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Archive for April, 2017

Canon outfits industrial drone with ME20F-SH all-purpose camera

06 Apr

If you’re looking for a drone that can fly in nasty weather and see in the dark, then Canon has something for you. The PD6E2000-AW-CJ1 is an industrial drone with a Canon ME20F-SH all-purpose camera designed to help in disaster relief, thanks to its ability to shoot at ISO 4 million and generally see in the dark. 

It’s not a Canon-made drone. In late 2016 Canon Marketing Japan made an investment in Prodrone Co., a Japanese drone maker, stating that Canon would install imaging devices on the company’s drones and act as a principal distributor. Canon is aiming for ¥5 billion worth of drone-related imaging sales by 2020.

The PD6E2000-AW-CJ1 (say that five times fast) appears to be based on Prodrone’s all-weather PD6-AW, which supports a 10 kg / 22 lb payload, can fly at up to 65 km/h / 40 mph and can handle wind speeds up to 10 m/s / 22 mph. Take a look at the drone in action below.

Via: Canon Rumors Source: Canon

Articles: Digital Photography Review (dpreview.com)

 
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Throwback Thursday: Entering the DSLR world with the Canon EOS 10D

06 Apr

A few months ago I wrote a short article about the Canon EOS D30. The D30 was a groundbreaking camera in its day, being the first ‘affordable’ DSLR and the first to feature a large-format CMOS sensor. Yes, its autofocus system was woeful, and the LCD display on the back was about as useful as making a sketch from memory, but back in 2000, everybody wanted one.

I was definitely curious about the D30, but given that in 2000 I was a first-year undergraduate student, such an expensive camera was far beyond my reach. It would be another couple of years before I saved up enough money to buy my first DSLR, and the camera I eventually settled on was the successor to the successor of the EOS D30 – the counterintuitively named Canon EOS 10D1.

The break with Canon’s previous naming convention was appropriate, though. The 10D was a substantially new camera compared to the models that preceded it, and it replaced the D60 with an almost indecent haste (the D60 had been on the market for little more than a year before the 10D came along). Compared to the plastic-bodied D30/D60 it was better built, featured a far superior rear LCD (with a usable magnification feature) offered a more rounded styling, closer in spirit to the EOS-1D series, and was much quicker in operation.

The 10D was a thoroughly modern camera in 2003, and remained on the market for some time. Canon took the basic form factor of the D60 and modernized every aspect of that model’s performance and styling.

The 10D’s DIGIC processor drove a blisteringly fast (ahem…) continuous shooting rate of 3 fps, operation was snappier, including reduced shutter-lag, and the 10D’s 7-point autofocus system was a huge improvement over the 3-point system in the D30 and D60, which seemed prehistoric even back then. Although the 10D’s 6MP CMOS sensor was based on the one previously used in the D60, Canon had refined the manufacturing process in the meantime. Consequently it offered slightly better resolution than its predecessor, superior noise performance and a wider ISO span, topping out at a grainy but usable ISO 3200.

Remarkably, despite all of these improvements, the 10D was also $ 500 cheaper than the D60.

Although it definitely wasn’t in the same ballpark as the EOS-1D in terms of speed or construction, the 10D beat the pants off Canon’s then-current pro sports model in terms of image quality. Significantly, the core specification of the 10D was close enough to the EOS 30 / Elan 7 that film holdouts didn’t have to feel too badly short-changed by the costly jump into digital.

With the EOS 10D’s accessory grip attached, it was almost possible to believe that I was shooting with an EOS-1D.

Almost…

So, to recap – the 10D offered a very usable sensitivity range of ISO 100-3200, 3 fps continuous shooting, 7-point AF system, magnesium-alloy body shell and a substantial price reduction. In 2003, it all added up to a hugely desirable camera.2

Canon EOS 10D Sample images (2004-5)

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Because it was so popular, the 10D was pretty scarce for several months after its introduction. After saving up my wages for an entire summer (a story told in more detail here), I ended up purchasing mine from a ‘big box’ high-street retailer, because it was out of stock everywhere else – something I later came to regret.

I decided to pull the trigger on a 10D for several reasons. In a rare attack of foresight, I determined that this digital thing probably wasn’t a fad, and with ambitions to become a photographer of some kind, it seemed sensible to dive in as soon as possible. And while previous DSLRs had felt like too much of a compromise, the 10D seemed to meet my most important criteria.

As a budding theatre and live music photographer, I was hitting the limits of what I could do with film, both technically and practically. Technically speaking, high ISO film exposed in marginal light and processed at your average high-street pharmacy simply doesn’t look very good – especially if you’re talking about high-speed color emulsions. From a practical standpoint, development and printing turnaround times were a problem if I wanted to get images to people quickly. And forget about serious commercial work – by 2003, the magazines and websites I was interested in working for were increasingly insisting on digital file delivery.

A typical monochrome conversion of a shot taken in the Assembly Rooms Theatre. The 10D’s highest ISO settings were grainy, but perfectly usable – especially when converted into black and white.

The first quasi ‘commercial’ work I ever did was head-shots and performance images for Durham University’s student theatre. Student productions rotated every few weeks, and every production wanted some prints to display outside the theatre. I can’t remember the first production that I shot digitally (was it Harold Pinter’s ‘The Caretaker’?)3 but compared to film, it was vastly easier. Ironically, I was a sort of caretaker for the theatre at the time, since I lived in a small flat above the lobby. Being able to shoot a dress-rehearsal in the theatre, then head upstairs to make my edit and print the images – sometimes all in the same evening – was a revelation. I can’t remember how much I charged for my services, but I made enough over a couple of years to buy a couple of new lenses.

And for a while it seemed like it was lenses that were the problem. Initially I had two lenses for my 10D. A 50mm F1.8 (of course), and a 24-70mm F2.8L. Later I added a 70-200mm F2.8L and a 17-40mm F4L (all purchased used). The 10D worked perfectly with all of them, except the 24-70mm. For whatever reason, camera and lens did not get on at all. Chronic back-focusing was apparent even through the 10D’s viewfinder, and this was before the days of AF micro-adjustment. The 24-70mm was simply unusable on my 10D, but it focused perfectly on other DSLRs that I borrowed from friends, or rented in an increasingly desperate attempt to figure out what was going on.

