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5 Tips For Keeping Your Camera Safe And In Working Order

28 Oct

Besides the obvious cost of camera equipment, they are also a key part of photography. A damaged camera, especially when away in remote places, can mean no photos. Those missed photos might be something that you can’t replicate. So to keep your camera equipment safe and in working order is an essential part of photography. Here are 5 tips for keeping your camera safe and in working order.

5 Tips To Keep Your Camera Safe And In Working Order - Kav Dadfar Photography

1. Clean, repair, service

There’s an age-old saying ‘prevention is better than the cure.’ So your first step in ensuring that your camera is in good working condition is to keep it that way. Get into the habit of regularly cleaning your camera. There are plenty of camera cleaning products out there, and it only takes a few minutes. Wipe your camera clean of dust and any other build up of dirt. Carefully clean your lenses using the relevant material. It’s best to avoid touching or cleaning your sensor unless you are confident in what you are doing.

Even if your camera is working, if there is a minor fault with it, get it fixed rather than leaving. It’s also worth getting your camera serviced professionally every now and again. Yes, it might be an annoying expense to have to pay, but it is a small price to pay to ensure that your camera is in perfect working condition.

5 Tips To Keep Your Camera Safe And In Working Order - Kav Dadfar Photography

2. Be aware of the elements

Water and sand are two of the biggest dangers to cameras. Anyone who has a scratched lens glass or sensor due to sand knows the cost involved in fixing these things. However, there are ways to protect your camera equipment to ensure you minimize the risk. The first thing you need to know is how well sealed your camera is. For example, high-end DSLR cameras often specify that they are ‘weather sealed.’ While weather-sealing offers good protection from things getting into your camera, you should still be cautious.

Start by always carrying a plastic bag with you. They are great for protecting your camera from rain and water.
It’s also worth carrying a small towel at all times to wipe your camera clean. It is especially vital near the coast where the salt in seawater can be corrosive.
Avoid changing lenses, especially when windy. Dust, sand, and water can all get into your sensor. If you must change lenses, do it quickly and make sure you protect your camera from the wind.
Remember to wipe and clean your camera after you finish your shoot at these places as there may still be sand or water on your camera.

5 Tips To Keep Your Camera Safe And In Working Order - Kav Dadfar Photography

3. Know your surroundings

One of the dangers to your camera equipment is theft. With a little bit of common sense and caution, you can avoid being a victim. The key is to know your surroundings and take action accordingly. For example, if you are walking on a busy sidewalk, keep away from the curb and keep your camera away from the roadside where snatch and grabs on motorbikes happen. Alternatively, if you are sitting on an outside table in a restaurant, put your camera away in your bag or have the strap around your arm.

Even in quite countryside car parks, it’s important to take precautions. Don’t leave cameras or valuables on display. Hide them away, or better still take them with you. As long as you use common sense and know what it is happening around you, you shouldn’t have any problems.

5 Tips To Keep Your Camera Safe And In Working Order - Kav Dadfar Photography

4. Use your tripod wisely

My only ever accident with my camera was when I was using a tripod. As I rushed to put my camera on, I didn’t clip it in, and the camera fell straight into a muddy puddle. Luckily the mud stopped my camera bouncing off into the river that I was photographing, and it also avoided the rock that I was standing on. With a bit of cleaning up, I was able to use it straight away. I was fortunate on this occasion.

I am always astonished when I see people setting up tripods, and they don’t evenly distribute the weight, causing it to fall over, or people putting expensive DSLRs on cheap tripods that are not secure enough to take the weight.

Whenever you are using a tripod, the key is to take your time. Make sure your tripod is secure, and the legs are taking the weight evenly. When you put your camera on the tripod, hold on to the strap for a few seconds to ensure it’s not going to topple over. Only when confident it’s not going to fall should you let go. Be especially careful when there are high winds as a sudden gust can easily knock over your tripod and camera.

5 Tips To Keep Your Camera Safe And In Working Order - Kav Dadfar Photography

5. Store your equipment safely

Depending on how much photography you do, there are always periods when your camera is not in use. So, where you store your camera is also essential in keeping it safe. Avoid storing your camera in places where there is high humidity like laundry rooms. You should also avoid leaving it in direct sunlight. Try to store it in a cupboard rather than just leaving it out to gather dust. A great tip is to keep your camera equipment in your camera bag and place your bag in a cupboard. Not only does it protect against dust but also ensures everything is one place and out of sight.

