We’ve started digging into the a7S III’s video capabilities. Initial results are positive: we measured excellent, sub-10ms rolling shutter rates, and we can confirm that the camera uses a dual gain sensor.
Articles: Digital Photography Review (dpreview.com)
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Anyone can curate photos, but not many have built a successful brand out of it. Dirk Dallas has dedicated thousands of hours to From Where I Drone (FWID), a website and online community that aggregates aerial images from all over the world. FWID has made such a profound impact, with its 266,000 active followers and counting, that Dallas was approached by an established publisher to create a book.
He is also a professor, photographer and ambassador for top brands including PolarPro, an instructor for Adorama TV and a judge for competitions including the Paris Aerial Photography Awards. Dallas credits DPReview for guidance at the start of his journey, saying:
‘DPReview was of the sites I remember always checking when I was going to look up my first camera. I would read all the reviews, there were hi-res photos and I would zoom in to examine more details. You were one of the first sites to feature photos where I could do that and actually see the product clearly.’
We got a chance to catch up and learn more about the steps he took to build a robust online community, his thoughts on what makes a photo stand out in a sea of millions and his new book Eyes Over the World: The Most Spectacular Drone Photography — featuring 20 of his images plus 170 more from 125 aerial photographers seen on FWID. Anyone looking to improve their skills, or simply be inspired, is encouraged to read on.
All slideshow images appear in the book and are shared with permission from Dallas and the publisher.
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Right before I went to college, I was really into video. I wasn’t a great skateboarder but my buddies were. I remember my grandpa had a Hi8 camera and I asked him if I could borrow it to make skate videos. I was using Windows Movie Maker in the process and I loved it.
I never thought of it as a career, though. My parents are all teachers so I thought ‘I’m just going to be a teacher, it’s a safe job. I’ll never have to worry about getting fired, teachers will always be around.’ At the time my girlfriend, who is now my wife, knew I wasn’t really into what I was studying in school. She told me ‘I’d rather have you do something that you love than have a super-safe job that you hate.’
That was a big moment of freedom for me. I didn’t know what my career was going to look like but I knew I was interested in video. I changed schools and started taking an editing class. They handed us cameras, I think I got a Canon XL and started in with that.
Fast-forward to 2007, I got the iPhone when it came out. I remember thinking ‘this thing’s pretty impressive for a camera phone.’ I decided to start taking a picture every day and practice my eye for composition. This was purely for video reasons, not for photography.
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| A screenshot of the iPhone photography group Dallas was a part of on Flickr. |
Then I started getting into photography and I uploaded my work to Flickr. That is where I found a community for iPhone Photography which, at the time, was really weird to outsiders. I would share my iPhone shots to other groups and people would tell me ‘that’s not real photography. You’re not using a real camera.’ Our group was definitely niche and we felt like a band of rebels that were trying to push the camera as far as we could.
What’s interesting about that is now it’s not weird at all to take a good photo with your phone. You even see Apple put ‘Shot on iPhone’ on their billboards. But I remember getting made fun of for that on Flickr at first. I got really into photography and that same iPhone Photography community introduced me to Instagram when it first came out. I was one of the first 5,000 users and the community there is what inspired me to keep pursuing photography.
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To be honest with you, in 2014 I was getting tired of my photography. I could go to the beach and take a picture of a pier which I’d already done a thousand times. I was getting burned out, losing the spark. The fun disappeared. I knew I needed to mix things up. I remember seeing someone fly a Phantom drone with a GoPro attached to it and was instantly intrigued.
In the 2000s, I was into flying electric helicopters and airplanes. They’re so hard to fly, I’d always crash and barely be able to get any flight time. I’d spend a bunch of time and money fixing them. The drone looked like it was pretty stable and it had a camera on it – two things I enjoy. So I got a Phantom and stuck a GoPro on it. I could now shoot all the spots that I go to and was tired of, like the pier, from a new perspective.
It was a new challenge, especially since the early days of drone photography were so hard. I would set the GoPro on timelapse mode and then guess. I would fly over something and count in my head, because the intervals were 5 seconds and then think ‘all right, I got the shot.’ But I wouldn’t know until I got home and watched the footage from the memory card.
The challenge of something new, combining my two loves, is how I got into aerial photography.
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In Chicago, I was flying at a park and I remember drones weren’t really common yet. You didn’t really them often. Someone approached me while I was flying and started asking me questions. I’m answering them and in the meantime, they also have a dog that’s running circles around us. I completely lost track of the time and realized that while I’m talking to this guy, my drone’s in the air and about to land any minute.
