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Lensrentals teardown reveals the inside of the ‘Strong like Bull’ Canon RF 70-200mm F2.8 lens

10 Dec

Image credits: Images (and excerpts) shared with kind permission from Roger and the Lensental team.


Canon’s new RF 70-200mm lens is one of the most interesting lenses we’ve come across in recent memory—so much so we deemed it a ‘modern marvel’ in our sample gallery and crowned it the ‘Zoom Lens Winner of the Year’ award.

While we’ve shared our thoughts on the image quality and overall performance of the lens, we haven’t taken too deep a look into the construction of the lens. Thankfully, Roger and his team over at Lensrentalss have done a complete teardown of the Canon RF 70-200mm F2.8 lens to show off just what Canon has put into this compact lens that’s part of the ‘holy trinity’ in the photo world.

A look at the PCB in the rear of the lens.

To start off the teardown, Roger recounts a little anecdote wherein a Canon engineer tossed a box on his workbench and pulled out a mock-up version of the RF 70-200mm F2.8 lens. Roger admits he isn’t easily impressed, but when he laid eyes on the mockup, he said his jaw dropped and the only words to leave his mouth were ‘that’s going to sell you a lot of cameras.’ Now, a good while later, a full-functioning version of the lens was sitting on his workbench once again; and this time it wasn’t leaving without going through a little operation.

Before cracking open the lens, Roger first addresses the redesigned optics of the lens, pointing out the dual focus group design and the extending lens barrel, addressing the latter by saying:

Some of you HATE extending barrel lenses. That’s cool; don’t get one. Some of you like to call them dust pumps. That’s cool, too, although it’s incorrect. (We take care of over 20,000 lenses. The most common ‘dusters’ among current lenses all happen to be primes that don’t zoom at all.)

The breathable filter (which lets in air, but keeps out dirt and dust) around the lens barrel.

From there, it’s onto the teardown, which starts with the hinged tripod ring. He notes it’s not the most robust tripod ring he’s come across, but when attached to the camera, it’s ‘quite sturdy.’ With the tripod collar off, it was onto the front of the barrel, which came off with a few external screws. Upon looking over the front ring, Roger discovered a foam sealing between the filter barrel and front element, as well as a new breathable filter, that will allow air to pass through the front of the lens without allowing particles to get in.

The front lens element was then removed with ease, which lead to the ‘reasonably large IS unit,’ which stopped the team in their tracks and lead them to turning the lens over and tearing it down from the back.

A close-up of the ‘reasonably large’ IS unit.

The rear lens mount proved fairly standard as far as Canon’s RF lenses go. It was packed tight with the PCB and ribbon cables, as well as a few springs to add the tactile feedback to Canon’s programmable ‘Control Ring.’

Eventually, Roger hit a point where the ribbon cables looked too fragile to continue, but he and Aaron persisted and eventually removed the rear lens barrel after carefully threading each ribbon cable through the maze of pieces.

A close-up of the meticulously-placed ribbon cables and sensors.

It was at this point Roger paused to ‘salute Canon’s engineers,’ saying:

The flexes are all beautifully laid out and organized, going directly to their appointed place with no wandering about allowed. Notice how all the switches just take up one small flex; there’s not a lot of electron transfer needed to signal ‘on’ or ‘off’ compared to the amount of information that IS or focusing requires.

After composing himself, he and Aaron continued to the inner workings of the lens. Specifically, he draws attention to the elements Canon uses to secure the extending lens barrel. Roger says the Canon RF 70-200mm F2.8 ‘has about the most robust extending barrel mechanism I’ve ever seen […] There aren’t the usual three cams sliding about to move this barrel, there are three pairs of them, and each is very large and robust.’

A look at the components used to secure the extending lens barrel.

Roger and Aaron eventually strip the outer barrel of the lens and dig further into the most intricate components, including both focus assemblies and the image stabilization unit. Roger notes the focus assembly (motors and optics) will likely be replaced as a whole if any component breaks, so any issue on that front will likely prove to be an expensive fix. However, he does not that he ‘doubt it’s a part that will really ever need replacing’ as the lens ‘is SLB (Strong, Like Bull) engineering, and the area is well protected.’

