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Posts Tagged ‘Speed’

Metabones introduces Speed Booster series for Blackmagic Pocket Cinema Camera

06 Aug

Lens mount adapter specialist Metabones has launched a new series of Speed Booster lens adapters especially designed for the Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K). The new adapters allow users to mount Nikon G, Canon EF, Canon EF Cine and Arri PL lenses onto the Micro Four Thirds camera.

The company says it has redesigned the adapters to take account of the filter stack construction that Blackmagic uses on the sensor of this camera to ensure users get the same performance as other MFT users. Blackmagic uses a thinner layer of filters over the sensor of the BMPCC4K, compared to other MFT cameras, that can alter the effectiveness of the standard MFT adapter at wide apertures, the company claims. This means the new models aren’t compatible with other Micro Four Thirds cameras.

The adapters come in Ultra 0.71x and XL 0.64x versions, which reduce the crop factor in 4096 x 2160 4K video to 1.35x and 1.22x respectively. The Arri PL version will only be available as an Ultra 0.71x, but the other mounts can accept either adapter, with the company claiming that many EF-S and DX lenses from Canon and Nikon can also be used.
The Metabones Ultra 0.71x and XL 0.64x adapters are available now. For more information see the Metabones website.

Ultra 0.71x

  • Canon EF – $ 649
  • Canon EF Cine – $ 699
  • Nikon G – $ 489
  • Arri PL – $ 719

XL 0.64x

  • Canon EF – $ 649
  • Canon EF Cine – $ 699
  • Nikon G – $ 489

Press release:

Metabones Introduces a New Series of Speed Booster® for BMPCC 4K Camera

Caldwell Photographic Inc. and Metabones are pleased to announce a new series of Speed Booster for Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K).

The BMPCC4K Speed Booster ULTRA 0.71x and XL 0.64x are similar to the standard m43 Speed Booster adapters, but the optics have been re-designed to optimize for the filter stack thickness of the Blackmagic cameras, which is substantially thinner than that of standard m43 cameras.

The thickness of the camera’s filter stack is an important component of the overall optical design, and the re-designed optics ensure that both versions can achieve the same high performance as the Speed Booster versions for standard m43. This is especially critical at the extremely large apertures made possible by Speed Booster technology.

In addition to the new optical designs, the new series of Speed Boosters also features a longer tripod mount to perfectly match the height of the BMPCC4K camera body. This way the camera and the Speed Booster can be mounted firmly on the same quick release plate.

Both versions – the Speed Booster ULTRA 0.71x and XL 0.64x – are available with Nikon G lens mount, with Canon EF lens mount and with Canon EF CINE lens mount. The ARRI PL lens mount is available in ULTRA 0.71x version only. The Canon EF CINE lens mount creates a positive lock for a secure electronic connection, and together with the matching length of new the tripod mount, allows for a rock-solid mechanical setup, which is important when using follow focus attachments.

This new series of Metabones Speed Booster adapters is designed exclusively for Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K). They cannot be attached to any other m43 cameras such as JVC, Olympus or Panasonic cameras.

Metabones Speed Booster ULTRA 0.71x for BMPCC4K:
The new Speed Booster ULTRA 0.71x for BMPCC4K uses an advanced 6-element 4-group optical design incorporating ultra-high index tantalum-based optical glass. The new design is specifically optimized to bring the same level of astonishing performance as the ULTRA Speed Boosters for Micro Four Thirds to users of the Blackmagic Pocket Cinema Camera 4K.

In particular, the Speed Booster ULTRA 0.71x is optimized to correctly account for the BMPCC4K camera’s specific filter stack located near the sensor surface. This is especially critical at the extremely large apertures made possible by Speed Booster technology. As a result of this careful optimization, an enormous range of full-frame optics, ranging from vintage film lenses to the latest digital designs, will function flawlessly when adapted to BMPCC4K bodies.

The Speed Booster ULTRA 0.71x reduces the crop factor of the BMPCC4K camera as shown in the above table. The new design for BMPCC4K makes very effective use of exotic materials at the furthest limit of glassmaking technology, and as a result is almost perfectly corrected for use with all full-frame SLR lenses regardless of aperture or exit pupil distance. The Speed Booster ULTRA 0.71x will also work extremely well with many DX and APS-C format lenses, provided the image circle provided by the lens is large enough.

Optical performance of the new Speed Boosters is so good that the MTF of any lens attached to it will be improved. Even the latest generation of ultra-high performance SLR lenses such as the Zeiss Otus series can be improved by adding a Speed Booster ULTRA 0.71x.

