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Posts Tagged ‘Capture’

Video: ‘One Shot’ shows what it takes to capture an iconic image at the Olympic games

25 Nov

A thread on Reddit has brought a neat photography documentary from 2017 to our attention. ‘One Shot: Photographing the Olympic Games’ is a behind the scenes look at how photographers capture the iconic images of the Olympics, including a special focus on photographers setting up to capture the 100m men’s final in Rio de Janeiro during the 2016 summer games.

Featured photographers include multi-awarded photographers such as Lucy Nicholson, Dave Burnett, Bob Martin, Tim de Waele, and Tsuyoshi Matsumoto. Nicholson had a very specific image in mind for the 100m men’s final in Rio. As she sets up her gear, nine hours ahead of the starting gun kicking off what is one of the most exciting 10 seconds in sports, Nicholson talks about how she wants a tight shot of the winner with other sprinters on either side of the winner. ‘You only get one chance to take the key shot,’ Nicholson says.

A chart showing Sports Illustrated’s plans for photographing the 100m men’s final in Rio. Click to enlarge.

The documentary, seen below, was awarded the Candido Cannavo Award at the World Final of the Milan Sport Film Festival in 2018. About 150 iconic images from nearly 100 different photographers over the last 50 years of Olympic games are featured. An iconic image tells a story for years to come. Long after the medals have been awarded to the victors, and even long after the photographer has passed, the images and the stories they tell remain. Presenter Jonathan Edwards, Olympic gold medalist triple jumper, says it well, ‘A story that’s taken a lifetime to create, told in one shot. One freeze frame.’

Years of planning are required to create iconic images, and in under a minute, an iconic photo can be sent halfway around the globe. The technology on display in 2016 during the summer games was incredible. Reuters was able to get the first photo of Usain Bolt winning the 100m men’s final out to its customers in 58 seconds. It’s safe to assume that the technology will have advanced even further when photographers head to Tokyo in 2021. And while the equipment and tools photographers use continue to evolve, photography’s importance when telling a story remains unchanged.

‘One Shot’ was directed and written by Peter Davies and presented by Jonathan Edwards. As pointed out by PetaPixel, the documentary can also be viewed on the Olympic Channel. It’s hosted on YouTube by Anthony Edgar, the Head of Media Operations for the International Olympic Committee. Edgar also appears in the video. His channel, linked above, includes a lot of interesting Olympics-related video content.

Articles: Digital Photography Review (dpreview.com)

 
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Apple’s new ProRAW image format will capture 12-bit Raw DNG files

14 Nov

Apple has released the iOS 14.3 developer beta which, amongst other improvements, includes the new ProRAW photo feature Apple showed off at its virtual iPhone event last month.

Until now, not much was known about the ProRAW workflow and what type of file the latest iPhone 12 Pro devices would output. We now know, thanks to the iOS 14.3 developer beta, that a ProRaw file will be a 12-bit Raw image captured as a linear digital negative (Linear DNG) file. The file will offer up to 14 stops of dynamic range, according to a report from PetaPixel, and offers the usual post-production adjustments we’ve come to expect from Raw files: white balance adjustment, better exposure refinement and more.

Turning on ProRAW in iOS on the new iPhone 12 Pro devices is done by toggling it on in the Settings app. As with HDR and Live Photos, images captured as a ProRAW file will have a ‘RAW’ badge displayed alongside it to distinguish it from other images. It’s worth noting though that the image shown in the Photos app is simply a JPEG conversion of the Raw photo, akin to how Raw photos you view on your camera’s displays is actually a JPEG preview. You will only see the Raw image when it’s imported into a compatible post-production app for editing.

Speaking of editing, the DNG file should be compatible with any app that accepts DNG files, but it might take some time for all apps to integrate specific profiles for getting the most from the ProRAW format. The DNG files stored to the iOS Camera Roll can either be edited directly on your mobile device and exported as a JPEG from there or be saved and exported to your computer for editing in apps like Lightroom, Affinity Photo, Capture One and others.

Co-founder and designer for pro camera app Halide, Sebastiaan de With, points out that ProRAW works on the wide, telephoto and ultrawide camera modules and is also compatible with Night Mode shots (no luck with Portrait mode shots or Live Photos). He’s also discovered ProRAW images come in at roughly 24–28MB, which is quite large considering that’s the size of most DSLR and mirrorless Raw files.

No API is available at this time for ProRAW capture, so even if it does become available in the future, it might take some time to see ProRAW capture enabled in third-party apps.

Apple’s new ProRAW format is limited to its new iPhone 12 Pro and iPhone 12 Pro Max devices, so unless you’re planning on upgrading to the new flagship iOS devices, you won’t be seeing this new capture mode. For those of you who already have a compatible iPhone, there’s no information on when iOS 14.3 will be publicly available, so you’ll still need a little more patience.

