UK company Scratch Ideas is seeking £25,000 in funding on crowdsourcing site Kickstarter for a new camera mount it’s calling ‘Loki’. Loki can be transformed into a dolly, underslung rig, shoulder rig, and cage, and folds up into a portable rectangular brick about the size of a battery grip for transportation and storage. Click through for more details
Articles: Digital Photography Review (dpreview.com)
Many photographic situations rely on keeping your camera as still as possible during exposure for pin-sharp images. You may have practiced hard to develop a steady hand and you’ve probably used tripods, remote shutter releases or image stabilisation to reduce the risk of camera shake. But, is keeping your camera still always a good thing? Every now and again, why not throw caution to the wind, move your camera while the shutter is open, and explore the range of creative opportunities this offers you as a photographer.
Intentional Camera Movement (or ICM for short) is a photographic technique where the camera is moved as the image is being taken. One example is panning. The camera movement mimics that of a moving subject to keep the subject sharp and the background blurred. However, moving your camera during exposure can open up a lot more creative options for you to try out. In particular, ICM can be used to take some truly unique landscape shots. The technique can be exceptionally liberating and, by reducing the amount of sharp details in a landscape, it allows you to concentrate on lines, form and colour in your images. A scene that you may ordinarily consider too cluttered, might just come to life through ICM by letting you blend colours and shapes for an interesting abstract shot.
One of the reasons that I have grown to love ICM is that it enables you to capture a landscape in a unique and personal way that cannot easily be reproduced. It can even breathe new life into overly familiar landscapes, letting you see and capture something new about a location you may have photographed many times before. If you are struggling to find inspiration for your next photographic project, or you want to get your creative juices flowing, this is a technique that you should try at least once. It is relatively easy to take some striking shots, you are sure to end up with a unique set of landscapes and it can also be a lot of fun.
A key factor to get right when using ICM is the shutter speed. It needs to be long enough to capture significant motion blur; anything from 1/3 or 1/2 second exposure times, up to multi-second exposures. Because of these slow shutter speeds, shooting in low-light conditions is ideal for ICM. During the daytime, it may be harder to achieve the required shutter speeds even at the lowest ISO setting and the smallest aperture (highest f-stop number). You may need to use a polarizing filter, a neutral density (ND) filter, or a combination of both. Personally, I prefer to use a polarizing filter as a starting point as this helps to boost colours and cut down on reflections and glare. I will then add a 2-stop or a 4-stop ND filter if the shutter speed needs to be slowed down any further.
When starting out with ICM, it may help to shoot in Shutter Priority mode. Set the shutter speed to around half a second to start, and turn the ISO to the lowest available setting on your camera. Once you have practiced at this shutter speed, you can then get longer exposure times by using a combination of low-light and/or filters. Focus manually and turn off the autofocus to prevent the camera searching for focus during exposure. Also, if you are using a lens that has image stabilization, remember to turn it off.
Once you have taken control of the shutter speed, how you move the camera is totally up to you. Get creative, there are no rules. You could move the camera vertically, horizontally, or diagonally – fast or slow. Alternatively, you could rotate the camera 360 degrees during exposure to create a spiral effect, or change the focal distance on a zoom lens during exposure to create a zoom effect. With practice, you can combine two or more of these movements to create something truly unique. The look and feel of your final images will be determined by the speed, direction, and smoothness of your chosen movements. If you wish, you can use a tripod to control the camera movement. This will help you to capture a smoother movement, which can be useful if you wish to retain a straight horizon line. I prefer to work hand-held when moving the camera, as it offers greater flexibility and provides more opportunities to experiment with different movements.
Bold movements can sometimes be more effective as there is a risk that too subtle a movement may end up looking like camera shake in the final image. Waving your camera around may not come that naturally, and it may result in you getting some funny looks from amused onlookers, but the end results definitely can make it worthwhile.
A good place to begin using ICM in your landscape shots is to look for locations that offer striking colours, lines, or patterns. Woodland is a favourite ICM subject of mine, particularly during the spring and autumn seasons. Clean, parallel lines provided by the trees and vibrant colours of nature (provided by bluebells in the spring and fallen leaves in the autumn) lend themselves to a vertical camera movement. This can be from the top-down, or from the bottom-up and can be a quick or slow movement. It really just depends on the effect you wish to capture, and how experimental you want to be. Seascapes can be a good starting point for side-to-side camera movement, panning the camera in line with the horizon.
