Every day I am posting pictures on Instagram. My Instagram feed is dominated by paddling, especially, SUP, but also includes images from other outdoor activities: mountain biking, hiking, inline skating and drone flying. Recent pictures were shot mostly with Sony […]
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Fit2Paddle Paddling Photography on Instagram
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Rumor: Samsung Galaxy S10 triple-cam to offer super-wide-angle and 3x tele
We’ve already heard rumors about Samsung launching three models for its upcoming Galaxy S10 flagship smartphone generation, including one featuring a triple-camera on the back.
Now more information has surfaced about the specifications of the Samsung triple-camera and if the rumors turn out to be true, mobile photographers will have something to look forward to.
According to German website AllAboutSamsung, the South Korean manufacturer’s upcoming flagship will be the first smartphone to combine a super-wide-angle and a tele-lens with the primary camera. The super-wide-angle is expected to come with a 123-degree angle of view, the tele lens with a 3x magnification, offering a wider zoom range than any other smartphone.
If the rumored specs are close to the real thing… the new Samsung could be the smartphone for photography in 2019
The only current smartphone with triple-camera on the market, Huawei’s P20 Pro, doesn’t come with a super-wide-angle option and instead opts for a monochrome sensor for increased low light capabilities and a native monochrome shooting mode. The main options for smartphone users who want a built-in super-wide-angle, LG’s recent models, have to make do without a tele-zoom.
The rest of the rumored Samsung specifications sound promising, too: the super-wide-angle is expected to come with a 16MP resolution and F1.9 aperture, the primary camera will supposedly feature a 12MP sensor and dual aperture, and the tele uses a 13MP imager and F2.4 lens. No OIS or autofocus will be available on the super-wide-angle but given the angle of view those features might not be missed.
If the rumored specs are close to the real thing and Samsung’s engineers manage to merge image information from all three sensors in an efficient way, the new Samsung could be the smartphone for photography in 2019. We will know more in a few months time.
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Video: 6 in-camera video transitions in 120 seconds
Whether you’re filming a camera review or working on your latest vlog, one of the easiest ways to take your video to the next level is to have clever transitions. To help you do just that, Rachel and Daniel of Mango Street have created a video showcasing six in-camera video transitions you can do with little more than a bit of planning.
The video summarizes six different methods in just 120 seconds: through the door, back in shot, whip tilt up and down, below ground, strafe blocking and prism wipe. Each method is detailed with a how-to shot and and a final result shot to show both how to get it done and what the final result looks like.
At the end of the video, all of the techniques are put together to create a seamless flow of footage using all six methods. It’s a short, simple video that manages to pack a punch in just under two minutes.
As noted by Mango Street in the description of the video, don’t forget, ‘focus on the story first. Transitions should only serve to enhance your story.’
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What are Watt Seconds and How Many Do You Need?
If you’ve ever used studio lights or been in the market to buy some you may have heard the term “watt seconds” (Ws) used in conjunction with strobes. But what the heck does it mean? How do you know if you should buy a 500Ws light or one with more?
In this video, Mark Wallace from Adorama TV explains an often confusing term – watt seconds – and answers the question, “How many watt seconds do I need?”
What are watt seconds?
Now, once you’ve decided on how many watt seconds you need for your shooting environment and style, how will you put it to use? Here are some dPS articles that might help you out:
- 5 Tips How to Set Up a Home Studio for Dramatic Portraits
- Review: Interfit Honey Badger Studio Strobe and Universal Remote
- Studio Starter Kit: How to Design a Starter Portable Studio
- The Power of Shooting Simply with One Light and a Reflector
- Rim Light – A Simple Way to Create Powerful Images with a Single Flash
- Studio Starter Kit: How to Design a Starter Portable Studio
The post What are Watt Seconds and How Many Do You Need? appeared first on Digital Photography School.
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Save 88% on 200 Photography Assignments that Inspire, Motivate and Teach
If you learn more efficiently (and have more fun with your photography) when you’re out shooting versus sitting somewhere reading about it, then this photography learning aid was designed for YOU.
One of the most popular photography training aids we’ve ever promoted were the Snap Cards from Photzy during our Christmas Sale last year. So when Brett from Photzy showed us their latest photography learning tool, we knew it was something we should tell you about.
The NEW Photzy Action Cards are 65 beautifully designed & printable project sheets that will give you over 200 photography assignments, covering everything you can imagine!