Articles: Digital Photography Review (dpreview.com)

 
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Atomos launches Connect, a $79 capture card

29 Sep

Atomos has launched a HDMI-to-USB video capture card that allows any HDMI camera or recorder to be used to live stream or record to a PC or Mac. Connect is a tiny device that plugs directly into a USB port and accepts HDMI input to provide a video feed of up to 1080p at 60fps in up to 12-bit color.

The device can accept 4K at 30p, and needs no additional drivers, software or power supply to work. And best of all, it costs $ 79. Unlike most capture cards, the Connect doesn’t use a USB out cable, so the full weight of the HDMI cable will be borne by the USB port on your computer, making this perhaps a solution when a short cable is in use or when the cable can be supported.

Atomos is promoting Connect to use with its range of video recorders, but it can also work directly with any camera, or device, that can output via HDMI. The company points out though that when used with the Shogun7 users can switch between up to four simultaneously streaming cameras using the Shogun’s multiple-camera recording capabilities.

The Atomos Connect is available now. For more information see the Atomos website.

Press release:

Atomos launch Connect: Professional HDMI to USB conversion for streaming.

Melbourne, Australia – 28th September 2020 – Atomos is today excited to launch Connect, a convenient, reliable, and affordable bridge between professional 4K video capture and high frame rate UVC streaming over USB (up to 1080p60). Connect works with any HDMI device including the entire Atomos range. Simple to use, it has universal support from popular streaming platforms and at only $ 79USD is an affordable way for gamers, vloggers and education facilities to up their streaming game using the professional Atomos monitor-recorder ecosystem.

Convert, Connect, Stream
Connect bridges the Atomos world of professional recording and monitoring with popular streaming platforms such as YouTube, Twitch and OBS. Use your Atomos device for professional shot setup and recording and use Connect to simply convert the HDMI output to USB on the go for streaming on your Mac or PC. Connect accepts up to 4Kp30 video and is capable of up to 1080p60 output over USB – incredible streaming quality for the US$ 79 price point.

Plug and go like a pro
With a slim 0.5-inch profile, Connect is sleek enough to sit directly off your laptop or computer. No drivers are required and no power supply either, meaning it really is a simple matter of connecting your Atomos or HDMI device to your Mac or PC to start producing like a pro.

Shogun7 Connect – tame multicamera streaming
The Atomos Shogun7 allows you to monitor and record up to four 1080p60 streams simultaneously and then cue and switch in real-time with a simple touch of the screen. Additionally, the Shogun7 is able to accept asynchronous feeds (sources don’t need to be locked), allowing the user to use more affordable cameras for multi camera production. Adding in Connect, lets you output the switched feed for live streaming on your Mac or PC. This makes the Shogun7 Connect package one of the easiest and most affordable options for professional switching.

Transforms your Camera to a Pro Webcam
Even without an Atomos monitor-recorder, Connect transforms your HDMI camera to a powerful professional webcam. No drivers required, plug in Connect and go live instantly.

The Atomos Connect is available immediately for $ 79/€79 from the global authorised Atomos dealer network.

Articles: Digital Photography Review (dpreview.com)

 
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Researchers capture 3,200MP image using future telescope camera

10 Sep

Researchers at the Department of Energy’s SLAC National Accelerator Laboratory have captured 3,200MP images, the largest photos ever captured in a single shot. The camera, an array that contains 189 individual image sensors, will become the future camera of the Legacy Survey of Space and Time (LSST) telescope at the Vera C. Rubin Observatory in Chile. The camera will be used to help shed light on some of the most intriguing mysteries of the universe, including dark matter and dark energy.

The 189 image sensors are charge-coupled devices (CCD) and each capture a 16MP image. To build the image sensor array, nine CCDs and supporting electronics were assembled into square units, called science rafts, by the Department of Energy’s Brookhaven National Laboratory and then shipped to SLAC. Then the team at SLAC inserted 21 of these square units into a grid to hold them in place.

The completion of the image sensor array and focal plane earlier this year took six months and proved to be a difficult task. In order to maximize the imaging area of the array, the gaps between individual image sensors are less than five human hairs wide. If the sensors touch each other during the process, they could easily break. Damaging a sensor or raft would be costly, as the rafts cost up to $ 3M USD a piece. SLAC mechanical engineer Hannah Pollek said of the assembly process, ‘The combination of high stakes and tight tolerances made this project very challenging. But with a versatile team we pretty much nailed it.’

The focal plane features impressive specifications beyond even the 3.2 billion total pixels. The pixels themselves are about 10 microns wide and the focal plane itself has been constructed to exacting standards. The focal plane is nearly perfectly flat, varying by ‘no more than a tenth of the width of a human hair’ across its more than two feet of width. The optics through which light will reach the image sensor array is designed to allow the sensors to identify objects 100 million times dimmer than what the human eye can see. This is equivalent to being able to see a lit candle from thousands of miles away.

