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Posts Tagged ‘Edge’

SLC-1L-03: Need Light With More Edge? Aim It Away From Your Subject.

04 May

The two photos above have the same light source, same light location and same white background. The only difference in the second photo is that the light has been aimed differently. Pointing your light away from your subject—and using the edge of the beam—is a quick way to sculpt much more interesting light on a head shot or portrait.

But how far away do you need to aim it? Further than you'd think. And finding the nice edge to your light is definitely a game of inches.

Here's how to do it.Read more »
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How to do Tilt-Shift Style Photography with the Lensbaby Edge 50

14 Jan

Professional architectural and landscape photographers use tilt-shift lenses to avoid converging vertical lines and to get the entire scene in sharp focus. Portrait and food photographers use them to create interesting effects using blur and shifts in the plane of focus. Tilt-shift lenses are exciting creative tools, but they are also specialist items. That means they’re expensive to buy, especially for hobbyists.

Lensbaby Edge 50 lens - How to Lens Tilt-Shift Photography with the Lensbaby Edge 50

But there is a way you can apply a tilt-shift style effect (although there are no shift movements) with a relatively inexpensive camera lens – the Lensbaby Edge 50.

The Edge 50 is a 50mm lens attachment that fits in the Lensbaby Composer Pro II. The two are sold together, or you can buy the Edge 50 separately if you already have a Composer Pro II. It’s available for all major camera mounts.

How to Lens Tilt-Shift Style Photography with the Lensbaby Edge 50

The Lensbaby Edge 50 (with an inexpensive lens hood that I bought on Amazon) and Composer Pro II mounted on a Fujifilm X-T1 camera. The Edge 50 lens is tilted down in this photo.

On my APS-C Fujifilm camera, the Edge 50 is a short telephoto lens ideal for portraits and many other subjects. If you own a full-frame camera then you’ll get the same field of view and a similar effect with the Edge 80 optic.

The Edge 50 lens lets you tilt the plane of focus so that it runs in any direction across the frame you like.

The red lines show the direction of the plane of focus in the photos above.

Why buy a Lensbaby Edge 50?

So, why buy the Lensbaby Edge 50 optic? For me one of the driving factors was curiosity. I had so many questions. Could I make interesting photos with this lens? Is it any good for portraits? What happens if I add an extension tube to make close-up photos? The images in this article will provide some answers.

What I didn’t expect is that I would love using this lens. There’s something strangely fascinating about viewing the world through a lens that has tilt movements. The Edge 50 is so much fun to use there’s a genuine danger that you use it all the time and forget about your other lenses!

The Edge 50 can help you make photos with a miniature effect created by tilting the lens. These work best when you have a high viewpoint overlooking the subject.

Practicalities of using the Edge 50 lens

There are some differences between the Edge 50 lens and regular camera lenses that you need to know about before you buy one.

The Edge 50 is a manual focus lens

This is not an autofocus lens and you need to take great care when focusing for accuracy. It’s easier to focus with cameras that have electronic viewfinders and focus peaking. Or you could use Live View.

The Edge 50 lens is perfect for fine art black and white photos like these.

The Edge 50 doesn’t come with a lens hood

This is disappointing as it means you can’t point the lens anywhere near the sun without getting lens flare. I bought a metal lens hood from Amazon for a few dollars. The lens hood reduces lens flare and protects the front element from accidental damage when the camera is hanging at your side.

You can experiment with shifting the plane of focus, photographing the same scene in multiple ways.

Depth of field is very narrow at the widest aperture of f/3.2

I’ve learned to stay away from the widest aperture setting and stop down to f/4 or f/5.6 to get the best results. You will also have to use a higher ISO to get the correct exposure in low light than you would with a regular 50mm prime lens.

The Edge 50 lens with an extension tube can create close-up photos like this.

You can shift the plane of focus in all directions

With this lens, you can position it so that the plane of focus lies horizontally, vertically or at any angle in between. This allows you to get creative and experiment with different focusing effects.

