Minimalism is splitting the world in two. Love it or hate it, it’s a style with a very defined outline, one that has its roots in in the painted arts of the 20th century and that continued to branch out in other domains. These days, minimalism is especially present in design, fashion, and photography. A simple scout around websites such Continue Reading
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Minimalism is splitting the world in two. Love it or hate it, it’s a style with a very defined outline, one that has its roots in in the painted arts of the 20th century and that continued to branch out in other domains. These days, minimalism is especially present in design, fashion, and photography. A simple scout around websites such Continue Reading
The post A Beginner’s Guide to Minimalist Photography appeared first on Photodoto.
When it comes to creating a successful portrait, there are a lot of moving parts! We talk often about finding the light, composition, and camera gear when it comes to portraits. While all three of those things are important in creating your final image, they aren’t the only variables at play.
Another important aspect in capturing portraits is angles. Understanding and making good use of angles in portrait photography, allows you to capture images of your subjects in the most flattering way, unique to each person you’re photographing.
Under the umbrella of “angles” are two different aspects – facial view, and camera angle. Facial view simply refers to how much of a person’s face is visible in the photograph. Whether or not you recognize the term facial view, you probably understand that there’s a visual difference between a photograph of someone looking directly into the camera, and a photograph of them in profile. These are examples of both ends of the facial view spectrum. In addition to facial view, you’ll also want to learn to utilize camera angle in portraiture. Camera angle refers to whether you’re holding the camera at eye level, or above or below the eye level of your subject.
The concepts themselves are pretty simple, right? However, the difficult part is learning how each of these variables interact with each other, and your subject. Let’s walk through some visual examples of different facial views and camera angles using the same gear, subject, location, and same time of day, while observing how different angles change the look and the feel of each image.
One of the most common camera angles for portraits is to place the camera at the subject’s eye level. This camera angle results in a final image that is balanced, and proportionate between head and body. It also allows for the subject to look directly into the lens, which tends to create the feeling of connection in a portrait. This is a flattering camera angle for most people.
Shooting from a high camera angle (with the camera above the subject’s eye level) is another great option to try in your portrait photography. With this angle, the focus is on the face rather than the body and can be a very slimming angle for adults. I’m not at all concerned with making children seem slimmer than they really are, but find that I use this angle a lot when photographing children because I like the way that it emphasizes the childlike qualities of kiddos. I find that parents tend to really enjoy photographs of their children taken from a high camera angle, and I believe that’s because parents see their children from this angle quite often in their day-to-day life, so it feels very natural and candid.
As a bonus, shooting from a high angle makes it really easy to achieve good catch lights in their eyes, and can also help to camouflage a less than desirable background. On the other hand, this camera angle may not be to your advantage in some situations; if your subject is very thin, shooting from above can sometimes make your subject look like a bobble-head, which is very rarely flattering.
Shooting from a low camera angle (with the camera placed below the subject’s eyes and tilted up) can make people seem tall and authoritative, but can also tend to make people (their body in particular) look larger than they really are, which is not very flattering for most people.
This is particularly important to keep in mind if you’re photographing someone who is taller than you. If you’re 5’2″, and the person you’re photographing is 6’4″, you may need to be creative to make sure that you’re not photographing the whole session from a low camera angle. Have your subject sit, crouch, or find something that you can climb on to create a more even plane, for at least some of the photos – it really will make a difference.
I’ve used this camera angle a handful of times with newly walking babies, and could envision using it with a wider angle lens (to capture more of the body) if I were photographing a politician, a football player, or someone who wished to appear particularly powerful. Overall though, this is usually not the most flattering angle for portraits.
Don’t be afraid to experiment. Try capturing the same image from two different camera angles. The image above demonstrates how the same subject and pose appears from eye level, as well as from a high camera angle. If you did a poll, I bet you’d find that some people prefer the eye level shot, and some prefer the high camera angle. This is largely a matter of taste and preferred aesthetic, so I frequently make a point to include both sorts of angles in my portrait sessions.
Photographing a subject full-face means that their face is pointing directly towards the camera lens – you can see both ears, and both sides of the face in equal amounts. Full-face portraits often convey a sense of confidence and assertiveness, especially when the person being photographed is looking directly into the camera with their eyes also.
