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Posts Tagged ‘Something’

Get something out of staying in: Ideas for isolation

25 Mar

Introduction

The COVID-19 pandemic has caught more than a few of us off-guard, and its impact is likely to roll on for months to come.

Advice in many countries is to stay at home and minimize your contact with other people. This isn’t an easy thing to do, and for a lot of people it’ll mean having to find additional ways to stay occupied.

Photography can provide plenty of ways of keeping yourself entertained and committing yourself to a project now might be a chance to emerge with new skills and new ambition when things start to get back to, well, whatever future normal looks like.

This is the first part of a series where we’ll put forward ideas for things to do. But we want your input, too. Throughout this article will be links to forum threads where we look to hear your suggestions.

Organize your images

You keep promising yourself you’ll do this. Whether it’s going through and trying to tag things in a coherent way, honing your catalogue by deleting the images you know you’ll never use, or importing and arranging those memory cards and old hard drives of images that aren’t stored in a systematic manner, there’s always an organizational project that you’ve been putting off.

Are you ever going to get a better time than now? Even as someone working from home, I’ve gained all the time I’d usually spend commuting, so there’s no excuse for me to put off getting my images organized.

It might sound dull, but an organized set of images makes it easier to do the more fun suggestions we’re just about to get to…

Revisit your existing shots

Coming at it with a fresh pair of eyes, is there something you could do differently with a favorite image?

I’ve found myself wondering whether some of the shots I’ve taken in the past might benefit from split toning, which isn’t a technique I’ve often used in the past. But it may simply be a case of starting again and seeing whether there’s a different crop or a different ‘look’ that might work better for images you’ve not looked at for a while.

Find new favorites

The other option is to look for new favorites in your back-catalogue. What about those shots that didn’t make the cut, first time ’round? Are there some hidden gems that, re-appraised, turn out to be more interesting than you thought?

Curate a photo book

Mpix is a great option if you’re looking to make prints or a photo book.

Even if you don’t get it printed right away, now might be a great time to organize a set of images into book form.

It’s easy to think of shoeboxes full of prints and negatives as wasted or lost, but they have a certain permanence that a well-organized hard drive or database probably doesn’t. Photo books can be the best of both worlds: gaining the visibility and (comparative) permanence of prints but in a more accessible, curated format.

Use your photos to stay engaged with loved ones

Instagram is a great way to curate and share photos with friends and loved ones.

Find old photos of friends and family in your archive and share them on social media. This could be a nostalgic way to stay engaged with loved ones while you’re all isolated from one another.

Maybe consider putting together a selection of your favorite photos from the last year. Keep the selection tight: you don’t want to stray into ‘making everyone view your holiday slides’ territory, but think about a highlights reel. Maybe try to weave a narrative together or add some anecdotes, to try to capture the experiences you perhaps weren’t able to share at the time.

Look through photo books by some of the greats

A great way to gain inspiration and to learn something is to take a close look at the work of established photographers.

Perhaps choose a single image: take your time thinking about what make it stand out to you. Analyzing great photos is, along with learning to select your own best work, one of the best ways to help you ‘see’ the best photo in a situation, next time you’re out shooting.

  • William Eggleston – Chromes
  • Sebastião Salgado – Migrations
  • Elliott Erwitt – Personal Best
  • Yousuf Karsh – Stern Portfolio
  • Galen Rowell – Mountain Light
  • Alex Webb – Istanbul: City of a Hundred Names
  • Robert Frank – The Americans
  • Dorothea Lang – Photographs of a lifetime
  • Vivian Maier – Finding Vivian Maier
  • Joel Meyerowitz – Where I find myself
  • Ansel Adams – Yosemite
  • Ansel Adams – Examples: The Making of 40 Photographs
  • Magnum – Contact Sheets
  • Annie Leibovitz – Portraits 2005-2016
  • Nan Goldin – The Ballad of Sexual Dependency

If there are any you’ve found particularly inspirational, let us know in this forum thread.

Learn a new photography application

Now’s the perfect time to try out new software, like Alien Skin Exposure X4, shown above.

Teach yourself to use a photo-related application you’ve been meaning to learn for a while. e.g. Have you been wanting to move from Lightroom to Capture One for a while? Now may be a good time to do it.