A live shot from one of my first proper commissions – a major awards show tour that came through Newcastle in 2005 – not far from where I lived at the time. It looks like I benefited a bit from someone else’s flash, in this shot. Thank you – whoever you were.

The retailer I bought my 10D from wasn’t particularly interested in helping, so I sent it back to Canon at least four times during the first year I owned it, shooting on film during the long intervals when it was away for service. Every time it came back as ‘up to specification,’ but the back-focusing problem remained. Finally, after a lot of back and forth, I send the 10D in with the troublesome 24-70mm, and was rewarded with a ‘fixed’ camera, complete – funnily enough – with a new serial number. Knowing what I know now, I should have sent the camera and lens back together in the first place.

Even this frustrating experience wasn’t enough to dull my excitement at owning and using the 10D. It really was a fantastic camera at the time, and it helped me gain a footing in the not-at-all-lucrative world of performance photography. My first magazine commissions were shot with the 10D. I learned about the benefits of shooting Raw with the 10D (albeit rather belatedly). The first camera I ever had confiscated at a music venue4 was the 10D. It was my main camera for a couple of very formative years, before being relegated as a second body beside to the truly magnificent EOS-1D Mark II (which I’m hoping to write about at a later date).

The 10D couldn’t do everything (it choked up when shooting several Raw files in a sequence, and in low light its off-center AF points were little more than decorative), but it opened up a completely new world for me.

One of my favorite bands of the mid-2000s was ‘Hope of the States’. I probably photographed them more than any other band, for a while. This shot is from another awards show in London in 2005. Despite the off-center composition, most likely I used the central AF point for this image, since the 10D’s off-center points didn’t work very well at all in low light.

And it’s a world I’m still living in. Without the 10D, there is no doubt in my mind that I wouldn’t have become a music photographer, and if I hadn’t become a music photographer, I probably wouldn’t have ended up as a photography journalist. Whether or not that’s a good thing is something I’m happy to leave to the commenters to decide.

Did you own a 10D? Let us know.

Read Phil Askey’s review of the EOS 10D (2003)

Canon EOS 10D Review Samples (2003)

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1 A note on Canon’s confusing naming convention. The ‘D30’ because it was a digital camera with 3 million pixels. The D60 because it was basically a D30 with a new 6 million pixel sensor. And the switch to 10D because – I assume – Canon and Nikon’s lawyers had a little chat.

2 In fact, just about the only people who weren’t singing Canon’s praises at the time were recent D60 owners.

3 The Assembly Rooms – it’s still there, and this being student theatre, there’s every chance that they’re currently staging a production of Harold Pinter’s ‘The Caretaker’, too.

4 It was all just one big misunderstanding. Specifically around two people’s definitions of the word ‘permission’. 

Articles: Digital Photography Review (dpreview.com)

 
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Ultra large and custom film sizes now on order from Ilford Photo

06 Apr

UK black and white film manufacturer Harman Technology has announced that its annual large format and custom film ordering scheme is open from now until May 26th. The scheme allows users of cameras that take unusual film formats to order certain Ilford emulsions within a set window so the company can set aside factory time to bulk-produce formats it wouldn’t otherwise be able to make financially viable.

As was the case last year Ilford FP4 Plus, HP5 Plus and Delta 100 emulsions will be available to order in sheet sizes from 2.25 x 3.25in to 20 x 24in. Rolls are also on offer for 127 film and formats 9cm wide, as well as 50 foot rolls of 20in film. Not all emulsions can be ordered in all formats but most of the more popular formats are covered. 120 backing paper can be ordered in 100ft lengths.

Harman says there are minimum order quantities that need to be reached before manufacturing can go ahead, but in the case of the sheet films usually a single order of a box of 25 sheets is enough. Roll films though need between 2 and 15 orders to make them practical to cut.

The company lists retailers across the world with which orders can be placed and the sizes/emulsions on offer. Prices will need to be checked with those retailers. Shipping to distributors will begin in August 2017. For more information see the Ilford Photo website.

Press release

ILFORD PHOTO ULF, CUSTOM & SPECIALIST FILM MANUFACTURE 2017

Buoyed by ongoing global resurgence in photographic film use, HARMAN technology Limited is delighted to be offering film photographers the opportunity to place orders for a range of specialist film products and formats for the 12th consecutive year.

To enable this film photography revival, it is vital that a wide range of film formats are available including film for ultra large format and collectable cameras.

By consolidating orders HARMAN technology can supply products that would not normally be viable to manufacture.

“This program enables us to further support film photographers who use and value our conventional products” said Giles Branthwaite, Director of Sales and Marketing at Harman technology. “Through running the ULF program each year, we are able to satisfy the strong demand for specialist film formats. Whilst manufacture is not easy, we have been rewarded by high demand ensuring we will continue to address and care for this market.”

Films available for this year are ILFORD FP4 PLUS, HP5 PLUS, and DELTA 100 PROFESSIONAL. Not all films are available in all formats.

For a full list of the 2017 items and participating dealers visit:
http://www.ilfordphoto.com/ulf

The options available reflect what has been asked for over the past 12 years. HARMAN technology is happy to consider any other size suggestions but do not guarantee to make them available.

For sheet sizes an order for just one single box can be made, but for roll sizes this is not possible due to potentially excessive waste. Please see the minimums and multiples required next to the appropriate roll size.

Note:
Orders must be placed with the listed ULF reseller partners no later than Friday 26th May.

The UK factory will start to ship orders to Distributors during August and end users should check with the local ULF reseller for expected arrival dates.

Articles: Digital Photography Review (dpreview.com)

 
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Canon’s PowerShot SX730 HS travel zoom offers 40x lens in a very small package

06 Apr

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Canon has announced its PowerShot SX730 HS, the follow-up to the SX720. The SX730 has a 20.3MP BSI CMOS sensor, stabilized 24-960mm equivalent lens, a 3″ (non-touch) LCD that flips upward 180 degrees, as well as Wi-Fi, NFC and Bluetooth.

The SX730 HS comes in silver and black and will ship in June for $ 399.

