cannot easily be reproduced. It can even breathe new life into overly familiar scenes, letting you see and capture something unique about a location you may have photographed many times before.

If you’re struggling to find inspiration for your next photographic project, or you want to get your creative juices flowing, intentional camera movement is a technique that you should try at least once.

In fact, it’s relatively easy to take some striking shots with ICM.

Plus, it can be a lot of fun!

So let’s take a look at how intentional camera movement photography actually works:

The best settings for intentional camera movement photography

A key factor to get right when using ICM is your shutter speed.

You see, the exposure needs to be long enough to capture significant motion blur (though different shutter speeds will give different effects).

In general, I recommend anything from 1/3s or 1/2s all the way down to multi-second exposures. Of course, you’re always free to experiment with faster or slower shutter speeds; the core of a creative technique like ICM is simply playing around.

Because of these lengthy shutter speeds, shooting in low-light conditions is ideal for ICM. During the daytime, it can be harder to achieve the required shutter speeds, even at your camera’s lowest ISO setting and your lens’s smallest aperture (i.e., highest f-stop number).

If you do decide to shoot in the day, you may need to use a polarizing filter, a neutral density (ND) filter, or a combination of both. Personally, I prefer to use a polarizing filter as a starting point, as this helps to boost colors and cut down on reflections and glare. I will then add a 2-stop or a 4-stop ND filter if the shutter speed needs to be slowed down any further.

When starting out with ICM, it can help to shoot in Shutter Priority mode. Set the shutter speed to around half a second to start, then turn the ISO to the lowest available setting on your camera.

intentional camera movement abstract

Once you have practiced at this shutter speed, you can use longer exposure times thanks to a combination of low light and filters.

Make sure you focus manually in advance, and turn off the autofocus to prevent the camera from searching for focus during the long exposure.

Also, if you are using a lens that has image stabilization, remember to turn this off.

How to move your camera

Once you have taken control of the shutter speed, the next step is to determine how you’ll move the camera after pressing the shutter button.

Get creative; there are no rules! You can move the camera vertically, horizontally, or diagonally. You can move it fast or slow. Alternatively, you can rotate the camera 360 degrees to create a spiral effect, or change the focal length on a zoom lens during exposure to create a zoom effect.

tree at sunset ICM

With practice, you can combine two or more of these movements to create something truly unique. The look and feel of your final images will be determined by the speed, direction, and smoothness of your chosen movements.

Note that you can always use a tripod to control the camera movement. This will help you to capture a smoother result, which can be useful if you wish to retain a straight horizon line.

(Personally, I prefer to work handheld when moving the camera, as it offers greater flexibility and provides more opportunities to experiment with different movements.)

Bold movements can sometimes be more effective, as there is a risk that subtle movements may end up looking like camera shake in the final image.

So bear in mind:

While waving your camera around may not come naturally and may result in you getting some funny looks from amused onlookers, the end results will definitely be worth it!

What to shoot for the best results

Now that you know how to capture beautiful ICM photos, all that’s left is to pick your ICM subjects.

A good place to begin is by looking for locations that offer striking colors, lines, or patterns.

Forests are a favorite ICM subject of mine, particularly during the spring and autumn seasons. Clean, parallel lines provided by the trees, as well as the vibrant colors of nature (created by flowers in the spring and fallen leaves in autumn), lend themselves to a vertical camera movement shot. The movement can be from the top down or from the bottom up, and it can be fast or slow; it really just depends on the effect you wish to capture and how experimental you want to be.

intentional camera movement in bluebell woods

Seascapes can be a good starting point for side-to-side camera movement, where you pan the camera in line with the horizon. Alternatively, in rougher waters, you can try to match the movement of your camera to the movement of the waves for an altogether different effect.

Shooting at sunrise or sunset can provide you with a greater variety of colors to work with, and shooting city lights after dark can also offer a wide range of creative options.

Once you’ve identified a suitable location, you will probably find yourself taking multiple shots with various different movements.

(I should warn you that intentional camera movement photography can sometimes be quite addictive, and you’ll often find your memory cards filling up quickly!)

You may find it useful to set your camera to shoot in burst mode so that you can take a series of shots in quick succession while moving the camera in a particular direction.

That way, you’ll end up with a lot of images to choose from – plus, every new shot will offer you a slightly different composition and effect!

A few intentional camera movement tips

As with any type of photography, images created using intentional camera movement are not going to be to everybody’s taste.

It’s a highly subjective art form, and what works for you will not work for others.

Also, keep in mind basic principles of photography, such as composition and exposure – these are still very important!

Also, while the ICM technique will give you a very abstract result, you may find it helpful to have at least one element of the scene sharp or recognizable in the final image.

river weeds ICM

Finally, there is an element of trial and error when starting out with intentional camera movement. You’ll quickly find out what works for you and what doesn’t; this will help you develop your own style.

And don’t be too concerned if you do not get an effect you like right away – the technique can be quite hit-and-miss sometimes. Take a lot of shots, and don’t be too quick to delete images that you feel haven’t worked. There is a chance that, after a few days, you may take another look and see something that you like, after all!

