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Archive for April, 2020

DPReview TV: Nikon P950 hands-on review

18 Apr

Nikon’s Coolpix P950 features an incredible 24-2000mm equiv. zoom lens. But other than taking closeup photos of the moon, what’s this camera that looks like a small bazooka good for? Quite a lot, it turns out.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • An epiphany
  • Limitations of a huge zoom
  • Handling
  • Image quality
  • Battery life and startup time
  • Raw capture
  • Image stabilization
  • Flare control
  • Framing challenges
  • Electronic viewfinder (EVF)
  • Macro
  • Low light issues
  • Versus the P1000
  • The obligatory moon photo
  • Video capabilities
  • Chris needs a science intervention
  • Who's it for?

Sample photos from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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LitraTorch 2.0 Review – LED Lighting for Photography and Video

18 Apr

The post LitraTorch 2.0 Review – LED Lighting for Photography and Video appeared first on Digital Photography School. It was authored by Suzi Pratt.

LitraTorch 2.0 Review – LED lighting for photography and video

LED lights are fantastic for both photography and videography, but they tend to be large and cumbersome to use on-camera. This is where the LitraTorch 2.0 steps in. Released in late 2018, this second iteration of the popular LitraTorch promises “studio lighting in your pocket.” How does it actually perform? Read this LitraToch 2.0 review to find out!

LitraTorch 2_GoPro Hero 8
LitraTorch mounted to a GoPro using the included cold shoe mount adapter.

Specs

  • Truly compact at 1.5 inches x 1.5 inches
  • 16 LEDs – double the original version of 8 LEDs in version 1
  • 3 brightness levels (100, 450, and 800 lm) + stroboscope (blinking light) mode
  • Color temperature is 5700 Kelvin (bright, cool and neutral color)
  • Optional filters to change the color cast
  • Simple One-Touch Operation – just one button to cycle through the brightness settings
  • Standard Micro-USB charge port with charging cable
  • Waterproof up to 20m/60 ft
  • US$ 89.99

What’s in the box?

Each LitraTorch 2.0 comes with a white silicone diffuser, belt clip, GoPro mount, 1/4 inch tripod cold shoe mount, and a USB charging cable.

LitraTorch 2_Whats in the Box
All of the accessories included in the LitraTorch 2.0 package.

Recommended extra accessories

These items are not included with the LitraTorch 2.0, but you can purchase them to enhance its functionality:

  • a carrying case
  • battery brick (the LitraTorch can be charged via micro USB and is usable while charging)
  • LitraTorch filters and accessories (more on those below)

Pros

1. Solid construction

The LitraTorch 2.0 is not only a strong LED light, but it is also built tough to withstand extreme conditions. It is made of a waterproof aluminum body (up to 60 feet or 20 meters) and drop-proof. With its solid build and compact size of 1.5 inches x 1.5 inches, this light is the perfect compliment to action cameras like the GoPro. But it can also work well with other DSLR or mirrorless cameras, or by itself.

2. Strong light with 3 brightness modes

The LitraTorch 2.0 is packed with 16 LED lights, double the amount in the original LitraTorch. There are 3 brightness levels with outputs of 100, 450, and 800 lumens, and a stroboscope (blinking light) mode. Thanks to the positioning of the LED lights, there is a very even light spread with no center hot spot.

Color temperature is 5700 Kelvin (bright, cool and neutral color). The only way to change the color cast is to use optional filters that are available as an add-on.

LitraTorch 2 Best waterproof LED video Light
1/60 sec, f/4.5, ISO 800 with ambient light only.
LitraTorch 2 Best waterproof LED video Light
1/60 sec, f/4.5, ISO 800 with LitraTorch 2.0 on brightness Level 1 (no diffuser).
LitraTorch 2 Best waterproof LED video Light
1/60 sec, f/4.5, ISO 800 with LitraTorch 2.0 on brightness Level 2 (no diffuser).
LitraTorch 2 Best waterproof LED video Light
1/60 sec, f/4.5, ISO 800 with LitraTorch 2.0 on brightness Level 3 (no diffuser).

3. Built-in rechargeable lithium-ion battery

The LitraTorch 2.0 is powered by a built-in battery that can be recharged via micro USB. Fortunately, the light can work while it is charging. The battery lasts for about 7 hours on strobe, 4 hours on level 1, 70 min on level 2, and 35 min on level 3.

4. Flexible mounting options

Also built-into the LitraTorch 2.0 are two holes that accept 1/4 inch tripod screws. When used with the included 1/4 tripod screw cold shoe mount, this makes it easy to mount the light to the cold shoe or hot shoe of a camera or cage. The back end of the LitraTorch also has a built-in magnet for fast and easy attachment to magnetic surfaces.

LitraTorch 2_Red Gel
You aren’t restricted to using the LitraTorch on a camera only. You can also mount it to something like this Joby Telepod Mobile.

5. Optional light shaping accessories to customize your light output

By itself, the LitraTorch and its dimmable settings are great as a key light, fill light, or hair light. However, there are optional accessories that you can purchase to further customize the way you shape light.

6. Barn doors

While the wide spread of the LitraTorch 2.0’s 16 LED lights is great for an even light spread, sometimes you want a more targeted light. This is where the optional barn doors can be helpful if you want the light to illuminate a specific part of your frame. The barn doors include a white diffuser and fold down flat when not in use.

Best waterproof LED video light
1/60 sec, f/4.5, ISO 800 with LitraTorch 2.0 on brightness Level 1 with the barn doors wide open.
Best waterproof LED video light
1/60 sec, f/4.5, ISO 800 with LitraTorch 2.0 on brightness Level 1 with the barn doors partially closed.

7. Colored filter set

The LitraTorch 2.0 outputs a clean and neutral 5700k light, but it doesn’t offer any color options unless you add these colored filters.

This optional filter set includes 5 filter frames that you can use individually or stacked on top of each other. There are 3 sets of tungsten 4600k filters, 3 sets of tungsten 3200k filters, 1 white diffused filter, and 1 each of red, yellow, blue, and green filters.

While helpful and easy to use, these filters are small and easy to lose, so keep an extra eye on them!

