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Posts Tagged ‘Feet’

Earth from 100,000 feet: Sigma sent the fp mirrorless camera into near space

03 Oct

Sigma UK recently collaborated with the company Sent Into Space to send a pair of Sigma fp full frame mirrorless cameras into the upper atmosphere. Sigma 14mm F1.8 lenses were used on each camera. It’s a notable kit because it combines the world’s smallest and lightest full frame mirrorless camera with the brightest full frame 14mm prime lens available.

The Sigma fp cameras and 14mm F1.8 lenses were attached to weather balloons and sent up to an altitude of roughly 19 mi. (about 30.5km). At altitude, the cameras captured high-resolution photos and 4K RAW video of Earth.

No good marketing operation is complete without stunning media to share with prospective customers. Sigma UK published a video to document the process of sending Sigma fp cameras into near space and show off the amazing results of the project.

The launches took place in Sheffield and the first Sigma fp to gain altitude was dedicated to recording 12-bit 4K UHD Raw video and the second camera was dedicated to capturing 24.6MP still images. Each camera was part of a kit that includes on-board equipment to provide data and telemetry back to the Sent Into Space team back on the ground.

The balloons, filled with hydrogen, expand considerably during the ascent. As the atmosphere gets thinner, the gas inside the balloon tries to escape to fill the vacuum. At a certain altitude, the balloon will fail and burst, and the equipment will return to the surface aided by onboard parachutes. As Chris Rose of Sent Into Space points out in the video above, the payload will actually descend at up to 250 mph before the atmosphere gets thick enough to act against the parachute.

Each camera was sent into space with an attached 2TB SSD drive. Even with that much storage capacity, the fp couldn’t record 4K UHD RAW video for the entire flight. The stills camera was set up with an interval timer to capture a still image every five seconds for the entire journey.

To learn more about the Sigma fp, head to our First Impressions. For more on the Sigma 14mm F1.8 DG HSM Art lens and its applications for space photography, check out Jose Francisco Salgado’s ‘Astrophotography with the Sigma 14mm F1.8 Art lens’ article.

(DIY Photography)

Articles: Digital Photography Review (dpreview.com)

 
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Woman, 72, gored by bison in Yellowstone after allegedly getting within 10 feet for a photo

01 Jul

Last week, a 72-year-old Californian woman was gored multiple times at Yellowstone National Park when she is alleged to have gotten within ten feet of a bison in order to take a photograph of the wild animal.

In a statement shared by the National Parks Service (NPS), authorities say they’re investigating the June 25 incident that took place not far from the Bridge Bay Campground, which sits near Yellowstone Lake and is one of the largest campgrounds in the park. In the statement, Yellowstone Senior Bison Biologist Chris Geremia explains the seriousness of getting in the personal space of bison and emphasizes the importance of staying at least 25 yards (23 meters) away from the animals:

‘The series of events that led to the goring suggest the bison was threatened by being repeatedly approached to within 10 feet […] Bison are wild animals that respond to threats by displaying aggressive behaviors like pawing the ground, snorting, bobbing their head, bellowing, and raising their tail. If that doesn’t make the threat (in this instance it was a person) move away, a threatened bison may charge. To be safe around bison, stay at least 25 yards away, move away if they approach, and run away or find cover if they charge.’

The unnamed woman received immediate medical care and was flown via helicopter to Eastern Idaho Regional Medical Center. No subsequent information has been shared on the woman’s condition at this time. This isn’t the first time visitors have been injured or killed while attempting to take photographs of the animals inside Yellowstone National Park, despite multiple warnings posted throughout the park and on the NPS website.

A photograph of just one of the many signs within the park warning visitors to keep their distance from the wild animals.

The NPS reiterated in the news release the following guidelines for how distant you should keep from the various wildlife within the park:

‘Stay more than 25 yards (23 m) away from all large animals – bison, elk, bighorn sheep, deer, moose, and coyotes and at least 100 yards (91 m) away from bears and wolves. If need be, turn around and go the other way to avoid interacting with a wild animal in close proximity.’

