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Lensrentals gets risky while tearing down the Nikon Z 24-70mm F2.8 zoom lens

18 Jan

Image credits: Photos published with kind permission from Lensrentals.


Over on ‘The Desk of a Humble Genius,’ Roger Cicala of Lensrentals has ‘finally’ taken apart the Nikon Z 24–70mm F2.8 lens and shared both his insights and images from the experience.

As the original title of the teardown, ‘Lens Disassembly is a Complicated Profession. Don’t You Agree?,’ alludes to, this particular disassembly proved to be a challenging one, which par for the course with Nikon lenses, according to Roger. In his own words, Roger says ‘Nikon lenses have always been a bit “old fashioned” and different from other SLR lenses,’ but this review comes with a very clear warning to ‘not get your lens and screwdriver and follow along at home,’ because ‘Bad things might happen. Bad. Things.’

The teardown starts off with what is about the only negative thing Roger has to say about the lens—the felt around the lens hood, which he feels peels up too easily isn’t up to the quality of the rest of the lens.

From there, it’s onto the mount, which was dissected one screw and ribbon cable at a time. Upon removing the mount itself, Roger noticed it was particularly difficult to get off. This was due to an inner lip that rests against the rear barrel of the lens. Roger says ‘This might be to keep the bayonet centered, for a dust seal, to provide a little extra strength, or just because it looks cool,’ but notes regardless of the exact reasoning, ‘it seems like an all-around good idea.’

Moving along, Roger removed the rear piece of the lens barrel to reveal the A/M focus switch and the optical sensor the control ring uses. Each piece removed reveals a healthy amount of weather sealing gaskets, as well as numerous electrostatic discharge (ESD) cushions under the exterior of the lens.

With the rear barrel off, Roger gets into the internals of the lens, which proved to be a pleasant surprise. In his own words:

‘OK, let’s take a moment for me to give some props. Forever, during Nikon tear-downs, I’ve made snarky comments about the old-fashioned look they have inside; soldered wires here and there, flexes wandering aimlessly, random secondary circuit boards, etc. Well, no more. Look at this engineering right here: neat flexes running directly where they’re heading placed in recessed channels in the barrel and thoroughly taped in place. Superb! Nikon has clearly modernized and spent time and effort in making a clean, well-engineered layout for the electronics. I’ve been asking for that for years, and Nikon delivered.’

The PCB itself also proved to be quite minimal, at least compared to the one found inside the Canon RF 70–200mm F2.8 lens Roger tore down a few weeks back. In the past, Nikon has used secondary circuit boards in the lenses to beef up the processing capabilities, but Roger notes there wasn’t another one inside this lens, suggesting the camera handles a generous amount of the processing power.

After a few other auxiliary bits, it was onto the removal of the next piece of the lens barrel. Unfortunately, this is where Roger and Aaron ‘ran into the “be careful what you wish for; you might get it” conundrum.’ It turns out one of those nicely-organized flex cables ran down to the display unit of the lens and refused to budge when attempting to lift the barrel.

A syringe full of rubbing alcohol isn’t something you usually want to see during a lens teardown.

‘Rule 63 of taking apart lenses is “thou shalt not tug a flex”; because tearing a flex is bad,’ says Roger in the teardown post. ‘[But] on Nikon lenses, because we can’t buy parts, tearing a flex is very bad.’ After countless attempts to use different means of removing the flex cable to avoid tugging, Roger and Aaron decided they were sick of holding off lunch and decided to use a little rubbing alcohol in a syringe to ease the adhesive from the back of the ribbon cable. After a little bit of pulling, the barrel was off and they were on their way.

Roger hits on a number of other interesting tidbits about the buttons on the lens and the unusually-bright neon-yellow tape strategically-placed throughout the lens. The zoom barrel proved to be weather-sealed incredibly well and the zoom position sensor Nikon uses is an upgrade from the traditional metal brushes it’s used in the past.

The remainder of the lens disassembly proved to be a doozy, with excellent build quality proving time and time again to be a double-edged sword for Roger, who seemed to be as challenged as he was impressed.