LitraTorch Color Gels and Barn Doors
Optional LitraTorch lighting accessories include barn doors (top left) and colored gel filters.
Best waterproof LED video light
1/60 sec, f/4.5, ISO 800 with LitraTorch 2.0 on brightness Level 3 with red gel filter.

Cons

The LitraTorch is pretty simple and straightforward, but there are a few things that could be improved.

1. Micro-USB charging port

While I appreciate the ability to charge the light via micro-USB, I wish this was USB-C instead since that charges faster, and most of my gear uses USB-C.

2. Built-in battery that can’t be replaced

The main downside to having a built-in battery is that you cannot replace it. Once the LitraTorch 2.0 is drained, you have to pause to recharge it and do not have the option of swapping in a fresh battery. On the bright side, the light still works while it is charging.

LitraTorch 2_Back
The back end of the LitraTorch 2.0 has a 1/4 inch thread and it is also a magnetic surface.

3. Does not come with a carrying case

When you buy the LitraTorch 2.0 by itself, it comes with a handful of small accessories, including a belt clip, which is really useful. However, there’s no carrying case, so you can easily lose these smaller pieces like the tripod and GoPro mount. If you get this light and plan to use a lot of small accessories with it, be sure to get a carrying case.

In conclusion

As a compact, high quality LED light, the LitraTorch 2.0 does not disappoint. It is easy to use with several dimming options and a plethora of light shaping tools to increase the usefulness of this light. But it can also be used by itself to light up any situation.

If you’re looking for a budget-friendly, high-quality compact light, this might be it!

Video

The post LitraTorch 2.0 Review – LED Lighting for Photography and Video appeared first on Digital Photography School. It was authored by Suzi Pratt.


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The gear that changed my (photographic) life: the Canon EOS 10D

18 Apr

This article was originally published in 2017 as part of our ‘Throwback Thursday’ series.

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’.


If you have a piece of gear that you’d like to write about, we’d love to hear from you – and you might even get featured on the DPReview homepage. Leave us a short note in the comments and if you have a longer story to tell, send it to us, and we’ll take it from there.

Articles: Digital Photography Review (dpreview.com)

 
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Chinese government rules in favour of Alpa in counterfeit cameras case

18 Apr

Swiss camera manufacturer Alpa has won a case in the Chinese courts against a company that was making and distributing cameras and accessories copied from its own models. Chinese brand GuoZh has been told to pay damages to Alpa over its FY-2015 camera which is a direct copy of Alpa’s A12 series models. The company had copied the camera, backs and accessories and was selling under its own name, and had even started camera clubs for users of its copied products.

Copied Alpa camera and accessories shown on the GuoZh website

Some of the products produced by GuoZh were branded Alpa and sold as convincing counterfeits to Alpa users, while others were branded with the GouZh name and sold in China to potential Alpa users at a much lower price.

It looked at one stage as though Alpa would not win its case as it hadn’t applied for protection under China’s complicated copyright law, but in the end the company was able to file a claim that Alpa cameras come under China’s ‘applied art’ rules that state that everyday objects can be seen as art.

Genuine (left) and fake (right) Mamiya roll film backs

According to an article on the case by Swiss newspaper NZZ GuoZh owner Guo Zhonggen was nonchalant during the final hearing and tried to give the impression that he owned the intellectual property, which helped move the judge to rule against him. At the end of the final of three hearings he was ordered to pay ‘six-figure damages’ and to apologise on his website, as well as to cease producing Alpa cameras and copies of them. At the time of writing though GouZh is planning an appeal and is still adverting it’s products on its website.

Andre OIdani, Head of Products at Alpa, is quoted as saying “It’s a good feeling that you’re not powerless in the giant system of China after all,” according to NZZ.

The case will give some hope to other photographic manufacturers that feel their products are being copied and sold cheaply by Chinese companies. The report in NZZ says that the Chinese courts are becoming more interested in copyright claims as China’s own products improve and become subject to copies themselves. Journalist Matthias Kamp also says that judges now have better training and are being paid better salaries, but none of the judges is independent as a communist party committee can always step in to have the last word in any case.

For more information on Alpa cameras see the Alpa website.

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Window Views

18 Apr

The post Weekly Photography Challenge – Window Views appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Since we are all stuck indoors, this week’s photography challenge topic is the WINDOW VIEWS!

Weekly Photography Challenge – Window Views
unsplash-logoChristie Kim

You might want to do a full interior scene with the view as a partial element, or you may like to shoot with the window itself in the frame. Alternatively, you may just want to do a photo of your view from an open window, with no hint of the window in sight.

If you choose to do the full interior with the window view, you may need to play with bracketing your exposures and HDR in editing to get an even exposure for the interior and the view.

So, check out these pics to give you some ideas, have fun, and I look forward to seeing what you come up with!

Weekly Photography Challenge – Window Views
unsplash-logoHaibin Wu
Weekly Photography Challenge – Window Views
unsplash-logoKelly Arnold
Weekly Photography Challenge – Window Views
unsplash-logoNicholas Design

Check out some of the articles below that give you tips on this week’s challenge.

Tips for photographing the WINDOW VIEWS

Tips for Shooting Cityscapes Through a Window at Blue Hour

Tips for Minimizing Reflections When Photographing Through Windows

Tips for Photographing Real Estate Interiors

How to Photograph a Real Estate Interior or Property

A Guide to Creating Stunning HDR Images

How to Use Bracketing to get Your Best Shot – 3 Different Methods

6 Types of Bracketing Your Camera Can Do and How to Use Them

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSWindowViews to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Window Views appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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GoPro and VSCO lay off employees, change business models over COVID-19 pandemic

18 Apr

Amid ongoing social distancing efforts, both VSCO and GoPro have announced major business changes resulting from the economic downturn. In a post on his LinkedIn account, VSCO CEO Joel Flory revealed that his company had to lay off 45 employees this week. The announcement was followed by a similar message from GoPro, which revealed that it will be reducing its number of employees by 20%.

Many companies are struggling to stay above water as a number of states and countries implement lockdown measures. Many businesses have been forced to temporarily close down, and while others remain in business, a drop in consumer purchasing has left some companies struggling to keep their revenue up.

In a post on his LinkedIn account, Flory said that VSCO had expected 2020 to be ‘a year where we would continue to forward invest into our business.’ However, things didn’t go as planned and Flory said, ‘Overnight our environment changed. We realize that we would need to shift towards running a self-sustaining business.’