The images produced by the 3,200MP camera are so large that you would need nearly 400 4K UHD televisions to display a single image at its full size. The resolving power of the camera would allow you to spot a golf ball from about 15 miles away.

As mentioned, the camera will be installed at the Vera C. Rubin Observatory in Chile. Once it has been installed, it will capture panoramic images of the southern sky every few nights for 10 years.

‘The complete focal plane of the future LSST Camera is more than 2 feet wide and contains 189 individual sensors that will produce 3,200-megapixel images. Crews at SLAC have now taken the first images with it. Explore them in full resolution using the links at the bottom of the press release. (Jacqueline Orrell/SLAC National Accelerator Laboratory)’ Image and caption credit: SLAC

Steven Ritz, project scientists for the LSST Camera at the University of California, Santa Cruz, said, ‘These specifications are just astounding. These unique features will enable the Rubin Observatory’s ambitious science program.’ Over the course of a decade, the camera will capture images of about 20 billion galaxies. Ritz continues, ‘These data will improve our knowledge of how galaxies have evolved over time and will let us test our models of dark matter and dark energy more deeply and precisely than ever.’

Before the focal plane can be used within the Rubin Observatory’s program, it needs to be rigorously tested. This includes capture images of a variety of objects, including a head of Romanesco broccoli. In order to operate normally, the sensors must be cooled to negative 150° Fahrenheit. Without a fully assembled camera, the team at SLAC used a 150-micron pinhole to project images onto the focal plane.

‘Taking the first 3,200-megapixel images was an important first test for the focal plane. To do so without a fully assembled camera, the SLAC team used a 150-micron pinhole to project images onto the focal plane. Left: Schematic of a pinhole projector that projects images of a Romanesco’s detailed texture onto the focal plane. Right: SLAC’s Yousuke Utsumi and Aaron Roodman remove the pinhole projector from the cryostat assembly after projecting the first images onto the focal plane. (Greg Stewart/Jacqueline Orrell/SLAC National Accelerator Laboratory)’ Image and caption credit: SLAC

SLAC’s Aaron Roodman is the scientist responsible for building and testing the LSST Camera. Of the successful test images, he says, ‘Taking these images is a major accomplishment. With the tight specifications, we really pushed the limits of what’s possible to take advantage of every square millimeter of the focal plane and maximize the science we can do with it.’

Despite the successful tests, there is much more work to do. Over the next few months, the team will insert the cryostat used to reduce the temperature of the image sensors along with the focal plane into the camera body and add lenses, including the world’s largest optical lens. The team will then affix a shutter and a filter exchange system so that the camera can be used to capture the night sky in different colors. The team anticipates the SUV-sized camera to be ready for final testing in mid-2021 before it begins its final journey to Chile.

‘Over the next few months, the LSST Camera team will integrate the remaining camera components, including the lenses, a shutter and a filter exchange system. By mid-2021, the SUV-sized camera will be ready for final testing. (Chris Smith/SLAC National Accelerator Laboratory)’ Image and caption credit: SLAC

JoAnne Hewett, chief research officer at SLAC and associate lab director for fundamental physics, says, ‘Nearing completion of the camera is very exciting…It’s a milestone that brings us a big step closer to exploring fundamental questions about the universe in ways we haven’t been able to before.’

As one would expect, we are unable to display 3,200MP images here on the site. However, SLAC has five full-size images taken with the focal plane of the LSST camera which you can view at the links below:

• Head of Romanesco broccoli

• Photo of the Flammarion engraving

• Photo of Vera Rubin, courtesy of the Carnegie Institution for Science, where Vera Rubin spent her career as a scientist

• Collage of LSST Camera team photos

• Collage of logos of institutions involved in the LSST Camera project

Articles: Digital Photography Review (dpreview.com)

 
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The LomoGraflok 4×5 Instant Back lets you capture Instax Wide images with large format cameras

02 Sep

Lomography is back with the announcement of its latest, well, back. The LomoGraflok 4×5 Instant Back is the world’s first Instant Back for 4×5 cameras designed for Fujifilm Instax Wide film.

Developed in collaboration with large format photography professionals as a substitute for the peel-apart Polaroid film discontinued back in 2016, the LomoGraflok 4×5 Instant Back works with all Graflok-equipped 4×5 cameras and uses a light-tightened film ejection unit to push out the Instax Wide film shots after capture.

Below are a few sample photos, shared by Lomography:

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The device is constructed of plastic, is powered by four ‘AA’ batteries (LR6) and features an automated frame counter so you know how many shots are left. It measures in at 181mm (7.13”) tall, 120mm (4.72”) wide and 50mm (1.97”) deep, and weighs roughly 500g (1.1lbs).

