Venus Optics has announced the release of the Laowa 15mm F4.5 Zero-D Shift, a new lens that takes the crown as the widest shift lens for full-frame camera systems.
The lens is constructed of 17 elements in 11 groups, including two aspherical elements and a new lens coating. It has a 110-degree angle of view, offers a 65mm image circle and can shift +/-11mm on full-frame camera systems (+/-8mm when adapted for medium format cameras, such as Fujifilm GFX and Hasselblad X1D cameras).
Other specifications include a five-blade aperture diaphragm, a 20cm (7.8”) minimum focusing distance and a 360-degree rotation function with clicks every 15-degrees to offer more flexibility when adjusting the shift of the lens. Venus Optics has also developed a specialized lens support that holds the lens towards the front of the barrel so you can keep the lens’ optical axis stable when making your shift adjustments.
Below are a collection of sample shots, provided by Venus Optics:
The Laowa 15mm F4.5 Zero-D Shift is available to pre-order today for Canon EF, RF, Nikon F, Nikon Z and full-frame Sony E-mount camera systems for $ 1,199 on Venus Optics’ website. The Canon EF and Nikon F mount versions will be available in late November 2020, while the Canon RF, Nikon Z and full-frame Sony E-mount versions won’t be available until February 2021.
The post Is the Olympus Sale a Sign of Things to Come for Other Camera Companies? appeared first on Digital Photography School. It was authored by Carl Spring.
A long time ago (in a galaxy far, far away, or 2014, as most would call it), when I first started writing about photography, I created an article on my photography predictions for 2015.
In that article, I wrote about how one or more manufacturers would stop producing cameras. I specifically named Olympus (and Pentax) as companies I could see not surviving long-term. My prediction has unfortunately come true with the recent Olympus sale (six years later, but I was still right!).
This history lesson shows two things:
Talk of camera manufacturers not surviving has been around forever.
Eventually, some camera companies will fall victim to the ever-shrinking photography market.
After years of rumors and denials, June 2020 saw the sale of Olympus to Japan Industrial Partners (JIP). This is the same firm that acquired Sony’s VAIO PC business back in 2014. It now seems (although it’s yet to be confirmed) that JIP will most likely be dropping the name “Olympus.”
The sad loss of Olympus shows that digital cameras are an ever-decreasing market and begs the question:
Is Olympus a one-off? Or is the Olympus sale a sign of things to come?
Unfortunately, it will not be long before we no longer see the name Olympus on a camera.
A small caveat
For this article, I will simply concern myself with digital camera divisions. I know that companies such as Nikon and Canon have huge businesses outside of cameras, but that doesn’t mean they won’t close their digital camera divisions if they become financially unviable.
What is happening to digital camera sales?
Digital camera sales are still in decline.
To give you a sobering statistic, over 98% of all digital cameras sold are smartphones. As cameras in phones continue to improve, the small percentage of compact digital camera sales will more than likely continue to shrink to zero.
But there will always be a market for more serious digital cameras. Such cameras are aimed at those of us who enjoy photography beyond a snapshot. For those who photograph either for a hobby or an income, there will always be the need for a larger camera with more advanced features.
That said, figures are continuing to trend downward and are not looking good. There are Japanese analysts who are saying that, unless the industry rapidly changes, it will begin to collapse. How true this is depends on several factors, but one thing is for sure:
We are heading toward rock bottom.
The quality of phone cameras means the compact camera market is shrinking rapidly.
The Corona effect
A recent report by Slackline showed that the camera industry has been hit incredibly hard by COVID-19. The camera market came in at number three on a list of the top 100 fastest-declining e-commerce categories in 2020 (only beaten by luggage and briefcases).
The reason for this is obvious:
People are not traveling or attending events for which they could justify the purchase of a new camera. Add to this many professionals who are simply not upgrading due to a major drop in income, and you are seeing a perfect storm for any camera company that may be struggling financially.
The perfect holiday camera, if only we could go on holiday.
We are about to hit rock bottom
Back in 2019, Canon president Fujio Mitarai talked about the continuing drop in sales and the expectation that, in two years, the market would drop by around 50%.
Canon estimates that the total market will be about six to eight million prosumer and professional cameras. In 2019, when Mitarai made his statement, the sales of interchangeable lens cameras were estimated to be around 10 million.