The company is giving its laid-off employees a minimum of two months of healthcare coverage and seven weeks of severance pay, according to Flory, who says that the company is also assisting them in other ways. VSCO plans to continue releasing new features this year, though details on what the company has planned weren’t revealed.

GoPro, meanwhile, published its preliminary Q1 financial requests on April 15 and withdrew its 2020 guidance in light of the pandemic. The company said that it is restructuring its business model to focus on direct-to-consumer sales and that as part of its global restructuring, it plans to lay off more than 20% of its workforce.

These layoffs will contribute to a $ 100 million reduction in operating expenses for the year, according to GoPro, which plans to shed another $ 250 million in operating expenses next year.

Company CEO Nicholas Woodman said that GoPro’s distribution network has been hit by the novel coronavirus pandemic and that as a result, the company must expedite its shift to a ‘more efficient and profitable direct-to-consumer-centric business’ model this year, something GoPro had already been pursuing. ‘We are crushed that this forces us to let go of many talented members of our team,’ Woodman said, ‘and we are forever grateful for their contributions.’

Though GoPro will primarily sell directly to consumers, the company says it will continue to make its products available through ‘select leading retailers’ in only ‘key regions’ for consumers who prefer to buy items indirectly and at physical stores. Other planned changes include reducing office space in five different locations, reducing its sales and marketing throughout this year ‘and beyond,’ as well as cutting spending in other unspecified ways.

Despite the changes, GoPro said that it still plans to move ahead with its 2020 product roadmap, which will include releasing new software, subscriptions and hardware targeted at action camera and smartphone owners. Woodman has voluntarily decided to skip the remainder of his 2020 salary, according to the company, which says its Board of Directors has also made the decision to avoid any additional cash compensation throughout the remainder of the year.

Via: PetaPixel

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: 2020 World Press Photo contest winners

17 Apr

2020 World Press Photo contest winners

The World Press Photo Foundation recently announced the results of its 63rd annual World Press Photo Contest. World Press Photo of the Year, Story of the Year, plus winners across all 8 categories were included in Thursday evening’s announcement. Nearly 74,000 images were submitted by 4,282 photographers. 44 winners, 30 which are recognized for the first time, hail from 24 countries.

The jury, consisting of 17 professionals from 6 continents, selected ‘Straight Voice’ by Yasuyoshi Chiba (which was featured in our nominee coverage a few months back) as Photo of the Year. ‘This moment was the only peaceful group protest I encountered during my stay. I felt their undefeated solidarity like burning embers that remain to flare up again,’ says Chiba of his winning photo.

‘Kho, the Genesis of a Revolt’ by Romain Laurendeau, which documented the unease of Algerian youth that led to the biggest protest in decades, was selected as World Press Photo Story of the Year. ‘It was impossible for a part of me not to recognize myself in these young people. They are young but they are tired of this situation and they just want to live like everyone else,’ explains Laurendeau.

Elsewhere, fans of the Tiger King docuseries on Netflix will recognize Kevin Antle in Steve Winter’s ‘The Tiger Next Door’ image, which won Second Prize in the Contemporary Issues – Stories category. All digital storytelling contest winners can be viewed on the World Press Photo homepage.

Winning photographs and multimedia will be on display during year-long worldwide exhibition, which premieres every year in Amsterdam. The launch date has been postponed due to the current pandemic. Those interested in attending events can check in with the World Press Photo event calendar.

World Press Photo Story of the Year: ‘Kho, the Genesis of a Revolt’ by Romain Laurendeau (France)

Caption: Football fans gather in the street and sing during a match that is taking place behind closed doors due to violence, in Algiers, Algeria, on 22 November 2014.

Story: Young people make up more than half of Algeria’s population, and according to a UNESCO report 72% of people under 30 in Algeria are unemployed. Pivotal moments in Algerian history, such as the ‘Black October’ revolt of 1988, have had angry youth at their core. Black October was harshly suppressed—more than 500 people were killed in five days—and was followed by a ‘black decade’ of violence and unrest.

Thirty years on, the effects of that decade are still present. In a traumatized country, high unemployment leads to boredom and frustration in everyday life and many young people feel disassociated from the state and its institutions. In neglected working-class neighborhoods such as Bab el-Oued in Algiers, young people often seek refuge in diki—private places that are ‘bubbles of freedom’ away from the gaze of society and from conservative social values. But the sense of community and solidarity is often not enough to erase the trials of poor living conditions.

In February 2019, the United States of young people from working-class neighborhoods again took to the streets in what became a nationwide challenge to the reign of long-time president Abdelaziz Bouteflika.

Kho (the word means ‘brother’ in colloquial North-African Arabic) is about the genesis of a revolt. It is the story of the deep unease of youth, who, by daring to challenge authority, inspired the rest of the population to join their action, giving birth to the largest protest movement in Algeria in decades.

World Press Photo Story of the Year Nominee: ‘Ethiopian Airlines Flight 302 Crash Site’ by Mulugeta Ayene (Ethiopia)

Caption: Onlookers inspect debris at the crash site of Ethiopian Airlines Flight ET302, near Addis Ababa, Ethiopia, on 11 March 2019.

Story: On 10 March, Ethiopian Airlines Flight ET302, a Boeing 737 MAX, disappeared from the radar six minutes after take-off from Addis Ababa airport and crashed into a field, killing all 157 people on board. The impact was so great that both engines were buried in a crater 10 meters deep.

A week after the crash, empty coffins were buried at a ceremony at the Holy Trinity Cathedral in Addis Ababa, as victims were unable to be identified. Officials gave relatives bags of earth from the crash site. On 14 November, eight months after the crash, the site of the impact was covered and the unidentified remains of victims buried in rows of identical coffins.

Comparisons were made with the crash of a Lion Air aircraft, also a 737 MAX, 12 minutes after take-off from Jakarta in October 2018. Countries across the world, initially with the exception of the US, grounded the 737 MAX. First reports showed that pilots had been unable to prevent the plane repeatedly nosediving, despite following procedures recommended by Boeing.

It appeared that in both cases pilots were struggling to deal with an automated safety system designed to prevent stalling, which was repeatedly pushing the nose of the plane down. It seemed that the system was being activated, possibly due to a faulty sensor, even though nothing was wrong.

