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Posts Tagged ‘Shooting’

Challenge: Shooting portraits using just an iPhone, a flashlight, and a Big Mac box

30 Aug

Great gear can make a big difference when it comes to the quality of your photographs, but we all know that good gear does not a great photographer make. What’s more, a great photographer can do amazing things using really mediocre equipment.

Case in point: watch portrait photographer Philippe Echaroux take on what he’s calling “Big Mac Portrait Challenge.”

Usually Echaroux uses Hasselblad digital cameras, Elinchrom lights and other expensive (for a reason) equipment to capture his professional portrait work. But he was recently asked to make due without any of that; instead, he would be using an iPhone for shooting and retouching, a small flashlight, and a Big Mac box from McDonald’s. Yeah… seriously.

The final shots benefit from a lot of post-processing, of course. In all, Echaroux used VSCO, Photoshop Fix, and Lightroom Mobile to tease out something that looks a lot more professional than you’d expect from his meager setup. But The basic gear and lighting was all the same: iPhone, flashlight, Big Mac box.

Whether you’re shooting an astronaut in a darkened Soyuz capsule with a 10-year-old DSLR and an iPhone flashlight, or taking the so-called Big Mac Portrait Challenge, don’t let lack of gear intimidate you. If nothing else, it might lead to a cool story or creative video.

Articles: Digital Photography Review (dpreview.com)

 
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Exclusive: Nikon D850 high res samples and pro shooting experience

26 Aug

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For the past two weeks, sports photographer Andrew Hancock has been shooting with a pre-production model of the Nikon D850, putting it through its paces to see if there was anything Nikon’s new DSLR couldn’t do. Lucky for us, he and Nikon agreed to share some of his sample images with DPReview exclusively, as well answer a few shooting experience questions about the D850.

Our short phone interview with Andrew has been edited for clarity.

How many generations of Nikon DSLRs have you used?

I actually switched over in 2010. The first Nikon I owned was the D3, which at the time for me was absolutely remarkable camera.

I had one D3, two D3s’s and a D3x to start me off. Since then I’ve owned most of the DSLRs Nikon has released. I have one D800 left (I used to have multiple, but this the one my only cover for Time was shot with it, so I’ve kept it on the shelf), three D810s which, surprisingly, see more action than anything else in my kit, two D5, one D500, one D750, one D4s, two D4’s, and a D300s converted to infrared.

What features of a DSLR do you use/value the most?

I love shooting athletes in motion, so it’s really portrait work at its core. It’s why I love the D810: the files that camera produces are so fantastic. So resolution is really important for me more-so than framerate, even when shooting sports.

When I do basketball, for example, I usually have strobes up in the catwalk and so you’re limited to one frame at a time. As important as 12fps is with the D5 (and I do use it regularly), even then I find my best pictures are the first or second frame in any sequence because that’s my initial reaction.

12-14fps is great, but I rarely ever pick any of the later frames. The D5 for me is killer for remote camera use (horseracing, basketball using available light, etc.) but the D850 was the perfect marriage of everything I needed. It’s hands down the most versatile camera I’ve ever handled. When I had the conference call with Nikon and they introduced it to me, telling me the specs, it was everything I had been hoping for and then some. When I had it in my hand for the first time, all those expectations were met… and when I saw the first RAW files, they were blown away.

What was your wishlist for a D810 replacement?

I was hoping to be in the range close to 50MP, which they did, and as far as frames per second I would have been happy with 6, so having 7 and the option of 9 with the grip was phenomenal.

More important than fps for me was going to be ISO performance though. I do so much work behind the scenes with teams and athletes, where you’re working with only available light. Having that high ISO performance I’m used to with the D5, I really wanted to see a camera that performed closer to that, definitely better than the D810. D850 definitely hit the mark.

Doing some testing in an alley with a bodybuilder, we shot portraits at ISO 5000 and they held up! It was really eye opening to see what we could do with that camera, and how well it was reading light and processing it. Every time I would try to push the camera to its limits, it kind of pushed me back. It’s a really fun situation to be in because up to this point in my career, I’ve made a habit of pushing my gear (cameras, lenses, lights) to their limits; this camera changed the equation for me because instead of me pushing it, the camera was pushing me.

We spent 2 weeks running around like crazy shooting whatever we wanted and having a blast.

What are the most significant upgrades in the D850 compared to previous Nikon DSLRs that you’ve used?

