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Organizers say Photokina 2020 is still set to go according to schedule, despite growing COVID-19 concerns

29 Feb

This week, representatives from Koelnmesse, the organization behind Photokina 2020, sat down for a press conference in Cologne, Germany to address, amongst other details, concerns surrounding whether or not Photokina 2020 will take place as cases of COVID-19 continues to spread across the globe.

At the press conference, Koelnmesse Vice President, Christoph Werner, said ‘At this time, there is no reason to halt a large-scale event like [Photokina 2020],’ according to translated text from DC Watch. This statement was made even after consulting with the World Health Organization (WHO), the German Federal Ministry of Health and local authorities, according to Werner.

‘At this time, there is no reason to halt a large-scale event like [Photokina 2020]’

Kai Hillebrand, Chairman of the German Association of Photography, further elaborated at the press conference, saying ‘As long as the health authorities do not announce that trade fairs should be stopped in Europe, [the decision to participate] will be at the discretion of the exhibitors.’

In mid-September, well before the rise of the COVID-19 virus, Leica, Nikon and Olympus were confirmed to have dropped out of the tradeshow. Three months later, on December 6, Photokina confirmed Canon, Panasonic and Sony would be present for the 2020 event. No more than ten days later it was confirmed by PetaPixel that Fujifilm, too, would be absent from the show.

Between the departure of four major brands and the ongoing Coronavirus concerns, it doesn’t look promising for the Photokina 2020, despite being three months out. That said, until further notice, it seems as though everything is still set to go according to schedule, even as WHO raises the global risk of COVID-19 from ‘high’ to ‘very high’

Articles: Digital Photography Review (dpreview.com)

 
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Meyer Optik Görlitz will return once again, this time at Photokina 2020

29 Feb

OPC OPTICS announced on Tuesday that it will revive the Meyer Optik Görlitz brand it acquired in late 2018 with a debut at Photokina 2020 in Germany later this year. The company will bring half a dozen new lenses with it, including the Trioplan 100, Trioplan 50, Trioplan 35, Primoplan 75, Primoplan 58 and the Lydith 30.

The Meyer Optik Görlitz saga is a long one. The brand returned from the dead in 2014 when it was acquired by Net SE, which revived the lenses by using Kickstarter campaigns. Fast-forward to 2018 and Net SE was revealed to be insolvent; Kickstarter backers didn’t get their lenses and weren’t able to get refunds, either.

That led to the brand’s acquisition by OPC Optics in late 2018, something that soon resulted in a frustrating revelation: Meyer Optik Görlitz Nocturnus and Somnium lenses produced under Net SE were modified versions of Chinese and Russian lenses. OPC Optics disclosed the findings, saying that it would temporarily discontinue both of those ranges.

In the company’s most recent announcement this week, OPC Optics Managing Director Timo Heinze discussed the upcoming Photokina plans and the lenses that will premiere there, saying:

‘All lenses are completely developed and manufactured in Germany with the utmost care and attention to detail. The exclusive image design features of Meyer Optik Görlitz lenses enable the user to stand out from the crowd with an individual image language. We are proud of the high-quality realization of our product developments, but even more proud of all the impressive and unique results that photographers have created so far and will create with the new versions of Meyer Optik Görlitz’s lenses.’

Each lens will be presented at Photokina 2020 alongside 10 large format prints captured with the product. As of the latest report, the trade show is still set to go and will take place in Cologne, Germany, from May 27 to May 30.

Articles: Digital Photography Review (dpreview.com)

 
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How to Take Vibrant, Razor-Sharp Macro Photos of Flowers

29 Feb

The post How to Take Vibrant, Razor-Sharp Macro Photos of Flowers appeared first on Digital Photography School. It was authored by Ramakant Sharda.

razor-sharp-macro-photos-of-flowers

Macro photography is a very interesting subject for photographers. People love to shoot small objects like insects, flowers, waterdrops, etc. With macro photography, a photographer can show the tiniest details about the subject – details that are not possible to see with the naked eye. Today, let’s find out how to amaze viewers by taking colorful and razor-sharp macro photos of flowers.

razor-sharp-macro-photos-of-flowers

What you’ll need to capture razor-sharp macro photos of flowers

Camera body

You’ll be taking photographs, which means you will obviously need a camera body. But which camera body is good for macro photography – a full-frame or a crop-sensor camera?