5 Tips To Keep Your Camera Safe And In Working Order - Kav Dadfar Photography

Additional tip for keeping your camera safe

While you hope you never have to use it, it’s always best to ensure that you have appropriate insurance in place for your camera equipment. Make sure that it covers you for things like damage at home, in transit and even in cars. It’s also worth noting the details of their claims policy, so you are aware of things such as whether they pay for or replace damaged or stolen equipment. It is also important to know these details, in case you may have to wait six months for your equipment to get replaced. So always make sure you have insurance to cover your equipment.

5 Tips To Keep Your Camera Safe And In Working Order - Kav Dadfar Photography

There’s nothing more frustrating than seeing an amazing photo opportunity in front of you and having no camera. However, with a little bit of care, forward planning, and common sense, you can avoid this happening to you by keeping your camera safe and in working order.

Anything else that you can think of? Let us know below.

Want more? Check out the latest photography tips on our blog.

The post 5 Tips For Keeping Your Camera Safe And In Working Order appeared first on Digital Photography School.

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Balance Exposure in Adobe Camera Raw to Improve Your Photographs

27 Oct

Want to know how to balance exposure in Adobe Camera Raw to improve your photographs without causing white or black clippings?

Have you ever faced a scene so contrasted that it’s impossible to achieve balance in the exposure?

If you shoot in Auto mode, you may have seen this quite a bit. If you were not able to solve this problem while shooting, this is the tutorial for you. I’ll show you how to balance exposure in Adobe Camera Raw using helpful post-processing techniques.

For this exercise, I’m using a photo with extreme problems to really highlight the adjustments I’m making. Images with less-obvious exposure problems can still be improved using this same technique.

Balance Exposure in Adobe Camera Raw to Improve Your Photographs - Before and After Comparison

Firstly, let’s clarify that this works best with a RAW file, but even if you shoot in JPG format this tutorial can help – so keep reading!

A RAW file is a ‘digital negative’ that contains all the information without being processed, so it won’t open directly in Photoshop. Instead, it opens in Adobe Camera Raw (ACR), which is where the editing is done for this tutorial.

Balance Exposure in Adobe Camera Raw to Improve Your Photographs - Open File

If you are working with a JPG file, open the ACR manually. To do this, go to Photoshop ->Menu -> File -> Open. From the browser window choose your JPG file and select ‘Camera Raw’ from the ‘Format’ drop-down menu. Click ‘OK’ to open in ACR.

If you are not sure whether to shoot with RAW files or JPG Files, read this interesting article.

Balance Exposure in Adobe Camera Raw to Improve Your Photographs - Open JPG File

*From this point, you can follow the same steps for both RAW and JPG files.

Activate your clipping warnings

To help balance your image, activate the clipping warning in ACR.

To do this, go to the top corners of the histogram where you have a white and black clipping alert. Click on the one you want to view first.

Once activated, this highlights any pixels that exceed the intensity represented.

Balance Exposure in Adobe Camera Raw to Improve Your Photographs - Activate Warnings

The Shadow Slider

The order in which you decide to tackle different problems doesn’t matter. You have to go back and forward through the adjustments until you reach the balance that works for you anyway.

In this case, I’m going to start brightening up the bottom, so my first instinct would be to lighten the shadows.

Adjust the ‘shadows’ slider until you achieve the desired look.

Look at the changes to the histogram as well.

Balance Exposure in Adobe Camera Raw to Improve Your Photographs - Shadows

The Black Slider

Now we can see much more detail in the lower part of the photo, but now the contrast has lowered so much that the image has become quite flat. You can correct this by moving the ‘Black’ slider, which determines the darkest black of your image.

Adjust the ‘Black’ slider and see how the darkest areas are now being highlighted in blue to show you the clipping areas because you’re exceeding the range.

Be careful not to exaggerate.

Balance Exposure in Adobe Camera Raw to Improve Your Photographs - Blacks

The White Slider

Now it’s time to fix the lightest parts. The sky is completely blown out and has little detail; therefore I’ll lower the brightest white possible by moving the ‘White’ slider.

Adjust the ‘White’ slider until you achieve the desired look.

Notice how the red spot in the sky that represented the clippings is getting smaller.

Balance Exposure in Adobe Camera Raw to Improve Your Photographs - Whites

The Highlights Slider

The image looks better but it hasn’t completely solved the problem.

The next step is the ‘Highlights’ slider to add more detail to it. Be careful not to render the image too dark now.

Adjust the ‘Highlights’ slider until you achieve the look you want.

You’ll need to go back to the Shadows and Blacks to balance them according to the new sky. You can go back and forth through these until you find a balance you are happy with.