For example, portraits are very effective when the plane of focus is horizontal, as you can focus on the model’s eyes and throw the rest of the scene out of focus.

How to Lens Tilt-Shift Style Photography with the Lensbaby Edge 50 - portrait

The Edge 50 is great for close-ups when combined with an extension tube

I use a Fujifilm MCEX-16 extension tube with this lens for taking close-ups of flowers. It lets me shift the plane of focus around and create interesting effects in a way that you can’t do with a conventional 50mm lens.

How to Lens Tilt-Shift Style Photography with the Lensbaby Edge 50

Conclusion

The Lensbaby Edge 50 lens is a great addition to my camera bag and one that I’m very happy to have made. If you like creative photography, interesting bokeh, and blur effects, or if you’re looking for something a little different for your portraits, then the Edge 50 could be just what you need.

Would you like to learn more about lenses and your camera? My ebook Mastering Lenses teaches you everything you need to know. The buying guide alone will save you many times the cost of the ebook!

The post How to do Tilt-Shift Style Photography with the Lensbaby Edge 50 by Andrew S. Gibson appeared first on Digital Photography School.

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Photos from the edge of the earth: World Photography Organization interviews Kiliii Yuyan

18 Jun

An Iñupiaq whaling crew cleans the hide of a polar bear that attacked their camp the previous day. Many Iñupiaq believe that declining sea ice has lead to these animals starving.
Photo by Kiliii Yüyan

Seattle-based photographer and traditional kayak-maker Kiliii Yüyan has spent years documenting the lives of people who live at the edges of the world. We’ve had the pleasure of working alongside him in Seattle and Alaska, but his work has also taken him as far as central Australia and Scandinavia.

In an interview with the World Photography Organization, Kiliii goes into detail about his current project, featuring the Iñupiaq whaling community of Utqiagviq (formerly known as Barrow, AK) and explains what motivates him as a photographer.

A humpback whale and calf feed on anchovies in the waters of Monterey Bay.
Photo by Kiliii Yüyan

California Condors feed on a stillborn calf. Photo by Kiliii Yüyan

Read the full article at worldphoto.org

Watch Kiliii’s talk at PIX 2015

Articles: Digital Photography Review (dpreview.com)

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Cantilevered Cabin: Dizzying Alpine Shelter Hangs Off the Edge of a Cliff

28 Nov

[ By WebUrbanist in Boutique & Art Hotels & Travel. ]

cantilevered-cabin

Even someone brave enough to overcome fears of heights and climb a mountain may not have the stomach to spend the night in this suspended shelter on the edge of a vertigo-inducing abyss.

cabin-on-cliff

mountain-cabin-prefab-view

Designed by OFIS Arhitekti (images by Janez Martincic), this precariously-perched space sits on Slovenian-Italian border and boasts 360-degree views over the landscapes of both countries. Inside, a series of resting platforms and a few pieces of minimalist rustic decor are the extent of the amenities provided.

cabin-at-night

Despite its fragile appearance, the cabin was (of course) constructed to deal with the extreme conditions of the location’s altitude and weather exposure on Mount Kanin. Indeed, it took multiple attempts for a helicoptered construction crew to get the prefab structure in place and tether it to the surrounding stone.

sleeping-spaces-wood

cabin-interior

The cozy refuge from wind, snug and landslides (overnight guests may not want to know) is intended in part as a test of the materials, to see how they will stand up over time.

extreme-mountain-cabin

“The challenge is to install real objects remote sites … and study their response to extreme weather, radical temperature shifts, snow and rugged terrain” say the designers. “The harsh conditions of wind, snow, landslides, terrain, and weather require a response of specific architectural forms, structures and concept.” Despite those daunting challenges, the space is intended to “become a destination for hikers, climbers, cavers, mountaineers, nature lovers and romantics.”