MTF at 10, 20, and 40 lp/mm as a function of image height for output apertures of f/0.9, f/1.0, and f/2.0, respectively1. At the maximum aperture of f/0.90 (i.e., with an f/1.2 master lens) the sharpness and contrast are extraordinary across the entire image circle. At just one-third stop down to f/1.0 the performance is equal to or better than the best photographic lenses used at their optimum apertures. An additional stop down to f/2.0 yields performance that is rarely encountered in photographic optics. In practice, what all of this means is that the new Speed Boosters will always enhance and never degrade the performance of the attached master lens.

And other aspects of optical performance haven’t been sacrificed in order to obtain high MTF, either. There is less than 1 stop of corner illumination falloff even wide-open at f/0.9. There is no vignetting at all after the output aperture reaches f/2.82. Rectilinear distortion added by the Speed Booster ULTRA is negligible at less than 0.7%.

Metabones Speed Booster XL 0.64x for BMPCC4K:
Also this Speed Booster XL 0.64x adapter has been designed exclusively for the Blackmagic Pocket Cinema Camera 4K, with a magnification of 0.64x. The Speed Booster XL 0.64x uses an advanced 7-element optical design to achieve extraordinary optical performance at apertures up to an incredible f/0.80.

The new Speed Booster XL 0.64x reduces the full-frame crop factor of the BMPCC4K as shown in the table further above. In addition, the speed of any attached lens is increased by 11/3 stops, with a maximum output aperture of f/0.80 when an f/1.2 lens is used. For example, a 50mm f/1.2 becomes a 32mm f/0.80, which is the fastest aperture available for Blackmagic cameras.

Perhaps most exciting of all, in addition to increasing lens speed and field of view, the Speed Booster XL 0.64x offers amazingly high image quality even at extremely large apertures. Figures 1 through 3 below show MTF at 10, 20, and 40 lp/mm as a function of image height for output apertures of f/0.8, f/1.1, and f/1.81. At f/0.80 (i.e., with an f/1.2 master lens) the sharpness and contrast are extraordinary out to an image height of 5.1 mm, which is the limiting image height of the BMPCC4K camera’s FHD video mode. Beyond 5.1 mm the performance drops gracefully, but remains very good even in the extreme corner of the full Blackmagic sensor. Note that as the master lens aperture is reduced to f/1.8 and then f/2.8 (corresponding to output apertures of f/1.1 and f/1.8, respectively) the performance improves everywhere, especially in the extreme corners.

And other aspects of optical performance haven’t been sacrificed in order to obtain high MTF, either. There is only about 1 stop of corner illumination falloff even at f/0.8. There is no vignetting at all after the output aperture reaches f/3.42. Rectilinear distortion added by the Speed Booster XL 0.64x is negligible at less than 0.8%.

Just like the Metabones Speed Booster ULTRA 0.71x for BMPCC4K, the Speed Booster XL 0.64x is optimized to correctly account for the BMPCC4K camera’s specific filter stack located near the sensor surface. This is especially critical at the extremely large apertures made possible by Speed Booster technology. As a result of this careful optimization, an enormous range of full-frame optics, ranging from vintage film lenses to the latest digital designs, will function flawlessly when adapted to BMPCC4K bodies. In fact, most lenses will have significantly improved MTF when used with the Speed Booster, compared to using them with a plain (i.e. “glassless”) adapter on Blackmagic cameras.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: What is shutter angle, and why is it better than shutter speed when shooting video?

27 Jun

Have you heard video pros talk about using shutter ‘angle’ instead of shutter speed? Chris explains what shutter angle is and why it’s often more useful than shutter speed for video work.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • A bit of history
  • 360-degree shutter
  • 180-degree shutter
  • 90-degree shutter
  • Downsides of using shutter speed
  • Why shutter angle is more useful than shutter speed
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Skylum Luminar 3.1.1 update brings speed improvements and new features

12 Jun

Skylum has updated its photo editing software Luminar to version 3.1.1, bringing improvements and new features to both the Windows and Mac versions of the application. The company says the new version of its software improves navigation on Windows and Mac by enabling users to right-click on an image and go straight to the folder in which it is stored.

For Windows users, right-clicking on an image also now presents the option to view other images that were taken on the same day. Skylum presents these two features as a way to easily find other content that may be related to a current project, such as other images taken during the same photo shoot.

For Mac users, Luminar version 3.1.1 can create albums faster and now supports changing the software’s language independent of the operating system’s settings. Both the Windows and Mac versions of the software have received launch time improvements, as well, drastically reducing the software’s startup time.