Different photographers have different answers to this question. Each body has advantages over the other. With a crop-sensor camera, you can get a larger focal length with the same lens so that you don’t have to get very close to the subject. A crop sensor also gives you a deeper depth of field as compared to a full-frame body, which means you can keep more of the subject in focus.

On the other hand, a full-frame body reveals more details because of the larger sensor size. It also performs better in low-light conditions. So, ultimately, all bodies are good for macro photography, whether you have a crop-sensor camera or a full-frame camera, or whether it’s a DSLR or mirrorless.

razor-sharp-macro-photos-of-flowers

Lens

Lens choice is important in macro photography.

A true macro lens gives you 1:1 magnification, which means the size of your subject can be the same as your sensor size. In other words, if you have a full-frame body that has a 36mm x 24mm sensor size, you can fill the entire frame with a subject that is 36mm x 24mm in size. This gives you the opportunity to get really close to the subject and capture all the details.

However, don’t worry if you don’t have a dedicated macro lens. You can use extension tubes or a reverse ring with two lenses. Alternatively, you can use a cheaper option called macro close-up filters.

Flash and diffuser

A flash is a very important piece of equipment in macro photography. It helps you take razor-sharp pictures and capture bright colors. It also helps you avoid blurry images resulting from the shake of the camera.

A flash diffuser is equally as important as the flash. It softens the light and brings out the details and colors. You can use a mini softbox or domes or MagSphere, or you can simply put a diffuser cloth in front of the flash or bounce it with a white card.

You can use the flash on the camera hot-shoe or, if you have wireless flash triggers, you can use the off-camera flash. This will give you better results, but you will need someone to hold it.

How to Take Vibrant, Razor-Sharp Macro Photos of Flowers

Things to remember:

1. Depth of field

The first thing to remember when it comes to getting razor-sharp macro photos of flowers is depth of field (DOF). DOF is very important in macro photography. If you are shooting with a true macro lens with 1:1 magnification and your aperture is f/4, you’ll get only 1-2mm of total DOF. So, chances are, you won’t get everything you want in focus.

The solution is a smaller aperture. With an f/16 aperture, you can easily get 5-6mm total DOF and have everything you want in focus.

However, with such a small aperture, you’ll need lots of light. That’s why a flash is necessary for macro photography.

How to Take Vibrant, Razor-Sharp Macro Photos of Flowers

2. Focusing

Many photographers suggest that manual focus is better for macro photography, but I disagree with them.

I always use autofocus when taking macro pictures.

Why?

Because it’s easy, it’s fast, and you have fewer chances of taking out-of-focus pictures because both hands are free to hold the camera.

Just make sure that your hands and camera don’t move between focus lock and taking the picture.

3. Background

To achieve razor-sharp macro photos of flowers, you should always consider the background. In most cases, the background will be blurred, but, still, it should be clean and have contrasting colors.

4. Look from different angles

When we take photos of flowers, we usually take them from the top or the side. However, sometimes a flower can be very beautiful from the back, too.

When you are searching for a subject to shoot, always look it from different angles so that you can see and click something extraordinary – something that others can’t.

razor-sharp-macro-photos-of-flowers

5. Dead flowers can be great subjects, too

We always try to take photos of fresh flowers, but sometimes dead flowers can be great subjects, as in the following image. When a flower is dead, and all the petals have fallen, it starts preparing seeds.

Sometimes those seeds look very beautiful and can be good subjects to shoot macro.

razor-sharp-macro-photos-of-flowers

6. Shoot in RAW

To achieve razor-sharp macro photos of flowers, always shoot in RAW format because RAW files contain more details. Therefore, when you sharpen the image and enhance the colors in post-processing, you’ll get better results.

When you open a RAW image in post-processing software, it’ll look dull and lack sharpness, colors, and contrast. Don’t lose heart after seeing this. After a little bit of post-processing, it can often be better than a JPG image from the camera.

How to Take Vibrant, Razor-Sharp Macro Photos of Flowers

7. Keep your hands steady

A tripod is not a useful tool in macro photography because you’ll need to click at unusual angles.

