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Archive for April, 2018

Meyer-Optik Goerlitz unveils ‘world’s fastest’ 75mm F0.95 Nocturnus lens

27 Apr

German lens manufacturer Meyer-Optik Goerlitz is expanding its range of F0.95 aperture lenses with the release of the Nocturnus 75mm. The lens will have the world’s widest aperture for the focal length, according to the company, and will offer sharp detail even when used wide open.

Like the Nocturnus 50mm F0.95 lll, this full-frame lens will be available in mounts for Leica M, Sony E and Fujifilm’s X series cameras, and will feature a 15-bladed iris that Meyer says will help to create bokeh ideal for portrait work. The aperture will be click-less to allow silent operation for filmmakers, and will close steplessly to F16.

The hand-made lens uses only five elements in five groups, and will have a closest focusing distance of 0.9m/35.4in. It will take a 72mm filter, will weigh about 750g/26.4oz and can be ordered in a black or a silver finish.

Meyer says it expects the lens to be delivered in December this year at a price of €4,000 (~$ 4,900 USD), but those ordering before 20th May will be able to get it for €1,900 (~$ 2,300 USD). For more information, visit the Nocturnus 75 f0.95 product page on the Meyer-Optik Goerlitz website.

Press release

Meyer-Optik Goerlitz Nocturnus 0.95/75mm continues the creation of the “master of light series” and the legacy of the fastest 75mm lens in the world

Nocturnus 0.95/75 mm becomes world’s fastest 75mm lens with 15 aperture blades

Available for Leica M, Sony and Fuji X

Again Meyer optic reaches for the next big step. But this time it’s a big one: the creation of the fastest 75mm lens worldwide causes a stir

  • sharpness with aperture of 0.95 – 16
  • the fastest 75 mm lens of the world
  • with 15 aperture blades
  • a Bokeh ideal for portrait photography in difficult light conditions
  • a lens that creates a three-dimensional appearance separating the subject from the background in a characteristic manner
  • compatible with Leica M, Sony E and Fuji X
  • clickless aperture ring
  • Made in Germany
  • Highest requirements for the glasses used

Expected launch: May 2018

Special Early Bird Price until 20.05.2018: 1899 €, expected MSRP €3499
Available camera mounts: Leica M, Sony E and Fuji X

More Information: https://www.meyer-optik-goerlitz.com/en/nocturnus-75-f0.95

Meyer-Optik-Goerlitz: Again in the leading position for available light photography
Already in the 1920s, Meyer brought lenses to market which were the fastest lenses of their time: the Kinoplasmat 75/f1. 5. Later the Primoplan 1.9/58 was to become the fastest standard lens for the famous Exakta camera, which was sold in the USA as “Kine night Exakta”. At this time Meyer-Optik Goerlitz was considered as the most prominent manufacturer of available light lenses, so called “giants of light” and in 2016 the company presented the Nocturnus 0.95/50 mm for the first time now available in its third version.

Now Meyer is following the legacy of creating the fastest 75mm lens in the world like it once did with the Kinoplasmat. The Nocturnus 0.95/75 mm lens is a full format lens available for Sony E, Fuji X and Leica M. The company also intends to follow with a 35mm lens later in order to complete its Nocturnus line.

Main Features

1. The Nocturnus provides unsurpassed portrait images

Like its “little brother” – the Nocturnus 50 – the Nocturnus 0.95/75 delivers outstanding performance with a ully opened aperture 0.95 for Sony E, Fuji X and Leica M photographers.

With its aperture at 0.95 and its 15 steel aperture blades with antireflection coating the Noctunrus 50 delivers an appearance and imaging which cannot be obtained by any other lens. This opens creative opportunities especially in “people photography” under difficult light conditions.

2. 75mm focal length, 15 Steel Aperture Blades: #1 and Only in the World of Available Light Photography

World premier! 75mm focal length, 15 steel aperture blades along with a maximum aperture of 0.95 is only available in the portfolio of Meyer-Optik Goerlitz. This combination allows photographers who are using Leica M, Sony E or Fuji X to make use of the outstanding creative opportunities by the conscious use of depth of field, sharpness and bokeh. The 15 blades aperture was designed by Dr. Prenzel from Goerlitz and the mechanical components of the aperture are built by Otto Niemann precision mechanics from Berlin. Otto Niemann has been one of the specialists in the production of iris diaphragms since 1945. Of course, the aperture of the Nocturnus 0.95/75 is adjustable to infinty. The mechanical quality is outstanding and as a result the Nocturnus 0.95 / 75mm is a tool, that the photographer can rely on all his life.