Intentional camera movement photography: The next step

One of the great things about intentional camera movement photography is that it is all about how you express yourself!

Think of your camera as your paintbrush.

Get creative, have fun, and start seeing landscapes in an exciting new way.

Now over to you:

Do you have any intentional camera movement photos you’d like to share? Please feel free to display them in the comments below!

The post How to Take Creative Landscape Shots Using Intentional Camera Movement appeared first on Digital Photography School. It was authored by Richard Beech.


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Bill Dane Pictures …it’s not pretty. 50 Years of Photographs I’m Still in Love

21 Feb

“It seems to me that the subject of Bill Dane’s pictures is the discovery of lyric beauty in Oakland, or the discovery of surprise and delight in what we had been told was a wasteland of boredom, the discovery of classical measure in the heart of God’s own junkyard, the discovery of a kind of optimism, still available at least to the eye.” John Szarkowski, director of photography, Museum of Modern art 1962-1991

I received Bill Dane’s wonderful book, Bill Dane Pictures …it’s not pretty.  50 Years of Photographs I’m still in love, in the mail today.  

For those unfamiliar with his work, Dane has been actively photographing the world around him for over 50 years.  Since 1969 he has generously mailed over 50,000 of his photographs as postcards to people.  More recently he has been active on Flickr where he continues day in and day out to share his world with the rest of us.

Yesterday he shared a diner scene from Tracy, California in 1970, earlier today he shared a bit more abstract flower from Oakland in 2011.  

As you work through his flickstream you find yourself moving from Las Vegas in 1972 to Mexico City in 1974 to Olympia, Washington in 2018.  The one constant thing is that Bill is there with his camera walking you through his unique view of the world.  His view of the world, as his book title admits, is not always pretty, but it is like no other photographer you’ve probably ever seen.  It’s not easy work to get through but it’s rewarding when you do.

Accompanying his images in the book are his own sttaccato like typed words.  Like a beat poet Bill opines on his own photographic path as well what he sees around him — words to go with the pictures.  It’s part personal history/biography, part documentary, part politics, part life vision — always poetic.

“Hunt treasure   strike-snap-gather   edit   judge

I still photograph like it’s 1969   sort of

Advancing  weaving  focused scanning   dam  Bill  hold still

Leica Rangerfinders  straightforward refinement  guess settings real good

Film has wonder dept   forging Tri-X  darkrooms   mail

Costco for color prints to edit  send

2007 My last film camera  Contax SLR zoom-macro

Digital  Nikon D80 with the 28-105 macro”

In my own artist’s statement, I quote the great Charles Bukowski who once said that endurance is more important than truth.  As far as endurance goes Bill’s got it.  He’s got it in spades and you have to admire that.  Bill’s spent time hanging out at workshops with Friedlander and Arbus.  He’s had shows at MoMA, his photographs hang in the permanent collections of MoMA, SFMOMA, the Art Institute of Chicago — and yet here he is day in and day out still putting work up out there for the public where?  At Flickr? Yes, at our beloved Flickr.

Interestingly enough the title of Bill’s book actually comes from Bukowski’s poem “I Met A Genius.”  The poem is about a 6 year old boy on a train ride with Bukowski who sees the sea for the first time and remarks upon seeing it that “it’s not pretty.” It’s the sort of innocent honest insight that can come from a child who has not been saddled down with society’s version of the sea as a remarkable and beautiful scene, the way most artists might present it.

Bill gives us a messy world, it’s not always pretty, but it’s worthwhile to see it as he shares it. It is a bit of a junkyard as Szarkowski suggests, but there is beauty in the junkyard as well.

Weighing in at over 300 pages of high quality printing and limited to only 500 copies, do yourself a favor and pick this one up before it sells out and before one of these big name museums decides to do a retrospective. You’ll have an original collector’s item. Bill Dane is a treasure — and so are his flickrstream and book.

Some photos from Bill’s Flickrstream below.

1974 Mexico City
1970 Tracy
1974 Berkeley
1970 Point Richmond_
Hamburg 1971


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DPReview TV: The Blackmagic Ursa Mini Pro 12K could teach mirrorless cameras a few things

20 Feb
As its name implies, the Blackmagic Ursa Pro 12K shoots 12K video. But it also includes features that mirrorless camera makers could learn from. Jordan shows us what he likes about Blackmagic’s design – and what it’s like to shoot in 12K.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • The Ursa Pro's 12K sensor
  • Blackmagic Raw (BRaw) recording
  • Storage options
  • What mirrorless cameras can learn

Articles: Digital Photography Review (dpreview.com)

 
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How to Find Good Locations for Family Portraits

20 Feb

The post How to Find Good Locations for Family Portraits appeared first on Digital Photography School. It was authored by Hunter McRae.

how to find good locations for family portraits

When you’re shooting a family portrait, about nine times out of ten the client will ask, “Do you have a place you typically like to photograph?”

We all do, of course, but if you take every portrait client to the same location, your portfolio will develop an undesirable, repetitive consistency.