If you have a moving subject, like insects, chances are, they’ll go away before you set up your tripod. So, it’s better to take photos with a handheld camera. Keep your elbows inside, which will give you support and lower your chances of camera shake.

8. Practice and be patient

If, after doing everything you have read in this article, you take photos that aren’t coming out sharp, don’t be disheartened. Have patience, and keep practicing. Eventually, you’ll get razor-sharp macro photos of flowers.

razor-sharp-macro-photos-of-flowers

Keep clicking and share your pictures here. If you need help, just ask me. I am always here to assist.

 

You may also like:

  • 5 Quick Tips for Outdoor Macro Photography
  • 7 Different Ways to Approach Macro Photography
  • Just Dew It – Fun with Macro Dewdrop Photography
  • How to take Great Flower Photos without a Macro Lens
  • 5 DIY Macro Photography Hacks for Stunning Macro Photos (on a Budget)
  • Reverse Lens Macro – How to Make Macro Photos with “Backward Thinking”
  • How to do Extreme Close-Up Photography with a Macro Bellows
  • 5 Camera Settings That All Macro Photographers Should Know

 

The post How to Take Vibrant, Razor-Sharp Macro Photos of Flowers appeared first on Digital Photography School. It was authored by Ramakant Sharda.


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How to Use Radial Composition in Photography to Create Awesome Images!

29 Feb

The post How to Use Radial Composition in Photography to Create Awesome Images! appeared first on Digital Photography School. It was authored by Megan Kennedy.

how-to-use-radial-composition-in-photography

Radial composition (also known as radial balance) is a tool used to influence balance and impact within a photograph. In this article, we’ll look at some of the in’s and out’s of radial composition in photography.

Image: f/2.8 1/1000 ISO 500

f/2.8 1/1000 ISO 500

What is radial composition?

The term radius refers to the distance between the center of a circle and its outer edge. Therefore, radial composition means imagery that radiates outward from a particular point.

One common example of this is the wheel, with spokes radiating away from the central hub.

Another example would be flowers, with petals fanning out from the flower head.

radial composition diagram radius

By using radially orientated lines, shapes and forms, the eye is attracted to a central point within an image, creating emphasis. In this way, radial composition can appeal to our sense of momentum, generating visual movement. Some radial compositions even trick the eye into perceiving actual movement within in a fixed image.

In addition, lines that diverge into a central point also cultivate a greater sense of depth within a photograph. However, keep in mind that not all radial compositions need to be constructed of circles!

In the right context, you can use rectangles, triangles, waves, lines, spirals, or other forms to cultivate radial composition.

radial composition diagram

The history of radial composition

Because of its visual energy, radial compositions have been an enduring presence in visual art and culture. For example, ancient petroglyphs carved into rocks depict spirals and labyrinths as well as lines radiating out from a central focal point.

Rich with symbolism and sacred meaning, the mandala features in numerous religions and beliefs. In Greek mythology, the Sun god Helios was often depicted with a crown of radiating lines. These lines were understood to indicate radiant light, signifying the rays of the sun.

During the Renaissance, radial composition was used to emphasize important figures within a scene. In Assumption of the Virgin by Titian, subjects are seen to radiate away from the main figure (Mary) and a circle of radiant light frames her upper body. In Raphael’s School of Athens, famous philosophers are emphasized by the radial properties of the surrounding architecture.

radial composition smashed glass

f/4.0 1/640 ISO 320

Modern art

Inevitably, radial composition has been a strong compositional feature in modern visual art. A famous example is Kandinsky’s circle paintings that radiate pulses of color. Dada artist Marcel Duchamp’s Bicycle Wheel also takes advantage of the radial structure of the wheel to evoke both a sense of motion and stasis.

In photography, there are countless variations on the use of radial composition. Taken in 1920, Edward Steichen’s Isadora Duncan at the Portal of the Parthenon makes use of radial composition to emphasize the subject within the ancient Parthenon. In Henri Cartier-Bresson’s Children Playing in Ruins, the child subjects are framed by a hole in a wall within the ruins of a city.

How to Use Radial Composition in Photography to Create Awesome Images!

How to cultivate radial compositions

Radial composition relates to visual elements that expand from or center around a central point in an image. Eyes, flowers, snail shells, doorways, fireworks, tree rings…there is an abundance of opportunities to capture radial subject matter.

