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5 Tips for Photographing Handheld Without a Tripod

27 Sep

Are you frustrated by the inconvenience of a tripod and you prefer shooting handheld? Do you want to take sharp images, but without having to lug around such a large piece of equipment?

Fortunately, it is possible to get stunning images, even images in low light, without using a tripod. In fact, tripods often limit your flexibility.

5 Tips for Photographing Handheld Without a Tripod - dunlin

I rarely use a tripod, myself. While I do appreciate the added stability a tripod provides, I find myself struggling to compose images. I prefer the ability to quickly flow from composition to composition. I also like to shoot from angles that tripods struggle to cover. Hence, I have a lot of experience in photographing handheld.

In this article, I discuss various ways you can shoot without a tripod while still getting sharp images. I will show you how, with very little work, you can take your handheld photography to the next level.

5 Tips for Photographing Handheld Without a Tripod - golden retriever and woman

1. Stabilize Your Body Against an Object

I’ll start with the least technical tip for shooting handheld, that is to become a human tripod!

By this, I mean that you should seek to stabilize your body and arms against an object. I find that the ground is an excellent choice (after all, it’s reliably present).

So, when shooting handheld, I often get down on the ground. I’ll lie on my stomach and press my elbows firmly against the soil. Then I can feel fairly confident when taking my image that things will remain sharp.

Photographing Handheld Without a Tripod - aster

I stabilized my elbows against the ground in order to photograph this aster.

If you don’t want to get down on your stomach, that’s okay. You can also try out several other positions.

For instance, you can crouch down and put your elbows on your knees. Or you can tuck your elbows into your body.

You can also find some other object to stabilize yourself against. I sometimes use large rocks or fallen trees when shooting flowers. It pays to be creative.

2. Use Your Camera or Lens’s Built-In Image Stabilization

Does your camera or lens possess image stabilization technology? If so, switch it on!

You see, image stabilization technology is built in by clever camera manufacturers. It reduces (or eliminates) camera shake using image stabilization.

Image stabilization technology generally works in one of two ways. If it’s built into the camera, the sensor physically moves to counteract any camera shake that the camera has experienced. If it’s built into the lens, an optical element inside the lens is what moves.

Regardless, here’s the key takeaway: Image stabilization technology help to minimize or eliminate camera shake.

Photographing Handheld Without a Tripod - urban abstract

Without image stabilization, getting this urban abstract would have been very difficult.

The downside of image stabilization technology is that it’s expensive. Only some cameras and some lenses possess it, and they tend to be on the pricier side of things.

For those of us who dislike shooting with a tripod, however, image stabilization is a worthwhile investment.

3. Shoot with Shorter Lenses

An oft-cited rule in photography circles is this: you can handhold your lens at a shutter speed that is the reciprocal of the focal length (that is, 1/focal length).

This may sound complex, but it’s really not. To find an acceptably fast shutter speed, take the focal length and make it into a fraction with a one on top.

For instance, if you’re shooting with a 100mm lens, you can handhold at a shutter speed of 1/100th of a second or faster. When you’re shooting with a 400mm lens, you can handhold at a shutter speed of 1/400th of a second or faster. Finally, if you’re shooting with a 25mm lens, you can handhold at a shutter speed of 1/25th of a second.

Do you see the pattern? The longer the lens, the faster your shutter speed must be. Conversely, you can use a longer shutter speed when using a short lens.

Photographing Handheld Without a Tripod - golden retriever

I used a wide angle lens to capture this golden retriever in low light.

This is for a couple of reasons. First, long lenses tend to be bigger and heavier, causing more camera shake. Second, longer lenses magnify camera shake, resulting in blurrier pictures.

Therefore, if you don’t have a tripod to cut down on camera shake, you should use a lens that is more forgiving of the rule (based on the 1/focal length rule).

So if you’re shooting handheld, use shorter focal lengths for more success.

4. Shoot in Burst Mode

Another tip for photographing without a tripod is to shoot in burst mode (high-speed drive mode).

To activate burst mode, you simply have to set the camera to high-speed drive mode and hold down the shutter button. If you have a camera with this capability, you’ll hear the rapid-fire sound of images being taken.

Photographing Handheld Without a Tripod - white-morph reddish egret

Burst mode was essential for getting this early-morning shot of a White-Morph Reddish Egret.

This mode helps with handheld photography for two reasons.

First, when you jab the shutter button with your finger, it generates camera shake. When you use burst mode, however, you only press the shutter button at the beginning of your image sequence. This means that later photographs are taken with very little camera shake because the shutter button is not actually pressed just before the image is captured.

Second, when you shoot in burst mode, the mirror doesn’t cause extra vibrations. You see, many cameras (DSLRs) have mirrors in front of the sensor. When the shutter button is pressed, the mirror flips up, briefly exposing the sensor to light (to capture the image).

When the mirror flips up, this causes small vibrations throughout the camera, another form of camera shake. Yet when you activate burst mode, the mirror only flips up only at the beginning of the burst. The later shots aren’t affected by the vibrations caused by the mirror and as a consequence, they are sharper.

NOTE: This last point doesn’t apply to mirrorless cameras as they do not have a mirror, hence the name!

5. Use the self-timer

My final tip for photographing without a tripod is to use your camera’s self-timer.

The self-timer allows you to press the shutter button, and then it waits a specified number of seconds before the image is taken.

Photographing Handheld Without a Tripod - cosmos

I love using the self-timer when photographing flowers.

This useful for the same reason cited above in favor of burst mode. It prevents the camera shake generated when you press the shutter button.

So, next time you’re out in the field and you’re struggling to get sharp images without a tripod, try using the self-timer to reduce your camera shake.

Photographing Handheld Without a Tripod - purple abstract

Conclusion

Many photographers think that tripods are a necessity, but this isn’t necessarily the case. There are methods that you can use to shoot without a tripod while still capturing stellar images.