When you see figures like that, it is hard to imagine every camera brand still being able to compete.
But who will dominate? And who will be left to follow the route of Olympus?
King Canon
A while back, I said that Nikon & Canon could go the way of Kodak.
But right now, it definitely doesn’t look like Canon is going anywhere. Figures published by Nikkei show that, in 2020, Canon owns 45.4% of the market.
Canon was late to mirrorless technology, and many (myself included) thought the EOS R and EOS RP were subpar compared to what Sony was putting out. However, Canon had huge success with the 5D line, as well as cameras such as the 7D. This meant that many were still happy with their bodies and would only be purchasing lenses, flashes, etc.
It was a misstep by Canon to underestimate mirrorless, but honestly, it didn’t hurt them too much. The sales of the EOS R and RP showed that Canon has a loyal and longstanding fanbase.
Add to this the release of the EOS R5 and EOS R6, as well as their success (overheating aside), I cannot see Canon losing its market share in the next 12-24 months. So if Canon is safe, who is most at risk?
Canon’s hottest release, the R5, sees the company continuing to dominate the market.
We need to talk about Pentax
Pentax’s stubborn refusal to move away from the DSLR is a potential sign that they may be heading for significant trouble in the very near future.
In 2020, the company’s statement of “Pentax believes in the future of DSLR photography” seems crazy. The sale of DSLR cameras has dropped massively since 2017.
Reading that first statement, you may think I am bashing Pentax’s managerial decisions, but I feel the problem may lurk a little deeper.
You see, I don’t think Pentax currently has the budget to develop a mirrorless camera from scratch. They have reached a point where they would need significant time and effort to do this, which comes at a significant cost.
Also, part of their recent brand statement was this line:
“When you take a picture with a single-lens reflex (SLR) camera, the light passes through the lens and, in turn, the optical viewfinder. You view the image directly with your eyes, and feel it with your heart.”
This reminded me of Fuji’s “Pure Photography” vision at the launch of the X-Pro3. Could this mean that Pentax is aiming for a niche of customers who will want to continue to use DSLRs? It certainly could be a strategy, but I am not sure how this will work in practice. I don’t think there will be enough DSLR sales to allow this to work. Even if it does, it will seemingly lead to tiny R&D budgets.
Whether it is down to budget or that Pentax truly believes in their vision and wants to create a niche, who knows? One thing that we do know is that the market has moved to mirrorless. By refusing to move with it, Pentax looks too far behind to come back, which is sad to see.
I truly feel that, as a company, Pentax will slowly fade into obscurity and then close its camera division.
Will the decision to stick to DSLRs hurt Pentax?
Could one of the big companies follow?
The obvious point this leads to is whether one of the bigger companies will eventually fall. I think it is a case of, “While that is unlikely, nobody is too big to fail.”
The way Nikon has been overtaken in camera sales by Sony signifies a shift in the market. Nikon is set to release a new flagship mirrorless camera very soon, which will likely keep them comfortable for a while.
Here’s the longer-term question, though:
Will the market sustain three major players?
If the answer is “No,” then you would have to say, simply based on recent performance, Nikon looks to be the most likely to fade away.
I feel the Fab Five of Canon, Sony, Nikon, Fujifilm, and Panasonic are here to stay. All of them are releasing amazing cameras and pushing things forward.
However, I feel that, over time, the market will be dominated by Canon and Sony, with Nikon starting to compete with brands such as Panasonic instead of the new Big Two.
That said, if the leaks about the upcoming Nikon releases are true, I may have to eat my words.
The high-end specialists
The decline in sales to professionals due to COVID may be posing big issues for brands such as Hasselblad and Phase One. These companies’ main market is almost exclusively professionals who need the very best quality images. Again, the coronavirus issues will be having an effect on sales.
Could this be enough to topple one of these companies? I honestly don’t know, as they play their cards very close to their chests. But there was something I found during my research for this piece that did make me think that all may not be perfect in Hasselblad land.
In a 2019 interview, Hasselblad’s head of sales for Europe, Uwe Moebus, said: “There are fewer professional photographers and it is getting harder and harder for professionals to make decent money.” He then spoke of the desire for amateurs to start using Hasselblad.