Other facial views include 3/4 view, 2/3 view, and profile view. With 3/4 view, the subject has turned just enough so that one of their ears is no longer visible to the camera. With 2/3 view, the subject has continued to turn so that their nose is just about to break the plane of their back cheek. For a true profile portrait, the subject’s face is turned 90 degrees, and is perpendicular to the camera.
Shooting with the subject’s face turned to 2/3 view or 3/4 view tends to convey a more casual, and less assertive portrait. Images shot with a 3/4 facial view, and the subject looking just off camera, are often the most successful candid images, because the facial expressions are still easily visible to the viewer. Similarly, shooting in profile allows for portraits that feel unposed, while also being graceful and demure (particularly when shot in silhouette).
The best way to begin to learn, and really understand angles, is to grab a friend and go experiment. Take photos from every camera angle you can think of, including non-traditional angles like a bird’s eye or worm’s eye view. Then, take a photo with every facial view – full face, 3/4 view, 2/3 and profile. If you’re really feeling ambitious, try combining facial views and camera angles – does the feel of the portrait change if you shoot full-face from eye-level versus from a high camera angle?
Chime in below, do you find that you gravitate towards images with a particular facial view and/or camera angle? What tends to be your preference and why?
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[ By WebUrbanist in Destinations & Sights & Travel. ]
The Nolli Map of Rome is one of history’s most famous works of cartography, and now a new iPhone and iPad app lets you use it to navigate in realtime, helping you both lose and find yourself in one of Europe’s most marvelous ancient cities.
Finished in 1748 after 12 years of research by Italian architect and surveyor Giambattista Nolli, this innovative map represented a novel approach to figure-ground representation. Streets and open public spaces were, for instance, predictably depicted as voids against a backdrop of solid hashes, but so to were enclosed civic spaces like the Pantheon.
The original engraved city map consisted of 12 copper plates spanning 40 square feet, and, at the time, was the most accurate representation of the city to date. Honoring that tradition, this digital experience replicates many original features and details from the vintage original.
So why would you want to tour modern Rome with a centuries-old map? Its creator, Martin Koppenhöfer, explains that “despite its age, this map is still very valid for most parts of the Roman center.” He also notes that “it is quite entertaining to find your way with this app. Pedestrian navigation is very different … you don’t have to know every street or turn, just go into the right direction.”
Think of it as part walking tour, part adventure and part historical education. Using an old map to navigate a city lets you find things that might have otherwise escaped your attention. It also allows you to distinguish between more permanent fixtures of the historic built environment and more contemporary changes and additions. If you lack a compatible device for the app, you can also check out an online interactive (but less mobile) version of this iconic map.
“In designing the present edition,” Koppenhöfer elaborated in and interview with WebUrbanist, “we have spent great care with the aim to be as close to the original as possible regarding the labeling and the structure of the directories. Therefore the app reproduces in the indices on the left side of the map exactly those types in the exact order and (to the contemporary reader occasionally appearing outmoded) notation as provided by Giambattista Nolli in his indices. By selecting an entry you will be led to the corresponding location on the map. You can also browse by tapping on one of the numbers on the map to see what it is about.”
The original version is meticulously adhered to, providing an updated digital experience while maintaining original notes and styles. “The explanations of the signatures and line styles,” says Koppenhöfer, and “hatches and selected abbreviations are reproduced in their original form (see “Legend”). You can access Nolli’s original spelling of the indices, legend, and other signs at the bottom of the English version in Italian language.”
[ By WebUrbanist in Destinations & Sights & Travel. ]
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Presets this and Presets that. It’s like the world has gone Lightroom Preset mad of late. Some people hate them, others rave about them! So where do you start? Well, the beginning is best really.
When Lightroom was only a beta program (and for Mac only), one of the big features was that you could make changes to an image in the Develop Module, and save those settings to apply them to another image directly! They didn’t even have to be in the same shoot. (Lightroom organized by shoots then, not folders). Unlike Actions in Photoshop, the setting changes were immediate, and easy to undo. These were the first Presets. While they worked pretty much like Presets today, they weren’t as versatile as they are now.
Presets are files that allow Lightroom to apply particular Develop settings to an image. They appear in the Left Panel of the Develop Module in the Presets Panel. They’re also available in a drop down menu in the Quick Develop panel in Library.
Lightroom ships with a range of Presets, which are stored in folders based on the type of Preset within. This organization suggests a great way to store Presets: organize by what the preset does.