Photographing Handheld Without a Tripod - architecture ann arbor

  • First, steady yourself by placing your elbows against the ground.
  • Second, switch on your camera or lens’s image stabilization software.
  • Third, shoot with shorter (e.g., wide-angle) lenses.
  • Fourth, photograph using burst mode.
  • Fifth, use your camera’s self-timer.

photography without tripod yellow flower

photography without tripod cosmos

If you follow these tips, your tripod will become far less important, and you’ll take fantastic handheld images.

Have any more tips for photographing without a tripod? Please share them in the comments below.

photography without tripod little blue heron

The post 5 Tips for Photographing Handheld Without a Tripod appeared first on Digital Photography School.


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Venus Optics shows eight new Laowa models, including the widest Fujifilm GFX lens

27 Sep

A dramatic flurry of lenses has emerged from independent manufacturer Laowa at Photokina as the company shows a total of eight new models in a wide range of mounts. The company is showing a 17mm F4 for the Fujifilm GFX medium format system that will offer the angle of view we’d expect from a 13mm focal length on a 135 format camera. The lens will be the widest available lens for Fujifilm’s system and, as part of the Zero D series, it should have only the slightest amount of distortion.

Other lenses of note in the collection include a designed-for-cinema 25-100mm T2.9 zoom marking Laowa’s entry into the professional movie market. The lens is claimed to be parfocal, so focus doesn’t shift during zooming, and to display minimal breathing as focus is altered.

Drone and MFT users will both get versions of a 9mm F2.9 super wide, while macro lovers will be able to enjoy a 100mm macro that can reproduce a subject at double size on the sensor.

All the details are below and on the Venus Optics website. Pricing and availability are yet to be confirmed.

Press Release

Venus Optics unveil 8 new & unique Laowa lenses in Photokina, including the 25-100 T/2.9 Professional Cine Lens

Together with the 4 new lenses showed earlier in Beijing P&E, a total of 12 new Laowa lenses will make their Europe debut in Venus Optics’ booth in Photokina (Hall 2.1, D-040)

Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to unveil 8 new and unique lenses in Photokina.

Laowa OOOM 25-100mm t/2.9 Cine Lightweight Zoom
Laowa 17mm f/1.8 MFT
Laowa 12mm f/1.8 MFT
Laowa 9mm f/2.8 Zero-D (DJI DL)
Laowa 9mm f/2.8 Zero-D MFT
Laowa 7.5mm t/2.1 Cine
Laowa 9mm t/2.9 Zero-D Cine
Laowa 12mm t/2.9 Zero-D Cine
Laowa 10-18mm f/4.5-5.6 FE Zoom
Laowa 100mm f/2.8 2X Ultra Macro APO
Laowa 17mm f/4 GFX Zero-D
Laowa 4mm f/2.8 Fisheye MFT

Laowa OOOM 25-100 t/2.9 Cine Lightweight Zoom

Laowa OOOM Cine lightweight zoom is the first professional cinema style zoom lens offered by Venus Optics. The lens features a wide 25-100mm zoom range, making it a one-size-fits-all lens for different types of productions.

Unlike some cine lens in the market which were re-engineered from a photo zoom lens, Laowa OOOM Cine lens is designed for digital cinematography in the first place. It is truly parfocal, meaning the focus will never shift when you zoom in or zoom back out. It is designed to have nearly zero focus breathing throughout the whole zoom range. The aperture remains fixed at t/2.9 at all focal lengths.

It is built with the true cinema level mechanics. It comes with a stepless, t-stop independent aperture ring with an industry standard 0.8 mod /32 pitch gears. The 270° rotation flow provides room or precise focus pulls and the iris is clickless, enabling smooth iris pulls. The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range.

Laowa 17mm f/1.8 MFT

Laowa 17mm f/1.8 is a new compact, standard prime designed for Micro Four Thirds cameras and it gives a 35mm-equivalent field of view. The lens houses 9 elements in 7 groups and have a 5-blade aperture for the best sunstar rendering. The lens is extremely compact and lightweight, weighs only 160g (0.36lbs) and is 5cm (2”) long. A 46cm filter thread is included and the 15cm minimal focus distance make it a perfect lens for videography.

Laowa 12mm f/1.8 MFT

Laowa 12mm f/1.8 is a new compact, wide-angle prime for Micro Four Thirds cameras and it gives a 24mm-equivalent field of view. The ultra-fast f/1.8 aperture allows photographers to take astro photos with ease. The lens houses 13 elements in 10 groups and a 5-blade aperture. The lens can focus as close as 14cm (5.5”) and takes 46mm screw-in filters which gives extra convenience to videographers. It weighs only 165g (0.4 lbs) and its 5cm long (2”).

Laowa 9mm f/2.8 Zero-D (DJI DL)

Following the successful launch of the super compact and lightweight 7.5mm f/2 MFT lens for DJI Inspire drones (X5 gimbals) during 2017, Venus Optics is proud to introduce another ultra-wide option, Laowa 9mm f/2.8 Zero-D DL, to use on DJI Inspire 2 (X7 gimbals).

Featuring an effective 118° angle of view, the Laowa 9mm f/2.8 Zero-D DJI DL is currently the widest available option for DJI Inspire 2 drones with Zenmuse X7 gimbals. The bigger image circle can cover the size of Super35 sensors and the native DL mount allows an easy lens switching. The lens weighs only 215g and it is super tiny and compact. It comes with a 49mm filter thread and features a close-to-zero optical distortion.

Laowa 9mm f/2.8 Zero-D MFT

Laowa 9mm f/2.8 Zero-D (Micro Four Thirds mount) is the 4th variant added to the existing Fuji X, Sony E and EOS-M mounts. The 9mm lens provides a 18mm equivalent angle of view on the Micro Four Thirds sensor. It also has a better vignetting control over the other variants of the same lens. The close-to-zero distortion will remain unchanged.

