One of the accessories you can purchase for some of Lomography’s instant cameras is the Splitzer, an add-on component that makes it possible to shoot multiple exposures on the same frame. Unfortunately, the accessory isn’t available for the Fujifilm Instax Mini 90, but photographer Guillermo Hernandez has managed to create his own 3D-printed version for the popular camera.
Like the Splitzer, the 3D-printed component simply attaches to the front of the lens. To capture a double exposure, simply cover the half of the frame you don’t want exposed, take a shot, then rotate the Splitzer 180-degrees before taking another shot.
As you can see in the sample photos below, this allows you to create unique compositions wherein a single subjects can be in two places at once or frame the same object side-by-side.
It’s undoubtedly a novel accessory, but it’s a fun way to get a little more out of a Fujifilm Instax camera. Hernandez is selling his Instax Mini 90 Splitzer in multiple colors for $ 5 on eBay with $ 3 shipping, but if you have access to a 3D printer and know some basic CAD tutorials you could probably whip up one yourself. Hernandez has other 3D-printed photo-related products on his eBay store, too.
The post The New Corona Photography Workflow- Shoot Privately but Share and Participate Publicly appeared first on Digital Photography School. It was authored by Herb Paynter.
The bad medical virus
While the planet seeks a solution to the pandemic problem, may I suggest we use this opportunity to participate in an innovative photographic exercise? This might be just the spherical ray of light (corona) we photographers need in the midst of a dark and scary time. Fortunately, photography is a very personal process. We all use digital devices to capture interesting subjects and express emotions, but none of those devices are multi-person in function. So why not step up your personal photography and share your projects more openly online with a Corona photography workflow.
There are two obvious opportunities available to everybody that are both extremely safe while being very public. Why not join both the Facebook groups of your local photo club as well as the DPS Facebook group and (safely) start sharing more openly with thousands of your closest friends?
I’m appealing to the leadership of every photo and camera club to provide online assignments and challenges based on the subject of light. Publish each submission publicly and give recognition to all entries.
The assignments and challenges can be announced on club Facebook pages and posted (in larger sizes) on club websites. This will not only promote activity within the clubs but will share those talents with the rest of the world’s photo enthusiasts. This kind of effort will show the heart of the digital photo community and will widen the family circle and lift the spirits of millions.
Digital photography is a very dynamic and growing lifestyle, especially with the increased photographic capabilities of today’s camera phones. Photo clubs are comprised of all echelons of experience and all levels of equipment and now includes a growing number of phone photographers.
We’ve all seen some pretty amazing examples of great pictures captured by camera phones, with several clubs even featuring dedicated internal groups. The software features within these phones are both mind-boggling and beyond the capabilities of many very expensive dedicated digital cameras.
Add to this the ability of camera phones to immediately (and extensively) edit and post images to all forms of social media.
The good digital viral process
Lifestyle photography is widely accepted, and the sharing of images is commonplace in our world culture. Since we all travel with these mini-marvels, virtually everybody can participate in this Corona photography workflow project, and with little effort, it will go viral quickly. This kind of virus is good. This way, personal creativity can be unleashed and shared almost without limits in either subject matter or interpretation.
If well-coordinated, it can unite the minds and emotions of people and redirect emotions to a positive place while the medical world works diligently on an effective solution to the medical problem.
Social community should be a goal that is openly promoted and encouraged by local photo clubs sponsoring “socially distanced” group activities and photo opportunities. Photo challenges can be organized online through a number of social media. During a time of world crisis like we are currently facing, the nervous human psyche can either suffer fear-overload or be creatively redirected. This is one avenue that we can all travel safely.
Shared activities need not stop; they simply need to be redefined as virtual group activities. This new sharing can become interpersonal and actually create stronger bonds between individuals who otherwise might not participate in typical meetings.
Social media has proven to provide a community sharing process that is even more inclusive than literal clubhouse meetings. This digital extension of the photo community clubhouse has a very real chance to involve persons from all aspects of society and age groups.
Keeping your distance
Digital cameras offer the ability to capture images from a distance and thus maintain and observe the six-foot protection rule. Even if you don’t have a telephoto or zoom lens, the higher resolution of cameras and phones allows image enlargement to reveal distant detail – especially since Internet images are usually restricted to around 1500 pixels (long dimension). No longer are photographers restricted to close proximity to the subject to capture significant detail.
This resolution restriction can actually work to your advantage in this respect: you can enlarge images to a greater magnification with no noticeable loss of detail.
Keeping your distance also allows you to capture images more candidly and thus more naturally. This is how you turn a limitation into an advantage.