I start looking for it because it drifted away during the flight. I located it as it’s losing power and going straight into these trees. It gets stuck in one about 30 feet up. I could see it but couldn’t climb the tree to get it. What made the situation even more difficult is that my flight to California was leaving in 4 hours. I’m was quickly running out of time.
I found these guys playing football. I approached them and said ‘guys, I will give you $ 100 if you can help me get my drone down. Maybe we could throw the football at it and knock it out of the tree.’ They looked at me as though I was crazy and one of the guys threw his football at it and misses. They tried for 30 minutes and finally knocked it down. It smashed to the ground but everything ended up still working.
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In 2014, I started to share my work on Instagram and people were asking how I got these unique (at the time) angles. I would tell them it was from a drone and then they’d ask how they could get one, and so on. I would be helping everyone through messaging and emails. I realized, early on, that the same questions were being asked so maybe I should just start a website. I could send everyone seeking answers to the same questions there.
I couldn’t find anything else like it. No one was really helping people. There were some super-techie questions in there but I’m more creative. Still, I shared tips, and what I was learning along the way with the goal to help people. Then I started sharing stuff from the community.
Before FWID was a website, it was a hashtag – and it was a joke.
Before FWID was a website, it was a hashtag – and it was a joke. There’s that popular hashtag ‘#fromwhereistand,’ and I thought of that except I was taking a photo with a drone. So I tagged it and people immediately got the joke. One day I clicked on it and there were a bunch of photos from people with drones. I realized back then that more people had a drone than I was aware of.
None of my immediate friends were flying drones so it was great for me to see all these people using them and capturing places in ways I’d never seen before. I started an Instagram account for it, just to share photos. That’s where I got all the messages at first and then started the website to point people to for answers.
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Community building is really important to me, in general. I’m also a professor teaching photography, motion design, and graphic design. I spend a lot of time during my semesters building those communities because I’ve seen the value of how it pushes us, functions as a support system, and keeps us accountable.
In some ways that’s translated online. Everybody matters, in my opinion. In the early days, it was so easy to give comments to people, check out feeds, message people, and reply. It would take forever but it mattered to me because there was someone out there reaching out and I would reach back. I think those small gestures went a long way.
One of the things going for FWID is consistency (Dirk took a brief hiatus from posting late last year). I showed up everyday for 2 posts, or a minimum of 1 post, at least, for 4 years. Everybody’s striving for perfection, but it’s not obtainable. I would encourage people to strive for consistency. How are you improving every day?
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The fact that FWID showed up almost every single day with something new in the feed made it top-of-mind for a steadily growing audience. Once you know you’ll see it, you come to expect it. People ask me why I post at 9:00 PM every night (PST). I would get my kids to bed, finish our routine. The night was done so then I could post. That’s my habit, that’s my routine.
I spend a lot of time finding photos. My book hadn’t come out yet as I’m telling you this but someone, when they discovered all the photos in there weren’t mine, emailed me and said ‘these aren’t all your photos? Anyone can curate a photo book.’ I had to laugh because I spend so much time seeking out an epic image, something inspiring or unique, something you’ve never seen before. The point is, I put a lot of work into it and don’t post anything random.
There needs to be something of value or people are going to stop showing up. For people reading this, ask yourself ‘what is the value I’m giving people?’ For me, for FWID, the value is inspiration. As soon as that’s lost, FWID will go down. There’s a lot of pressure with that realization.
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For example, with Nike, when we think of that logo, it’s actually kind of lame. What makes it so cool is you associate it with Michael Jordan. You associate it with Kobe Bryant. Because those people do amazing things, that’s what makes the brand recognizable. Because the people in the FWID community are incredible, I’m able to share their work and grow.
I’m great at promoting other people’s stuff, by not my own if I’m being honest. It’s not natural to me. Sometimes I feel late to the game or that I should be doing some stuff sooner. This is because I want to help others, that’s my goal. Not everyone’s going to make it onto the feed. And I feel bad because I don’t want to leave anyone out. This is what’s great about Stories. If you tag me with something that’s great, I’ll feature you there and you’ll get tons of views on your work that way.
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One of the things I try to do is look for a clear subject. There’s got to be a point, what am I looking at? For example, in the photo below, there’s a person standing next tot the boat and I’m thinking ‘wow, they’re in the middle of nowhere. How did they get there, they’re all alone, and where are they going?’ There’s all these questions that start to pop up.