People are understandably excited to get back out to explore nature — this incident occurred just two days after the park re-opened following restrictions put in place due to the COVID-19 pandemic — but it’s not worth risking lives (or camera gear) for the shot.

Articles: Digital Photography Review (dpreview.com)

 
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Opinion: Film photography has found its feet again

04 Mar
Photo: Hamish Gill

Film photography is not what it used to be. It’s changed – or more, it’s evolved. For the better, too. But I bet there are a lot of people who haven’t even noticed!

Photography just seems to be one of those pastimes that has the potential to get under people’s skin. There are so many ways to take part that it’s no wonder we find ourselves in camps, adopting one or a couple of methodologies, approaches, processes or even brands, and taking ownership of them as if they belong to us.

In doing so though, it’s all too easy to fall into the trap of forgetting that our approaches and whims are just a product of our own choices, and therefore simply right for us. Instead, it appears to me that a large majority of photographers get into the habit of thinking they have made the ‘best’ choices and that everyone else who doesn’t follow suit is somehow wrong, deficient or missing out.

Film photography in 2020 is what it is – not because of a battle with digital, but because of how it has integrated with and into it

Unfortunately, in our world of social media and websites and forums and blogs and YouTube and ‘influencers’, it feels a little bit like the views and opinions held by the majority can leave little room for the views and opinions held by everyone else.

So what’s all this got to do with my opening gambit?

Well, it’s my view that because of all this, many photographers who have committed wholly to digital photography might not have noticed a real change in the film photography landscape.

The pixl-latr is a product I launched on Kickstarter as a low cost and effective solution for digitizing negatives.
Photo: Joe Handley

Now, please don’t think I’m about to start waffling on about growth in film sales and increased interest in more traditional photography mediums as a whole. It is true that there has been quite significant growth, but to my mind, the growth is at least in part a byproduct of a change in attitudes toward film photography. Attitudes that I have seen perpetuated through some of the hundreds of thousands of words I’ve published by the many photographers who have written for my website, 35mmc.

It’s true that I still see the occasional ‘film vs. digital – which is better?’ YouTube video pop up, but it has long been my view that these conversations are behind the curve. It actually strikes me that this argument is dead, and this seems to be an opinion shared by an increasing amount of people. Not because one side won or lost, but because the sides have joined forces.

Film photography in 2020 is what it is – not because of a battle with digital, but because of how it has integrated with and into it. Digital has changed film photography for the better, and I feel quite strongly that the opposite is true too.

The FIlmomat is an updated automatic film processor, launching soon!
Photo: Lukas Fritz

To begin with, the simple way people are using digital cameras and the advancements in both software and hardware for the digitization of film are examples of how the technology has advanced in favor or supporting film photography. But digital has also helped democratize film photography. The barriers to entry are less, and not just when it comes to amateur-level kit.

Film photography has influenced digital technology too. As most readers here will be aware, some of the bigger brands have taken inspiration from film cameras. Fujifilm is probably the most notable with their retro-aesthetic digital cameras and built-in film simulations. The way film looks, or at least the way people think film looks has – for better or worse – influenced digital photographic styles.

The ways photographers approach image creation seems to have been cross-fertilized between the worlds of film and digital

And that’s all even before we consider people’s workflows and attitudes toward creating images. The creative ways photographers approach image creation as a whole seems to have been cross-fertilized between the worlds of film and digital. So for example, in the last few years, we’ve seen a huge increase in the use of ‘vintage’ lenses – something that I’m pretty certain is attributable to an increase in photographers seeking something of a more film-era-like ‘feel’ to their work. And then there’s how digital workflows such as the use of Lightroom has for some people sped up or aided in the process of using film and other traditional mediums as a starting point to a final image.

The Cameradactyl OG is an affordable 3D-printed 4×5 camera.
by John Whitmore

In short, film and digital workflows, technologies and creative approaches have merged. The narratives around which is ‘better’ have – for many at least – fallen by the wayside. The questions of how they can be combined for the benefit of an increased range of possibility and potential have come to the surface instead.