Press Release

Capture high-quality memories with the new Canon PowerShot SX730 HS digital camera

Latest PowerShot Digital Camera Provides Impressive Image Quality, Zoom Range and Tilting LCD screen in a Compact Size

MELVILLE, N.Y., April 6, 2017 – Ideal for families on vacation or parents at their kids’ sporting event looking for a convenient, easy-to- carry compact digital camera capable of producing high quality photos and videos at long distances, Canon U.S.A., Inc., a leader in digital imaging solutions, introduced today the new PowerShot SX730 HS digital camera. This new digital camera boasts a 20.3 Megapixel* CMOS imaging sensor and a powerful 40x Optical Zoom lens (equivalent to 24-960mm) in a form factor that easily fits in a pocket, making it an outstanding camera for budding photographers to capture gorgeous imagery no matter where they are.

With new features such as a convenient Self-Portrait and Smooth Skin mode, 3.0-inch LCD screen that rotates up 180 degrees and built-in connectivity capabilities like Wi-Fi®1, NFC2 and Bluetooth®3 technology, it’s now easier and more convenient than ever to use Canon digital cameras to share images and videos on the go, making the PowerShot SX730 HS digital camera a great transitional camera for those looking to use something other or move from a smartphone. 

“We live in a very connected world and want to give people the power to zoom in from far away to capture amazing scenes from a distance, while also being able to share those images in real time,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “The new Canon PowerShot SX730 HS digital camera will help photographers effortlessly capture memories, even from great distances and conveniently share their fun with friends and family.”

As the successor to Canon’s PowerShot SX720 HS digital compact camera, the PowerShot SX730 HS digital camera also features: 

  • Powerful 40x Optical Zoom with Zoom Framing Assist
  • Sleek, Lightweight and Pocket-size Design
  • Built-in Wi-Fi®1, NFC2 and Bluetooth®3 technology
  • 3 Megapixel* CMOS sensor
  • DIGIC 6 Image Processor
  • 0-inch Tilt-type (180° up) LCD
  • 1080p Full HD Video at 60p
  • Self Portrait Mode
  • Story Highlights
  • Geotag4 & Date Stamp Options

Canon’s PowerShot SX730 HS digital camera is scheduled to be available in June 2017 for an estimated retail price of $ 399.99.

Canon PowerShot SX730 HS specifications

Price
MSRP $ 399
Body type
Body type Ultracompact
Sensor
Max resolution 5184 x 3888
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 21 megapixels
Sensor photo detectors 20 megapixels
Sensor size 1/2.3" (6.17 x 4.55 mm)
Sensor type BSI-CMOS
Processor Digic 6
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, ISO 80-1600
White balance presets 5
Custom white balance Yes
Image stabilization Optical
Uncompressed format No
JPEG quality levels Super fine, fine
File format
  • JPEG (Exif v2.3)
Optics & Focus
Focal length (equiv.) 24–960 mm
Optical zoom 40×
Maximum aperture F3.3–6.9
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes
Manual focus Yes
Normal focus range 2 cm (0.79)
Macro focus range 1 cm (0.39)
Screen / viewfinder
Articulated LCD Tilting
Screen size 3
Screen dots 922,000
Touch screen No
Screen type TFT LCD
Live view Yes
Viewfinder type None
Photography features
Minimum shutter speed 15 sec
Maximum shutter speed 1/3200 sec
Exposure modes
  • Program
  • Hybrid Auto
  • Auto
Scene modes
  • Creative Shot
  • Portrait
  • Smile
  • Wink Self-timer
  • Face Self-timer
  • High-speed Burst
  • Handheld Night Scene
  • Low Light
  • Fireworks
  • Long Shutter
Built-in flash Yes
Flash range 4.00 m (with Auto ISO)
External flash No
Flash modes Auto, on, slow synchro, off
Drive modes
  • Single
  • Continuous
Continuous drive 5.9 fps
Self-timer Yes (2 or 10 secs, self-timer)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±2 (at 1/3 EV steps)
Videography features
Format MPEG-4, H.264
Modes
  • 1920 x 1080 @ 60p / 35 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 30p / 24 Mbps, MP4, H.264, AAC
  • 1280 x 720 @ 30p / 8 Mbps, MP4, H.264, AAC
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + NFC + Bluetooth
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description NB-13L lithium-ion battery & charger
Battery Life (CIPA) 250
Weight (inc. batteries) 300 g (0.66 lb / 10.58 oz)
Dimensions 110 x 64 x 40 mm (4.33 x 2.52 x 1.57)
Other features
Orientation sensor Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Primes Versus Zoom Lenses: Which Lens to Use and Why?

06 Apr

Which type of lens is better, a prime lens or a zoom lens? This is one of the most debatable topics in photography. Some of you might choose a zoom lens and others may choose a prime lens, it all depends on what and where you are going to shoot.

It is really important to know what each of the two types of lenses are, and which type should be used during a given situation. This article will help you in this area.

Primes versus zoom lenses

What is a Prime Lens?

A lens that has a fixed focal length is known as a prime lens. So if you want to change your view of the frame, you will have to go closer to, or farther away from the spot where you are standing. As the focal length is fixed, there is no zoom ring on the lens.

There is a wide range of prime lenses available on the market, ranging from wide-angle prime lenses (such as 14mm and 24mm lenses) to medium and long range telephoto prime lenses (such as 135mm and 400mm lenses).

Primes versus zooms Sigma 20mm

A Sigma 20mm prime lens.

What is a Zoom Lens?

A lens which has a variable range of focal lengths is known as a zoom. Using such a lens, you do not need to move from your spot, and adjusting the zoom ring allows you to get a wider or narrower angle of view. So by using a zoom lens, you can change the focal length in order to adjust the angle of view.

There is a broad range of zoom lenses available, be it a wide zoom lens (such as the 12-24mm or 16-35mm lenses), the telephoto zoom lens (such as a 70-200mm, 100-400mm, and 150-600mm lenses), or the multi-purpose zoom lens (such as the 18-300mm and 24-105mm lenses).

Primes versus zooms tamron 18 200mm

Tamron 18-200mm zoom lens.

Benefits of Using a Prime Lens

Wide Aperture at a Lower Cost

One of the biggest advantages of using a prime lens is that you get to use a wide aperture (small f-number) such as f/1.8 and f/1.4 at a reasonable cost. For example, the Canon EF 50mm f/1.8 STM Lens (only $ 125) and the Sigma 85mm f/1.4 DG HSM Art Lens ($ 1199 compared to the Nikon version at $ 1599 or the Canon one at $ 1899). Whereas, a zoom lens such as the Canon EF 70-200mm f/2.8L does not allow you to shoot wider than f/2.8, and that will burn a hole in your pocket (close to $ 2000).