Alternatively, in rougher waters, you could try to match the movement of your camera to the movement of the waves for an altogether different effect. Shooting at sunrise or sunset could provide you with a greater variety of colours to work with, and shooting city lights after dark can also offer a wide range of creative options.
Once you have found a suitable location, you will probably find yourself taking multiple shots with various different movements. (I should warn you that this technique can sometimes be quite addictive, and you may find your memory cards filling up quite quickly!) You may find it useful to set your camera to shoot in Continuous Shooting Mode so that you can take a series of shots in quick succession, while moving the camera in a particular direction.
As with any type of photography, images created using this technique are not going to be to everybody’s taste. It is highly subjective and what works for you will not work for others. Just keep in mind basic principles of photography such as composition and exposure – these are still just as important. Also, while this technique will render much of the landscape abstract, you may find it helps to have at least one element of the landscape sharp, or recognizable in the final image.
There is an element of trial-and-error when starting out with Intentional Camera Movement. You should soon find out what works for you and what doesn’t; this will help you to develop your own style. Don’t be too concerned if you do not get an effect you like right away – the technique can be quite hit-and-miss sometimes. Take a lot of shots, and don’t be too quick to delete shots that you feel haven’t quite worked out as you had hoped. There is a chance that, after a few days, you may take another look and see something that you like in there after all.
One of the great things about this technique is that it is all about how you express yourself through photography – think of your camera as your paintbrush. Get creative, have fun, and start seeing landscapes in an exciting new way.
I have included several of my attempts at ICM landscape shots. Please feel free to share your own in the comments section.
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The post How to Take Creative Landscape Shots using Intentional Camera Movement by Richard Beech appeared first on Digital Photography School.
Apple’s latest Digital Camera Raw update for its Mac OS X extends support to a handful of new and notable cameras, including the Sony Cyber-shot DSC-RX100 IV, a7R II and Leica Q. Read more
Articles: Digital Photography Review (dpreview.com)
Focal Camera is an open source project designed to teach participants about the inner workings of a camera. With access to a laser cutter, a supply of 3mm plywood and the directions provided, you can be well on your way to creating a camera of your own. Read more
Articles: Digital Photography Review (dpreview.com)
Packing and carrying equipment for travel adventures is always a challenge. With increasing airline restrictions and not being willing to check your gear, you need to find the best possible alternative for your needs. Like most of my peers, I covet several bags. Usually when going abroad I take a bag with all the equipment and a smaller, second bag for everyday outings once on location. As I tend to travel lighter and lighter every day, I was on the lookout for a bag that could serve dual purposes for my recent Italy trip. I wanted a bag that could carry my two Fuji X bodies, some lenses, a filter kit, and my iPad. The other important consideration was that the bag needed to be easy to access and work from.
Think Tank Photo Sub Urban Disguise 30 – Image Courtesy of Think Tank Photo
After much looking around, I settled on the Think Tank Sub Urban Disguise 30. As you may know, Think Tank products are legendary and they carry their well-known “non-rhetoric warranty.” This bag is one from their compact series, designed for small kits. There are four different models and the 30 is the biggest of them all, the one that features a separated iPad compartment.
The bag is constructed of high-quality ballistic polyester, treated for water resistance. It features YKK® zippers, stretch pockets on the sides, two-ply bonded nylon thread, and a removable shoulder strap. The interior comes with removable dividers and a rain cover that fits in the main outside pocket.
Besides the main compartment, the Sub Urban Disguise 30 has multiple pockets. There is a front organizer pocket on the front flap that can accommodate personal items. Under the main flap, there is a large pocket that is roomy enough to store bigger accessories, like battery chargers, cables, or perhaps a travel book. There is also a mesh pocket inside the main flap for smaller accessories. The exterior stretch side pockets can fit a bottle of water or a flash.
Think Tank Photo Sub Urban Disguise 30 Details – Images Courtesy of Think Tank Photo
The bag dimensions are:
According to Think Tank, this bag can fit a standard-size DSRL, two to four zoom lenses, a regular iPad, and a 70-200 f/2.8 lens unattached. As I am shooting mirrorless, my use was a little different, and I was able to fit two Fujifilm X-T1 bodies with lenses attached, three separate lenses, a full-size filter kit, the iPad, and accessories, and I had room to spare.