What they also did is introduce scale. What I’m looking for is some basic photography principles. Scale is one of the biggest things that draws me in. This one (below) interests me because when do you ever see a stadium in the shape of a circle? I’ve never seen one. I always gravitate toward something unique. The lightest part is the tennis court and it’s in the center, so the composition is very focused. The crop is tight.
Pops of color are always a winner. Contrast is always something I look for too. If I click on the #fromwhereidrone hashtag, images that have a color scheme that isn’t blues or greens, something really typical, tend to stand out. Now I want to check it out and see if the image is sharp and crisp. If so, I’ll bookmark it.
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I never really see warm, orange-hued photos. These are rare. Everything I see is typically blue, green, and brown. One things a lot of drone pilots forget about is the photography principles. They get so caught up in taking the drone up high that those are an afterthought. The people who get featured and do well, in general, take everything we know about photography on the ground and apply it in the air.
Those are the strongest images to me. A great edit. Light is important for creating atmosphere. If you shot this image (below) 2 hours before, it wouldn’t be interesting. How is this unique? Is there a little bit of fog or does the light come in at the right time? Being mindful of the time of day makes all the difference. The people who will wait for hours until the lighting is just right, who make that extra effort, are striving for excellence.
The top photographers will make more of an effort, most people don’t. It’s your commitment to striving for excellence that separates you from the rest.
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I’ll start by saying that being able to connect digitally is awesome. I now have friends through FWID from around the world that I wouldn’t have otherwise known. That said, we’ve lost this sense of touch and tangibility. What I set out to do is put together some of the best photos at the time of when this book started, back in Summer of 2018, put it in your hands, and inspire you.
I’ve seen these photos on the feeds, I’ve looked at them on my computer, in InDesign, and in drafts and proofs. Once I actually touched and held the book, it was magical. What this book does, I believe, is inspire. Right now we’re in lockdown so it feels like a little vacation, a little trip around the world. It’s a bucket list that makes you think ‘I want to go there when this pandemic is done. I want to shoot that place.’
Once I actually touched and held the book, it was magical. What this book does, I believe, is inspire.
The beautiful thing about FWID is the community. I would have never met or known about all these amazing photographers if it wasn’t for an app (Instagram).
The beautiful thing about FWID is the community. I would have never met or known about all these amazing photographers if it wasn’t for an app (Instagram). What this book represents is a community, people with a shared vision. Now the FWID community has something tangible and lasting. I could delete a photo, close the account, go dark, but the book is out. It will live on, it’s an artifact that will be in the world forever.
When I’m on Instagram or anywhere else online, I may like a photo, but I’ll take it in for half a second. As an author and a curator, I’ve had to pause with these photos and really take them in, ponder in that moment. Those are some feelings I didn’t expect, to be honest.
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For me, it represents the community. I looked at thousands and thousands of photos that I curated over the years and painstakingly whittled it down to what I thought were the best, most unique images. There are some books that put an image in simply because it’s a drone shot. With this book, I considered the question of ‘why does this shot deserve to be included?’
The book is broken down into 5 categories (Water, Arid, Lush, Urban, and Ice). At the beginning of each category, I wrote photography tips – it’s called ‘Photography Insights.’ For Arid, for example, ‘with extreme temperatures, blowing sand, and broad expanses of land and sky, these landscapes provide challenges to photographers. The drone pilot should be prepared to protect their gear from the elements while being persistently observant. These environments are often devoid of life. It’s crucial to scan the area for compelling subjects to tell a story and give context to a location.’
I give some examples of what you should look for, how to think of capturing lines and curves. I also give some insights on shooting in different climates but I want to make it clear that this is not the focus of the book. Another thing, and I think this makes the book unique, but I’m not entirely sure, is that all 7 continents are represented – including Antarctica.
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I had been asked 2 times in the past to do a book but I either didn’t know the publisher or it seemed like they were trying to make a buck. Then I got approached by Rizzoli and it just so happened that 3 weeks after I got an email from them, I was going to be in New York where they have an office. I asked if I could meet with them.
My whole motivation for FWID is not to get rich but if I’m going to do something, it has to be done well. I really want it to be something that I can be proud of and can put my name on. COVID has caused some delays. I got my first copy of the book a few weeks ago, even though it was completed in February. That’s not normal. I should have gotten it back then, when it was printed.
I couldn’t start promoting a book until I saw it and held it. It needs to be good. If it’s not, I won’t promote it. I looked at Rizzoli’s work, they produce beautiful books and my editor was really awesome. The collaboration started through an email from them and we decided to collaborate from there.