Prime lens 1

Shallow Depth of Field

A prime lens allows you to use an aperture value as low as f/1.2 or f/1.4, thus providing a really shallow depth of field. Using such wide aperture opening, you can get more of a bokeh effect which means that your subject would be in focus and the background/foreground is blurry. Comparatively a zoom lens may only allow you to go a wide as f/5.6, f/4 or f/2.8, resulting in a wider depth of field as compared to a prime lens.

Therefore, if you are planning to get shallow depth of field (more bokeh effect) then using a prime lens would fulfill your requirements.

Primes Versus Zoom Lenses

Shot at f/1.4 using the Sigma 20mm f/1.4 DG HSM Art Lens.

Better Low Light Photography

As mentioned above, a prime lens can let you use an aperture value as low as f/1.2-1.8 which lets more light into the camera. While shooting in low light conditions using a prime lens you can use a faster shutter speed as it lets in 3-4 more stops of light (f/1.4 > f/2 > f/2.8 > f/4 > f/5.6 – a 50mm f/1.4 lets in 4-stops more than a standard f/5.6 kit lens) compared to a zoom lens.

So if your zoom lens at f/4 is giving you a shutter speed of 1/20th, using a prime lens at f/1.4 would allow you to use a shutter speed of 1/160th. If you are in a situation where the lighting is low and you do not have a tripod, using a prime lens would have an added benefit as it allows more light into the camera.

Primes Versus Zoom Lenses

Better Sharpness and Image Quality

There are fewer lens elements inside prime lenses, each placed to perform a specific role. This is the reason why a prime lens produces less optical flaws such as chromatic aberration and lens distortion, thus resulting in better image quality.

The number of lens elements in a zoom lens is more because it has to provide variable focal lengths, resulting in decent sharpness. However, even zoom lenses are getting better day by day in terms of image quality and sharpness to closer match the results captured by prime lenses.

Primes Versus Zoom Lenses:

Benefits of Using a Zoom Lens

Versatility

One of the biggest advantages of using a zoom lens is that it allows you to change focal lengths without changing your lens. A zoom lens provides a range of variable focal lengths which can be adjusted using the zoom ring on the lens, the range depends on the lens model. To name a few zoom lenses, you can get 18-55mm, 16-35mm, 24-70mm, 70-200mm, 100-400mm, and 18-300mm lenses. While using a zoom lens you can even go from a wide angle view to a telephoto view without even changing the lens.

So if your shoot requires you to switch between various focal lengths then it is better to use a zoom lens to save time and to avoid missing any important moments. In wedding photography, sports, and while traveling you should be using a zoom lens the most, because if you switch between multiple prime lenses then you might end up missing the moment.

Primes versus zooms - lens Range

This image shows the range of focal lengths the Tamron 18-200mm F/3.5-6.3 Di II VC lens provides.

Portability

A zoom lens such as the Canon EF 70-300mm f/4-5.6 is basically five prime lenses in one as it covers some of the most commonly used focal lengths such as; 85mm, 100mm, 135mm, 200mm, and 300mm. Imagine how easy and light it would be to carry a single lens in comparison to carrying five in your camera bag. Though the zoom lens would not allow you to use a wide aperture or give amazingly sharp images as a prime lens would, but it would surely help you pack light. Now it is all up to you, either choose the advantage of the portability of a zoom lens – or carry the extra weight if you are not willing to compromise on image quality.

If you are a frequent traveler who likes to pack light and can compromise a bit on the image quality and the ability to shoot a wide aperture, then a zoom lens is an ideal choice for you.

Primes versus zooms 2

All in all, a less expensive deal

As stated in an example above, the Canon EF 70-300mm f/4-5.6 IS USM Lens is basically five in one (or even more). So now if you do the math, a $ 449 zoom lens can allow you to use any focal length ranging between 70mm and 300mm. Whereas, if you buy five or more prime lenses then you might end up spending over $ 4000.

A zoom lens would be ideal for you if you have just started in photography and want to explore different genres of photography. First invest in a decent zoom lens such as the 18-55mm, 18-300mm, 55-250mm lens or the 70-300mm lens. Then once you are sure about what genre of photography you want to go ahead with then you can buy your next lens accordingly.

Primes versus zoom lenses

Conclusion: A Prime Lens or a Zoom Lens?

There is no doubt that prime lenses are superior when it comes to sharpness and image quality. However, zoom lenses are improving constantly, but still not close enough perhaps. Though some premium zoom lenses such as the Canon EF 70-200mm f/2.8L and Canon EF 24-70mm f/2.8L II USM produce images with brilliant sharpness and less optical aberration.

If you are looking for that beautiful bokeh effect which can only be achieved at wide aperture then you will have to go for a prime lens. It will allow you to choose aperture values such as f/1.2, f/1.4, or f/1.8. Similarly, to shooting in low light conditions a prime lens will give you the added advantage of using a faster shutter speed, thus resulting in sharp pictures.

Primes versus zooms 3

But if you are a frequent traveler or are not familiar with the location, then using a zoom lens will be a safer option as it is a versatile as well as a portable option. Even at weddings or while covering events you cannot rely on a prime lens as there are limitations of moving around the area, therefore using a zoom lens is a wiser choice.

Please share your thoughts on the prime versus zoom lens discussion below. Which lenses have you opted to use?

The post Primes Versus Zoom Lenses: Which Lens to Use and Why? by Kunal Malhotra appeared first on Digital Photography School.


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Advanced Shooting Modes: What They Are and When to Use Them

06 Apr

Are you ready to get off Auto? When most people get started in digital photography, the first thing they do is set the shooting mode dial on the top of the camera to Auto. It makes sense to let the camera make decisions about things while you’re just getting used to using it.

In Auto mode, the camera makes decisions not only on the Aperture, Shutter Speed, and ISO but also on many other factors such as White Balance, Focus Mode, Focus Points and Metering Mode.

After awhile, you might start to choose one of the automatic scene modes such as portrait, sports, landscape or night, if your camera has those options. This gives the camera a bit more information about what you’re shooting so it can make better decisions for you.

But at some point, you are going to want to take control and make those decisions for yourself. Your camera is smart, but it’s not an artist! This is where the advanced shooting modes come in.