These comments hint at a shrinking market for Hasselblad and its need to diversify. With COVID, we will have to assume that this will not have gone as well as hoped and could be the sign of problems to come.
Does Hasselblad really need the amateur market?
Video is key if you want to keep up
While photography seemingly continues to decline, the video market is continuously buoyant in comparison.
This is due to YouTube being the new TV and the large number of YouTube channels popping up everywhere. There is also a market for crash cams in major film production. The idea of destroying a brand new camera is heartbreaking for most of us. However, when on a Hollywood budget, a relatively cheap camera that can be used with little regard to its survival (except for the memory card) is perfect for the job. This is a growing market for camera manufacturers.
The fact that Netflix has approved the use of the Panasonic S1H as a production camera creates a market that goes way beyond photographers and YouTube creators.
Sony has always been great with video; it is a huge reason for their success. The release of the 12-megapixel a7S III shows Sony releasing mirrorless cameras for video first (if not almost entirely). Obviously, this has become a hot topic (bad pun intended) with the Canon EOS R5. As a stills camera, everyone agrees it is a masterpiece. However, Canon marketed it almost solely based on its video features. All of the complaints, problems, and potential boycotts are based on this.
When shooting in 8K, you can extract a 35-megapixel still frame from the footage. In a field such as headshot photography, where you are looking for the perfect expression, you can now capture 30 shots per second, continuously. Shoot a minute of video, skim through until you find the perfect expression, then export the frame as a large megapixel file. This may well become the future for certain types of photography.
Sony’s video-first stance is clear to see.
How a decreasing market will be bad for consumers
Those of you reading this are probably part of the shrinking market segment that will continue to buy interchangeable lens cameras.
However, while the market and consumer needs will dictate which companies survive and which fall, the fact is that the Olympus sale will impact the whole industry.
While I feel that technological developments will continue, budgets for research and development will be cut. Fewer camera sales mean less ability for the engineering departments to push new technology. This may lead to a future with new models having smaller, more incremental updates rather than exciting, huge leaps forward in camera technology.
Again, I feel the future will be driven by video and the developments will come from Sony’s and Canon’s high-end cinema lines.
The thing is, though:
In purely photographic terms, what more do we actually need?
Is it really that bad?
Well, this has all been doom and gloom. Is there any silver lining?
The fact that, even when the market hits the predicted bottom, there will be enough money for several manufacturers to continue working with still gives us hope. The camera launches in 2020 have been spectacular and show no signs of stopping despite the Olympus sale.
In terms of photography, I really feel we are in a position where technology can no longer give us huge improvements. Maybe a stop more dynamic range here, a little less noise there.
But as a photographer, what else do you need right now? Autofocus systems are amazing. Noise at high ISOs is fantastic. Frames per second are almost video-like. We don’t need new technology; we need more creativity, and that is still solely down to the one who pushes the button.
The post Is the Olympus Sale a Sign of Things to Come for Other Camera Companies? appeared first on Digital Photography School. It was authored by Carl Spring.
After perusing some vacation photos and weeping ever so gently for a lost world in which international travel was feasible, I pulled myself together and made some selects to add to our Olympus M.Zuiko 12-100mm F4 Pro sample gallery. From lizards to crocs and jungles to cityscapes, take a virtual visit to Queensland in our updated sample gallery.
And in case you missed it, check out our field review of the Olympus 12-100mm F4 here.
Zeiss has announced the release of its long-awaited ZX1 mirrorless camera in the United States and Germany.
First announced back in September 2018, the Zeiss ZX1 full-frame Android-powered camera is designed, in Zeiss’ own words, to help users ‘Shoot. Edit. Share.’ all on one device thanks to the integration of hardware and software.
At the core of the ZX1 is a 37.4-megapixel full-frame CMOS sensor developed by Zeiss. In front of the sensor is a non-interchangeable Zeiss Distagon 35mm F2 T* lens with a focus and aperture ring (both of which appear to be electronically controlled). In addition to stills, the camera is capable of recording 4k (3,840 x 2,160 px) video at 30 frames per second (fps) and 1080p video at 60 fps in the H.264 codec. All images and video are stored on a 512GB internal SSD and can be transferred off the device using the USB-C port or the wireless connectivity (Wi-Fi 802.11b/g/n/ac, 2.4/5.0 GHz and Bluetooth 4.2 LE).