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Drone-wise, I’m shooting a ton with my (DJI) Mavic 2 Pro. I love how small it is, how quick it boots up. That’s a huge thing, it boots up so fast. I also love how quiet it is, that’s a bonus. My next drone that I use is my Phantom 4, but that’s only when I don’t have my phone charged. I hate that I have to use my phone. I know DJI has a Smart Controller but it’s $ 800. I don’t know how I can justify purchasing one.
I use my phone and I hate it on the Mavic so if the phone’s not juiced, I bring my Phantom 4 with a tablet. Also, if I’m shooting during the day, a larger screen is better. For regular photography, I shoot with a Canon 5D Mark IV.
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I’m blown away by the work of Costas Spathis. He finds the most unique places, and I ask myself ‘where does this even exist on Earth and how does he find it?’ Another is George Steinmetz. I remember seeing his camel photos for the first time, and I was blown away. The subject wasn’t the camels, it was their shadows and that’s what made me realize what was possible with aerial photography.
Chris Burkard, who did the forward for this book, inspired me years ago when I saw his photos of surfers in the snow. I had never seen anything like that in my life. He challenged me to go for those unexpected moments like people surfing in frigid temperatures around Iceland.
Those are the photographers who have shown me to look at the world in a different way, and to think differently. On a non-photography level, I’m really inspired by Van Gogh. As I continue to learn about his use of symbolism, it becomes clear that for him it’s more than just a painting. Everything had meaning, and you can tell he put so much thought into every decision he made when creating. It makes me want to do things with purpose and excellence.
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My biggest recommendation is consistency and discipline. So many people think FWID just happened or a print that wins an award or gets featured somewhere big just automatically happens instead of being the result of a lot of work, time, and effort. It takes a lot of failures before you get to a certain level.
One of the things I miss about being a newbie is not caring. I would create something and put it out there. I wouldn’t care because I didn’t know any better. Now that’s disappeared a little bit. I’m cautious, and I ask myself if something is worth sharing or not. It’s good in some ways, bad in others.
If people want to get better, but you don’t have a plan, how are you going to accomplish that? You’re going to be like all those people who make New Year’s resolutions and then a week later, nothing comes out of it.
The point is, when I started taking pictures with my phone, I didn’t care if it was a good photo. I was practicing. I was showing up every day in a discipline, I was in a habit. I made the thing I wanted to get good at a habit. If people want to get better, but you don’t have a plan, how are you going to accomplish that? You’re going to be like all those people who make New Year’s resolutions and then a week later, nothing comes out of it.
You have to be disciplined. You have to have habits. For me, consistency is the biggest factor. Show up, even on the days when you don’t want to, even when you’re tired. Figure out a discipline. For me, that was a photo every day. I don’t know what that means for someone else. The point is, I had a plan and I saw it through.
Articles: Digital Photography Review (dpreview.com)
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Roger Cicala over at Lensrentals went on another OLAF testing spree, and this time the victim of his optical bench tests were the extremely affordable Veydra Mini Prime cinema lenses made for E-Mount and Micro Four Thirds sensors. These lenses are so inexpensive that Cicala has assumed (for some time) that they were also probably also ineffective. But as Roger put it:
[Today] we learned for the umpteenth time that doing scientific testing is a great way to shoot down Roger’s assumptions.
It turns out these lenses aren’t bad at all… in fact, Roger calls them “optically excellent.” And when he put them to the test against Zeiss CP.2 primes that cost 3x (or more) as much money, the Veydra Mini Primes (and here, again, we’re going to use his wording) “the Veydras just kick some serious resolution butt in this comparison.”
Here’s just one of those comparisons (more in the full test at Lensrentals), between the Zeiss Compact Prime CP.2 85mm T2.1 (average of 10 samples) and the Veydra Mini Prime 85mm T2.2 (average of 9 samples):
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| Zeiss on the Left, Veydra on the Right |
Of course, this is a comparison on a single parameter: absolute resolution. But it’s also a comparison between a lens that costs $ 3,990 (the Zeiss CP.2) and $ 1,000 (the Veydra Mini Prime). Still, as Roger points out several times:
[These tests] won’t tell you a thing about how [the lens] focus breathes, how it handles, or whether it has that ‘film’ look. I will simply tell you how well it resolves (because you can roll your artsy eyes all you want; sometimes you have to make things look sharp).
The other factor to keep in mind is the image circle, because the Veydra Mini Primes are… well… mini. They’re only made for Micro Four Thirds and Super 35 image size and won’t cover a full-frame sensor. Still, the results of his test left Roger (and by extension, us) impressed.
Check out the full test over on Lensrentals, and if you’ve used them, drop a line in the comments about their real world performance.