The Exposure Triangle

Before we get into discussing advanced shooting modes, you need to understand the concept of how the exposure triangle works.

First, there is shutter speed – the length of time that the shutter is open. This is the easiest part of the triangle to understand; the longer the shutter is open, the more light comes in and hits your camera’s sensor.

The San Diego skyline by Anne McKinnell - Advanced Shooting Modes: What They Are and When to Use Them

ISO 100, 24mm, f/22, 80 seconds

Second, there is the aperture – the variable opening in your lens through which the light passes. The opening is round and works just like the pupils in our eyes. On a bright day, you squint, making the pupil smaller to let in less light. When the light is dim, your pupil is larger to let in more light.

Generally speaking, a small aperture opening and a long shutter speed may allow the exact same amount of light in as a large aperture opening and a short shutter speed. Choosing this balance between aperture and shutter speed is the key, and your choice will depend on what you are trying to achieve with your photograph.

The third and final factor in determining exposure is ISO – the sensitivity of your camera’s sensor to light. For those of you who remember the film days, ISO is similar to ASA, the speed of the film. Essentially, it’s best to leave ISO at a low setting such as 100 (other photographers will recommend using high ISO as needed – do your own research and experiment with your camera). But if you’re in a low-light situation, you might need to increase it so that less light is required to make a good exposure.

Advanced Shooting Modes: What They Are and When to Use Them

Big Bend Ranch State Park, Texas. ISO 200, 10mm, f/18, 1/10th of a second.

Advanced Shooting Modes

There are five main advanced shooting modes available on most digital cameras:

  1. P for Program Mode
  2. A or Av for Aperture Priority Mode
  3. S or Tv for Shutter Priority Mode
  4. M for Manual Mode
  5. B for Bulb Mode

Many professional photographers frown upon using anything other than Manual Mode. But I respectfully disagree. A camera is just a tool and a smart one at that! There’s nothing wrong with letting your camera do what it’s good at as long as you are controlling the factors that are important to you.

Program Mode

In Program Mode, your camera chooses the shutter speed and aperture. You can control other factors like white balance, focus mode, focus points and metering mode. Program mode is a good place to start when you’re just coming off of auto mode and learning how to use your camera settings. But it isn’t where you want to stay because aperture and shutter speed are the key to taking control of your images.

Aperture Priority Mode

When you use Aperture Priority Mode, you tell the camera what aperture you want to use, and it will calculate the appropriate shutter speed to make a good exposure. The size of the aperture affects depth of field, which is a critical concept when you want to take creative control of your images.

When you have a very large aperture opening, such as f/2.8, you are going to have a shallow depth of field. That means that whatever you focus on will be sharp, but everything in front and behind it will be out of focus.

On the other hand, when the aperture opening is small, such as f/22, you have a large depth of field, so more things that are in front and behind your focus point will also be sharp.

The difference between large and small apertures - Advanced Shooting Modes: What They Are and When to Use Them

Try them all

The best way to understand this is to try it out for yourself. Put your camera in Aperture Priority Mode and take the exact same photograph using each aperture setting. Then look at the photos on your computer and you’ll see the effect that aperture has on the depth of field.

What you’ll find is that photos with a large aperture have a soft background and photos with a small aperture have a background that is in focus. For me, depth of field is the most important factor in my photography, so I almost always use Aperture Priority Mode.

Organ Pipe Cactus National Monument Arizona - Advanced Shooting Modes: What They Are and When to Use Them

ISO 100, 33mm, f/18, 1/25th of a second. For this image, it was important to keep everything sharp from the closest cactus in the foreground to the mountains in the background. So I chose a small aperture to ensure I had good depth of field.

F-Numbers are Tricky

Before we leave this topic, there’s one thing that many people find confusing and that is the f-stop numbers. A large aperture opening is represented by a small number and a small aperture is represented by a large number. I don’t want to get into too much math here, but my trick for remembering how this works is to think of it like a fraction. 1/2 is larger than 1/8, so f/2 is a larger opening than f/8.

Shutter Priority Mode

When you use Shutter Priority Mode, you tell the camera what shutter speed you want to use, and it will calculate the appropriate aperture to make a good exposure. This mode is most useful when you have moving objects in your frame and you want to either freeze the motion or blur the motion.

For example, if you are photographing a bicycle race, you probably won’t be happy with just any old shutter speed. You’ll likely want to use a relatively long exposure, such as half a second or one second, to blur the motion of the bicycles going by. Or you’ll want a fast shutter speed such as 1/500th of a second to freeze the motion. Anything in between would look out of focus.

Shooting waterfalls is another good example of when to control the shutter speed for the silky water effect.

Englishman River Falls, Vancouver Island, British Columbia - Advanced Shooting Modes: What They Are and When to Use Them

ISO 100, 180mm, f/22, 1/10th of a second.

Manual Mode

When you are in Manual Mode, you must tell your camera both the aperture and the shutter speed you want to shoot at. You will use your camera’s light meter to determine whether the settings you have entered will create a good exposure, then adjust the settings based on whether you have too much or not enough light.

In Manual Mode you are in complete control and practicing with it will give you a good grasp on how aperture and shutter speed work together. Once you understand this, it may be more convenient to use either Aperture Priority Mode or Shutter Priority Mode to accomplish your goals.

Bulb Mode

Bulb Mode allows you to extend the shutter speed beyond the camera’s built-in limit, which is usually 30 seconds. You can use this mode to photograph the streaks of clouds moving across the sky, or at night to photograph star trails.

To use Bulb Mode, press the shutter button and hold it down. The shutter will open and stay opened until you release the shutter button. But of course, this method isn’t practical because you can’t just stand there holding the shutter button down for 10 minutes! Plus, having your finger touching the camera during a long exposure will cause camera shake and your photo would be blurry.

Star trails at Joshua Tree National Park, California - Advanced Shooting Modes: What They Are and When to Use Them

This photo was made using an intervalometer programmed to make a 7-second exposure every 15 seconds for two hours. Then all the images were stacked to create the star trails.

The best way to use Bulb Mode is to use a shutter release cable (or a remote trigger). This allows you to press the button on the cable to open the shutter and then lock it opened so you can walk away and come back later to release it. Another option, instead of using a cable release, is to use an intervalometer which will allow you to program how long you want the shutter to be opened and even program multiple shots. For example, you can set it to take a 2-second exposure every 5 minutes for an hour.