The aperture diaphragm inside the Canon RF 70-200mm F2.8 lens.

In all, Roger concludes that a ‘LOT’ of engineering progress has been made in the RF 70-200mm F2.8 lens compared to the likes of the Canon EF 70-200mm F2.8 lens and the Sony 70-200mm F2.8 lens. He states clearly, ‘this lens was a new design from the ground up,’ adding:

There’s no ‘that’s the way we’ve always done it’ holdovers [compared to the iterative updates of past 70-200mm lenses]. That’s a lot more work for the designers, but the result is a beautifully engineered, fully modern lens. It’s clean, functional, and straightforward.

Roger further addresses the build quality of the lens, saying:

‘It’s obviously very robustly engineered from a mechanical standpoint. The internal composites are strong as hell. There are double cams, rods, and posts everywhere. There’s no play in any moving parts. We can’t imagine there will ever be play in the moving parts unless you run over it with a truck. You could describe it as ruggedized, but I’m going to stick with Strong, Like Bull, and suggest we refer to this as the RF-SLB 70-200mm f/2.8 from now on.

In the end, Roger summarizes the teardown with six simple (paraphrased) words: ‘This is how you do it.’

To view the full teardown in all its glory, head on over to the Lensrentalss blog.

Articles: Digital Photography Review (dpreview.com)

 
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News: Demand for DSLRs is Still Strong, According to Canon

19 Nov

The post News: Demand for DSLRs is Still Strong, According to Canon appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

 

News: Demand for DSLRs is Still Strong, According to CanonIf you were hoping for a flagship, pro-sports mirrorless camera from Canon, you may be waiting for longer than expected.

Earlier this month, DPReview sat down for an interview with two key Canon representatives and came away with some key information regarding Canon’s transition from DSLR to mirrorless.

The number one takeaway:

The demand for DSLRs is still strong. They are performing well, so Canon is continuing to work hard on its DSLR lineup. And a professional-grade mirrorless camera may not be ready anytime soon.

In other words, Canon won’t be making a full-throttle transition to mirrorless at present.

Of course, a rapid transition to Canon’s mirrorless systems was never a guarantee. But reports of the declining DSLR market, combined with Canon’s teasing of a professional-grade mirrorless camera, had led many to believe that a significant shift to mirrorless was on the way. Instead, it seems like Canon may continue to strike a balance between their DSLRs and mirrorless cameras.

What triggered this hesitation regarding mirrorless systems?

As explained by the Canon representatives:

“[A]s of now, we…see a lot of demand from photographers asking for DSLRs, specifically [because of] the benefits of an OVF.”

The reps go on to explain that “there are huge benefits to mirrorless, and we implemented, or combined as much of that [technology] as we could into the [EOS-1D X Mark III].”

For Canon fans still waiting for their dream mirrorless camera, this may not be an adequate consolation. But even as Canon staves off a true move to mirrorless, you can expect plenty of mirrorless features to be integrated into new Canon DSLRs.

It’s certainly interesting to hear that professional Canon photographers have been asking for an optical viewfinder over an EVF. One thing to keep in mind is that Canon is mostly listening to sports and action photographers, who prioritize viewfinder tracking over other features (such as WYSIWYG depth of field). Yet the Canon representatives note that there’s a generational split here, explaining:

At this point in time the biggest difference [between DSLRs and mirrorless cameras] is the finder. The fact that you can see everything in real time, without any layers in the way. That’s really big for a lot professional sports photographers. On the other hand, we do see a lot of the younger generation of professionals favoring EVFs, because what you see is what you get.

What do you think about this generational split in terms of OVFs and EVFs? If you’re a sports photographer, which do you prefer?

And how do you feel about Canon’s choice to maintain a focus on DSLRs (for now)?

Share your thoughts in the comments!

The post News: Demand for DSLRs is Still Strong, According to Canon appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Nikon restructuring and strong D850 sales lead to 8x increase in annual profit

15 May

All of the camera manufacturers have been reporting their annual profits over the last month or two, and while we don’t typically cover individual company financial results, Nikon’s report stands out. That’s because, despite a modest 4% drop in revenue, the company reported a whopping 776% increase in overall profit year-over-year.

