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Posts Tagged ‘Waves’

Inspiring Photography of the Waves and Oceans of Tahiti by Ben Thouard

14 Sep

Ben Thouard is an award-winning ocean and surfing photographer living on Tahiti – an island in French Polynesia. His love of surfing and photography took him there at the age of 22, and he hasn’t looked back since.

In this film by Roam, titled SURFACE, Thouard gives us a unique view of waves and surfing. The film documents how he works, and how his shots are captured – it’s a valuable look into the creative process of such an experienced photographer.

Note: Watch it fullscreen, you’ll feel like you’re in the water with him!

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“Being in the water, moving with the waves and going with the flow… you feel the energy from the ocean,” says Thouard. “You feel very humble in front of all of that power.”

Thouard discovered photography at the age of 15 and spent all of his time underwater trying to capture images of the ocean. Most of Thouard’s days are spent exploring and waiting for the perfect conditions, but when all of that comes together it makes for stunning photography.

Thouard has now created a 184-page book, also titled SURFACE, documenting his work photographing waves and the ocean in beautiful imagery.

Here’s a short trailer on the film above, if you want a more concise insight into his work:
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To see more of Thouard’s work, head over to his website.

The post Inspiring Photography of the Waves and Oceans of Tahiti by Ben Thouard appeared first on Digital Photography School.


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Fujifilm X-T3 makes waves with a 26MP X-Trans sensor and 4K/60p video

07 Sep

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Fujifilm isn’t being conservative with its new X-T3 enthusiast mirrorless camera. Rather, the company is swinging for the fences, producing a camera with a brand new 26MP BSI X-Trans CMOS 4 sensor that can shoot at up to 30 fps (in crop mode) and capture 4K/60p video. The T3’s X-Processor 4 is three times faster than the chip on current X-series models. The camera also has a native base ISO of 160, down from 200 on the X-T2. All of Fujifilm’s Film Simulation modes are here, including Acros, Classic Chrome and Eterna.

The autofocus system is a big improvement over previous X-series models

Design-wise, the X-T3 looks a whole lot like its immediate predecessor. You’ve got your weather-sealed body with analog dials, unique dual-axis articulating LCD and good-sized electronic viewfinder. Both the LCD and EVF have been enhanced, with the former becoming touch-enabled and the latter getting a resolution boost to 3.69 million dots. The EVF has a 100 fps refresh rate when the camera is in ‘boost mode,’ which no longer requires the optional battery grip for maximum performance. The EVF diopter is now lockable, and the camera’s various dials and buttons are larger and have a more pronounced ‘press feel’.

Perhaps the biggest surprise on the X-T3 is just how much effort Fujifilm has put into making the X-T3 a serious video camera

The autofocus system is a big improvement over previous X-series models, with 2.1 million phase detection pixels providing nearly 100% coverage. The system checks focus and metering 1.5x faster than the X-T2 and is capable of focusing in light levels as low as -3EV. Face and eye detection have been improved, with the latter now available in AF-C mode. Fujifilm has also added a ‘Digital Microprism’ focusing aid, simulating the view through an old-school film SLR finder.

At full resolution the camera can fire away at 20 fps with the electronic shutter or 11 fps with the mechanical shutter. Putting the camera into ‘Sports Finder’ boosts the top burst rate to 30 fps with a 1.25x crop. Bright lines in the viewfinder show the cropped-in area. An available pre-capture option continuously buffers images and saves the images taken immediately before and after you press the shutter release. The X-T3’s battery life is rated at 390 shots per charge, which is above average for a mirrorless camera. The optional battery grip allows the camera to use three NP-W126S packs, with seamless switching between them.

The X-T3 can record F-Log footage with HLG support coming later in 2018.

Perhaps the biggest surprise on the X-T3 is just how much effort Fujifilm has put into making the X-T3 a serious video camera. Not only can it capture 4K/60p video (DCI and UHD): it can also output 10-bit 4:2:2 to an external recorder or capture 10-bit 4:2:0 internally (using the H.265 codec). The readout rate of the sensor has been increased to reduce rolling shutter, and new noise reduction algorithms have been added.

The X-T3 can record F-Log footage (with a minimum ISO of 640), with HLG support coming later in 2018. The camera has mic and headphone sockets, along with HDMI and USB-C, and the door over all of those can be removed for when the camera is on a rig.

The X-T3 will be available starting September 20th in black and silver for $ 1,499.95 body-only, or as a kit with the XF 18-55mm for $ 1,899.95.