Articles: Digital Photography Review (dpreview.com)
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Fujifilm Holdings has posted its financial results for the first three quarters of the 2017 fiscal year, and it’s all good news for the Imaging Solutions division. The segment recorded a revenue of 297.7 billion yen (approximately $ 2.77 billion USD), a bump of 15.6% year-on-year. Imaging Solution operating income totaled 50.0 billion yen (approximately $ 465 million USD), up 76.1% over the same period during the previous year.
From the figures in its earnings presentation, it seems the bulk of the increase comes from the Photo Imaging business—read: Instax cameras—but strong sales in the Electronic Imaging business show the X-Series is starting to deliver. Quarterly revenue for Electronic Imaging is up 39%, thanks to strong sales of the X-E3, X-T20 and X100F models, and the mirrorless medium-format camera GFX 50S and corresponding lenses.
Sales also increased in the Optical Devices business, largely due to strong sales of various industrial-use lenses, used for example in vehicle cameras or projectors. And, finally, Fujifilm’s presentation also mentions the launch of the new MK series of lenses, which are designed for cinema cameras and targeted at the growing area of video creation for online purposes.
If you want to dive into more detail, you can find all the report documents, including a video of the presentation, on the Fujifilm Holdings website. But long story short: Fujifilm’s Imaging Solutions division seems to be doing very well.
Articles: Digital Photography Review (dpreview.com)
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Battles rage over whether digital or analog is the better medium. But those shouting on both sides are missing out on the simple truth that the two compliment each other beautifully.
With digital photography, there is an ability and sometimes a desire to achieve something precise, while happy surprises can be a big part of the analog draw. Keen photographers realize that shooting with both mediums keeps one creatively-focused and balanced: aware that perfection exists, but open to creative serendipity. Moreover, film gives the user a chance to slow down and be decisive, and digital allows the user to quickly see results and learn.
Of course, many of the readers of our site are digital diehards. But let’s pretend for a moment that we’ve convinced you to dabble a bit in analog. What would be a good camera to run a roll through? What follows is a list of 10 cameras, all of which are easy to find, technically capable, and reasonably priced. These are cameras known for holding up mechanically and don’t require obscure or discontinued batteries, like mercury cells.
Of course, this list is far from complete – there are many excellent film cameras available that fit our criteria. Which is why we’ll be looking to add more periodically. So if there are any you feel particularly strongly about, let us know in the comments. Happy shooting!
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History: The Canon AE-1 was produced from 1976-1984 and in that time more than a million units were sold. One of the first affordable SLRs on the market to feature TTL auto exposure metering, the AE-1 was also the first SLR to use a microprocessor. It is constructed mostly of injection molded plastic to keep costs down. However, this leads to a comparably lighter body than most metal SLRs of the day.
Why we like it: This camera is a solid choice for beginners, offering both a shutter priority and a manual mode (though sadly no aperture priority mode). Metering tends to be accurate and the camera can be powered by a variety of common drugstore batteries. Canon FD lenses are cheap and readily available for the system.
Buy one: These cameras are extremely easy to come across in working order for under $ 100. If buying on eBay, you can often pick up an AE-1 with a bunch of FD lenses and other accessories for about the same price as the body.
Also consider: The Canon AE-1 Program (shown above). The Program was released in 1981 is the follow up to the original AE-1. It is largely the same camera, except for the inclusion of a Program auto exposure mode that sets both shutter speed and aperture.
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History: The Pentax K1000 first debuted in 1976 (same year as the Canon AE-1) and was manufactured continuously for just over two decades. The body is made mostly of metal and the camera is fully mechanical in operation (there is no auto mode). The K1000 has a built-in light meter that runs on generic drugstore camera batteries. Just remember to put the lens cap on to avoid draining the charge!
Why we like it: The K1000 represents a very different approach to the amateur SLR market than the Canon AE-1. Both are great cameras with redeeming qualities, but we really appreciate the Pentax’s mechanical design, which means it can be operated without batteries (unlike the Canon). And due to its metal build, K1000’s tend to stand the test of time quite well. In short, these cameras have a reputation for being simple, but reliable – great for beginners or purists. And there is also a ton of great glass to be had for the system.
Buy one: Not only are these cameras built to last, they were made non-stop for 21 years! So it comes as no surprise that they are easy to find used. Expect to pay between $ 50-$ 175 for one on eBay, depending on the condition. Snagging a deal that includes the body and some Pentax glass is not super likely, but also not impossible. Some collectors claim the bodies with “Asahi” on the prism are more reliable – as they are older and supposedly use fewer plastic components internally – something to keep in mind.