Notice how all the clippings have gone:

Balance Exposure in Adobe Camera Raw to Improve Your Photographs - Histogram

Before and After Previews

Apart from the clippings you canals keep an eye on the histogram, look how the original had very high points in both ends and was very flat in the middle while the current one is much more balanced.

To view before and after previews, press the P on your keyboard, allowing you to make comparisons without losing any of your adjustments.

Balance Exposure in Adobe Camera Raw to Improve Your Photographs - Before Preview

Balance is not necessarily all there is to it.

In this case, it resulted in a flat and muted image.

To give it that extra punch you can boost areas such as contrast or saturation.

Keep in mind that these can create clippings again, so always keep checking the entire image.

Balance Exposure in Adobe Camera Raw to Improve Your Photographs - Preview

If you worked through this process with a RAW file, it is non-destructive, so you can keep editing until you’re satisfied without losing any pixels or lowering the image quality.

Due to the JPG file being a destructive process, I advise you to save it as a copy to always keep your original intact.

If you want to learn more about the basics of ACR, I invite you to read my tutorial ‘Quick Beginner’s Guide to Processing RAW Files in Photoshop Adobe Camera Raw‘.

The post Balance Exposure in Adobe Camera Raw to Improve Your Photographs appeared first on Digital Photography School.

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The essential pro feature that no mirrorless camera offers

27 Oct

In a low-light situation with a split-second to focus and capture the moment, the flashgun’s AF illuminator was essential. Mirrorless cameras tend not to offer this feature and their AF systems aren’t so good in low light that they don’t need it.
24mm F1.4 lens @ F2 | ISO 400
Photo: Rishi Sanyal

Mirrorless cameras have caught up with DSLRs in almost every measurable respect, yet there’s still one feature that’s essential for some professionals that every one of them lacks: flash AF illumination.

The failure to offer an AF illuminator target means mirrorless can’t compete with the best DSLRs in some shooting situations

Wedding and event photographers in particular will recognize the benefit of the AF assist target projected by flashguns and some flash commander units, yet no mirrorless camera maker implements this feature, even on their highest-end models. There are some technical reasons why they omit the feature, but this doesn’t negate the need for it.

‘IR’ illuminators on flashguns aren’t solely emitting infra-red: they also emit visible red light, or you wouldn’t be able to see their telltale grid pattern

It won’t affect everybody’s day-to-day photography, but the universal failure to offer some sort of AF illuminator target for mirrorless cameras remains a major shortcoming and means mirrorless can’t compete with the best DSLRs in some shooting situations.

There are technical justifications for why they don’t: DSLR autofocus sensors can be sensitive to infra-red light, whereas mirrorless cameras aren’t. Because mirrorless cameras focus using their main imaging sensor, any IR has to be filtered-out to avoid skewing the colors in your images. But the AF illuminators on flashguns aren’t solely emitting infra-red: they also emit lots of visible red light, otherwise you wouldn’t be able to see the telltale red grid they project.

Note that the ‘IR’ illuminator in this instance is projecting a visible red target and, crucially, a target that provides a pattern for the camera’s AF system to bite onto.

Another complication is that phase-detection pixels live behind the colored filters that allow most cameras to interpret color in the scene, so may not even see any red light. A PDAF element behind a blue filter won’t see any red light and one behind a green filter will only see a very small amount. But even this shouldn’t be insurmountable: Canon’s Dual Pixel AF means every pixel (including the red-sensitive ones) is a PDAF pixel and, if it came down to it, the manufacturers could offer versions of their flashguns that emit a color that their mirrorless AF systems can see.

If mirrorless cameras are going to displace DSLRs for wedding and event photography, manufacturers need to find a way

Most mirrorless cameras have their own built-in AF illuminators but they’re not nearly as powerful as the off-board lamps on flashguns. Also, they tend to be bright, uniform orange or green lamps which are visually distracting, easily blocked by hands or large lenses and which miss one of the key properties of off-board illuminators: a grid pattern. This grid pattern effectively creates some hard-edges for the AF system to bite onto, even if you’re shooting something that may not have enough inherent contrast to easily focus on. You know, like a white wedding dress in low light.

If mirrorless cameras are going to displace DSLRs for wedding and event photography, manufacturers need to find a way, even if it involves selling (or modifying) flash units that emit a faint green or blue grid pattern. Or doing what Godox does with its X1T command units: firing its red target, just as it would for DSLRs, because in many cases this is better than nothing.