Below is a guide on how to use the LomoGraflok 4×5 Instant Back:

The LomoGraflok is currently available to pre-order on the Lomography website for $ 134 (MSRP will be $ 149 once launched). The first units are expected to ship in April 2021.

Articles: Digital Photography Review (dpreview.com)

 
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Atomos Ninja V adds ProRes RAW capture to GFX 100, Sigma fp over HDMI

01 Sep

Atomos has released the latest firmware update for its popular Ninja V monitor/recorder that enables ProRes RAW capture over HDMI with the Fujifilm GFX 100 and Sigma fp camera systems.

Fujifilm GFX 100

On a GFX 100 running firmware version 2.01 or later, the Ninja V can now record 12-bit 4K ProRes RAW video at up to 30p over HDMI. This marks the first time users can capture Raw footage on the large format camera.

If you don’t need the Raw video, the Atomos firmware update also enables 10-bit 422 ProRes and DNx 4K UHD (3840 x 2160) capture up to 30p or 4K DCI (4096?×?2160) at up to 24p. Multiple monitoring modes have also been added for viewing and playing back Raw footage.

Sigma fp

Moving onto the Sigma fp, the Ninja V can now record 12-bit ProRes RAW at 4K DCI up to 24p or 4K UHD up to 30p over HDMI using the full width of the sensor. You can even capture 120p (119.88p) 12-bit ProRes Raw if you knock the resolution down to 1080.

10-bit ProRes 422 and DNx can also be recorded at 30p and 120p (119.88p) at 4K UHD and 1080 resolutions, respectively, if you don’t need Raw footage. Like the GFX 100, multiple monitoring modes have also been included for viewing and playing back Raw footage.

You can download the 10.53 firmware update from the Atomos Ninja V support page.

Press release:

AtomOS 10.53 — Sigma fp and FujiFilm GFX100 HDMI RAW

Important Note:

With the installation of this update if not previously activated users will be required to activate ProRes RAW, as a codec.

Following the Firmware update, when a RAW source is plugged in, or a user selects ProRes RAW Codec, a UI pop-up will ask for activation code to continue.

Visit Atomos website www.atomos.com/activation and follow the online instructions to generate a code.

SIGMA fp

• Video modes available for monitoring and recording in 12 Bit RAW: – 4096x2160p24

– 3840×2160 up to 30p

– 1920x1080p up to 119.88p

• Video modes available for monitoring and recording in 10 Bit ProRes 422 or DNx:

– 3840×2160 up to 30p

– 1920×1080 up to 119.88p

Monitoring of RAW input in:

– Native – Linear to VLog for use with 3D LUTs – can use any existing VLog LOOK LUTs
– Rec709 – to view RAW input in SDR up to 6.7 stops of dynamic range
– HLG – to view RAW in HLG with up 10.5 stops of dynamic range
– PQ – to view RAW in PQ/HDR10 with up to 10.5 stops of dynamic range, for scenes with extended spectral highlights.

• Playback of recorded video in ProRes RAW, ProRes, and DNX

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FujiFilm GFX100

• RAW modes available for monitoring and recording in 12 Bit RAW

– 3840×2160 up to 30p

• Video modes available for monitoring and recording in 10 Bit ProRes 422 or DNx:

– 4096×2160 up to 24p
– 3840×2160 up to 30p
– 1920×1080 up to 60p

• Monitoring of RAW input in:

– Native – Linear to Vlog for use with 3D LUTs – can use any existing Vlog V Gmaut LOOK LUTs.
– Rec709 – to view RAW input in SDR up to 6.7 stops of dynamic range.
– HLG – to view RAW in HLG with up 10.5 stops of dynamic range.
– PQ – to view RAW in PQ/HDR10 with up to 10.5 stops of dynamic range, for scenes with extended spectral highlights.

• Playback of recorded video in ProRes RAW, ProRes 422, and DNx.

Known limitations

SIGMA fp

• In some instances when using LUTs banding artifacts may be observed in some areas of the display on the Ninja V for

4KUHD video modes. (This behaviour is only limited to the display of the Ninja V and not the recordings).

• On occasion if the camera is. powered down whilst connect to the Ninja V and set to RAW mode, the Ninja V may enter a locked state.

– Switch between Record and Play back mode, Unplugging and re-plugging the HDMI, or Power cycling Switching will all resolve this issue.

• ISO metadata reported in Final Cut Pro X may occasionally be incorrect if using 1/3 EV ISO adjustments on the camera. – Incorrect for camera ISO setting 1000, 8000, 16000.

• Update in future firmware release for camera.
– White balance adjustment is not available in Final Cut Pro X.

FujiFilm GFX100

• Interaction with the EVF eye sensor may cause freeze frame or black frames in the recording. – Not using the EVF or tilting the LCD screen can resolve the issue.
– Removal of the EVF from the camera is advised to avoid issue.