The report—which compares the fiscal year ending March 31st 2018 with the year ending March 31st 2017—shows that Nikon’s attempts to “improve profitability through restructuring” and the release of the ultra-popular Nikon D850 in July of 2017 have led to an impressive year. How impressive? Despite revenue dropping by approximately 3.2 billion yen (~$ 29 million USD), Nikon’s profits managed to jump by more than 34 billion yen (~$ 318 million USD). This translates into an 8x increase over last year’s results, which showed a profit of just 3.9 billion yen (~$ 35 million USD).

Of course, this reflects Nikon Corporation as a whole, but the news out of the Imaging division was also positive. While overall unit sales fell—due to the continued demise of the compact camera segment—strong demand for the D850 is said to have increased the sales of “high-class” cameras “significantly,” leading to a 76.2% year-on-year increase in operating profit. Restructuring helped here, too.

Here’s a relevant excerpt from the report:

As a result, revenue for the Imaging Products Business decreased by 5.8% year on year to 360,703 million yen. Operating profit, however, rose by 76.2% year on year to 30,222 million yen due to the efforts to improve profitability through the restructuring, such as the shift to a business strategy of selection and concentration and the discontinuation of operations of Nikon Imaging (China) Co., Ltd., a manufacturing consolidated subsidiary.

You can read the full report at this link, but the short version of the news seems positive, and may even push Nikon to continue focusing on the high-end market that responded so positively to the release of the D850. Does that mean a full-frame mirrorless is that much more likely? We can only speculate… and hope.

Articles: Digital Photography Review (dpreview.com)

 
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Leica Camera reports ‘strong revenue growth’ for 2016/2017 fiscal year

02 Dec

In recent years, financial reports from major camera manufacturers haven’t typically made for overly positive news stories; however, Leica Camera AG is bucking this trend with the announcement of its results for the 2016/2017 financial year ending March 31st. Apparently, the German camera maker has been able to grow revenue by 6 percent, despite the global camera market declining by around 10 percent over the same period.

Leica cites systematic realignment of the company over recent years as the main driver of the positive development.

At the heart of this realignment lies the establishment of an in-house retail distribution division that now controls a network of 90 monobrand stores around the globe. The company says this move has been vital in promoting the brand, and the retail network is set to expand even further in the near future. China is currently Leica’s number one growth market, and 20 to 30 new stores are planned in the country alone.

Other important initiatives include the Leica Akademie brand—which aims to increase brand awareness among younger target groups—and the company’s collaboration with Chinese smartphone maker Huawei on the cameras in their latest high-end devices.

The upward trend has reportedly continued into the 2017/2018 financial year, leading CEO of Leica Camera AG, Matthias Harsch, to predict record-breaking growth for this coming year.

Its important to note, however, that at least part of Leica’s future growth will have nothing to do with photography. In 2017, the company entered into the eyewear segment under the Leica Eyecare brand, which Leica says will “systematically tap into this global market in conjunction with its technology partner Novacel.”

Press Release

Leica Camera AG Records Strong Revenue Growth for the 2016/2017 Financial Year and Bucks the Downward Trend in the Camera Market

The Leica Camera Group achieved revenue of almost 400 million euros in the past financial year 2016/2017 (31 March 2017) and can therefore look back very positively on the previous twelve-month period. With strong revenue growth of more than six per cent, Leica bucked the overall downward trend in the global camera market, which declined by around 10 per cent in the same period.

In the first few months of the current financial year 2017/2018, cumulative growth stands at 15 per cent, thus underscoring the positive global performance of Leica Camera AG. Despite a market environment that remains challenging, the CEO of Leica Camera AG, Matthias Harsch, once again expects a record-breaking result for the 2017/2018 financial year. As a result, the revenue of Leica Camera AG has increased more than fourfold since anchor investor and majority shareholder Dr Andreas Kaufmann came on board in 2004.

The main driver of growth is the systematic realignment of the company that has taken place in recent years. In particular, the setting up of an in-house Retail Distribution division has made a major contribution to revenue growth. Leica now has 90 monobrand stores around the world, which are vital in terms of promoting brand experience in the context of photography. ‘China is our number-one growth market,’ says Matthias Harsch, who is planning 20 to 30 new stores in the country alone. The Group is now strengthening its presence in the service sector with the Leica Akademie brand in order to boost the appeal of photography amongst younger target groups.