3. Handmade Masterpieces

The Nocturnus 0.95/75 is a handmade masterpiece. Trained expert staff and state of the art technology make each Meyer-Optik Goerlitz lens a masterpiece in itself. Meyer-Optik Goerlitz employs a selected staff who put in all their experience and pride to produce a perfect Meyer-Optik Goerlitz Nocturnus 0.95/75. The company offers guided tours in its production facilities in Hamburg, Germany, to give customers an insight into the high production standards.

4. Photography at the speed of light

The combination of 75mm and the unique aperture of f 0.95 creates images of an unmet aesthetic especially when shot wide open, generating a three dimensional appearance where the subject seems to be stepping out of the image. The Bokeh is smooth and under the appropriate condition may contain some sharp edged light circles.

Each shot is of unique sharpness, depth of field and Bokeh characteristic.

5. Technical Specification

  • Focal Length: 75mm
  • Aperture range: f0.95 – f16
  • Mounts: Fuji X, Sony E, Leica M
  • Angle of view: 32°
  • Minimum Focal Distance: 0,9m
  • Filter Thread: 72mm
  • Elements/Glasses: 5 Elements in 5 Groups
  • Aperture Blades: 15, with special anti-reflex coating
  • Weight: ~ 750g

Articles: Digital Photography Review (dpreview.com)

 
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Snapchat launches water-resistant Spectacles V2 with photo capture

27 Apr

Snapchat has just introduced version 2 of its Spectacles camera glasses, and they come with a bunch of new features. The glasses—which Snapchat has dubbed “your hands-free camera”—can now take photos in addition to video, are water resistant to the point where you can even submerge them for short periods of time for underwater snaps, and will be available with prescription lenses, too.

When Snapchat debuted its original Spectacles camera glasses in September of 2016, the company was able to leverage novelty and scarcity to make the glasses a big hit… for a time. But it didn’t take long for both novelty and scarcity to wear off, and the glasses never really caught on with a mainstream audience.

After selling a little over 200K glasses, demand plummeted and that… was that. No doubt, the new features, more stylish options, and immediate mass-market availability of Spectacles V2 are meant to appeal to a much broader audience and succeed where Version 1 fell flat.

Spec wise, Snapchat Spectacles V2 are nothing special. They take video at 1216 x 1216 pixels, and photos at 1642 x 1642 (a whopping 2.7MP). The field of view has also been decreased from 115 to 105 for less of a fish-eye look.

Where the Spectacles V2 should shine compared to its predecessor, though, is in build quality and convenience. According to TechCrunch’s Josh Constine—who got to try the specs out early—the glasses feel much sturdier, the charging case is much smaller and more convenient, battery life is substantially improved, and pairing to your phone is easier too.

What’s more, Constine seems to think these glasses could be the commercial success that V1 (and Google Glass, for that matter) never were:

After two days of use, I think Spectacles V2 cross the threshold from clumsy novelty to creative tool accessible to the mainstream. And amidst user growth struggles, that’s what Snap needs right now.

Spectacles V2 are available to purchase today from Snapchat’s website in the US, UK, Canada and France, with more countries on the way. They’ll cost you $ 150 ($ 20 bucks more than the original V1s) and are available in Onyx, Sapphire and Ruby with each color offering a darker or lighter version of the attached lens.

To learn more about Spectacles V2 or if you want to give the new camera glasses a go for yourself, head over to the Spectacles website.

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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How to Create a Dynamic Light Painting Portrait

27 Apr

Do you want a bit of action and dynamism in your portrait photography? Using your strobe to light your model in a portrait, while combining this with medium to long exposure can give you amazing results! A light painting portrait is a fun technique that you can play around with, and the equipment you need does not have to be too advanced. An entry-level DSLR camera will work well for this type of photography.

So in this article, I’ll break it down for you, explain what it is and how to do it.

How to Create a Dynamic Light Painting Portrait

Why not create your light painting portrait with some steel wool!? NOTE: Please take safety precautions when doing fire spinning!

What is light painting?

Light painting is the movement of light within your scene, captured using a long exposure. Broadly speaking, there are three types of light painting.

  1. Light painting with light trails – This means the camera stays still, and you move the light around in front of the camera during a long exposure. Photographing traffic light trails is a form of light painting, but the traffic is moving for you.
  2. Light painting an object – In this case, you’re not pointing your light source at the camera, rather you’re going to light up an object by shining a flashlight at it during a long exposure.
  3. Kinetic light painting – This type of light painting uses a light source that doesn’t move, and you move your camera to create the light painting. Examples of this type of light painting are the zoom burst or camera rotation.
How to Create a Dynamic Light Painting Portrait

The zoom burst can make for a dramatic portrait when used in the right place.