The things I was really impressed with (and wasn’t expecting) was the AF improvements for this compared to the D810. It’s dramatic. The fact that it could hold AF at 7-9fps… this camera is going to perform for you in any situation.

One of the most challenging situation I shoot is swimmers coming at me in butterfly. Since they’re constantly coming up and out of the water, it can be a real challenge for an AF system like you see on the D810. By comparison, the D850 performs incredibly well. In the past, the best focus was coming out of the flagship pro body; the D850 gets me that same system but at a pretty crazy price point.

Honestly, it’s tough to put into words. I was surprised by the frame rate they were able to get. And incredibly impressed by the high ISO performance. I was very happy to see the MP range they put it at. Every time I would look at a file I thought might be challenging, I came back with “wow.” It passed with flying colors. It was never, “it kind of let us down” here or there.

Is the D850’s AF performance on par with the D5? What’s your experience comparing the D850 to the Nikon flagship?

I’d put it on par. The D5 still has an edge, especially with how fast it can shoot, but I say that with the caveat that I haven’t used the D850 with the battery grip. So even shooting without the grip, it’s on par. I would have no reservations having it in my hand shooting a football or basketball game.

The real trade off between the two cameras is ISO. With the D5 you are going to be better at high ISOs because that’s what that camera was built for—you’ll sacrifice a little bit of that performance for the extra resolution. But that’s a sacrifice that I’m personally wiling to make. The D810 has been my workhorse for years, and now the D850 will be.

I think people are going to be really impressed by the dynamic range, the tonal range, the clarity… everything.

What kind of photographers do you think will most appreciate the D850/find it most useful?

I’m not really sure. I don’t think you can put this thing in just one segment because it’s kind of like a decathlete: itcan do anything. This is a camera that can perform well in any situation you put it in. From a sports perspective, I’ll use it like crazy without any reservations.

I’m most known for my sports work, but I shoot a lot of photojournalism and in that genre you have to be able to shoot and cover anything—from food photography, to landscape and portraiture. This camera can handle it all. I don’t see, like you do with some other bodies, that this is “geared” more towards this or that. This is geared towards photography.

You look for the weaknesses when you’re testing it, but with the experience I’ve had so far I have yet to find what application or genre it’s going to struggle with. It just keeps performing.

And that holds for the colleagues I’ve talked to who have used it. They all have great things to say about it. Photographers by nature complain about “X Y and Z “ on occasion and occasionally a lot, complaining about what we don’t have. But it’s hard to find something this camera doesn’t have, at least for me.

I put the D850 in as many situation as I could put it in and it performed… the real question is what can’t it do.

Is there anything you still want to see improved / added?

Not as far as performance, no, and I haven’t even shot with a grip yet. One of my favorite older bodies is the D3x, and I think having a camera with this kind of resolution in that package would be intriguing, but at the same time I like having a little more weight off my shoulders.

They’ve improved the ergonomics, it’s got a deeper grip which I really like, the new viewfinder is fantastic—there’s not a lot to complain about. Again, it would be interesting to see it in a full size body like the D5, but it’s not really necessary… I mean, there’s a reason why I’ve preordered three of these.

Articles: Digital Photography Review (dpreview.com)

 
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Shooting the solar eclipse at DPReview headquarters

22 Aug

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Most of us on the DPReview staff followed our own advice today: we put the cameras down, donned our eclipse glasses and just enjoyed today’s total solar eclipse… most of us. Unable to contain himself, our own Rishi Sanyal decided last-minute to ignore all sound advice, hack together a rig and photograph the eclipse from DPReview headquarters, risking the life of a young Sony a7R II in the process.

This is one of those “do as we say, not as we do” moments, because we would never recommend anybody risk their camera gear by not using a proper solar filter to shoot the sun. Rishi knows his stuff, though (to put it mildly) so he stacked a few filters to create a proper rig that would most likely keep the camera safe. The rig included:

  • Sony a7R II
  • Metabones EF-E Smart Adapter (IV)
  • Canon 1.4x II teleconverter
  • Canon EOS 100-400mm F4.5-5.6L IS II USM
  • B+W MRC Nano UV filter
  • 10 stop glass ND filter with some IR filtration
  • 6 stop glass ND filter
  • Gitzo 1542T tripod + Markins ballhead

Fortunately for him (and that Sony sensor) his gambit worked. Between the UV protection of the UV filter, 16 stops of ND filter, and the IR filtration on the 10 stop glass ND, he was able to capture a few really sharp shots of the eclipse in action without burning a hole in the a7R II’s 42.4MP sensor.