Photo credit: John Kratz
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History: The Olympus XA is one of the smallest 35mm rangefinder cameras ever made. Sold from 1979 to 1985, this camera manages to tuck a very sharp Zuiko 35mm F2.8 lens (with a 4-blade aperture) behind a protective sliding door. The camera is aperture priority-only, however there is a +1.5 Exp. comp. lever on the bottom of the body. The camera itself is built mostly of plastic, but still feels dense in hand.
Why we like it: There’s a lot to like about this tiny rangefinder: It’s incredibly quiet, the lens is sharp and the metering is good. It also represents one of the most unusual camera designs of its time. The focusing lever is admittedly a bit small and fiddly, but the focus depth scale makes things a bit easier.
Buy one: It’s pretty easy to find this camera sold alongside its original accessory flash (which mounts on the side of the body). Expect to pay between $ 50-150 for one in working order, with or without the flash. A note of caution: sometimes these turn up in seemingly working order, but with a dead light meter (bad news for an aperture priority-only camera).
Also consider: The Olympus XA2. It is essentially a simplified version of the XA, but with a 35mm F3.5 lens and zone focusing. Some people find the XA2 easier for casual pointing and shooting.
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History: The Mamiya M645 was the company’s first 6 x 4.5 format SLR-style camera and was manufactured from 1975-1987. It uses an electronic focal plane shutter and features an interchangeable finder and focus screen, but not interchangeable film backs. The camera uses a generic 6 volt camera battery. There are several different versions available including the M645 1000 and the budget-friendly M645J.
Why we like it: These are beautiful cameras both to hold and to operate. Not only that, they are also mechanically reliable. And while there are more feature-packed 6 x 4.5 cameras on the market (including many from Mamiya), few are as affordable as the original M645.
Buy one: These cameras are easy to find in working order. You can expect to pick one up on eBay, with a lens, for between $ 250-350. Note: the M645J model (shown in the image above) is a stripped down version of the M645 for slightly less cash (it has a limited shutter speed range, no mirror lock-up, and one shutter release as opposed to two).
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History: Introduced in 1983, the L35AF was Nikon’s first compact with autofocus capability. Its sharp 35mm F2.8 lens and simple design led it to become a marketplace hit. The camera is fully automatic, but does have a +2EV exposure compensation lever on the front of the body. The metering cell is located directly below the lens and the camera can accept filters. It also has a built-in pop-up flash.
Why we like it: At first glance, the L35AF looks like a cheap, plastic camera. But looks are deceiving. This camera is in fact a gem (the body is actually metal with a plastic shell). As mentioned, the lens is sharp, and metering is accurate. AF is also surprisingly accurate. Plus, the camera is powered by two generic AA batteries. Technically-speaking, this is an outstanding film point and shoot. The only down side is the camera is a tad chunky.
Buy one: You can expect to pay between $ 60-150 for one of these cameras, in working order, on eBay. However the L35AF often turns up in thrift store bins and at rummage sales. Spend a little time hunting and you might find one for under $ 10. There is also the Nikon L35AD, which is the same camera as the L35AF, but with an autodate function.
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History: The Minolta Hi-Matic AF2 first debuted in 1981 and is a fully-automatic fixed lens compact, with the exception of its manual film advanced/rewind (weird, we know). The camera has a fairly sharp 38mm F2.8 lens. And like the Nikon L35AF, the camera’s meter is located directly below the front element, which also accepts filters. The camera runs on two AA batteries and offers a pop-up flash.
Why we like it: There are affordable film cameras, and there is the Hi-Matic AF2. In terms of lens sharpness-to-price ratio, this camera is hard to beat. And while there is no exposure compensation lever as you’ll find on other fixed lens compacts of its time, the camera will warn you if there is not enough light or if a subject is too close. It does this by emitting an irritating beep. It’s plasticky, light weight and a lot of fun to shoot with.
Buy one: These camera can be purchased in working order for between $ 10-35 on eBay. And if you are really turned off by the manual film advanced, consider the Minolta Hi-Matic AF2-M instead. It’s the same camera, but with a motorized film advanced.
Photo credit: Jonathan Mauer
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History: The Stylus Epic or Mju II, as it was called in European and Asian markets, is a fully automatic, weatherproof compact camera that debuted in 1997. Like the Olympus XA, the Stylus Epic features a sliding door to protect the lens – it also doubles as an on/off switch. These cameras are revered for their sharp 35mm F2.8 lens, good autofocus and compact design. Plus the camera is powered by a long-lasting and easily obtainable lithium battery.