Luminar version 3.1.1 is available now. Windows users can find the update by clicking ‘Help > Check for update’ in the top toolbar; Mac users can update by clicking ‘Check for updates’ in the Luminar 3 menu option in the system’s top bar.

Articles: Digital Photography Review (dpreview.com)

 
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Video: 15 actually useful Photoshop shortcuts to help speed up your workflow

16 Mar

Photoshop Training Channel on YouTube has published a video detailing 15 useful, relatively unknown Photoshop keyboard shortcuts for power users. Unlike many similar videos, this channel’s video digs into actually useful shortcuts that many users are unlikely to know, including how to resize and rotate cloned content using keyboard keys, improving Puppet Warp tool control, and more.

The video is applicable to North American keyboards and includes both Windows and macOS shortcuts. Most tips build upon commonly known tools and shortcuts, offering ways for professionals to reduce the amount of time they spend clicking and sliding. Adobe maintains a large list of Photoshop shortcuts for Windows and Mac users here.

Articles: Digital Photography Review (dpreview.com)

 
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CFexpress Type B memory cards double read speed to 1.7GBps, write speed to 1.4GBps

03 Mar

Sony has announced it will introduce the next generation CFexpress memory cards this summer, and promises read speeds of up to 1.7GB per second and write speeds up to 1.48GB/s. The Type B cards will use the third generation PCI-E interface that allows them to read and write at twice the rates of current models.

To make the most of the new cards a faster card reader will be launched — called the MRW-G1 — that will be backward compatible with existing CFexpress cards as well as XQD memory cards. The new cards will be more drop-proof than their predecessors and will be able to withstand a force of 70N.

The cards are aimed at industrial users as well as professional photographers. The first cards will come in a capacity of 128GB, but later units will offer 256GB and 512GB of space. For more information see the Sony website and the Compact Flash Association.

Press release:

Sony develops CFexpress Type B memory card boasting ultra-fast read and write speeds of up to 1700MB/s[1] and 1480MB/s1

  • Incomparably fast speed, designed for professional and industrial use, supports future evolution of digital devices
  • High reliability in extreme conditions thanks to TOUGH performance and smart software
  • New Sony CFexpress card reader, MRW-G1, takes full advantage of Sony CFexpress Type B’s high-speed performance
  • The Sony CFexpress Type B memory card and the CFexpress Card Reader will be in the market in early summer 2019

Sony today announced the development of the CFexpress Type B memory card (CEB-G128), a new ultra-fast next generation memory card2 that is ideal for professional and industrial use. With its super-fast speed of up to 1700MB/s (read) along with highly reliable toughness, this memory card supports the future evolution of digital devices.

Enhancing Sony’s high performance, value-added memory card line-up, the CFexpress Type B is designed based on a new specification which adopts the latest interface, PCIe®3 Gen3, standardised by the CompactFlash Association.

The Sony CFexpress Type B memory card offers a 128GB capacity, with higher capacity models of 256 GB and 512 GB planned for the future.

Incomparably fast
The Sony CFexpress Type B memory card is around 3 times faster than Sony’s fastest CFast memory card (with 530MB/s read speed). With a write speed of up to 1480MB/s, this card meets future requirement needs for secure industry data-recording or requirements from professionals to capture hi-resolution images or high-bitrate video.

With an ultra-fast read speed of up to 1700MB/s, even large-sized data files can be transferred quickly, when compared to existing memory cards. For example, when making copies or backing up large-sized data from multiple memory cards, transfer time will be dramatically reduced. This greatly improves work efficiency.

The new CFexpress Card Reader, MRW-G1, is optimised for Sony CFexpress Type B memory card and takes full advantage of the card’s fast read speed. This reader is also compatible with Sony XQD card G series and M series.

TOUGH performance
The Sony CFexpress Type B memory card has superior strength, surpassing the CFexpress standard by a factor of three, being able to withstand 70N of force in bend, and five times greater withstanding falls from up to 5m high.

The card is also temperature proof, X-ray proof, anti-static and has a UV guard so it can perfectly support usage in tricky or tough environments.

Peace of mind
Media Scan Utility and Memory Card File Rescue are available as a free download to Sony CFexpress card users.

Media Scan Utility is PC software that automatically scans your Sony CFexpress memory card every time you connect it to a PC via your MRW-G1 card reader4. The software keeps you informed of the condition of your card and lets you know if you’re nearing or have reached the flash memory limit.

Memory Card File Rescue eradicates every photographer’s worst nightmare – deleting photos accidentally and losing your precious work. The software recovers accidentally deleted files including RAW or high-resolution images and videos, so your work is safe from whatever obstacles are thrown your way.