Brett’s idea for the Action Cards was sparked by a woman’s comment to him at a camera club meeting.
“I wish that I could have a workshop in a box. So that I could just open the box and participate when I felt like I had the time and the energy.”
So Photzy set out to create something that will educate and motivate you, provide you with direction, and help you to learn through actionable photography assignments.
The full set of Action Cards include:
34 composition Action Cards aimed toward assisting you in fully understanding the various rules, tools, and concepts of composition. Some example assignments:
- S and Z Curves
- Dynamic Angles
- Juxtaposition
- Spirals
- Visual Weight and Direction
Just as we all ‘see’ differently – we also all work differently. This is your chance to discover which composition tools fit your style.
31 genre Action Cards which allow you to test the waters for 31 different genres of photographic imaging – by completing specific tasks and photo assignments in each genre – and help you uncover your ‘place’ in the photographic world. Some example assignments:
- Creating jaw-dropping landscape photography
- Creating beautifully executed high key photography
- Creating true minimalist photography
- How to create portraits of newborns
- Creating meaningful travel photographs
Perhaps you’ll discover your natural tendencies reveal themselves better through outstanding flower photography versus newborn portrait photography.
We believe this new training tool will be exactly what many of you need to motivate and guide you on an experience of personal photographic discovery all on your own. Armed with these cards you’re guaranteed to be on a fast path to ‘expanding’ your shooting skills and mastering photography in 2018.
Learn more and buy your Action Cards here
FAQs
We’ve already had a great deal of interest in Photzy’s Action Cards and naturally lots of questions. Photzy have helped us answer them for you.
Q: Are the Action Cards different to the SNAP Cards?
Yes! They are completely different.
The SNAP! Card line was developed to present small easily digestible photographic lessons that you could consume virtually anywhere. Like Cheat Sheets…
The ACTION! Card line is geared towards the individual that prefers to learn by engaging in self-assigned photographic activities. A learning element is included, but the primary purpose of the product is to motivate you to learn through an actionable assignment and review process.
Q: Is there any bonus included?
Yes! Two actually.
You will get a lesson plan – Designed to help you work through the content at a pace that suits you, and to help you choose what order you’ll tackle the projects and assignments.
And a video tutorial – Reflectors & Other Self-Made Lighting Gear: Kent DuFault will demonstrate how you can make a very easy to use home reflector along with a few other ideas for DIY lighting tools.
These have a combined value of $ 25 value, and you get it absolutely free.Q: Is this a downloadable file, or will I receive the printed cards in the mail?
You will be receiving a downloadable PDF file of the cards, for you to print out at home. This means you can access them anytime anywhere, and you don’t have to worry about losing them.
In just MINUTES from right now… You could be well on your way to taking your photography to the next level. No need to wait for shipping!
Go here now to grab your copy of the cards
Q: Why should I print these out?
Be honest – How many times have you downloaded a guide and never actually read it?
We’ve found that printing materials ensures you actually go on to read the content. Simply put– if you print it out, you are far more likely to take ACTION, and get RESULTS. That’s important to us.
Q: Are these Action Cards for beginners?
These cards are designed to cater for photographers of all levels. If you’re a beginner, these cards are going to work wonders for you with a whole range of material to sink your teeth into. If you’re a professional looking to extend your range of skills – we’ve got you covered too.
Get your copy here now
Q: Will this work for my camera?
While some of the settings information on the genre cards will of course not be useful depending on your chosen camera. 95% of the information on the Action Cards are not camera specific. So whether you are shooting on a DSLR, Mirrorless, or even an iPhone, you will find these incredibly to improve your photography skills.
Q: Is there a guarantee?
Absolutely!
In fact, when you claim your copy of The Action Cards, you have a full 365 days to decide whether or not you want to keep it. Meaning – you get an entire year to try them out…
And if for ANY reason, you decide the cards don’t work for you, simply contact us for a full, prompt refund… No questions asked and no hassles.
Q. How do I buy the Action Cards?
For one week only we can offer dPS readers early access to this brand-new training tool for just $ 39USD. At $ 5 per card the full set is valued at $ 325USD, so that’s 88% off.
Here’s where you can take advantage of this risk-free trial of the cards:
Click Here to Try The Action Cards TODAY
The post Save 88% on 200 Photography Assignments that Inspire, Motivate and Teach appeared first on Digital Photography School.