Using your flash in conjunction with light painting

So if light painting involves moving the light source or moving the camera during a long exposure, how will you be able to get a sharp portrait? The answer is you’re going to be using a two-part exposure.

A flash will be used for the portrait, and the second part will be a long exposure involving some form of light painting. Your light painting portrait can be achieved in a single exposure or frame. There are times when using more than one exposure is better, and blending the images in post-processing. However, for this guide, we are looking at doing this in a single exposure.

  1. Adjust your camera to full manual mode.
  2. The ambient light in the room you are in must allow you to expose for half a second or longer (it should be dim).
  3. The background should contain a light source, or you can’t light paint.
  4. Adjust your shutter speed to the amount of time you will need for light painting. This will depend on the type of light painting you intend to do.
  5. Now use your aperture to adjust the exposure value to be at around -1.
  6. Have your flash set to manual mode as well. The strength of your flash unit will determine how much power you will need to use to get the correct light, so adjust depending on your unit. The proximity of your model to the flash will also be a factor in setting the strength. The aim is to freeze them, without blowing out (overexposing) their face.
  7. Now that you’re ready with your settings you can take your photo. Check your results and vary the strength of the strobe, and the length of the exposure accordingly.
How to Create a Dynamic Light Painting Portrait

Make some magic with your light painting portrait! The desert in Mongolia was pitch black, this was ideal as there was no ambient light.

Different light painting techniques

As mentioned above, there are several different types of light painting. Now you’re going to see how those can be applied to a light painting portrait.

  • Camera rotation – This means rotating the camera after you have used flash to “freeze” the model. In order for you to get a good effect aim for around half a second exposure. Unless you have the equipment to mount your camera on a pivot this will be done handheld, so you will need a smooth motion.
  • Zoom burst – In order to make this effect, you will need a lens that is capable of changing focal length manually. The technique is similar in that you will expose for around half a second after the initial flash. Using a tripod isn’t necessary, but it will improve your results as the light lines will be straight. Typically you will want to zoom out during the exposure, though you can experiment with zooming in as well.
  • Camera shake – Once again an exposure of around half a second is best for this. After the flash has fired, move the camera around in a random way to make a more dynamic background. This technique can work well at a nightclub to give a sense of energy to the photo.
  • Light painting – In this type of photo, the camera must be mounted on a tripod, and you’ll likely expose for one second or even longer. Avoid area’s where there is a lot of ambient light, especially if that shines onto your model. Your model will need to stay completely motionless throughout the exposure, as you light paint through the scene. The longer the exposure the more difficult it will be to keep the model sharp, so avoid overly long exposure.

This light painting used a pixelstick to create the light.

Now go out and try a light painting portrait yourself!

So there you have it, this is how to make a dynamic light painting portrait! This is a fun technique to use while on a night out, or you can use it in a much more staged setting. Your friends will likely be impressed by the results, as it shows them in a vibrant energetic photo.

Have you ever tried to take light painting portraits like this? What was your experience? Please share your photos and experience both past and present in the comments section below. As always it’s great to get community engagement.

This was a stage portrait, using apartment building lights in the background for the zoomed light.

This can be a great technique to use in a night club, as it will add energy.

This photo used some camera rotation to achieve the result.

The post How to Create a Dynamic Light Painting Portrait appeared first on Digital Photography School.


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Rollei returns with the new Rolleiflex Instant Kamera TLR

27 Apr

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German brand Rollei has revived its iconic Rolleiflex twin lens reflex lineup with the new Rolleiflex Instant Kamera. This model—Rollei’s first TLR camera in decades—retains the brand’s iconic look but adds modern features including support for Fuji Instax Mini film.

The Instant Kamera joins a lineup first launched in 1927 with the original Rolleiflex prototype. The brand’s final TLR model, the Rolleiflex 2.8F, was released in 1960, “leaving only vintage cameras behind for true photography enthusiasts,” says Rollei.

The company began exploring ways to revive the Rolleiflex line in 2017, ultimately launching the new Rolleiflex Instant Kamera on crowdfunding website Kickstarter. The reimagined Rolleiflex features the same twin lens system found on the models before it, but has been optimized for use with Fuji’s Instax Mini film.

The Instant Kamera has a built-in electric flash, f/5.2 to f/22 aperture, a magnifier, manual focus (48cm to infinity), Multiple Exposure and Long Exposure modes, an ambient light meter, Fresnel anti-glare coated viewfinder, and a 3-element aspheric lens. Rollei slimmed the Instant Kamera down 30% compared to past twin lens cameras and added simplified buttons and knobs.

