SanDisk has introduced a high capacity CompactFlash card with 256GB of storage. The card boasts write speeds of 65MB/s and transfer speeds up to 160MB/s. It’s also rated with a VPG-65 Video Performance Guarantee, promising adequate speed for 4K video capture. As is the case with SanDisk’s other Extreme Pro cards, it’s designed to withstand shock, vibration and extreme temperatures. Click through for all of the details.
News: Digital Photography Review (dpreview.com)
[ By WebUrbanist in Art & Street Art & Graffiti. ]
We tend to notice as buildings come and go, skylines change and grow with planning and oversight, but what about the spray-painted wall art the adorns the sides of these structures, sometimes persistent but often fragile and ephemeral?
OldWalls, a project by Alberto Boido, documents past and present layers of street graffiti, meticulously tracking the artists responsible for the works as well, whenever possible. Most of the pairs are taken from the same vantage point, first in the 1990s, then again in the 2010s.
Sometimes, the creators in question are famous (or infamous) local creators either adding their mark or being painted over. The above murals in Milan were made more recently by the well-known Italian artist Blu, but the walls, as you can see, were originally covered in the 1990s. Other artists featured here include Robx, Prof Bad Trip, Maox, Inox, Kino, Bach, Zoc, Kalimero, Kayone, Yazo, Loze, Kid, Zen, Airone, Krema, Pergola, Steezo, Teatro, Mec, Oze, and Area Pozzi.
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This shot of the Blue Ridge Mountains was taken with an EOS 5D Mark III and EF 70-200 f/2.8L IS II lens at 200mm. The telephoto nature of the lens compresses the distance between the ridges, creating a flat, graphic look with shades of blue created by the mountains and mist in the valleys. Exposure is 1/3″, f/16, ISO 400.
This shot of a lone pine on the side of a cliff was taken from Glacier Point at sunset. Using a 400mm lens allowed me isolate the tree being kissed by sunlight while the background behind went dark. I used an EOS 5D Mark II with EF 100-400mm L lens at 400mm. Exposure was 1/60 f/8, ISO 100.
If you’re anything like me, when presented with a beautiful landscape, your first instinct is to reach for the wide angle lenses and take it all in. And there’s no doubt about it- wide angle lenses can excel in those situations. But don’t neglect the telephoto lenses in your bag when you find yourself faced with nature’s beauty. Telephoto lenses can create shots that are every bit as breathtaking as their wide angled brethren.
Telephoto lenses, first and foremost, can allow you to isolate an area of the view you are shooting, because a telephoto sees a narrower angle of view than do wide angle lenses. Because of this narrower angle of view, telephotos also help normalize the size of near objects in relation to faraway objects. With wide angle lenses, when you fill the frame with a near object, it will appear much larger than a similar sized object placed further away. With telephoto lenses, near objects and far objects will appear to be similar in size, because telephoto lenses normalize the size and distance when comparing the two objects. The downside to this is that the scene can then appear to be static and flat.There are cases where the flatness can be used to advantage, for instance creating graphic images using the lines and colors of the landscape.
Telephoto lenses appear to compress distance, so two objects relatively far apart will appear to be very near to each other. This is helpful when trying to enhance the density of a subject, such as a field of flowers. Flowers will appear to be stacked right next to each other, even though they may be several feet apart. This can be used to great advantage for creative textures and patterns.
Often, when I’m trying to divide the space in my bag, a friend will ask why I need a telephoto lens when I’m planning to shoot landscapes. This is why. I may not use it every time, but when I do get an opportunity use a telephoto lens in a landscape situation, I like to be able to take advantage of it.
This shot, taken with an EOS 5D Mark III and EF 70-300 f/4-5.6L, shows how you can isolate one area of a landscape, here focusing on Bridal Veil Falls in Yosemite National Park.
This shot of the Alaska Range was taken from Denali Highway using an EOS-1Ds Mark III and EF 70-200 f/2.8L IS II. The telephoto lens compresses the distance between the foothills and the mountains, making them appear to be right next to each other.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Zooming In: Using Telephotos In Landscape Photography
Space robots, including the Curiosity rover currently roaming Mars, have been great at following orders. Now, scientists are looking for ways to put more decision making power within the grasp of the rover itself. A team at NASA’s Jet Propulsion Laboratory is developing a camera system called TextureCam to do just that. They’ve developed an algorithm to allow the rover to analyze 3D images and determine whether an object in front of it deserves further investigation. Click through to read more.