While the normal reticence of sharing in public is a barrier that holds back some from participating in public meetings, with this online Corona photography workflow, sharing ideas and experiences might just break that barrier for some and provide them a fresh opportunity to participate. Now they can share a voice and increase personal involvement in a (socially and medically) safe environment.
In social media, everybody is on level ground and has an equal chance to “speak up” and participate. Sharing is a vital part of the human experience, and this unique opportunity could provide that social spark that we need to get through this situation and be better for it.
The Internet provides both good and not-so-good subject material and expression, but within the individual online club environment, this behavior can be more carefully monitored and even protected.
The challenge
Here’s what I propose that we adopt and promote without hesitation…
Individuals:
If you are not currently a photo club member (either local or online), join (at least) one right now; I am a member of several.
Each local club has a website and a Facebook page. Even if you only read DPS articles and rarely comment, this will give you a chance to speak out (in a silent way) and let us hear from you!
Search your favorite social media for online groups and clubs. There are dozens available, and many are geared to unique kinds of photography. There is rarely a fee involved, and your involvement is welcomed.
I just started an online Facebook group called “Corona Camera Club” just to push back on the negative connotation and put a new twist to the term. This will be a group based on light, not darkness. The basic “focus” of the group will be on the lighter side of photography. I invite everyone to join in and start sharing photos and posting positive experiences. There’s enough negative energy in the world right now, let’s turn up the light and keep it positive.
Club and group leaders
Post challenges to your members based on weekly (or monthly) themes. Keep these themes upbeat and creative. Provide online access to articles and presentations that would normally be presented in your local club meetings.
Contact all your members individually and encourage them to enlist one friend every week to join the group. This Corona photography workflow effort is like an old fashioned block party where all neighbors gather and share food and activities. Okay, we can’t eat online, but we can interact more frequently.
Don’t hesitate to research group sharing opportunities available to businesses and online schools to conduct interactive meetings and turn them into online clubhouses. I certainly invite your current members to join our CCC Facebook group too. Let’s make this a universal family project.
Get creative
Take this opportunity to show your creative imagination. Share images that are upbeat, positive, and inspiring. We all need to be realistic about the problems and risks and our physical activities are restricted, but our minds can run wild. Use this time to brighten eyes and uplift spirits. I’m using this post to try out a personal interpretation of some of my nature shots.
Finally, make your contributions and comments often and regular. Since this Corona medical crisis has limited our physical gatherings, let’s just gather online and channel our energies in a more positive collective enthusiasm. Use your computer, your tablet, and your phone to connect with friends and loved ones using all the services that are available. Love and camaraderie are contagious too, and this kind of infection is all good.
Let’s determine to find the lighter side of this dark cloud and turn the threatening negative into a big positive. When this scary time is over, the new friendships and associations will be all the deeper, and we can resume our lives on a higher level.
Remember, the word corona only recently has been defined by a virus. One of the dictionary definitions of corona describes the super bright crown of light that surrounds the Sun. It’s time to get out of the darkness and dive into the light.
Let’s participate in this Corona photography workflow and give this word a new meaning as we lighten up.
The post The New Corona Photography Workflow- Shoot Privately but Share and Participate Publicly appeared first on Digital Photography School. It was authored by Herb Paynter.
A general view before the start of UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Editor’s Note: Some of the photographs in the interview below are graphic due to the violent nature of mixed martial arts events. Proceed accordingly.
With the world all but paused due to the ongoing COVID-19 pandemic, most sporting events have either been delayed or downright canceled. Some sports, however, are allowing events to continue taking place, albeit with minimal personal, very proactive testing and—most interestingly—no audience.
One such event was the mixed martial arts event UFC 249, which took place on May 9, 2020 at VyStar Veterans Memorial Arena in Jacksonville, Florida, United States. Only a few photographers were allowed to document the unprecedented event, one of whom was Cooper Neill, a freelance photographer from Dallas, Texas, who on assignment at UFC 249 for ESPN. We had a chance to talk with Neill about what it was like to shoot such an unusual event. Below is the interview, edited for clarity, as well as a selection of images from the event.
How many photographers were allowed to be there and how were they chosen?
For UFC 249 there were only 4 photographers cageside (Getty, Associated Press, USA Today and myself working for ESPN) along with the UFC photographer who is in a fixed position on top of the Octagon. I’m sure they had other folks apply for credentials but given the small space of the Octagon there aren’t many photo positions to begin with so I’m assuming numbers were limited to make sure folks are able to properly social distance themselves as best as they could.
A general view during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
What precautionary measures were taken for yourself, the other photographers, as well as the fighters and other participants?