Check out the rig, some sample shots, and a few behind the scenes photos from our building’s rooftop deck up top. And be sure to share your eclipse experience in the comments!

Articles: Digital Photography Review (dpreview.com)

 
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Sony a9 underwater review: Shooting great white sharks

22 Aug

Backscatter Underwater Video & Photo is the largest underwater imaging equipment supplier in the world. They love the water, and they personally dive and shoot with the gear they sell. This article originally appeared on their website, and is reproduced here with permission.


With the high speed shooting of the Sony a9 mirrorless camera and just released Nauticam NA-A9 underwater housing, we decided the best underwater photography test was to take it to the island of Guadalupe off the Baja California coast to shoot great white sharks.

The white sharks are a perfect subject to test with this camera due to their speed, relative unpredictability, stealthiness, and camouflage. All of these factors require a camera to have fast and accurate autofocus, fast continuous shooting mode, and a really deep image buffer to capture as many pictures as possible to nail that one special shot.

Sony designed the Sony a9 to do just that and aimed this camera to directly compete with the Nikon D5 and Canon 1DX II, both of which are the top cameras from Nikon and Canon for high-speed shooting.

Sony a9 Camera, Nauticam NA-A9 Housing, Sony 16-35mm Lens. Shot at 1/250 F8 ISO 320

Blazing Fast Autofocus Performance

The Sony a9 has a crazy amount of AF points at 693 when set in wide mode that covers 93% of the frame and updates focus at a stunning rate of 60 times per second. I used the Sony 16-35mm f/4 lens exclusively for this trip and let the camera pick from the 693 autofocus points on its own.

With this camera and lens combination, I did not have any problems with the camera and lens not tracking the subject, even during high speed “attacks” of the sharks going after the bait, when letting the camera choose on its own among the 693 AF points. Only when a shark was at the limit of visibility did the AF system lose the subject and started to track the water surface instead. When a shark came back to be within the limits of visibility, the AF system immediately picked it back up again. That being said, the visibility at Guadalupe Island is about 70 to 100 feet, which is so far beyond what any acceptable composition distance is for underwater photography.

A major advantage of the autofocus system of the Sony a9 is the ability to track focus WHILE rapid fire burst shooting without any screen or viewfinder blackout. This allows continuous shooting, auto focusing, framing, and zooming all to happen at the same time seamlessly. This was a godsend for the rapidly changing distance to subject and framing that happens as these sharks move through the scene.

For shooting technique, I just mashed down and held the AF-ON button on the back of the camera and the shutter release simultaneously, while at the same time moving the zoom knob and panning the camera for framing the shot. The camera continued to shoot and focus track the subject with no issues. This technique might seem rather crude, but worked quite well given the task at hand.

The Sony a9 is the fastest shooting full frame camera on the planet. Combined with super fast autofocus, it has the ability to capture the subtlest movements. This image sequence was shoot at 20 frames per second. 1/400, F11, ISO 1000

Fastest Shooting Speed for a Full Frame Camera Ever

The Sony a9 can shoot up to 20 frames per second in RAW with a 241 shot buffer when using the electronic shutter, and 5 frames per second with the mechanical shutter. The electronic shutter does not sync with strobes (not that a strobe could keep up!) while the mechanical shutter does sync with strobes. The custom function button C3 is setup from the factory to allow the photographer to choose between mechanical or electronic shutter.

There are three continuous shooting modes on the camera–high, medium, and low. I kept it on continuous high the whole time and used the C3 button to choose between mechanical and electronic depending on whether I wanted to use strobes in the shots.

For shots with strobes, I kept my strobes at 1/4 power to ensure a super fast recycle that would keep up with the camera’s 5 frames per second shutter. We hope that in the future Sony will make an electronic shutter that will sync with strobes and get past the mechanical flash sync speed limit of 1/250 second.

Sony a9 Camera, Nauticam NA-A9 Housing, Sony 16-35mm Lens. Shot at 1/250 F9 ISO 400

Exposure Technique for White Sharks—Auto ISO

With distances and the amount of light reaching the subject changing rapidly with shooting great white sharks, it’s hard to shoot fully manual and nail each exposure each time.

We’re up against a few limits that aren’t exactly ideal for going over to program auto exposure, aperture priority, or shutter priority. A fast shutter speed is needed to freeze the motion of the shark. A higher aperture is needed to get the corners sharp with a wide angle zoom lens behind a dome.