Fluid radial elements create a harmonious flow throughout the image, whereas sharp, erratic lines generate a scene of energetic movement.

Archways, staircases, reflections, plants…you can find radial features in all genres of photography. You can even create radial imagery through camera movement or abstraction.

radial composition camera tossing2 seconds f/4.0 ISO 100

You can also use radial composition as a tool to emphasize a given subject. Framing an aircraft aligned with the halo of the sun’s rays, or photographing a portrait with the sitter positioned within a window or door frame can seem easy enough. However, incorporating simple radial elements into your composition can add much more depth and impact to your image.

Image: f/6.3 1/400 ISO 100

f/6.3 1/400 ISO 100

Conclusion

From landscapes to architecture and everything in between, radial composition can add impact and depth to your photography.

Keeping an eye out for radial compositional opportunities can lead to engaging material that guides the viewer’s eye around the image more effectively.

Do you make use of radial composition? Share your images in the comments below!

The post How to Use Radial Composition in Photography to Create Awesome Images! appeared first on Digital Photography School. It was authored by Megan Kennedy.


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Vivo’s latest concept phone comes with ‘gimbal-like’ main camera stabilization

29 Feb

Chinese smartphone maker Vivo uses its APEX line of concept phones to showcase the latest mobile technologies and has just presented its latest version, the 5G-enabled APEX 2020 which puts a lot of focus on the cameras and display.

The first highlight is a 16MP periscopic tele camera on the back which, according to Vivo, offers an optical zoom range of 5x to 7.5x, more than the currently longest smartphone teles.

It’s not quite clear at this point how the ‘optical’ zoom is achieved but it’s fair to assume computational imaging methods will be used to achieve the upper end of the reach. In any case, performance should at least be on at least a similar level as the Huawei P30 Pro or Oppo Reno 10x Zoom which both offer a 5x optical tele lens.

Despite the impressive zoom reach the camera module is only 6.2mm thick, allowing for a slim design and only minimal camera hump.

The main main camera comes with a 48MP Quad-Bayer sensor and a stabilization system that goes way beyond what we’re seeing on current phones. The entire camera appears to be hinged in a gimbal-like structure that is capable of counteracting much more severe device motion than conventional systems. Vivo claims the new system extends the stabilization angle by 200 percent and says the design was inspired by the eyeballs of a chameleon, which freely rotates in its socket, allowing the animal to observe its prey.

The 16MP camera at the front works in similar was as we’ve already seen from Oppo and Xiaomi, and is hidden under the display which turns transparent as soon as the shutter is triggered, allowing incoming light to hit the lens. The area right above the camera also features six times larger display pixels to allow for better light transmittance. Like on the main camera, 4-in-1 pixel-binning is used to decrease image noise and increase dynamic range.

The camera also has the ability to remove passers-by in the background in real time and a ‘Voice Tracking Auto-Focus’. The latter uses audio data from the microphones and visual data from the camera to ‘focus’ audio recording on a scene’s main subject, minimizing background sounds, similar to Samsung’s ‘Zoom-in Mic’.

Other features include a ‘120-degree FullView Edgeless Display’ which measures 6.45 inches and offers a 2,330 x 1,080 resolution in its AMOLED panel which wraps around both edges at 120 degrees. This means bezels are invisible when the device is viewed form the front. There’s also Vivo’s third-generation Screen SoundCasting technology, which casts sound through the screen, eliminating the need for speaker holes and allowing for better environmental protection.

As it is appropriate for a showscase device such as the APEX, the 2020 version is powered by Qualcomm’s top-tier chipset Snapdragon 865 and runs the latest Android version 10.

We won’t find out how the APEX 2020 performs given it is unlikely to ever hit the market in its current form, but we hope some of the features of the concept phone, especially the camera elements, will make it to one of Vivo’s production devices in the near future.

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Yellow

29 Feb

The post Weekly Photography Challenge – Yellow appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is the color YELLOW!

Image: Photo by dPS writer, Megan Kennedy © Megan Kennedy

Photo by dPS writer, Megan Kennedy © Megan Kennedy

This is a fun challenge. You can capture the color yellow in so many ways. You can use street photography, macro, flowers, landscapes, the golden hour, cityscapes (think the yellow cabs of NY), abstracts or people wearing yellow clothing. The yellow can be a major part of the composition or be more subtle. There are so many options!