The extremely successful technology and brand partnership with Chinese company Huawei in the field of mobile phone photography makes Leica one of the world’s leading providers of smartphone lens applications, a burgeoning technology segment that serves as a global basis for new product ideas and applications in photography.

The entry of Leica into the eyewear segment (glasses) – a move that was completed in 2017 – offers further potential for strong revenue growth in the years ahead. Operating under the name of Leica Eyecare, the company will systematically tap into this global market in conjunction with its technology partner Novacel.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm earning report indicates strong sales of X-series, lenses and GFX 50S

13 Jun

Fujifilm’s earnings report for the fiscal year ending in March has been published and contains some interesting information on the company’s line of consumer imaging products. Sales figures of both X-Series cameras and lenses and the GFX medium format system have increased, according to the report.

‘The business of electronic imaging achieved a sales growth due to positive sales of the X-Series of mirrorless digital cameras such as FUJIFILM X-T2 and FUJIFILM X-T20 as well as their interchangeable lenses, and strong sales of the FUJIFILM GFX 50S, a medium-format mirrorless digital camera equipped with a large sized sensor, released in February.’

Overall, the sales of the company’s Imaging Solutions division decreased 3.2% from 352.9 billion Yen to 341.8 billion Yen due to the negative effect of the appreciation of the Japanese Yen in the foreign exchange market. However, operating income went up by 15% from 32 to 36.8 billion Yen, thanks to the sales expansion of digital cameras mentioned above, an increase in sales of high-end instant photo systems and improved profitability in various business categories.

The company is projecting a 2.4% increase in revenue over the next fiscal year for the Imaging Systems business, from 341 billion to 350 billion Yen, with operating income up nearly 17%.

You can read the annual report for yourself here [PDF].

Articles: Digital Photography Review (dpreview.com)

 
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Canon boosts 2017 profit forecast following strong Q1 financial results

27 Apr

Canon’s recent acquisition of Toshiba’s medical equipment unit has helped spur strong first fiscal quarterly financial results for the camera company, and as a result it has increased its full 2017 operating profit forecast. In January, Canon estimated that it would see a yearly profit of 255 billion Yen; following the favorable Q1 2017 results, the company now estimates the profits will be higher at 270 billion Yen. However, the company’s outlook on 2017 camera unit sales are gloomier, with ILC unit sales dropping 7% and compacts down 13%, working out to -9% overall.

Overall, the company saw a year-on-year Q1 operating profit increase of nearly 89%, rising from 40.09 billion Yen in Q1 2016 to 76.67 billion Yen this past first quarter. According to Reuters, Canon Executive VP and CFO Toshiz Tanaka stated during the company’s earnings conference that mirrorless cameras are helping drive the company’s camera sales. The company’s financial report notes that ‘healthy demand’ for Canon’s EOS 5D Mark IV has helped drive the company’s interchangeable lens camera sales. First quarter revenue from camera sales were up over 7%, though unit sales were unchanged since Q1 2016.

Canon likewise saw its compact-system cameras’ sales increase in Europe and Asia (6% globally), and though overall digital compact camera sales volume dropped in the last quarter, Canon says the PowerShot G-Series and other ‘high-value-added models’ experienced ‘solid demand.’ Things aren’t looking great for the digital compact camera market overall, where Canon sees sustained market contraction for its budget-tier models (-6% globally). However, developed countries’ decreased demand for interchangeable lens digital cameras is ‘decelerating steadily,’ the company says. 

Canon also touched on the topic of last year’s Kumamoto earthquake damage, saying that the resolution of the shortages caused by the earthquake have resulted in ‘temporary moderate growth’ for interchange lens digital cameras. 

Via: Reuters, Canon 1, 2

Articles: Digital Photography Review (dpreview.com)

 
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How to Use a Limited Color Palette to Compose Strong Images

12 Oct

There are lots of ways to use color in photography. One is to look for strong, complementary colors – those on opposing sides of the color wheel – and include them in the same frame. The opposite is to use a very limited color palette.

Here’s an example of the first approach. There’s a green background, purple petals, and yellow stamen. Three strong colors, working together to create an image that has good impact, because of color contrast.