Laowa 7.5mm t/2.1 Cine / Laowa 9mm t/2.9 Zero-D Cine

The new Laowa 7.5mm and 9mm Cine lenses are the cine-mod version of the existing photo version of Venus Optics best-selling models. Both lenses were re-housed with a step-less aperture rings and focus rings with standard 0.8 mod gears which give videographers extra convenience to use with follow-focus systems. Both of the lenses are the widest available in the market in its class and only weigh 180g (0.4lbs) & 250g (0.55lbs) respectively. Closest focusing distance is both 12cm (0.4 feet). The wide perspective and lightweight makes them the perfect companion for gimbal shooting. MFT mount is available for 7.5mm t/2.1 Cine and Sony E mount is available for 9mm t/2.9 Cine.

Laowa 12mm t/2.9 Zero-D Cine (PL)

The new Laowa 12mm t/2.9 Zero-D Cine in PL mount is the cine-mod version of the existing 12mm f/2.8 Zero-D lens. The lens was rehoused with a step-less, t-stop aperture rings and focus rings with standard 0.8 mod gears for iris and focus pulls. It successfully covers the 35mm Vista Vision sensor size and offers an ultra-wide 122° angle of view, making it one of the world’s widest and fastest available option for shooting with large sensors. Despite the ultra-wide field of view, it is perfectly rectilinear and features a close-to-zero distortion rate. The focus flow is extended to 270° for cinematographers to also take advantage of the 0.6 feet (18cm) closest focusing distance. The super lightweight (650g, 1.4lbs) is also an added benefit for cinematographers.

Laowa 10-18mm f/4.5-5.6 FE Zoom

This lens is currently the widest zoom lens available for Sony full frame E-mount cameras. Designed primarily for travel photography, Venus optics have managed to compress the size to smallest in its class, less than 4 inch (<10cm) and only 1.1 pounds (<500g). The 102? (18mm) to 130? (10mm) angle of view provides flexibility for photographers to compose landscape or architecture photos with ease. The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element to deliver exceptional performance. It can focus as close as 15cm for some mini-macro shooting. A rear filter slot is included to fit with 37mm filter. A dedicated filter holder is being developed to fit 100mm-wide filters. Click/clickless aperture can be toggled by the switch on the lens barrel. A 5-blade aperture design ensures a pleasing and clean sunstar rendering.

Multiple samples will be available for free rental during Photokina period.

Laowa 100mm f/2.8 2X Ultra Macro APO

Followed by the success of the Laowa 60mm f/2.8 2:1 Macro, the 100mm f/2.8 2:1 Macro is the 2nd member of Laowa 2:1 macro line-up. This new 100mm lens can cover full frame sensor size and focus from 2:1 magnification to infinity. The wide magnification range allows macro photographers to capture subject at any sizes. This 100mm portrait lens also features an apochromatic (APO) characteristic that no chromatic aberration can be found. The 12 elements in 10 groups optics design delivers a crystal sharpness image in both macro and tele distances. Automatic aperture control feature is available for Canon EF version and Aperture coupling is available for Nikon F mount version.

Laowa 17mm f/4 GFX Zero-D

This is currently the widest available native lens option for Fujifilm G-mount cameras. The new Laowa 17mm f/4 GFX has a field of view equivalent to 13mm in 35mm format (113?). Featuring a close-to-zero distortion and 86mm filter thread, this lens is ideally suited for landscape, architecture & interior photography. The 21 elements in 14 groups design with 2pcs of aspherical & 3pcs of Extra-low dispersion elements successfully help to control the distortion & chromatic aberrations to the minimal.

Laowa 4mm f/2.8 Fisheye MFT

Featuring a 210? angle of view, this lens delivers unique circular fisheye field of view on Micro four thirds cameras. The ultra-wide angle view allows photographers to create 360? panorama with ease. Despite the unique & ultra-wide perspective, the lens only weighs 0.3 pounds (135g).

Free Rental Programme
Venus Optics have prepared some copies of the Laowa 10-18mm f/4.5-5.6 FE Zoom and Laowa 24mm f/14 Probe lens (Canon) for free rental during Photokina period. For reservations, please contact Venus Optics via contact@venuslens.net.

Availability
All 12 new lenses will make its Europe debut in Venus Optics’ booth (Hall 2.1, D-040) in Photokina, Cologne during 26th-29th Sept. Pricing and ship date are to be confirmed.

About Us
Anhui ChangGeng Optical Technology Company Limited (Venus Optics) is a new Chinese camera lens manufacturer based in Hefei, Anhui. We currently manufacture and distribute camera lenses under the brand name of ‘Laowa’.

For more information about Anhui ChangGeng Optical Technology Company Limited and our products information, visit http://www.venuslens.net/

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm developing 100MP medium format with phase detection and IBIS

27 Sep

Fujifilm has said it is developing a 100MP GFX medium format camera that will include both phase detection autofocus and in-body image stabilization. The 4K-capable camera will sell for around $ 10,000.

The development was announced at the company’s press conference at the Photokina trade show in Cologne, Germany, alongside the unveiling of the 50MP GFX 50R model.

A mockup on display at the event shows it to resemble a dual-grip variant of the existing GFX 50S model but without the protruding hump at the back of the body.

No details beyond these headline specs were made available but the company said the camera would be available in 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Photokina 2018: First look at new Ricoh GR III

27 Sep

Our new favorite compact? Meet the Ricoh GR III

Ricoh has announced the development of a third model in its popular GR lineup: The forthcoming GR III will feature an updated sensor and redesigned lens. We’re at Photokina, where we took a quick look earlier at an early sample under glass.