It later emerged that American Airlines pilots had confronted Boeing about potential safety issues with the MAX. Boeing had resisted their calls but promised a software fix, which had not been done by the time Flight ET302 crashed. Planes remained grounded into 2020.

Contemporary Issues – First Prize, Stories: ‘The Longest War’ by Lorenzo Tugnoli (Italy) for The Washington Post

Caption: An Afghan National Defense and Security Forces (ANDSF) anti-mine team detonate an improvised explosive device (IED) found on the Ghazni-Kandahar highway in eastern Afghanistan, on 2 December 2019. IEDs are one of the leading causes of casualties among civilians and members of the ANDSF.

Story: The Taliban made significant territorial gains and increased their influence in Afghanistan in 2019. Eighteen years after the US invasion, and five years since the Afghan National Defense and Security Forces (ANDSF) have been responsible for securing Afghanistan, the Taliban control or contest around half the country, in some districts acting as a shadow government.

Peace talks began in January appeared to be nearing agreement in August, but were scuppered by US president Donald Trump in September. Fighting escalated during talks as both sides tried to gain leverage, while on the ground the talks provided the Taliban with increasing political legitimacy. The frequency and spread of Taliban violence left the ANDSF overstretched and in some cases overwhelmed, with a high casualty rate.

The escalation of the conflict also severely impacted the civilian population, resulting in high casualties, forced displacement, extreme insecurity, lack of access to education and a weakened public health system. A report published in June 2019 by the Institute for Peace and Economics named Afghanistan as the world’s “least peaceful” country, replacing Syria, though by early 2020 it seemed that a peace agreement was once again a possibility.

Contemporary Issues – Second Prize, Stories: ‘The Tigers Next Door’ by Steve Winter (United States) for National Geographic

Caption: Kevin Antle poses with his staff in a swimming pool they use in a tiger show, at his Myrtle Beach Safari entertainment facility in South Carolina, United States, on 30 April 2019. Tourists pay upwards of USD $ 399 each to join a morning tour, during which they play and are photographed with cubs.

Story: Between 5,000 and 10,000 tigers live in captivity in the US. Roadside zoos and other businesses breed tigers and charge guests to pet and pose with them. Individuals also keep tigers as pets. By contrast, there are only 3,900 wild tigers in Asia and 1,659 in accredited zoos worldwide.

Many of America’s exotic pets are not covered by the 1973 Endangered Species Act, which applies only to those taken from the wild, not those bred in captivity. Four US states have no laws on keeping big cats as pets, and in ten others, although a permit is required, once secured for a small pet it can be used to acquire a larger animal such as a tiger.

By the time cubs bought as pets are four months old they become too large and dangerous to keep domestically, and are sold on, opening concerns that this feeds the highly lucrative illegal international trade in tiger parts. Investigations by the US Department of Agriculture (USDA), which is tasked with enforcing the Animal Welfare Act, dropped by 92% between 2016 and 2018.

In June, the US House of Representatives reprimanded the USDA for redirecting its focus from active enforcement to providing ‘teachable moment’ interactions with the public. A federal Big Cat Public Safety Act has now been proposed. It will address the gap in state laws and prohibit the private ownership of big cats, and ensure that if they cannot be returned to the wild, they can be transferred to accredited sanctuaries.

Contemporary Issues – Third Prize, Stories: ‘Exodus’ by Nicolò Filippo Rosso (Italy)

Caption: Migrants crowd onto a truck near the Colombia-Venezuela border, in La Guajira, Colombia, on 6 July 2018.

Story: A political and socio-economic crisis in Venezuela, from 2016 onwards, led to an increasing outflow of migrants from the country. Venezuelans said they were compelled to leave for reasons of insecurity and violence, lack of access to food, medicine and essential services, and loss of income due to the political situation. Colombia feels the impact of this exodus most keenly.

According to the UNHCR, by October 2019 approximately 4.5 million Venezuelans had left the country, of which 1.6 million were in Colombia. Others had moved through Colombia before going on to surrounding countries. Even though Venezuela officially closed its land border with Colombia in February, around 300 clandestine crossing points remained active. More than half of Venezuelan migrants in Colombia lacked regular status, and so had no access to health, education or legal employment.

Charity organizations and NGOs helped supply people with medical attention and food, but many ended up in informal settlements or living on the streets. Early in 2020, the Colombian government announced two new Special Stay Permits that would allow more than 100,000 Venezuelans to stay and work in the country, and ruled that children born in the country to Venezuelan parents could acquire Colombian nationality, but vast numbers of people remain dispossessed.

Environment – Second Prize, Stories: ‘Fading Flamingos’ by Maximilian Mann (Germany)

Caption: Farmers harvest apples near Lake Urmia, Iran, on 14 September 2018. The region is known for its apple production.

Story: Lake Urmia, in northwest Iran, once one of the largest salt lakes in the world, is drying up. In the 1990s, it was twice the size of Luxembourg, but intensified droughts and elevated summer temperatures have sped up evaporation. In addition, illegal wells together with a proliferation of dams and irrigation projects along the lake’s tributaries have diverted water to farm fields.

Research by an international group of scientists conducted in 2014 showed that the lake had shrunk to about 12% of its size in the 1970s. In addition, environmentalists argue that a 15-kilometer-long causeway that cuts the lake in two, built in 2008, contributes to the drying as it inhibits water flow between the two sides.

The exposed lakebed forms a vast salt desert that cannot support agriculture and is susceptible to salt storms which adversely affect surrounding agriculture, and cause eye, skin and lung disorders. Residents in the area, for whom the lake was once a leisure spot, are moving away. The desiccation also affects food sources for migratory birds such as flamingos, ducks and egrets.

President Hassan Rouhani of Iran has pledged US$ 5 billion over ten years to revive Urmia, and the United Nations Development Programme is working with farmers to introduce more sustainable working practices.

General News – Second Prize, Stories: ‘Chile: The Rebellion Against Neoliberalism’ by Fabio Bucciarelli (Italy) for L’Espresso

Caption: Demonstrators resist water-cannon jets during clashes in Santiago, Chile, on 28 November 2019.