With the Preset and Navigator panels open, hover over one of the default Presets (you may need to click on the folder triangle to open it). You should see the Navigator preview change to show what the preset would do to the image if you click and apply it. Now if only you could make the preview bigger!
A preview of the preset will appear in the Navigator window top of the left side panel.
You can get a handle on Presets by making them, exporting them, sharing them, and even importing Presets from other people. First you need to make changes to your image to be able to save a preset. You could start with a Tone Curve adjustment. First, go to the Tone Curve panel, and click on the Point Curve icon (indicated with the red box).
Next, click about one third of the way from the bottom. Finally, click the square point on the bottom right of the box, then drag it up while holding the Shift key. The blacks in your image will fade to give a nice retro, matte-finish look. You can see the difference by pressing the Y key to see a before and after view.
To save this look to use again, go over to the Presets panel and click the plus (+) in the panel header. You can also choose New Preset in the Develop menu or use the keyboard shortcut: Shift + Control + N on PC, or Shift + Command + N on Mac. This opens the New Develop Preset dialog box, where you save your settings.
This is a good time to talk about what to include when you save your Presets. You can just save everything into the Preset (which is the default). There’s no harm in that, but generally it means the preset will only work on images that look similar to the one you started with. It also means that preset will overwrite all develop settings in the image, so any other work you’ve done to the image will be lost.
But, there is a better way. The second option (besides saving all settings) is you exclude Exposure from your preset. This means any changes to the apparent brightness of the image you made remain intact. That’s a win straight away.
The third option you have, is to save only the settings that are making the change to the images. You’ve just used the Tone Curve here, so you could press the Check None button, and then tick Tone Curve, followed by Process Version – it’s best to always include that last one so that all the other settings apply correctly.
For organization, you could also create create a new Folder for these Presets. To do that, click the Folder menu and choose New Folder at the top of the menu. Name the Folder Tone Curves. Finally, you can give the Preset a useable name. While flowery names might work for selling your Presets as artsy product, in reality, you’re better off using a name that reminds you what the Presets does. You could use Fade Blacks, or Lighten Blacks, for this one.
This Preset can now be applied to any other image. You could test with an image that has other settings already applied, like a black and white photo for example. Notice how the image remains black and whie after applying the Preset? If you’d saved everything into the preset, the image would’ve turned back into color, because one of the options selected was the B&W Treatment.
You can also share this Preset by right clicking on it, and choosing Export. Notice that you can also choose Import from here (as well as Apply on Import) which is how you also get shared, or purchased Presets, into Lightroom. Apply on Import is different, and refers to when images are being Imported into Lightroom, selecting that will change the settings on each photo brought into Lightroom automatically. Also in this menu is, Update with Current Settings. This allows you to make changes to your settings, then save them to an existing preset instead of making a new one.
Back to Export: When you click Export, you get an OS Save window. The suggested filename will be the name you gave the preset, followed by ‘.lrtemplate’, which is the required file extension for Presets. Save them somewhere useful, like a folder called Saved Presets.
You might be wondering where the Presets you haven’t exported are stored. Fortunately Lightroom does allow you access to them. You can get to them by opening Lightroom Preferences (which you’ll find in the Edit menu on PC, and the Lightroom menu on Mac). Click the Presets tab (in blue below) when the Preferences box opens. In the middle is a button that says Show Lightroom Presets Folder. If you click that a folder will open, with a subfolder called Lightroom selected. Open that folder to see all of Lightroom’s Presets and Templates folders for Develop, Slideshow, etc. The one you want is called Develop Presets.
If you have a lot of downloaded or purchased Presets to add to Lightroom, it is quicker to open this folder, drag the new Presets into it (preferably in their own folder for organization) and then restart Lightroom to load them. Another way to get to a Preset is to use the Show in Finder/Explorer option from that right click menu earlier.
The last thing worth a mention in this article is the Store presets with this catalog checkbox. This does what is says, but the practical reality is that it means if you then use another catalog, you don’t have access to your Presets. So in general I recommend not using that option.
Hopefully now you know a lot more about Lightroom Presets than when you started. If you have any questions or comments please share them below.
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I had tried Lightroom in the past, but always preferred using Apple’s Aperture photo editing program. But in the spring of 2014, when it was announced that Apple was no longer supporting Aperture, I decided to make the leap to Lightroom. At first I found it difficult to use and not really intuitive, but I soon found my way around and I was a Lightroom convert.