  • Alien Skin Exposure
  • Topaz Labs (including its AI-powered up-res and denoise apps)
  • On1 Raw
  • Capture One Pro
  • DxO Photolab
  • Affinity Photo
  • FastStone Image Viewer
  • Skylum Luminar

Again, if there are any pieces of software you’re particularly enjoying, let us know in this thread and we’ll build up the list.

Do an online photography course

Creative Live is an excellent resource for photo education.

The internet is full of advice and courses to help you improve your photography.

It’s impossible for us to be exhaustive, so we’ve created a forum thread, if there’s an online course that you’ve found useful enough to want to share. We’ll update this list with popular suggestions.

  • strobist.blogspot.com – is a great place to start learning about lighting
  • Lynda.com has lots of photo courses (access to which may be available with your local library card, depending on where you live)
  • Masterclass offers photography courses from Annie Leibovitz and Jimmy Chin
  • Creative Live
  • Udemy
  • KelbyOne

Listen to photography podcasts

The Candid Frame is one of our favorite photography podcasts.

Podcasts are another great way to learn, gain new perspectives, spark new ideas or simply keep yourself entertained.

Here are a few that we’ve enjoyed. Let us know in this forum thread if there are any you think deserve a mention.

  • The Candid Frame (Ibarionex Perello)
  • Photo Geek Weekly (Don Komarechka)
  • This week in Photo
  • Photo Active podcast (Jeff Carlson and friends)
  • Classic Lenses Podcast
  • Film Photography Podcast
  • A Small Voice – Conversations with Photographers

Build / rework your photography site

Format, shown above, is just one of many Website-building platforms we love.

Whether you’re using it to attract clients or just maintaining a stream to show off your work, how about showing your website a little love?

Whether it’s a question of replacing an over-familiar lead image or making sure all the best of your most recent work is included, there’s always something you can do to make your site look better.

Or, if you’ve not created one, why not now?

Learn to shoot /edit video

Chances are your camera can shoot pretty good video. Have you ever tried doing more than shooting a few clips?

Some of the skills of videography are directly transferable from photography, which means you don’t have to start from zero. But video there are also a lot of aspects of video that will be new and challenging (personally I’m finding the process of learning to shoot video to be one of the most creatively satisfying things I’ve done in many years).

So why not try setting yourself a little project? Think about what you need to shoot, how you need to shoot it and how you’re going to pull it all together.

There’s a free version of Blackmagic’s Davinci Resolve software that includes pro-level color grading and audio editing tools as well as non-linear editing capabilities. It’s not, perhaps, as immediately approachable as Apple’s Final Cut Pro X, but now’s a great time to familiarize yourself with the software.

Plan a photo trip for some time in the future

It’s too early to start booking flights or making hotel reservations, but a day will come when we can look forward to heading somewhere more ambitious than out front doors.

Why not give yourself something to look forward to by planning-out your next big photo expedition?

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2019: Zeiss interview – ‘Let’s do something new’

31 Mar
Elliot Shih, Senior Product Manager of Zeiss, holding the ZX1 at the CP+ 2019 show in Yokohama, Japan.

Zeiss is preparing to launch its first camera for more than a decade, in the form of the ZX1 – a high-end, Android-powered compact, with a full-frame 37MP sensor and premium lens. We caught up with Senior Product Manager Elliot Shih at CP+ recently to learn more.

The following interview has been edited for clarity and flow.


When did the concept for this camera come about?

We started about four years ago, but we have always been interested in thinking about where and when to return to the camera market, because the last time Zeiss made a camera was the Ikon film rangefinder, in around 2004. Ever since then we’ve been thinking about how and when is the tight time to return to the camera market.

Also a lot has happened in the industry – as background we’re seeing higher penetration of smartphones with more capable cameras, and people are adapting to use the cameras in their phones. On the other hand we saw there is a demand among photographers for more serious photography tools.

If we’re going to make a new kind of camera, it doesn’t make sense to copy something that’s already on the market

The rise of the smartphone has had an impact on the point and shoot market, but there are a lot of benefits and things we can learn from such a different world. So the thought that came into my mind was – well, if we’re going to make a new kind of camera, it doesn’t make sense to copy something that’s already on the market – let’s do something new.

The development of this camera wasn’t quite linear, compared to other consumer electronics products. In the beginning we went quite slowly, but now we’re at the materialization phase, and things are moving quite fast. Now every component we need is working, and we’re starting to see that this is becoming a camera that could work quite well.