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Controversial copyright ruling based on ‘faulty understanding’ but shouldn’t set precedent
A copyright ruling against a photographer whose work was re-used has been criticized as a “very poor decision,” based on “a faulty understanding of the fair use doctrine,” by copyright lawyer Bert Krages.
The widely-reported ‘Brammer v. Violent Hues LLC’ case in the Eastern District of Virginia appeared to accept that the use of a crop of a photograph without permission as fair use. However, while Krages questioned the decision, he also stressed that “the decision does not serve as precedent in other cases,” though he thinks “it’s likely that other defendents in copyright cases will cite to the case in the hopes of getting a favorable decision.”
A faulty understanding of the fair use doctrine
The legal matter began in 2017 after photographer Russell Brammer filed a complaint against Violent Hues Productions, LLC, for using one of his images on its website without first receiving permission. The image had been taken in 2011 and was uploaded to Flickr with an “All Rights Reserved” copyright notice.
Violent Hues removed the image upon being contacted by Brammer, but the photographer sued, both for copyright infringement and for removing copyright information from the image. The court dismissed the copyright removal claim but then made a controversial ruling that Violent Hues’ use was covered by the ‘fair use’ exemption from copyright protection.
‘Fair use’ in US copyright law includes the consideration of four basic tests:
- The purpose and character of the use, including whether such use is of a commercial nature. . .
- The nature of the copyrighted work
- The amount and substantiality of the portion used in relation to the copyrighted work as a whole
- The effect of the use upon the potential market for or value of the copyrighted work.
The court decision works through each of these tests but Attorney at Law Krages said “The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served.“
In particular, he expressed surprise at the court’s assessment of the character of the usage. The ruling states that Brammer’s work was ‘promotional and expressive,’ whereas Violent Hues’ was ‘informational,’ and that the usage was, therefore ‘transformative.’
The downloading of an image off of a website to use on another website is hardly a new or unexpected use.
“The District Court seems to have failed to recognize that a finding of transformative use requires that the source work has been used in a completely new or unexpected way,” he says. In particular, he questioned the case cited in the ruling: “Although the court cites to a Fourth Circuit decision that held that the use of papers written by high school students in a database intended to detect plagiarism was “transformative” because the purpose was different, In this case, the downloading of an image off of a website to use on another website is hardly a new or unexpected use.”
The ruling goes on to suggest the nature of the copyrighted work was a factual representation of the world, even though it contained creative elements, and therefore decided in favor of fair use on the second test. It dismissed the third test by saying that Violent Hues had cropped the image so that only the amount “necessary to convey the photo’s factual content” was used. It then concluded that Brammer had managed to sell the image after Violent Hues had used it, and hence the use hadn’t undermined the work’s value.
In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents
Krages disagrees: “The four fair use factors are neither exclusive nor are they to be given equal weight. The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served. Violent Hues purpose for using the image was to make its website look better, and the usage did nothing to promote public interests such as commentary, news reporting, and scholarship. Violent Hues did not use the image to comment on the image as art, to report that someone had made an interesting image, or in connection with a scholarly work on photography. The image obviously had value or Violent Hues would not have wanted to use it. In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents.”
Ultimately, though, Krages has reassuring words: “Although it is likely that other defendants in copyright cases will cite to the case in the hopes of getting a favorable decision, hopefully it will not encourage other parties to engage in infringement. In any case, it should not prevent similarly-situated plaintiffs in other cases from receiving just compensation.”
The court’s ruling in the case can be found in its entirety here.
A copyright ruling against a photographer whose work was re-used has been criticized as a “very poor decision,” based on “a faulty understanding of the fair use doctrine,” by copyright lawyer Bert Krages.
The widely-reported ‘Brammer v. Violent Hues LLC’ case in the Eastern District of Virginia appeared to accept that the use of a crop of a photograph without permission as fair use. However, while Krages questioned the decision, he also stressed that “the decision does not serve as precedent in other cases,” though he thinks “it’s likely that other defendents in copyright cases will cite to the case in the hopes of getting a favorable decision.”
A faulty understanding of the fair use doctrine
The legal matter began in 2017 after photographer Russell Brammer filed a complaint against Violent Hues Productions, LLC, for using one of his images on its website without first receiving permission. The image had been taken in 2011 and was uploaded to Flickr with an “All Rights Reserved” copyright notice.