[ By WebUrbanist in Boutique & Art Hotels & Travel. ]

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Pushing your Composition to the Edge

25 Sep

The world is filled with photographs. I did a bit of research and found the following statistic. Researchers estimate that the average individual is now exposed to approximately 250 different images per day. It’s no secret that we are now inundated with visual stimulus. Everyone owns a camera and everyone is shooting images. In 1857 Francis Frith took photographs of the pyramids and the Sphinx. The general public was mesmerized by images of a faraway and exotic location. Today, if I search “Images of the Pyramids” I get 7 million results; everyone knows what the pyramids look like. This whole phenomenon translates into a challenge for photographers. How do you shoot something different and unique when the world uploads 1.8 billion photographs a day?

There is no easy answer. I don’t know how many times I have heard someone say, “That’s a beautiful image of the shoreline. You are a really great photographer but take a look at this. I shot the same thing last year on vacation.” Some photographers may become frustrated with this occurrence, but perhaps we should look upon this as a challenge. What can you do to make your photographs more unique?

Live on the edge – of composition

We all want people to view our images and say, “That’s amazing! I’ve never seen that before!” It’s going to be tough but it’s worth a try. It’s time to push your composition skills to their limits. Consider using techniques or viewpoints that are a little unconventional. Try pushing the main subject of your composition towards the edge of your frame. Let’s consider this photograph of a kayaker.

In this version, the image is composed using the rule of thirds. The scene has a pretty unique atmosphere as the sun struggles to break through the morning mist. Shouldn’t that be enough to make the viewer stop and take notice? It’s a beautiful image and it was a fantastic morning. I know people will love this image. But what if it was recomposed to push the kayaker to the edge of the frame? Does this make the image even more appealing? Consider the difference.

This second image is cropped way down to illustrate a point. What did you look at first? Hopefully, your answer is the red light on the left of the frame and then your eye moved over the image to discover the kayaker. This technique is called “the delay” which means that the viewer is delayed by other details before focusing on the main subject. This means that the viewer notices the details in a much slower and more deliberate manner. You might even create the emotion of surprise when your viewer discovers the full extent of your composition. That’s a good thing. Creating emotions within the viewer ensures they will remember your image.

When the rule of thirds is not the best choice

Let’s take a look at another image. In this case the main subject, the flower bud, has been pushed right to the edge of the frame.

By placing the main subject closer to the edge of the frame you can create more tension within your image (above left). The image is certainly more dynamic and interesting than this conventional version which focuses on placing the flower bud along the rule of thirds (above right).

In this shot of the boxer and his trainer I was disappointed and considered it a failure because it didn’t follow any of the rules of composition. The autofocus locked onto the training gloves, not the boxer. But after consultation with the magazine editor, he decided to use it because the angle was so unique. The composition told the story in a different way. Notice the trainer’s nose is just in view in the top corner. The editor loved that element and it sealed his choice.

Sometimes you will be surprised by what works.

Finding the right balance

Of course, there are times when this technique doesn’t work and the resulting image just feels unbalanced and awkward. This image of a decaying pier in Lake Huron is a good example of when placing the subject close to the edge unbalances the shot.

There’s just too much visual weight placed on the right side of the frame and the image is not successful. But that’s okay because at least something was learned about the importance of creating visual balance when pushing the subject matter to the very edge of the frame. Try to balance the weight of the object along the edge with the visual weight of the rest of the space.

Conclusions

However, you choose to compose your images the challenge will always be to create something unique that stands out from the crowd. The reality is the crowd of images is only going to get bigger.

Are you up to the challenge? Are you willing to continue experimenting with the methods you use for composing your images? I say push things a little further each time you take a photograph and experiment with how you can use the edge of the image to create interest in your work.

Please share your compose on the edge images and thoughts in the comments below.

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The post Pushing your Composition to the Edge by Erin Fitzgibbon appeared first on Digital Photography School.