• White balance metadata is not reported in Final Cut Pro X.
– Update in future firmware release for camera and Ninja.
– White balance adjustment is not available in Final Cut Pro X.

General

• RAW to HDR HDMI output – PQ / HDR10 output conversion may appear slightly incorrect.

Articles: Digital Photography Review (dpreview.com)

 
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Video: How to capture a 0.1MP portrait with a Game Boy Camera and 70-200mm lens

21 Aug

The Game Boy Camera was never meant to be a serious piece of photographic equipment, so what happens when you pair the Nintendo Game Boy peripheral with a serious piece of glass to take some portraits? Just ask Sam McKenzie, of YouTube channel 3D Printor, who took it upon himself to adapt a Tamron 70–200mm zoom lens to the 0.1MP Game Boy Camera.

Detailed in the above video, McKenzie 3D-printed an adapter he came across on Thingiverse and attached it to the front of the Game Boy Camera. With the adapter and lens in place, he went out for an ultra-low-resolution portrait shoot to see what the Frankenstein’d camera was capable of.

The modded Game Boy Camera mounted to a Manfrotto Pixi tripod next to a print of the 0.1MP portrait.

While capturing the image was simple enough, getting it off the Game Boy and turned into a canvas print was less intuitive. This process wasn’t featured in a video, but in an email sent to DPReview, McKenzie said:

‘The Super Game Boy for SNES allows you to play Game Boy games on your TV […] so I used an old VHS to DVD making software and USB capture card I had from the early days of DVD and thankfully it worked with the SNES.’

Once he had the image, he ordered a small canvas print and within the week it was at his front door.

The canvas print, in all its pixellated glory.

You can find more of McKenzie’s 3D printing projects on his YouTube channel.

Image credits: Photos by Sam McKenzie, used with permission.

Articles: Digital Photography Review (dpreview.com)

 
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Photographer turned his front door into a large format camera to capture portraits during the pandemic

15 Aug
The ongoing COVID-19 pandemic has made social distancing critically important. While creating distance is good for our physical health, it is difficult for photographers, especially portrait photographers. To overcome this challenge, Kyle Roper, the producer behind The Skyscraper Camera Project, transformed the front door of his home into a large-format analog camera. This has allowed him to safely capture portraits and launch a new photo series, Door Frames.
A look at the makeshift front door camera form inside Roper’s living room.

Given ample time at home and the desire to continue creating images while observing social distancing restrictions, Roper converted his front door into a camera obscura using magnetic dry erase board, gaffer’s tape, cardboard boxes, a dark cloth, c-stand, clamps and sandbags. For photo paper and film, Roper uses Ilford RC IV Multigrade Photo Paper, Ilford Direct Positive Paper and Ilford Ortho 80 Plus. His lens of choice is a Nikkor-W 300mm F5.6 lens in a Copal shutter.

An overview of all the elements of the front door camera.

Roper states that he was inspired by his friend, Brendan Barry, an artist and camera builder we’ve featured many times before. Roper was also inspirited by the work of Dorothea Lange and Francesca Woodman. The former is a particularly interesting inspiration given Lange’s famous documentary and photojournalism work for the Farm Security Administration during the Great Depression.

The conveniently-located window in Roper’s front door.

Of Door Frames, Roper says, ‘When you have nothing but an abundance of time, you take the time and slow things down. You find that these antiquated processes can reveal and create such beauty.’ Below is a collection of portraits Roper captured with his front door camera:

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In order to communicate with his subjects outside, Roper speaks to them from inside his home using a speakerphone. Roper then affixes his photographic paper on the image box using the magnetic dry erase board and captures an image with his Nikkor lens wide open because his photo paper is ISO 3 or 6. Once an image is captured, Roper develops it in his bathroom, which he has converted into a darkroom.

Prints in the process of being made in Roper’s makeshift darkroom.

To view more Kyle Roper’s work, visit his website and follow him on Instagram.

Image credits: All photos used with permission from Kyle Roper

Articles: Digital Photography Review (dpreview.com)

 
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12 Tips to Help You Capture Stunning Landscape Photos

09 Aug

The post 12 Tips to Help You Capture Stunning Landscape Photos appeared first on Digital Photography School. It was authored by Kav Dadfar.

Whether you are an experienced photographer or just getting started, the amazing landscape photographs you see have all got a few things in common. The reality of landscape photography is that not only are you reliant on your own ability and skill of seeing and composing an image, but also on Mother Nature. But regardless of whatever weather you encounter, there are countless opportunities to be able to capture spectacular landscape photographs.

Here are 12 tips that you can follow if you want to capture stunning landscape photos.