Story: In the most extensive civil unrest in Chile’s recent history, people rose throughout the year in protest against economic inequality. Despite being one of the region’s most prosperous nations, Chile is the most unequal country in the OECD group of nations, according to a United Nations report. Just 1% of its population controls 33% of its wealth.

The trigger for the unrest was an increase in subway fares instigated by President Sebastián Piñera on 18 October. A peaceful rally in the capital Santiago sparked further protests leading to a nationwide uprising. Demands grew to include comprehensive economic reform and the replacement of the constitution, which was drawn up during the reign of Augusto Pinochet in the 1980s and which created a legal basis for a market-driven economy and privatized pensions, health and education.

Demonstrations grew in size—the largest comprising more than one million people on 25 October—and became increasingly violent. According to Human Rights Watch, the authorities used excessive force against demonstrators, including pellet shotguns that caused numerous eye injuries, and were accused of abuse, including rape, of people in detention.

Women played a prominent role in the demonstrations, particularly after reports of human-rights and sexual offenses against female protesters by security forces. On 15 November President Piñera announced a referendum on a new constitution to be held in 2020, but unrest continued with demands for an inquiry into human rights violations during the protests and an immediate overhaul of the pension, health and education systems.

General News – Third Prize, Stories: ‘ISIS and its Aftermath in Syria’ by Ivor Prickett (Ireland) for The New York Times

Caption: Two men walk through a destroyed neighborhood in Raqqa, northern Syria, on 4 April 2019. Very few families returned to live in Raqqa after the city’s liberation from IS.

Story: By early 2019, the territory held by the Islamic State group (IS) in Syria had reduced to a four-square-kilometer patch in the southeast, centered on the village of Baghuz. The IS retreat from northern Syria took place under the onslaught of the combined militias of the Syrian Democratic Forces (SDF), led by the Kurdish People’s Protection Units (YPG) and supported by an international coalition of primarily US troops.

As IS drew back, tens of thousands of people emerged from the enclave, many of them the wives and children of foreign IS fighters. Numerous IS fighters themselves surrendered or were captured. The Kurds were left with the conundrum of what to do with so many prisoners, many of them under 18 and orphaned or separated from their families. Then, at the beginning of October, US president Donald Trump ordered US troops out of northern Syria.

On 9 October, Turkey—which regarded Kurdish forces on its border as a security threat, given the decades-long Kurdish insurgency against Turkey—invaded northern Syria, aiming to end Kurdish control over the territory. As Kurdish forces refocused their attention on a new opponent, the fate of the many thousands of prisoners grew even more uncertain.

Long-term Projects, Second Prize: ‘Haf?z: Guardians of the Qur’an’ by Sabiha Çimen (Turkey)

Caption: Students sing religious farewell songs, at their graduation ceremony from a Qur’an school in Istanbul, Turkey, on 23 April 2017.

Story: Muslims who completely memorize the Qur’an are allowed to use the title ‘Haf?z’ before their names. They believe that whoever memorizes the holy book and follows its teachings will be rewarded by Allah and will rise in status in Paradise.

The practice dates back to the days when illiteracy was widespread and paper and vellum were prohibitively expensive, so haf?zes were seen as guardians of the holy word, keeping it alive for future generations. The Qur’an has 6,236 verses, and memorizing is usually achieved by repetition and recitation.

In Turkey, thousands of Qur’an schools exist for the purpose and many are attended by girls. Ranging in age from eight to 17 years old, most take three or four years to complete a task that requires discipline, devotion and focus. After graduating, most of these girls marry and have families but still retain the holy text word for word.

The photographer attended a Qur’an school with her twin sister when they were 12, and so is able to reveal a world unknown to many. Her project follows the daily lives of boarders at Qur’an schools and shows not only their emotions as they try to memorize the sacred texts, but how they retain the dreams of young women their age, as well as the rule-breaking practices and fun of school life when they are not studying.

Nature – Second Prize, Stories: ‘Pangolins in Crisis’ by Brent Stirton (South Africa) for National Geographic

Caption: A man reaches for a pangolin that is about to be slaughtered and prepared for a meal in a restaurant on the outskirts of Guangzhou, China, on 4 January 2019. Pangolin meat at the restaurant sells for around US $ 376 per kilogram.

Story: Pangolins are scaly-skinned mammals, and while sometimes mistaken for reptiles, they are more closely related to dogs and bears than anteaters or armadillos. They range through Asia and parts of Africa, and vary from the size of a domestic cat to over a meter long. They are solitary animals, meeting only to mate and produce a litter of one to three offspring, which are raised for around two years.

Pangolin scales are highly prized in some parts of Asia for traditional medicine, and the meat is considered a delicacy. A 2017 report by Traffic, the wildlife trade monitoring network, states that pangolins are currently the most illegally traded animals in the world, with at least one million estimated to have been poached in the last ten years. All eight pangolin species are protected under national and international laws, and two are officially listed as critically endangered.

Portraits – Second Prize, Stories: ‘Between Right and Shame’ by Tatsiana Tkachova (Belarus)

Caption: Natalia (62) was pregnant at the time of the explosion at the Chernobyl nuclear power plant. Although the baby was born healthy, she didn’t dare risk another pregnancy as she feared the effects of radiation. She also felt she could not cope with two children, so had an abortion the second time she conceived. Taken 22 April, 2018.

Story: Belarus abortion laws allow termination on request up to 12 weeks of pregnancy, and in certain medical or social circumstances up to 28 weeks, which places them among the most liberal in Europe. Nevertheless, abortion is still a taboo for many women, and many are reluctant to admit they have had a termination. ‘No abortion week’ campaigns are held annually, and the decision to have a termination is often accompanied by a sense of shame.

In this project, Belarusian women who have considered or undergone abortion tell their stories. The women had a range of concerns behind their decisions surrounding abortion—from contamination after the Chernobyl nuclear disaster to fear of poverty, not wanting to be a single parent, or a background of sexual abuse. As their decisions were often made with difficulty, in this story they did not want to show their faces and their names have been changed.

Sports – Second Prize, Stories: ‘The Gouandé Gazelles’ by Olivier Papegnies (Belgium)

Caption: Bélassé Tchari (left), in Gouandé, Benin, gets up every morning to work in her field to feed her seven children. She works hard to put Virginie and her two sisters through secondary school and encourages their footballing ambitions. Taken 21 February, 2019.