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Canon applies to patent double-sided micro lenses designed for better edge performance

23 Aug

Canon engineers have developed a new design for the micro lenses it uses on imaging sensors that it claims will reduce vignetting and false coloration at the edges of the picture. The new designs have a bi-convex lens that uses the upper surface to collect light and the lower to channel the light more effectively to the photodiode. The patent application shows the lower face of the micro lenses with a convex surface featuring an off-center vertex. Canon says these would be placed at the edges of the sensor to direct light approaching from a steeper angle. The idea is to direct more of the light toward the photodiode than can be achieved with standard single-micro-lens designs.

As pixels have depth it can be difficult to channel light from the camera’s lens down the ‘well’ to reach the photodiode unless it approaches straight-on. When a pixel is positioned at the edge of the sensor array it becomes more difficult because light approaches from an extreme angle and can miss the photodiode, as the refractive index of the micro lens isn’t high enough to bend it directly down the well. Since certain colors experience different refractive indices, some wavelengths of light don’t make it to the photodiode either. Thus, pixels outside the central area can report less light – and false colors – compared to those in the middle of the sensor.

Canon’s new dual micro lens design aims to take more control of the light as it enters and exits the micro lens, and to channel it in a more vertical direction down the well so that less is lost. This should in theory improve both vignetting and false coloration nearer to the edges of the image.

For more information see Canon’s full patent application.

Extract from the patent:

The lower surface 102 of the microlens 103 has an asymmetrical shape with a position nearest to the photoelectric conversion device 104 (a position at which the thickness from a center plane 130 of the microlens 103 is the maximum) shifting from the center position of the microlens 103 to the central side of the pixel array 110A. The lower surface 102 of the microlens 103 has a convex shape with respect to the photoelectric conversion device 104.

Each microlens 103 is formed from a material having a higher refractive index than a material in contact with the lower surface 102 at a position between the microlens 103 and the photoelectric conversion device 104. The microlens 103 is formed from, for example, a color filter material.

The upper surface 101 of each microlens 103 has a convex shape with respect to the incident side of incident light. The incident light 111, incident light 121, and incident light 131 entering the microlens 103 from the same direction as that of the straight line 115 each are refracted by the upper surface 101 of the microlens 103 and focused onto the photoelectric conversion device 104. In this case, if the upper surface 101 of the microlens 103 lacks in refractive power with an increase in curvature radius, the lower surface 102 of the microlens 103 compensates for the refractive power to cause the incident light 111, 121, and 131 to enter the photoelectric conversion device 104. At this time, the refractive power of the lower surface 102 of the microlens 103 is larger than that of the upper surface 101 of the microlens 103. As described above, the microlens 103 can focus incident light onto the photoelectric conversion device 104 by using the upper surface 101 having a convex shape extending upward and the lower surface 102 having a convex shape extending downward with respect to the center plane 130.

Articles: Digital Photography Review (dpreview.com)

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Broncolor launches range of softbox edge masks for rim light effect

26 May

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Swiss lighting brand broncolor has announced a range of diffuser panels for its softboxes that help to create a rim light effect when the subject is positioned in front of the softbox. The Edge Masks feature a large black panel in the center of the diffuser that prevents light from passing, but leaves strips all the way around the panel for the flash to pass through. The idea is that people posed in front of the panel will appear on a black background but highlighted with a rim of light all around them.

The panels are designed to replace the usual white diffuser of the softbox, which is removed when the Edge Mask is in place. The effect is relatively easy to achieve using any softbox and a panel of black material, but these are a bit more convenient and look more professional.

The company has also launched a 110cm parabolic umbrella that can be used to vary the focus of the reflected light. The umbrella has a particularly long arm that allows the light source to be placed at a range of distances from the reflective material.

The Edge Masks come in a range of sizes and are available now, as is the Focus 110 umbrella. The Edge Masks are priced from £42/$ 54 to £84/$ 113, while the umbrella costs £150/$ 210.