Read our Fujifilm X-T3 First Impressions Review

Press Release:

FUJIFILM ANNOUNCES THE NEW X-T3, A MIRRORLESS DIGITAL CAMERA EVOLVING X SERIES INTO FOURTH GENERATION

New X-T3 introduces all-new back-illuminated 26MP X-Trans CMOS 4 sensor and X-Processor 4 processor; World’s first APS-C mirrorless camera capable of 4K/60P 10bit recording

Valhalla, N.Y., September 6, 2018 – FUJIFILM North America Corporation today unveiled the new FUJIFILM X-T3, launching the X Series mirrorless digital cameras into its fourth generation. Introducing an all-new back-illuminated 26.1MP X-Trans CMOS 4 sensor and X-Processor 4 processor, the X-T3 delivers superb image quality, dramatically improved AF performance, exceptional tracking performance of fast-moving subjects and blackout-free burst shooting. The X-T3 is also the first APS-C mirrorless camera capable of 4K/60P 10bit recording to meet the needs of professional videographers.

“We are proud to introduce the new X-T3 to market as not only the latest addition to our X Series mirrorless lineup of digital cameras, but as an introduction to fourth generation technologies that feature substantial performance enhancements over previous models, delivering high AF performance, superb color reproduction and outstanding image quality to photographers and videographers alike,“ said Yuji Igarashi, General Manager of the Electronic Imaging Division and Optical Devices Division of FUJIFILM North America Corporation.

Fourth Generation X-Trans CMOS 4 and X-Processor 4 for Improved Resolving Performance, Color Reproducibility, and Faster Processing

Featuring the latest, fourth generation 26.1MP X-Trans CMOS 4 APS-C sensor with no optical low-pass filter, the FUJIFILM X-T3 boasts the highest performance in the history of X Series. Utilizing the unique color filter array of X-Trans CMOS sensors to control moiré and false colors, it is the first APS-C back-illuminated structure sensor with phase detection pixels distributed across the surface to improve image resolution without compromising signal to noise ratio. With the X-T3, ISO160 is now part of the standard ISO range, previously this was only available as extended ISO, perfect for use in bright scenes or when trying to shoot wide open with a fast, large-aperture lens.

The new X-T3 debuts the X-Processor 4 processor which features a Quad Core CPU to achieve a processing speed 3 times faster than current X Series models. Providing incredible AF accuracy and speed, the processor is also the first to deliver 4K/60P 10bit output, fulfilling the performance needs of professional videographers. It is also capable of implementing complex image processing tasks in an instant, such as the unique FUJIFILM Color Chrome Effect or Monochrome Adjustment function.

The new FUJIFILM X-T3 features the Color Chrome Effect, previously limited to the FUJIFILM GFX 50S medium format mirrorless digital camera, which produces enhanced color gradation in highly saturated colors such as vivid-colored flowers with shadows, a notoriously difficult subject to reproduce. With the high-speed processing power of the X-Processor 4, this effect can be applied not only to a single shot but also during continuous shooting.

Exceptional Autofocus and Viewfinder Performance

With the X-T3, AF performance receives a dramatic improvement from previous X Series products, increasing the phase detection AF area to the entire frame with 2.16M phase detection pixels providing fast and accurate phase detection AF. The low-light phase detection AF limit has been increased over the X-T2 by 2 stops, from -1EV to -3EV, making it possible for photographers to accurately focus in low light conditions, perfect for night photography.

Furthermore, the X-Processor 4’s high processing speed and excellent phase detection algorithm means the camera refocuses (AF) and meters (AE) 1.5 times more frequently than the X-T2, enabling accurate autofocus even when photographing subjects that change speed and move erratically across the frame, such as sports photography. The performance of Face Detection AF has also been improved. Eye Detection AF now supports the AF-C mode to maintain accurate focus tracking. Face and Eye Detection AF is also available during video recording to achieve smooth filming of subjects.

The X-T3 offers photographers incredible viewfinder performance, with the ability to now track a moving subject in the 3.69-million-dot high resolution EVF with a magnification ratio of 0.75x. Further the X-T3, allows continuous shooting of 11fps with the mechanical shutter without the optional vertical battery grip, enabling fast continuous shooting while maintaining a low weight.

Additional enhancements to the X-T3 include a display time lag of just 0.005 seconds and a EVF refresh rate of 100fps for smooth display of moving subject or when panning the camera. A new sports finder mode for enhanced capture of moving subjects is especially useful for sports and wildlife photography, and a new pre-shoot function, which allows photographers to start shooting as soon as the shutter button is half-pressed to ensure the moment is never missed.

Enhanced Video Performance to Meet the Needs of Professionals

The X-T3 is the first mirrorless digital camera capable of internal SD card 4K/60P 4:2:0 10bit recording and the first mirrorless digital camera with APS-C or larger sensor that is capable of 4K/60P 4:2:2 10bit HDMI output. Supported video formats include the widely-used H.264/MPEG-4 AVC as well as H.265/HEVC for greater data compression, which enables internal recording of 4K/60P 4:2:0 10bit at200Mbps bitrate as well as simultaneous HDMI output. The X-T3 sensor’s read speed has been increased from that of the X-T2, enabling17msec reading in 4K/60P video, reducing rolling shutter distortion for smooth recording of fast-moving subjects. 10bit color depth for video boosts the amount of color information 64 times compared to 8bit, and is combined with approximately. 12 stops dynamic range to enable capture of subjects with rich gradation of color.