Articles: Digital Photography Review (dpreview.com)

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Ricoh WG-60 rugged camera adds FlashAir card compatibility

25 Oct

The Ricoh WG-60 is a waterproof camera with solid rugged credentials. It’s waterproof to 14m (45ft), shockproof from 1.8m (11ft) and freezeproof to -10°C (14°F). It has a 16MP BSI-CMOS sensor, 28-140mm equivalent lens, 2.7″ LCD and a built-in LED ring light.

The WG-60 is the replacement to the WG-50 and, from what we can tell, is nearly identical. The only difference appears to be support for FlashAir Wi-Fi SD cards, which is the camera’s only way to connect to mobile devices. If we discover other differences between the WG-60 and its predecessor, we’ll update this article.

The WG-60 will be available next month for £250 and will come in red or black. The camera will not be sold in the U.S.

Press Release:

Digital compact camera for underwater photography down to 14 metres, with waterproof, shockproof performance; available in two colours

London, 24 October 2018 ?RICOH IMAGING EUROPE S.A.S. is pleased to announce the launch of the RICOH WG-60 digital camera. This new model features a compact, lightweight body design, with exceptional waterproof and shockproof performance.

The superb waterproof design of the WG-60 means the user can easily take pictures outdoors with confidence. Despite a compact lightweight body, the outstanding specifications of the WG-60 means that it outperforms ordinary digital cameras and smartphones in demanding outdoor conditions. It is waterproof to a depth of 14 metres, shockproof against a fall from a height of 1.6 metres and freeze-proof down to temperatures as low as -10°C. It also comes equipped with an outdoor-friendly LCD monitor so you can instantly adjust its brightness to the lighting level in a particular shooting situation.

Main Features

1. Heavy-duty construction for underwater shooting down to 14 metres, for up to two hours.
Featuring a solid, airtight body waterproof down to a depth of 14 metres for up to two hours of continuous operation (equivalent to IPX 8 or JIS Class 8). Shockproof against falls from a height of 1.6 metres,* dustproof (equivalent to IPX 6 or JIS Class 6), freeze-proof to temperatures as low as -10°C, and crush-proof against weights up to 100kgf (kilogram force). ** Its heavy-duty construction ensures that the WG-60 performs superbly and dependably even in harsh, demanding outdoor conditions.
* Measured under RICOH IMAGING-original testing standards — from a height of 1.6 metres, onto a surface of 5cm-thick plywood — conforming to Method 516.5-Shock of the MIL-Standard 810F.
** Measured under RICOH IMAGING-original testing standards.

2. Exceptional image quality
The WG-60 comes equipped with a back-illuminated CMOS image sensor, which delivers excellent high-sensitivity and low-noise characteristics and high-speed read-out of image data signals. Coupled with a high-performance imaging engine, this image sensor delivers a top sensitivity of ISO 6400 and super-high-resolution images with approximately 16.0 effective megapixels. This model also provides advanced image processing functions, made possible by the latest super-resolution technology for sharp, clear, high-resolution images. It also offers such innovative features as Handheld Night Snap mode, which automatically captures several images of the same nighttime scene to produce a single, blur-free composite image.

3. 5X optical zoom lens with a 28mm wide-angle coverage
The WG-60 features a high-performance, five-times optical zoom lens with a focal-length coverage from 5mm to 25mm (equivalent to approx. 28mm to 140mm in the 35mm format) to accommodate a wide range of scenes and subjects, including landscapes. It also provides other convenient shooting functions, such as macro mode to capture dramatic close-up images from a minimum focusing distance of a mere one centimetre. An Intelligent Zoom function extends the zoom range to approximately 36 times (equivalent to 1008mm in the 35mm format) without compromising image quality, for superior telephoto photography and an interval-shooting mode, which comes in handy for fixed-point observation.

4. Six Macro Lights to assist close-up shooting, and a Self-Portrait Assist mode
By selecting the Digital Microscope mode, six LED Macro Lights ideally positioned around the circumference of the lens barrel for macro shooting, allow the WG-60 to provide bright, uniform illumination on a subject. ***The Macro Lights enable the user to clearly see a magnified view of the microscopic world undetectable by the naked eye on the camera’s LCD monitor, and effortlessly capture eye-catching close-up images. In order to minimize camera and subject shake, the Instant Illumination Enhance function allows the use of a higher shutter speed by automatically raising the discharge level of the Macro Lights at the moment of shutter release. The Macro Lights also provide other useful functions, such as a Self-Portrait Assist mode, which uses the blink of an LED lamp to check if the subject’s face is captured within the picture frame, and the LED Lighting mode, which uses the Macro Lights as a lighting device in the dark.
*** When this mode is selected, the image size is fixed at 2.0 megapixels (at 16:9 proportions).