Needing to set both of these in the past has meant needing to shoot full manual exposure, but with Sony’s excellent ISO performance and customizable Auto ISO feature, manual exposure mode with Auto ISO is how I shot each one of these shots in this review.

Sony a9 vs. Sony A7R Mark II vs. Nikon D810

Sony’s stills image quality in their flagship cameras have been at the top of the heap of not only the mirrorless camera category, but also beating out top level SLRs as well for the last few years. The color, sharpness, detail, and noise levels are all excellent and find the Sony a9 among the top of the list in each of these categories.

While the higher resolution cameras of the Sony a7R II and Nikon D810 will edge out the Sony a9 in ultimate image quality, neither of those cameras come close to the speed of this camera, and it’s hard to find another camera besides these two that will outperform the Sony a9 in image quality with what we have available to shoot underwater.

Sony a9 Camera, Nauticam NA-A9 Housing, Sony 16-35mm Lens. Shot at 1/250 F8 ISO 400

Who Is This Camera For?

The Sony a9 doesn’t come cheap. At $ 4,500, it is the most expensive full frame mirrorless camera on the market today. Then again, it’s designed to run head to head against the Nikon D5 which does 12 frames per second, and the Canon 1DX II, which does 16 frames per second—those cameras are $ 6,500 and $ 6,000, respectively.

Sony definitely shakes up the established competition in this area by besting these cameras in terms of overall speed and image quality. While there may be additional features such as 4K 60p video and the best ambient light white balance out there with the Canon 1DX II, the Sony a9 comes in at a much lower price point, especially for the amount of still image shooting performance you’ll get.

If you are someone who likes to shoot fast moving pelagic sea life such as sharks, dolphins, whales, mantas, sailfish, etc., this is definitely the camera for you. The speed of focus, focus tracking and shooting, and 241 RAW shot image buffer is mind boggling and second to none. You’ll be able to get the shot with focus nailed better than any other camera out there today.

For someone who needs more resolution than 24 megapixels, and must have pro level 4K video with accurate custom white balance at depth, those are the only areas where this camera will fall short.

Articles: Digital Photography Review (dpreview.com)

 
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Shooting 101MP black-and-white photos with the Phase One XF IQ3 Achromatic

20 Aug

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Phase One recently sent award-winning portrait photographer Rick Wenner on a dream assignment. Equipped with the XF IQ3 Achromatic—the world’s only 101MP black-and-white medium format digital back—he was sent to Wildwood, NJ to shoot an odd event called the Race of the Gentlemen.

The annual drag racing event features pre-war era hot rods and motorcycles, speeding across the beach. It’s the ideal event to shoot in black-and-white, and when you’re shooting with the only 101MP digital back out there… well, all the better.

But why black and white only? Wenner explained in an interview with Phase One:

“Black and white photography is a great approach to focus completely on the detail and art of these beautiful machines. […] You aren’t distracted by a bright blue sky or a yellow-green paint job on a hot rod. You are not distracted by the colorful tattoos or the rust and patina of an old delivery truck. Your eye is only looking at what I want the viewers to see in my photos – detail, texture, facial expressions, style, shapes, and action.”

As for the camera itself, it was… hefty… as you might well assume. In addition to the weight of the XF IQ3 Achromatic, Wenner was using the Schneider Kreuznach 40-80mm LS f/4.0-5.6 and Schneider Kreuznach 75-150mm LS f/4.0-5.6 Blue Ring lenses, neither of which are exactly light.

Speaking with DPReview over email, though, Wenner tells us the extra weight was totally worth it once he got a look at the files:

The camera was heavier than what I’m used to with those zoom lenses but still manageable throughout the day. The files are ENORMOUS, as expected. The .IIQ (raw) files are on average about 150-175 MB. I loved working with the files because of the insane amount of detail captured and how much information can be recovered in highlights and shadows.

Check out the full set of photos from the TROG event up top. And if you want to see more of Wenner’s work, visit his website, check out his blog, or give him a follow on Instagram.


All photos by Rick Wenner and used with permission.

Articles: Digital Photography Review (dpreview.com)

 
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Photo of the week: Shooting portraits of the Himba people in Namibia

13 Aug

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My photography heroes are Steve McCurry, Sebastiao Salgado, Jimmy Nelson and Joey L for his work in Africa, India and Syria. Their work has always inspired me, being at once raw and gritty, and at the same time revealing a bullet-proof dignity in their subjects. I would love to be able to work in this space myself.