The biggest upgrade to the GR III is invisible. The new camera features a 24MP APS-C sensor, which should substantially improve upon the rather old 16MP sensor used in the GR/II. The new sensor brings with it phase-detection autofocus, and in-camera stabilization. Both these changes are potentially of huge value to prospective buyers, and serve as a major differentiator against arguably the GR III’s main competitor, Fujfilm’s X100-series.

Our new favorite compact? Meet the Ricoh GR III

Externally, the magnesium alloy-bodied GR III is virtually indistinguishable from its predecessors, the GR and (extremely closely-related) GR II. The 28mm effective focal length of it 18.3mm F2.8 lens is unchanged, but it has been redesigned.

The new lens features six elements in four groups, including two aspheres. The GR/II’s lens was made up of seven elements in five groups, also including two aspherical elements. Beyond an improvement to minimum focusing distance from to 6cm (2.4″) from 10cm (3.9″) we don’t know what the practical effects of this redesign are (the GR/II’s original lens was stunningly sharp) but we’re keen to put it to the test as soon as we can.

Our new favorite compact? Meet the Ricoh GR III

Movie shooting has been moved from its old position on the main exposure mode dial, to a button on the left-hand side of the camera. This button can also be configured to activate the GR III’s wireless feature. Notice also the omission of the mechanical flash release switch, which was featured on the GR/II. The GR III does not include a built-in flash.

Our new favorite compact? Meet the Ricoh GR III

Sorry for the poor quality of this image, which was (obviously) shot through perspex, and against powerful spotlights. Hopefully it shows you what you need to know. From behind, the biggest difference to the GR III compared to its predecessors appears to be a larger LCD, but in fact this is partially an illusion. The GR III’s screen is now 3:2 aspect ratio (as opposed to 4:3) but the diagonal length is the same and resolution (1.03 million dots) is unchanged compared to its predecessor.

The biggest difference is that the GR III’s screen is touch-sensitive.

Our new favorite compact? Meet the Ricoh GR III

You might also notice that the GR/II’s AE/AFL / AF-C switch has been deleted in the new model – likewise the +/- toggle that used to live on the upper-right corner of the thumb grip. This is a shame, but the GR III does gain a rear control dial around the 4-way pad, and from the labeling it looks like the rear ‘ADJ’ jog switch can be used for quick exposure compensation.

Our new favorite compact? Meet the Ricoh GR III

From the top, the simplified exposure mode dial looks noticeably less cluttered than the older GR/II. Movie mode has gone, but so has the auto-everything ‘green’ camera mode, and TAv. Instead, we have the traditional PASM plus three user-configurable settings. The front control dial and trademark Ricoh pill-shaped shutter button are unchanged.

That’s it! At least for now. This camera was firmly behind glass but as soon as we can get our holds on a working sample, we’ll be posting a lot more about the GR III, which is already looking like it might become our new favorite compact.

Articles: Digital Photography Review (dpreview.com)

 
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Photokina 2018: Hands-on with Tamron’s 2nd-gen 15-30mm F2.8 lens

27 Sep

Open wide: Tamron’s 15-30mm F2.8 G2

Tamron has updated their SP 15-30mm F2.8 Di VC USD full-frame lens and we got a chance to check out version 2 as this year’s Photokina. It handles essentially the same as its predecessor but there are some cosmetic changes. The design now matches that of the SP 24-70mm F2.8 and SP 70-200 F2.8 – specifically the grey bit by the base is new and the switches on the side have been redesigned.

Aside from cosmetic changes, a list of improvements under the hood make the 15-30mm F2.8 version 2 all the more appealing, including: dual processors for faster AF and better stabilization, fresh coatings to reduce flare and a new aspherical element.

It is available in both Canon EF and Nikon F mounts – the Nikon mount just began shipping, Canon mount ships October 12th. The list price is $ 1299.

Open wide: Tamron’s 15-30mm F2.8 G2

Like version 1, the front element is large and bulbous and the front of the glass moves forward in the housing as you zoom in – it is shown here zoomed to 30mm. There’s no way to put a threaded filter on it but the Canon version has a rear filter holder that can accept gels. The Nikon does not due to the F mount’s flange distance.

Version 2 also features a new Anti-reflection eXpand coating that Tamron developed in house to ensure flaring is as well-controlled toward the edges as it is in the center. The lens has two additional coatings to combat flare and ghosting. It also features an updated fluorine coating on the front element that is ‘abrasion resistant.’ This should make it easy to wipe away dust, water or grime and provide some level of scratch resistance. Speaking of water, the whole thing is weather resistant.

Open wide: Tamron’s 15-30mm F2.8 G2

Vibration control has been improved thanks to the inclusion of a second processor – now one processor is dedicated to AF and one to VC. Tamron says the new VC-dedicated processor should result in up to 4.5 stops of stabilization.

In addition to a dedicated AF processor, the lens has an updated AF algorithm. All of this should result in faster AF speeds. And because focus is driven by an ultrasonic silent drive motor, AF noise shouldn’t be an issue for video shooters. Then again, if you are old-fashioned, a manual override switch has you covered.

Open wide: Tamron’s 15-30mm F2.8 G2

A rubber gasket along the mount ensures no water gets inside your DSLR. And as mentioned, the lens design is moisture-resistant with internal seals located in critical areas where water or dust might get in.

Also the 15-30mm can make use Tamron’s TAP-in console for AF fine-tuning, VC control adjustments and firmware updates. The console will set you back about $ 60.

Open wide: Tamron’s 15-30mm F2.8 G2

In terms of handling, version 2 is nearly identical in size and weight to version 1. At 1100 g, it is not light-weight. Nor is it small, but that’s the price of ice when it comes to a stabilized constant-aperture wide-angle full-frame zoom.