While we’ll leave the rest of the humor, photos and details to Roger in his full write-up, here are a few other notable details discovered throughout the remainder of the teardown process:

  • Breaking the front filter thread of the lens is going to be a very expensive fix, as the entire front barrel is a single piece, rather than a piece simply held on with a few screws.
  • Aaron had to put on gloves during the assembly, which in Roger’s own words means ‘shit’s getting real’
  • The aperture diaphragm assembly is a combination mechanical/electronic aperture with very tight tolerances

When all was said and done, this teardown proved to be the longest ever—and that’s before Aaron had to piece it all together. The good news is, it (mostly) took so long because Nikon went above and beyond when engineering this lens.

Roger says these new Nikon Z lenses are a far cry from their F-mount counterparts and much like Canon’s RF lenses, are likely completely new optical designs made in-house. He notes ‘The engineering itself is incredible in most ways [and] the neatly laid out and solidly adhered flexes reflect the careful design.’

To see all of the images and read more in-depth knowledge shared by Roger, head on over to the Lensrentals blog.

Articles: Digital Photography Review (dpreview.com)

 
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Platypod creators return with the new Platyball Ergo and Elite tripod heads

18 Jan

The Platypod creators are back with another product called Platyball, a new type of tripod head that features a unique design and more modern, convenient features. The Platyball is made with a weather-sealed aluminum unibody, steel components and polymer brake pads; it supports payloads of up to 10kg (22lbs).

Rather than featuring bubble indicators, the Platyball features a built-in leveling indicator offering an accuracy level of 0.5-degrees. The pricier Elite model is identical to the cheaper Ergo model, the only exception being its electronic leveling indicator system. The Platyball is designed for single-hand and gloved-hand use, plus it can be transported using a carabiner clipped to a bag or belt.

Other features include support for use in half a dozen directions, an adjustable brightness display for nighttime use, support for user calibration, an Arca-compatible twist collar, panning lock thumb wheel, two large buttons for locking and unlocking the device and support for standard A23 alkaline batteries.

The Platyball Ergo is offered to Kickstarter backers who pledge at least $ 199; the Platyball Elite for pledges of at least $ 249. The team estimates that shipping to backers will start in March 2021 and that the eventual retail prices will be $ 249 and $ 325, respectively. You can find out more and secure your pledge by heading over to the Kickstarter campaign.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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Canon wins lawsuit against eBay sellers accused of peddling counterfeit batteries

18 Jan

Canon USA has announced a successful lawsuit against two eBay sellers who were allegedly peddling counterfeit ‘Canon’ batteries. The camera company had filed a complaint against the defendants in October 2019, claiming the sellers were using its trademarks and that doing so could ‘mislead the public as to the source and authenticity’ of the products, potentially to their peril.

The legal victory took place on December 12, 2019, in the US District Court for the Eastern District of Pennsylvania. According to Canon, the defendants in the case were barred from ‘infringing and counterfeiting the valuable Canon trademarks.’ The sellers will also be required to pay Canon a ‘significant amount of money,’ according to the camera company.

Below is a copy of the court documents, obtained by PetaPixel:

Counterfeit batteries put both the operator and their camera at risk, Canon explains on its website. These products may be poorly made and prone to overheating; they may also offer lackluster performance when compared to the real thing, resulting in frequent recharging and shorter lifetimes. Signs of a counterfeit battery include lack of an anti-hologram sticker on the bottom, modifications to the company’s logo and an inability to communicate with the camera.

Articles: Digital Photography Review (dpreview.com)

 
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Fotodiox’s new Vizelex Cine ND Throttle Fusion adapter connects EF lenses to GFX cameras

18 Jan

Fotodiox has launched its new Vizelex Cine ND Throttle Fusion Smart AF lens adapter for connecting Canon EF lenses to Fuji G Mount GFX mirrorless cameras. The adapter features integrated Fusion tech for using autofocus and other automated functions, as well as a built-in variable neutral density filter with 1 to 8 stops (ND2-256).

Fotodiox says users may notice vignetting when the adapter is used with certain Canon EF lenses; for these instances, the product features a switch for changing from medium format to 35mm mode. As well, the adapter has a switch for directly toggling from aperture priority to program mode. Firmware updates are delivered over micro USB.

Other features include an all-metal design, the promise of high-precision construction, chrome-plated brass mounts and a geared rotating ring for adjusting the ND filter. The adapter is available now from Amazon, B&H Photo and Adorama for $ 550.

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Protests

18 Jan

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

This week’s photography challenge topic is PROTESTS!

Climate-Change-Rally-Wollongong-January-2020-by-Caz-Nowaczyk

Climate Change Rally, Wollongong NSW Australia, January 2020 by Caz Nowaczyk

In many countries around the world, people protest all sorts of issues – climate change, equality, human rights, government policies etc.