Why we like it: There’s a lot to like about the Olympus Stylus Epic. While not everyone is a fan of the camera’s odd, rounded design, this writer finds it fits perfectly in a back pocket. This, plus its weather-sealing make it a great take-everywhere-camera. Also, the flash starts charging as soon as the cover is opened, meaning it should be ready to go when it comes time to photograph a decisive moment.
Buy one: These cameras are a cult classic and can be a tad tricky to acquire. This is partly due to the fact that Olympus made numerous compacts under the ‘Stylus’ and ‘mju’ names. However the Stylus Epic/Mju II is optically the best and therefore the most coveted. You can generally find one for between $ 150 and $ 250 on eBay – not bad for a camera originally marketed as a budget compact.
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History: The N90s, also know as the Nikon F90x in Europe, first debuted in 1994 and was manufactured until 2001. Geared toward advanced amateurs, this camera sounds quite advanced on paper, for a film SLR. Features like 3D Matrix metering, a top plate LCD, 4.1 fps continuous shooting in AF-C and a 1/8000 sec max shutter speed sound like digital camera specs. But don’t get too ahead of yourself, it has only a single AF point and AF performance does not compare to that of modern DSLRs. Still the camera is quite capable. And it runs on four ubiquitous AA batteries, which is a plus.
Why we like it: The turn of the century was an interesting time for camera makers: as consumers slowly began to shift from film to digital, a lot of advanced film cameras debuted at a time when the market was drying up. In a sense, the N90s offers nearly the same feel and handling of a modern Nikon DSLR in a film SLR body. If you’re a Nikon digital shooter, there’s simply no reason not to pick one of these up just to try. They are fantastic.
Buy one: It’s kind of crazy how cheap these cameras can be had. On eBay, expect to pay between $ 40-$ 120. Plus, they are easy to find in working order because of how recently they were manufactured. Just don’t expect to find a sweet deal on one with with a lens included. Oh and be aware, the rubberized coating on the body can become unpleasantly sticky with age, especially if the camera was stored in a warm environment.
Photo credit: Amydet at English Wikipedia
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History: At the time of its release in 1981, the X700 was Minolta’s top tier manual focus camera. A market success, it was manufactured continually until 1999 and was also the final manual focus SLR the company made. Stand-out features include TTL flash metering, a bright viewfinder and multiple auto exposure modes. Like the Canon AE-1, the body is made mostly of plastic, which keeps the weight (and manufacturing cost) down. It uses generic drugstore camera batteries.
Why we like it: The X-700 offers both Program auto exposure and Aperture Priority modes as well as full manual mode, making it a good choice for those learning. Plus, Minolta glass is fairly easy to come by on the cheap for this system.
Buy one: You can expect to pay between $ 75 – $ 150 on eBay for one of these cameras with a lens. And like the Canon AE-1, it’s pretty easy to come across a bundle with camera, extra glass and accessories for around the same price as a single camera and lens.
Photo credit: Retired Electrician
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History: The Canon EOS 5, also sold as the EOS A2 in some markets, is a semi-professional SLR manufactured starting in 1992 and discontinued around the turn of the century. It uses Canon’s latest EF mount, first introduced in 1987. The camera features 16 zone evaluative metering and offers a top burst rate with AF, of 3 fps (5 fps in one shot mode). Other standout features include 5 selectable autofocus points as well as the very first iteration of Canon’s infamous eye-controlled focus. The body is powered by a single 2CR5 lithium battery. These batteries can be a tad pricey, but they’re easy enough to find online.
Why we like it: High and mid-range SLRs from the 90’s are strange beasts: retro in format, while offering some modern-DSLR features. The EOS 5 is a great example of this: it’s highly capable despite its lack of a sensor. Canon diehards can learn a lot about of the lineage of their modern DSLRs by spending some time with the EOS 5.
Buy one: No need to break the bank. You can pick up one of these cameras body-only for between $ 30 – $ 100 on eBay. But because they use the modern Canon EF mount, picking one up with a decent lens is going to set you back considerably more.
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Is there a camera you feel strongly should be added to this list? Is it affordable, readily available and technically capable? Let us know in the comments!
Articles: Digital Photography Review (dpreview.com)
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Roger Cicala over at LensRentals has put Tamron’s new SP 70-200mm F2.8 Di VC USD G2 lens to the test.
Cicala notes that on its own, the Tamron is impressively sharp all the way to the edges at its wide end, and even better in the middle of its focal range. Sharpness drops a bit at full telephoto, but Cicala still says the 70-200 ‘puts in a very good performance.’