But, while all this is true, there’s no drama in a draw – neither side won the battle, so the story has had few attention-grabbing headlines. There’s less of an angle to hang opinion off in the gray area. Nuanced opinions, fence-sitting and happy mediums don’t get clicks, views, upvotes, likes or shares so readily.

Film and digital workflows, technologies and creative approaches have merged

I had to pose a combative opening gambit just to get a lot of you to read this article, I’m sure. But really, I didn’t want to… well, if I’m honest, I sort of did, because I quite enjoy the argument. But my argument is not one of trying to convince people to think one way or another about how to create or take part in photography. I prefer instead to try and highlight the fact that the arguments themselves are often quite pointless.

In short, there is no one true path! In fact, one of the most beautiful things about photography is in the wealth of choices it provides us with.

Which is ultimately why film photography has found its feet again. Not as I say because it’s won any battles, but instead, that for all the objective differences and subjective reasons why people might choose to shoot it; despite what the majority might think and say about it, it’s still an option that’s available to people. And moreover, in 2020 it’s an option that quite readily fits into our modern digital world if and when required or desired.


Hamish Gill is the publisher of 35mmc.com and a moderator in our Film Photography forum.

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Feet

10 Feb

Look down! All the way to your feet. This week it’s time to get low-down and shoot some images of feet. It can be your feet doing something interesting, or other people’s feet, or even animal feet (paws). Include faces if you want – but make sure the true subjects (the feet) really stand out.

Photo by Meg Kannan on Unsplash

Weekly Photography Challenge – Feet

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

The post Weekly Photography Challenge – Feet by Darlene Hildebrandt appeared first on Digital Photography School.


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Prefab Plyscraper: World’s Tallest Timber Building Tops Out at 173 Feet

27 Sep

[ By WebUrbanist in Architecture & Public & Institutional. ]

On the University of British Columbia’s campus in Vancouver, a new record-setting wood structures highlights the many advantages of a growing trend: vertical timber construction. Brock Commons Tallwood house is the highest of its kind to date, providing housing for over 400 students.

The Canadian firm behind its construction, Acton Ostry Architects Inc, says that using wood allowed for a much faster building process. Offsite testing of wood-to-wood connections and structural stability meant less time onsite spent figuring things out. Combined with prefabrication techniques, these approaches helped the builders finish the tower in just 70 days.

In addition to cost and time savings, wooden structures like this one are lighter weight, requiring less energy input during construction while also making them more flexible and resistant to earthquakes.

Sustainable forestry also enables them to sequester carbon while using a renewable resource — wood buildings like this open the door to carbon-neutral or even carbon-negative projects. Use of glue-laminated beams and columns also allows thinner trees and offcuts to be used in the construction process, reducing waste and growth time for harvested plants.

Some concrete was still required for the elevator cores, metal was needed for connections, and windows, of course, required glass. Still, compared to steel-framed structures, the amount of these materials used was dramatically reduced. And this project is not alone — around the world, forward-thinking architects and developers are beginning to realize that wood is a useful material for building tall.

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[ By WebUrbanist in Architecture & Public & Institutional. ]

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World’s Longest Pedestrian Suspension Bridge Stretches Over 1,000 Feet

04 Aug

[ By SA Rogers in Drawing & Digital. ]

Three hundred feet above the valley floor, a suspension bridge gently sways and bobs as pedestrians cross its 1,621-foot length through the Swiss Alps. These impressive stats have helped the Charles Kuonen Suspension Bridge in Switzerland break previous records, making it the longest pedestrian suspension bridge in the world.

Sure, the glass-floored bridge in China is higher and forces you to look down from your precarious position, but this bridge is almost as scary, considering that it’s not stationary and measures just two feet wide. That means you have to march down its length single-file, making it harder to clutch onto others for dear life.