5. Underwater shooting mode
Specifically designed for underwater photography, the Underwater and Underwater Movie shooting modes optimize colour and contrast, based on the data of images actually captured under the water. These modes deliver sharp, true-to-life images by enhancing shades of red, which are lost in underwater photography, while effectively compensating for the loss of contrast caused by the diffusion of light in water. During Underwater mode, the Flash Off + Flash On option, allows the user to capture two images consecutively — with a single shutter release — one without flash and another with flash.

6. Full HD movie recording for extended shooting of high-quality movies
The WG-60 provides Full HD movie recording employing the H.264 recording format. Users can capture high quality extended movie clips (1920 x 1080 pixels, 16:9 proportions) at a frame rate of 30 frames per second. To add some creative touches to movie recording, it also features a high-speed camera function**** for slow motion playback of captured movie clips and an interval movie function. A micro-HDMI terminal (Type D) is also on the camera body for simultaneous output of Full HD movie clips and sound to external audio-visual devices.
**** When this function is selected, the recorded size is fixed at 1280 x 720 pixels.

7. Triple anti-shake protection to prevent blurred images in all applications
(1) Pixel Track SR mechanism
When recording still images, this advanced shake-reduction mechanism effectively compensates for camera shake by digitally processing affected images.

(2) Digital SR mode
When the camera detects low-lighting conditions in still-image shooting, this mode automatically raises the sensitivity up to as high as ISO 6400, making it possible to use a higher shutter speed and effectively minimize the adverse effects of camera shake and subject shake when dealing with poor lighting conditions.

(3) Movie SR mode
During movie recording, this mode effectively compensates for the misalignment of images caused by camera shake with exclusive software to produce beautiful, blur-free movie clips.
8. 2.7-inch LCD monitor with the Outdoor View Setting mode
The WG-60 comes equipped 2.7-inch LCD monitor with horizontally extended 16:9 proportions and approximately 230,000 dots. The monitor’s AR (Anti-Reflection) coating minimizes annoying glare and reflections for a sharp, clear on-screen image even in bright sunshine during outdoor shooting. It also comes equipped with such convenient features such as the Outdoor View Setting mode, which easily sets the optimum monitor brightness level for a given lighting situation.

9. Other features
· A range of WG-series mount accessories (optional) to accommodate a range of shooting situations
· Compatibility with FlashAirTM wireless LAN SD memory cards
· Two remote control receptors (one in front and another in the back) to widen signal coverage
· Macro stand (included) to maintain a minimum focusing distance of one centimetre to the subject during extended observation and shooting of macro images
· High-speed Face Detection function to capture as many as 32 faces in focus in approximately 0.03 seconds (minimum); Smile Capture function to automatically release the shutter when the subject’s smile is detected
· Outdoor-friendly Style Watch function to display the time on the LCD monitor, using an extended push of the OK button when the camera’s power is turned off
· Delay-free, push button start of the playback mode, using an extended push of the playback button
· Auto Picture mode to automatically select the most appropriate shooting mode from 16 different scene modes
· A choice of 12 digital filters

Articles: Digital Photography Review (dpreview.com)

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ONA teams up with Tutes, Adorama to release new capsule camera bag collection

24 Oct

Camera bag manufacturer ONA has partnered with Adorama and Bronx-based photographer Jose “Tutes” Tutiven to create a pair of camera bags for a new capsule collection.

The collection consists of ONA’s most popular camera bag and backpack, the Bowery and Camps Bay, with a new green and orange colorway that ONA says was “inspired by the classic MA-1 bomber jacket, a reference to Tutes’s personal style and Bronx roots.”

“Known for his trend-setting urban portraiture, Tutes has partnered with both ONA and Adorama since his early days as a full-time photographer,” reads ONA’s press release. “Most notably as one of the first photographers featured in Adorama TV’s popular “Through The Lens” web series.

The bags are constructed of 1000D Cordura material and include pebbled black leather accents around the zippers and compartments. Gunmetal solid brass hardware is used throughout both bags.

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You can purchase the “ONA X Tutes” Bowery bag and Camps Bay backpack on ONA’s website for $ 179 and $ 419, respectively.

Articles: Digital Photography Review (dpreview.com)

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Yashica’s comeback camera hit by claims of delays and poor quality

19 Oct

The Kickstarter campaign for Yashica’s digitFilm Y35 camera has produced a wave of complaints about delays in shipping product as well as cameras that don’t work. Running with the foreshadowing strapline ‘Expect the Unexpected,’ the campaign seems to be delivering on its promise to be unexpected by giving some of the 6935 backers exactly what they weren’t hoping for.