That’s why it’s important to thoroughly scout the area where you live and work, to build a list of go-to spots for any scenario, circumstance, and style.

family portrait on a beach

So think about your city, and build a list of these places where you can shoot:

  • A field or shoreline with broad vistas to capture the aura and glow of twilight
  • A similar outdoor venue with features like tall grass or trees to provide a backdrop
  • An outdoor area with full shade, appropriate for shooting at midday
  • A covered outdoor space like a gazebo or covered porch for shoots in inclement weather
  • An indoor space with high ceilings and lots of windows for natural light

Because most family portrait sessions will include a variety of backdrops and poses, the perfect shooting location contains all of these elements. But that’s pretty rare and hard to find.

Finally, make sure that you have the required permits, permissions, and licenses to shoot in your desired locations, whether they’re public or private (many municipalities require a business license to shoot in public places like parks and beaches).

black and white family shot

Once you’ve built your list of go-to locations, you’re ready to schedule a session with a client.

Here are the two scenarios that could play out:

Scenario 1: The client has already chosen a location

It’s rare for a client to be dead set on a location, but sometimes there’s a family home or a special place with memories where they’d like to be photographed. Or maybe there’s an extended family gathered together already, and they’d like to keep the photoshoot as easy as possible by having you come to them. If you’re shooting for next year’s holiday portrait or another special event, your client may also choose a place that fits the theme, such as an evergreen forest or a snowy landscape.

If you’re not familiar with the location, ask questions about it when confirming the shoot. You may discover that you need to bring extra equipment, such as speedlights to fill in shadows (if, for instance, your client is hoping for a family portrait underneath a moss-strewn oak tree at two o’clock in the afternoon).

Likewise, indoor photoshoots – such as people gathered around the fireplace or around a Christmas tree, for example – may present difficulties with lighting that you’ll want to consider and be prepared for prior to the actual shoot. When feasible, visit the site of any session before arriving for the actual job.

woman holding her child over her head

Scenario 2: The client is open to your location suggestions

This is the more common scenario, and it allows you to pull out that list of locations you’ve already scouted.

Start by getting a sense of the feeling the family wants to capture in their photos. If you’re doing a holiday family portrait, the client may prefer a warm and rustic theme over something bright and urban, for example.

Timing should also affect your decision of where to shoot. When possible, schedule sessions for an hour to an hour and a half before sunset, giving you time to arrive and chat, time to get the family comfortable with your presence and style, and then time to be fully ready to capture beautiful, stunning portraits just when the changing light is at its peak.

kids playing at the beach

Sunset (and sunrise) shoots

For golden hour sessions, just after sunrise and just before sunset, choose a location that ideally has both broad vistas and objects of interest.

For example, if you’re shooting on the beach, don’t just choose a spot with wide-open sand (plus houses and passersby). Instead, aim to find a section of beach with sand dunes, tall grass, driftwood, or even distant trees.

These objects help frame the image and make it more interesting, without distracting from the subjects of the photograph. The same rules apply in a desert, lake, or city park scenario.

Midday shoots on a sunny day

The challenge with shooting at midday is the shadows. You don’t want your subjects to squint in full sun, and you don’t want shadows from tree branches or from other obstructions blocking portions of their faces. The key to shooting at sunny midday is to put your subjects fully in the shade.

woman hugging her child

When a client wants to schedule a midday session, I often lean toward urban areas with architectural interest. If your city or town has a historic neighborhood, seek out alleyways, parks, cobblestone streets, or even sidewalks that are shaded at midday, but that still present a beautiful surrounding for your subjects.

Cloudy day shoots

It’s a huge misconception that overcast days are bad for family portraits. Clients may be discouraged by the threat of rain, but encourage them with the news that cloud coverage actually makes for beautiful outdoor shots – there’s no squinting, plus there’s nice, even light.

That said, if there’s no drama in the sky (i.e., no dark clouds swirling on the horizon), an overcast day may be less exciting when shooting in broad vistas and open spaces.

Instead, turn to your surrounding objects (trees, historic buildings, etc.) to provide the intrigue in the photograph. Or add a pop of color with balloons and other props.

family portrait with balloons

On an overcast day, a local mural can actually make for a perfect backdrop – just make sure your subjects wear muted tones (black, white, gray, or beige) rather than colorful attire that might clash with the art.

family portrait locations kids on graffitied steps

Final tips and tricks for finding family portrait locations

Start by putting together your list of portrait locations. And make sure that where you decide to shoot won’t be crowded at the time you’re there; the last thing you want is a bunch of strangers in your backgrounds.

Finally, be flexible. Not every shoot will be perfect, but it’s your job as the photographer to ensure that your clients have an enjoyable experience. Have confidence in your skills, and work around obstacles as they arise. If you are engaged and the subjects are happy, it’s possible to create gorgeous family portraits that your clients can share on cards, calendars, and gifts throughout the year.

Now over to you:

How do you choose family portrait locations? Do you have a favorite type of location? Share your thoughts in the comments below!

The post How to Find Good Locations for Family Portraits appeared first on Digital Photography School. It was authored by Hunter McRae.


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Weekly Photo Challenge – Old

20 Feb

The post Weekly Photo Challenge – Old appeared first on Digital Photography School. It was authored by Sime.