Limited color palette

Limited color palette approach

But the approach is the opposite. Instead of including several strong, contrasting colors the idea is to use a much more limited color palette. You can do this with strong colors, as in this example below, where the dominant color is red.

Limited color palette

Or you can do it with much more subtle colors, as in this photo.

Limited color palette

Either way, the result is a strong image with an intelligent use of color.

Many photographers move away from using saturated, contrasting colors towards a more limited and subtle palette as their skills and vision evolve. As you look at the work of other photographers, especially professionals, you’ll find that a limited color palette is a mark of maturity and sophistication.

Color in the landscape

Landscape photography is a genre that is synonymous with saturated color. Back before digital, one of the most popular films for landscape photography was Fuji Velvia – a slide film noted for its contrasty, saturated images.

In the modern era techniques like HDR and software like Lightroom and Photoshop help us create saturated, contrasty images. Often that’s what you’ll see.

But what about exploring the subtleties of light and landscape?

For example, instead of photographing the setting sun try waiting until after it has set. The colors are softer. If you have a clear sky the entire landscape may be bathed in a golden glow. The result is a much more subtle use of color.

Limited color palette

Another technique is to explore the possibilities offered by bad weather.

I took the photo below in a town in southern Chile called Puerto Aysen. It rains a lot there, even in summer. When I took the photo it was raining. But the soft light captures the mood of the region well. The color palette is limited and dominated by green. Subtle contrast is provided by the colors of the painted boats.

Limited color palette

Limited color palettes and portraiture

Think about the use of color carefully in portraiture. Here you have much more control than you do with the landscape, as you can ask your model to wear specific items of clothing. You also get to choose the background.

If you haven’t decided in advance what your model is going to wear, a good tip is to ask them to bring along several options. Then you can choose the most appropriate outfit.

Here, I liked the model’s unusual hat. I positioned her against a neutral background so that the green hat was the strongest, most dominant color in the composition.

Limited color palette

Still life and color

Here’s a simple still life that I took in a restaurant in New Zealand. I liked the way the wooden platter and wooden table went together. The colorful fruit contrasts nicely with the neutral tones of the wood.

The photo shows another composition technique in action, one that I touched upon in the earlier portrait section. It’s the technique of composing the photo so that a single strong color is placed against a neutral or gray background. You then have a photo with a subtle color palette consisting of gray (or neutral tones, like the wooden table) and a single, dominant color.

Limited color palette

This leads to my next point, which is an important one. One of the keys to using a limited or subtle color palette is to develop your observation skills. The photos shown so far have one thing in common – I saw the subtle colors and framed the photo in a way that uses them well.

This an important skill to develop. One thing that elevates the work of the best photographers above everybody else is composition. Observation and composition go together. The more you learn to observe the world, and see how color, texture, tonal contrast, and the other building blocks of composition work together, the better your composition will be. In turn, this helps you create stronger, more memorable photos.

Lightroom and color

Don’t forget that Lightroom gives you several tools for controlling color.

The Camera Calibration panel is very important when it comes to processing Raw files. For most cameras, you will see Profile options like Landscape, Standard, Portrait, Neutral, and Faithful (with variations depending on camera model). Selecting Landscape gives you stronger, more saturated colors. Selecting Neutral or Faithful gives you more subtle, true to life colors.

You can also use the Saturation and Vibrance sliders in the Basic panel to reduce the intensity of colors.

The photos below show the difference it makes.

Limited color palette

Limited color palette

The first was processed with the Profile set to Velvia (the equivalent of the Landscape setting on my Fujifilm X-T1). The second was processed with the Profile set to Astia, which gives softer colors, and Vibrance set to -12. You can see the difference, the colors in the second version are softer and more subtle.

The HSL / Color / B&W panel lets you target and adjust the saturation of specific hues. In this portrait example below, I used the Targeted Adjustment Tool to lower the saturation of the background, reducing the amount of blue in the photo. The result is that the model’s pink dress becomes the strongest color in the image. Reducing the saturation of blue simplifies the color palette and makes a stronger image.

Limited color palette

Hopefully, this article will help you understand that there is more to color than getting as much of it in the photo as possible. There’s plenty of room for using a more subtle approach and limiting the number of colors included in the frame.