I understand that it’s a different era now and that grabbing a job at National Geographic is not a realistic option. I also know that no one is coming to knock on my door to hire me for this sort of work just because I would love to do it. There are no favours in this industry. If I ever manage to make this sort of work my full time job it will be because I have already proved that I could produce quality imagery in this area.

So I recently packed my bags and gear and headed to a country which has always held a special interest for me: Namibia. I went to the tribal homelands of the Himba people and organized through a local guide to head into one of the villages for golden hour, for two evenings in a row, to shoot portraits with them.

On the first evening I went in I found this lovely little girl sitting with her Grandmother. She was shy and watching me as I shot with some of her family, and every time I looked over she hid her face and giggled. After a few minutes though her grandmother called me over and wanted me to take a shot of the two of them together, and after a couple of minutes the little girl opened up and I managed to grab these two shots. For obvious reasons, I try to share them as a pair whenever possible.

I used my trusty Canon 5DmkII and shot with the Sigma 50mm F1.4 lens, which I love for its crisp image. The settings were ISO200 and F2 at 1/100. I was handholding the camera, and the images are both naturally lit with a white reflector to fill.

If you’d like to see a behind the scenes video of this trip check it out here.


Sean Tucker is a professional filmmaker and photographer who is constantly striving to bring his own spark and eye to every project. You can find more of his work by visiting his website, subscribing to his channel on YouTube, or following him on Facebook, Twitter, and Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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Shooting modern motorsports photography with a Kodak Brownie No. 2

11 Aug

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Photographer and automotive writer Murilee Martin has published a series of modern motorsport photos he took using an old Kodak Brownie No. 2 camera from 1926. The collection, 24 photos in all, was published recently on Autoweek where Mr. Martin explains, “After learning how to drive a Ford Model T recently, I decided that I needed the camera equivalent of the T, the camera that gave the world the ability to shoot photographs cheaply and easily.”

The photos above, as well as the rest of the collection found in the Autoweek post, were taken with the Model F version of the Kodak Brownie, one that sports an aluminum chassis rather than the original model’s cardboard frame. The photos were shot on ordinary 120 film during the 24 Hours of Lemons race in California.

To see the full gallery or find out more about what it was like shooting fast action with a 91-year-old film camera, head over to Autoweek.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS Rebel SL2 / EOS 200D Shooting Experience

10 Aug

<lead image>

The EOS Rebel SL2 (known as the EOS 200D outside of North America) is Canon’s second-generation ultra-compact digital SLR. The SL2 is largely packed with Canon’s latest tech, including Dual Pixel AF, a DIGIC 7 processor, Wi-Fi with NFC and Bluetooth, and a new user interface for beginners.

While its small size may lead one to believe that it’s an entry-level model, similar to Nikon’s D3400, the SL2 actually sits above the bottom-end Rebel T6 (EOS 1300D), which costs $ 150 less.

The SL2’s main competitor is the aforementioned Nikon D3400, which is just a tad larger and heavier. The SL2s’ other peers are all mirrorless and include (in our opinion) the Canon EOS M5, Panasonic DMC-GX85 and the Sony a6000 which, after 3+ years on the market, is still competitive.

Key Features

  • 24.2MP APS-C CMOS sensor
  • Dual Pixel autofocus (for live view and video)
  • 9-point autofocus (through the viewfinder)
  • DIGIC 7 processor
  • 3″ fully articulating touchscreen LCD
  • 5 fps burst shooting
  • 1080/60p video
  • External mic input
  • Wi-Fi with NFC and Bluetooth
  • Available ‘Feature Assistant’ user interface

Just about everything in that list is Canon’s latest and greatest, and the external microphone input is a nice extra. The one feature that’s not new is the 9-point autofocus system that you’ll use when shooting through the viewfinder – it’s identical to what’s found the original SL1, which is over four years old. You’ll get a much better focusing experience by shooting in live view, which uses Canon’s excellent Dual Pixel AF technology.

Compared to…

Now let’s take a look at how the specs compare between the the SL2 and the peers mentioned a few paragraphs earlier.