The bridge was completed in 10 weeks by Swissrope and offers magnificent views of the surrounding mountains, including the Bernese Alps and Matterhorn (if you manage to look up and enjoy them instead of staring at your feet and trying not to hyperventilate.) It features a grated metal floor, runs between 5,000-7,000 feet above sea level, and takes ten minutes to walk cross. The pass through the mountains previously took four hours to navigate.

Photos taken from the air (provided by the Switzerland Tourism Board) give us the best idea of the bridge’s scale. The Charles Kuonen Suspension Bridge links two sections of the Europaweg hiking trail, a two-day link between the towns of Zermatt and Grächen, and replaces an older bridge that was damaged by falling rocks. It’s named for its primary sponsor.

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[ By SA Rogers in Drawing & Digital. ]

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Prime Lenses: Can you really zoom with your feet?

16 Mar

There’s a common maxim touted in photographic circles, especially in online forums and message boards. It states that some of the limitations of shooting with a prime lens can be overcome by simply moving your body around. The idea of “zoom with your feet” or SneakerZoom, as it’s sometimes called, is often used as a panacea for those who think prime lenses are limiting in terms of what they can do compared to their zooming counterparts.

To a certain extent this is true. If you want to get closer to your subject you can just physically move your body if you don’t have a zoom lens, but doing so results in images that are not at all the same as using a zoom lens. Zooming with your feet is somewhat of a misnomer because zooming implies a change of focal length. But when you move around with a prime lens you are not changing the focal length at all. Instead, you are recomposing with your feet. In this article I’ll explore why this is a simple but significant difference using a few examples below.

Prime Lenses: Can you really zoom with your feet?

How lenses work

To understand how lenses work it’s important to know a few things. The focal length is a measurement of the distance between the optical center of the lens (the point at which incoming light converges) and the image sensor of the camera to which it is attached.

Many cameras come with what’s known as a kit lens. Most of those cover a relatively modest range of focal lengths, with the most common being about 18mm to roughly 55mm. At 18mm, the lens bends light in such a way that the incoming light converges on a point 18mm in front of the image sensor. This results in a field of view that is about 76 degrees wide. (Assuming you are shooting with a crop-sensor camera like a Canon Rebel or Nikon D3300. On a full-frame camera like a Canon 5D Mark IV or Nikon D810 it would be about 90 degrees.)

At 50mm, the angle of view changes to roughly 31 degrees. The practical implications for this are that you can simply fit more in the frame when shooting at a wider focal length versus a longer one. Take the example of photographing a tree, as you can see in the following illustration.

Prime Lenses: Can you really zoom with your feet?

Angle of view versus moving your feet

Shooting at 18mm would allow the photographer in this example to fit the whole tree in the frame, but unfortunately this photographer is using a 50mm prime lens that does not zoom in and out. At this point, you might be thinking, “No problem, just walk backwards to get the whole tree in the frame”.  My good friend Bob Slydell from the movie Office Space would respond, “Just a second there, professor.” While it’s true the photographer could walk backwards and reposition himself such that he could fit the entire tree in the picture, there are two problems with this solution:

  1. There is a pond filled with crocodiles right behind him
  2. He would still have a 31 degree viewing angle

No matter how far backward, forward, or sideways the photographer in this example repositions himself, the angle of view with the 50mm lens will still be the same. Theoretically, he could construct a raft and float across the pond in order to fit the entire tree in the frame. But doing so would result in a dramatically different picture than if he just uses a wider lens to begin with. Zooming with his feet, or in this case with a boat, will work to get a picture of the tree, but doing so will alter the other compositional elements of the photo.

An example

To see how this works, here’s a revised version of the image above wherein the photographer has retreated far enough to get the entire tree in the frame. In this example, there are five pinwheels behind the tree that are well contained in the wide-angle shot. While moving backward has solved the issue of getting the tree in the frame, the narrow viewing angle means that not all the pinwheels fit in the shot.

Prime Lenses: Can you really zoom with your feet?