Do you have any ideas for ways to use a limited color palette or subtle colors in your photos? Please let us know in the comments.


Mastering Composition

If you’d like to learn more about color and composition then please check out my ebook Mastering Composition: A Photographer’s Guide to Seeing.

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How to Create a Strong Composition by Centring the Subject

24 Jun

Central composition

I’m a strong believer that there are no rules when it comes to composition in photography, only guidelines. The rule of thirds is misnamed (but guideline of thirds is not nearly so catchy), and while it is helpful for newcomers to photography realize that you can often improve composition by placing the subject off-centre, it is not a rule.

The rule of thirds, and other similar guidelines that you may read about (golden section, golden triangle, Fibonacci sequence, etc.) are really about placement. The question you are looking to get answered is, where in the frame should the main subject be placed? Secondary questions are how large should the subject be in the frame, and how does it relate to other elements that may be included?

In simplistic terms: sometimes the best place for the subject is in the centre of the frame, and sometimes it is not. In this article we’re going to look at some examples where the subject is centred, and talk about how that central placement actually makes the image stronger, not weaker.

Central composition

In the photo above I placed the girl in the centre of the frame (horizontally) because that was the best way to include the metal statue she was sitting on. If I moved the camera to the left (to place her on a third) then the statue’s head would be cut off. If I moved the camera right then there would be an empty space to the right of the statue’s head.

Here, the question of whether or not to place the subject (the girl) on a third, is the wrong question to ask. A better question is – What’s the best way to include everything that needs to be in the frame, and nothing more? Different question, and a different thought process.

The image also shows a strong use of tonal and color contrast. The girl’s white clothing contrasts against the surrounding dark tones, pulling the viewer’s eye to her. The eye also moves between the girl and the pink umbrella lying on the ground. The pink tones (umbrella, shoes, wristband, hair ribbon) stand out because the rest of the scene is fairly monochromatic.

Central composition

The photo above is interesting because it utilizes symmetry. I asked the model to stand at the corner of concrete structure, built into the base of the cliff. The sides of the walls, the textured pattern on them, even the way the pebbles lie against the base of the walls all mirror each other. She is placed in the centre of the frame (horizontally) so she doesn’t break the symmetry of the background. The model, however, is not symmetrical. I asked her to put her weight on one foot, creating an S-curve with her body, to break the symmetry created by the background.

Consider also the size of the subject within the frame. If I had placed her on a third by moving the camera to the right or the left, I would have both broken the symmetry and been left with a large area of empty space. This can work when there is something interesting in that space, but it doesn’t always, and should be considered when deciding where to place the subject.

Central composition

In this portrait you can see that the model’s sharp eye, is right in the centre of the frame. There’s a good reason for that – I took the photo with an EOS 5D Mark II, which has just one cross-type autofocus (AF) point in the centre of the frame. When you are using wide apertures, as I was in this case (f/2.5), it’s essential to use a cross-type autofocus point, as it’s the most accurate. One of the weaknesses of this camera is that it forced me to base my composition of portraits around its central AF point.

That’s the practical reason for using a central composition, but the portrait works. I moved in close so there wasn’t much empty space in the photo, The central composition takes the viewer’s eye to her face, eyes and hair, which are the important parts of the image. If I had moved back a little and placed her face on a third, then there would be a lot more empty space around her, and less emphasis on her features.

Central composition

This close-up photo of a flower (above) is another example of using a central composition for impact. I focused on the flower’s stamen and let the petals go out of focus. Visually, you can divide the photo into three. At the centre there’s the stamen, which is the sharp part of the image. Around that is the petal of the flower, and around that the green leaves. If I moved the camera further away and placed the flower on a third, rather than the centre, then it would lose impact and be a completely different photo.

Central composition

The final example uses the square format. You’ll see central compositions in the square format, far more than you will with a rectangular aspect ratio, because the square format lends itself to strong, graphic compositions that utilize shape.

In this example the domes of the Venetian church (centered horizontally) are the strongest shapes, and the focal point of the image. It helps that the lines formed by moving boats from the bottom right of the frame pull the eye towards the church in the distance.