The ZX1 isn’t the first Android-powered camera, but it is the first aimed at enthusiast and professional photographers with money to spend on a premium full-frame sensor and lens.

This is not the first time that someone has loaded a mobile operating system into a camera – what makes the ZX1 different?

With regard to earlier products, I think the mobile platform itself, as a technology enabler, is capable of also being the backbone for an imaging system.

The fundamental difference is that instead of trying to make a smartphone in the form of a camera, we’ve tried to make the ZX1 work as a camera, and be positioned as a camera, and as a tool for photography. So, for example, when you first turn it on you should see the live view, not the launcher screen with all its icons. It should be a camera from inside out. That’s why we took open-source android and used it as a technology enabler, but in terms of interaction and user experience, we completely wrote everything and developed everything from scratch by ourselves.

Read about what the Zeiss ZX1 is like to operate

The camera operates using what we call a ‘vertical logic’. You’ll see there’s a slight bend on the rear cover glass, which provides a natural separation between the live view area and the toolbar area, to the right. You can [vertically] swipe on the toolbar area to select different tools, while on the left you can swipe to switch between different modes, like image review, where you can use all the familiar gestures you’re used to from smartphones.

What are your goals for the camera, in the marketplace?

As you can see, the ZX1 is a different kind of product. We’re focused on addressing the target group, and offering something different to today’s digital photographers. So we’re aiming at photographers that need a fast workflow but at the same time superb image quality, which our sensor and lens can deliver.

This is our first attempt, and most of the focus is to build up our competence in terms of image processing. We’re still on the learning curve, for example when it comes to the autofocus system and the image processing pipeline. For a 37.4MP sensor its more than 70MB for each DNG file, so we have a lot of data to handle.

Have you partnered with any other companies on the ZX1 or is this an entirely in-house project?

The design and development are completely in-house. We’re using some external partners to support certain functions, for example the realization of the industrial design, and the design of the user experience.

The square panel on the upper left of the ZX1’s top plate is a plastic cover for the WiFi antenna – not a flash, as we originally thought when we picked the camera up.

Previous attempts at this kind of product failed for a lot of reasons – how have you addressed the weaknesses of those earlier cameras?

Well first let’s talk about optimization around Android. There’s a fundamental difference to how this system works compared to a proprietary system [that you might find in a smartphone]. There’s a different architecture and we made a lot of effort to take out some of the elements of Android that we didn’t need. Most of the algorithms are designed for smartphone usage and not all of those are capable of running inside a device with a larger camera sensor, and much more information to handle in the imaging pipeline. That’s the part that we’ve spent substantial effort on, to optimize in order to make the camera more responsive.

We also made a lot of effort also to maintain Wi-Fi performance. There is a lot of data to transfer with this camera, so if we want the feature to be really functional we have to make sure that the Wi-Fi performance doesn’t struggle. That’s why we have a plastic cover above the Wi-Fi antenna on the [metal] top plate.

We’re very conscious of battery consumption [and] a lot of photographers are very sensitive about battery usage

In terms of boot up time, the ZX1 works the same way as a smartphone. But we’re very conscious of battery consumption. A lot of photographers are very sensitive about battery usage so a lot of the time when they’re not shooting they simply turn the camera off.

The very first boot up sequence takes a while, but when the camera is up and running, a single push of the dial sleeps the camera, but doesn’t turn it off. So the sensor is not running, the screen is off, and very little power is being used. But when you want to take a picture you just nudge the switch again and it wakes up. You can also use the switch to toggle between stills and movie mode.

What kind of battery drain should people expect when the camera is in sleep mode?

I think in sleep mode, during a whole day you can expect something like 10% battery drain. We do have a large battery in the camera, it’s 3190mAh, which is very substantial. In this camera a fully charged battery should last about 250 shots.

Is that a CIPA figure?

No, but we’d expect that to be accurate by CIPA test standards.

Do you have an idea yet of how much the ZX1 will cost?

Pricing is not yet decided but I think given the performance of the lens and the sensor, plus the solid build of the body and the built-in 500GB SSD, I think it will occupy a more premium price band. It will be in the same range as [the Leica Q, Sony RX1R II].

What was the logic behind deciding to give the ZX1 aperture, shutter speed and ISO dials but no exposure compensation dial?

That’s one of the most frequent questions we’ve been getting. One thing we learned is that photographers are more and more conscious of stripping away features that they don’t need. So we wanted to keep the purity of the design, while still making sure this is a serious photography tool.