Also introduced in the X-T3 is a new noise reduction algorithm and 4K inter-frame noise reduction, the minimum sensitivity for shooting F-Log footage has been lowered from ISO800 to ISO640, further enhancing the camera’s performance to meet the needs of videographers.

Designed for Ultimate Operability

Inheriting the popular design of the X-T2, dials are positioned on the top panel, and the camera features a central viewfinder and excellent grip design for stability and comfort. The X-T3 also incorporates enhancements to its design, including a lockable EVF diopter adjustment to prevent unintended adjustments while carrying the camera, and a touchscreen panel with higher contrast, wider viewing angles and better functionality for more intuitive operation. In addition, the X-T3 offers larger top-panel dials than the X-T2, and larger rear-panel buttons and a more pronounced press function of the front and rear command dials, as found on the X-H1.

X-T3 Vertical Battery Grip

The Vertical Battery Grip VG-XT3 is designed to be dust-resistant, weather-resistant and capable of operating at temperatures as low as -10°C/14° F, and holds two additional batteries to increase the maximum number of shots to 1,100 (in normal mode). The grip features a shutter release button, focus lever, AE-L button, AF-L button, front and rear command dials, Q button and Fn button to provide the same level of excellent operability with vertical shooting as with horizontal.

X-T3 Metal Hand Grip

The MHG-XT3 Metal Hand Grip makes it substantially more comfortable to hold the camera when it is mounted with a large-aperture lens, in order to reduce camera shake. The battery or SD cards can be replaced without having to remove the hand grip, and the base can be used as a quick release shoe when using a dovetail mount on a tripod.

FUJIFILM X-T3 Key Features:

  • 26.1MP X-Trans CMOS 4 Sensor with primary color filter
  • X-Processor 4 Image Processing Engine
    • Capable of 4K/60P and 10bit output
    • Features 4 CPU units
    • Startup time of 0.3 seconds
    • Shutter time lag of 0.045 seconds
  • High-precision, 0.5-inch, 3.69 million dot OLED color viewfinder
    • Viewfinder magnification of 0.75x
    • Wide viewing angle (diagonal 38º and horizontal 30º)
    • Display time lag of just 0.005 seconds, refresh rate of approx. 100fps
  • Robust magnesium alloy body
  • Continuous Shooting
    • 30fps [Only electronic shutter, 1.25 x Crop ] (JPEG? 60 frames Lossless compression RAW? 35 frames Uncompressed RAW? 33 frames)
    • 11fps (JPEG: 145 frames Lossless compression RAW: 42 frames Uncompressed RAW: 36 frames)
    • 5.7fps (JPEG: endless Lossless Compression RAW: 62 frames Uncompressed RAW: 43 frames)
    • Pre-shot: Approx. 30fps [Only electronic shutter, 1.25 x Crop ] (max. 20 frames while half press, max. 20 frames after full press, total max. 40 frames)
  • Movie Recording (using a card with the UHS Speed Class 3 or higher)
    • File format
      • MOV (MPEG-4 AVC/H.264, HEVC/H.265, Audio: Linear PCM / Stereo sound 24bit / 48KHz sampling)
    • Movie compression
      • All Intra/Long-GOP, can be used with the following settings:
        • DCI4K/4K 29.97p/25p/24p/23.98p 400Mbps
        • Full HD?2048×1080?/Full HD?1920×1080?94p/50p/29.97p/25p/24p/23.98p?200Mbps
      • File size/ Frame Rate/ Recording Time
        • ?DCI 4K?4096×2160?? 94p/50p/29.97p/25p/24p/23.98p 400Mbps/200Mbps/100Mbps 59.94p/50p: up to approx. 20min. 29.97p/25p/24p/23.98p: up to approx. 30min
        • ?4K?3840×2160??94p/50p/29.97p/25p/24p/23.98p
        • 400Mbps/200Mbps/100Mbps 59.94p/50p: up to approx. 20min. 29.97p/25p/24p/23.98p: up to approx. 30min
        • ?Full HD?2048 ×1080?? 94p/50p/29.97p/25p/24p/23.98p 200Mbps/100Mbps/50Mbps up to approx. 30min.
        • ?Full HD?1920×1080??94p/50p/29.97p/25p/24p/23.98p 200Mbps/100Mbps/50Mbps up to approx. 30min.
        • ?Full HD?1920×1080) High speed rec.] 120p?100p 200Mbps (recording) up to approx. 6min.
        • Recording movies in 400Mbps can be done with DCI4K/4K 29.97p/25p/24p/23.98p.
        • DCI4K 59.94p/50p is not available when H.264 is selected.
          • For recording movies, use a SD memory card with UHS Speed Class 3 or higher. For recording movies in 400Mbps, use a SD memory card with Video Speed Class 60 or higher
        • LCD Monitor
          • 0 inch, aspect ratio 3:2, approx. 1.04 million dots touch screen color LCD monitor (approx. 100% coverage)
        • 16 Film Simulation Modes
          • PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, Classic Chrome, PRO Neg. Hi, PRO Neg. Std, Black & White, Black & White +Ye Filter, Black & White +R Filter, Black & White +G Filter, Sepia, ACROS, ACROS +Ye Filter, ACROS+R Filter, ACROS+G Filter, ETERNA/Cinema), B & W Adjustment: -9~+9
        • Bluetooth® Ver. 4.2 low energy technology
        • 16 Film Simulation Modes
        • Accessories included:
          • Li-ion battery NP-W126S
          • Battery charger BC-W126S
          • Shoe-mount flash unit EF-X8
          • Shoulder strap
          • Body cap
          • Strap clip
          • Protective cover
          • Clip attaching tool
          • Hot shoe cover
          • Vertical battery grip connector cover
          • Connector cover (detachable)
          • Sync terminal cover
          • Cable protector
          • Owner’s manual