Other specifications include a shutter speed range of 1/2000th to 30s, an ISO range of 80 to 51,200 (1/3 EV increments), Hybrid AF that uses both contrast and phase detection, and a 0.7” OLED electronic viewfinder (EVF) with a 1920 x 1080px resolution. The camera uses a 3,190mAh 22.9Wh Li-ion battery, but Zeiss doesn’t mention how many shots the battery is rated for (likely because how much editing is done on-camera will greatly affect the battery life).
What makes the Zeiss ZX1 different than, say, the Leica Q2, is its massive 4.3” multitouch display on the rear that not only allows you to navigate the menu system, but also serves as a means of editing images directly on the camera with the Adobe Lightroom Mobile application. Zeiss said it’s worked alongside Adobe to ensure full compatibility and all buyers will receive a year’s worth of Adobe’s 1TB Photography Plan.
Despite clearly running on some version of Android, Zeiss no longer mentions the word ‘Android’ on any of its marketing material, so there’s no way of knowing what version it runs and what kind of support we can expect going forward.
The Zeiss ZX1 is available starting today for $ 6,000 at select dealers in the United States and Germany, including Adorama and B&H. You can read our initial hands-on with the ZX1 from CP+ 2019.
This year’s International Photography Awards (IPA) received over 13,000 submissions from 120 countries. Judges selected winners and finalists for 13 categories and they were announced on Tuesday, October 27th.
‘In these unprecedented times, this year’s entries reflect some of the biggest challenges facing our generation–not the least of which is dealing with a virus which, for the first time, is an event that has affected every person on earth in some way. We see photography at its best–whether covering the COVID pandemic, or the world’s uprising against injustice–the images captured are breathtaking. I can easily say these are the best images I have seen in the last decades,’ says Hossein Farmani, IPA’s founder and president.
This slideshow contains images from Professional Category winners who received the Lucie Trophy and a $ 10,000 cash prize. The Non-Professional/Student Finalists for “DISCOVERY OF THE YEAR,” who were awarded a Lucie Trophy and $ 5,000 cash prize, can be found here. The final winners of the Pro and Non-Pro titles will be announced in an online event later this year and will be recognized at the Lucie Trophy at the 2021 Lucie Awards event.
Analog/Film Photographer Of the Year: ‘New Seas’ by Paulius Makauskas (Lithuania)
Artist Statement: Timothy Morton thinks of climate change as a ‘hyperobject’ – an incomprehensibly large object stretched in the space-time. Recognizable only in parts, but never all at once.
Microplastics are barely noticeable particles, but at the same time omnipresent in the ocean. I imagined them as synthetic plankton of all conceivable colors, invisibly wandering from one place to another. I have spent a great deal of time by the sea, so it was easier for me to see that the white ridges of waves creates boundless white-gray paper in space and time. I only needed to fill it with light to reveal the invisible.
Architecture Photographer Of the Year: ‘From the Stage’ by Jesús M. Chamizo (Spain)
Artist Statement: El teatro puede convertir el escenario en un templo, y el espacio de actuación, en algo sagrado. En el sur de Asia, los artistas tocan con reverencia el suelo del escenario antes de pisarlo, una antigua tradición donde se entrelazan lo espiritual y lo cultural.
Este es mi especial homenaje al Templo del Teatro y lo que representa, una noble labor cultural que ayuda a la humanidad a crecer. Contemplado desde el escenario, observamos ese majestuoso espacio vacío, que adquiere un doble significado. De asombro, pero también de esperanza, con este mensaje: ”La representación, sin duda…continuará.
Translated (Machine): The theater can turn the stage into a temple and the performance space into something sacred. In South Asia, artists reverently touch the floor of the stage before stepping on it, an ancient tradition where the spiritual and the cultural intertwine.
This is my special tribute to the Temple of the Theater and what it represents, a noble cultural work that helps humanity to grow. Contemplated from the stage, we observe that majestic empty space, which acquires a double meaning. Of astonishment, but also of hope, with this message: ”The performance, without a doubt… will continue.
Technical Info: Nikon, varias ópticas
Book Photographer Of the Year: ‘ANTARCTICA: The Waking Giant’ by Sebastian Copeland (Germany)
Artist Statement: This book documents over a decade’s worth of trips on and around Antarctica. While the coast stirs up visions of a lost world, it is the interior that hints to another planet. I spent 84 days crossing its lifeless plateau with no help but skis and kites.