One of the things that characterizes serious cameras are dials which provide the opportunity to control exposure directly. So we decided OK, we’ll keep the three – shutter speed, aperture and ISO as the only hardware controls. Everything else is built into the digital interface. If a photographer is manually controlling shutter speed and aperture, then the only way they have of further affecting exposure is ISO. So they can use the ISO dial as exposure compensation, effectively.

Does this camera use a leaf shutter?

Yes, it’s mechanically controlled up to 1/1000, and electronic will let you go to higher shutter speeds, using the toolbar [on the rear screen].

Because it’s powered by a full mobile operating system, the ZX1 is a ‘one stop shop’ for the photographer. From image capture, review, rating, editing and uploading, everything can be done on the camera, if you wish.

You really seem to want photographers to do everything on the camera itself – shooting, reviewing, editing and uploading. Is that correct?

For this concept, yes. A photographer might still carry a more capable DSLR for an assignment, but when they are going out for a weekend trip, this is one camera that you can do everything with.

Maybe it doesn’t always make sense to connect the camera to your phone using a hotspot and try to synchronize let’s say 300 Raw files on the road, but let’s give people the choice. We’ve spoken to a lot of photojournalists and they told us that sometimes they just have to rely on what they have. Sometimes they only have a phone, and with this camera they can bring everything they need.

What’s the quickest way of getting images off the ZX1 to a computer or to a harddrive?

In terms of transfer speed, the fastest way is the USB-C connection. With a speed of 5GB/s you’ll be able to export pictures pretty fast. What’s a bit different is that because we’re using Android, the system works like a mini computer, so we can use both master and slave mode for the USB connection.

Whereas other cameras, when you connect over USB, the camera is seen as a drive: it’s in slave mode. But with the ZX1 if you plug in a USB C drive or a memory stick the camera recognizes the storage and you can select the images you want to transfer straight from the camera. The USB C connector is the only interface, so to connect to a TV, or plug in a microphone for example you’d need adapters.

Can users download their own apps or extensions to the ZX1?

At the moment, no. For security reasons its a closed system. We will only support selected applications that we’re working on with partners like Adobe.


Editors’ note: Barnaby Britton

Well; it’s real, and it works. The Zeiss ZX1 is a fascinating camera, and even from our brief time with a prototype model I’d be fairly confident in saying it’s the most convincing Android-powered camera we’ve seen yet. Of course it’s also likely to be the most expensive, by far. If Mr Shih’s estimate of a price comparable with full-frame compacts from Sony and Leica turns out to be true, you can expect the ZX1 to cost somewhere in the region of (at least) $ 4,000, which unlike Samsung’s Galaxy Cameras, will put it well outside of the impulse-buy range for most photographers.

But that’s the future. For now, the ZX1 looks really nice. We don’t know how well the sensor or lens will perform, but it’s a safe bet that image quality will far exceed the abilities of even the best smartphones and likely also popular sub full-frame compact cameras such as Fujifilm’s X100-Series and Ricoh’s GR line.

It will also work differently – very differently – to those cameras, thanks to its integrated Android operating system, which essentially makes the camera into a mini computer. Do you need half a terabyte of built-in storage? Probably not, most of the time, but assuming you can keep the battery charged, this kind of storage capacity could be appealing to photographers working remotely or on long assignments away from home. In some areas of the world, where cellphones provide the only reliable access to the Web, the ZX1 might end up being right in its element.

A shot of the ZX1’s unique ‘swooping’ rear display, and its large-capacity Li-Ion battery which – unlike the camera’s storage – is removable.

If you’re interested in the ZX1 solely as a camera, and you don’t need the ability to run processing apps, you’ll have a harder decision to make. The ZX1 definitely presents an unusual handling experience, but it’s not completely alien. The decision to omit an exposure compensation dial strikes us as a bit odd, but Mr Shih is correct to note that for manual exposure work, the ISO dial does just as well. For A / S-priority shooters things might be a bit confusing at first, but the ZX1 is likely to be perfectly usable, notwithstanding a moderate learning curve.

Speaking of curves (sorry) the swooping rear display is quite something. The ZX1 employs what Mr Shih calls a ‘vertical logic’ to separate access to features and controls from the live view display, and it seems to work. We didn’t get to try full-on image editing on the ZX1 that we saw in Japan, but I can envisage Lightroom Mobile running perfectly well, for those who need to edit ‘on the go’.