So, check out these pics to give you some ideas, have fun, and I look forward to seeing what you come up with!

Image: Photo by © Caz Nowaczyk

Photo by © Caz Nowaczyk

flower photography macro handheld

Photo by dPS writer, Jaymes Dempsey © Jaymes Dempsey

Image: Photo by dPS writer, Megan Kennedy © Megan Kennedy

Photo by dPS writer, Megan Kennedy © Megan Kennedy

tips for using color

Photo by dPS writer, Jaymes Dempsey © Jaymes Dempsey

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting the color YELLOW

Mastering Color Series – The Psychology and Evolution of the Color YELLOW and its use in Photography

5 Tips for Using Color to Improve Your Photography

The Ultimate Guide to Street Photography

How to Get the Most Out of Photographing at Golden Hour

5 Tips for Golden Hour Photography

 

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSyellow to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Yellow appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Opinion: Fujifilm’s decision to omit the headphone jack on the X-T4 is a mistake

28 Feb
Want to monitor audio while shooting video on the Fujifilm X-T4? You’ll need a dongle.

Just a quick warning: I’m going to clobber Fujifilm a bit in this column. But not until I praise Fujifilm.

A few short years ago, Fujifilm was the last camera company I associated with great video. At a time when competitors’ cameras were capturing serviceable 1080p footage, Fujifilm’s models slotted in somewhere between the Fisher Price Elmo video camera and the iPhone 4 in terms of video quality.

A ‘worst to first’ story?

My, how times have changed.

Today, Fujifilm is a shining example of what’s possible when a traditional camera company decides to tackle the challenge of video. There’s no complacency here, and in recent years the company has not only caught up with, but surpassed, many of its competitors in key areas. Recent models deliver beautiful 4K video, 10-bit color and support the H.265 codec up to 400 Mbps. F-Log gamma provides post-processing flexibility, and the gorgeous Eterna film simulation delivers beautiful cinematic footage.

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Fujifilm’s early efforts at video were less than spectacular. In recent years, however, the company stepped up its game and is a top contender in the mirrorless arena.

With the X-T4, Fujifilm dials it up a few more notches. In-body image stabilization, separate menus for stills and video, F-Log view assist for visualizing a LUT in-camera, 240 fps recording, a dedicated Q-menu for video and much more show that Fujifilm is serious about appealing to video shooters.

That’s why its decision to omit a headphone jack from the X-T4 is simply mind boggling, especially considering that the X-T3 includes one. Here’s the problem: being serious about adding features that people want and recognizing how customers actually use your product are two different things.

Being serious about adding features that people want and recognizing how customers actually use your product are two different things

For all the great improvements – and they are great – the X-T4’s design overlooks one of the most basic principles a video shooter cares about in the field: a reliable workflow with as few points of failure as possible. Every time you introduce something like an adapter between connectors you increase the risk of something going wrong. Some things will always go wrong in the field, but there are certain key things that just can’t go wrong, and the ability to monitor audio is one of them.

I’ve been here before

I was an early adopter of mirrorless cameras for video work and embraced models like the Panasonic GH2. There was a LOT of room for improvement in that camera, but I found reasonable workarounds for most things.

However, it had a big Achilles heel, and it’s almost the same one as the X-T4: it used a non-standard 2.5mm microphone jack that was incompatible with the standard 3.5mm plug on most hot shoe microphones (like the Rode VideoMic series).

I ordered a couple adapters and threw them into my bag, but adapters and dongles have a habit of disappearing or failing without warning. As a result, I subsequently ran into several situations where I couldn’t connect a microphone due to a missing or, in at least one case, a defective adapter. Was it the end of the world? No, but it was very disruptive and frustrating, particularly since the camera included a jack – just a non-standard one.

Requiring an adapter to monitor audio on the X-T4 is reminiscent of Panasonic’s decision to use a non-standard 2.5mm microphone jack on the GH1 (above) and GH2 – something that wasn’t popular among videographers.