KD-2016-DPS-Landscape Tips-7

1. Location, location, location

Landscape photography is as much about planning as it is about the actual process of photography. You should always have a clear idea of where you are planning to go, and at what time of the day you will be able to capture the best photograph. Learn how to read maps, and understand how you can utilize them to find the perfect location. By planning your exact location, you will be able to maximize your time there, and ensure not only that you get to your location safely and in plenty of time, but also that you find your way back (usually after sunset).

2. Be patient

It’s amazing the number of times that the elements conspire to ruin a perfectly composed photograph. Landscape photography requires patience, just in case that white cloudy sky disperses just long enough to allow the sun to break through for you to take your shot. The key is to always allow yourself enough time at a location so that you are able to wait if you need to. Forward planning can also help you hugely, so make sure to check weather forecasts before leaving, maximizing your opportunity for the weather you require.

KD-2016-DPS-Landscape Tips-4

3. Don’t be lazy

One of the reasons we are often stunned by impressive landscape photos is because it is a view taken in a way that we have never seen before. A photo taken from the top of a mountain which requires a huge amount of time and effort to get to is a view that most people won’t get to see for themselves. So don’t rely on easily accessible viewpoints that everyone else can just pull up to and see. Instead, look for those unique spots (provided they are safe to get to) that offer amazing scenes, even if they require determination to get there.

4. Use the best light

Light is one of the most important factors in any photograph, but even more so in landscape photography. It really doesn’t matter how great the location, is or how you compose your photo – if the light doesn’t do the scene justice, then the image will fail. The best light for landscape photography is early in the morning or late afternoon, with the midday sun offering the harshest light.

But part of the challenge of landscape photography is about being able to adapt and cope with different lighting conditions; for example, great landscape photos can be captured even on stormy or cloudy days. The key is to use the best light as much as possible, and be able to influence the look and feel of your photos with it.

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5. Carry a tripod

Simply put, if you want to capture the best photographs, at the best time of the day, at the highest quality possible, then a tripod is an essential piece of equipment. Photography in low light conditions (e.g. early morning or early evening) without a tripod would require an increase in ISO to be able to avoid camera shake, which in turn means more noise in your images. If you want to capture a scene using a slow shutter speed or long exposure (for example, to capture the movement of clouds or water) then without a tripod you simply won’t be able to hold the camera steady enough to avoid blurred images from camera shake.

6. Maximize the depth of field

Choosing your depth of field is an important part of capturing stunning landscapes. Landscape photos usually require the vast majority of the photo to be sharp (the foreground and background) so you need a deeper depth of field than if you are taking a portrait of someone. But a shallower depth of field can also be a powerful creative tool if used correctly, as it can isolate the subject by keeping it sharp, while the rest of the image is blurred. As a starting point, if you are looking to keep the majority of the photo sharp, set your camera to Aperture Priority (A or Av) mode so you can take control of the aperture. Start at around f/8 and work up (f/11 or higher) until you get the desired effect.

KD-2016-DPS-Landscape Tips-4

7. Think about the composition

As much as possible you should always aim to get your composition right when taking the photo, rather than relying on post-production. If the scene doesn’t look right when you look at it through your viewfinder, then it won’t look good in the final output. There are several techniques that you can use to help your composition (such as the rule of thirds), but ultimately you need to train yourself to be able to see a scene, and analyze it in your mind. With practice this will become second nature, but the important thing is to take your time.

8. Use neutral density and polarizing filters

Neutral Density filters and polarizers are an essential piece of kit for any landscape photographer. Often you will need to manipulate the available light, or even try to enhance the natural elements. For example, if you are taking photos which include water, you may find you get unwanted reflections from the sun, which is where a polarizing filter can help by minimizing the reflections and also enhancing the colors (greens and blues). But remember, polarizing filters often have little or no effect on a scene if you’re directly facing the sun, or it’s behind you. For best results position yourself between 45° and 90° to the sun.

One of the other big challenges of landscape photography is getting a balanced exposure between the foreground, which is usually darker, and a bright sky. Graduated ND filters help to compensate for this by darkening the sky, while keeping the foreground brighter. This can be replicated in post-production, but it is always best to try and capture the photo as perfectly as possible in-camera.

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9. Use the histogram

Histograms are an essential tool in photography, which you should aim to learn how to read and utilize the findings to improve your photos. A histogram is a simple graph that shows the different tonal distribution in your image. The left side of the graph is for dark tones and the right side of the graph represents bright tones.

For instance, if you find that the majority of the graph is shifted to one side, this is an indication that your photo is too light or dark (overexposed or underexposed). This isn’t always a bad thing, and some images work perfectly well either way. However, if you find that your graph extends beyond the left or right edge, this shows that you have parts of the photo with lost detail (pure black areas if the histogram extends beyond the left edge and pure white if it extends beyond the right edge). This is something you should avoid, so by seeing the evidence in the histogram, you are able to correct it by either recomposing the image or compensating for the exposure.