When the ZX1 was first announced, a lot of commenters dismissed it preemptively as ‘vaporware’ – a flashy distraction that would never make it to market. It seems that the naysayers were wrong (it’s nice when that happens, isn’t it?) but whether the ZX1 will be a success – or lead to more Zeiss camera development in future – remains to be seen.

In one sense, given how long it’s been since the company last made a camera, it could be said that Zeiss has nothing to lose. But in real terms, the ZX1 represents a substantial R&D investment, and one which Zeiss will be keen to recoup. For now, Mr Shih and his team deserve credit for doing something bold and unusual.

Articles: Digital Photography Review (dpreview.com)

 
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Profoto teases something big that’s small

09 Sep

Lighting manufacturer Profoto is teasing users with a video clip that includes shots of a new light it’s planning to announce later this month. Billing the launch as ‘something big’ for ‘something small’ the company’s new head appears to be compact and portable, and from the description quick to set up and take down again.

It also appears to be a totally new light that is designed specifically to be small. There aren’t too many clues from the frames that are shown, so we’ll just have to wait and see.

The full announcement is promised for 12th September. See the Profoto website for details and to see the video teaser.

Manufacturer’s blog post:

We never comment on new product launches. But this time is different. We want to give you, as a My Profoto member, a preview of what’s to come. One week from now, we’re launching something big globally. And by big, we’re talking figuratively. Because the product itself is not big. In fact, it’s the opposite.

Watch the video video and see if you can catch it.

We know that size matters. Because how much gear you have to carry — matters. How much space you have to set up and work in — matters. Being able to move fast, get in, get out and most of all, get the shot — matters. That’s why when we designed our newest light, we first considered size. It’s seriously small. That said, it punches significantly above its weight.

Articles: Digital Photography Review (dpreview.com)

 
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A Landscape Photography Tutorial (from a Portrait Photographer Trying Something New)

06 May

landscape-photography-tutorial

Sometimes when you’re in a rut the best way to get out of it is to do something completely out of the box and try something new – something a little risky.

Portrait photographer Sean Tucker changed things up recently but setting out on a landscape photography road trip.

He videos the experience and I think the result is fascinating – both to see how he approached his landscape photography but also to hear his insights on stepping outside his comfort zone to approach a new type of photography for him.

I like what he wrote in his blog about the experiment:

“There was no guarantee the trip wouldn’t be a waste as I’m not a professional landscape photographer by any means, but I think the best creativity will always come out when you are taking risks.”

Grab a cup of your favourite beverage and settle down to journey with Sean. The end results are at the end of the video.

Have you ever stepped out of your normal type of photography to try something new like Sean did?

Further Reading for helping you to break out of a photography rut:

  • 10 Tips to Motivate You out of a Photography Rut
  • 5 Ways To Break Out of a Creative Photography Rut
  • Are You in a Photography Rut? 11 Tips to Get Out of It!

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Something we’ve never seen before: LensRentals eviscerates the Fujifilm XF55-200mm F3.5-4.8R LM OIS

27 Feb

Into ‘the land of Fuji’

Roger and Aaron over at LensRentals have been tearing lenses down again. This week they’ve ‘eviscerated’ Fujifilm’s XF 55-200mm F3.5-4.8R LM OIS – the company’s mid-price tele zoom. The name may be redolent of a ‘$ 100 extra for a dual lens kit’ zoom but inside they found surprises at every turn. And not just with regards the number of screws holding the thing together.

The 55-200mm doesn’t have the fastest aperture range but it’s a fast-focusing, weather sealed telephoto zoom that we’ve always been impressed with. Fujifilm has often hinted that the X Series was partly an opportunity for its lens designers to show-off what they could do, so it’s probably to be expected that the designs are quite creative.

The system with the most screws

Having only broken a minor element of the lens in trying to open it up (something Roger didn’t want to embarrass Aaron by mentioning, so we shan’t dwell on it), they found the front section of the lens was held together with a lot more screws than usual. And, that many of these were screwed into metal inserts, rather than easily stripped or broken plastic columns. This turns out to be something of a recurrent feature of the 55-200, prompting Roger’s assertion that: ‘If you want the system with the most screws, you want Fuji, no question.’