Violent Hues removed the image upon being contacted by Brammer, but the photographer sued, both for copyright infringement and for removing copyright information from the image. The court dismissed the copyright removal claim but then made a controversial ruling that Violent Hues’ use was covered by the ‘fair use’ exemption from copyright protection.
‘Fair use’ in US copyright law includes the consideration of four basic tests:
- The purpose and character of the use, including whether such use is of a commercial nature. . .
- The nature of the copyrighted work
- The amount and substantiality of the portion used in relation to the copyrighted work as a whole
- The effect of the use upon the potential market for or value of the copyrighted work.
The court decision works through each of these tests but Attorney at Law Krages said “The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served.“
In particular, he expressed surprise at the court’s assessment of the character of the usage. The ruling states that Brammer’s work was ‘promotional and expressive,’ whereas Violent Hues’ was ‘informational,’ and that the usage was, therefore ‘transformative.’
The downloading of an image off of a website to use on another website is hardly a new or unexpected use.
“The District Court seems to have failed to recognize that a finding of transformative use requires that the source work has been used in a completely new or unexpected way,” he says. In particular, he questioned the case cited in the ruling: “Although the court cites to a Fourth Circuit decision that held that the use of papers written by high school students in a database intended to detect plagiarism was “transformative” because the purpose was different, In this case, the downloading of an image off of a website to use on another website is hardly a new or unexpected use.”
The ruling goes on to suggest the nature of the copyrighted work was a factual representation of the world, even though it contained creative elements, and therefore decided in favor of fair use on the second test. It dismissed the third test by saying that Violent Hues had cropped the image so that only the amount “necessary to convey the photo’s factual content” was used. It then concluded that Brammer had managed to sell the image after Violent Hues had used it, and hence the use hadn’t undermined the work’s value.
In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents
Krages disagrees: “The four fair use factors are neither exclusive nor are they to be given equal weight. The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served. Violent Hues purpose for using the image was to make its website look better, and the usage did nothing to promote public interests such as commentary, news reporting, and scholarship. Violent Hues did not use the image to comment on the image as art, to report that someone had made an interesting image, or in connection with a scholarly work on photography. The image obviously had value or Violent Hues would not have wanted to use it. In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents.”
Ultimately, though, Krages has reassuring words: “Although it is likely that other defendants in copyright cases will cite to the case in the hopes of getting a favorable decision, hopefully it will not encourage other parties to engage in infringement. In any case, it should not prevent similarly-situated plaintiffs in other cases from receiving just compensation.”
The court’s ruling in the case can be found in its entirety here.
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Beginner’s Guide to Natural Light in Landscape Photography
Photography is all about light. The same scene with the same composition can look completely boring under one set of lighting conditions and very dramatic under different conditions. Good light makes the difference.
But does that imply there is also such a thing as bad light? I don’t think there is such a thing. The key is to understand what kinds of images to make under the lighting conditions you are presented with when you are photographing.
An overcast sky creates a soft landscape with no shadows.
Understanding the three characteristics of natural light will help you use the light to your advantage and make images with an impact no matter what conditions you have to work with.
The Quality of Light
By quality of light, I am referring to how hard or soft the light is.
Hard light happens during midday when the sun is high in the sky and there are no clouds to filter the light. This kind of light is harsh and bright, but it can also create interesting shadows and contrast.
Harsh mid-afternoon light casts a dramatic shadow on this sand dune emphasizing its shape.
Soft light happens on a cloudy day when the clouds diffuse the light making it even with no shadows or bright spots. It also occurs in the shade.
Even on a day when there are no clouds, when the sun is lower in the sky the light passes through more atmosphere which softens the light. This is why golden light at the edges of the day is softer then midday light.
The Color of Light
The color of natural light from the sun changes during the course of the day. Before the sun rises, when the first light of the day appears in the sky, the light is a cool blue. During sunrise, the light is golden. As the sun gets higher in the sky, it is bright with little color tint at all.
During Golden Hour, the last of the day’s light casts a warm golden light on these cacti.
At the end of the day the opposite thing happens. When the sun is low on the horizon before sunset, you get the golden glow. After sunset is twilight when the light is a cool blue (blue hour).
Once the sun has set, the light becomes a cool blue and the landscape is soft with no shadows.
The Direction of Light
Front light is when the light comes from behind you and hits the front of your subject directly. Front light can be unforgiving, washing out colors and minimizing textures. So if you are going to use it, it’s best to do so when the sun is low in the sky when it is warmer and softer.