Conclusion

Remember, the camera is your tool to use any way you like to make your art. The shooting modes are just some options that are available to you so you can accomplish your creative goals. Have fun and experiment!


Shooting modes are just one of the camera settings you’ll want to master to take control of your camera and your photography. My new eBook Taking Control: Essential Camera Skills for Beginners will help you understand what all the knobs and dials on your camera do and how to use them for creative control over your images.

The post Advanced Shooting Modes: What They Are and When to Use Them by Anne McKinnell appeared first on Digital Photography School.


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10 Reasons Why Photography is a Great Hobby

06 Apr

People start doing photography (versus taking snaps or selfies) for many reasons. It might be a major life event coming up – new baby, wedding, special birthday – or that overseas trip saved up for over many years. It might be that the capabilities of your phone frustrate you enough to want to get real about photography. However it happens, suddenly you find yourself with an empty bank account and some form of camera gear that you now need to figure out how and where and maybe even, why to use it.

10 Reasons Why You Should Get Real About Your Photography

10 Reasons why photography is a great hobby

  1. Recording events and capturing memories
  2. Have fun
  3. Learning is good for the brain
  4. Health and fitness
  5. Creativity
  6. Travel
  7. Meet new people
  8. Join a photographic community
  9. Develop a personal style
  10. It’s all about the light

#1 Recording events and memories

Photography allows you to create images of events, times, and places. To both record what happened and allow you to share them with friends and family, either in digital format or more permanently with prints or photo books. By being able to capture a special moment in time, you carry the memory of that event forward with you, allowing you to share it and remember it with those that were there. Those memories become part of your history, perhaps family lore, not just stories passed down through the generations – but images as well. As the popular idiom says, “A picture is worth a thousand words”.

10 Reasons Why You Should Get Real About Your Photography

Memorable moment capturing the rare NZ Falcon

#2 Have fun

So much fun can be had with a camera. You could be out with the family at the beach or a picnic, local sports games, randomly roaming your city streets photographing strangers without them noticing, stalking wildlife, hiking up a mountain for a stunning view, or standing under the stars at 2 a.m. watching the Milky Way slowly move across the heavens. So many opportunities to do new, interesting, and fun things with your camera that you likely may not have otherwise done.

All sorts of things become interesting when they can provide you with material for photographic adventures. Cultural festivals, parades, sports events, a wander along the beach, exploring parts of your city previously undiscovered, architectural details on buildings, intricate details of flowers, people watching, difficulties of photographing wildlife, meeting people who have different interests and hobbies – just for a few ideas. Most people are willing to share their passion with you if you take some time to talk to them. There are endless opportunities for photographic inspiration – even the contents of your fridge or pantry can be fascinating when viewed through a macro lens. All you need to do is make an effort to look.

10 Reasons Why You Should Get Real About Your Photography

Hanging out with the zombies at a Zombie Run event.

#3 Learning a new skill is good for your brain

Research has shown that learning a new skill helps the brain and improves memory, and the more difficult the skill, the more improvement you get. Coupled with exercise, these two things are considered important for long-term brain health and neuroplasticity. Studies show that slower learning over time helps build strong new linkages within the brain.

New knowledge will accumulate over time, as you keep putting effort into learning a new skill. Given that photography has so many elements, the science of light, the technology of the camera and the creative artistic side, there is a lot to learn. So whatever your age, now is the perfect time to start learning photography.

10 Reasons Why You Should Get Real About Your Photography

#4 Health and fitness

Getting out of the house, walking about, or even hiking is often a side-effect of getting into photography. If you are into landscapes then you have to go to where the landscape scenes are, and that often means some form of exercise. Once you have enough camera gear – likely a body, some lenses, and a tripod – it can weigh a reasonable amount and you will need a bag of some kind to carry it comfortably if you are traveling any reasonable distance.

Some people prefer a more gentle form of exercise – for health or mobility reasons. Others may prefer multi-day hikes into stunning mountain scenery. Mountain biking, horseback riding, kayaking and similar sports are often popular modes of transport to get you to a new landscape and allow for photography along the way.

Camera gear is heavy, so it’s important to be aware of any health or safety concerns. Carrying heavy cameras on straps around your neck for a long time can be quite painful. People with disabilities or limited mobility might prefer a lighter weight option and there are many available these days. Although one of the downsides of digital photography, especially if you shoot RAW, is the amount of time you can spend in front of your computer, processing the images, so that needs to be considered into your fitness regime as well.

10 Reasons Why You Should Get Real About Your Photography

#5 Creativity

In her book, “Big Magic: Creative Living Beyond Fear”, Elizabeth Gilbert writes a great deal about creativity and inspiration. She says it is good for us as individuals, and that the world is a better place for having art in it. That feeling when you finally get the awesome sunrise photo or the perfect candid, maybe the aurora or a meteor shower, or whatever your passion is, that feeling when you finally get the image, makes it all worthwhile.

Being creative is something we don’t tend to allow ourselves to do as adults. Photography is a very acceptable form of creativity that allows endless flexibility in how you adapt it to your own personal style. That style can grow as you learn more and start to experiment with different things.  Creativity is fun and it provides a necessary balance against the stressful demands of the modern lifestyle.

10 Reasons Why You Should Get Real About Your Photography

 

#6 Travel

Traveling to different parts of your own city or country, and if you are lucky enough to afford it, other parts of the world is a likely outcome of taking up photography. There is so much interesting stuff to photograph in other places including landscapes, wildlife, architecture, and people from other cultures.  Travel broadens the mind and exposes you to new concepts and ideas and is an excellent learning opportunity, provides so much creative

Travel broadens the mind and exposes you to new concepts and ideas and is an excellent learning opportunity. It provides so much creative variety and possibilities for personal growth. Taking the opportunity to travel, even just a couple of hours drive or bus ride away, can provide entirely new situations and vistas. Be brave and venture forth.

10 Reasons Why You Should Get Real About Your Photography

#7 Meet new people

Meeting interesting new people in your travel and adventures is often an unintended side effect. Asking the locals for advice on how to find the way to a certain viewpoint may lead to them showing you the way. Chance encounters with people curious as to what you might be photographing can lead to directions to other points of interest. Maybe you organize a meetup with local photo enthusiasts in your area and you make a new friend, a new adventure buddy. A random chat in a cafe might lead to a new client.