Canon SL2 Nikon D3400 Canon M5 Panasonic GX85 Sony a6000
Resolution 24MP 24MP 24MP 16MP 24MP
Sensor size APS-C APS-C APS-C Four Thirds APS-C
Lens mount EF F EF-M Micro 4/3 E
Image stab. Lens-based Lens-based Lens-based In-camera Lens-based
AF system (live view) Dual Pixel Contrast-detect Hybrid
(Dual Pixel)
Contrast-detect Hybrid
AF system (viewfinder) 9-point 11-point N/A N/A N/A
LCD 3″ fully articulating 3″ fixed 3.2″ tilting 3″ tilting 3″ tilting
Touchscreen Yes No Yes Yes No
Viewfinder type/mag. OVF / 0.54x OVF / 0.57x EVF / N/A EVF / 0.7x EVF / 0.7x
# control dials 1 1 2 2 2
Video 1080/60p 1080/60p 1080/60p UHD 4K/30p 1080/60p
Wireless1 Wi-Fi + NFC + BT BT Wi-Fi + NFC + BT Wi-Fi + NFC Wi-Fi + NFC
Battery life2 650 (OVF)
260 (LV)
1200 (OVF)
N/A (LV)
295 (LV) 290 (LV) 360 (LV)
Dimensions (mm) 122x93x70 124x98x76 116x89x61 122x71x44 120x67x45
Weight 453 g 445 g 427 g 426 g 344 g

Strictly comparing the SL2 and D3400 you’ll see that they each have their own strengths and weaknesses. While there are ‘little things’ like the type of LCD, viewfinder size and wireless functionality, live view autofocus is the main differentiator. It’s simply no contest there, with the SL2’s AF system blowing away the D3400 in live view and movie mode.

With the exception of the Sony a6000, the SL2 is close in weight, and not far of in size, to the three mirrorless cameras in the group. All three of the mirrorless cameras have an additional control dial, making exposure adjustment quick, and their EVFs are larger than the optical viewfinders on both dSLRs. None of the mirrorless models can compare to the DSLRs in terms of battery life, but only when you’re using the latter with their optical viewfinder.

Articles: Digital Photography Review (dpreview.com)

 
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This video game offers an in-game photo studio for shooting exotic cars

08 Aug

Players of the next version of PlayStation’s Gran Turismo Sport will be able to create professional looking photographs of their cars using a new feature that offers a surprising amount of ‘photographic’ control over the way the images turn out. For us mere photographic mortals, it might be the closest we’ll ever get to shooting a $ 2.5 million car with a $ 50,000 camera…

The Gran Turismo features is called ‘Scapes’, and it lets players place their favorite cars in a wide range of scenes—from landscapes to city streets and interiors—and adjust their camera ‘controls’ to dial in things like depth of field.

A control panel down the side of the screen has software-like sliders for exposure compensation, aperture, shutter speed and focus. The car can be turned and parked where you like, the lights switched between beam settings, and the color temperature of the whole scene can be adjusted to create warm and cool effects.

More than a passing thought has gone into creating the Scapes mode, and the control of the images really seems extensive.

Users can alter the color balance of shadows, mid-tones and highlights using RGB sliders, while grain effects can be added along with vignetting and distortion corrections. And if that’s not enough, you can even blur the background using a panning effect, to deliver a race day atmosphere in one of around 1000 scenes.

For more information, check out the Gran Turismo website.

Information from PlayStation:

‘Scapes’, the New World of Photography

Go on a photography trip with your favorite car.

The ‘Scapes’ feature is a new format of photography, borne from a True HDR workflow and physics based rendering technologies. Each photo spot contains all the light energy information of that scene as data. Even the incredible brightness of the Sun is physically recorded and contained in each of these photos; and because each image also contains spacial information for that scene, it is now possible to ‘place’ cars into real world photographs.

Articles: Digital Photography Review (dpreview.com)

 
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Behind the scenes: Shooting a $2.5 million car with a $50,000 camera

31 Jul

Photographer Richard Thompson recently had the chance to shoot one of the most advanced (and expensive) cars in the world with one of the most advanced (and expensive) camera systems in the world. Fortunately for those of us who enjoy salivating over both camera gear and gorgeous cars, there’s a behind the scenes video for us to enjoy.

The car in question is the Pagani Huayra BC, and the camera a Phase One XF 100MP medium format—an appropriately advanced camera system to capture such an advanced piece of automotive machinery.

The behind the scenes video was created by Phase One, which (of course) means that it feels a bit ad-like at several points. But Thompson throws in plenty of information about the photo shoot, why he captured the car the way he did, and showing off some of final images to make you salivate freely on your keyboard.

Check out the full BTS video above, and then click here to see the final composites on Thompson’s website.

Articles: Digital Photography Review (dpreview.com)

 
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