Story: The Gazelles de Gouandé from Gouandé village in northern Benin is one of 16 football teams set up across the country with the aim of giving young women more control over their futures through sport. The project, established by the Plan International organization, aims to empower women by promoting self-confidence, widening educational opportunities, and through advocacy against early marriage.

Following the 2019 Women’s World Cup, there was an international surge of interest in women’s football, and projects like the one in Benin can be seen as part of a wider view of the power of sport to unify and spread social awareness. In January 2019, Benin hosted a delegation from FIFA, football’s international governing body, aimed at supporting a new sports strategy in schools, and Beninese president Patrice Talon announced plans for four new football schools, including one for women.

Spot News – Second Prize, Singles: ‘Nairobi DusitD2 Hotel Attack’ by Dai Kurokawa (Japan)

Caption: Women are evacuated as security forces look out for perpetrators of an attack on the DusitD2 luxury hotel and business compound, in Nairobi, Kenya, on 15 January 2019.

Story: Five attackers threw bombs at vehicles in the parking area before entering the hotel lobby, where one staged a suicide bombing. At least 700 people were evacuated from the complex, with 21 killed and 28 wounded. The Somalia-based Islamist extremist group al-Shabab claimed responsibility for the attack, releasing a statement that called it a response to US president Donald Trump’s decision to recognize Jerusalem as the capital of Israel.

The DusitD2 complex houses a number of international companies, and is frequented by government officials and foreign visitors, making it a target that would draw media attention. The attack and subsequent security operation lasted 20 hours, and ended with all five attackers being killed.

Spot News – Second Prize, Stories: ‘Australia’s Bushfire Crisis’ by Matthew Abbott (Australia) for The New York Times

Caption: Aluminum, which melts at 660.3ºC, has streamed from a burning car in Conjola Park, a town where bushfires razed more than 89 properties, in New South Wales, Australia, on 31 December 2019.

Story: The annual fire season in Australia began early and was exceptionally severe—following months of record-breaking drought and fanned by strong winds. Far stronger wildfires than usual, mostly battled by volunteer firefighters, raged through New South Wales and Victoria as well as areas in South Australia and Queensland, laying waste to bushland and rainforest and destroying homes.

By the end of January 2020, more than 30 people had been killed, 3,000 homes lost, and around 12.6 million hectares of land burned (nearly three times the size of the Netherlands). Wildlife was harshly hit. Local scientists estimated that up to one billion animals perished, and more than 50% of the Gondwana rainforest traversing New South Wales and Queensland was burned.

In December, while the intensity and speed at which many bushfires were spreading increased, Australian prime minister Scott Morrison went on holiday to Hawaii, and was prompted to return only after the death of two volunteer firefighters. He continued to champion a pro-fossil-fuel policy and held back from linking the fires to the climate crisis.

Articles: Digital Photography Review (dpreview.com)

 
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Film Fridays: Plaubel Makina 67 – The beginning and end of a journey into medium format

17 Apr
Photo: 35mmc.com

We’ve got medium format on our minds – check out some 120 samples in our recent Acros 100 II film gallery – and thought we’d continue the theme by featuring a medium format camera review from our friends at 35mmc.com for this week’s Film Friday.

In this review, a dedicated 35mm photographer and medium format skeptic gets his hands on the lust-worthy Plaubel Makina 67 camera and finds lots to love about its design – and the format in general. But it’s not all a bed of roses. Get the full scoop on this cool, collapsible medium format rangefinder from the link below.

Read: Plaubel Makina 67 – The beginning and end of my medium format journey

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at 35mmc.

Articles: Digital Photography Review (dpreview.com)

 
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Fun 5-Second Photos – Using Long Exposures for Creative Images

17 Apr

The post Fun 5-Second Photos – Using Long Exposures for Creative Images appeared first on Digital Photography School. It was authored by Rick Ohnsman.

long exposures for creative images

Survey your collection of photos, and I’d bet that most will have been taken at 1/30th of a second or faster. Usually, we want to freeze any action, getting as sharp an image as possible. Other times, however, we might want to purposefully use long exposures for creative images.

Silky waterfalls, streaked clouds, oceans waves that look more like mist – those are the images where we might use shutter speeds that last multiple seconds or even minutes. But how about a middle-ground, say a 5-second exposure? What kinds of looks might that give you?

Fun 5-Second Photos - Using Long Exposures for Creative Images
I wanted to tap into the frozen, non-moving ice and the moving fluid water in this photo. I needed an ND filter to get me to the shutter speed I wanted. Canon 6D with Canon 24-105mm lens, 6-seconds, f/22 ISO 100.

For the examples in this article, let’s be a little flexible saying anything between four and eight seconds is what we’re interested in.

Fortunately, Lightroom can filter images by looking at the shutter speed recorded in the Exif data. I was easily able to see which of the over 105,500 images in my Lightroom catalog fell into that range. It was just 1,036 of those or .981%.

So, while perhaps shutter speeds in the 5-second range are not often used for general photography, as you will see, occasionally that range is just right for the look you seek.

Tripod or hand-held?

The “inverse focal-length rule” says that to prevent camera shake blur you should always try to shoot at 1/lens focal length as your minimum for hand-holding your camera. For example, using your 70-200mm zoom lens if you were zoomed wide to 70mm your shutter speed should be 1/70th or faster like 1/100th of a second.

Zoom in to the full 200mm setting, and you’d best be at 1/250th or faster to prevent camera shake.

Fun 5-Second Photos - Using Long Exposures for Creative Images
Keeping the still objects sharp while the water smoothed during this 4-second exposure required a tripod. It was shady and darker here, but I still needed an ND filter. Canon 6D with Canon 24-105mm lens, 4-seconds, f/20 ISO 50.

Those rules apply here. If you intend only to blur those things that move during your 5-second exposure, you’ll definitely need a tripod. However, there might be situations where you could make a 5-second exposure without one:

  • Your creative intent is to show some camera motion blur. A creative “swish-pan” is a good example.
  • No tripods are allowed where you are working. Crowded places, sports events, indoor locations or other places might not allow you to use a tripod. Come up with some workarounds – brace your camera against something, set it down on a bench or something, and use the 2-second timer for a hands-off shot. Maybe you could carry a beanbag or improvise with your jacket. If smaller variations of a tripod are allowed, things like a Gorillapod or Platypod might be the answer.
  • Consider mirror lockup to reduce vibration.