For more information visit the broncolor website.

Press release:

New Light Shaping Tools – Edge Masks & Focus 110

Hot on the heels of the new Siros L battery powered studio monobloc, broncolor have also released two brand new lights shaping tools – the Edge Mask diffuser and Focus 110 umbrella.

Edge Masks
Using the broncolor range of softboxes just became even more creative and flexible. The new Edge Mask helps turn the rectangular sizes of the softboxes in to a rim light, allowing for subjects to be photographed in-front of and against the softbox, with the light wrapping around the subject from behind. This is a popular technique previously only created by flagging off the softbox with a board, but the Edge Mask provides a professional, easy and uniform method for creating the effect. Simply attach the Edge Mask to your existing softbox as you would an external diffuser.

Focus 110
The new parabolic Focus 110 umbrella (110cm diameter) provides a quick an easy way of producing a focusable parabolic light effect. Simply pop it up and use the lamp heads umbrella holder to slide and focus the shaper.

Pricing and availability
The new Edge Masks and Focus 110 are ready and available to ship now!

33.612.00 – Edge Mask for Softbox 35 x 60 – £35 ex. VAT
33.613.00 – Edge Mask for Softbox 60 x 100 – £40 ex. VAT
33.614.00 – Edge Mask for Softbox 90 x 120 – £50 ex. VAT
33.615.00 – Edge Mask for Softbox 120 x 180 – £70 ex. VAT

33.576.00 – Focus 110 – £125 + VAT

Articles: Digital Photography Review (dpreview.com)

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Samsung Galaxy S7 edge takes top spot in DxO Mobile rankings

19 Mar

DxOMark has put the Samsung Galaxy S7 edge through its testing, and with a score of 88 the device moves into the top spot in DxO’s mobile rankings. The S7 edge and slightly smaller S7 use a 12MP sensor with on-chip phase detection and an F1.7 lens with optical image stabilization. By taking the top position in the mobile rankings, the S7 edge relegates its Galaxy S6 edge plus and the Sony Xperia Z5 to a joint number two spot.

Read DxOMark’s Samsung Galaxy S7 edge mobile report

Read the full report on DxOMark.com

Articles: Digital Photography Review (dpreview.com)

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The journey: Michael Brown on photography at the edge of the world

28 Feb

Michael Brown is an award-winning director and a pioneer of adventure filmmaking. He has summited peaks on all seven continents (including five summits of Mount Everest) and made first kayak descents of wild rivers in places like Bhutan and Chile, all with the camera rolling.

Brown goes into some of the world’s most hostile environments — where there’s little room for error — and comes away with stunning visual footage and stirring stories that remind us of our shared humanity. He believes that if you can imagine a goal, you can achieve it.

In his talk from PIX 2015 Michael takes us on a very personal journey to the edges of the world, including climbing Mt. Everest with blind climber Erik Weihenmayer. In the process, he shares important lessons about risks, relationships and the importance of challenging ourselves and mentoring others.

To learn more about Michael’s work you can visit his web site at Serac Adventure Films.

Articles: Digital Photography Review (dpreview.com)

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Lensbaby Edge 50 Optic launches for pre-order

14 Jan

Lensbaby has announced that its Edge 50 Optic lens is now available to existing Muse and Composer owners for pre-order. Previously sold only in combination with the Composer II lens body, the Edge 50 Optic is part of Lensbaby’s Optic Swap System for Muse and Composer series lenses, and was released in October 2015.

The Edge 50 is a 50mm F3.2 optic which, according to Lensbaby, creates a ‘sharp slice of focus bordered by silky, smooth blur.’ Features include a 9-blade aperture, 8″ minimum focusing distance, 8 multi-coated glass elements in 6 groups, a flat optic field and 46mm filter threads.

The Lensbaby Edge 50 Optic is available to pre-order now for $ 224.95 and will begin shipping to customers starting January 26.