Rollei is seeking funding on Kickstarter, where backers can get a Rolleiflex Instant Kamera by pledging at least HK$ 3,100 / $ 395 USD / €325 EUR. Shipping is offered globally, and expected to start for Kickstarter backers in October 2018.

Full specs:

  • Aperture: f/5.6, f/8, f/16, f/22, Bokeh
  • Lens: Aspherical lens with 3 elements, f=61mm
  • Focal Range: 48cm ~ infinity
  • Shutter Speed: 1/500 – 1 second (Mode A) | max. 10 seconds (Mode B = slow shutter)
  • Viewfinder: Twin lens reflex viewfinder with an eyepiece magnifier to lift up
  • Exposure Control: EV+/-1
  • Flash: Integrated, electronic flash with automatic light emission control
  • Power Supply: 3AA Batteries (1.5V)
  • Film: Instant film magazine 54 x 86 mm (w x h)
  • Dimensions: 141 x 102 x 80mm
  • Weight: 525g

Sample Photos:

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Press Release

Rolleiflex™ Instant Kamera

An instant camera with the legendary twin lens design and modern features

Rollei™, a well-known German brand, has over a hundred years worth of experience in camera and optics development. Rolleiflex™ is the name of our premier line dedicated to medium format twin lens reflex (TLR) cameras.

The first Rolleiflex™ twin lens reflex camera came out in 1927. For the next few decades, we continued to innovate and push our development of TLRs until we reached our limit. The last Rolleiflex™ TLR update was released in the 1960s – leaving only vintage cameras behind for true photography enthusiasts.

We have never forgotten TLR. So in 2017, we gathered camera enthusiasts, experienced technicians, TLR lovers and other camera manufacturers together in order to brainstorm new ideas for how to re-introduce the TLR for the modern era.

In 2018, after 90 years old birthday of the first TLR, we’re proud to introduce you to the newest edition to the Rolleiflex TLR Camera.

A new instant film camera by Rolleiflex™

Over the years, we’ve received countless messages. And we developed a new idea and adding the twin lens element and classic design aesthetic in a way that meets the needs of today’s users.

Rolleiflex™ Instant Kamera produces high quality images optimized for use with Fujifilm Instax Mini film. You will be amazed by the wide range of apertures from f/5.6 to f/22, accurate focusing from 48 cm to infinity with cinematic viewfinder and the built-in electric flash with automatic light emission control. This allows you to have a taste of instant photography with the well-loved twin lens system that Rolleiflex is known for. We hope to honor our legacy and let all of you enjoy the amazing visuals this camera will produce.

Twin Lens Design: Reinhold Heidecke was inspired to make the Rollei TLRs while photographing soldiers in the German trenches in 1916 – the twin lens design provided a periscope approach to focusing and taking photos which radically reduced the risk of the photographer being hit by sniper fire.

Aperture Control: Enjoy shallow depth of field with f/5.6. This allows you to get the most out of the instant film format and really help your subjects stand out.

Viewfinder Design: A Fresnel anti-glare coated viewfinder that is operated at waist-level allows you the perfect setup for street photography while on the move: shoot photos any time just by looking down.

3-element Aspheric Lens: Takes sharp images bursting with detail, and has a focal length of 61mm.

Magnifier: As with traditional Rolleiflex cameras, our new instant TLR camera includes a magnifier so you can take a closer look.

Accurate Focusing: Adjust the focus manually so you can eliminate excess noise and hone in on what matters most.

Ambient Light Meter: Don’t worry about having to figure out the exposure, simply check the green/orange light to know if the exposure is correct. Then just point and shoot!

Multiple Exposure Mode: Create beautifully layered images by exposing a frame as many times as you like.

Long Exposure Mode: Keeps your shutter open with B mode so that you can unleash your creativity in light paintings or anything you could imagine.

Portable: 30% slimmer than traditional twin lens cameras with simplified knobs and buttons.

Built-In Flash & Flash Off Mode: Lets you decide just how much light you want to shine on your shenanigans.

Instant Films: Uses Fujifilm Instax Mini – the most common instant film and widely available!

We’re confident that Rolleiflex™ Instant Kamera will evoke memories of days gone by when in the hands of people who grew up with one in the 60s. But we also want to introduce ourselves to a new generation of analog photographers to help them release their untapped creative potential.