The campaign raised HK $ 10,035,296 (approx. $ 1,280,225) for the firm and promised a digital camera that you load with different ‘film cassettes’ that apply specific styles to the pictures. While a delivery date of April 2018 was given at the time of the launch many backers have yet to receive their cameras.

In the last update, on 18th September, the company explained that they are dealing with 38 different combinations of product, and that they were working hard to get orders completed by the end of the month. However, four weeks later the feedback section is 3900 comments long, and while some are complaining that their camera hasn’t arrived others say the shutter button doesn’t work or that the camera switches off unexpectedly.

One user who has received his camera tells those who haven’t to stop complaining, as the product is so bad they’ll be happier now than when it arrives.

The picture isn’t much brighter on Indiegogo where the project took the total raised to $ 1,515,695, as more investors are making the same complaints. The principle problem seems to be the lack of communication from the manufacturer that’s leaving customers in the dark about their cameras and their money.

This hasn’t been a good period for camera-related campaigns on crowd-funding sites, as this failure comes right after the collapse of Meyer Optik Gorlitz, and its associated brands, which left many photographers out of pocket and without the costly products they had backed.

Articles: Digital Photography Review (dpreview.com)

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TinyMOS unveils ultra-portable NANO1 astrophotography camera

17 Oct

TinyMOS, the company behind the TINY1 astrophotography camera introduced in 2015, is back with a successor. The newly unveiled NANO1 is only one-third the size of the TINY1 and offers multiple improvements over the original model, including greater portability, increased resolution, and a dual-mount lens system.

The NANO1 is highly portable, weighing in at less than 100g/3.5oz with a size considerably smaller than the TINY1. Despite the size reduction, the NANO1 astronomy camera will offer triple the resolution of the original model, featuring a Sony BSI sensor capable of capturing 12MP still images and 4K Ultra HD videos.

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TinyMOS packed a dual-mount system into the NANO1, one capable of supporting both “very small” M12 lenses, as well as larger C-mount lenses. Users will be able to control the camera using an iPhone or Android smartphone running a companion app. The apps will also support downloading and sharing images.

Joining the NANO1 camera will be a product line of accessories designed to pack flat, according to TinyMOS, including a miniature Z-tripod mount. The new astrophotography camera model will be launching this fall with deliveries expected to start in April 2019. The NANO1’s price hasn’t been revealed, but interested buyers can sign up for future news about the model here.

Articles: Digital Photography Review (dpreview.com)

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How to pick the perfect camera for kids

15 Oct

As a parent, one of the most enjoyable aspects of photography for me is sharing my love of photo-taking with my two kids. My wife and I enjoy taking pictures of our two boys, looking through old family photos with them, and involving them as much as we can when we are using our cameras.

However, when our oldest was about five years old he started wanting to get in on the action as well, and that’s when we hit a bit of a road block. We wanted to get him and his younger brother a camera, but with so many options we didn’t even know where to start. Fortunately we found a solution that has worked wonders for us and could be great for you too.

The Options

When we started looking more seriously into cameras for our kids we realized we had several options, all of which we ended up discarding for the following reasons.

Let them use our cameras. As much as we wanted them to get a real hands-on experience with photography, the cameras and lenses we use for formal photo sessions are much too expensive to hand over to our little boys. When they’re older we will certainly let them use our camera gear, but not at such a young age.

Invest in rugged point-and-shoot cameras. Some cameras made by Olympus and Panasonic are designed to take a bit of punishment and seem ideal for kids, but we didn’t want to spend hundreds of dollars on a camera that our kids might enjoy for a few days and then put aside in lieu of something else. (As parents we have learned that our kids’ enjoyment of a particular toy or object is rarely correlated with the amount it costs, and just because something is expensive by no means ensures they will like it or use it more than once!)

I have no idea why, but my six-year-old is obsessed with taking pictures of ceiling fans. This has led to some good discussions about shutter speeds and also the effect of flash when freezing motion.

Purchase a kid-oriented camera. If you search online you can find dozens of kid-oriented cameras that have big buttons and bright colors, but all the ones I have used have been quite unimpressive. Tiny low-quality LCD screens, slow response times, horrible image quality, and awful sound effects all seem like they are designed specifically to suck the enjoyment out of photography altogether.