The only way to solve this problem using a Zoom With Your Feet solution would be for the photographer to move way back such that the tree and all the pinwheels could fit in the frame. At which point the original subject (the tree) would be so diminished that the image wouldn’t be the same at all.

Real life examples

Of course, this is a theoretical example, but watch what happens when the same type of scenario is replicated in the real world. I shot the following three images using my 70-200mm lens. Watch what happens as the focal length, as well as the distance to the subject, changes.

Shot #1 – 70mm, from far away

Prime Lenses: Can you really zoom with your feet?

70mm, f/4, ISO 100

Can you tell what the subject is in this picture? It’s supposed to be the artwork in the middle–a boy fishing with his dog, carved from the trunk of a fallen cypress tree. The angle of view in this picture is about 34 degrees (I shot this on my full-frame Nikon D750), which is enough to capture lots of scenery in the frame. Notice how in addition to the boy and his dog you can also see trees, a building, and even some foreground elements such as a pond and grass.

Shot #2 – 200mm, from far away

Prime Lenses: Can you really zoom with your feet?

200mm, f/4, ISO 100

Standing in the exact same spot as before but zooming into 200mm has had a dramatic impact on the picture. Now the viewer’s attention is focused squarely on the carving, and the field of view is now limited to a much narrower 12 degrees. Note where the head of the carving is in relation to the building in this image: it is framed between two columns on the first floor above the ground, which is quite different from the next picture.

Shot #3 – 70mm, shot from close up

Prime Lenses: Can you really zoom with your feet?

70mm, f/4, ISO 100

This final photograph was made by zooming with my feet, I repositioned myself to be much closer to the tree carving. The resulting image is similar, in that the carving itself is roughly the same size as in the 200mm shot, but the field of view is 34 degrees because I shot this at 70mm. Even though the subjects are similar in shot #2 and shot #3, the pictures are entirely different!

The wider field of view in shot #3 resulted in an image with a lot of background elements that distract the viewer. The boy’s head is now positioned near the top of the building, despite the fact that my camera was the same distance above the ground. While the classic SneakerZoom technique has certainly worked to get my subject looking how I wanted, the end result is quite different from actually using a proper zoom lens.

Zooming with your feet is NOT the same

These examples show that while you certainly can zoom with your feet, doing so is not the same at all as zooming with a telephoto lens. When you move around you are not really zooming but recomposing. While this is not a bad thing, it is something to be aware of when choosing lenses or honing your photography technique.

As another example of this phenomenon, here are two pictures from a recent session I did with a local family. I shot the first one with my 70-200mm lens. It’s a traditional portrait-style image with a blurred out background with the focus squarely on the faces and upper bodies of both women.

Prime Lenses: Can you really zoom with your feet?

200mm, f/2.8, ISO 100

I then zoomed all the way out to 70mm in order to get a closer, more personal image of the two women. After changing to a 70mm focal length I had to walk much closer to the ladies, essentially zooming in with my feet, in order to get them to appear the right size in the frame. The resulting image feels entirely different, not just because they are sitting on the ground showing off their matching wrist tattoos, but because you can see that they are sitting in the middle of a green field strewn with autumn leaves.

70mm, f/4, ISO 100

Shooting at 200mm meant a highly compressed field of view with only a small slice of the trees and background visible. Whereas in the bottom picture you can once again see the effects of the wider viewing angle afforded by shooting at 70mm.

Different planes

One final example that’s necessary to illustrate this phenomenon, is when you and your subject are not on the same horizontal plane. In these situations, changing your focal length can bring you much closer to what you are trying to shoot, whereas walking around will significantly alter the scene, based on the foreground and background elements, as well as the angle from which you are viewing the subject.

Shot #1 – 70mm, from far away

Prime Lenses: Can you really zoom with your feet?

70mm, f/4, ISO 100

This image looks decent, but I didn’t like how the flags shared the frame with the building behind them, especially the chimney in the corner with the radio antenna. Since I shot this at 70mm I had a couple options to improve the shot; including zooming into 200mm or zooming with my feet to get closer to the flags. I started with the first option and was very happy with the result.