I showed up with a mask, gloves, hand sanitizer, sanitizing spray w/ paper towels and alcohol wipes to wipe down my equipment. I stayed at the same hotel as the UFC staff so I was given a nasal swab test for Covid-19, an antibody test and regular temperature checks including one to get into the arena on fight day. I’d assume the other folks in the building did the same – I saw a few folks with goggles on and some with face wraps that offered more coverage than the masks.
Henry Cejudo fights against Dominick Cruz during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Was it more difficult to shoot with the PPE and having to constantly sanitize? Also, did you have to stay further away from the athletes than you normally do?
The extra PPE really didn’t make a difference for me. If I were wearing goggles they would have fogged up which is why I opted not to. There was time between fights for me to make sure my area was clean, the UFC staff would sanitize things between fights as well and then I’d sit down and transmit a few photos from the previous fight to my editors at ESPN. We are already a good distance away from the athletes and I think everyone in the arena was very aware and respectful of people’s personal space. With so many fewer people there was more space to operate which was super helpful as well.
Anthony Pettis throws a kick against Donald Cerrone during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Did you have to change how you photographed the event and did you take photos any differently than you normally would’ve?
Yes and no – I always show up to events looking to tell the story of the event as a whole and not just the action – so in that way I approached things the same way I do the NFL playoffs or World Series. On the other hand there was an equal if not greater interest in UFC 249 because of what’s going on in the world than the actual fights so I probably sent in more scene-setting and storytelling images than I normally do because in my opinion that was more important than most of the fights.
Joe Rogan interviews Calvin Kattar after his win during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Was it weird actually being able to hear your shutter click when you’re probably used to it being drowned out from crowd noise?
Sony user here so I’m used to not hearing the shutter – but having the event in an empty arena was a big change. Not having a pop from the crowd after a big punch really changed the environment and feel of the event. On the other hand it was really cool being able to hear both fighters coaches giving instructions, the fighters talking to each other between rounds and the commentators doing their play by play which are all things that are usually downed out by the crowds.
Niko Price has talks with Vicente Luque after losing his fight during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Did the athletes seem to have a different type or amount of energy compared to previous events you’ve shot?
I don’t think they’d admit it but I think there was a different energy – not a bad thing – but different. In my opinion the fighters were much more relaxed than they normally are with significantly less distractions in and around the arena. The intensity was definitely still there.
An arena employee watches the fights on a tv in the concourse during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Overall, what were the pros/cons of shooting an event in an empty arena?
Pros – cleaner backgrounds, easier on your ears and more space to work
Cons – no fan interactions with fighters and no fan reactions
Justin Gaethje throws a punch against Tony Ferguson during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Do you see more empty-venue events taking place the remainder of the year? If so, what did you learn from this event that will change how you shoot other fan-less events going forward?
From what I’ve read it looks like most if not all pro sports are planning on moving forward with empty arenas for a good while. The thing that I’m curious about is how they manage media access in everything. Football games have 50+ photographers on the field roaming the sidelines close to each other and the players – it’s hard to imagine that happening in a few months. I think it’s realistic to imagine 50% less credentialed photographers for most sporting events in the future just to allow folks to socially distance themselves better.
A member of the UFC crew cleans the Octagon between fights during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
What gear were you packing and why did you choose the camera/lenses you did for this particular event?
I used 2 Sony a9s with a combination of a 70–200mm f2.8, 16–35mm f2.8 and 400mm f2.8. The majority of the images were made with the 70–200 but used the others to get some wide or super tight images.
Justin Gaethje celebrates after defeating Tony Ferguson during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Do you have any pieces of parting advice for photographers looking to make the most of this unprecendented time where work can be sparse and what work they might get will be different than usual?
Find something you’re interested in and experiment on different ways of photographing it. If nothing else, this whole situation has given us some time to retool, learn and create new ways of looking at things.
Finally, where can readers find your work and keep up with what you’re doing?
www.instagram.com/CooperNeill
www.CooperNeill.com
Photo credits: Photographs by Cooper Neill for ESPN, used with permission
Cinema camera manufacturer Kinefinity has announced the MAVO Edge, an 8K cinema camera with the ability to record ProRes RAW internally.
At the heart of the MAVO Edge is a newly-designed 44.7-megapixel 36mm x 24mm full-frame CMOS sensor that can record 8K ProRes RAW at up to 75 frames per second (fps) and features dual native ISO of 800/3200. It can also record 8K Open Gate (8192 x 5460 pixels) at up to 48 fps, 6K up to 100fps (in Super 35 mode) and 5K up to 120 fps (in Super 35 mode). Powering all of this data is a new processing engine, which helps to pull up to 14 stops of dynamic range from the sensor and minimizes rolling shutter to just 12ms when shooting 8K full-frame (9ms in Super 35 mode).