My kit bottom layer contains Fujinon XF 55-200 mm f/3.5-4.8, Fujinon XF 23mm f/1.4 and Rokinon 8mm f/2.8 fisheye for Fuji X mount.
My kit upper layer contains Fujifilm X-T1 body with Fujinon XF 10-24mm f4.0 lens attached, Fujifilm X-T1 body with Fujinon XF 16-55 f/2.8 attached and on there is a complete Lee Filter kit with 3 ND grads and 2 NDs. (Photo taken with iPhone)
As you can see, I loaded mine by layering the interior in two tiers. I placed lenses on the bottom of the bag, which I separated from the top with the provided dividers, and then placed both camera bodies on top for easy access. On the side I had the filter kit. As explained above, one of the things that I was looking for was to have easy access to the gear, and this way I had both bodies with the most used lenses within very easy access. The bag is very comfortable to wear as the shoulder strap is solid but very well padded.
One of the best things about this bag is the way it opens. There is a flip-top lid that folds away from your body, and that really helps you to reach the camera fast. This top lid is zippered and totally separated from the main Velcro exterior flap that accesses the bigger pocket. In the end, the bag was everything that I expected, so I will continue to use it on future trips, especially the ones around cities with lots of walking, and where I need quick access to the cameras, to take a shot and put it away again.
Obviously, how much you can fit in the bag will depend on the type of configuration you use and how you divide the bag internally, but if you want something relatively light for urban walks or travel, this is really a very good option. If you don’t need to carry a tablet, you can also consider this bag’s smaller siblings with three more models to choose from. There is probably one that will suit you well. The price for this bag starts at $ 49.75 and this particular model is $ 84.75, a price that I believe is more than reasonable for all these features and quality.
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The post Think Tank Photo Sub Urban Disguise 30 Shoulder Camera Bag Review by Daniel Korzeniewski appeared first on Digital Photography School.
Canon has introduced its ME20F-SH multi-purpose camera – a black cube with an EF mount and the ability to capture video in near-darkness. With the ability to capture Full HD color video in light levels as low as 0.0005 lux and a top ISO of over 4 million, the ME20F-SH is well suited for surveillance and security as well as wildlife applications. Learn more
Articles: Digital Photography Review (dpreview.com)
Adobe has released Camera Raw version 9.1.1, adding Raw support for the Canon PowerShot G3 X, Leica Q (Typ 119) and Sony A7R II among others. Per a separate announcement yesterday, this will be the last update for CS6 users. Read more
Articles: Digital Photography Review (dpreview.com)
It’s a sad day for owners of Adobe’s Creative Suite 6, as the company announces its upcoming Camera Raw 9.1.1 update will be the final version available for the software. Read more
Articles: Digital Photography Review (dpreview.com)
Not too long ago, the path to choosing your gear was very clear. If you wanted to take professional quality images, the DSLR reigned supreme. Yet, the landscape of available camera gear is constantly evolving, and today there are more options than ever before. Instead of just one or two dominant companies, you now have outstanding systems from no less than seven manufacturers. Mirrorless cameras have matured from a niche product to a complete solution, while DSLRs have been further refined. This may sound daunting at first, but with a bit of research, it’s possible to find a model that meets your specific needs. Here are the main points to review when considering whether you get a DSLR or mirrorless camera next.
Buying a high megapixel camera body won’t spare you from the the negative effects of a poor lens. In fact, more resolution can bring greater attention to the lens’s optical flaws. For example, if you pair a full frame sensor with a kit lens you’ll have soft corners and mushy detail. Alternatively, high quality lenses can maximize every pixel of your camera’s sensor providing tack sharp focus from corner to corner. There may be some who will argue this theory and point to studio tests and technical charts. Yet in practice, a camera with a smaller sensor and less megapixels paired with a stellar lens can provide more clarity than a high resolution full frame coupled with an average lens. For this reason, the selection of available lenses is the first consideration when deciding on a camera.