The theme this week was going to be ‘Cold’ but then I thought of all the people in snow&ice I’ve seen online this week and thought no, they’re likely quite done with ‘cold’ and then I realised I’d missed the C and thought I’d stick with ‘Old’ An old scene, an old object like some of my tools, below, or an old person’s portrait even? (And if any of you young people find and post a photo of me, there’s gonna be trouble haha!)

This Week Your Challenge Theme is #dPSOld

Weekly Photo Challenge – Old

With the theme #dPSOld some things you can think about when you’re taking your photos are:

  1. Detail – showing details, lines, cracks, wear.
  2. Story – work at telling a story with your image.
  3. Nothing old? Consider working on your image in post and going for ‘vintage’ look? (Here are some examples)

Don’t forget, you can go back and try ALL of our CHALLENGES over HERE!

Old tools or old cars, they have to be two of my favourite ‘old’ things to photograph! What can you find in your neighbourhood or in your house that you can photograph for this week’s challenge!

Weekly Photo Challenge – Old
That time in Cuba – gtvone

You can upload your photo here (comments down below) or over in our Facebook Group.

Share them on Instagram or Twitter and use the hashtag #dPSMirror so we can see them!

Great! Where do I upload my photos?

Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.

Weekly Photography Challenge – Looking Up

The post Weekly Photo Challenge – Old appeared first on Digital Photography School. It was authored by Sime.


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The Pentax K-3 Mark III Will Not Launch Next Week

20 Feb

The post The Pentax K-3 Mark III Will Not Launch Next Week appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Pentax K-3 Mark III delay

The Pentax K-3 Mark III will not launch at next week’s CP+ imaging show as was initially promised, but will instead be delayed for the foreseeable future.

Back in October 2020, Pentax officially announced its long-awaited APS-C DSLR, the K-3 Mark III. The company released a camera spec list, and stated that “the launch target is around the period of the CP+ camera exhibition, which will be held from February 25 to 28 in 2021.”

But now, just days before the CP+ exhibition, Pentax released a statement acknowledging a hold-up; specifically, “some of the product parts are delayed, and [Pentax has] determined that development will require a greater amount of time for [the company] to achieve the exceptional performance and finest quality that is the hallmark of next [sic] APS-C flagship model.”

Pentax did not offer a new expected launch date, but promised to “inform [consumers] again in the near future.”

According to the original announcement, the K-3 Mark III will pack 26 MP of resolution, a sensor that can shoot up to an astonishing ISO 1,600,000, plus in-body image stabilization, 12 frames per second continuous shooting, dual card slots, and more.

Fans who have waited for the K-3 Mark III will no doubt be aggravated by this delay, especially because Pentax had originally teased a K-3 Mark III launch for the end of 2020. And the announcement comes at an unfortunate time; the mirrorless market seems to solidify further with every passing day, and the relative success of mirrorless threatens to leave Pentax, a DSLR-focused brand, in the dust. 

In other words:

Pentax needs a win, and this delay suggests they won’t get it.

So if you were anticipating the release of the K-3 Mark III, you’ll have to hunker down yet again. While the camera will likely debut eventually, there’s no telling when that day will come.

Now over to you:

What do you think of this Pentax delay? Are you interested in the K-3 Mark III? Do you think the camera will ever come out? Share your thoughts in the comments below!

The post The Pentax K-3 Mark III Will Not Launch Next Week appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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NASA’s ambitious Perseverance rover lands on Mars and sends back its first images

19 Feb
The first image sent back to Earth from Perseverance following its successful landing on Mars. You can see Perseverance’s shadow in the foreground. Image credit: NASA

On July 30, 2020, NASA launched its Mars Perseverance Rover on an Atlas V rocket from Cape Canaveral Air Force Station in Florida. Yesterday, February 18, 2021, Perseverance landed successfully on the red planet.

The 2,260-pound (1,025kg) rover touched down with precision at an ancient river delta site in Jezero Crater. Perseverance is exploring an area where a lake existed nearly 4 billion years ago. The Perseverance mission has numerous objectives, including exploring its geologically diverse landing site, assessing ancient habitability, seeking signs of ancient life, gathering rock and soil samples, and demonstrating technology for future exploration by robots and humans alike.

Map showing Perseverance’s landing site at the Jezero Crater on Mars. Image credit: NASA

In the video below, you can see mission control react when Perseverance landed on Mars. Mission control was recorded using an Insta360 Pro 2 camera. When using a compatible browser, you can rotate the camera around mission control. The moment of elation is around the 1:46:00 mark. It’s an emotional moment for the team, and it’s cool to see it captured in 360 degrees.

Perseverance will spend at least one Martian year (about two Earth years) exploring the landing site region. Onboard are seven instruments, including the MastCam-Z, SuperCam, Planetary Instrument for X-ray Lithochemistry (PIXL), and Scanning Habitable Environments with Raman and Luminescence for Organics and Chemicals (SHERLOC). The Mastcam-Z is an advanced camera system with panoramic and stereoscopic imaging capabilities. The camera, which can zoom, will analyze the minerals of the Martian surface. SuperCam is provides imaging, chemical composition analysis, and mineralogy at a distance.