Specifications

  • Aperture: f/5.6, f/8, f/16, f/22, Bokeh
  • Lens: Aspherical lens with 3 elements, f=61mm
  • Focal Range: 48cm ~ infinity
  • Shutter Speed: 1/500 – 1 second (Mode A) | max. 10 seconds (Mode B = slow shutter)
  • Viewfinder: Twin lens reflex viewfinder with an eyepiece magnifier to lift up
  • Exposure Control: EV+/-1
  • Flash: Integrated, electronic flash with automatic light emission control
  • Power Supply: 3AA Batteries (1.5V)
  • Film: Instant film magazine 54 x 86 mm (w x h)
  • Dimensions: 141 x 102 x 80mm
  • Weight: 525g

Box set includes: Rolleiflex™ Instant Kamera, lens cap, user manual, warranty guide, and 3 AA batteries.

Articles: Digital Photography Review (dpreview.com)

 
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How to Practice Your Photography Skills by Getting Creative in the Kitchen

26 Apr

Do you ever get trapped in the marketing frenzy? Is the lack of professional equipment or fancy subjects preventing you from improving your photography? It’s easy to make excuses, but it’s better to get creative.

Keep reading to see that you don’t need to go any further than your own kitchen to practice and level up your photography skills. In this article, I’ll show you some tips and tricks to improve your shooting and lighting using things you find in the kitchen.

Improve photography skills creative food photography tutorial

Exposure settings: f/22, 1/60, ISO 4000, focal length 55m.

The basic knowledge you need to understand and master in photography is exposure. This refers to finding the correct amount of light for your photograph. There are three variables that you need to take into account when making a photograph. They are known as the exposure triangle as they are always connected; they are the aperture, shutter speed, and the ISO.

Since they are linked, when you are adjusting one leg of the triangle you have to compensate with one of the others. Having said this, you can also do the exercises I’m proposing even if you are not yet familiar with shooting in Manual Mode.

Aperture and Depth of Field

As I was saying, the correct exposure depends on three related factors, I’m going to start with aperture, but keep in mind that whatever you move here you need to compensate equally with one of the others.

If you’re not confident yet doing this manually, you can set your camera to Aperture Priority Mode (A or Av) and that way your camera will decide the correct settings to fit the aperture you want.

Aperture refers to a hole in your lens through which the rays of light come together and pass towards the sensor. Obviously, the bigger the hole the more light goes in and vice versa.

However, it also has an impact on the depth of field so you need to learn and practice how to control it.

Improve photography skills creative food photography tutorial depth of field

Left image: f/2.8, 1/2500th, ISO 1600, 55mm
Right image: f/11, 1/125th, ISO 1600, 55mm.

When you are closing the aperture, the f-number goes up (like f/16, f/11) which results in a bigger depth of field. As you can see in the examples.

Improve photography skills creative food photography tutorial depth of field aperture

Left image: f/2.8, 1/1000th, ISO 1600, 55mm.
Right: f/11, 1/60th, ISO 1600, 55mm.

Remember that the distance between the camera and the subject as well as the focal length also impact the depth of field, so try out different settings and keep practicing.

Improve photography skills creative food photography tutorial depth of field fstop

Exposure: f/2.8, 1/250th, ISO 1600, 55mm.

Exercise to practice

Try shooting different objects in your kitchen using different aperture settings. See how it looks at f/2.8 or wide open, compared to using a smaller aperture of f/11 or f/16. You may need a tripod to keep the camera steady.

Shooter Speed and Motion

Another factor is the shutter speed. As its name indicates, it’s the speed at which the shutter opens and closes when you take your photograph. This is more straight-forward to understand than the aperture. The more time the shutter remains open, the more trajectory from the moving object will be captured resulting in a blur. The faster you set your shutter speed, the moving object will be sharper as it will appear frozen.

Improve photography skills creative food photography tutorial shutter speed motion

Left: f/11, 1/640th, ISO 5000, 50mm.
Right: f/11, 1/80th, ISO 400, 50mm.

If you’re not confident shooting in Manual Mode, you can set your camera to Shutter Priority (Tv or S). This way your camera will decide the correct settings to fit the shutter speed of your choice.

Improve photography skills creative food photography tutorial shutter speed

Exposure: f/8, 1/125th, ISO 1600, 50mm.

Exercise to practice

Try finding some moving objects in your kitchen; flowing water out of the tap, have a friend pour a liquid into a cup for you, a fan blowing, etc. Shoot it at all kinds of different shutter speeds and see what it looks like at 1/30th versus 1/2000th. Remember to stabilize the camera when using a shutter speed less than your focal length to maintain sharpness.

The last exercises are about controlling the resulting image with the light that you have to work with, but the next step to level up your photography is about manipulating the light. That’s the idea for the next activities.

Quality of light: Hard versus soft

Depending on the distance and size of the light source, as well as the type of bulb or accessories (light modifiers) that you use with it you can have either hard or soft light in your scene.