Sharpness is not the only part of this decision, but also the speed in which the lens achieves focus. A constant aperture is also a nice convenience for low light shooting as opposed to slower variable aperture lenses that span from f/3.5 to f/5.6. Finally, if you envision a super shallow depth of field in your images, f/5.6 will not be as desirable as f/2.8. Map out your kit with each manufacturer using your dream scenario. For example, can you build a system with f/2.8 lenses that span from ultra wide to super telephoto? How much would this cost for each manufacturer, and what would it weigh? While it’s true that DSLR users once enjoyed a significant advantage in lens availability, that gap is quickly closing. Most mirrorless systems now offer a complete line of professional quality glass that is of equivalent quality to a DSLR counterpart.
Ultimately, the image quality from a camera is only as good as the person controlling it. The best photographers in the world can capture stunning imagery, with the most basic cameras. Simply put, they know how to maximize the potential of any situation, and work around the limitations to get the shot.
Ideally, you want to find a camera that doesn’t get in the way of your creative process. If you’re fumbling with confusing menus and buttons, chances are you will miss a number of fleeting opportunities. Still, photography is also a game of confidence, and you want to feel as if the photo you are capturing will have all of the detail you need it to. I have good news for you! Nearly every DSLR and mirrorless camera today has more than enough resolution for professional work. Whether you are shooting for large prints, billboards, magazine spreads, stock submissions or your own personal satisfaction, today’s modern cameras are up to the task. This is a game changer, as a DSLR is no longer a prerequisite for professional work.
At the same effective focal range and aperture, the actual depth of field each format provides will appear different based on sensor size. For example, a full frame camera at f/2.8 dramatically throws a background out of focus. This is ideal for reducing distractions and bringing attention to the subject. To achieve the same look with an APS-C sensor you would need to open the aperture to f/1.8. With micro 4/3, you’d need f/1.4. Clearly, this makes shallow depth of field easier to achieve with a full frame. Having said that, micro 4/3 users can create similar results with fast lenses like the Voigtlander 42.5mm f/0.95.
While larger sensors enjoy a slight advantage for shallow depth of field, the opposite happens with great depth of field. This means f/5.6 on a micro 4/3 camera provides the equivalent depth of field to f/8 on APS-C and f/11 on a full frame model. This provides the micro 4/3 user with 1-2 extra stops of light while still creating sharp focus from near to far. As a result, the ISO doesn’t need to be as high, providing better image quality. For the same exposure and equivalent depth of field, here is an example of how the sensor size would affect the settings.
This is summed up nicely by Cambridge in Colour who noted, “Larger sensors (and correspondingly higher pixel counts) undoubtedly produce more detail if you can afford to sacrifice depth of field. On the other hand, if you wish to maintain the same depth of field, larger sensor sizes do not necessarily have a resolution advantage.”
The technology you’ll find, in even the most entry level mirrorless camera, can make a DSLR feel like stepping back in time. This is not solely due to the weight, but the glaring absence of useful features that make simple tasks more convenient. No longer do you need to stand beneath a shaded tree to check your images on the LCD. The quality of EVF in today’s mirrorless cameras is astonishing. It’s similar to using live view, but the image appears in the viewfinder where the display is not affected by harsh sunlight. Without removing your eye from the viewfinder you can check critical focus and exposure while viewing the histogram, highlight alert, and exposure settings.
With in-viewfinder image magnification and focus peaking, manual focus has never been easier or more accurate. Tapping the shutter lightly will activate the shooting mode so you’re always ready to capture the action. This can certainly reduce time spent chimping, and helps one remain focused on the subject in front of them. Depending on the model, you may enjoy other features like double exposures, silent electronic shutter, keystone correction, live time, time-lapse, touch screen autofocus that covers most of the frame, and built-in wifi. It’s these little things that ultimately make the shooting experience more enjoyable.
For those who are struggling with depth of field, the EVF on mirrorless cameras offers a huge advantage. As you look through the viewfinder and adjust your aperture, you will see a real-time look at how the depth of field will alter your image. This makes it so convenient to establish your settings for any given shot. In fairness, some DSLRs have a DOF preview button, but its functionality is far from ideal. Using that method the screen gets very dark, and you have to really look hard to determine what will truly be sharp. The EVF simplifies all of this as what you see is what you get.