Lensbaby Announces Availability of Edge 50 Optic for Photographers Who Already Own a Lensbaby Lens in the Composer or Muse Series

Portland, OR – January 11, 2016- Lensbaby, providing creative effects lenses to photographers that ignite their creativity and expand their unique visions of the world, today announced the availability of the Edge 50 Optic, part of their Optic Swap System, for photographers who already own a Lensbaby lens in the Composer and Muse series.

Edge 50 Optic was originally released on October 21, 2015 in combination with the Composer Pro II lens body. Composer Pro II is an upgraded metal-bodied lens that swivels and tilts on a smooth metal ball and socket design, providing a fast and intuitive way to switch between traditional straight lens photos and tilt photography. Edge 50 Optic is designed to work with all Optic Swap System-compatible Lensbaby lenses in the Composer and Muse series. These lenses work on DSLR and mirrorless cameras.

Edge 50 Optic is a high-quality, 50mm f/3.2 optic that lets you control depth of field in-camera for an authentic, immersive shooting experience. Photographers can use Edge 50 to create images with a sharp slice of focus bordered by silky, smooth blur. Using selective focus, shooters can lead the viewers’ eyes on a unique journey through landscapes, close-ups, miniature effects, street photography and food photos.

“We created our Optic Swap System to provide unlimited creative effects through interchangeable optics,” said Craig Strong, Lensbaby Co-Founder & Chief Creative Officer. “We’re happy to finally be able to provide our loyal fans who use and love their older Composer and Muse lenses with yet another creative visual tool in the Edge 50 Optic.”

Edge 50 Optic specs:

For use with Lensbaby Optic Swap System lenses in the Composer and Muse series
Focal Length: 50mm
Aperture range: f/3.2 through f/22
9-blade internal aperture
Flat field optic (creates a slice of sharp focus)
Minimum focusing distance: 8” from the front of the lens
Maximum focusing distance: Infinity
Size/Weight: 2.125” (5.4 cm) high x 1.875” (4.76 cm) wide / 5.5 oz (155.9 g)
8 multi-coated glass elements in 6 groups
46mm filterthreads

Images
http://lensbaby.com/resourceroom/optics

Availability
Edge 50 Optic retails for $ 224.95 and is available via pre-order beginning January 11, 2016 (shipping January 26th, 2016). Lensbaby products are available at lensbaby.com, B&H, Adorama, and from select specialty photo stores worldwide.

Articles: Digital Photography Review (dpreview.com)

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360Photography

Posts Tagged ‘Edge’

SLC-1L-03: Need Light With More Edge? Aim It Away From Your Subject.

How to do Tilt-Shift Style Photography with the Lensbaby Edge 50

Why buy a Lensbaby Edge 50?

Practicalities of using the Edge 50 lens

The Edge 50 is a manual focus lens

The Edge 50 doesn’t come with a lens hood

Depth of field is very narrow at the widest aperture of f/3.2

You can shift the plane of focus in all directions

The Edge 50 is great for close-ups when combined with an extension tube

Conclusion

Photos from the edge of the earth: World Photography Organization interviews Kiliii Yuyan

Cantilevered Cabin: Dizzying Alpine Shelter Hangs Off the Edge of a Cliff

Pushing your Composition to the Edge

Live on the edge – of composition

When the rule of thirds is not the best choice

Finding the right balance

Conclusions

Canon applies to patent double-sided micro lenses designed for better edge performance

Broncolor launches range of softbox edge masks for rim light effect

New Light Shaping Tools – Edge Masks & Focus 110

Samsung Galaxy S7 edge takes top spot in DxO Mobile rankings

The journey: Michael Brown on photography at the edge of the world

Lensbaby Edge 50 Optic launches for pre-order

Lensbaby Announces Availability of Edge 50 Optic for Photographers Who Already Own a Lensbaby Lens in the Composer or Muse Series

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