Let them use an old mobile phone camera. This seems to make a lot of sense given the prevalence of tablets, phones, and other devices with cameras and touch-screen technologies, but we ultimately decided against it. We didn’t want the hassle of dealing with internet restrictions and app downloading, especially when our kids are so young. In the future we might open this door, but for now we’re more comfortable giving our kids an actual camera instead of a device that has many functions, including a camera.

The more we looked at choices available to us the more we seemed to hit dead ends, until we came up with a solution that seemed to check many boxes all at once: we would buy each of our kids a used point-and-shoot camera.

Old point-and-shoots can’t match modern cameras, but they’re not too shabby either. And when a kid can snap a picture of a sunrise with their very own camera, it’s a fun moment to witness.

The solution

A used point-and-shoot camera hit every one of our criteria. And the more research we did, the more we realized that this plan had almost no drawbacks and a variety of benefits including…

Price. You can look on eBay or used gear sites like KEH.com for used point-and-shoots and find plenty of options for $ 25 to $ 50. That’s well within the range that we are comfortable spending on a toy, and if our kids lose interest or break their cameras accidentally, we haven’t lost a lot of money.

Selection. The sky really is the limit when it comes to selecting a used point-and-shoot, and no matter your budget you can probably find one that suits your needs – especially if the goal is to give it to a child. As a starting point search for “Powershot”, “Coolpix”, or “Cyber-Shot” and sort by price to see plenty of low-cost point-and-shoot options.

A quick eBay search for Canon PowerShot digital cameras between $ 25 and $ 50 turns up dozens of results.

Features. I owned a few small pocket cameras way back in college and over the years I had forgotten how many features these old things had! Most of the ones we looked at included things like optical viewfinders, video recording, optical zoom lenses, self-timers, limited manual controls, white balance options, various metering modes, macro/portrait modes, custom scene settings, and instagram-style filters. Some of these require digging through menus, but it’s all there for children to explore and figure out, which is part of the fun of photography in the first place.

Image quality. Can a decade-old point-and-shoot match the quality and megapixels of a modern DSLR or smartphone? Of course not. Most of the cameras you are likely to find will be in the 3-megapixel range, which pales in comparison to any modern camera. And good luck taking pictures at high ISO values. But the point is to use this as a way to get kids interested in photography, and no child I know is going to balk at having only 3 megapixel images. That’s plenty big enough to crop and print. (Remember, a 4×6 photo at 300dpi is only 2 megapixels.)

Image quality on a used point-and-shoot can’t rival a DSLR, but it can be easily and cheaply replaced if dropped in water when taking pictures of turtles. And that’s almost what happened when this photo was taken.

After all our investigating we ended up getting our boys each a Canon PowerShot DS450 Digital ELPH from eBay. We paid $ 27 for one and $ 29 for the other, including shipping. Our kids (age 6 and 3 when they received them) were so thrilled they could hardly put them down. They called them their “Professional Cameras” and quickly started taking pictures, experimenting with different options, and figuring things out in the menu screens while teaching each other what they had learned.

Over time our kids have learned a lot more about photography and how to use their cameras to get the images they want. And they really enjoy experimenting with the self timer and taking short videos too. We made albums for each of them within our Apple Photos app. Over the past year they have built their libraries up with thousands of pictures which they like looking through and sharing with others.

This picture of grandma and grandpa’s dog isn’t going to win any awards, but my son had fun taking it and it helps him remember this visit.

At times their interest has waxed and waned, and sometimes a month will go by without them picking up their cameras. But that’s how kids are with most toys, and I don’t think the situation would be any different had we spent $ 200 on a brand-new kid-friendly point-and-shoot. The situation isn’t all sunshine and roses though, and there have been some drawbacks and risks that any parent would need to take into account when buying a used camera.

The risks

Purchasing anything used, whether it’s a camera or a car, carries with it its own set of risks and parents should be aware of what they are getting into.

Gear condition. If you get a new camera, whether it’s a brightly-colored toy camera or an advanced drop-resistant point-and-shoot, you can be fairly certain that the product you pay for is the same as the product you receive. It will also likely come with a warranty, but neither of these is the case with used cameras. Reputable sites like KEH, B&H, and Adorama rate their items with a scale that gives you a pretty good expectation of their condition, but what you get in the mail might have scratches, dents, or other defects you might not expect.

Both of the cameras we got on eBay had dings and dents, but my kids didn’t mind at all and I would suspect most kids (especially very young ones) wouldn’t even notice.