A DSLR is a commitment. You make a decision to take pictures, pack your gear, and head out. This has proven to be an effective formula for a very long time. Yet, I’ve spoken with countless photographers who leave their DSLR home to avoid carrying extra weight. Some even purchase expensive telephoto zoom lenses only to complain they’re too much of a hassle to bring along. If you do the math, DSLRs are about twice as heavy as mirrorless cameras and approximately 40% bulkier. When you’re traveling to distant places, or hiking deep into the woods, every ounce matters. I’ve been on small international airplanes with a strict 25 pound luggage limit, which included personal items.
Advances in technology can allow us to go places that were previously inaccessible. No longer do you need to leave important things behind. That’s one of the reasons carbon fibre tripods have become the preferred choice for many. Since they are much lighter than aluminum models, you can go further. Couple this with a lighter camera system, and it’s possible to reach remote locations faster, giving you the competitive edge.
15 years ago, on countless pages of photography magazines, experts debated the topic of film versus digital. What followed was undoubtedly one of the biggest revolutions in the history of photography. Despite some of the early limitations, digital imaging forged ahead, ultimately winning over many of the initial naysayers. While this current shift in camera gear may not be quite as dramatic, there are many who are still resistant to change. Yet, as George Bernard Shaw said, “Progress is impossible without change, and those who cannot change their minds cannot change anything.” If you’ve never tried a modern mirrorless system, you are short changing yourself. Visit a local camera store and have a look, or better yet, rent one for a weekend photo adventure. It may take a real world test to experience the benefits that don’t translate well on paper.
DSLRs take the crown when it comes to battery life. Where one DSLR battery can go a full day with 1000 plus shots, a mirrorless camera will require approximately three batteries. The obvious workaround is to carry several spares, but it’s worth noting as it is one definitive area that requires improvement. The issue is largely due to the heavy power demand from the EVF. As a result, it’s a concern for all mirrorless manufacturers with no one brand having a distinct advantage.
If you’re looking for a camera that’s weather sealed and built like a tank, both types of cameras have models to check out. Still, in order to enjoy a fully weatherproof system, the lenses need to have the same level of durability. With a DSLR this build-type is often reserved for the professional models. These are typically more expensive and heavier than non-sealed lenses. Alternatively, Sony, Fuji and Olympus all have rugged systems that boast features like splash, dust, and freeze resistant. If you find yourself in extreme situations often, this may be the better option for you.
Do you rely on image stabilization as part of your photography routine? With a DSLR, this convenience comes at a significant cost. Lenses with this feature are often priced hundreds of dollars more than a non-stabilized model. Perhaps a more cost effective method would be a camera with built-in 5-axis stabilization. This will work on any lens you mount, making it possible to capture sharp hand held images at 1/15th of a second or slower. If you’re skeptical, as I certainly was, there are a myriad of tests that prove its accuracy.
This is an important development that changes the way you works in low light scenarios. For example, if you’re photographing a dark interior where tripods are not allowed, a typical setting would be around 1/125, f/4, ISO 6400. That same shot with 5-axis IS could be captured at 1/15, f/4, ISO 800. Noise won’t be nearly as prevalent at the lower ISO, and you’ll still have a tack-sharp image. This cutting edge feature gives photographers yet another tool to solve common everyday problems.
There have never been as many viable options as we have right now. It is indeed a great time to be in the market for a new camera. The system you decide on will certainly have a big impact on your work, so do thorough research and choose wisely. Remember, the ideal selection should not be based on what everyone else is doing, but what will allow you to realize your unique vision. This can only be decided by you, not a salesperson, or forum chatter. Above all, your next camera should be one that inspires you to pick it up and use it more often.
As for my gear, I don’t leave the house without my Olympus OMD EM1. Sometimes I also carry an EM10 as a backup body. I recently sold a Canon 40D, retired the old 10D, and am still determining the fate of my Canon 6D.
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The post 8 Factors to Look at Before You Choose a New DSLR or Mirrorless Camera by Chris Corradino appeared first on Digital Photography School.
Peak Design, maker of the Slide and Clutch and other camera gear, has launched its newest bag on Kickstarter. Called ‘The Everyday Messenger’, this bag features an adaptable design able to tote around one’s everyday gear along with photography equipment. Read more
Articles: Digital Photography Review (dpreview.com)
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