When this happened, it didn’t matter how capable the GH2 was when it came to video quality. The fact that it introduced a point of failure to one of the most fundamental parts of my workflow did. Where will you be when you discover you’re missing the USB adapter for the X-T4? I don’t know, but the things I do know are 1) it’ll be precisely when you most need it, and 2) USB to 3.5mm adapters aren’t the easiest thing to replace quickly, unless you’re lucky enough to be close to a big box or electronics store.

If fairness to Fujifilm, there’s one way to get a headphone jack on the X-T4: you can use the battery grip. This may appeal to some people, but unless you need the grip it’s basically a really big dongle. The headphone jack should really be an integral part of the camera.

Why Fujifilm needs to get this right

Some may argue that the X-T4 isn’t a ‘real’ video camera, and therefore omitting a headphone jack isn’t a big deal. You’re right: it’s not a C200 or an FS7 or anything else in that class. It doesn’t have XLR inputs, SDI connectors or any number of other things. Also, one could fairly argue that the Fujifilm X-H1—a camera we praised for its video capabilities—had the same limitation, so why complain?

Because the basic definition of what a video camera is has evolved, particularly in the prosumer market; whether for size, budget or just familiarity, many creators—including enthusiasts exploring the world of video—are now using mirrorless cameras to produce content that would have required a pro video camera in the past.

Fujifilm, if you want to appeal to videographers please don’t introduce a potential point of failure to a critical part of the workflow.

I’m convinced that Fujifilm is trying to appeal to these users, and it’s certainly getting their attention with a product like the X-T4. Not only can it shoot beautiful video, but it’s a pretty self-contained, stand-alone solution thanks to all the tech packed into it.

Which is why removing a feature that’s so critical to the video production workflow, and which was included on the camera’s predecessor, is simply baffling. It suggests that while Fujifilm has done an amazing job of adding features that videographers will love, it still doesn’t quite understand how they work.

Despite what I’ve written here, I’m really looking forward to using the Fujifilm X-T4 to shoot video. It’s an exciting camera and I already know I’m going to love it, but I’ll have several USB to 3.5mm adapters in my possession before I commit to using it for anything serious.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T4 pre-production sample gallery (DPReview TV)

28 Feb

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DPReview TV used the Fujifilm X-T4 to document some local culture in Alberta, Canada. In this sample gallery you’ll get to see cowboys, cowgirls, the novel sport of ‘skijoring’ and the Calgary Farmer’s Market.

View sample gallery

Watch our Fujifilm X-T4 hands-on preview

Articles: Digital Photography Review (dpreview.com)

 
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Video: Three types of photographers, illustrated by the ‘The Grand Tour’ trio

28 Feb

During an episode in season three of The Grand Tour, hosts Jeremy Clarkson, Richard Hammond and James May take a moment to sit down and discuss the photography equipment they plan to bring to photograph wildlife in Columbia.

The exchange from the trio is right on course with what you’d expect from Jeremy, Richard and James, if you know them from their Top Gear days; the guys poke fun at three different kinds of photographers and the gear they bring along for photoshoots in a way only they can.

Richard opts for the full suite of Canon prime lenses and camera bodies, complete with strobes, filters, a ThinkTank photo belt and BlackRapid camera strap to carry it all. Jeremy, on the other hand, keeps it simple with what appears to be a Canon 5DS R attached to an EF 600mm f/4L IS II. James eschews the weight and debate by further streamlining his gear with a single Canon PowerShot G9 X Mark II.

All in all, the two-minute segment makes for a few good laughs.

Articles: Digital Photography Review (dpreview.com)

 
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Exploring creativity with the Fujifilm X-Pro3

28 Feb

Fine art photographer Eirik Johnson is a big believer in the daily practice of photography, whether that be casual photographs of his surroundings, or longer-term creative projects. Eirik’s work has taken him all over the United States, but his latest project, exploring Seattle’s Duwamish River, is closer to home.

Once a focus of life for indigenous tribes of the area, the modern-day Duwamish is a bustling waterway, central to the industries of the modern Pacific Northwest. At one time heavily polluted, efforts have been made in recent years to clean up the river, and to recognize its importance to the local ecosystem and to the Duwamish people.

Join Eirik as he travels the Duwamish, documenting the sights and scenes of the river with the Fujifilm X-Pro3.

Fujifilm X-Pro3 sample photographs

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This is sponsored content, created with the support of Amazon and Fujifilm. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
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