FUJIFILM X-T3 Accessories:

  • X-T3 Vertical Power Booster Grip VG-XT3
    • Weather-resistant design fits two additional batteries
  • X-T3 Metal Hand Grip MHG-XT3
    • Enhanced ergonomic design for horizontal shooting
  • X-T3 Bottom Leather Case BLC-XT3
    • Genuine premium leather
  • X-T3 Cover Kit CVR-XT3 includes:
    • Sync terminal cover
    • Hot shoe cover
    • Connector cover
    • Vertical battery grip connector cover, black
    • Vertical battery grip connector cover, silver
  • FUJIFILM Remote Release RR-100
  • Battery Charger BC-W126S

Fujifilm X-T3 specifications

Price
MSRP $ 1499 (body only), $ 1899 (w/18-55mm lens)
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 6240 x 4160
Other resolutions 4416 x 2944, 3120 x 2080
Image ratio w:h 1:1, 3:2, 16:9
Effective pixels 26 megapixels
Sensor size APS-C (23.5 x 15.6 mm)
Sensor type BSI-CMOS
Processor X-Processor 4
Color space sRGB, Adobe RGB
Color filter array X-Trans
Image
ISO Auto, 160-12800 (expands to 80-51200)
Boosted ISO (minimum) 80
Boosted ISO (maximum) 51200
White balance presets 7
Custom white balance Yes (3 slots)
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG (Exif v2.3)
  • Raw (14-bit RAF)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 425
Lens mount Fujifilm X
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3
Screen dots 1,040,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.75× (0.5× 35mm equiv.)
Viewfinder resolution 3,690,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/8000 sec
Maximum shutter speed (electronic) 1/32000 sec
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe or flash sync port)
Flash X sync speed 1/250 sec
Drive modes
  • Single
  • Continuous (L/H)
  • Bracketing
Continuous drive 20.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Average
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±5 (2, 3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264, H.265
Microphone Stereo
Speaker Mono
Connectivity
USB USB 3.1 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth 4.2 LE
Remote control Yes (via smartphone or cable release)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description NP-W126S lithium-ion battery & charger
Battery Life (CIPA) 390
Weight (inc. batteries) 539 g (1.19 lb / 19.01 oz)
Dimensions 133 x 93 x 59 mm (5.24 x 3.66 x 2.32)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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NASA is working on an aerial ‘Fluid Cam’ that can see through ocean waves

27 Apr

We know more about the surface of the moon and Mars combined than we do about our own ocean floor, according to NASA Ames scientist Ved Chirayath, which is why he is developing a camera that can remove the water from our seas to reveal 3D images of what’s below the waves. Using a grant from Earth Science Technology Office, Chirayath is working on a project that uses both hardware and software to see and map the floors below great bodies of water as though the water isn’t there at all.

In the video above, Chirayath explains that it is hard to see the ocean floor due to the waves on the surface, but his Fluid Cam uses software called Fluid Lensing to image objects in up to 10 meters of water.

While he doesn’t explain exactly how this technique works, he does say it requires a camera with a lot of processing power, as the software runs on-board. The camera he shows in the video uses a Leica Elmarit-M 28mm F2.8 lens on front of what is described as a ‘high performance’ camera. We are told it uses a 16-core processor and has 1TB of RAM, and that it outputs data at a rate of 550MB per second.