Shot #2 – 200mm, from far away

Prime Lenses: Can you really zoom with your feet?

200mm, f/4, ISO 100

Zooming with my lens gave me a much better picture. One that focuses entirely on the flag pole with no distracting background elements and a nice cloudy sky to help the flag pop out of the frame. One tradeoff is that the Oklahoma flag is no longer visible. I could have zoomed in only partially to 135mm if I wanted to include it, but I decided that the picture would be more impactful if it just had a single subject instead of two flags. After getting this shot I zoomed in with my feet to see if I could get a decent picture at 70mm by moving much closer to the subject.

Shot #3 – 70mm, shot close up

Look at how different this final image is compared to the 200mm version! While I was able to get the United States flag much larger in the frame, I ended up shooting from such a low angle that the flag pole itself draws almost as much attention as the banners it is holding. The Oklahoma flag is also visible in this version, which has the unfortunate side effect of creating an image that is unfocused and busy. There are now two subjects in the frame (three if you count the pole.) This leaves the viewer with a sense that the image is cluttered and unfocused. Zooming with my feet did allow me to get closer to the subject, but it altered the composition so significantly that the resulting image is unusable.

Conclusion

Hopefully, these examples will help you start to visualize why moving around is not at all the same as changing your focal length. Please understand that I’m not saying you should sell all your prime lenses and rush out to buy a zoom lens, though. I use prime lenses all the time, and by far my most-used lens is the Nikon 35mm f/1.8 for its size, weight, and sheer versatility.

My goal is simply to help you understand that when you are shooting with a prime lens you need to know that moving closer to, or farther away from, your subject does not have the same effect as actually changing the focal length. Once you understand that, you can start using this knowledge to your advantage. You can structure your photo techniques around this important limitation of prime lenses, and hopefully, take much better pictures as a result.

The post Prime Lenses: Can you really zoom with your feet? by Simon Ringsmuth appeared first on Digital Photography School.


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Gitzo updates Systematic tripod range with new materials, big feet and Easy Link sockets

05 Oct

Gitzo has introduced a new range of Systematic tripods that it says are more stable and stronger, and which feature new locking mechanisms for the leg sections. The latest models use what the company calls Carbon eXact for the leg tubing, which it claims offers improved ‘balance between rigidity and weight’. The Systematic range is Gitzo’s top end series and the tripods are designed for heavy cameras and long lenses. Larger feet have been introduced for the new models to prevent slipping and for making uneven ground more easy to rest on, and the twist-lock leg sections have been given G-lock Ultra clamps that Gitzo says are quicker and easier to use.

The company has also added a connector for the Manfrotto Easy Link system in a first for the Gitzo line-up. This threaded socket allows accessory arms and clamps to be attached to the casting of the tripod so reflectors, flash units, trays and other accessories can be held in place.

The new models will be priced from $ 799.99/£649.95 and a new range of monopods will start at $ 319.99/£214.95.

For more information see the Gitzo website.

Press release:

Gitzo introduces:
The New Generation of Photography Support Solutions

October 2016 – Gitzo, pioneers in developing some of the most advanced and revolutionary technologies for professional camera equipment, proudly introduce the new generation Systematic tripod family and the latest Monopod family, setting new industry standards in premium photography equipment.

The iconic Gitzo Systematic tripod family is the high-end choice for exacting professional photographers who use long lenses and heavy cameras and require extreme precision – down to the smallest detail – in their work and equipment. The new Gitzo Systematic tripods leverage the latest innovation for the greatest performance ever: the leg tubes are upgraded to Gitzo’s latest generation Carbon eXact, improving the balance between rigidity and weight. New, 50mm diameter big feet enable ultimate stability, preventing slipping and movement. The new G-lock Ultra allows even more comfortable operation and protection while the leg angle selectors guarantee a quicker switch between leg angles – further enhancing ergonomics. Moreover, the new Gitzo Systematic models feature the Easy Link attachment, a 3/8” thread through which a rich array of innovative photography accessories can be attached to facilitate the most advanced shooting techniques. The tripods are offered in a new sizing assortment.