The Sony CFexpress Type B memory card and the CFexpress MRW-G1 Card Reader will be on the market in early summer 2019.

– Ends –

[1] Based on Sony internal testing. Actual performance may vary and is dependent on environment and usage.
2 Based on memory card standard announced from the CompactFlash Association in 2017 as the next generation of XQD memory card and CFast memory card. CompactFlash is a trademark of CompactFlash Association.
3 PCIe is a registered trademark of PCI-SIG.
4 MRW-G1 is required to scan Sony CFexpress memory card

[1] Based on Sony internal testing. Actual performance may vary and is dependent on environment and usage.
2 Based on memory card standard announced from the CompactFlash Association in 2017 as the next generation of XQD memory card and CFast memory card. CompactFlash is a trademark of CompactFlash Association.

3 PCIe is a registered trademark of PCI-SIG.
4 MRW-G1 is required to scan Sony CFexpress memory card

Articles: Digital Photography Review (dpreview.com)

 
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OWC unleashes 2nd gen ThunderBlade SSD drives with a top speed of 5000MB/s

30 Jan

Other World Computing, often shortened to OWC, has released the ThunderBlade Gen 2 external SSD.

This second-generation external SSD comes at a lower price point than its predecessor while offering improved performance. Specifically, the ThunderBlade Gen 2 runs cooler than its previous version while keeping its ‘near-silent’ operation thanks to a finless design. The SSDs can be stacked and up to six can be daisy-chained together.

OWC says the drives can reach speeds up to 3,800MB/s when multiple are used alongside OWC’s SoftRAID program — that equates to roughly 1TB of data being transferred in just four and a half minutes. On their own, the drives are capable of transfers up to 5000MB/s. These speeds are achieved with the onboard dual Thunderbolt 3 ports, which use the USB Type-C connector.

As you could expect from such performance, these drives aren’t cheap. The ThunderBlade Gen 2 external SSDs come in 1TB, 2TB, 4TB and 8TB capacities for $ 799, $ 1,199, $ 1,899 and $ 3,499, respectively. Each drive comes with a custom hard-shell case, a Thunderbolt 3 cable and a three year OWC limited warranty.

To purchase and find more information on the ThunderBlade Gen 2 drives, head over to OWC’s website.


Update (January 29, 2019): This article has been edited to clarify that when daisy-chained, the ThunderBlade Gen 2 SSD drives can reach speeds of 3,800MB/s when used alongside OWC’s SoftRAID program and speeds of 5,000MB/s when used individually. The previous version of this article implied the top speed of the drives themselves were 3,800MB/s.

Articles: Digital Photography Review (dpreview.com)

 
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Go With The Flow – Using Slow Shutter Speed to Create Motion Blur

22 Jan

The post Go With The Flow – Using Slow Shutter Speed to Create Motion Blur appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Starting out as a photography assistant in a daily newspaper, I had one thing drummed into me. Make sure it’s sharp. This was the cardinal rule. It was appropriate for the situation.

Any kind of unintentional fuzziness, especially when it renders the subject indistinct, looks awful when printed on newsprint.

Adding motion blur, or any other form of blur, in a photograph can work extremely well when circumstances are right.

Merlion Park, Singapore Using a Slow Shutter Speed to a Create Sense of Motion

© Kevin Landwer-Johan. Shutter speed: 8 seconds

Two main techniques for creating motion blur in a photo are subject movement and camera movement.

Times when adding motion blur is the right choice

Deciding to add motion blur is best when:

  • Some parts of the composition remain sharp
  • The light is favorable
  • You find the shutter speed sweet spot
  • You have a means of stabilizing your camera
Poi Sang Long Festival Using a Slow Shutter Speed to a Create Sense of Motion

© Kevin Landwer-Johan. Shutter speed: 1/20th of a second.

Adding some flash can at times truly enhance a photo made with a slow shutter speed. I find this works best when you sync your flash with the rear shutter closing.

Keeping some of it sharp

Using a slow shutter speed to create motion blur, I find it’s best to ensure that some parts of your composition remain sharp. Whether you are moving your camera or your subject is in motion, your results will be stronger when not all the composition is blurred.

Using a slow shutter speed and moving your camera in relation to a moving subject, is known as panning. This will keep your subject sharp and the background will blur. Getting a perfectly sharp subject while panning is challenging because it requires the camera to be moving in sync with how fast the subject is.

Tuktuk Panning Using a Slow Shutter Speed to a Create Sense of Motion

© Kevin Landwer-Johan. Shutter speed: 1/25th of a second.