At the moment, the camera is in the test stage and has been used attached to a drone, but NASA hopes that the technology will be housed in airplanes and satellites in the near future, so wider areas can be mapped and explored.

The project was unveiled on the NASA website as part of the agency’s program to mark Earth Day. For more information, visit this link.

Press Release

New Camera Tech Reveals Underwater Ecosystems from Above

Scuba divers and snorkelers spend vacations visiting exotic coastal locations to see vibrant coral ecosystems. Researchers also don their gear to dive beneath the surface, not for the stunning views, but to study the health of the reefs that are so critical to fisheries, tourism and thriving ocean ecosystems.

But one person can only see so much coral in a dive. What if you wanted to assess coral over an entire region or see how reefs are faring on a global scale?

Enter Ved Chirayath of NASA Ames Research Center in Silicon Valley, California. He has developed a new hardware and software technique called fluid lensing that can see clearly through the moving water to image reefs. Imagine you’re looking at something sitting at the bottom of a swimming pool. If no swimmers are around and the water is still, you can easily see it. But if someone dives in the water and makes waves, that object becomes distorted. You can’t easily distinguish its size or shape.

Ocean waves do the same thing, even in the clearest of tropical waters. Fluid lensing software strips away that distortion so that researchers can easily see corals at centimeter resolution. These image data can be used to discern branching from mounding coral types and healthy coral from those that are sick or dying. They can also be used to identify sandy or rocky material.

So far Fluid Cam, the imaging instrument that carries the fluid lensing software, has flown only on a drone. Someday, this technique could be flown on an orbiting spacecraft to gather image data on the world’s reefs.

That amount of data would be painstaking to sort through to look for specific coral attributes. So Chirayath’s team is cataloging the data they’ve collected and are adding it to a database to train a supercomputer to rapidly sort the data into known types – a process called machine learning. Because of the technology developments in both the tools to collect the data and the machine learning techniques to rapidly assess the data, coral researchers are a step closer to having more Earth observations to help them understand our planet’s reefs.

Articles: Digital Photography Review (dpreview.com)

 
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Call of Nature: Waterfront Step Organ in Croatia Turn Waves into Tunes

20 Jul

[ By WebUrbanist in Art & Installation & Sound. ]

oceanfront wave organ

This 230-foot-long musical instrument contains 35 organ pipes and is powered by the Adriatic Sea, producing sounds for visitors that seem eerily composed rather than random.

Whistle holes cut into the stone steps are ‘powered’ by air pushed in by waves of water, creating chords that are strikingly harmonious in nature. The sounds are constantly shifting, but you can listen to a clip above (a .wav file of the waves, if you will).

seafront playable instrument music

The Sea Organ, or the Morske Orgulje, is part of plan to revive Zadar, a city over 3,000 years old that was nearly obliterated in the Second World War. Architect Nikola Baši? wanted to give the place something with character, differentiated from the stark and boring concrete buildings that were created during initial years of rebuilding.

sea organ white steps

The design was inspired by the Hydraulis, an ancient Greek instrument that used water to push air through tuned pipes, but also borrows from the Wave Organ in San Francisco, a likewise seaside device amplifying the sounds of the Pacific Ocean. (images by linssimato, Lisa and J We).

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Filmmaker and photographer collaborate to show natural beauty of ocean waves

10 May
 

How do you capture the beauty of an ocean wave with a single still image? You turn it into a cinemagraph, of course.

After discovering the potential of the Puppet Warp tool in Adobe effects, Dutch cinematographer Armand Dijcks started to experiment with creating ‘cinemagraphs’ of images of moving water, using Flixel Cinemagraph Pro to create the infinitely looping animations.

After perfecting the technique, Dijcks reached out to Australian ocean photographer Ray Collins for source images. Their collaboration, titled ‘The Infinite Now’ can be viewed above.

Read more about the process of creating ‘The Infinite Now’

Articles: Digital Photography Review (dpreview.com)

 
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Cold Frontage: Storm Leaves Waterfront House Encased in Frozen Waves

30 Mar

[ By WebUrbanist in Art & Photography & Video. ]

ice house exterior

When a cold front blew in over Lake Ontario, photographer John Kucko caught wind of the phenomenon and rushed to shoot images of a remarkably frozen home.

iced over house

Located in Webster, New York, the house is entirely trapped inside ice, a combination of sheets and icicles wrapping the residence on all sides. Outdoor furniture and landscaping elements between the lake and the house were likewise wrapped in frozen water.

cold front

An unusual combination of waves, wind and freezing weather contributed to the mix, as well as the home’s proximity to the lake. Winds over 80 mile per hour pushed water the short twenty feet to the residence. You can see more images and videos on the photographers Facebook page.

ice house detroit

Years ago, artists in Detroit did something similar but intentional with an abandoned home, showering it with water and letting it ice over for effect.