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| The Tamron SP 70-200 F2.8 G2 impresses at its wide end of 70mm. |
The Tamron’s performance is comparable to Canon’s 70-200 F2.8L II, though a bit softer at the wide end. When put up against what Cicala calls ‘the best 70-200 zoom on the planet’ – the Nikon F2.8 FL ED VR – the Tamron struggles to keep up, though the gap narrows at 200mm.
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| Sample variation from ten Tamron SP 70-200 G2 lenses at 70mm. |
In addition to lots of MTF charts, Cicala provides some helpful information about copy variation using ten of the new Tamron 70-200mms.
Read the full story on the
LensRentals blog
See our Tamron 70-200mm F2.8 Di VC USD G2 sample gallery
Articles: Digital Photography Review (dpreview.com)
[ By Steph in Art & Drawing & Digital. ]
This ain’t your grandmother’s cross-stitched bible verses. Contemporary artists exploit, subvert and otherwise manipulate the traditional craft of embroidery with hyperealistic portraits, surreal seemingly LSD-induced additions to old photos or pretty flowers added to actual x-rays. Some even use bread – or their own skin – as the canvas for their threaded creations.
Combining visual and performance art, David Cata sews portraits of his family members into the palm of his own hand, poking the thread through the topmost layer of skin. The series symbolizes people who have ‘left their mark’ on the artist’s life, just as the portraits leave their mark on his skin. “Their lives have been interwoven with mine to build my history, every moment lived stays in the memory to finally be forgotten. Somehow, this fact is painful, since there are only material things and traces that people leave behind.”
Flickr user NanaAkua shares photos of the 500-odd, incredibly intricate temari spheres embroidered by her 88-year-old grandmother. Temari balls are a form of Japanese folk art (of Chinese origin), often made from the thread of old kimonos and given as gifts to children on New Year’s Day.
Bears are seemingly turned inside-out with embroidery of their anatomy in stunning lifelike sculpture by Deborah Simon. Measuring about two feet square, the sculptures reveal internal organs, musculature, skeletons and nerves. The series highlights how human desire for their pelts puts these majestic creatures in danger. “Bears are the ultimate stuffed animals; both the iconic plush toy and the prized taxidermy specimen for hunters,” says Simon. “Most of the sculptures deal with vulnerability; the vulnerability that the animals face from environmental degradation, conflicts with people, suburban sprawl and poaching. I particularly find the dichotomy between the defanged, declawed childhood toy and the fierce reality of a top predator fascinating.”
David Cata isn’t the only artist using the thick, relatively bloodless skin of his palms as a surface for embroidery. Eliza Bennet uses a similar method, but her work invokes more of a visceral reaction of disgust for its visual mimicry of wounds. The idea is to highlight the idea of embroidery being women’s work, and women’s work being ‘easy.’ Bennet notes that many low-paid jobs typically aligned with women, like cleaning, caring and catering, can be difficult and labor-intensive. “Through a personally charged perception, I explore a range of issues relating to the formlessness of both individual and social reality,” she says.
Traditional embroidery is juxtaposed with plastic x-ray film in this series by Matthew Cox, superimposing images of vivid life on top of the stark white-bones-on-black. Fleshy hands hold flowers, or reach up toward the sky.
Artist Kumi Yamashita winds a single black sewing thread around a grid of galvanized nails on a wooden board to create intricately detailed portraits.
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Would you believe that none of these pictures are photographs? It’s true – the ten artists featured here specialize in amazingly realistic works of art.
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Human bodies are transformed into three-dimensional living canvases, becoming cars and exotic animals, or disappearing into intricate backdrops.
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[ By Steph in Art & Drawing & Digital. ]
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Less is more! You’ve definitely heard that old saying before, and it couldn’t apply more to the genre of minimalist photography. People’s exact definitions of minimalist photography may vary from person to person, but in general, this style of photography can be summed up in the following way. It makes sure that all of the attention is focused upon the Continue Reading
The post 8 Tips to Become Excellent at Minimalist Photography [+2 bonuses inside] appeared first on Photodoto.
Thats how you do it! SUBSCRIBE NOW!!!!!!!!! Thanks. Tags: activism, advertising, alcohol, alternative-news, ancient-history, animals, animation, anime, architecture, arts, astronomy, atheist, bizarre, blogs, books, buddhism, business, cars, cartoons, cats, celebrities, christianity, classic-ro…
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This is a simple method for adjusting things like levels and contrast to get a different effect from your picture. In this example, I take some pictures of the sky and give them a completely different look.
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