Overall we’re excited to get the Tamron 15-30mm F2.8 version 2 on a body and start shooting. We were big fans of version 1 and it will be nice to see how all these improvements affect overall image quality and the shooting experience. Stay tuned for a sample gallery!

Articles: Digital Photography Review (dpreview.com)

 
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Photokina 2018: Zenit and Leica collaborate on new ‘M’

27 Sep

Designed in Russia, made in… Germany? It’s the Zenit M

Leica is clearly in the mood for partnerships: A day after the company announced it was teaming up with Panasonic and Sigma on the L mount, Zenit took the wraps off the ‘M’, a Zenit-designed, Leica manufactured rangefinder camera which has (cough cough) rather a lot in common with Leica’s last-generation M Typ 240.

Designed in Russia, made in… Germany? It’s the Zenit M

Leica and Zenit aren’t necessarily names that you’d immediately associate, but hey, in the words of one Leica executive I talked to, “that’s globalization for you!” In the latest sign that this ain’t your Großvater’s Leica, it is currently assembling the 24MP full-frame Zenit M rangefinder alongside the M10 at its Wetzlar plant in Germany.

As far as division of labor is concerned, I’m told that Zenit was responsible for the external design, and everything else is done at Wetzlar.

Designed in Russia, made in… Germany? It’s the Zenit M

I must say, I rather like Zenit’s design touches. Somewhat more slab-sided than the Typ. 240, the Zenit M actually looks pretty cool to my eyes, and the asymmetrical curve of the top-plate acts as an optical illusion, making the M look slightly slimmer than the ‘original’ Leica.

Rather wonderfully, just like a Leica, the Zenit M has the model name and serial number engraved into the hotshoe assembly.

Designed in Russia, made in… Germany? It’s the Zenit M

So far, so Leica. From the rear, the Zenit M is almost indistinguishable from the Typ 240. Only the ‘DESIGNED IN KRASNOGORSK’ gives it away. With my eye to the viewfinder, there’s no discernible difference in use, either.

Designed in Russia, made in… Germany? It’s the Zenit M

At the heart of the Zenit M is the same full-frame 24MP CMOS sensor as – you guessed it – the Leica Typ 240. It also offers live view and HD movie recording.

Designed in Russia, made in… Germany? It’s the Zenit M

The battery and memory card are accessed in the same way, too, via the removable baseplate.

Designed in Russia, made in… Germany? It’s the Zenit M

The Zenit M will be available in a black or chrome finish, and will be shipping later this year or early 2019 for ‘between 4-5,000 Euros’ kitted with the Zenitar 35mm F1.0.

Articles: Digital Photography Review (dpreview.com)

 
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The Apple TV 4K Device is a Deeply Flawed and Frustrating Product… for Me

27 Sep

Pictures are so broken on Apple TV

About 12 years ago, in 2006, I had what at the time felt like the biggest technological change in my life. I switched from a PC to my first MacBook Pro. Switching computer operating systems at the time seemed like a massive chasm to overcome, but I did it and I’m glad I did. My main motivation was that I was tired of all of the errors that I was getting from PCs and all my friends with Macs just kept saying pretty much the exact same thing, “it just works.” After hearing that enough I broke down and made a decision that it was time for a change.

Over the last decade, that first decision has brought dozens of new Apple products into my life. Every three years or so I’d upgrade MacBook Pros. I bought a Mac Mini for the kitchen which I upgraded to a nicer iMac latter. I bought a high end iMac to edit my photos on for my home office. I bought a Cinema Display as a second monitor. I spent the night in line overnight to buy the very first iPhone. I bought the iPhone 3g, the iPhone 4, 5, 6s and most recently the 10. I’ve bought iPads, MacBook Pros and iPhones for my wife and kids. I always buy Apple Care. Apple iCloud storage, movies, tv shows, airpods, the list goes on and on.

I haven’t added it all up yet, but I’d say over the past decade I’ve easily spent tens of thousands of dollars on Apple products.

I feel like at some point I’ve just about purchased every product as a good Apple consumer is supposed to… except maybe the watch. The watch feels stupid to me. If I want to know what time it is I can just look at my phone. I haven’t worn a watch in 20 years. I don’t need an uncomfortable thing strapped to my hand and my health is good enough that I don’t need to constantly run ECGs or have someone notified if I fall down and can’t get back up (which hasn’t happened once yet in the 50+ years I’ve been on the planet).

Unfortunately for me though, it’s the Apple TV which I’ve always been the most excited about and which has also unfortunately frustrated me more than any Apple other gadget I’ve ever owned. I’ve bought every version of the Apple TV as they’ve been released dutifully. Giving Apple my hard earned money for the promise of something great, the ability to watch my photos in my living room — and it’s been a completely frustrating experience along the way.

I’m not sure exactly why I’m writing this blog post about Apple TV. I haven’t blogged in a while. In part it’s probably cathartic for me. In part I feel like I’m giving up on photos tonight and hope that maybe someday someone will Google one of my error codes and have a better answer. Maybe someone will read it and have some suggestion that I haven’t considered. Maybe someone will suggest a better way to watch photos on a TV.

My most recent problem revolves around the new Apple 4k TV. Of the six Apple TVs in my house I have two connected to Vizio 4k TVs. Of course I upgraded to the 4k Apple TV because what’s the point of having a 4k TV without a 4k device.

For the most part over the life of the AppleTV product photos have been frustrating. I have a large library of images that I want to play on my Apple TVs. I use home sharing and point my iTunes to a folder of images and ask for my Apple TVs to stream those images. (File >> Home Sharing >> Choose Photos to Share with Apple TV…) Frequently my AppleTVs lose their connections to my iTunes library and the only way to get the photos to play again is to quit iTunes and relaunch it. I frequently would have to restart the Apple TVs. The Apple TV in the living would be working but then the one in the attic couldn’t connect. The one in the attic would work but then the one in the bedroom wouldn’t connect. It was a constant exercise of frustration. I set all of the Apple TVs to update automatically and I’d constantly check for updates to apply them manually.