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Fog waves: photographer Nick Steinberg captures nature in motion

01 Jan

Fog Waves: Capturing Nature in Motion

Imperial Flow by Nick Steinberg

As you can see the fog kind of arcs up in that one spot. What amazes me most about fog is the fact that no two shots are ever the same. This is what I call, “subtlety of movement” where there are small windows of opportunity with fog as it evaporates, moves in, and undulates. This requires decisive action, tests your skills, and requires one to be “present” in the moment, and “ride” along with it.

Landscape and cityscape photographers have a love/hate relationship with the fog that inundates the San Francisco Bay area. It can make for some spectacular and moody photos, but it can also leave the area un-shootable – that is unless you seek higher ground. Nick Steinberg and other photographers in the Bay Area have formed a group that they call the “Fogaholics”.

The group consists of around 20 photographers that watch forecasts religiously and seek out the best foggy shooting conditions possible. When the fog rolls in, they make their way to Mt. Tamalpais, which sits at 2,572ft above sea level. This unique vantage point gives them the opportunity to photograph some amazingly beautiful conditions. With the help of an ND filter and exposure times sometimes exceeding two minutes, Nick is able to capture the fog waves as they make their way inland.

To see more of Nick’s work be sure to visit his website and Instagram.

Fog Waves: Capturing Nature in Motion

Fog Waves by Nick Steinberg

This was my original shot entitled fog waves. I couldn’t believe my eyes when I discovered how, when the fog was at the perfect height and density, it would create wave-like movements as it contoured the land. On this particular evening, not only did we have amazing fog flow, but a nice vibrant sky to match.

Fog Waves: Capturing Nature in Motion

Wavy Gravy by Nick Steinberg

I would say the fog on this summer evening was purely magical. It had the perfect consistency that was so delicious. You can even see the Transamerica pyramid sticking out of the fog in the distant San Francisco skyline. An evening to remember!

Fog Waves: Capturing Nature in Motion

Awake in Dream by Nick Steinberg

Mt. Tamalpais is one of my favorite places on earth! On this night I went up there on a whim. I didn’t expect much, but to my surprise, there wasn’t a single person in sight and the fog rolled in perfectly. It truly felt like I was in a dream world!

Fog Waves: Capturing Nature in Motion

Fire Waves by Nick Steinberg

Out of almost daily trips to Mt.Tam in the summer of 2016, I would say that this was by far the best flow i’d seen. Normally the rangers kick everyone out around sunset, but on this evening they came really late and allowed me to get some rare footage of fog coming in at twilight. What I loved about this one was the layers of fog coming through the trees. The beautiful and vibrant red sky was unfortunately lit up due to a nearby fire.

Fog Waves: Capturing Nature in Motion

Candy Land by Nick Steinberg

On this night I was going for a little different feel to add some foreground interest to the fog waves. I can’t help to think that the fog looked like fluffy marshmallows flowing across the land during my long exposure.

Fog Waves: Capturing Nature in Motion

Lunar Fog Waves by Nick Steinberg

On this evening me and about 4 friends decided to get some different vantage points by hiking “off the beaten trail” to get some moonlit fog flowing in. At first, the fog wasn’t flowing, but within no time it was spilling over and creating, “the wave.” While it was a pretty tough hike, it was by far one of the most magical experiences shooting up there that evening.

Fog Waves: Capturing Nature in Motion

Heaven on Earth by Nick Steinberg

There’s something about being up there and experiencing the fog flowing like this that is somewhat of a spiritual experience.

Fog Waves: Capturing Nature in Motion

Fog Sweep by Nick Steinberg

This is a little bit of a closer, intimate view of the fog waves flowing through the nearby town of Mill Valley and the little houses down there. I wonder if the people who live there understand how beautiful it is from above.

Fog Waves: Capturing Nature in Motion

Rip Curl by Nick Steinberg

Another close up, intimate view of the extreme fog waves as it contours the land. Shooting Fog is a study and each day is a little bit different flow. On this day, it was particularly active.

Fog Waves: Capturing Nature in Motion

Summer Waves by Nick Steinberg

A typical summer evening up on the mountain. By typical I mean amazing and magical!

Articles: Digital Photography Review (dpreview.com)

 
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How To Capture Action Shots of Waves

24 Jun

If you enjoy photographing mother nature and waterscapes, one particularly fun exercise is to capture the beautiful characteristics of the ocean shore. If you are in the right place at the right time, you can create images displaying the delicate balance between the awesome force of a powerful wave crashing into the shoreline, juxtaposed with the calming ebb and flow of the water cascading over the rocks.