If you are new to Lightroom and don’t know where to start, or have thought about using it but feel overwhelmed, then please know I feel your pain, and know where you’re coming from. I wrote this Beginner’s Guide to Lightroom to help you, and I wish I would have had something like this when I first got started. It’s designed to help you through a few basic steps from opening up Lightroom for the first time, making two basic edits, and exporting (saving) a final version of your picture.
In a nutshell, Lightroom is a program that can manage and edit your images. The catch, though, is that it doesn’t really edit your images, or actually manage anything either. Instead, the program works by looking at pictures you have stored on your computer, and allows you to create instructions for how you want to change them.
For example, let’s say you have a photo of a squirrel that’s a bit dark so you want to make it brighter. Lightroom doesn’t touch the original image! It doesn’t move it, copy it, rename it, or change it in any way. Instead Lightroom, is a non-destructive editing program, that allows you make changes to a preview or thumbnail version of the picture, which means you can see what the final image will look like after you make it brighter. When you are finished with your editing you export (or save as) a final image from Lightroom (again leaving the original file completely un-touched) and voilá, you now have a second, much brighter photo, to print or share with others.
Lightroom stores a record of all the changes you want to make to your images in a separate file called the Catalog, which is stored independent from your pictures. The best analogy I can think of is that of a kitchen: your original pictures are kind of like the raw ingredients in your cupboards, and the Lightroom Catalog is like a recipe book. Lightroom doesn’t do anything to your ingredients (your original files), but instead saves the instructions for transforming your supplies into actual finished products (in this case output edited images), just like recipes for your photos. When you are finished, your original image files still remain, but you have a new creation (i.e. an edited picture) that you can share with others.
Before we get too deep into the weeds here, it’s important to back up a bit and look at another program called Adobe Camera Raw (ACR), which allows you to perform all sorts of edits and changes to your Raw images – from simply making them brighter or darker, to selectively editing colors, or working with curves. You may already have it on your computer and not even know it, and it’s actually the engine that powers everything Lightroom does in terms of editing your images. Every change, adjustment, and tweak you do to one of your photos in Lightroom, is actually being done by ACR. Understanding how this fits in might seem a bit extraneous to the overall Lightroom discussion, but it’s important to know how all it works together if you want to make sense of Lightroom itself.
You and Lightroom: best buds for life.
When I initially launched my copy of Lightroom four years ago, things started to go south within a matter of seconds. It asked me about making a Catalog, and wanted to know where to store it, and I started channeling my inner Gob Bluth while muttering to myself, “I’ve made a huge mistake.” If this sounds like you, don’t worry – there’s really not much going on here that you need to worry about, and everything will be fine. Remember the kitchen analogy I mentioned earlier? All your computer wants to know right now is where to store the Catalog, or recipe book, that it will use to keep track of the changes you want to make to your pictures. You will need to create a new Catalog, and specify its location on your hard drive. I just keep mine within my Pictures folder.
Lightroom wants to know where you would like to store its Catalog, or database of edits you want to make to pictures. If you’re not sure what to do here, just click the “Continue” button.
Some people are very specific about where they want this Catalog to be located, and professional photographers will often have multiple image collections and many catalogs as well. Honestly, if you just want to figure out how to use Lightroom you can just click the “Continue” button and go about your business. For casual photographers the exact location of the Catalog file is not all that important, so don’t sweat it.
Note: do not store your catalog on an external hard drive though, it will not run optimally or may not run at all. Keep it on your computer’s main drive. If in doubt just click Continue as noted above.
In terms of new-user-confusion, the next screen (the Library module) you see is not much better. Upon encountering it for the first time I felt like someone had quashed my photography enthusiasm with a scary dull grey veil. There are a few tutorial hints that pop up in the middle, which aren’t very helpful, and after you dismiss them you’re left staring at an empty dark wasteland, wondering why you didn’t just stick to using Instagram filters like everyone else.
If this screen doesn’t make a new user run screaming from Lightroom, I don’t know what would.
What you’re looking at here is your entire library of photos, but it’s empty because none have actually been imported yet. There’s plenty of other options and buttons here as well – enough to confuse even the most experienced user – so for now just ignore the Catalog/Folders/Collections stuff on the left side, and all those Quick Develop options on the right side. And for heaven’s sake, don’t give a second thought to those strange chessboard-like icons at the bottom. Just take a breath, grab your memory card and your favorite beverage, and get ready to import some photos. Plug your memory card into your computer, then click the “Import” button in the lower-left corner to start transferring your pictures over to your hard drive. You can also import photos that are already sitting on your computer, but for now I want to focus on the kind of workflow you might encounter, as a photographer who just wants to figure out this program.