Hard light is created by direct sunlight, for example. Or if you’re talking about artificial light it refers to small light bulbs with no light modifiers that are placed farther from your subject. It results in dark shadows with clearly defined edges as well as contrasted colors. It’s not necessarily flattering for portraits, but in still life scenes, it can create a very special mood.

Improve photography skills creative food photography tutorial hard light

Exposure: f/8, 1/30th, ISO 400, 50mm. Notice the hard, well-defined shadows of the kitchen tools here. This is hard lighting.

Soft light is therefor the opposite. It casts diffused shadows that fade away gradually instead of having a defined edge. When you’re working with natural light this is what you get on a cloudy day because the clouds work as a giant diffuser.

However, when you are working with artificial light there are many different ways to soften it. You can move the light closer to the subject or use a bigger light source (or modifier). But talking about hacks you can do in your kitchen, you can simply put a sheet of oven paper (also known as baking paper) in front of your light like I did here to spread out the light (diffuse it) and make it softer.

Improve photography skills creative food photography tutorial soft light

Exposure: f/8, 1/15th, ISO 400, 50mm. Notice the lack of well-defined shadows here, this is soft lighting.

Exercise to practice

Pick a subject in your kitchen and photograph it using both hard and soft light. Window light through curtains or which is not direct sunlight is a good source for soft light. A flashlight or bare light bulb can make for a hard light source – try both.

Lighting style – high key

While on this subject, there is a particular style of lighting with soft light called high key. These are images with mostly light colors and white with soft or no shadows in the image. You can also overexpose the white background a bit to enhance the effect.

A quick trick from your kitchen to achieve this look is to use the light from the extractor hood above your stove. Most stoves have one and it usually gives a diffused gentle light. I find this very useful to do high key images:

Improve photography skills creative food photography tutorial high key lighting

Exposure: f/22, 1/125th, ISO 100, 167mm.

Try creating a high key look at home with items in your kitchen.

Reflection

Another way of diffusing light is by using reflectors, however, they can also serve other purposes. In this case, I was using the natural light from the window coming in from behind the bottle and placed a chopping board as a black background, this brings out the contours of glass objects.

The problem was that the lime wasn’t getting much light and this flattened the entire image. By using an aluminum BBQ-oven cooking tray I bounced the light back into the front of the lime and gave the final result that subtle, but needed punch. Look at this before and after.

Improve photography skills creative food photography tutorial reflector

Left: f/8, 1/30th, ISO 400, 50mm.
Right: f/8, 1/30th, ISO 400, 50mm.

Try it at home

So try a few of these in your own kitchen and see what you can learn by playing around and practicing.

As you can see you don’t need any professional equipment or even cooking skills, you only need to be creative! These are just some examples of what you can do but you can also work on your composition, cropping, colors, contrast and much more.

Share any other kitchen hacks or exercises that help you improve your photography in the comments section below.

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Researchers develop low-power HD streaming tech for wearable cameras

26 Apr
Dennis Wise/University of Washington

Wearable cameras, such as the type found in Snap Spectacles, are often limited to low-resolution video streaming due to their tiny batteries and small size. But now, researchers with the University of Washington in Seattle have developed a solution to that problem, one that involves offloading the processing burden to a nearby smartphone in order to stream high-definition content from the wearable camera.

The new low-power HD video streaming method utilizes backscatter technology and works by transmitting pixel intensity values via an antenna directly to the user’s smartphone. Unlike the wearable camera, which by its nature is small and lightweight with limited hardware resources, a smartphone offers way more processing power and a much larger battery.

When used as part of this new system, the phone receives the pixel information from the wearable camera, then processes it into a high-definition video for streaming. The prototype system was tested using a 720p HD YouTube video, which was successfully fed into the backscatter system and streamed at 10fps to a smartphone located 14ft / 4.2m away.

The wearable camera features only a small battery and uses between 1,000 and 10,000 times less power than existing streaming methods; however, the researchers plan to go a step further and develop a battery-free camera system with potential applications outside of smart glasses and body cameras.

Security systems, for example, could benefit from this technology, which would eliminate the need to either plug the cameras into a power source or frequently recharge internal batteries. Instead, the video data would be transmitted via antennas from the cameras to a central processing unit connected to a large battery or wired powered source.

As study co-author Joshua Smith explained:

Just imagine you go to a football game five years from now. There could be tiny HD cameras everywhere recording the action: stuck on players’ helmets, everywhere across the stadium. And you don’t have to ever worry about changing their batteries.

If the idea of “tiny cameras everywhere” also sounds mildly disturbing and like a privacy nightmare to you, you’re not alone… but we digress.