In my home town, there was a recent protest on climate change – brought about by the recent bushfire crisis in Australia.

So, this week’s challenge is to go out and shoot any pictures that include protests (if there are none in your town, perhaps you protest about something and would like to depict that somehow in picture form).

Set out to capture the energy, emotion, wide crowd shots, close-ups of signs and people.

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

Climate-Change-Rally-Wollongong-January-2020-by-Caz-Nowaczyk-02

Climate Change Rally, Wollongong NSW Australia, January 2020 by Caz Nowaczyk

Climate-Change-Rally-Wollongong-January-2020-by-Caz-Nowaczyk-03

Climate Change Rally, Wollongong NSW Australia, January 2020 by Caz Nowaczyk

Climate-Change-Rally-Wollongong-January-2020-by-Caz-Nowaczyk-04

Climate Change Rally, Wollongong NSW Australia, January 2020 by Caz Nowaczyk

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

Tips for Shooting PROTESTS

The Ultimate Guide to Street Photography

The Ultimate Guide to Zone Focusing for Candid Street Photography

Photographing Festivals and Events – Tips for Travel Photographers

How to Organize and Photograph Events Like a Pro

5 Tips for Safely Photographing a Dangerous Event

7 Tips for Capturing the Decisive Moment in Street 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 #DPSprotests 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 – Protests appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Sony releases minor firmware updates for a9 II and 24mm F1.4 GM, 135mm F1.8 GM lenses

17 Jan

Sony has released minor firmware updates for its a9 II camera system, as well as its 24mm F1.4 GM and 135 F1.8 GM lenses.

For the a9 II, firmware version 1.01 improves the FTP transfer functionality to speed up how soon after shooting photos the images can be transferred. Additionally, the firmware update corrects a condition where the camera can sometimes turn off at random times when looking back through Raw images and improves JPEG image quality when shooting under certain, unspecified conditions.

Both the 24mm F1.4 GM and 135mm F1.8 GM receive, via firmware ’02,’ improved aperture response when the lenses are attached to Sony’s a9, a9 II and a7R IV camera systems, as well as the ability to select ‘Focus Priority’ from the ‘Aperture Drive in AF” menu when attached to Sony’s a9 camera system.

You can download firmware version 1.01 for Sony a9 II camera systems, as well as firmware version ’02’ for Sony’s 24mm F1.4 GM and 135mm F1.8 GM lenses for mac OS and Windows computers on Sony’s website. Details and instructions on how to install the firmware can be found on the respective download pages.

Articles: Digital Photography Review (dpreview.com)

 
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Leica’s M10 Monochrom is a discreet black and white rangefinder

17 Jan

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Leica has introduced its latest dedicated black and white rangefinder camera, the M10 Monochrom. It uses a new 40MP sensor that Leica says was ‘designed from the ground up’ to handle black and white photography. The new sensor has lowered the base ISO from 320 to 160, and Leica also claims an improvement in dynamic range.

To go along with its black and white pictures, Leica has removed any hint of color on the camera body. The neutral gray body has no red Leica badge or any scripting on top, giving it a stealthy appearance. The body is just as thin as the other M10 models and has the ISO dial they introduced. It also has the same silent shutter and touchscreen display as the M10-P. Photos can be transmitted via Wi-Fi and Leica’s Fotos app.

The M10 Monochrom is now available for $ 8295.

Official sample photos

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Press Release

Leica Camera Advances its Dedication to the Art of Black & White Photography with the Leica M10 Monochrom

The highly anticipated camera enters a new dimension of innovation in the world of monochrome photography

January 17, 2020 – Leica Camera continues to be a trailblazer in the world of black-and-white photography with the announcement of the new Leica M10 Monochrom. Photographers are now able explore their subjects in vivid tones of monochrome due to the omission of a color filter, resulting in an unparalleled black-and-white photography experience. The newly developed 40-megapixel true black-and-white sensor, new Wi-Fi capabilities and expanded ISO range make room for added creativity with light and contrast, bringing photographers back to the basics with the most up-to-date technology.

Black-and-white photography lends itself to establishing emotional connections between the photographer and subject matter being conveyed. With the absence of color, a photograph conveys intense, vulnerable and timeless messages that speak to the foundation of a scene without the distractions of color.