News: Digital Photography Review (dpreview.com)
The Weye Feye connects Nikon and Canon DSLRs without built-in Wi-Fi capabilities to a smartphone for remote controlling and image transfer. Some more recent DSLR models come with built-in Wi-Fi functions, but for those that don’t the Weye Feye looks like an interesting option. We take a closer look on connect.dpreview.com.
News: Digital Photography Review (dpreview.com)
Where do you stand on the cloud? I mean the Adobe Creative Cloud, which has been of considerable debate these past few months. Subscription-based software rental rather than a purchase and perpetual license. Not an easy decision, with pros and cons both ways.
I’ve been quiet on the subject because I wasn’t sure what I would do, myself, but some recent developments have moved me toward subscribing. I discuss this is a new brief essay titled Won Over to The Cloudy Side.
"Having been to Antarctica with Michael and Kevin, I would say after having traveled the world and shot nearly my entire life as an exhibiting photographer, it was one of my highlights in my life and I talk about it, all the time. The images and experience of seeing something visionary and nearly extinct from the world, to see and experience the wildlife and scenery that does not fear humans is amazing. The images I shot there won me two Smithsonian awards and nearly 18 other international awards". – Tim Wolcott
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These Expeditions Will Sell Out Quickly. They Always Do
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The Luminous Landscape – What’s New
We’re working towards completing our review of the Canon EOS 70D and have been shooting our test scene with a production camera. We’ve published the test shots, including downloadable Raw files of both the daylight and low light scene. The EOS 70D review will also be one of the few chances to see our outgoing test scene and our new, more challenging, more informative scene alongside one another. Click through to see how it performs.
News: Digital Photography Review (dpreview.com)
Ein Beitrag von: Isabel M. Martinez
Der Quantenmechanik zufolge erleben wir vierzig bewusste Momente pro Sekunde und unser Gehirn verbindet diese Abfolge von Jetzt-Momenten, um die Illusion eines kontinuierlichen Zeitflusses zu schaffen. Also, wie würde die Welt um uns herum aussehen, wenn diese Unterbrechungen sichtbar wären?
Die folgenden Arbeiten untersuchen diesen Schluckauf, dieses Blinzeln, den allgegenwärtigen Haarriss im Gefüge der Dinge.
In meinen Arbeiten versuche ich, etwas zu artikulieren, das zwischen dem Einfrieren der Zeit (das die Fotografie so oft charakterisiert) und ihrem unbarmherzigen Vergehen liegt. Ich deute auf Zeitlichkeiten, die fließend, spekulativ und irgendwie lose sind.
Ich suche nach der Grenze zwischen dem Endlichen (der Wahrscheinlichkeit) und dem Unendlichen (der Möglichkeit). Wenn die Zeit eine Abfolge von Momenten ist, dann möchte ich sehen, was zwischen ihnen liegt. Ich bin hinter den Lücken zwischen den bewussten Momenten her.
Die Fotos in der Serie „Quantum Blink“ bestehen aus zwei Aufnahmen, die in zwei aufeinanderfolgenden Momenten gemacht wurden. Das Streifenmuster wird durch eine Maske erzeugt, die in der Kamera selbst platziert ist. Das erlaubt mir, zwei Bilder zu mischen und sie gleichzeitig davon abzuhalten, komplett miteinander zu verschmelzen.
Jedem Bild der Serie wohnt ein kurzer Moment eines Ablaufs inne, fast wie eine Animation, ein bisschen kinohaft. Aber obwohl sie eine Ahnung von Bewegung und Veränderung liefern, ist ihr Anfang und Ende jeweils unklar und nicht genau auszumachen.
Wenn man sie tatsächlich in den Händen hält, scheinen diese Fotos sich zu verändern, je nachdem, aus welcher Entfernung und welchem Winkel man sie ansieht. Manchmal macht sich eine Dreidimensionalität bemerkbar, während es ein anderes Mal so aussieht, als wären sogar drei Bilder am Spiel beteiligt.
Der Text wurde von der Redaktion für Euch aus dem Englischen ins Deutsche übersetzt.
kwerfeldein – Fotografie Magazin
I’ll be doing a live hangout on sunset photography tomorrow at 1pm PST on Google+. Come hang out with us. Details below.
Thomas Hawk Digital Connection
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