Having your camera locked down while your subject or the background move you will have a better chance to render your subject sharp.

Getting the exposure when the light is right

Bright sunny days make it challenging to capture motion blur in a photograph. You need to use a slow shutter speed for the effect to happen. Setting your aperture to the smallest opening and your ISO as low is it can go will not always allow you to use a slow enough shutter speed.

Using a neutral density filter in bright sunshine will make a slower shutter speed possible. At times I have coupled a neutral density filter with a polarizing filter to cut the light entering the lens even more.

Market Scene Using a Slow Shutter Speed to a Create Sense of Motion

© Kevin Landwer-Johan. Shutter speed: 1/4th of a second.

In this photo I had my friend stand very still to achieve motion blur in the people walking behind her. Being such a bright sunny day meant that even with my aperture set to the minimum opening of f/11. My ISO was set at one hundred and still did not allow me to use a slow enough shutter speed. I attached a four-stop neutral density filter and a polarizing filter so I could set my shutter speed to 1/4th of a second to capture the motion blur.

At night and in other low light situations achieving a slow enough shutter speed is simple.

Finding the sweet spot for optimal blur

Choosing a shutter speed setting appropriate to the pace of movement in your composition is important. Having too much or not enough motion blur will give you a poor result. This varies greatly depending on your subject and the style of photograph you are creating.

Photographing waterfalls, people walking or traffic at night, all require different shutter speeds for best results. Generally, slower moving elements in your composition need slower shutter speeds. Things moving more quickly need faster shutter speed or there will be too much motion blur. It also depends on how much definition you want to retain in whatever is moving.

Twently Second Waterfall Using a Slow Shutter Speed to a Create Sense of Motion

© Kevin Landwer-Johan. Shutter speed: 20 seconds.

Flowing water, like in this waterfall, can be completely blurred. In fact, waterfall photos usually look best when a shutter speed of more than two seconds is used. I used a twenty-second exposure for this photo and there’s absolutely no definition in the water. It is still obvious what it is though.

On The Sidewalk Using a Slow Shutter Speed to a Create Sense of Motion

© Kevin Landwer-Johan. Shutter speed: 1/10th of a second.

Keeping the motion blur balanced is more important with some subjects. For this photo of people on a sidewalk in Bangkok, I chose a shutter speed of 1/10th of a second. A slower shutter speed would mean more blur and less definition. A fast speed would show less blur and may just look like it was a mistake. I was happy to capture an image where the people walking are blurred yet their feet are reasonably sharp. The young woman modeling for me was very patient as it took quite a while to make a composition with the right number of pedestrians in my frame.

Experimentation is key to finding the sweet spot with your shutter speed. You need to decide how clear or how blurred you want your subject and other elements in your composition.

Camera stability is important

You can use a slow shutter speed even if you do not have a tripod. Learn to hold your camera well and be in control of it. I do not often carry a tripod so am forced to use alternative means of preventing unwanted camera movement. Unintentional camera movement creates ghosting which introduces extra fuzziness to photos.

Flames Using a Slow Shutter Speed to a Create Sense of Motion

© Kevin Landwer-Johan. Shutter speed: 1/20th of a second.

Hand holding a camera while panning can be preferable for some more than using a tripod. Keeping a steady movement along with your subject is what’s most important. If you are panning with a passing vehicle you do not want to be jiggling your camera up and down as you track your subject.

Finding a firm surface to place your camera can be a good substitute when you don’t have a tripod. You may need to place something under the lens so your angle of view is level. I find my mobile phone or wallet often come in handy for this.

Using a tripod does make things more straightforward when using a slow shutter speed. With a tripod, you have more stability and often more control of your angle of view.

Coffee Roasting Using a Slow Shutter Speed to a Create Sense of Motion

© Kevin Landwer-Johan. Shutter speed: 1/4th of a second.

Introducing rear curtain synchronized flash

Many cameras give you an option to synchronize the flash so it fires just before the shutter closes. Doing this combined with a slow shutter speed and movement produces interesting effects.

As the flash is triggered near the end of the exposure it looks like the movement is partially frozen. Using a very slow shutter speed when there’s fast movement your subject may appear semi-transparent.

Tricycle Taxi Using a Slow Shutter Speed to a Create Sense of Motion

© Kevin Landwer-Johan. Shutter speed: 4 seconds.

I used a four-second exposure for this photo of a tricycle taxi in Chiang Mai. You can see the ghosted image of two people just above the handlebars of the cycle. They were riding past on a motorbike just at the end of the exposure as my flash fired.