Temperatures never warmed above -35C, a challenge on everything, particularly the equipment. My research gave me a deeper perspective on the variations taking place at the hands of climate change. The images I bring back tell the story of a changing environment which spells the oncoming re-drawing of the world’s map, and all that it implicates.
Deeper Perspective Photographer Of the Year: ‘Exodus’ by Nicolo Filippo Rosso (Columbia)
Artist Statement: This project chronicles the epic journey of the Venezuelan migrants, driven by desperation and hunger, at the stake of forces beyond their control. Two years ago, I decided to document their story and self-funded the project Exodus.
Spending weeks, and months at a time, in some of the border areas, I traveled alongside migrants who call themselves ‘the walkers.’ They were taking a long journey from the eastern Colombian border, through the Andes, up to the capital city, Bogotá. This series of photographs is the result of the time spent with them.
Editorial / Press Photographer Of the Year: ‘Pro Democracy Demonstrations, Hong Kong: The Revolution of Our Time’ by Kiran Ridley (France)
Artist Statement: On June 9th 2019, an estimated one million people took to the streets of Hong Kong to march in protest to the government’s proposed Extradition Bill, allowing citizens to be extradited to mainland China for prosecution.
Since that day, Hong Kong has been plunged into a political crisis, with waves of demonstrations and violent clashes between Police and protestors with an alarming rise in the number of police brutality and misconduct allegations, as protests morphed into a wider call for democratic rights and freedom in the semi-autonomous city.
Technical Info: Canon EOS 1Dx Mark ii, Canon 24-70mm f2.8L
Event Photographer of the Year: ‘Elements’ by Katja Ogrin (United Kingdom)
Artist Statement: Exploring the elements of live music performance such as water, fire, smoke and other pyro effects that enhance the visual impact for the viewing audience.
Fine Art Photographer of the Year: ‘Looking out from Within, 2020’ by Julia Fullerton-Batten (United Kingdom)
Artist Statement: Looking Out from Within, 2020 Covid-19 came. Life changed. Probably irrevocably. I felt numb. Couldn’t stand around helpless. I decided to document the new daily existence of millions. I advertised my idea on social media and through my local paper in West London. The response was enormous. Imprisoned in their home, they gaze forlornly out of their window onto a different desolate world outside.
Technical Info: f5.6, 1/30th sec.
Nature Photographer Of the Year: ‘Black Mountain’ by Ari Rex (Australia)
Artist Statement: On January 2019 Canberra had one of the most spectacular lightning storms ever. It passed the city from West to East over the black mountains and continued towards Brindabella mountains.
Technical Info: Canon EOS 5D Mark iii 88mm, x16, 4″, f5.6, ISO 640
People Photographer Of the Year: ‘Odilo Lawiny – Handmade Soccer Balls’ by Brian Hodges (Australia)
Artist Statement: Miles from the main roads in rural Uganda, soccer balls bounce unevenly. Playing fields are arid, lush, weedy, sandy—any flattish space will do. Some feet are bare, others shod in fraying sneakers, boots, or rubber sandals. Yet children kick and chase handmade, lopsided balls with skill and abandon, competing for pride and joy—for the sheer pleasure of playing.
The balls are spun into being with whatever’s at hand: rag or sock, tire or bark, plastic bag or banana leaves. Made entirely of recuperated materials, they give another life to something that would otherwise just be thrown away.
Technical Info: Leica S
Special Photographer Of the Year: ‘The Silent Menace’ by Toby Heikkila (Canada)
Artist Statement: An eerily quiet downtown Calgary during what normally is rush hour. The only inhabitant, a silent menace. Unseen and invisible.
Technical Info: Sony, 7rm2, FE 55mm f1.8
Sports Photographer Of the Year: ‘Bodies of the NFL’ by Howard Schatz (United States)
Artist Statement: The body type informs what position a player plays. The position necessitates the body type All NFL players.
Still in Motion / Video Photographer Of the Year: ‘The Journey to the Land of Dreams’ by Iwona Podlasinska (Poland)
Artist Statement: The video is a series of moving pictures that tell the story of an imaginary journey to the wintry land of dreams. Children shown in the photos travel by horses, trains or on foot to finally reach the land of imagination. The video was created by Zaman Dizini with photos taken by Iwona Podlasi?ska.