Engineers working on Perseverance. Image credit: NASA

PIXL is an X-ray fluorescence spectrometer and high-resolution imager. PIXL will map the elemental composition of surface materials. SHERLOC provides fine-scale imaging and uses an ultraviolet laser to map mineralogy and organic compounds. SHERLOC is the first UV Raman spectrometer to land on Mars. SHERLOC also includes a high-res color camera for microscopic imaging of Mars’ surface.

Mission control. Image credit: NASA

It’s difficult to overstate what an accomplishment it is to land not only NASA’s most ambitious Mars rover yet, but also to do so during a pandemic. As Chelsea Gohd writes for Space.com, ‘This mission didn’t just propel technology and science forward, it demonstrated the incredible Perseverance of the human spirit. Despite everything, the teams at NASA were able to accomplish this incredible feat, which, even in ‘normal times,’ would have been difficult.’ Matt Wallace of NASA’s Jet Propulsion Laboratory (JPL) shared a similar sentiment following Perseverance’s successful landing, ‘It’s been a tough year. It’s been tough to do this mission in this environment. But the team, like they have with every other challenge, has stepped up to it…’

An illustration of the Perseverance rover. Image credit: NASA

If NASA had been forced to delay the launch from last July, the launch window would have been pushed back 26 months due to planetary alignment. Perseverance is a $ 2.7B mission, so a more than two-year delay is a tough pill to swallow. Instead, NASA was swift to enact COVID protocols, which came with unique challenges and ultimately allowed the mission to continue as scheduled.

This is the first image Perseverance sent back to Earth following its successful landing on Mars. Image credit: NASA

Back to yesterday’s historic landing. Perseverance, or ‘Percy’ as some at mission control call the rover, landed at 3:55 p.m. ET. The landing went smoothly, and Percy wasted no time sending its first image back to Earth. Perseverance then sent a second image, showing the view from the rear of the spacecraft. Both images were captured using onboard ‘hazard cameras,’ and the protective covers were still in place. Future images will be more detailed and impressive, but these are nonetheless important photos. The images will be used to help the team very precisely locate Perseverance’s landing site on the Martian surface.

The second image shows the view from the rear of Perseverance. Image credit: NASA

For Perseverance, the next few days on Mars will be spent exploring the area. Its handlers will come to grips with the area and stabilize the rover’s onboard systems, including communications systems that will allow specialized software to be uploaded from Earth.

A 3D-printed model of MastCam-Z. Image credit: NASA

Per Space.com, ‘Perservance’s head-like, instrument-laden mast will also be deployed in these first few sols, allowing capture of great new imagery. For example, the rover’s MastCam-Z camera system is scheduled to take its first color panorama on sol 3.’ Mars 2020 deputy project manager Jennifer Trosper says that NASA will do about four days transitioning to new software before digging its teeth into planned scientific endeavors. It’s taken a considerable amount of time, money, and work to get to this point so that the team won’t rush anything.

As you can see in this diagram, Perseverance includes a lot of onboard instruments and equipment. Among other objectives, the rover will use its instruments to analyze and gather information on the chemical and mineral composition of the Martian surface. Image credit: NASA

Perseverance includes an onboard helicopter, Ingenuity. The four-pound helicopter will drop from the rover soon and, if all goes well, become the blueprint for future extraterrestrial exploration.

An illustration of NASA’s new Mars helicopter, Ingenuity. Its maiden flight will mark the first powered flight on another world. Image credit: NASA

If you want to take part in the celebration of Perseverance’s successful landing, NASA has set up a Mars Photo Booth. You can upload a selfie and place yourself on Mars, in mission control, or in front of a handful of other backgrounds.

There’s a lot to look forward to over the next Martian year (and hopefully longer). Perseverance includes 23 cameras, so we should be treated to some amazing imagery throughout 2021 and beyond.

Articles: Digital Photography Review (dpreview.com)

 
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Leica introduces APO-Summicron-SL 28mm F2 L-mount lens

18 Feb

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Leica has introduced the APO-Summicron-SL 28mm F2 ASPH lens for full-frame L-mount bodies. It features 13 elements, 6 of which are aspherical; several of the elements are of the anomalous partial dispersion type to reduce chromatic aberration.

The lens can focus as close as 24cm (9.5″) and the maximum magnification is 0.2X. The focus group is driven by a stepping motor that Leica calls ‘Dual Syncro Drive’. The 28mm F2 has a newly designed manual focus ring that uses magnetic fields to improve responsiveness and precision.

The 28mm F2 is weather-sealed and weighs in at 700g (1.5lbs) without its hood. It accepts 67mm filters.

The APO-Summicron-SL 28mm F2 ASPH is now available for $ 5195.

Press release:

Leica Launches the APO-Summicron-SL 28 f/2 ASPH.:

Exemplifying A Commitment to Developing High-Performing Innovative Technologies in the World of Camera Optics

February 18, 2021. With the APO-Summicron-SL 28 f/2 ASPH., Leica Camera presents yet another high-performance wide-angle lens for the Leica SL-System. The APO-Summicron-SL 28 f/2 ASPH. is the latest addition to the ever-expanding APO-Summicron-SL series that includes a lens range renowned for its top-level optical performance and extremely fast and reliable autofocus.