About a year ago I spent several weeks working with Apple Engineers. They sent these trace packet things to me by email and I’d do different things, run the logging software and send them log files. After several weeks and many log files I did get an answer back about a year ago that Apple engineers had found a problem related to my Apple TVs constantly disconnecting from home sharing that that a fix would be coming. They couldn’t tell me when but said that it was an issue on their end and to keep checking for updates. So at least I wasn’t totally crazy and at least there was hope… kind of?

Although this was a frustrating way to use my AppleTV, the payoff of being able to relax on the couch and watch my life’s work, my photos that I love so much, while enjoying a glass of wine was such a high payoff that I put up with it… until, unfortunately now, with the latest dreaded TVOS12 update.

Last week I updated all of my Apple TVs to TVOS12. On my non-4k Apple TVs, it’s the same sad, frustrating experience of having to restart Apple TVs, restart, my iMac, restart iTunes, constantly to get them to work. But when they do work it will play my photos for hours. Unfortunately on the two 4k Apple TVs photos crash 100% of the time. Usually within 10 seconds, but sometimes I can get them to play for 20 seconds or 45 seconds or maybe even 2 minutes before it crashes. But they crash 100% of the time. I’ve spent at least 20 hours trying to fix my photos over the past week (including a good 3 hour phone call last night with an Apple Care tech) but nothing seems to work.

If I try to stream photos on my iMac to my 4K Apple TVs the photos crash. If I try to stream photos on my MacBook Pro to my 4k Apple TVs the photos crash. If I try to stream photos on my home network to the 4k AppleTVs the photos crash. If I create a hotspot with my iPhone with just my MacBook Pro and one 4k Apple TV photos crash.

If instead of pointing home sharing to a folder, I import all the photos into Apple’s Photos app on my iMac (I hate the Apple Photos App on my iMac) and share from there instead still photos crash.

Every time after the photos crash there is a brief error message on the screen for about 1 second that reads “No iTunes libraries available. Home Sharing lets you stream content from your computer’s iTunes library to your Apple TV. To access your iTunes library, turn on Home Sharing on your computer and use the Apple ID. Retry.”

That message disappears and brings me right back to the main home sharing page on the Apple TV.

I’ve made sure that the photos that I want to share are all on the internal hard drives of the devices I’m trying to stream. I even upgraded yesterday to the new Apple OS Mojave, in the hopes that this might fix things. I’ve turned my Comcast router on and off.

The bottom line is there is simply nothing that I can do to make photos work on my 4k Apple TVs since updating to TVOS 12. And, of course, Apple will not allow you to roll your OS on your Apple TV back to a previous version so there is no getting out of TVOS 12 hell. I did a reset of the entire device back to factory settings, but instead of resetting it back to the factory setting from when I bought it. It reset it back to the factory settings for TVOS 12.

The Apple Tech I spent hours on the phone with yesterday suggested that I take my Macbook Pro and my 4k AppleTV into the Apple store and set an appointment to show them there. I had an appointment this afternoon at 2pm to do just that, but after only getting three hours of sleep last night trying to troubleshoot my Apple TV I just couldn’t go through with it today. It’s just too much, too soon.

In the meantime it looks as though I wasted $ 200 each on some useless Apple hockey pucks, but maybe at some point I’ll regain the strength to try again, or maybe someday, somewhere I’ll find an answer on how to make these devices stream photos for me again.

Or maybe like I ditched Windows back in 2006, it’s now time to ditch Apple again and maybe go find something that you know, “just works.”

Needless to say, your 4k AppleTV may work flawlessly and perfectly for you. This is my personal experience though and it’s my blog and this is what the experience has been like for me.

I made a video of this problem here. If anyone does have any constructive advice I’d love to hear it. Thanks.


Thomas Hawk Digital Connection

 
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Blackrapid develops strap designed for women photographers

27 Sep

Accessories manufacturer Blackrapid has introduced a new version of its shoulder sling camera strap that is designed to be especially comfortable for female photographers. The Nicole Elliot by Blackrapid uses wide pad to hug the shoulder and take the pressure away from the neck and distribute weight more evenly. The company says the design is based on the way ‘women have been carrying their babies for centuries’, and promises the camera will feel virtually weightless.

The black shoulder pad is reversible to display a black and white pattern, and it contains pockets for memory cards and for accessories needed close at hand. The strap measures 63in and costs $ 69.95. For more information see the Blackrapid website.

Manufacturer’s description

Nicole Elliott by BLACKRAPID

Introducing a brand-new camera strap designed by women for women – Nicole Elliott by BLACKRAPID. With its innovative functionality, maximum comfort and unique style this strap will change the way you photograph life.

Your camera should be an extension of you, not an annoyance to carry. Your camera gear should add to your creative energy – not inhibit it. Taking its cue from the way women have been carrying their babies for centuries, Nicole Elliott by BLACKRAPID takes the pressure points away from your neck and shoulders by “hugging” your shoulder to evenly distribute the weight. Allowing you to have full mobility and making your camera feel virtually weightless. Shoot for hours without feeling fatigue, discomfort or pain!

The strap is reversible – black on one side, black and white pattern on the other – business and party in one unique design. The shoulder strap has two pockets for lens caps and two zippered pockets for memory cards, batteries and whatever other small accessories you want to keep close. The strap has a release trigger snap hook that locks in place when hooked to the 1/4″ screw that attaches securely to the bottom of your camera. And the strap adjusts to up to 63” in total length, ensuring a perfect fit for any body type.

Nicole Elliott by BLACKRAPID – #LiveTheMoment in Comfort and Style!