Lensbaby has announced the Spark 2.0 lens and its design draws inspiration from the original Lensbaby launched in 2004. The new lens allows you to adjust the ‘sweet spot’ of focus by physically bending the lens across a wide range of angles. You can adjust where the spot of focus is across the entire frame.
The Spark 2.0 is a 50mm lens with a maximum f/2.5 aperture. With respect to the angle of tilt, Lensbaby states that it is 46mm. The manual focus lens can focus as close as 15″ (38cm). The lens includes a pair of elements in a single group and its total weight is 6.5 oz. (184g).
Image credit: Lothar Adamczyk
Lensbaby founder Craig Strong recorded a user guide video for the Lensbaby Spark 2.0, which can be seen below.
The original Spark 1.0 lens came out in 2012 and had a fixed f/5.6 aperture. The Spark 2.0, on the other hand, comes with the Sweet 50 lens attached, which has an aperture range of f/2.5-f/22, with its respective sweet spot size increasing as you decrease the aperture.
Image credit: Sharon Covert
Strong notes that you may need to enable shooting without a lens in your camera’s settings to shoot with the Lensbaby Spark 2.0. He recommends shooting in aperture priority mode. While your camera won’t communicate electronically with the lens, the camera will read the amount of light coming through the lens and set the exposure settings accordingly.
To focus the Spark 2.0, you squeeze the lens. If you pull the lens straight back toward the image sensor, the sweet spot of focus will remain in the center of the frame. As you tilt the lens, its area of focus moves toward the edge of the frame.
Image credit: Lee Manston
The Spark 2.0 is the first flexible Lensbaby lens available for mirrorless camera systems. The Spark 2.0 is available for a wide array of lens mounts: Canon EF (DSLR), Canon RF (mirrorless), Fuji X, Micro 4/3, Nikon F (DSLR), Nikon Z (mirrorless), Sony E (mirrorless) and Pentax K (DSLR). The Lensbaby Spark 2.0 ships with the Sweet 50 and costs $ 200 USD. You can view and purchase additional optic swaps here.
Hasselblad has released a pair of firmware updates for its X1D II 50C and 907X 50C medium format cameras that adds, amongst other improvements, an on-screen distance scale for measuring focus and improved intervalometer features.
Firmware version 1.4.0 for both the X1D II 50C and 907X 50C adds a new Distance Scale feature that effectively recreates the distance scale that’s traditionally on the lens and overlays it on the liveview display. It can be set to metric or imperial units and will work with any XCD lens updated to the latest firmware.
Hasselblad has also improved the Interval Timer feature, adding the option to capture up to 1,000 frames (previously, the limit was 99 frames or ‘No Limit.’ When shooting between 2 and 25 frames you can select any number; from 25–100 you can select intervals of five; and from 100–1,000 you can select intervals of 50. The ‘No Limit’ option also remains.
Hasselblad has also added the ability to meter the exposure for every shot. Previously, the first image captured served as the baseline by which all subsequent images’ exposure settings were shot at. Now, the cameras will be able to meter for each individual frame, which should help when capturing timelapses in varying lighting conditions.
The firmware updated also improves compataibility with Hasselblad’s Phocus Mobile 2 app, improving live view quality and addressing a bug that prevented the camera from changing its white balance settings when changed inside the app. Other changes include an array of unspecified bug fixes.
You can download firmware version 1.4.0 for the X1D II 50C and 907X 50C on Hasselblad’s website (at the bottom of the page — note you will need to be logged into your Hasselblad account).
The post 11 Easy Creative Photography Techniques You Can Try on Any Camera appeared first on Digital Photography School. It was authored by Simon Bond.
A lot of photography techniques can be complex and require a steep learning curve.
But in today’s article, you’ll learn 11 easy creative photography techniques you can start using today! The techniques described below all require minimal extra equipment and don’t require additional post-processing.
Read on to get the most creativity from your camera with these easy-to-use techniques.
1. Reflection
It’s worth getting down to a low angle for reflections.