Follow these tip to help you capture great action shots of waves:

Image001

EQUIPMENT:

Use of a tripod is important due to the relatively slow shutter speeds you’ll be working with. Generally speaking, a one-third to one-half second shutter speed range does the job. Perhaps there are lenses and cameras with image stabilization which can help you shoot photographs in this shutter speed range handheld, but I always prefer to keep my setup as motionless as possible to achieve sharp images so I use a tripod.

I also always use a remote shutter release, because pressing directly on the camera’s shutter button can introduce slight vibration into the setup during exposure.

Ideally you will be shooting a relatively rough surf (more on that later), so choosing a long lens that keeps you and your setup out of harm’s way is important. I typically choose a medium telephoto, such as a 70-200mm zoom, but sometimes a slightly shorter length is necessary to capture a wide enough composition.

You may also want to bring a circular polarizer which helps mitigate any glare in the water, and should slightly slow down the shutter speed. You may also want to bring a variable neutral density filter in case it is too bright out to get the correct shutter speeds.

Image002

PLANNING THE SHOT:

If you want to shoot large, powerful waves, pick a location that has incessantly high wind. The higher the winds, the larger and stronger the waves will be. You will also want to shoot during the golden hour, either just after sunrise, or just before sunset. These times of day offer a warm, diffused natural light cast over the beach, and create a nicely saturated background sky.

Get to the location early. Give yourself plenty of time to scout it out, and pick an area where you can ideally compose a combination of high waves crashing into the surf, with a foreground of water flowing to and from the beach. If possible, pick a beach with rocks and boulders scattered amongst the surf. Rocks give the waves an extra punch when they land, and further add the element of unpredictable force and power to the photograph. Also, water gently flowing over rocks in the foreground adds an interesting element to the image.

When your composition is set (more on that in a minute), put your camera in aperture priority, set your aperture to f/8 or f/11, and fasten the polarizer to the lens. Rotate the filter until you see the sheen or reflection on the water dissipate to its minimum, then stop. Adjust the ISO to reach a desired shutter speed of around 1/3 to 1/2 of a second. Remember, raising ISO one stop speeds up the shutter by one stop, and lowering ISO one stop reduces shutter speed by one stop, (assuming the aperture stays constant). Depending on how bright it is out, you may need a neutral density filter to slow down your camera’s shutter. Many filter manufacturers make one single filter that has both a polarizer and a variable ND filter combined.

Image003

Quick Tip: Whenever I use a neutral density filter, I always manually focus before adding the filter. The ND filter will cause your viewfinder to become relatively dark, which makes focusing difficult – sort of like trying to read with sunglasses on in a dimly lighted room.

Set your camera so that it shoots continuous photos as quickly as possible, in RAW mode, and fire away!

COMPOSITION AND POST-PROCESSING:

When you compose the scene, leave plenty of extra space around the intended target. Since your setup will be locked in place on a tripod, you won’t be able to adjust your composition once you’re set. Thus, you’re basically taking an educated guess as to where the wave will eventually land. Once you’re set, wait for a wave that’s inside your composition, and let it loose.

Image007

Shooting wider than necessary greatly increases your chances at nailing some good action shots of waves. Once you’re back at the computer, it’s a piece of cake to crop out the edges and tighten in on the action if necessary.

With respect to post-processing, aside from cropping, the only adjustment you might want to consider is a mild boost in contrast. Added contrast will enhance the water’s punch and power, as seen by the viewer.

Image004

Do you have any other tips for photography the awesome power of nature and ocean waves? Please share in the comments below, as well as your wave images.

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The post How To Capture Action Shots of Waves by Jeb Buchman appeared first on Digital Photography School.


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Making (radio) waves: Nikon releases SB-5000 Speedlight

06 Jan

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The Nikon SB-5000 Speedlight is the company’s new flagship flash, released alongside the flagship Nikon D5 camera. The standout feature for the SB-5000 is its ability to operate and trigger via radio frequency, a first for Nikon’s line of portable flashes.

Nikon claims that when the flash is paired with the WR-R10 Wireless Remote Adapter set and a D5 or D500, the flash will operate without a direct line of sight at a range of up to approximately 98 feet (30 meters). With that same combination, the flash will be able to control up to six groups or 18 Speedlights for when you want to get really fancy. Although we haven’t had a chance to try this system out yet, we’re hoping that Nikon CLS features like TTL/Manual and Flash Exposure Compensation settings will be accessible via the camera menu system – especially since a radio-controlled commander with dedicated dials and buttons (like Nissin’s Air 1 system) isn’t available from Nikon. The SB-5000 retains similar optical-control and triggering capabilities as the other advanced Speedlights in the company’s lineup.

Attaching the WR-R10 to your camera should give you full control over up to 18 Speedlights (up to 6 groups) directly from your camera, without the need for any other flashes or commanders attached to your camera. This should be a boon for off-camera flash photography.