Following the existing focal lengths of 35, 50, 75 and 90 mm, the APO-Summicron-SL 28 f/2 ASPH. is the first true wide-angle prime lens in this series, making the APO-Summicron-SL 28 f/2 ASPH. especially suitable for reportage, interior and architectural photography. Its maximum aperture can be used without any loss of image quality and offers additional creative possibilities through the exquisite balance of sharp subjects and lovely soft background blur. Thanks to the L-Mount standard, the APO-Summicron-SL 28 f/2 ASPH. is equally compatible with cameras made by other partners of the L-Mount Alliance that have been equipped with the Leica-developed lens mount.

As is universally appreciated with all Leica lenses, the fastest aperture delivers maximum performance. As a result, reducing the aperture is only necessary for compositional and creative purposes. Leica lenses always deliver an exceptional quality of natural skin tones, soft transitions into creamy bokeh, contrast-rich details and edge-to-edge sharpness across a distortion-free image. Yet the APO-Summicron-SL 28 f/2 ASPH. is further distinguished by its apochromatic correction, which is a notable feature in a lens of this focal length, and its six aspherical lens surfaces. To ensure the optimal correction of chromatic aberrations, the majority of the grouped lens elements feature anomalous partial dispersion and are made of high-quality specialized glass. The end result is a wide-angle lens that delivers impeccable images complete with the “Leica Look” to help realize a creative vision in any avenue of photography.

The autofocus drive of all APO-Summicron-SL lenses utilizes extremely robust and high-performance stepping motors with DSD® (Dual Syncro Drive™). This enables the AF to travel the entire focusing range in around 250 milliseconds. Leica Camera also takes an innovative approach to manual focusing technology, including an entirely new manual focus ring construction in the form of an embedded ring magnet with alternating north-south polarization. When the ring is turned, the magnetic field changes its polarity. A sensor monitors the status of the magnetic field and sends the data to the main processor. The drive then shifts the lens to the corresponding focusing position based on the angle of rotation and the rotational speed, delivering even faster and more precise manual focusing to match the lens’s quick and accurate autofocus.

Both the construction and design of the cutting-edge APO-Summicron-SL series represent the next step forward in the development of lenses for the Leica SL-System. New, extremely precise manufacturing methods and measuring technologies have been developed specifically for the production of these lenses, resulting in more compact dimensions as well as truly outstanding imaging performance. In the construction of the APO-Summicron-SL lenses, particular attention has been paid to the prevention of stray light and reflections by applying a high-quality coating to the lens surfaces. Thanks to their effective sealing against dust, moisture, and water spray, as well as the Aquadura coating of the exposed lens surfaces, these extremely durable lenses can be used in nearly any weather condition without any cause for concern. The ever-expanding portfolio of Leica SL lenses are built to withstand the elements and the test of time, matching its futureproof counterparts in the SL2 and SL2-S with their rugged construction and continuing firmware development ensuring a long service life.

The APO-Summicron-SL 28 f/2 ASPH. is available now at Leica Stores, Boutiques and Dealers for $ 5,195.00.

About Leica Camera

Leica represents a union of craftsmanship, design and experience. It is a beautiful collision of art and engineering, and the future of form and functionality. Leica Camera, headquartered in Wetzlar, Germany, is an internationally operating, premium-segment manufacturer of cameras and sport optics products. The legendary status of the Leica brand is founded on a long tradition of excellence in the supreme quality and performance of cameras and lenses, and the iconic images that artists and photojournalists everywhere captured with them. For more information about Leica visit www.leicacamerausa.com, or follow the brand on Facebook, Instagram and Twitter.

Leica APO-Summicron-SL 28mm F2 ASPH specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 28 mm
Image stabilization No
Lens mount L-Mount
Aperture
Maximum aperture F2
Minimum aperture F22
Aperture ring No
Optics
Elements 13
Groups 10
Special elements / coatings 6 aspherical elements
Focus
Minimum focus 0.24 m (9.45)
Maximum magnification 0.2×
Autofocus Yes
Motor type Stepper motor
Full time manual No
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter No
Physical
Weight 700 g (1.54 lb)
Diameter 73 mm (2.87)
Length 102 mm (4.02)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 67 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Black and White Still Life Photography: How to Do It (And Why It Matters)

18 Feb

The post Black and White Still Life Photography: How to Do It (And Why It Matters) appeared first on Digital Photography School. It was authored by Rick Ohnsman.

black and white still life photography: how to do it and why it matters

In the quest to improve your photography, sometimes the best approach is to slow down, concentrate on the basics, and be purposeful and deliberate. Working in black and white will do that. Making still life images will do that.

Combine the two, and you get black and white still life photography – which is an excellent way to make some great images and become a better photographer while you’re at it.

black and white still life of an hourglass
One of my most successful images of all time is this very minimalistic monochrome composition. It taps into the power of black and white and still life.

The power of monochrome

I will often use the terms monochrome and black and white interchangeably, but there is a subtle difference.

Black and white photos are just that: images with tones from white through black and all shades of gray, but with no color information whatsoever.