Exposure

You’re familiar with the “exposure triangle” right? If not, follow this link to learn about it. It is foundational knowledge for all serious photographers. Briefly, it states that all exposures are governed by three things, the “holy trinity” of photography:

  • Shutter speed (how long the sensor is exposed to light),
  • Aperture (the size of the hole through which light enters),
  • ISO (the sensitivity of the sensor to light).

Whether you are in Manual mode, Full Auto, or any other camera exposure mode, those three things are always at work. Now, if we’ve already decided we want a 5-second shutter speed, we’re left with just the other two to control our exposure.

ISO and Aperture – which?

You are likely going to want to choose one of two modes when practicing 5-second exposures: Full Manual (which will give you full control over all settings), or Shutter Priority (Tv on Canon and Pentax, S on Nikon and Sony).

Shutter priority lets you choose and lock in a shutter speed and then the camera adjusts aperture (the f/stop) and ISO (if you have that in Auto ISO). If not, ISO will be locked to whatever you set.

Now, you’ve locked in 5-seconds as your shutter speed, should you use Aperture, ISO, or maybe both to get the exposure right? Like so many things in photography, the answer is, “it depends.”

Let’s speak to ISO first. We’re trying to make a 5-second exposure. Doing so will allow quite a bit of light into the camera. So as not to overexpose the image, dialing down the ISO will help. Many cameras have 100 ISO as their lowest setting. Some can go down to 50 ISO. The benefit of lower ISO is less noise. So, set to the lowest ISO possible, yes? Sure, but that by itself may not get you there, and there are other considerations.

Let’s consider aperture.

Setting the aperture (remember the aperture is the “hole.” The term f/stop is the way we reference the “size of the hole.”) to a larger number, i.e. f/11, f/16, or f/22 will let in less light. That too may help us get that 5-second exposure.

Of course, changing aperture also affects the depth of field. We could also encounter a reduction of sharpness if we use the smallest apertures due to what is called “diffraction.”

Fun 5-Second Photos - Using Long Exposures for Creative Images
Pre-sunrise. I didn’t have a lot of light to work with, so a slow shutter speed helped here. It also smoothed the water a bit at the inlet at the Coquille River Lighthouse in Bandon, Oregon. Canon 6D with Canon 24-105mm lens, 6 seconds, f/5.6, ISO 1600.

Proper exposure while considering the implications of each “leg of the exposure triangle” is always a juggling act. If you’re still a novice photographer who has always used automatic exposure settings, I might have lost you here. If so, I suggested you read up on these things:

  • Aperture
  • Shutter Speed
  • ISO
  • Exposure Triangle
  • Lens “Sweet Spot”
  • Depth of Field
  • Lens Diffraction

Cut the light

So, we have our shutter speed set at 5-seconds, our ISO at say 50, and an aperture of f/22. We check and see the image will still be overexposed. What now? Well, as we might put on sunglasses on a bright day to cut the amount of light coming into our eyes, in photography we use neutral-density (ND) filters.

These come in various grades of darkness. A rating system indicates how many stops of light they reduce. Each increase of ND 0.3 results in one additional stop of light reduction. So an ND 1.8 is a six-stop filter.

That means whatever a good exposure for the scene might be with no filter, putting such a filter on will allow you to adjust to the now correct exposure by six stops.

If all of this makes your head hurt, I suggest downloading a free ND calculator app (Android / iOS) which will tell you the settings you need.

Lee Filters (who makes a 6-stop ND filter called the “Little Stopper,” and a 10-stop filter called the “Big Stopper“) offers a nice free app. To use an example, if I had to shoot in bright daylight and the longest shutter speed I could use was at 1/200th of a second, using a 10-stop Big Stopper could get me down to that 5-second shutter speed.

Another option is a “variable ND filter.” These have two layered polarized filters, that when rotated, allow progressive darkening. They can be nice, but sometimes introduce weird visual artifacts, create color casts and such, particularly at darker settings and when using wider focal lengths. Do some research before you decide to buy one of these.

Standard circular polarizing filters can work to a degree as they will typically cut light by 1.5-2.5 stops. You can stack filters too, but a word of caution here – stacking filters runs the risk of vignetting the image, or worse, sometimes stacked filters can get stuck on the lens. This is a sure way to ruin your day. A filter wrench is a good tool to have in your kit.

ND filters can help you get a longer shutter speed if light conditions are bright.
In daylight conditions, even with a small aperture and low ISO, you might not be able to get to the longer shutter speed you’d like and have the proper exposure. ND filters which cut the light are often the answer. All of these photos were done with such a filter.

Suitable scenes

Okay, techy stuff out of the way. When and why might you want to take 5-second exposures? Let’s look at some example photos.

Flowing water

Use a slower shutter speed for silky water effects.
Silky water effects are a favorite with photographers. Slower shutter speeds allow you to get the look. Note the various shutter speeds on these images. A recommended practice is to bracket your moving water shots. The speed, volume, and proximity of the water to the camera will make a difference when finding that “just right” shutter speed to create the look you like.

Smooth water, streaked clouds

Fun 5-Second Photos - Using Long Exposures for Creative Images
Whatever moves will blur during a longer exposure. Water, waves, and clouds will all have a different look. You need not always go for extra-long exposures either, note the shutter speeds on these were between 6 and 8 seconds.

Special Effects

A longer shutter speed buys you time when creating special effects looks.
A longer shutter speed buys you time for creating special effects photos. The “smoke” in the first shot is actually a piece of dental floss moved during the 6-second exposure. I used sparklers and laser pointers to create the other shots. Note the shutter speeds are all 4-seconds.

Fireworks

Fun 5-Second Photos - Using Long Exposures for Creative Images
I find 6-second exposures are often just right when doing fireworks photos allowing capture of multiple bursts and a nice look.

Zoom during exposure

Fun 5-Second Photos - Using Long Exposures for Creative Images
Longer shutter speeds allow you time to zoom the lens during the shot, producing the kinds of images in the first two photos. In the third image, it was the car that was doing the “zooming.”