Illustration showing what section of the MAVO Edge’s full-frame sensor is used depending on the capture mode.
All of the data is recorded to KineMAG Nano cards, which are now built on NVMe M.2 SSD. The MAVO EDGE uses two KineMAG Nano slots, which can record at up to 10Gb per second thanks to its PCIe 3.0 protocol. The two card slots can record identical footage for redundancy or record separately for times when you need to shoot original footage and proxy footage. Kinefinity isn’t keeping its KineMAG Nano drives exclusive either; the company will also be selling KineMAG Nano enclosures so you can use any third-party NVMe M.2 SSD with the camera.
Kinefinity has also included a motorized electronic neutral density (ND) filter, which lets you steplessly dial in the strength between 0.6 and 2.1 ND (2–7 stops of light) in 0.01 stop increments. As for inputs, the camera features two 3G/1.5G SDI ports, Timecode IN/OUT (5-pin), BNC Genlock, 12V RS Output (three-pin), a seven-pin sync port, an R45 Ethernet port, a 12V D-Tap Out a 3.5mm headphone jack a USB-C port and more.
The MAVO Edge uses Kinefinity’s KineMOUNT, which uses adapters to offer compatibility with PL, LPL, Active EF and passive Sony E-mount lenses. Kinfinity has also included an internal three-axis gyroscope for recording the camera’s positioning during filming, but it’s not clear how this information will be used at this time. GPS and Bluetooth 5.0 support is also included.
All of this is housed inside an aluminum alloy frame wrapped in a carbon fiber case . It measures in at 10.5 x 12.1 x 11.9 cm (4.1 x 4.8 x 4.7?) and weighs 1.2kg (2.6lbs). Powering the camera can be done via its two-pin DC input or via batteries via the hybrid battery plate, which can power the camera with either V-mount or Sony BP-U batteries.
The MAVO Edge will retail for $ 11,999 with an expected release in September 2020. The camera is currently available to pre-order through Kinefinity’s website, with a $ 149 deposit. Newsshooter has written up a thorough post diving into the specs and comparing it with similar cinema cameras on the market.
According to Sony Alpha Rumors, Sony has filed a patent for an interchangeable E-mount lens that will allow users to adjust focus after the shot has been recorded. The lens appears to contain a number of lenses arranged next to each other to record multiple individual images on the camera’s sensor that can be combined later presumably to control focus and depth-of-field.
The site doesn’t tell us where the patent information was seen so we can’t read it for ourselves, but some diagrams are provided that we are told are part of the application.
The Light L16 light field camera from Light Labs Inc
Sony investigating light field technology is nothing new, as in the past it has filed patents for a light field sensor and has a partnership to supply sensors to Light Labs Inc, the manufacturer of the Light L16 camera that was announced in 2015. The draw of the technology is obvious as it can allow multiple focal lengths to be used for full-resolution zooming and/or focus and depth-of-field selection after the event.
We have seen a few attempts at harnessing the idea in commercial camera products in the past, including the Lytro Illum, Nokia’s 9 PureView and to some extent a number of other multi-lens and multi-sensor smartphones. It is hard to tell from the available information exactly what these lenses will used for in this patented idea, and whether they will be to collect distance information or be used to expand the range of tones that can be recorded in a single shot – or both.
Either way, such a lens will need a camera with an extremely powerful processor or the ability to simply record the images for processing in software later – as with Sony’s Pixel Shift Multi Shooting mode that requires images are processed in the company’s Imaging Edge desktop application.
As we have all noticed in the past though, exciting patent applications don’t always result in a product that comes to market. If genuine however this does at least demonstrate Sony is still pursuing ideas in this area.
The Olympus AF-10 Super is by all stretches of the imagination, a very basic film point and shoot. Features are limited to a flash (with three settings) and a self-timer… and that’s about it. But limitations can inspire creative workarounds, and creative workarounds can lead to really satisfying photos, something 35mmc.com’s Hamish Gill found to be true. Read about his experience with the Olympus AF-10 Super, below.
Read: Olympus AF-10 Super – Pushing the functional limits of a cheap point and shoot
About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at 35mmc.
Looks like we might be spending a lot of time in the house with our immediate family these days. Maybe that family includes kids. And maybe they are starting to go a little stir crazy.