A monochrome image, on the other hand, might have a color tint. For instance, you can create a warm, sepia-toned shot or a cool, cyanotype photo. A single color – with various shades – would be present in the image.

black and white boot in sepia
A sepia-toned image is monochrome, but not black and white in the purest sense.

But note that this article applies to both black and white photography and monochrome photography equally.

Why black and white?

Early photographers had no choice because they couldn’t shoot in color. Monochrome images were all they could make.

Of course, this ultimately was not a serious limitation; many of the most iconic photographs ever taken are black and white. Surely even non-photographers have seen what might be one of the most famous black and white still life photos of all time, “Pepper No. 30” by Edward Weston. And I can confidently say that Weston’s photo would not be better if it had been made in color.

Today, the default choice of most photographers is color. Because our world is in color – as are most of the photos we encounter – “seeing” in black and white is a skill you must develop.

You must learn to look at a subject with an eye toward the basics – the “bones” of an image, if you will. Shape, form, tone, and texture are those bones, and the best black and white images play to those strengths, where color is unnecessary and even a distraction.

black and white still life photography of a road
Is this the yellow brick road? Perhaps, but the strength of the shot is “good bones” in all the areas monochrome excels: shape, form, tone, and texture. It also utilizes some good compositional elements. Color is not needed.

Learning to see in black and white will, of course, make you a better black and white photographer. But if you can see in black and white while recognizing and taking advantage of the structural elements of a subject, you’ll become a better color photographer, as well.

Color then becomes an enhancement to an already-good image – one with a solid “bone structure” of shape, form, tone, and texture.

Why still life?

My two favorite genres of photography are probably still life and landscape.

Why?

It could be because they are so opposite. In landscape photography, you can rarely move the subjects in your scene, you compose by where you stand, and you don’t have much control over the light. Often, you must wait for the light to be just right, and you must be ready if and when such a moment happens.

shells in black and white
The elements, the layout, the composition, the lighting, the camera position; you’re in control of everything when you make a still life photo.

Still life photography makes you the master. You set the scene, deciding what to add in and take out. You arrange the objects for the best composition, you choose the camera position, the lighting, and any additional components comprising your shot.

Then, when you’re satisfied and ready, you take the photo.

In a word, still life photography give you complete control.

forks and shadows
Where can you find subjects for black and white still life photography? Where can’t you?! How about the silverware drawer? Here are some creative still lifes with a few forks.
onion still life
You might also find good still life subjects in the vegetable bin….
still life of root vegetables
…or get back to the “roots of photography” with a subject like this.
wood abstract
When considering subjects for black and white still life photography, remember what gives an image “good bones:”
abstract still life
Shape, form…
droplets in black and white
…tone…
leaf close-up
…and texture.

Then add another distinct advantage. Consider this definition:

“A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which are either natural (food, flowers, dead animals, plants, rocks, shells, etc.) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, etc.).”

A real advantage of still life photography is that your subjects are still. They don’t move.

So in still life photography, it won’t matter if your shutter speed is 1/30s or 30 seconds. Being able to have such flexibility over your choice of aperture, shutter speed, and ISO is huge, and it opens up all kinds of possibilities that other genres of photography don’t offer.

Light painting is one of those unique possibilities. Since you don’t have to deal with a moving subject, you’re free to “paint” a subject with light during an extended exposure.

And this makes for some dramatic still life shots:

tabletop still life with grapes and glasses in black and white
A still life subject that doesn’t move lends itself well to light painting. If you need a 15-second exposure and still want to stick with ISO 100, it’s no problem.

Lighting

Lighting for black and white still life photography comes back to the advantage we already identified:

Control.

The lighting instruments you choose, the modifiers you use, the number of lights and their placement – it’s all within your control.

Let’s break this down a bit more:

  • White balance – Since you’re processing in black and white, you can ignore the color temperature of your lighting instruments. And this frees you up to use all kinds of light sources, from flashlights, LEDs, and daylight to candlelight, fluorescent lights, and incandescent lights. Yes, as you convert an image into black and white, the color tones will respond differently. But you can handle adjusting your black and white tones if your white balance is initially off. I’ve often “rescued” impossibly bad color images simply by converting to black and white.
  • Placement – We spoke about the “bones” of shape, form, tone, and texture, which exist in all photos but are more readily apparent in black and white. In black and white still life photography, you get the opportunity to accentuate these “bones” with your careful consideration of lighting placement and control. Want to emphasize texture? Rake a hard light across the subject from the back or side at a low angle. Do you want a soft look? Try a broad light source, like a softbox, that illuminates the subject from the front. You can light your subject to create the look and mood you’re after. As the saying goes, “No rules, just right.”
football with light and shadow
Want to create some dramatic texture? Use a single hard light source – in this case, a simple flashlight – and rake it across your subject’s surface from the side.
ping pong paddle in black and white
Or you could have the low, late afternoon sun backlight your subject, again to emphasize texture.

A camera trick to help your visualization

In order to make this trick work, you must shoot in RAW.

(Also, I highly recommend you shoot in RAW all the time. Here’s why this is important.)

Now, when shooting in a RAW format, your camera will always capture a color image (and that is what you want).