The ultra-high resolution black-and-white sensor of the M10 Monochrom delivers images with impeccable sharpness and unrivalled resolution of details in all lighting conditions. While reaching these new feats of resolving prowess, the new M10 Monochrom is even more versatile than its black-and-white forebears, with a broadened sensitivity range at both extremes, now achieving ISO 160 to ISO 100,000 – ensuring that its unmatched imaging strengths can be used in new avenues, from the brightest of days to uncovering light in the darkest of nights. Images captured at all ISO settings offer fine-grained rendition of details with a more analog look and feel than a typical color camera set to black-and-white mode. As is the case with all Leica M-Cameras, the new black-and-white sensor pairs perfectly with the full breadth of Leica M-Lenses, showcasing their contrast, resolution and rendition of the finest details. With this combination, photographers can rest assured that the exceptional quality of the monochrome images they capture holds true to the luminance of their subject.

Based on the Leica M10-P, the M10 Monochrom now benefits from a bevy of newfound abilities for the Monochrom line, including a slimmer body, dedicated ISO dial, touchscreen controls, the quietest mechanical shutter of all Leica M rangefinders – analog or digital – and built-in Wi-Fi for wireless connectivity to the Leica FOTOS app on iOS, iPadOS and Android. For the first time in the history of Leica M Monochrom cameras, users can utilize a mobile workflow that gives them direct access to authentic black-and-white images straight from the camera to their favored social media platform – no digital filters required. The FOTOS 2.0 app helps bring Leica users from the decisive moment of taking the picture to the creative moment of processing and sharing the finished photo as seamlessly as possible. This new freedom ensures no boundaries when it comes to capturing and sharing photographs with a Leica camera.

The design of the M10 Monochrom camera body is as loyal to the strict adherence to the black-and-white aesthetic as the image sensor that lives within it. The camera has no Leica red dot logo on the front and all of the usual bold red engravings found on most M cameras have been desaturated to a neutral gray, creating a sleek monochromatic contrast against its bright white engraved numbers. A subtle black-on-black logotype of “Leica M10 Monochrom” on the top plate gives the camera the most minimal branding to avoid distractions. The black-and-white design details combined with the newly blacked-out shutter button and lens release make the M10 Monochrom the stealthiest serial production camera yet from Leica, emphasizing its focus on blending into the heart of the action and capturing the decisive moment.

The M10 Monochrom is built to the highest quality standards expected of a Leica M camera, made almost entirely by hand through the passionate labor of experienced specialists in Wetzlar, Germany with the finest materials, ensuring it can bear even the toughest conditions of use in its stride. The new Leica M10 Monochrom promises to be a long-term companion that delivers an unparalleled experience and impeccable image quality, as timeless as the classical black-and-white photos it creates.

The Leica M10 Monochrom is available beginning today for $ 8,295 at Leica Stores, Boutiques and Dealers.

Articles: Digital Photography Review (dpreview.com)

 
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Why Leica’s M10 Monochrom is more than just a gimmick

17 Jan
The M10 Monochrom is Leica’s third mono-only digital rangefinder, but the lower base ISO of the latest camera extends its flexibility.

The Leica M10 Monochrom is the company’s third mono-only rangefinder. It uses an entirely new 40MP sensor, rather than borrowing the 24MP chip from the other M10 models.

We think the Bayer filter array is an amazing creation, producing results that massively outweigh its drawbacks, but there are a few reasons why going without color filters is more than just a gimmick.

Higher detail capture

The obvious benefit of a monochrome sensor is that you don’t need to demosaic: each pixel you capture becomes one pixel in your final image. You don’t need to interpolate missing color values for each pixel, so you don’t need to call on neighboring pixels, so don’t experience the slight blurring effect that this has.

The final image will be inherently sharper than most color cameras can achieve (Foveon sensors being the key exception to this).

Higher base ISO

The color filters used on most sensors absorb around 1EV of the light, since each filter has to absorb the two colors it’s not allowing to pass through to the sensor (the green filter absorbs the red and blue light, for instance).

The M10 Monochrom’s base ISO of 160 is lower than previous mono cameras but higher than a camera with a color filter array would be.

This means that the silicon of a monochrome sensor receives around one stop more light at any given exposure. The consequence is that it becomes saturated and clips highlights around one stop earlier, at its lowest amplification setting. The result is that its base ISO tends to be rated one stop higher than a chip with a CFA would be. On the M10 Monochrom, the base ISO is given as 160 (rather than 320 on previous models).