Beware of auction sites. If you have never used eBay or other auction sites before, navigating their options can seem like a bit of a digital minefield. Look closely at seller ratings, return policies, and buyer-protection options before making a purchase. And if you come across a camera deal that seems too good to be true, it probably is. The same goes for cameras you might find on Craigslist or Facebook Marketplace. Don’t be afraid to ask questions of the seller.

Accessories not included. Depending on where you get your camera it may or may not come with niceties like a wrist strap, a memory card, or even a charger or working battery. The cameras we got for our kids had batteries that barely held a charge, so we got a pair of third-party batteries for about $ 15. It wasn’t too big of a deal but it served as a good reminder of the difference between buying used vs. buying new. Things like this aren’t deal-breakers and your pocketbook will be still be much happier, even if you do have to buy some of these additional items.

On a recent trip to the local botanic gardens my kids finally got to be the ones taking pictures of daddy, not the other way around. Simple wrist straps definitely helped them keep track of their cameras in the process.

The lesson here is one that has rung true for ages, ever since humans began trading for goods and services: caveat emptor—let the buyer beware. If you do a little bit of research, ask questions, and trust your instincts you will probably end up with a perfectly good camera that will be great for kids.

It’s been well over a year since my wife and I got used point-and-shoot cameras for our boys, and despite a few hiccups, the experiment has been a resounding success. It has not ignited some latent passion for photography, but our boys have had fun experimenting and exploring and creating – and thus far they haven’t broken their cameras either.

My three-year-old took this with the pocket camera we bought him for under $ 30. I asked him why, and he told me he just liked the colors of the bike.

Meanwhile my wife and I rest easy knowing that they can’t access harmful internet sites or download strange apps onto their 2005-era digital cameras. And if our kids do end up breaking or damaging their point-and-shoots it will be a very cheap problem to solve. (As a bonus, if they do break their cameras we plan to use it as a financial lesson and make them save up for replacements.)

If you or someone you know has kids who are interested in photography, I highly recommend checking out the many used cameras available to you before shelling out hundreds of dollars on a brand-new model or buying a cheap kid-friendly camera with actual bells and whistles, but limited capacity for photography. The risk is fairly minimal, the results can be quite rewarding, and you might even find yourself renewing your own excitement for photography simply by helping teach the younger generation what makes the art form so special to you.

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Hex releases new camera backpack and sling as part of its 2018 Ranger Collection

12 Oct

Bag and accessory manufacturer Hex has shared its latest pair of bags as part of its 2018 lineup, the Ranger Collection. The collection consists of a clamshell backpack and a sling backpack that are “designed to be discrete and street-ready for the modern photographer.”

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The Clamshell Backpack is constructed of water-resistant 500D Cordura nylon and uses what Hex says is a patent-pending clamshell design. It features a typical internal foam divider system that can be arranged to fit your equipment and uses YKK zippers with metal pulls to access the compartments.

According to Hex, you can expect to fit one or two DSLRs and a few lenses, ranging from small primes to telephoto zoom lenses. There are also dedicated pockets for your phone and laptops up to 15 inches. A hidden rain cover is also included for when the weather takes a turn for the worst.

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Like the Clamshell Backpack, the DSLR Sling is constructed of water-resistant 500D Cordura nylon and YKK zippers with custom metal pulls. One of the most interesting details about the DSLR Sling is its ability to pack down flat when the bottom panel is removed, making it easier to travel with as an auxiliary bag.

The DSLR Sling can carry a non-gripped camera body and a lens or two, depending on what glass you’re using. It’s not large enough to fit a laptop, but there are dedicated faux-fur lined pockets for smartphones and even smaller tablets.

The Hex Clamshell Backpack and DSLR Sling are available through Hex’s online shop. They retail for $ 199.95 and $ 99.95, respectively. Both bags come in black and camo colorways.

Articles: Digital Photography Review (dpreview.com)

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Google Pixel 3 interview: technical deep dive with the camera team

11 Oct

Recently, Science Editor Rishi Sanyal had the chance to sit down with two of Google’s most prominent imaging engineers and pick their brains about the software advances in the Pixel 3 and Pixel 3 XL. Isaac Reynolds is the Product Manager for Camera on Pixel and Marc Levoy is a Distinguished Engineer and is the Computational Photography Lead at Google. From computational Raw to learning-based auto white balance, they gave us an overview of some key new camera features and an explanation of the tech that makes them tick.

Features covered in this video include the wide-angle selfie camera, Synthetic Fill Flash, Night Sight, Super Resolution Zoom, computational Raw, Top Shot and the method behind improving depth maps in Portrait Mode.

These features are also covered in written form in a previously published article here.

Articles: Digital Photography Review (dpreview.com)

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