The playback image you see on the rear LCD, however, will not be the RAW file. Instead, it’ll be a JPEG representation of the image.

So if you want to get better at seeing in black and white, why not switch the JPEG to black and white while keeping the RAW image in color? That way, after taking an image, you can immediately see it in monochrome – but you’ll still keep all the color details for post-processing later.

Bruce Wunderlich, a fellow dPS writer, describes how to set up your camera to do this. He promotes it as a way to better compose color photos, and it is good for that – but if monochrome is where you’re headed, it’s even more beneficial.

So read Bruce’s piece, set up your camera accordingly, and you will have a real aid in making black and white photos.

pattern of circles
A still life doesn’t have to be a tabletop object, nor must it be shot under artificial light. This agricultural implement was shot outdoors in bright sunlight. The story of the shot is the repeating patterns. The yellow and red colors of the machine would only have distracted the viewer. Having my LCD set to preview the image in black and white helped me visualize the shot!

Editing for black and white

After a session of black and white still life photography, you’ll bring the images into post-processing as RAW color images.

Color?

Yes. Even if you’ve set up your camera using the recommendation above – where the LCD displays your images in black and white – your actual RAW images are still in color.

That’s a good thing. It’s during editing that you will convert your photos to black and white.

This will allow you to determine how various colors will be converted to monochrome. For instance, back in the black and white film days, you could darken the sky by shooting with a red filter. Because the red filter would block most of the blue light, the sky was rendered very dark on the black and white film.

Today we can create those effects during editing. When converting from color to monochrome, you can adjust the luminance of specific colors (e.g., you can darken the reds, the blues, and the yellows), thus affecting the overall look of the image.

Lightroom offers a nice black and white conversion tool, and there are a number of good articles on black and white conversion in Lightroom, such as this one by Andrew Gibson. You may also wish to try other methods of black and white conversion. A popular option is the Nik Silver Efex Pro plug-in from DxO, but there are dozens of other programs and methods for converting from color to black and white.

Without the limitations of having to make the color in a photo “look right,” you are free to creatively take the tonality in your black and white images wherever your creativity leads you.

apples converted to black and white
The original image at left; a black and white conversion with boosted green luminance in the center; a black and white conversion with decreased green luminance on the right.

Age your photo

Here’s another fun black and white still life photography trick:

Replicate a vintage black and white look!

First, make sure you find the right subject. I recommend working with old collectible objects. Then capture the shot and enhance it afterward with effects such as sepia toning.

It can be a fun and instructional exercise to gather some objects, set up a pleasing composition, light it, photograph it, and create a monochrome file complete with sepia toning.

period still life
Collect some items to create a theme, make your still life black and white image, then edit it to produce a “period look.”
bottles with faded edit
Take your “aged” still life even further with some special effects!
black and white still life photography light and old book
Gather some objects, decide how you want to set your scene, light it, take your shot, then go for an antique look with a sepia tone.
Canon 50D | Canon 50mm f/1.8 | 1/15s | f/22 | ISO 800

Black and white still life photography: Now go do it!

You can and should read up on the concepts and techniques of photography, but there’s only so far “book learning” will take you.

Black and white still life photography will slow you down, make you think, concentrate your efforts, and force you to really study things.

You just have to dive in and do it!

So gather some subjects, decide how to arrange and light them, determine where you want to place your camera, what focal length you will use, how you will expose the image – all of those things.

Think about what you’re doing, what you’re trying to communicate, and why you’re making the photo.

Take your shot, evaluate it, consider what might make it better, and shoot it again.

Then repeat! There’s no hurry. You’re making photographs, not taking snapshots. You are the master when you practice black and white still life photography.

And that, as they say, is the beauty of it. Go make some great shots!

As always, leave your comments, questions, and photos in the comments section below. Best wishes!

water droplets on a plant
This was shot outdoors after the early morning dew beaded up on this lupine leaf. I put a piece of black cardboard behind the leaf, then did some further clean-up in the edit.

The post Black and White Still Life Photography: How to Do It (And Why It Matters) appeared first on Digital Photography School. It was authored by Rick Ohnsman.


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Nikon develops 1″-type square CMOS sensor that can capture HDR video at 1,000 fps

17 Feb

Nikon Japan has announced (machine-translated) it’s developed a 17.84-megapixel 1”-type multi-layer CMOS image sensor that can capture high dynamic range video at up to 1,000 frames per second.

Nikon is known to use Sony sensors in a number of its imaging products, but it also develops its own sensor technology. Case in point is this new 1”-type backside-illuminated (BSI) CMOS sensor, which offers high-speed capture with impressive dynamic range in a square capture format.

The stacked sensor uses 17.84 million 2.7?m pixels (4224×4224 pixels) to capture video at up to 1,000 frames per second with 110dB dynamic range. If dropped to 60fps, the dynamic range jumps to 134dB.

Nikon doesn’t specify what kind of products this sensor is destined for, but based on its square format and hint at its use in ‘industrial fields such as automobiles,’ it’s unlikely we’ll see this in a consumer camera anytime soon.

Articles: Digital Photography Review (dpreview.com)

 
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