10. Never settle for a good photo

This is true of any photograph that you are taking. It doesn’t matter if it is a landscape or a portrait; if you can do it better, then you should. But often because of the time and effort that landscape photography requires, people settle for a good photo, rather than waiting or coming back to take a better one. You should always aim to photograph anything at the best possible time, in the best possible way, even if that means waiting or coming back later.

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11. Shoot in RAW format

Simply put, if your camera is capable of capturing photos in RAW format, then I recommend that you always capture RAW files. They contain much more detail and information, and give far greater flexibility in post-production without losing quality. Remember, you can always save RAW files in whatever other formats you require, but you will not be able to save JPEGs as RAW files, so ultimately you are limited to the quality at which the JPEG was shot.

12. Experiment

For all the techniques and rules that exist to help aid composition and the process of taking the photo, there is always room to experiment. Digital photography means that taking a photo isn’t wasting a negative (and costing money), so there is ample opportunity to break the rules and your own style sometimes. Even if the majority of the time it doesn’t work and the image doesn’t look great, every now and again you might uncover a gem.

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Landscape photography is one of the most common genres that amateur and professional photographers get into. With practice, hard work, and patience you can capture stunning landscape photos that will look great in your portfolio.

So come on, show us your great landscape shots, and don’t forget to share your tips and experiences below.

The post 12 Tips to Help You Capture Stunning Landscape Photos appeared first on Digital Photography School. It was authored by Kav Dadfar.


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Canon R5 / R6 overheat claims tested: Stills shooting, setup quickly cut into promised capture times [UPDATED]

07 Aug
Testing conducted in Seattle by our Technical Editor Richard Butler. Real-world production experiences by Jordan Drake: the director and editor of many of our ‘DPRTV’ videos.

Originally published Aug 3, updated Aug 6: conclusions and analysis revised based on additional experience with the camera

If you have any interest in cameras, you may have witnessed the heated discussions lately around the new Canon EOS R5 and R6’s tendency to overheat when capturing video internally. The Internet tends to amplify the most extreme version of any story or phenomenon, which might have lead to you getting the impression that the cameras are unusable.

Jordan’s EOS R5 experience

We shot for 10 hours at a variety of locations, which I thought would give the camera ample opportunity to cool down. I planned to shoot the episode in the 4K HQ mode, with occasional 4K/120P and 8K shots peppered throughout. Quickly I realized that setting up a shot and menu-diving would reduce the amount of record time I had for HQ, so I found myself spending far less time previewing the shot before rolling, adding a layer of stress.

Eventually, I realized couldn’t record all the talking points in 4K HQ, and settled on using 4K HQ for wide shots and standard, line-skipped 4K for closeups. This made shooting sustainable, though I found myself avoiding trying to capture any spontaneous establishing shots or cutaways, lest I drop the dreaded overheating clock a bit lower. While our host Chris took it in his stride, I can only imagine how frustrating it would be for the talent to not know if the camera will last until the end of a take.

I also found myself heavily rationing the 4K/120P as it really chews up your remaining shooting minutes. I spent two minutes capturing the seagull footage in the episode: beforehand I the camera said it would shoot 15 minutes of 4K HQ, when I returned I had only five minutes remaining!

If the quality difference between 4K HQ and standard 4K capture were not so dramatic, this would bother me less. However, once you start viewing and editing the gorgeous 4K HQ footage, it makes it that much harder to go back to inferior line skipped 4K, and that’s a type of disappointment I don’t want to be dealing with on a shoot.

After extensive testing of both cameras, our conclusions with regards internal recording are:

  • From a cold start, the Canon EOS R5 and R6 perform in line with the company’s video performance claims.
  • Non-video use cuts into available shooting time, adding significant uncertainty for video shooters

We tested a pair of R5s and an R6 in a variety of warm conditions and found they consistently performed in line with the limitations that Canon acknowledged at the point of launch. However, the practical implications are that the cameras are prone to overheating if you shoot for extended periods and if you have crew or talent waiting to re-start shooting, they may take too long to recover.

It should be noted that Canon did not design either the EOS R5 or R6 to be professional video tools, nor does it primarily market them as such. But based on our testing and real-world usage we would caution against using them as a substitute.

So why is YouTube saying the sky is falling?

Our testing suggests that the cameras perform in exactly the way that Canon said they would. However, there is an important caveat that Canon’s figures don’t address: although the cameras can repeatedly deliver the amount of video promised, they may not always do so in real-world usage.

Even set to the mode designed to limit pre-recording temperature build-up, the clock is essentially running from the moment you turn the camera on. Video recording is the most processor-intensive (and hence most heat generating) thing you can do, but any use of the camera will start to warm it up, and start chipping away at your recording times. Consequently, any time spent setting up a shot, setting white balance, setting focus or waiting for your talent to get ready (or shooting still images) will all cut into your available recording time, and you won’t reliably get the full amount Canon advises.