Keep reading for some ideas for any lighting photographer who might be looking to make the best of some unscheduled family time.Read more » Strobist
Comments Off on SLC-1L-10: [COVID DIARIES] Shoot the Kids
Storytelling photography for newborn babies is all about capturing the real life memories of the newborn days for families in a beautiful way, and it’s quickly becoming the most popular style of photography for capturing the newborn stage of life. Not only does it bring out the personalities of everyone and provide specific memories of what life was like during Continue Reading
The post Storytelling Newborn Photography Shoot Tips appeared first on Photodoto.
The post 5 Ways to Shoot Architecture More Creatively appeared first on Digital Photography School. It was authored by Jeremy Flint.
Architecture photography is an enjoyable genre of photography that can be photographed almost anywhere. With the expansion of the built environment globally, opportunities for photographing urban scenes have increased significantly. This makes architecture photography an attractive proposition. Buildings can make very rewarding photography subjects, especially as they are generally designed to be attractive to the eye. As buildings are a permanent part of our urban landscapes, you have as much time as you like to photograph the architecture. So, it is just a case of finding different ways to shoot architecture more creatively.
Read on to discover some useful techniques to help you with your architecture photography.
1. Shoot from afar
A popular choice for shooting architecture is from directly in front of it. Once you have captured architecture from nearby, try and find another viewpoint further away.
Shooting from afar is one of the best ways to shoot architecture more creatively. If you position yourself at a distance from the building, you will be able to get more of the structure in your scene and some of the surroundings. Is the building near a waterfront? If so, capture the reflection of the building in the water or take photos of the boats going by the building.
Alternatively, you may want to capture the bustle of the crowds around the building too.
You can capture an epic angle from a distance just by walking a bit further away and changing your perspective.
2. Find a higher vantage point
When looking for other ways to shoot architecture more creatively, try finding a higher vantage point for an alternative point of view. Buildings can look great shot from above.
Climbing up a flight of stairs or jumping in a lift can lead to other great vantage points to photograph structures from. From up high, buildings can look fascinating where you can be innovative with your shots and do justice to the people who designed the building.
Aim to fill the frame with your chosen subject and reveal some of its details. Alternatively, capture the structure as part of the wider cityscape.
3. Go inside
Not only is architecture designed to look beautiful on the outside, but their structures can also be just as great on the inside.
There are places all over the world that have great interior structures. Places like castles, cathedrals or famous landmarks can look great on the inside. Windsor Castle, Westminster Abbey and the Tower of London in England, for example. Other structures can have attractive stairwells, whilst some will house ornate rooms with decorative features.
The lighting inside buildings can also add to the drama of a place. This can either be from lanterns placed inside a building, interior lights or external light shining through providing shadows that transform the area.
You may need to learn more about capturing ambient lighting. See an article here.
4. Look for interesting patterns
Another brilliant way to shoot architecture more creatively is to explore the different aspects of a building and look for interesting patterns.
Look for leading lines, geometry, structures, and shapes. Walk around and change your viewpoint to convey the various features and reveal something different.
Shooting centerpieces or components on a wall are great ways to shoot architecture more creatively. Try to find a good angle from which to present the building and show it in a unique way that is not the same as the familiar-looking, regularly-captured shots.
5. Shoot the old and new
Whether you like to capture the latest structural designs or traditional buildings, both modern and ancient architecture can be beautiful.
To create an interesting image of a modern masterpiece or an ancient structure, you will need to interpret the building pleasingly.
You can achieve this with a good composition that draws on your own creative vision. Look up and capture its expanse, for example, to photograph the building uniquely.
Alternatively, look out for appealing surfaces and take a photo of something unusual. Original structures can be more rustic-looking, whilst newer buildings provide more modern and decorative aspects of architecture.
Photographing old and new architecture on bright sunny days is one of the best ways to shoot architecture more creatively. The play of light can be great for photographing strong shadows and deep contrasts.
The intensified shapes that result from the contrasting light are ideal for showing up form, bringing out texture and giving strong color. Sunlight can, therefore, enliven an image and make it more impressive.
Conclusion
In summary, architecture photography is becoming a popular genre of photography especially with the expansion of urban developments.
Some of the best ways to shoot architecture more creatively include photographing from afar, shooting inside as well as outside and capturing interesting patterns such as unusual geometry and shapes.
Finally, shoot old and new structures in an interesting way with your unique vision.
Do you have any further suggestions to shoot architecture more creatively? Share your comments and pictures with us below.
The post 5 Ways to Shoot Architecture More Creatively appeared first on Digital Photography School. It was authored by Jeremy Flint.
You must be logged in to post a comment.