This can be challenging, since it means having to use exposures that are 1EV lower than you’d expect on a color camera. In bright light, this is likely to mean stopping down when you hit the M10’s 1/4000th sec maximum shutter speed. But it’s worth noting that there isn’t any image quality cost to this.

Better tonal quality, ISO for ISO

Usually, reducing exposure by 1EV results in photon shot noise being one stop more visible (this reduction in light capture is the main cause of high ISO images looking noisier).

But, although the M10 Monochrom’s base ISO of 160 means using an exposure that’s half as bright as the ISO 80 exposure you’d expect to need on a color version, the Monochrom’s sensor still experiences the same amount of light: there’s no filter stealing half of it.

The tonal quality of this ISO 12500 shot is likely to be more comparable to that of an ISO 6400 shots on a color camera, since the sensor will be seeing the same amount of light, despite a darker exposure. The dynamic range is likely to be similar, too, since less amplification will have been applied.

In other words, you’ll get the same tonal quality as a color camera shot at 1EV lower ISO. And, while the higher base ISO presents an exposure challenge in bright light, it means you get tonal quality that’s a stop better in low-light situations.

And that’s before you consider the fact that all noise will present as luminance noise, rather than the chroma noise that most people find more objectionable. So you get a one stop improvement in noise in low light and the noise that is present is less visually distracting, which means less need to apply detail-degrading noise reduction.

New sensor

The big unknown with the M10 Monochrom is the specific sensor performance. We’ve not seen a 40MP full-frame sensor before, so can’t yet be sure what its performance will be like. The 24MP sensor used in the existing M10 models is pretty good, but slightly underperforms the standard set by the 24MP sensor in cameras such as the Nikon D750, meaning it’s even further behind the newer chip used by the likes of Nikon, Panasonic, Sigma and Sony.

We can’t yet be sure how Leica has managed to reduce the base ISO, compared to the previous model. An ISO of 160 is very low for a Mono camera, since it would equate to around ISO 80 if a color filter array was applied. So it’ll be interesting to assess the dynamic range, when the camera becomes available.

We won’t know how well the M10 Monochrom’s sensor performs until we get a chance to go out and shoot with it. Probably out in one of the classic sports cars Leica seems to expect us to have.

All Leica has said is that the chip in the M10 Monochrom has been ‘designed from the ground up with Mono in mind,’ which we’re a little skeptical about. It’s true that we’ve not seen this 40MP chip elsewhere, but it’s hard to imagine that (even at Leica prices), the M10 Monochrom will ever generate enough money to cover the cost of the development of a dedicated chip.

What is true, though, is that the smaller pixels of a 40MP sensor will make it less prone to aliasing than a 24MP sensor would be, since higher resolution sensors can accurately portray higher frequency detail, before getting overwhelmed and rendering an alias, rather than a correct representation. That said, simply being a monochrome sensor massively reduces the risk of aliasing (Bayer sensors sample red and blue at 1/4 their full pixel count, so can produce color aliasing with relatively low frequency detail).

Beyond the technical

It feels a bit strange writing about the technical advantages of a Leica rangefinder, since that’s not historically been an area in which they’ve excelled, and probably isn’t high on the list of why anyone buys one.

Of course, we’re DPReview, so we’re always going to consider the technical aspects of camera performance. But we recognize that a monochrome camera is about more than this. If you go out knowing that every photo has to be black and white, you look at the world in a different way: you start to concentrate on compositions of light and shade, not just compelling color or the warmth of the light. It’s a different way of thinking.

Which is to say: we’re really looking forward to getting a chance to go shooting with the M10 Monochrom.

Articles: Digital Photography Review (dpreview.com)

 
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How to Photograph Travel Icons With Success

17 Jan

The post How to Photograph Travel Icons With Success appeared first on Digital Photography School. It was authored by Jeremy Flint.

how-to-photograph-travel-icons

With far-reaching places more accessible than ever, many more people are traveling around the world. Seeing the many pictures people post of popular landmarks on social media, it seems everyone has traveled to the same places. Amongst some great shots of the famous travel icons that are frequently shared, there are many below average shots. So how should you photograph travel icons successfully? Here are some useful travel photography tips to help you return with better shots.