Conclusion

Photographing movement using long exposures it pays to give yourself plenty of time to experiment and take lots of photos. Varying your shutter speed. Choose a faster or slower speed with the same subject. This can create vastly different looking photos.

Iron Bridge Using a Slow Shutter Speed to a Create Sense of Motion

© Kevin Landwer-Johan. Shutter speed: 1.6 seconds.

If you’ve never often used a slow shutter speed, begin to explore the possibilities. If you’ve had some experience, try some new angle or subject. Please share your photos and comments below.

The post Go With The Flow – Using Slow Shutter Speed to Create Motion Blur appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Report: FAA to test new pilot programs to speed up remote drone identification tech

08 Jan

In 2017, news surfaced the Federal Aviation Administration (FAA) had taken the first steps toward establishing drone identification rules, which would require a drone to remotely identify itself to law enforcement. The remote ID system could help identify drones operated in restricted airspace, such as drones over airports, but multiple reports have indicated there could be a significant delay.

In November, the Wall Street Journal reported the FAA was ‘significantly behind’ schedule on establishing drone identification rules, something necessary for the large scale commercial use of drones. As well, law enforcement and government officials have increasingly expressed concerns over illegal drone operation and their inability to rapidly identify these UAVs.

In its most recent update, the WSJ has revealed a Federal Register notice from December that details pilot projects aimed at speeding up remote ID system testing. According to the report, the FAA wants to create up to eight prototype projects financed by private companies in order to test different identification options.

These prototype projects would be used both to gather real-world data and verify that the remote identification technologies work while speeding up the overall time it will take the FAA to establish the new rules. Neither timelines nor project costs have been revealed at this time, but assuming that a rule proposal in made in the next few months, final regulations may be established in the next year or two.

Articles: Digital Photography Review (dpreview.com)

 
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How to Make the Most of Creative Shutter Speed in Photography

16 Dec

The post How to Make the Most of Creative Shutter Speed in Photography appeared first on Digital Photography School. It was authored by Simon Bond.

This photo is all about the moment of capture. I used a fast shutter speed to capture it.

One of the most important settings on your camera is shutter speed, and it’s just as important to master this as it is to master aperture. If anything, shutter speed control allows you to become even more creative with your photography. Exciting techniques like light painting and panning both rely on the photographers’ use of this setting. In this article, you’ll learn techniques that need a creative shutter speed, and how you can apply this to your photography. So let’s begin with what shutter speed is, and why it’s important.

What is shutter speed?

A photograph relies on light to become exposed, and shutter speed controls how long that light sources can expose the photo. That means in general, lighter conditions mean fast shutter speeds, and dark conditions mean slow shutter speeds. Shutter speed is also controlled by opening or closing the aperture on your lens, adding filters to your lens, and, in some cases, adding external lighting to your scene. In DSLR camera’s it means the mirror locks up, and in mirror-less cameras, the shutter is merely open. Now, various techniques rely on shutter speed to work. Let’s sub-divide them by the how fast the shutter speed needs to be.

Fast shutter speed

Using super-fast shutter speeds allows you to freeze things that might be faster than the eye can appreciate. That may mean raindrops, wildlife, or photographing sport.

Freezing the action

The shutter speed you’ll need to freeze the action very much depends on what you’re photographing. Concerning creative imagery, you’re looking at freezing things that are too fast for the naked eye, and hence, you’ll get some unusual detail in the photo you’ve taken. Next is a simple guide to the type of creative shutter speed you’ll need to freeze the following types of action:

  • A waving hand – A shutter speed of 1/100th is fast enough to freeze this motion, to be sure use 1/200th
  • A flying bird – 1/2000th will get you a sharp photo of a flying bird.
  • Raindrop splashes – Look to use a shutter speed of 1/1000th or faster to freeze moving water. It’s possible to take water drop photos at slower speeds, but those often use a strobe flash to freeze the water rather than the shutter speed itself.

Freezing droplets of water require a fast shutter speed.

Moment of capture

Getting the right moment is what makes or breaks a photo. It is possible to take good moments of capture at slower shutter speeds, but generally, you’ll want to freeze the action. That means a fast shutter speed, and capturing that moment a baseball player swings their bat, or the archer loses their arrow. In both cases, these need a fast shutter speed to capture that moment.

Handheld photography

While not related to creativity in your photo, shutter speed is all important when it comes to avoiding camera shake. There is a nice rule of thumb that correlates your focal length to the slowest speed you can use handheld. Of course, there are those with steadier hands, and image stabilization helps too. That said, the correlation works like this and is easy to remember. If your focal length is 300mm, you’ll need to use a shutter speed of 1/300th second to avoid camera shake. You can use a much slower shutter speed at wider focal lengths though, so at 50mm 1/50th is adequate.