Features:

  • Ergonomically Correct. Even weight distribution takes the pressure off your neck and shoulders, making your camera feel weightless.
  • Durable, water resistant fabric.
  • Reversible – Pattern on one side, black on the other.
  • Reversible front or back adjustment for left or right handed users.
  • 2 zippered pockets, 2 lens cap pockets.
  • Extendable up to 63” in circumference.
  • Swivel ConnectR (CR-3) and FastenR (FR-5) connection system. LockStar Breathe cover to secure carabiner. Camera Safety Tether included for extra security.
  • Front and back spring-loaded cam locks.

Product Specs

  • Reversible for Right- or Left-handed wear
  • Shoulder Piece – Removable, Reversible and Washable*
  • Strap length with shoulder piece – 63” (160cm) fully extended total circumference
  • Shoulder piece – approximately 7.5”x 23.5”
  • 2 zippered pockets 4”x4.5”
  • 2 lens cap pockets 4”x4.5”
  • 2 front and back cam locks
  • Quick adjustment
  • Webbing 100% nylon
  • Webbing width 1”
  • Product weight 6.35oz
  • LockStar Breathe
  • 2 Gate Keeper attachments for reversibility

*Laundering: Detach Shoulder Strap from nylon strap and rings. Wash by hand with mild soap. Lay flat to dry.”

The heart behind Nicole Elliott by BLACKRAPID:
“We are mothers, we are daughters, we are wives and friends…
We love deeply and live passionately.
We are surrounded by a world of wonder and amazement, from little laughs and giggles, to the beautiful people that surround us and the everyday moments that steal our hearts.
Life is a journey…. A bunch of little moments that together make up one big beautiful life.
My hope is that the Elliott strap helps you capture the life around you Confidently, Creatively, Passionately…without borders.
Here’s to a beautiful life captured one shot at a time – one moment at a time.
Every moment, #LiveTheMoment. In comfort and style.”
~ Nicole Elliott

Articles: Digital Photography Review (dpreview.com)

 
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Tips for Getting Started in Street Photography

27 Sep

This article will help you with those all important decisions for getting started in street photography. Including the best gear to use, settings to apply, and what to do about the tricky topic of photographing people in public.

Any image of a street that can be used to tell a story about the location it shot could be defined as a street photograph. It could be a large city or a small village.

Getting Started in Street Photography - artists in a street market

Gear

As a street photographer, you want to be able to blend into your surroundings. By blending in, you stand a better chance of going unnoticed and capturing candid moments. This means you will want to keep your gear small and light.

Camera

The big question these days is around the DSLR or mirrorless choice. My advice for street photography is the latter.

There is nothing wrong with using a DSLR if that is what you prefer or have already. However, mirrorless cameras will simply save you space and weight. Your street photography adventures will be much more enjoyable if you’re not arriving home to find one arm longer than the other after carrying around a DSLR all day.

Another benefit to mirrorless is that the electronic viewfinder (EVF) will provide you with an accurate representation of the exposure for your image before you even press the shutter.

If you find yourself without your camera and get the urge for street photography, there’s nothing wrong with using the camera on your phone.

Shot and edited on an iPhone - street photography

Shot and edited on an iPhone.

Lenses

If you’re getting started in street photography, you will want to use a zoom lens, rather than a prime. An 18-55mm kit lens (or similar) will be fine to start. I recommend planning to move to a prime lens once you have more experience.

The reason for this is that they are (usually) sharper than zoom lenses and shooting consistently at one focal length will help you to develop your own style.

When you’re ready to invest in a prime lens, you can look back at the metadata of all the street photos taken with your zoom lens and observe what focal length you used most often. This will help inform your decision making for which focal length to choose when buying a prime lens.

Settings

When shooting street photography, your camera should be ready to take the next shot at a moment’s notice. This means you’ll need to have your settings dialed in as much as possible.

I recommend starting in full Auto. This will allow you to concentrate on your surroundings and nail the composition. When you are more confident, you could move on to aperture priority.

Here’s some advice for when you start looking at those manual settings.

Aperture

The best street photos make use of the entire frame. This means you’ll want a good depth of field, which means that the image is in focus from the nearest point in the photograph to the furthest point. I recommend shooting between f/5.6-11.

Good depth of field street photography - people on a bridge

Shutter speed

For any kind of handheld photography, a good rule of thumb is to use a minimum shutter speed that is equal to or greater than one over your focal length. This is to avoid blurry photos caused by camera shake. For example, if you are shooting at 50mm, your shutter speed should be at least 1/50th of a second.

If you are including people in your photos, you have two options.

First, use a fast enough shutter speed to freeze their motion. Anything faster than 1/100th should do it, for walking pace. A faster shutter speed will be needed for joggers and cyclists and will vary depending on how fast they’re moving.

Freeze motion man riding a bike - street photography

Secondly, if you want to get creative and blur their motion slightly to project a sense of movement in your image, you can use a slightly slower shutter speed. But make sure you still use one that’s fast enough to avoid camera shake.

Sense of movement

ISO

Keep ISO as low as possible while still achieving the points mentioned above for aperture and shutter speed. This will reduce the amount of noise (grain) in your photos.

Focus

If your lens has a focus ring that stops at infinity, use it and switch your camera to manual focus. If not, you’ll need an autofocus setting that allows you to track your subject, as it’s likely to be moving if it’s a person.

Focus tracking man walking - street photography

Metering

When you’re first getting started with street photography, you’ll want to use a metering mode that measures the whole frame. This will help you to prevent under or overexposure. Different camera manufacturers have different names for this metering mode. For example, Nikon refers to it as “Matrix Metering” and Canon refer to it as “Evaluative Metering”.

Composition

The rules of composition are an article in themselves. You can read more about it in this article.

Good composition is one of the most important elements of any photograph, but try not to get too hung up on it. As mentioned a few times in this article, you don’t have long to see and capture an image when practicing street photography.