The first thing you see once you have your memory card connected is a grid with tiny thumbnail previews of all the pictures on your memory card.
Note: You can also connect to your camera directly – however, it’s a better idea to use a card reader then plug in your camera directly. If the camera battery dies during import you can crash the card and damage or lose your images.
There are all sorts of options on this screen, but if you just want to get the basics down, here’s what you need to look at:
When you’re all set, click the Import button in the lower-right corner of your screen. Your computer will beep or chime when everything is done, and you’ll be ready to start editing your photos!
After your photos are imported things start to get really crazy, but once again just try to ignore all the new things that show up on the side of your screen, and focus on just a few of the essentials. First of all, don’t start making edits or changes to your pictures just yet.
Instead, look at the left side of your screen and find an area called “Collections.” 
Remember that Lightroom doesn’t actually do anything with the original pictures. When you clicked Import, it copied them over to a folder on your hard drive where they will remain, intact and untouched, until the end of time. What you can do is organize the pictures into Collections within Lightroom itself, in order to keep track of them more easily. Collections function just like playlists in iTunes or Spotify, and allow you to sort photos manually or automatically, based on how you want them to fit together. Click the + button on the right side to make a new Collection (i.e. Playlist), Smart Collection (where sorts your photos automatically based on criteria you specify) or Collection Set (a folder containing multiple Collections). Once you have a Collection created you can populate it by dragging and dropping your photos over to it, just like in iTunes. During this process the original images stay exactly where they are on your hard drive, you are just using Collections to help manage them a little easier.
Read more on collections and organizing here: How to Organize Your Photos in Lightroom
Once you have your images sorted into Collections it’s time to start editing them. (Or you can start editing without doing any sorting at all. It’s up to you.) Click the “Develop” option in the top-right corner of your screen to begin making changes (or click D on your keyboard). At first I was put off and confused by the term Develop, but Adobe used it to hearken back to the days of darkrooms and analog film photography. (which some photographers still use even today). Before digital cameras you had to actually get your film developed before you could see your pictures, and that’s essentially what Lightroom is trying to emulate here in the Develop module. If it doesn’t make sense to you yet, just pretend it says “Edit” instead of “Develop” and you’ll be fine.
You are now in the Develop module, which is one of seven different working states available inside Lightroom, the rest being: Library (which you started in), Map, Book, Slideshow, Print, and Map. I ignore all the others, and spend about 98% of my time in either Library or Develop, and as a new user I would recommend the same for you.
At first when you click on the Develop module it might not seem like anything is different, but look again and you will see that all the metadata information that was on the right-hand side of your screen has been replaced with a series of panels like Basic, Tone Curve, Lens Corrections, and more. Don’t start hyperventilating! I promise this is easier than it may seem at first. There are a metric ton of tutorials and web pages online devoted to helping you understand the Develop module, but right now I just want you to focus on two simple things: Cropping and Exposure.
One of the most basic edits many people do, is to trim them down so just the important parts are in the frame, and get rid of things along the edge like trees, trash cans, bystanders, and the like. To do this click the square icon under the colorful graph called the Histogram, (or use the keyboard shortcut R) and you will see a nifty overlay appear on your image that you can use to crop it down how you want. Also read: How Cropping in Post-Production Can Improve Composition
Use the corners of the rectangle overlay to crop your picture down so it contains only what you want, then when you are done press the [enter] or [return] key to see the results. Remember what I said earlier about Lightroom being nondestructive? It might look like you have just removed part of your photo, but the original is entirely untouched, and remains fully intact on your computer. What you are actually editing here is a placeholder – a preview of what the final image will look like – not the actual image itself. None of your edits in Lightroom are permanent, and you can reverse or undo any editing decision you make, so don’t be afraid to play around with it, kick the tires, and just start trying things even if you’re not entirely sure what the result will be.
But your original file remains uncropped on your computer – Lightroom only shows how it will look if you apply this setting.