Creating motion.

Ahead of getting into long exposure, there are the shutter speeds that you can get away with handheld, but slow enough to move the camera and produce motion blur.

Panning is a popular technique, that needs a slower shutter speed.

Panning

This is a great technique and is a good example of how creative shutter speed can be used.

The technique requires a steady hand because it uses shutter speeds that wouldn’t usually get taken handheld. The idea behind this technique is that you follow a moving object with your camera, and take the photo with a slow enough speed to blur the background. You can follow any moving object from a pedestrian walking to a Formula 1 racing car. Amongst the easiest objects to pan with is a cyclist moving at a steady speed. Those new to the technique should practice panning with a cyclist first. A shutter speed of around 1/25th is a good starting point to blur the background while keeping the cyclist sharp.

Motion blur

An alternative strategy is to allow the moving object to blur, and keep the static object sharp. While panning is primarily done handheld, using a tripod for this type of photo achieves better results. In this case, you’ll be looking to show the background motion of things like cars, trains or buses against static objects. That might be people waiting to cross the road, or someone waiting for a bus or train. Once again, a shutter speed of 1/25th is often slow enough to blur the moving object in your frame.

This photo was taken from a moving train. The slower shutter speed created motion blur.

Camera rotation

It’s still possible to give a photo a more dynamic feel, even when everything in your frame is static. You can achieve this feel by moving the camera with a slow shutter speed of around 1/25th. With wide-angle lenses, you can experiment with even slower shutter speeds. However, this may impact your ability to keep a portion of your photo sharp. The idea behind camera rotation is to twist the camera around a central point in your photo while taking the photo. This technique can be used for kinetic light painting when even longer exposures are needed. It can be tricky to achieve because it is a difficult technique to do handheld, and most tripods won’t allow you to rotate around a central point in the way this technique needs. It’s also best to use a wide-angle lens when taking this variety of photo.

Zoom is a good way of giving a photo a more dynamic feel.

Zoom

A zoom burst is another popular way to use creative shutter speed. It is possible with any lens that allows you to change the focal length. So, a kit lens works very well for this technique. With the zoom burst it’s possible to take the photo handheld, but using a tripod gives you better results. While you’re moving the lens and not the camera body, any tripod helps with this type of photo. The aim is to produce motion by zooming into your primary subject matter during an exposure roughly 1/25th in length. Not all locations work well for this photo. For example, a location with lots of sky may not produce much blur. On the other hand, a tunnel with differing levels of light, such as a line of overhanging trees, works great.

Camera rotation can produce interesting effects.

Creative shutter speed for long exposures

At the extreme end of creative shutter speed usage is the long exposure. Here you’re looking at exposure times in excess of one second. There is an awful lot of creativity to be had in this area, so let’s look at what you can do.

Light painting

Light painting is a lot of fun, and among the most creative techniques you can use in photography. There are essentially two ways you can create light paintings. The first is where the light source is turned away from the camera, and you use it to light up an object within the frame. To do this use the light source like a brush, and shine it only on the area’s you wish to light up. The alternative to this is pointing the light source towards the camera. Light painting can be as low tech as using your torch. However, more ambitious forms of light painting include the use of wire wool, or LED light sticks. Light painting photos typically begin at two-second exposures, and if you use bulb mode they can last into the minutes.

You can use light painting to add more interest to a scene.

Kinetic light painting

The difference between kinetic light painting and light painting is that you move the camera, whereas, with light painting, you move the light source. Of course, it’s possible to use random movements of the camera for this. However, the best way is for more controlled movement, and that means camera rotation and zoom.

  • Camera rotation – Very similar to the above technique, but this uses longer exposure times. You’ll need a tripod this time. The technique involves rotating the camera in a nice smooth motion while attached to the tripod.
  • Camera zoom – Once again, following on from handheld zooming, are longer zooms at night taken using a tripod. To learn more about the experimental potential of zoom you can read this article.

This is an example of kinetic light painting. The camera was rotated around the tripod head.

Landscape long exposure

Using long exposure in landscape photography gives you a great way of interpreting a scene in a different way. This is most easily achieved at night, but daytime long exposure is also possible.