While I agree that you should always try to get things right in-camera, sometimes this just isn’t practical. It’s better to get the shot and crop it later if you need to, rather than not get the shot at all.

When looking around you, don’t forget to look up or down. You never know what opportunities you might be missing.

Looking up

Looking down

Blending In

At the beginning of this article, I talked about how important it is to blend into your surroundings. There are a couple of ways you can do this.

Environment

If you go to tourist hot spots for your street photography, you’ll just look like another tourist. This means that when you hold your camera up to look through the viewfinder, you’ll just be another person with a camera. It’ll be white noise to everyone around you so it’s a great place to start off with and build your confidence.

Tourists street photography

Camera Position

By holding your camera down by your side, or in front of your torso, you can make it look like you’re not even taking a photograph. It can be particularly helpful in this scenario if your camera has a tilting screen.

For this technique (called shooting from the hip), you’ll want to use a wide-angle lens to maximize your chances of capturing the shot. I took the shot below while continuing to walk and holding my camera by my side.

Camera by my side street photography

Clothing

Wearing bright clothes will instantly make you more noticeable so be sure to wear dark or neutral colored clothes.

Confrontation

One of the hot topics of street photography is how to avoid confrontation when photographing people in public. Or what to do if someone takes offense when you have just taken their photograph without permission.

This section is not intended to put you off, but prepare you in the event that you are confronted. It’s only ever happened to me once. A security guard asked me to move on, so I did.

Here’s a quick summary of the different kinds of confrontational situations you may find yourself in and what to do if they arise.

Authorities

A common experience for street photographers is being approached by security guards or the police, in particular when taking photographs of buildings in big cities. The bottom line in this situation is that you are in a public space and therefore are allowed to be there.

However, you’re not likely the first street photographer that security guard or police officer has encountered, and you’re even less likely to be the last. Don’t give street photographers a bad reputation by being difficult. No photograph is ever worth the aggravation. Just move on.

Members of the public

With the ubiquity of social media and people growing ever more aware of their privacy, you can understand if someone doesn’t like it when their photo is taken without permission. Particularly if they have no idea where that photo might end up.

I liked this pop of red in the shirt against the subdued tones of the building. Unidentifiable subject. 

The same rules apply here as in the previous section. If you and your subject are in a public place, you are within your rights to take their photograph. If a person confronts you and wants you to delete the photo you took of them, there’s a couple of ways you can approach it.

If they’re not a major part of the photograph, politely remind them of your rights. Inform them that they’re barely noticeable and you intend to keep the photograph. However, if you sense that they might turn aggressive, it’s always best to do as they ask. Again, it’s not worth the aggravation.

If the person that has approached you is a major part of the frame, it is best to respect their wishes and delete the photo.

Clearly identifiable subject.

Summary

Street photography is meant to be fun. Try not to get too hung up on gear and settings in the beginning and just enjoy yourself. Keep practicing and the ability to spot a photo opportunity developing in front of you will become instinctive.

Over to you. Let me know in the comments if you think there’s anything I missed or would like to know more about.

The post Tips for Getting Started in Street Photography appeared first on Digital Photography School.


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Manfrotto launches ‘50% more rigid’ carbon fiber twin-leg tripods for video

27 Sep

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Accessories manufacturer Manfrotto has launched a pair of carbon fiber tripods for videographers that it claims are 50% more rigid than their aluminum counterparts and which come in a choice of configurations. The CF Twin Leg models feature dual risers and offer users a choice of leg spreading braces. The first model has a removable middle spreader half way up the legs and the other has the spreader attached to the feet. Both can have rubber or spiked feet, and are essentially the same in all other respects.

A 100mm bowl comes as standard along with a 75mm adapter to make the set-up compatible with a wider range of heads, and the legs are available as an optional kit with the Nitrotech N8 and N12 video heads as well as the 504. The legs in either configuration will cost £659.95/$ 699.95 with no head, and are available for pre-order on the Manfrotto website.

Press release

{pressrelease}

MANFROTTO EXPANDS ITS VIDEO SUPPORTS RANGE WITH TWO NEW TWIN-LEG TRIPODS IN CARBON FIBRE

  • Carbon fibre with new internal lock mechanism
  • 100mm bowl with 75mm aluminium adapter
  • 50% increased rigidity*

Manfrotto, world leader in the photography, videography, imaging equipment and accessories industry, has expanded its video tripod range with two new twin-leg video tripods made of carbon fibre.

The two brand-new, twin-leg video tripod models are the perfect solution for professional videographers looking for robust, rigid and lightweight support.

A 50% increase in rigidity* is achieved thanks to the combination of carbon-fibre tubes and a new patent-pending internal leg lock mechanism.

Manfrotto’s two new twin-leg carbon-fibre video tripods feature a 100mm bowl and include a 75mm aluminium adapter, for compatibility with a wider range of video heads.
Moreover, the tripod feet with spiked option give great versatility when it comes to different shooting locations.

The twin-leg carbon fibre tripods are available in two models: the first with an easily removable middle spreader and telescopic arms, and the second with a ground spreader, telescopic arms and incorporated rubber shoes.

Both twin-leg carbon-fibre tripods are also available in combination with Manfrotto Nitrotech N12, N8 and 504 video heads.

All Manfrotto video tripods are engineered with a focus on quality and dedication to continuous innovation. These products are the perfect solution for all videographers looking for a great support for their video shooting. Manfrotto’s new twin-leg carbon-fibre tripods will take support for their video gear to the next level.

*Compared with the Manfrotto aluminium versions 546B, 546GB, 545B, 545GB.

RRP £659.95. For more information, please visit www.manfrotto.co.uk

{/pressrelease}

Articles: Digital Photography Review (dpreview.com)

 
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