Not only does this make R5 a poor fit for many professional video shoots, it also means that you can’t depend on the cameras when shooting video alongside stills at, say, a wedding, which is a situation that the EOS R5 clearly is intended for.

Even when left in direct sunshine, the cameras continued to record for the duration Canon promised. However, this is only true when you’re not using the camera for anything else.

The one piece of good news is that the camera’s estimates appear to be on the conservative side: every time the camera said it would deliver X minutes of footage, it delivered what it’d promised. You can also record 4K footage for much longer if you can use an external recorder but again, this probably isn’t going to suit photographers or video crews looking for a self-contained, do-everything device.

Click here if you want to see our test methods and results.

EOS R5 suggestions:

  • Expect to shoot line-skipped 30p for the bulk of your footage
  • Only use 8K or oversampled HQ 4K for occasional B-Roll
  • 4K/120 and 8K will cut into your shooting time quickest of all
  • Be aware of your setup time and cumulative usage (including stills shooting)

EOS R6 suggestions:

  • Don’t expect to be able to shoot for extended periods
  • Be aware of the need for extensive cooling periods between bursts of shooting

Analysis: Why hadn’t Canon thought about this?

It’s easy to fall into the trap of thinking this means Canon didn’t put enough thought into thermal management for these cameras. Our testing suggests this isn’t the case, but that the cameras’ specs are rather over-ambitious.

Jordan’s EOS R6 experience

I had done some testing prior to my shoot, and was comfortable that overheating wouldn’t be a problem if I stuck to 4K/24p. Unfortunately, my experience on a warm day was quite different to that room-temperature test. There’s no line-skipped 4K mode on the R6, so if the camera overheats, you’re back to 1080P, which will be a jarring transition for viewers watching on larger screens.

While I was able to record much longer with the R6 before encountering the overheat warning, once it appears the camera takes far longer to cool down again than the R5. Our regular drives in an air conditioned car allowed Chris and Levi’s R5 to function throughout the day, but at one point I was left sitting in the car, babysitting a hot R6 while they went out to shoot. During a one hour lunch, the R5 had returned back to normal, but the R6 had a twenty minute warning still on.

This was hugely disappointing as, rolling shutter aside, the R6 video quality is excellent, and I’d be perfectly happy using it over the R5. However, the longer cool down times would probably lead me to use the R5, dropping to line-skipped 4K from time to time.

While I enjoyed most aspects of using these two cameras, I have no intention of using either of them as a primary video camera. They would be great for grabbing occasional, very high quality video clips, but I’d never want to rely on them for paid work.

With the exception of specialist video models, most cameras that shoot 4K are prone to overheating, regardless of the brand. Some companies let you extend the recording time by ignoring overheat warnings (and risk ‘low-temperature burns’ if you handhold the camera), while others simply stop when they get too hot. This should make it clear that shooting 4K for an extended period is difficult. For instance, Sony says the a7 III will shoot around 29 minutes of 4K video with the temperature warnings set to ‘Std,’ while the Fujifilm X-T4 promises 30 minutes of 4K/30 and 20 minutes of 4K/60.

The cumulative heat is constantly counting against you

8K is four times as much data as natively-sampled 4K and seventeen times more than the 1080 footage that older cameras used to capture so effortlessly. Perfect 2:1 oversampled 4K (downsampled 8K) requires this same amount of data, which is still 1.7x more data than is used to create 4K oversampled video from a 24MP sensor. Data means processing, which means heat.

What’s interesting is that the exterior of the cameras don’t get especially hot when shooting for extended periods. We’re only speculating, but this could indicate that Canon has tried to isolate the camera’s internals from external temperature fluctuations, with the down-side that they can’t then dissipate internally produced heat.

This would be consistent with us getting the full recording period out of the camera, even when tested well above the 23°C (73°F) conditions specified by Canon. And with the fact that leaving the camera’s doors closed and battery in place didn’t change the recovery time. However, while this appears to be workable for the line-skipping 4K mode, the added workload of the higher quality settings seems to present a problem. Dealing with 1.7x more data than the a7 III and X-T4 is a step too far: the R5 will match them for promised recording duration but only from cold. This leaves it much more sensitive to any other use beyond video recording.

The EOS R6 is a slightly different matter. It can shoot 40 minutes of 4K taken from 5.1K capture, which is a pretty good performance and may be enough that you won’t often hit its temperature limits. However even after a 30 minute cooling period, it has only recovered enough to deliver around half of its maximum record time, whereas the EOS R5 recovered nearly its full capability. The more extensive use of metal in the construction of the R5 seems to help it manage heat better than the R6 can.

And, as both Jordan’s and Richard’s experiences show: if you don’t have time to let the cameras cool, that cumulative heat is constantly counting against you.

Articles: Digital Photography Review (dpreview.com)

 
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