The other common edit that people make to their images is adjusting the brightness, often to fix an image that is too over or under-exposed. This can easily be done with the top panel on the right side of the Develop module, appropriately titled “Basic.” Look for the slider called “Exposure” and move it to the right or left in order to make your picture brighter or darker.
Once again you will notice the changes you make reflected on the picture you see, but keep in mind you are not actually editing the original photo. Your instructions to crop, brighten, or otherwise change the picture are being stored in the Catalog file, while the original remains untouched. At this point you can go ahead and experiment with all the other options, tools, and sliders you see in the Develop module and take note of how they alter your photo. Even if you are not at all sure of what is happening just remember that Lightroom is nondestructive so you may as well play around with things to your heart’s content, since your original pictures will never be altered, and are safe.
Read more on the basic editing tools and sliders here:
Once you have made all the changes to a picture that you want, it’s time to export the final photo. This is again where the cooking analogy may come in handy, since this step is similar to putting your cake, casserole, or quiche, in the oven so it can bake. You still have the original ingredients on your counter and in your pantry, but once your timer beeps you will have an entirely new creation based on the recipe you used.
In Lightroom you edit photos instead of making pastries or pies, and the Export step is when you put them in your virtual oven to be processed. You may also think of this as opening up a document or spreadsheet, making some changes, and then choosing “Save As” instead of “Save.” This leaves the original document intact while creating a new one with your changes, much like exporting a picture in Lightroom leaves your original image as it was, and gives you a new edited version, complete with all the edits you made.
When you are ready to export a photo or multiple photos, select the ones you want while in the Library or Develop module and choose “File > Export”, which will bring up yet another confusing dialog box filled with head-spinning options and choices. Hopefully by now you are getting a little more used to this sort of thing when using Lightroom, but if not just focus on a few specific items on this screen.
On the left side you will see a few presets for exporting your photos, depending on whether you want to print them, email them, etc. You can also create your own presets for exporting, but for now don’t worry about that and just focus on a few specific settings.
Once you get the hang of the Export box you can create your own presets for saving pictures with specific parameters that you choose.
If you’re not sure which option to choose, start with “Full-Sized JPEGs” and then modify things just a bit by tweaking a couple settings (make sure Export To: is set to Hard Drive at the top of the box). Then find and adjust the following:
These settings will give you pictures that are large enough to print up to about 5×7″ size, or share on social media sites, (for email use a slightly smaller size like 1200 or 800px). When you’re ready, click the “Export” button in the lower right corner and you’re all set. As long as you did the last part, Lightroom will open a Finder (or Windows Explorer) window showing you all your new images, and where they are on your harddrive. Lightroom will probably save the edited copies of your pictures to your Desktop (the default) but you can double check this using the “Export Location” option (at the top of the box) in the Export pop-up box if you want.
Read more here:
The original photo was okay, but Lightroom helped me coax much more detail, color, and vibrance out of it.
This all seems like a lot, but hopefully if you have made it this far, you now have a good understanding of a very basic Lightroom workflow. If you take away nothing else from this tutorial, remember these few precious nuggets of wisdom:
I hope this Beginner’s Guide to Lightroom was helpful. Please leave any thoughts or questions in the comments section below. Good luck, and feel free to share some of your favorite images that you have edited in Lightroom too!
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It’s time to celebrate all the Father’s out there.
Say thanks for the life lessons, the games of catch, and most of all the jokes!
Save 10% on your order with the code Dad10. Be sure to order by this Monday 6/13 with Priority Mail for Father’s Day delivery.
Read along to see gifts your Pop really wants (hint: no ties).
(…)
Read the rest of Yo Daddio:
It’s a Father’s Day Gift Guide (0 words)
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Before Sony ever put a 1″-type sensor in a compact, there was the Canon PowerShot G series. If you wanted extensive controls without all the weight of a DSLR, the G-series compacts were where you looked. The PowerShot G16 was the last in that line, sporting a 12MP 1/1.7″ sensor before Canon ushered in a series of 1″ compacts with a similar form factor.
The G16 may be gone from retailer’s shelves, but it is not forgotten. It’s also the subject of a recently published iFixit disassembly guide. The good people at iFixit publish product-specific disassembly guides, written to help common folk make simple repairs to their own electronic devices. They’re also an easy way to peek inside a modern digital camera without voiding your warranty. This week, we look inside the Canon PowerShot G16.