This is an easy creative photography technique to learn and is popular among many photographers. The main requirement is finding a reflective surface, though this is not all there is to it. Consider the following, and you’ll be capturing amazing reflection photos in no time:
Reflective surface: Look for surfaces that reflect (and there are many). Flat water works well, as does glass, marble, or even a regular mirror.
Choose a main subject: A successful photo will match up a reflective surface with an interesting main subject. Consider going out after it’s rained, as a puddle in front of a famous monument may only be there after heavy rain.
Find the angle: To get a better reflection, choose the correct angle. This often means getting right up against the reflective surface so the angle of reflection is shallow.
Create your own: No reflective surface? No problem. Just create one! Use the surface of a smartphone, a small mirror, or perhaps a bucket that you use to spread water and create a puddle.
A filter: The best way to control your reflection is by using a circular polarizing filter.
2. Silhouettes
Strong silhouettes work well against a horizon line.
The next option on this list of easy creative photography techniques is silhouettes.
Silhouettes occur when you photograph against the light. The key is to find an interesting shape, and then make sure the background is brighter than the object itself.
You’ll often need to get down to a low angle and then photograph up toward the sky; that way, you can ensure the silhouetted object stands out against the bright background.
Also, when photographing silhouettes, make sure you expose for the bright background. This will turn the subject into a dark silhouette.
3. Repetition
Lines and repetition can make for a strong composition.
A great design element to add to your frame is repetition.
This is something you’ll usually need to look for, but it’s sometimes possible to create your own repetition. There are possibilities for this both in nature and in the man-made world. Repetition may take the form of a line of trees, or of many bricks in a wall. The question, then, is how you’ll use this repetition.
Here are a few ways you can work with repetition to improve your photos:
Create a texture photo: In this case, the high level of repetition forms a texture.
Break the pattern: Here everything else is the same, with one variation. This works well to highlight that variation, which will then be the photo’s main subject.
Use background repetition: Backgrounds with repetition work very well for portrait photos or still life images.
Two or three: You don’t need to have repetition to infinity; two or three repeating objects, such as wine glasses, can work well.
4. Refraction
Wine glasses filled with water will produce refraction.
This is a form of photography that can be practiced with a camera as simple as a smartphone. You’re probably thinking of lensballs, but refraction photography can take many forms, including:
A lensball: This is a large glass ball that creates a refracted image of the background inside it.
A prism: A prism splits the light and can be used to produce a rainbow. You could either photograph the projected rainbow or photograph through the prism.
Water drops: Get out after it’s rained, and you can produce refraction in things such as water drops on a spider’s web.
A wine glass: Fill a wine glass with water, and you will see the refraction effect!
5. Contrast
Contrast with silhouettes works really well.
Contrast is a great concept to use in your photography.
The most obvious way to use contrast is by emphasizing dark and light areas of your photo through things such as silhouettes and shadows. But this is not the only way contrast can be used in your photography; anything that has an opposite can be used. You might choose to contrast something old with something new, for example.
6. Framing
Natural frames such as cave entrances are good frames.
The world is full of frames, from pictures on the wall to window frames. These frames can be used in photography, which is another easy creative photography technique.
You can achieve a great framed photo with any kind of camera. Good options for this include doorways and windows. You can even become more creative and make your own frame using objects that contextualize the scene behind it.
7. Panning
Bikes are the easiest moving object to try panning with.
Panning is a form of intentional camera movement. The technique involves following the motion of a moving object and using a slower shutter speed to blur the background behind it.
As long as your camera allows you to use a slow shutter speed, this is a technique you can try. Those using a smartphone should download an app that allows you to use a slower shutter speed to take a photo.
8. Point of view
A worm’s-eye view can look amazing. This example also shows how lines and repetition can work in a photo.
Changing your angle can give you dramatically different results, and it doesn’t matter which type of camera you use for this technique.
It’s easy to photograph from a standing position, but try some of these alternative angles:
Low angle: With this angle, you’ll get low to the ground. Things look different from down there!
Worm’s-eyeview: This angle involves looking straight up. It can be even more dramatic when you get right down to the ground.
Bird’s-eyeview: The easiest way these days to take a bird’s-eye view image is with a drone. However, find a high vantage point from a tall building and you can achieve a similar result.
9. Lines
This photo shows several lines converging in the left third of the frame.
Using powerful lines in your photos will almost always give you a strong composition. The trick, of course, is to utilize those lines correctly using the focal length available to you.