The new Gitzo Monopods are designed to guarantee unfailing support for the highest quality equipment, enabling professional photographers to comfortably capture the golden moment. They are the ideal combination of rigidity, light weight, precision, rapid set up speed and ergonomics. Now even stronger than before thanks to state-of-the-art Carbon eXact tubing and G-lock Ultra leg locks, their new big foot ensures rock-solid footing on any surface while providing smooth movement with its integrated ball; the new models also feature enhanced aesthetics and improved sizing selection.
Series 4 Gitzo Monopod models (top leg diameter 37.0mm) replace the previous Series 5 models; the slimmer top tube contributes to an easier grip and lighter weight, while ensuring rigidity from the stiff Carbon eXact tubes.

Underscoring Gitzo’s dedication to groundbreaking excellence, the refinements to the new Systematic tripods and Monopods – in terms of strength, stability and rigidity, safety and security, set-up speed, ease of use and ergonomics – set new paradigms in the photography equipment market.

Gitzo photography products are superbly engineered to withstand the roughest handling. Precision assembly, high quality materials and fine control are distinguishing qualities that represent a market leader that has been unsurpassed for over half a century.

Pricing for the new Systematic tripods starts at £649.95. The new Systematic monopods are available from £214.95.

More information on the new Gitzo Systematic tripod and Monopod ranges can be found online at www.gitzo.co.uk/tripods-systematic

Articles: Digital Photography Review (dpreview.com)

 
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21 Pics of Tender Tootsies – Feet

20 Aug

One mistake new photographers often make is always shooting from the same point of view – eye level – and always looking for subjects at the same height.

This week I have found some photographers who looked at things a bit differently and chose to look down – to their own feet – or to other people’s shoes and feet. Here is a connection of images of feet (not all human necessarily) and shoes where the photographers chose to see a little outside the box.

Images of feet and shoes

MIKELIKEBIKE

By MIKELIKEBIKE

Mister G.C.

By Mister G.C.

Malia

By Malia

Caroline

By Caroline

Khánh Hmoong

By Khánh Hmoong

M I S C H E L L E

By M I S C H E L L E

Monroe's Dragonfly

By Monroe’s Dragonfly

Craig Sunter

By Craig Sunter

Ariel H.

By Ariel H.

Tomstar3000

By tomstar3000

Maria Teresa Ambrosi

By Maria Teresa Ambrosi

Khánh Hmoong

By Khánh Hmoong

Michael Frank Franz

By Michael Frank Franz

Litherland

By litherland

James Jordan

By James Jordan

Dean White

By Dean White

Juan Antonio F. Segal

By Juan Antonio F. Segal

Girl/afraid

By girl/afraid

Khánh Hmoong

By Khánh Hmoong

AndriuXphoto

By andriuXphoto

Donnie Ray Jones

By Donnie Ray Jones

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Weekly Photography Challenge – Feet

20 Aug

Tootsies, feet, toes, the often forgotten and less photographed part of the anatomy. See some photos of feet here.

Greg Pye

By Greg Pye

Weekly Photography Challenge – Feet

This one isn’t hard – you don’t need any special gear, or an exotic location. Just go out and find some feet!

Think outside the box on this one too – look not only at your own feet and other humans but at dogs, cats, all pets, statues, toys, etc. How can you photograph feet to make an interesting and compelling image? Can you tell a story with feet?

Navy Blue Stripes

By Navy Blue Stripes

Graeme Paterson

By Graeme Paterson

Khánh Hmoong

By Khánh Hmoong

Rick Harris

By Rick Harris

Share your images below:

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer upload them to your favourite photo sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

You can also share your images on the dPS Facebook group as the challenge is posted there each week as well.

Micah Camara

By Micah Camara

Maia C

By Maia C

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The post Weekly Photography Challenge – Feet by Darlene Hildebrandt appeared first on Digital Photography School.


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