The full paper detailing this technology is available here.

Articles: Digital Photography Review (dpreview.com)

 
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A photographer has designed and built the first E-Mount film camera

26 Apr

Photographer Alexander Gee has created something pretty cool: the first (to our knowledge) Sony E-Mount 35mm film camera. It’s called LEX, and when it’s finally finished, Gee intends to make the camera’s design files open source so that anybody with a little bit of interest, soldering skill, and access to a 3D printer can built their own from scratch.

The LEX is the result of more than a year of design work, 3D printing, and trial & error, which Gee actually documented on the LEX Optical website. Development began around the shutter mechanism from a Sony a7, and continued from there until he had achieved a working prototype that has been improved upon and tidied up to create the version you see below:

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The current prototype isn’t quite as pretty as the mockups, but it’s not far off either. And more importantly: it works. There are already sample photos posted on the LEX Optical website and more (we assume) to come as development continues. The website doesn’t offer any specific timetable, but Gee does say that he might crowdfund “a small batch of devices before opening the design files up.”

To see sample images, keep an eye on the project’s status, or jump onboard if and when Gee crowdfunds that batch of pre-built LEX cameras mentioned above, head over to the LEX Optical website or follow the project on Facebook and Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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New Instagram tool lets you download a copy of all your data

26 Apr

Instagram announced plans to offer a data download tool a while ago, and today the Facebook-owned image sharing network delivered.

The driving force behind the project has been the requirement to comply with the EU General Data Protection Regulation (GDPR) privacy law, which requires organizations to let individuals download any data that’s been gathered on them. The tool is now available on the Instagram website, ahead of the May 25th deadline.

To use the tool, simply enter your email and Instagram password, and Instagram will send you a “link to a file with your photos, comments, profile information and more.” The page says the process may take up to 48 hours, but I received the download link almost instantaneously when trying the feature.

Data is provided in a zip-file that includes all your photos and videos, neatly sorted into folders by upload month. Comments, settings, messages and other non-image information is packed in the JavaScript Object Notation (json) format, so you’ll need a suitable app for viewing.

According to the Instagram help pages, you should also be able able to download your data file through the “Account Data” option in the app settings but, at least in the case of my Android app, the required update has not made it through to my device yet at this point.

Articles: Digital Photography Review (dpreview.com)

 
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What to Do When You Forget Your Tripod (or You Don’t Have One)

26 Apr
What to Do When You Forget Your Tripod (or You Don’t Have One)

This shot was taken during my DPS Night Photography class using a bridge railing to stabilize the camera.

I suspect we’ve all been there. You are headed out on non-photography business, but you grab your camera on the way out the door – just in case. Well, wouldn’t you know it, “just in case” turned into a reality? A beautiful scene unfolds before your eyes. The trouble is that it is a low-light scene, and you didn’t grab your tripod. Uh oh. What do you do?

The worst option, of course, is to do nothing and miss the shot. Even if you try and fail you are no worse off than if you do nothing. So you might as well give it a go, even with no tripod.

There is no magic to a tripod

The main thing to remember is that a tripod is just a glorified shelf. That is, it is just a place to prop your camera. Granted, there are a lot of controls that make it a very convenient and easy to use support for your camera, but it is still just a shelf. With that in mind, look around for something else you might use.

Speaking of shelves, they work great and they often provide a nice high vantage point for your scene. If you are near civilization (not out in the woods somewhere), tables and chairs work great as make-shift tripods. Scoot one around to where you want to shoot and place your camera on it.

When placing your camera on something, you will find that the weight of your lens will cause the camera to tip forward. To remedy that, just place something under the front of the lens. If there is nothing available, dig through your bag and see what you can find. I have used lens hoods, filter cases, and even spare batteries. Is that the ideal situation? Not by a long shot. But they work in a pinch.

No tripod – no problem

Let me show you a recent example of this. This is a shot I took of a night scene in Oklahoma City.

What to Do When You Forget Your Tripod (or You Don’t Have One)

Shutter Speed: 30 seconds; Aperture: f/8; ISO 100 (with NO tripod).

I was visiting that city and staying in a hotel. My wife and I were sitting in the bar on the top floor and as it got dark I thought it was a nice scene that I would like to photograph. As I really had no prior plans to photograph, while I did have my camera, I had no tripod or remote shutter release.

This picture required a shutter speed of 30 seconds (I could have gone shorter, but I wanted the light trails on the road). Without a tripod, I had to muddle through. I pushed a cocktail table up to the edge of the balcony to get the angle I wanted. Then I used an ashtray that was laying around to prop up my lens.