Commenter helps Cicala find his orientation

Things got interesting when they dug a little deeper. Having removed the rear screws from their metal-inlaid holes, they discovered two sensors attached around the lens’s rear element. Since the element is static, Roger wasn’t clear what their role was and hoped that he’d be able to rely-on (and recognise) the wisdom of the crowd. He was right to, as pro photographer Trenton Talbot immediately guessed that they were gyroscopic sensors. A look at the way they’re orientated, relative to one another, along with a bit of Googling, suggests he’s right: they appear to be Epson gyro sensors, presumably feeding information to the lens’s stabilisation system.

The ‘R’ is for ‘by-wire’

Digging further into the lens revealed one of the few conventional parts of the 55-200mm’s design: the spring ball-bearings used to provide clicks as you turn the aperture ring. That ring being secured in place with screws, of course. It’s a similar approach to the one we saw in LensRentals’ tear-down of the Sony FE 35mm F1.4 a little while ago: the ring itself doesn’t directly drive anything, its movement is registered with a sensor, then sprung ball bearings are added to provide a stepped feel to the dial. Unlike the Sony, they can’t be disengaged.

Full metal barrel

A few loosened screws later, our intrepid duo found themselves facing a solid-looking metal zoom barrel, attached with three similarly solid ‘keys’ with which the zoom barrel transfers its motion to the mechanisms below. Cicala says he’s impressed with this level of construction on such a modestly-priced lens: another recurrent feature.

Fujifilm takes and eccentric path

Roger noted the ‘complex dance’ performed by the lens elements in Leica’s SL 24-90mm F2.8-4 when he tore that apart. That lens featured six helicoid paths that different elements trace as the lens is zoomed. That’s a $ 5000 lens. By comparison, the Fujifilm drives five groups in a similarly intricate optical shuffle, in a package you can pick up for one tenth of the cost.

Limited degrees of freedom

Down past the IS mechanism and carefully screwed-down aperture assembly, Aaron and Roger reached the focus element. There’s a sensor detecting the position of the focus group within the lens barrel then, on the group itself, what appears to be another one to detect the focus element’s position within the group’s housing.

But, wherever the focus element itself is, you can be fairly sure it’s not crooked: as Roger points out, the twin linear motors (10 o’clock and 2 o’clock in this image) and the rail along which the focus element moves (12 o’clock) are all broad, flat bars, rather than circular rods, meaning the element shouldn’t go askew as it races on its way.

Conclusion

Overall, Cicala says he’s impressed with the construction of the 55-200mm, especially given how much the lens sells for. He also seems pleased by the degree of optical adjustment that can be conducted on the lens, given the challenges of building lenses consistently. ‘This looks like a lens that was designed by people who know how to make reliable lenses,’ he concludes.

When ‘modern’ lens design is discussed, it’s often in terms of the use of Computer Aided Design to develop the optical formulae. But, just like the Sony FE 35mm, the Fujifilm shows an innovative approach to construction and focus drive. LenRentals ventured into the land of Fuji, ‘where things are done differently,’ with some trepidation but seem to have returned with a healthy respect for what goes on there, as well as a couple of screws that were probably supposed to stay there.

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Something Shiny

30 Jan

Oooh shiny! Look at these images of shiny things and your eyes may glaze over.

Jenny Downing

By jenny downing

Weekly photography challenge – something shiny

What can you see near you that’s shiny? Look around, what do you see:

  • A crystal
  • Chrome
  • A watch
  • Jewelry
  • The sun

Your job this week is to photograph something shiny, and make it stand out. Make sure it glistens and sparkles in your image. Lighting is key.

Jennifer Donley

By Jennifer Donley

Marvin Chandra

By Marvin Chandra

William Warby

By William Warby

Jessica Merz

By Jessica Merz

Allie_Caulfield

By Allie_Caulfield

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.

Darlene Hildebrandt

By Darlene Hildebrandt

Darlene Hildebrandt

By Darlene Hildebrandt

Darlene Hildebrandt

By Darlene Hildebrandt

Ville Miettinen

By Ville Miettinen

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Something special: Tamron SP 35mm F1.8 and SP 45mm F1.8 real-world galleries

15 Oct

Tamron seemed to have taken a cue from Sigma when it launched the SP 35mm and 45mm F1.8, following that company’s lead in offering fast, high quality fixed focal length lenses. Designed for full frame camera bodies, the SP 35mm and 45mm boast weather-proofing, fluorine coatings and close-focusing abilities not usually found at these focal lengths. Take a look at two full galleries of real-world sample images. Read more

Articles: Digital Photography Review (dpreview.com)

 
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5 Tips to Take Less Photos of Everything and Take More Photos That Mean Something

22 Jun

How many photos do you have from a recent holiday, that you just haven’t had time to organize? Or, have you come back from a dream vacation and your photos just don’t seem to match up with your memories? You are not alone, as this is an all too common issue, and both of these questions have their roots in a simple and easy to fix problem.