Here are some of the lines that can be used in your photography:
Leading lines: A leading line leads the eye to the main subject of your photo. This line might take the form of a road or a river meandering through your frame.
Horizon lines: Many photographs have horizon lines in them, which is a strong line running through the middle of your frame. Look to position it at the top or bottom third of your photo (using the rule of thirds).
Converging lines: In some photos, many lines converge at one point: the infinity point. This can be compositionally very strong. Look for lines of trees or a tunnel for this type of photo.
10. Shadows
The shadow in this photo shows an element of repetition, as well.
Photographing shadows requires a strong light source. This can be the sun, but an external flash is another option.
The best time of the day to photograph shadows is therefore when the sun is at a low angle: an hour after sunrise or an hour before sunset.
Shadows can be formed and used in different ways. You might photograph a person’s shadow, shadows formed from trees, or the way shadows emphasize the shapes of hills.
11. Minimalism
This minimalist photo uses a bird’s-eye view taken from a bridge.
Keeping your composition nice and clean is the key to a good photo. This means that one of the best easy creative photography techniques is minimalism.
You can create minimalism even in the most cluttered environment as long as you frame your photo correctly. This style of photography requires that you give your subject some room to breathe. Focus on the main subject and position it in front of an uncluttered background.
Try out these easy creative photography techniques, yourself!
There are so many ways to be creative with photography. Which techniques do you like to use? Are there any simple-to-apply techniques you’ve tried that didn’t make this list? Share your thoughts in the comments!
And if you have any photos that illustrate these techniques, share them in the comments, too!
Then get photographing with these easy creative photography techniques!
The post 11 Easy Creative Photography Techniques You Can Try on Any Camera appeared first on Digital Photography School. It was authored by Simon Bond.
Canon recently announced an EOS R6 firmware update to address overheating issues. Does firmware 1.1.1 improve the camera’s video performance? Quite a bit, it turns out.
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Insta360 has announced the ONE X2, a new waterproof 360-degree camera that features stabilized 5.7K recording, a round touchscreen display and built-in editing tools.
The overall shape of the ONE X2 is similar to the Insta360 ONE X, but instead of a black and white OLED display, the ONE X2 features a full-color display that can be used to both compose your shots and navigate through the camera’s settings.
The ONE X2 features four shooting modes: 360, Steady Cam, InstaPano and MultiView. In 360 mode, the camera will capture and stitch together a 5.7K 360-degree video. Steady Cam makes it possible to compose your shot — from the whole 360-degree view — and capture digitally-stabilized video that’s ready to share off the bat. InstaPano is a new mode that captures full panoramas of a scene with a single tap. Lastly, MultiView allows you to capture two angles at once, enabling you to capture both the scene in front of you as well as yourself in two separate videos.
Powering the image stabilization in both the 360 and Steady Cam shooting modes is Insta360’s updated FlowState technology, which is now ‘better than ever’ with improved stabilization performance. Also new is Deep Track, a new algorithm-powered feature that makes it easy to track subjects with a voice command or tap of the screen. Once the video is offloaded into the Insta360 app or Insta360 Studio, the program will automatically adjsut the video to track humans, animals and other moving objects, keeping them in the center of the frame.
Insta360 has also improved the Shot Lab functionality inside its app, making it easier to create videos with a single tap using built-in templates such as Dolly Zoom, Stop Motion and more.
The ONE X2 is IPX8 rated, meaning you can use it without a case down to 10m (33ft) and down to 45m 9148ft) with the optional Dive Case. To help improve the quality of underwater images, Insta360 has included AquaVision, a specialized shooting mode that auto-balances colors to create a more natural-looking scene. For low-light situations, the ONE X2 features PureShot, a mode that will capture and merge multiple images to increase dynamic range and reduce noise.
Insta360 has packed inside a larger (compared to the Insta360 ONE) 1630mAh battery, which is rated for shooting up to 80 minutes.
Being we’re still in the middle of a global pandemic, Insta360 has also added a webcam option for video conferencing apps such as Zoom, Google Hangouts and more. The usual live video streaming features for Facebook, YouTube and other platforms is also available.
The Insta360 ONE X2 is available to order today through Insta360’s online shop and authorized retailers (Adorama, B&H) for $ 430.
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