That still leaves the issue of avoiding touching the camera during the shot. If you are without your tripod, odds are you will be without your remote shutter release as well.  You can still take shots without touching the camera by using the camera’s built-in timer.

For the shot above, I used the 2-second timer to get the image. Even if you have set the camera to take bracketed exposures, it will take all the shots in the bracket when the timer goes off (note: this only applies to some camera models). It is actually so handy that I find myself using a remote shutter release less and less.

Adding a touch of stabilization

Other times you don’t really need to set your camera down anywhere, you just need a little stabilization. How do you know if you need stabilization? Through something called the Reciprocal Rule. This rule says that your shutter speed should be at least the reciprocal of your focal length.

To make it simple, it just means that if you are shooting at 50mm your shutter speed should be 1/50th or faster. If your focal length is 16mm your shutter speed should be 1/16th or faster. As you can see, the more wide-angle you shoot, the slower the shutter speed you can get away with.

Shoot wide

So that’s another tip. Shoot wide-angle in low light scenes where you don’t have a tripod. That won’t always work, of course, because sometimes your compositions just demand longer focal lengths. But as you are walking around without a tripod, think wide-angle.

What to Do When You Forget Your Tripod (or You Don’t Have One)

Sometimes you just go places where tripods are not allowed. I couldn’t even bring my tripod up to this location (Reunion Tower in Dallas). So I braced my camera on the perimeter fencing to stabilize it a bit. Shutter Speed: 1/8th second; Aperture f/8; ISO 800.

Lens stabilization

You might have image stabilization/vibration reduction in your lens as well. If so, this will buy you a few stops of light. What that means in this context is that you can set your shutter speed a few stops slower than you could otherwise.

For example, if you have 3-stops of image stabilization in your lens (different lenses are rated differently), and you are shooting with a focal length of 50mm, you might now be able to get away with a shutter speed of 1/6th of a second. (Remember that a stop is a doubling of light, so if you start at 1/50th of a second, then one stop is 1/25th, two stops go to 1/12th, and three stops takes you to 1/6th.

These numbers are EFL though (Effective Focal Length) so if you are shooting with a camera with a smaller sensor than full frame you will need to account for that.

Other forms of stabilization

When you run afoul of the Reciprocal Rule, you will need to stabilize your camera, often only a little bit. Let’s say for example that you are shooting at 24mm, and a proper exposure (using the ISO and aperture settings you want) requires a shutter speed of 1/10th second. What to do? Just stabilize the camera a bit by propping it against something.

Use a wall or a doorway if you are inside. Use a tree or a light post if you are outside. Those things are stable, and by propping the camera against them you are borrowing some of that stability. You will be less likely to move the camera during the exposure. If you cannot prop your camera against them, even leaning against these items while you shoot will help a little bit.

What to Do When You Forget Your Tripod (or You Don’t Have One)

For this shot, I was actually inside the Louvre (shooting through a window).  Therefore, I didn’t have a tripod. I used a door frame to stabilize my camera and took several shots in the hopes that one would be sharp. Shutter Speed: 1/8th second; Aperture f/4 (wide open on this lens); ISO 3200.

Shoot many frames

Don’t just take one picture though. Give yourself the opportunity to get a sharp one by taking several. Even if you think you got it right the first time, it is hard to tell on those little LCD screens (you can zoom in to check). There is nothing worse than getting home and discovering that a picture you thought was sharp is actually blurry. Remember that it is free to take pictures with digital, so make good use of that and take lots to be sure.

Finally, don’t be afraid to crank up the ISO. Doing so will allow you to use a much faster shutter speed. Of course, that also leads to an increase in digital noise, but don’t worry about that so much.

First of all, cameras keep getting better and better at handling digital noise, and it isn’t as much of a problem as it used to be. In any case, it can usually be fixed in post-processing pretty easily and without much loss of detail in your picture. Remember it is easy to fix digital noise, but very hard or impossible to fix blur (from a slow shutter speed).

What to Do When You Forget Your Tripod (or You Don’t Have One)

I ran into this staircase while on a business trip and was able to use my exposure settings to ensure a sharp shot. I raised the ISO to 1600 and opened the aperture all the way (to f/4). That allowed me to use a shutter speed of 1/25th second. Since I was using a focal length of 19mm, I complied with the Reciprocal Rule and I could expect the shot to be reasonably sharp.

Putting it into practice

None of this is to say that you don’t need a tripod or that you shouldn’t carry one with you. If you do landscapes, city scenes, or other types of outdoor photography, having and using a tripod is super important.

But when you find yourself without one, all is not lost. You might be able to get the shot anyway.

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