Take fewer photos, not more!

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I mean this literally, but also figuratively. Yes, overall take fewer photos. But, in reality this is a lesson in becoming more conscious of your photography. What is the point of the photo? Why are you clicking the shutter at that moment?

You may have heard many times, that in the era of digital cameras, you can shoot your heart’s desire (a.k.a. until your SD or CF card is full), unlike with film which needed to be developed and only had a limited number of photos on each roll. While that is true, it is not true that more photos equals better photos. Well, you may have also heard that professional photographers shoot hundreds, or thousands, of photos just to get one or several good ones. That is also true, but they are first and foremost shooting with a purpose. Literally shooting less will allow you to discover your point of view, and thus figuratively you will shoot less of everything, and more of something.

Here are five tips on how to take less quantity of photos but more compelling ones

Tell more stories

The story could be your personal story or could be of something else, but most important is that you communicate with your photos. If you are always shooting, you cannot create; you simply react. Creating a balance between creating and reacting will give you storytelling abilities. Be proactive by finding a place with good leading lines and waiting, not by rushing and hoping that one of your clicks is a keeper. Think about a beginning, middle, and an end. This can be easily depicted with shots at different focal lengths like a wide-angle (image above), a close-up (below), and finally a full-frame scene. The process of storytelling is something we have all grown up with – get back to it. Remember, the more simple the story, the more universal it can be.

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Close-up gives direction.

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Full-frame concludes the events.

Give yourself some time to write (in a travelogue or in a diary)

This gives you an opportunity to reflect, which gives meaning and helps you find purpose. Looking at your own writing helps you realize your patterns day by day, or travel experience by travel experience. Identifying structure will help you select moments and behaviours that lend themselves to your style of photography. You may see yourself getting up late despite your desire to have better golden hour photos, or that you feel more creative in the afternoon so you can set aside time to create your photographic stories when others are resting. You will also love reading what you write in 10 years!

Curb your fleeting feeling

Time is limited and you might just miss the moment. For a photographer, this manifests itself in too many photos, and too little purpose. The reality is you are always going to miss something, you can’t be in two places at the same time, and you definitely can’t turn back the clock. But that doesn’t mean that you must give in to the fleeting feeling. Let the event occur, or the scene develop, and visualize what you want from it. Be selective about your vision and then get it, not all of it. Three meaningful photos outweigh thirty so-so snapshots. You have worked hard for your days off and money saved for leisure; enjoy it and enjoy being productive with your photography.

Create a concept and stick to it. Resist pulling out your camera immediately.

This can be an exercise in patience and restraint. Buildings are not going anywhere, rivers will stay their course, and the coffee shop will always have another interesting customer. Find your concept in a developing scene, whether it is the arches of a building, reflections of the water, or a pair of hearty hands sipping a hot beverage. Know that your vision is attainable. Your concept can be simple or complicated, modern or traditional, but only needs to be defined and pursued by you. Just do it with conviction and don’t measure your concept against others. Go for it!

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Creating a concept.

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Slight variation of shooting through a window and making it B&W.

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Going back to the concept and color to provide continuity.

Philosophically you will never find what you are looking for…

There is an old Chinese proverb that says, “If it will happen, it will no matter your actions; if it will not happen, it will not no matter what you do.”. There are many circumstances which seem to be too peculiar to be a coincidence, and as a photographer these are the moments of pure brilliance. Be present for them; don’t chase after them. There is a whole world of events that are unfolding in front of us at each moment. Your awareness of them is subject to your willingness to be aware of them, not the existence of them.

Photography and traveling have always gone hand in hand. Both have ways of opening up new horizons and being in touch with new possibilities. Both are essential. Spend some time with an ethos of travel, a perspective of photography, and a philosophy of life – and watch your photos tell a story that speaks to the hearts and minds of more than just a few close friends. Instead of having photos sitting unedited, unorganized, and undiscovered; take less photos of everything and take more photos of something. Create a convergence between your photos and your ideas. Less really is more, especially when a photo is worth a thousand words.