See the Canon PowerShot G16 iFixit disassembly guide
See the iFixit’s Canon PowerShot G16 repair guide
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The first disassembly step (after taking the battery out, of course) is an easy one. The G16 offers an accessory attachment point around the lens, which is covered when not in use by a metal ring. Pressing the button on the front panel next to the lens frees the ring.
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Next comes the removal of the screws. Many screws. Including this one hiding next to the viewfinder…
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…And another tucked next to the ports.
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With the first round of screws removed the back chassis can be removed from the body, revealing just a peek at the motherboard.
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The front panel can also be carefully removed…
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…And after removing another screw, the port cover is ready to go.
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This ribbon cable on the back panel connects the buttons to the motherboard, and can be carefully removed.
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The button circuit board comes free with the removal of a couple of tiny screws, revealing a cable connecting the motherboard to the LCD. Got your spudger handy?
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In order to free the cables you’ll need to lift this little tab. A spudger is just the tool for the job.
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And with that, the LCD is free.
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The copper shield (likely for heat dissipation) can be removed.
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More screws are removed, freeing the viewfinder casing.
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With the metal shield removed, the network of cables underneath is revealed. The ribbon highlighted here connects the top panel with the motherboard and will need to be removed from the motherboard with the trusty ol’ spudger.
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The top panel is ready to go once it’s free of its connections to the motherboard.
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Lose a few more cable connections and the motherboard is ready for removal.
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The front lens covering is next to go after the five screws connecting it to the front plate are removed.
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At this point there’t not much camera left, and the lens module can be removed from the rest of the housing with one last screw removed.
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But why stop at removing the lens? The viewfinder can be taken right off the top of the lens assembly.
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A few more odd screws removed and that’s it – the Canon PowerShot G16 is reduced to its bare bones.
Articles: Digital Photography Review (dpreview.com)
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Few of us will ever be so bold as to take a screwdriver and a spudger to a beloved camera. But how do we satisfy the urge to know what’s going on inside of it? For curious types with a weak constitution for taking things apart, there’s iFixit. The good people at iFixit publish product-specific disassembly guides, written to help common folk make simple repairs to their own electronic devices. They’re also an easy way to peek inside a modern digital camera without voiding your warranty. This week, we look inside the Fujifilm FinePix X30.
See the full iFixit Fujifilm X30 disassembly guide
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Like so many other things, it’s best to start this project at the bottom. After removing the battery, you’ll go about removing screws from the camera’s chassis, including these three on the bottom plate.
Image courtesy of iFixit
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Once you’ve removed enough screws, the bottom and back panels can be pulled back. So what’s underneath? A whole mess of ribbon cables.
Image courtesy of iFixit
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For starters you’ll have to detach these five ribbons that are connected to the motherboard.
Image courtesy of iFixit
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After a little spudger action and disconnection of cables from the surrounding circuitry, the copper plate underneath it all is revealed. The copper plate is likely for heat dissipation.
Image courtesy of iFixit
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Attached to the other side of the copper plate is the X30’s 12MP, 2/3″-type sensor. Lifting it out of the way reveals the lens.
Image courtesy of iFixit
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With a few screws removed the motherboard can be tilted upward. To completely remove it you’ll need to desolder the black, grey and red wires seen here.
Image courtesy of iFixit
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And now we come face-to-face with the lens assembly. Remove a few screws…
Image courtesy of iFixit
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…and the lens is free for removal. It’s a 28-112mm equiv. F2-2.8 zoom, by the way.
Image courtesy of iFixit
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Working with the flash capacitor requires some careful maneuvering. As the circuits store charge to power the flash unit, touching the leads at the bottom of the circuit could result in a nasty shock. More desoldering is required here to get this board free.
Image courtesy of iFixit
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With the eyepiece removed and just a couple more screws taken out of the LCD panel, you’ll have successfully disassembled your Fujifilm Finepix X30. Congratulations, you’re a monster.
Image courtesy of iFixit
Articles: Digital Photography Review (dpreview.com)
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Mama gave you life and your creative eye.
Say thanks with a Photojojo gift and take 10% off with the code Mama10.
Plus, if you use Mama10 by 5/2, you’ll get $ 15 to spend in the Parabo Press photo printing app on 5/7 – Mother’s Day Eve.
Pass it along to Mom, or keep if for yourself (we won’t tell).
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Read the rest of Mother’s Day Gift Guide (0 words)
© laurel for Photojojo, 2016. |
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