This is a significant addition to Nikon’s flash line-up, not only for the radio-triggered control it brings during applications where line-of-sight isn’t feasible or practical, but also because pairing flashes to the WR-R10 is arguably more preferable to pairing to the outdated SU-800 commander (which is so dated that it attaching it to your camera disables Auto ISO). 

Also new for the SB-5000 is a redesigned cooling system promising improved consecutive firing times before cool-downs, and 120 continuous shots at 5-second intervals. Controls are updated with an ‘i’ button for frequently used settings, and the flash head maintains tilt-and-rotate capability.


Press release:

New Radio Controlled SB-5000 Speedlight: Lighting with No Limits

The Nikon D5 is optimized to work with the newest flagship Speedlight, the SB-5000, illuminating new possibilities in creative lighting. A first for Nikon, the flash operates via radio frequency and will operate without a direct line of sight for a range of up to approx. 98 feet (30 meters). This new-found flexibility lets photographers place lights in different rooms, around corners and work seamlessly in bright ambient light with maximum efficiency. When paired with the WR-R10 and the D5 or the D500, this Speedlight can control up to six groups (A-F) or 18 Speedlights for truly advanced wireless lighting. It is also possible to perform Advanced Wireless Lighting using either radio-controlled (up to three groups) and/or optical-controlled units (up to three groups) by simply attaching a conventional, optical-control Nikon Speedlight or the SU-800 Commander (as a master or commander unit) and a WR-R10 (as a commander) onto the D5.

The new smaller SB-5000 Speedlight also has a radically new design that includes its own internal cooling system, which prevents overheating of the flash panel from consecutive firings. As a result, the SB-5000 can fire consecutively for longer than conventional models, without flash cool-down time between bursts, and can fire up to 120 continuous shots at 5 second intervals. Controls have also been streamlined and refined, with the addition of an “i” button for access to frequently used settings. The design also integrates versatile bounce ability, with the flash head capable of tilting down to -7° or up to 90°, and rotate horizontally 180° to the left and right.

Pricing and Availability:

The Nikon SB-5000 AF Speedlight will be available in March for the SRP of $ 599.95.

Nikon SB-5000 Key Specifications

  • Price: $ 599.95
  • Commander function: Yes
  • Remote function: Yes
  • Transmission mode: Radio control and optical communication
  • Transmission range: Radio control approx. 98 ft. (30m), optical communication – line of sight
  • Guide number: 34.5 m / 113 ft. (at 35mm) 55m / 180 ft. (at 200mm) (FX format, ISO 100)
  • Lens coverage: 24 to 200mm lens, 14mm with wide panel (FX format)
  • Minimum recycling time: 1.8 sec. (approx.) with Ni-MH (2600 mAh) batteries, 2.6 sec. (approx.) with AA-size Alkaline (1.5V) batteries
  • Flash duration: 1/980 sec. at M 1/1 (full) output, 1/30,820 sec. at M 1/256 output
  • Optional power supply: SK-6 Power Bracket Unit, SD-9 High-Performance Battery Pack
  • Wireless groups: Radio controlled: Master + 6 groups; Optically controlled: Master + 3 groups
  • Dimensions: 73 x 137 x 103.5mm
  • Weight (sans batteries): 14.9 oz. (420 g)

Articles: Digital Photography Review (dpreview.com)

 
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Sea Organ: Concrete Jetty Makes Music with Crashing Waves

21 Nov

[ By Steph in Art & Installation & Sound. ]

sea organ 1

The ocean already makes music of its own, but in one Croatian town, its natural sounds are enhanced with the help of an interactive jetty-turned-instrument called ‘Sea Organ.’ Created by architect Nikola Basic in collaboration with engineers, craftspeople and a musical professor who tuned all of the pipes, the 230-foot installation on the coast of Zadar emits a constantly-changing concert of harmonic sounds with the flow of wind and water.

sea organ 3

A system of polyethylene tubes and a resonating cavity are disguised beneath a set of marble steps leading straight into the Adriatic Sea. The channels connect to 35 organ pipes, and each set of steps containing five pipes is tuned to a different musical chord. As waves and the wind push air into the pipes, they create a haunting chorus of sound. The rougher the sea, the louder and faster the music.

sea organ 4

sea organ 2

The Zadar-Morske Orgulje, as it’s known locally, is also topped with an interactive display of LED lights that seem timed to show the movement of the water under the marble. This 22-meter-diameter, disc-shaped solar-powered installation called ‘Sun Salutation,’ also created by Basic, only serves to make the music of the sea even more magical.

Images via Flickr Creative Commons: linssimato, J We, Suzanne Hamilton, EyeofJ

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[ By Steph in Art & Installation & Sound. ]

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