Combining with flash

Fun 5-Second Photos - Using Long Exposures for Creative Images
Combine a slower shutter speed with a pop of second-curtain-sync flash, and you get an image like this. The motion blurs during the ambient portion of the exposure, and the flash at the end freezes that part of the exposure. Second-curtain-sync flash shots are two-exposures in one. Canon 6D with Canon 24-105mm lens, 2-seconds, f/5.6, ISO 100.

Low light and night photography

Fun 5-Second Photos - Using Long Exposures for Creative Images
Before sunrise, after sunset, dark days and nights – sometimes you go for a slower shutter speed because there’s not much light. Knowing when to “go slow” can make for some nice images. All of these are between 3.2 and 8 seconds.

Light painting

Fun 5-Second Photos - Using Long Exposures for Creative Images
A longer shutter speed buys you time for light painting. The first image had a 4-second exposure, the second a 5-second exposure. Go read my article on this fun technique.

Lightning

Fun 5-Second Photos - Using Long Exposures for Creative Images
When you don’t have a lightning trigger, you do it the old-fashioned way – Point your camera where you’ve been seeing the flashes and shoot many longer exposure shots. With luck, you’ll catch a bolt or maybe even several during a shot. Canon 6D with Canon 24-105mm lens, 4-seconds, f/9, ISO 800.

Now go “take five”

Fun 5-Second Photos - Using Long Exposures for Creative Images
Shooting into the sun, a six-stop ND filter was mandatory to get me to a 6-second shutter speed here. Canon 6D with Canon 24-105mm lens, 6-seconds, f/16, ISO 50.

So what is the “right” shutter speed to use? When making long exposures for creative images there is no absolute.

Use the shutter speed that best captures the vision you had when making the image. Learn to adjust aperture and ISO to get you to that speed you want and ND filters when you must. The key is taking control of your camera.

As a master painter knows exactly what brush and stroke to use, you as a photographer can make masterful photos when you know the right settings and controls to use. If you have not typically worked in the 5-second shutter speed range, use the photos in this article as inspiration. Now, go “take five.”

The post Fun 5-Second Photos – Using Long Exposures for Creative Images appeared first on Digital Photography School. It was authored by Rick Ohnsman.


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The gear that changed my (photographic) life: reader responses

17 Apr

Reader responses: the gear that changed your (photographic) life

As we share stories of the gear that made the biggest difference to our photography, we’ve asked DPR readers to respond with their stories as well. To our delight (and believe us, we need delight right now), hundreds of you have responded. While we’ve enjoyed reading them all, below are some excerpts from our favorites.

Find out what gear changed the lives of your fellow readers, and be sure to respond with your own if you haven’t already! We’ll continue sharing our favorites until, uh, something different happens in the world.

35mm F2 AIS Nikkor

Image via Wikimedia Commons by Paul1513

lightandaprayer: A 35mm f2 AIS Nikkor was one of the first lenses I bought new for use with a battered black Nikkormat FT2 I found at an LA pawnshop. I still own the lens; I sold the much-loved FT2 to a friend’s son and later replaced it with a mint FT2 that I still use today.

Ultimately the 35mm was replaced with a 35-70 2.8 Nikkor and it quickly became one of my most used work lenses. But a 35mm always had a place in my bag. I’m glad that I have hung onto much of my fave film-era prime glass. I simply enjoy using them more than any AF lens on both digital and film Nikons.

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Kodak Brownie 127

Image via Wikimedia Commons by Enrique

entoman: The gear that changed my life was a Kodak Brownie 127…. given to me as a Christmas present at age 8.

I think I knew instantly that I wanted to be a photographer. When I collected my black and white prints from the local chemist, a kind young lady assistant said “Ooh, these are good pictures, are you going to be a professional photographer when you grow up?”

She inspired me, so I took more pictures. And I’ve never stopped.

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Nikon D4

Razor Sharp Studios: For me the Nikon D4 that I purchased in 2013 took my sports photography to a whole new level. Until then I was barely getting 5 or 6 fps with a gripped D300. In the super quick world of horse racing, I would barely get a second worth of time at the finish line to capture the winning horse…

Being able to go up to 10 fps greatly helped me get more keepers in terms of published images. Still one of my favourite work bodies in the field.

Photo taken in Dubai in 2018 at the Meydan racetrack.

See more of his work on Instagram at @zoomnclick.

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Minolta SRT101

Photo via Wikimedia Commons user Hiyotada

gopherino: My Dad turned me on to photography… He was his high school yearbook photographer/editor, and 28 years later, so was I. By the time I went from Brownie to Instamatic to polaroid, it was time to learn to covet my Dad’s Minolta SRT101…

Photography, travel, tennis and business were interwoven threads that bound me with a most amazing father. He would have been 92 this year, and I think of him every time i pick up my Sony FF cameras and lenses.

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Nikkormat FT3

WV Communications: My dad let me use his Nikkormat FT3 in high school as the yearbook photographer. What a great camera, although the meter was a little wonky. If I asked nicely, I could use his black Nikon F2 with motordrive for football games. I felt pretty awesome clicking off frames of Tri-X.

By the time I was in college shooting for the school paper, I scraped enough money together to buy a brand new FM10, which while a great camera, was in a much lesser league than the classics. By that time, we were developing film and then scanning into a Mac Quadra for layout. I feel fortunate to have experienced the twilight of the film era. Now I’m getting back into film for the joy of it.

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Samsung EX1 / TL500

thielges: For me it was the Samsung EX1 (TL500). Having previously used a Konica Minolta A2, I saw the EX1 as being a lighter carry around camera, not a replacement for the A2. Then one day I was processing photos from both cameras and noticed how those from the EX1 really popped in comparison. Crisp, bright, and with noticeable broad dynamic range.
From then on I used the EX1 exclusively and bought another Samsung travel zoom to cover the tele end….

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Panasonic LX3

Samuel Dilworth: The LX3 was a revelation to me… It made the digital dream a reality, although I had other digital cameras before (notably a Nikon D60 and lenses).

I had moved to Paris, and the combination of that city’s beauty and this small, functional, Raw-capable camera gave me many photos I liked at the time. I should reprocess them with today’s Raw-developing software.

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Articles: Digital Photography Review (dpreview.com)

 
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