If you are friendly and courteous with your camera, many people are often happy to pose. In some cultures, it may be appropriate to thank them with a small cash payment, so research that in advance. Engaging with other people, even with the barriers of language, means you make more of a connection, and the resulting images may be much more powerful and emotional. While keeping personal safety in mind, be brave and say hello.

10 Reasons Why You Should Get Real About Your Photography

#8 Join a photographic community

Being part of the photography community can be very supportive. Sharing your passion with other people around the world, who speak your language, understand your challenges, and have had similar experiences can very helpful. Online forums can be good places to find those secret local waterfall spots, where certain rare birds might be nesting or come to feed. People may be willing to offer assistance with problems, critique on your images, and it’s just generally a welcoming place to hang out and chat about your hobby.

Join our dPS community on Facebook!

10 Reasons Why You Should Get Real About Your Photography

Photographer in their natural state at a PhotoWalk

#9 Develop a personal style

There are many different types and styles of photography. Some people prefer to label things, put them into boxes and tell you that you have to fit within their preconceived ideas. Rubbish! One of the great joys of photography is its ability to be adapted to every individual’s desires, needs, or preferred style. There is space for all different approaches within photography from the classic landscape, nature, wildlife, street, portrait, sports styles to all the different variations in between.

Whatever your passion is, you can explore it via photography in whatever creative way you want. When starting out it pays to have an understanding of the basic guidelines for composition, but don’t let them limit you to always stay inside them. Challenge them, break them, and see what happens. It might work, it might not, but either way, it will be a learning experience.

10 Reasons Why You Should Get Real About Your Photography

#10 It’s all about the light

Whatever light you have at any given moment is the light you need to work with. Modification of the light might be required – it may need filtering, shaping or diffusing. You might need special gear to adapt to certain light conditions, e.g. astrophotography has certain types of lenses that are recommended, fast glass is recommended for situations where light levels will be poor – sports events inside gyms, music and stage events, churches for weddings, etc.

10 Reasons Why You Should Get Real About Your Photography

Too much light can also be a problem with harsh shadows and blown out highlights. Differential light where you have patches of bright light and shadow within the area you are working, which makes it difficult to get a good exposure. Learning to use a flash or another artificial light source has its own challenges as well as added costs in buying the hardware required.

Learning to work with the light available and knowing how to adapt to it to get the best image possible is one of the biggest challenges photographers face. Light has color, depth, dimensionality, texture, tone, shadow, and behaves in certain ways, dependent on some fundamental rules of physics. One day there will be a moment when you finally “see” the way a photographer does when you see how light falls, how light and shadow are interdependent, and how you can use them to add depth and drama to your images.

10 Reasons Why You Should Get Real About Your Photography

Summary

Photography adds so much value to our lives, by recording special events, people, or places, as well as helping us learn and grow as people. It allows you to share your life and experiences in more meaningful ways via images, either online or printed and given as gifts. Or perhaps you might be quietly puttering away in your home studio, perfecting the art of the macro lens.

10 Reasons Why You Should Get Real About Your Photography

Photography is a hobby that offers so many possibilities for creative expression, technical expertise, and sheer variety of ways to capture an image. Age is not a barrier to learning a new hobby and you can start with the camera on your phone if that’s what you have available. Start getting real now!

The post 10 Reasons Why Photography is a Great Hobby by Stacey Hill appeared first on Digital Photography School.


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Canon introduces EF-S 35mm F2.8 macro lens with built-in ring light

06 Apr

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Canon has introduced a compact 35mm F2.8 IS STM macro lens for crop-sensor DSLRs. Similar to the EF-M 28mm F3.5 Macro lens introduced a year ago, the 35mm F2.8 has a built-in LED ring light. 

The lens, which is equivalent to 56mm when mounted on crop body, has a minimum focus distance of just 3 cm (1.2 in.). It uses Canon’s ‘Hybrid’ IS system, with up to four stops of shake reduction. Canon says that the lead-screw-type STM motor allows for quiet AF operation, which is ideal for video capture. The lens has seven rounded aperture blades as well as a glass-molded aspherical element.

The EF-S 35mm F2.8 IS STM lens will ship this June with an MSRP of $ 349.

Press Release

UP CLOSE AND PERSONAL: CANON ANNOUNCES NEW EF-S 35MM F/2.8 MACRO IS STM LENS TO HELP EXPLORE THE BEAUTY OF MACRO PHOTOGRAPHY

New Compact and Lightweight EF-S Macro Lens Opens Up a World of Photographic Possibilities and Helps Capture Close Subjects with Incredible Detail

MELVILLE, N.Y., April 6, 2017 – Compact and lightweight, the new Canon EF-S 35mm f/2.8 Macro IS STM, announced today by Canon U.S.A., Inc., a leader in digital imaging solutions, is the widest-angle Macro offering in Canon’s popular EF-S lens series. The new lens is designed to help both entry-level and advanced amateur DSLR photographers discover the incredible possibilities of macro photography. Capable of capturing close-up subjects with incredible detail, Canon’s new EF-S macro lens is also the first in the series to feature built-in Macro Lites that allow users to control lighting with ease.

“Macro lenses are an amazing way to explore the worlds that exist all around us, and the new Canon EF-S 35mm f/2.8 Macro IS STM lens is the ideal starting point for amateur photographers eager to capture incredible, up-close details on the go,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “Whether capturing a delectable dessert or the subtleties of a backyard flower, users will be challenged to find new colors and shapes that turn everyday moments into art.”

The new Canon EF-S 35mm f/2.8 Macro IS STM captures stunning images and is a terrific companion lens for entry-level users eager to expand beyond their existing Canon EOS DSLR kit lens. Capable of shooting as close as 30mm from the end of the lens to the subject, aspiring photographers can get up close to a fruit or flower for an entirely new perspective, while capturing high-quality images with beautiful background blur. Additional technologies built into the new Canon EF-S 35mm f/2.8 Macro IS STM lens include:

  • Popular 35mm focal length (56mm equivalent) and wide f/2.8 aperture
  • Hybrid IS system offers up to four stops* of shake correction
  • Smooth Movie Servo AF with Lead Screw-type STM ensures quiet AF operation
  • Full-time Manual Focus

In a first for the EF-S lens series, the new Canon EF-S 35mm lens sports built-in Macro Lites that allow photographers to carefully arrange macro lighting without using special equipment. With built-in LED lights on each side of the lens, users can create compelling shadows on either side of a subject or adjust intensity to give images a sense of dimension. Once the scene is set, the lens uses superb rendering performance to capture high contrast, sharp images.