Photograph Travel Icons

Taj Mahal, India

Research

To photograph travel icons well, start by doing a bit of research to identify some of the world’s famous sights.

Some of the most popular places include the Taj Mahal, the Eiffel Tower, Machu Picchu, Angkor Wat, the Houses of Parliament and the Grand Canyon.

During your research, think about when and where you want to go and the best times of day to visit. Some of the top travel sights in the world are only open during certain hours, so do your research and time your visit accordingly.

Explore on foot

One way to get around on your travels is to explore on foot. What are the benefits of doing so?

A benefit of walking around is that it is more enjoyable than being confined to a vehicle. You may also come across things to photograph that you wouldn’t see from a car.

Exploring on foot is a great way to photograph travel icons as you have the ability to move around freely and can change your perspective with ease. By exploring on foot, you can find other interesting points of view to shoot. For example, you can shoot at ground level or find a higher elevation to shoot from.

Image: Blue Mosque, Turkey

Blue Mosque, Turkey

Use a tripod

If there are too many people at your chosen sight, there are other ways to photograph travel icons, such as using a tripod and doing long exposures to blur people out of the shots entirely. You may need to use a neutral density (ND) filter to slow your exposure down in bright conditions.

Other benefits of using a tripod besides blurring people out are that it will help to minimize the risk of movement in your shots and allow extra light to enter the frame making your pictures brighter than if you were taking pictures by hand. It also helps to take the weight off your shoulders if you carry a heavy camera bag and allows you to return to a place and replicate shots at different times of the day.

If you do use a tripod to photograph travel icons, be aware that certain travel locations, such as the Taj Mahal, won’t allow you to bring in a tripod, so consider this when planning your trip.

Capture the moment

Photograph Travel Icons

Iguazu Falls, South America

Capturing the moment is about choosing when to shoot and anticipating the right moment to press the shutter button to get a great image.

The best time to capture the moment and make an image stand out is at a decisive moment. This could either be the instant something interesting happens or a sequence of events that occur quickly – that disappears in the blink of an eye.

A fleeting occasion could be some dramatic light hitting the side of a well-known building, a rainbow suddenly appearing and adding drama to the background of a travel icon or when the northern lights (Aurora Borealis) appear and dance in the night sky before the moment fades.

Whatever moment you want to capture, think about how you could present your travel icon at the decisive moment.

Look for new angles

Research the travel icon on social media and see how most photos represent it. Then look for new angles to photograph travel icons successfully and capture the sight uniquely. Consider what makes the icon so special and change your composition to capture the most exciting parts.

Image: Taj Mahal, India

Taj Mahal, India

Storytelling

To photograph travel icons well, try telling the story of the icon through wide shots, details shots, and both interior and exterior images. This can add interest to your pictures and show a famous landmark in a new light.

Conclusion

In summary, to photograph travel icons well, do your research and plan ahead. Think about where and when you want to go. Bringing a tripod can be useful for shooting longer exposures and to create more blur in your shots. Try capturing a new angle and shoot a variety of pictures to tell a story of a familiar landmark including a wide-angle and close-up shots.

With these tips, get out and capture a travel icon near you or during your next holiday. Share your pictures with us below and any tips you have for photographing travel icons well?

The post How to Photograph Travel Icons With Success appeared first on Digital Photography School. It was authored by Jeremy Flint.


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Techart releases TZC-01, an EF-to-Z adapter that offers full autofocus, image stabilization support

17 Jan

In June 2019, camera accessory manufacturer Techart released its TZE-01 adapter, which allowed Nikon Z mirrorless camera users to mount Sony E-mount lenses to their systems without losing the ability to use autofocus. Now, Techart is back at it again with the announcement of the TZC-01, an adapter that makes it possible to mount and use autofocus Canon EF lenses on Nikon Z mirrorless cameras.

Techart says the TZC-01 will work with EF-mount lenses from Canon, Sigma, Tamron, Tokina and Zeiss. In addition to ‘native’ autofocus performance, the lenses will also maintain aperture control, stabilization features and EXIF data. In total, Techart lists 62 lenses it says are proven compatible with the adapter:

Below is a demonstration of the adapter from Richard Wong:

Techart has also included a dedicated function button that lets you save a focusing distance to recall with the press of the button and an accompanying lens dock that will let you upgrade the firmware of the adapter.

The TZC-01 is available on Techart’s website for $ 250.

Articles: Digital Photography Review (dpreview.com)

 
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