  • Neutral density filter – The use of a neutral density filter allows you to take daytime long exposures. This has the potential to transform your scene with moving clouds, and silky water. You will need a strong filter, so an ND110 or ND1000 is needed.
  • Blue hour – As most landscape photographers will know, this is one of the best times to photograph. You’ll be using long exposure because the light levels dictate that. That long exposure allows you to experiment with traffic light trail photography.
  • Astro-photography – Finally, and at the extreme end of long exposure photography, is astro-photography. Those wishing to photograph the Milky Way will need to use exposure times of around 20-30 seconds depending on the equipment you’re using. Another popular technique is to photograph star trails. This can be a sequence of 30-second exposures stacked together. The alternative is to use bulb mode, and exposure for at least 10 minutes!

Long exposure on days with fast-moving cloud creates dramatic skies.

It’s time to hit your shutter!

There are lots of ways to use creative shutter speed. Have you tried any of the above techniques? Are there any techniques you use that are different? As always, we want to hear your opinions. Likewise, we’d love to see any photos you have that showcase the creative use of shutter speed. So go out and try using shutter speed in different ways, and then share your experiences with us in the comments section.

The post How to Make the Most of Creative Shutter Speed in Photography appeared first on Digital Photography School. It was authored by Simon Bond.


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How to Use Shutter Speed and Aperture Together When Using Manual Mode

18 Oct

When you’re just starting out as a photographer, one of the biggest challenges can be using the correct shutter speed and aperture values. Shooting a correctly exposed photo in manual mode is an amazing feeling. But unless you know the relationship between shutter speed and aperture it may not happen very often.

In this article I’ll talk about how to use the shutter speed and aperture values efficiently to get properly exposed photos.

Note: To get full control of your camera’s shutter speed and aperture values you need to put it in Manual Mode.

What happens when you adjust the aperture value

When you increase the aperture value the aperture opening inside the lens gets smaller, reducing the amount of light that can enter the camera. Similarly, when you decrease the aperture value the opening gets bigger, allowing more more light to enter the camera.

Here’s an example to help you understand how changing the aperture value affects the shutter speed.

Let’s say you’re using a 24-70mm f/2.8 lens with a default aperture value of f/8. At a shutter speed of 1/200th of a second your camera will give you the correct exposure.

EXIF: f/8, 1/200th sec, ISO 100

Now you want a shallower depth of field (more blur effect), so you reduce the aperture value to f/2.8. Because you’ve reduced the aperture value by three stops, the aperture opening is now letting three stops more of light into the camera. The result? An overexposed image.

If you reduce the aperture value, you must increase the shutter speed by the same number of f-stops to compensate. Similarly, if you increase the aperture value, you must slow down the shutter speed by the same number of f-stops.

In this example, you’ve reduced the aperture value by three stops. So to get the correct exposure at f/2.8 you must increase the shutter speed by three stops to 1/1600th of a second.

EXIF: f/2.8, 1/1600th sec, ISO 100

Another example might be if you’re shooting a landscape. This time you want a deep depth of field, so you choose an aperture value of f/16. You’ve increased the aperture value by two stops (from f/8 to f/16), so you’re letting two stops less of light inside the camera. At a shutter speed of 1/200th sec this give you an underexposed photo.

Underexposed image at f/16, 1/200th sec, ISO 100

To get the correct exposure, you need to slow down the shutter speed by two stops to 1/50th of a second. With the aperture value two stops higher (f/16) and the shutter speed two stops lower (1/50th sec) your photo will be perfectly exposed just as it was at f/8 and 1/200th sec.

What happens when you adjust the shutter speed

When you increase the shutter speed the camera shutter opens and closes more quickly, reducing the amount of light that enters the camera. Similarly, when you reduce the shutter speed more light enters the camera.

Starting with the same base camera setting as before (f/8 at 1/200th sec), let’s see how changing the shutter speed affects the aperture value.

Let’s say you’re a wildlife photography, and you want to take photos of a flying bird. To avoid any blurring you’d need to increase to 1/800 sec. You’ve increased the shutter speed by two stops, and so you have two stops less of light entering the camera sensor. At f/8 this would give you an underexposed image.

Because you’ve increase the shutter speed by two stops to 1/800th sec, you must also reduce the aperture value by two stops to f/4 to get the same correct exposure you had at the f/8 and 1/200th of a second you started with.

Or perhaps you intentionally want to capture a panning shot, and s reduce the shutter speed to 1/50 sec to get the effect you want. Reducing the shutter speed by four stops (from 1/800 sec to 1/50 sec) means you’re letting in four stops more of light into the camera. And at f/8, that would give you an overexposed image.

To get the correct exposure you’d need to increase the aperture value by four stops to f/32.

By remembering these examples when you’re shooting in manual mode, you should end up with far more photos that are correctly exposed.

The post How to Use Shutter Speed and Aperture Together When Using Manual Mode appeared first on Digital Photography School.


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