While specialized for high magnification photography, the Canon EF-S 35mm f/2.8 Macro IS STM is still a versatile option for day-to-day use, easily capable of capturing portraits, landscapes or snapshots. As the latest addition to the lineup of EF-S lenses, Canon continues its commitment to providing a wide-range of affordable lens options for photographers of all levels.

The Canon EF-S 35mm f/2.8 Macro IS STM lens is scheduled to be available in June 2017 for an estimated retail price of $ 349.99.

Canon EF-S 35mm F2.8 Macro IS STM specifications

Principal specifications
Lens type Prime lens
Max Format size APS-C / DX
Focal length 35 mm
Image stabilization Yes (4 stops)
Lens mount Canon EF-S
Aperture
Maximum aperture F2.8
Aperture ring No
Number of diaphragm blades 7
Optics
Elements 10
Groups 6
Special elements / coatings Glass-molded aspheric element
Focus
Minimum focus 0.03 m (1.18)
Maximum magnification 1×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter No
Physical
Weight 190 g (0.42 lb)
Diameter 69 mm (2.72)
Length 56 mm (2.2)
Sealing No
Colour Black
Filter thread 49.0 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Cold Yet Comfortable: 13 Surprisingly Inviting Concrete Home Interiors

06 Apr

[ By SA Rogers in Architecture & Houses & Residential. ]

brisago 4

It may be cold to the touch, but concrete doesn’t have to make a home feel uncomfortable and unwelcoming, even when it makes up most of the surfaces throughout the interiors. In fact, concrete proves to be surprisingly versatile – polished to a mirror finish, molded with wood or given a rocky, irregular texture for visual interest – and setting it off with timber, glass, greenery and natural light strikes just the right balance.

Courtyard House by NOA Architecture

noa concrete house

noa concrete house 2

noa concrete house 3

noa concrete house 4

This stunning intergenerational house by NOA Architecture is programmed “as an inhabited landscape contained within a modernist slab,” with a single glass-wrapped layer between a floor and roof plane, so the concrete floors, walls and other surfaces are offset with views straight out onto the lush green landscape of Aurora, Oregon. The best part is that oculus-style atrium in the center of the living room.

Pitch House by Iñaqui Carnicero

pitch house 2

pitch house 3

pitch house 4

The dramatic ‘Pitch House’ of Madrid by Iñaqui Carnicero uses textured concrete to transition visually into its sloped, rocky surroundings. Using wood as formwork for concrete, and leaving the resulting textural imprint behind, lends a richness that the material usually doesn’t have. Glazed walls reflecting a crystal-clear swimming pool on the terrace don’t hurt, either.

Casa Dem by Wespi de Meuron Romeo Architetti

concrete wespi 1

concrete wespi 2

casa dem

casa dem 3

From street level, this blocky concrete house doesn’t look like much, but its beauty is hidden on the other side of the slope. Casa Dem by Wespi de Meuron Romeo Architects was made with several different types of concrete, including smooth, minimalist textures and rougher, more gravelly textures for an unexpected and beautiful contrast. The house is defined by its many square- and rectangle-shaped cutouts, from the smaller ones on the facade to the openings for windows and doors.

Low-Cost Modernist House by Terra e Tuma Arquitetos

vila matilde

vila matilde 2

vila matilde 4

vila matilde 5

Cement blocks are more commonly associated with prisons than residential architecture, and when you hear that they’ve been used to create a remarkably low-cost home, your expectations might be low. But Terra e Tuma Arquitetos pulled off quite a feat with Vila Matilde, an ultra-affordable modernist home in Brazil. Despite these cheap and typically ‘cold’ materials, the space feels comfortable and homey, with special thanks to plenty of natural light and a clever design incorporating a plant-filled courtyard.

Casa Brutale Cliffside Concept

casa brutale i

casa brutale ii

casa brutale iii

casa brutale iv

On the other side of the spectrum is Casa Brutale, a residence so luxurious and dramatic it seems like it could never be real. But this modern villain’s lair cut directly into a cliffside by OPA is actually under construction, with most of the interior spaces tucked beneath a glass-bottomed swimming pool for lots of watery reflections.

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Cold Yet Comfortable 13 Surprisingly Inviting Concrete Home Interiors

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Looping Bicycle Bridge Lets Cyclists Ride Right Over a School Roof

06 Apr

[ By SA Rogers in Architecture & Cities & Urbanism. ]

bike bridge 1

Many a cyclist has fantasized about being able to bike right over the chaos of a city, avoiding traffic, intersections and trouble areas so they can just enjoy the ride. A Dutch architecture firm has made this fantasy into a reality with a continuous bike bridge that crosses the Amsterdam-Rhine Canal in Utrecht and then loops right over an adjacent university building’s roof. Officially open this week, ‘Dafne Schippers Bicycle Bridge’ by NEXT Architecture reclaims urban space for people who aren’t driving vehicles.

bike bridge 2

It’s unusual to see a bridge so seamlessly integrated into adjacent infrastructure on land in a way that’s interactive with the public, while also performing an important service. Measuring 360 feet long, the bicycle bridge connects the old Oog in Al section of Utrecht with new district Leidsche Rijn.

bike bridge 3

Open to both cyclists and pedestrians, it lifts up off the ground in Victor Hugo Park, reaches a pinnacle of nearly 115 feet above the surface of the water, and continues onto the roof of a local Montessori school.The bridge then loops around a public garden before once again reaching ground level.

bike bridge 4

bike bridge 5

Commissioned by the city of Utrecht, the structure will save more than 7,000 cyclists time on their route each day. The architects wanted the bridge to connect the bicycle route, park and school in a single fluid movement, creating a cohesive landscape. With the bicycle bridge on the south side, space for a recreational area is created on the north side, oriented toward a park.

bike bridge 6

It would be cool to see architects take inspiration from NEXT’s creation to the next level, building something even more complex that’s lifted above the busy streets of an urban center.

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