What do you think? Are there times when you use central composition or do you prefer to place the subject off-centre? Let us know in the comments below.


Mastering Composition

If you’d like to learn more about composition then please check out my ebook Mastering Composition: A Photographer’s Guide to Seeing.

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How to Create Strong Compositions Using Color Contrast

05 Feb

Color contrast and composition

When I wrote about making dramatic images using shadow and contrast, a reader rightly pointed out that a couple of my photos were also good examples of color contrast.

This is interesting because it shows how two photographers can look at the same scene, and see different things. In those examples I saw textures, shadows, and tonal contrast, and instinctively converted them to black and white. But another photographer might place more importance on the strong colors, and make them the centre point of the composition.

Here’s the first of those images. The color contrast here is between the orange car and the blue sky.

Color contrast and composition

If you look at a color wheel, used by artists and graphic designers to show the relationships between colors, you will see that orange and blue are on nearly opposite sides. They are said to be complementary colors (as opposed to analogous colors, which are close to, or next to each other on the wheel).

Color wheel

Diagram by Wikipedia contributor Jacobolus

Using contrasting colors in a composition nearly always results in a strong image. The key is to keep the composition simple, and not to overwhelm it with too many hues.

Here are a couple more examples. The first shows dramatic red stripes on a lighthouse against a dark blue sky (I used a polarizing filter to intensify the colors). Red and blue are also nearly opposite on the color wheel.

Color contrast and composition

The second shows red flowers, against a green background.

Color contrast and composition

These three color combinations – orange/blue, red/blue, red/green – occur a lot in both natural and man-made environments.

Below is the second photo from the earlier article, mentioned above. It uses a different type of color contrast. The green apples are displayed against a grey background. The lack of color in the background makes the green of the apples seem more intense than it is in reality.

Color contrast and composition

This technique of placing a colored object against a dark or neutral background is another that you can use over and over. It’s very effective. Here are two more examples.

The first shows a work created by artist Chris Meek. The grey background emphasises the yellow paintwork, the only strong color in the image.

Color contrast and composition

Image used with the permission of the artist

The second shows a display of pumpkins. The dark grey background emphasizes the intensity of the orange hues.

Color contrast and composition

The key here again is to keep the composition simple. Imagine each of the previous examples with a splash of red in the image somewhere. The red would pull your attention away from the dominant colors, and diminish the impact of the composition.

Another approach to using color contrast is to look for scenes with a limited color palette. Here’s an example – the image below is a portrait of a friend of mine, sitting in front of a gypsy caravan, that she made herself. The image is full of color, but they are mostly shades of two different hues – red and green, which we know are near opposites on the color wheel.

Color contrast and composition

Here’s another example. It’s a colorful image, but again there are two dominant hues – blue and red. The incongruity of the plastic sleeves the chef is using to protect his arms, combines with the color contrast to make a strong composition. The colours are more muted than the earlier examples with this color combination, but it still works.

Color contrast and composition

The images in this article have several things in common: strong use of color (in different ways), simple composition (simplicity often equals strength in design), and good observational skills.

It is is one thing to analyze these things in photos, it is another to train yourself to see them. To do so, you really have to think about the scene in front of you. What colors do you see? Does the light suit the subject? How can you simplify the composition to make those colors stronger? If you can figure out the answers to these questions, your images will be stronger.

Do you have any questions about color contrast, or any photos to show us? Please let us know in the comments below.


Mastering Composition

Mastering Composition ebook by Andrew S. GibsonMy ebook Mastering Composition will help you learn to see and compose photos better. It takes you on a journey beyond the rule of thirds, exploring the principles of composition you need to understand in order to make beautiful images. You’ll also learn how to use colour to create photos like the ones in this article. Click the link to learn more or buy.

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Fujifilm’s latest financials show strong sales of Instax products, shrinking sales of digital cameras

03 Nov

It’s the season for pre-holiday financial earnings reports, and Fujifilm’s latest numbers tell a familiar story – digital camera sales are down on the whole, with steady sales of higher-end products. Despite that, Fuji’s imaging solutions division saw an increase in operating income, up to 12.4 billion yen in the first half of the financial year, marking a 2.7x improvement year-on-year. Read more

Articles: Digital Photography Review (dpreview.com)

 
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