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The post 5 Tips to Take Less Photos of Everything and Take More Photos That Mean Something by Branson Quenzer appeared first on Digital Photography School.


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Fashion Photography – Tips for Making Something out of Nothing

18 May

Recently, I found myself in a conversation with a mentoring client who was feeling creatively stunted. I asked her where she wanted her portfolio to go and she said, “I want images like yours! But you live in California, and everything is pretty there!” I literally laughed out loud when she said that because California, while pretty, is filled with more urban yuck, specifically Los Angeles, than one can even imagine. I only wish I had infinity pools available to me, palm trees for as far as the eye can see, and no traffic to have to clone out! Even a green lawn, would be nice. But, alas, I’m not a Kardashian.

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Beauty or fashion photography – not all glamorous

The honest truth is like anywhere else, locations are always troublesome to find. In Los Angeles County, to shoot on the street, beach or outside a structure, you need a permit. It’s a serious business. Applying for a permit can take a substantial financial cost, and if for some reason the weather is bad on the day of the permit, you’re out of luck. Because of this, I’ve learned to be more open-minded, and have found ways to “make it work”. You can too! Stop preventing yourself from making amazing images because you don’t have the right spot.

First, Don’t laugh at me. Nobody knows the magic behind the scenes, so keep that in mind. At the end of the day, the final image is all that matters! Trust me when I lead you down this liberating path of cheap backdrops, dirty backyards, and grocery store finds.

Reference #1: Create a backdrop from leaves

I shot a beauty story for Cosmopolitan magazine. I knew I wanted a lush tropical backdrop, and pops of color throughout. I called everyone I knew to see if anyone had bird of paradise, or other tropical looking greenery, in their back yards. Nobody had pretty backyards that were a good fit. So I decided to order some leaves from my local florist and make the backdrop I wanted. I decided my TINY backyard was the best place for me to shoot this story. So I will show you the final product first.

This is the image that went to Cosmopolitan.

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Before we got started I set up a big piece of white plastic board I had in my garage. Why plastic board you ask? Because, I was out of white paper and it was there. I just needed a white background.

Using natural sunlight, I took photos of the leaves, cleaned and misted against the white backdrop for samples.

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Then I took the photo against the white backdrop. Using midday sun. YES, 2 o’clock burn our your retinas, sunlight. Don’t be afraid of sunlight. Once you conquer it, you can shoot anything!

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My assistant is simply holding the leaf up behind the model. Pretty, but missing something right? By adding the leaf samples (duplicating them) in post-production, it gives it such an exotic feel. You CAN do this. You have poster board, correct? You have nature around you, right? Use it!

Reference #2: Improvise

A cosmetic commercial client wanted a summer themed campaign, with the tagline, Summer in High Def. I pitched the idea of a pool shoot with bold aquas and colorful pops of color. She told me she had no location budget, I told her, “No problem.”

I took a quick stroll to my local grocery store chain. Luckily, it was May so they had lots of summer goodies in stock. I found an inflatable pool for $ 5. SCORE! Once again, at the end of the day, nobody knows what your set looks like.

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The model barely fit in the five inch deep, kiddy pool. It was quite funny. The client LOVED the shots and couldn’t believe I pulled it off. I never had any doubts. This setup is my most requested one. Clients ask for it all the time. I simply say, “Oh yeah, it’s in my trunk”. They look at me oddly, and confused.

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You can shoot at a mansion or in your own front yard, NOBODY KNOWS. Stop getting in your head that you need more. That’s what makes our business so beautiful. It’s really not about how big your studio is or how you have amazing locations. At the end of the day, all that matters is your final image.

Do you have any other make-shift background or location tricks? Please share in the comments below.

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And Now For Something Different: Voigtländer 40mm f/2.8 Heliar samples and impressions

06 May

Voigtländer is one of the oldest names in photography, with a long history of making cameras and lenses. Recently, the company has turned its focus from affordable M-mount lenses to lenses with digital cameras in mind. We recently got our hands on the 40mm VM f/2.8 Heliar, made specifically for full-frame and APS-C Sony E-mount cameras. Read more

Articles: Digital Photography Review (dpreview.com)

 
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