Front light hits the mountain, but it is a soft light since it is also at golden hour.
Backlight is when the sun is directly in front of you and behind your subject, lighting it from behind. I love backlight because the deep contrast between the highlights and shadows is so dramatic.
Backlighting is also perfect for making silhouettes when you have subjects with great shapes.
The cactus is lit from behind creating an interesting silhouette during sunset.
Sidelight is when the sun is beside you, lighting your subject from the side. This kind of light is excellent for emphasizing shape and texture.
The sidelight on this saguaro cactus emphasizes it’s shape and texture.
What to do when …
So how do you use this information to your benefit? When you are out photographing consider the characteristics of the light you are presented with and use that to decide what kinds of photographs to make.
Harsh mid-afternoon light
The light is high in the sky, extremely bright and harsh with only a little color. This is a good time to look for shadows or photograph in the shade.
Harsh mid-afternoon light can create interesting shadows.
An overcast day with dull light
This kind of midday light has little color, but it is soft with no shadows; think soft. This kind of light is perfect for making soft flower photos, close-ups with even light, or waterfall photos where direct light would cause unwelcome bright spots.
If there is any texture to the clouds in the sky, that is good. But if the sky is pure white, eliminate it from the frame.
Waterfalls are a perfect subject for an overcast day.
Golden Hour
The sun is low in the sky casting beautiful soft warm light at golden hour, so it’s hard to go wrong in this situation. Think about the direction of light. Front light will create a warm glow on buildings and mountains, sidelight will emphasize the shape of hills, backlight will create dramatic silhouettes and you could create a sunburst by using a small aperture.
The day’s last light casts a golden glow on the edge of the canyon.
Blue Hour
The sun is below the horizon giving you soft, even, cool light. The direction of light does not apply here. Combine this type of light with a long exposure to emphasize the soft feeling if you have any moving elements like water or clouds. Combine twilight with city lights for more drama.
There was barely any light in the sky at all during this 15-second exposure.
The best way to learn how different types of light affect your images is to photograph the same subject under various conditions. Pick something that is easily accessible to you and photograph it with front light, sidelight, and backlight. Photograph it at midday, during golden hour and at twilight. Photograph it under harsh mid-afternoon light and on a cloudy day when the light is soft.
Understanding these characteristics of natural light will ensure that you can make the most of the lighting conditions you have and create photos with impact at any time of day.
The post Beginner’s Guide to Natural Light in Landscape Photography appeared first on Digital Photography School.
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Kodak Alaris brings 35mm Pro Image 100 film to Europe
Mani.Rae/Flickr used under CC BY-ND 2.0, shot on Kodak Pro Image 100 Kodak Alaris has announced its 35mm Kodak Professional Pro Image 100 film is now available in Europe.
Until now, there was no official means of acquiring Kodak Professional Pro Image 100 film in the European market. Released in 1997, the film has a strong presence in Asia as well as a handful of South American countries, but it’s never been distributed through official Kodak retailers in Europe (or North America for that matter).
The decision to bring the film stock to Europe comes after Kodak Alaris ran a trial period in the UK, which apparently proved successful. Andrew Church, Printing and Operational Supplies and Film Capture Product Manager of Kodak Alaris, says ‘Pro Image 100 gained such positive feedback during its trial period in the UK that the decision whether it should be made available in further countries became easy for us. We are really pleased to offer this popular film to the whole European market.’
In Kodak’s own words, Pro Image 100 color negative film ‘is a medium speed (EI 100) film that features high color saturation, accurate color and pleasing skin-tone reproduction, and good underexposure latitude.’ Kodak adds ‘it is intended for portrait and social applications, and can be stored at room temperature—even in hot, humid climates. Its printing characteristics are similar to those of KODAK GOLD Films to help simplify printing for photofinishers.’
Both Lomography and Flickr have a great collection of photos captured on Pro Image 100 film.
Kodak Professional Pro Image 100 is currently available in packs of five rolls through all Kodak film dealers in Europe.
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3 Legged Thing launches ‘one of world’s tallest monopods’
Tripod manufacturer 3 Legged Thing has launched what it is describing as one of the world’s tallest monopods, alongside a heavy duty model and a new monopod foot stabilizer. Trent, a ‘punks’ monopod, will have a maximum extended height of 2m/80in, which is indeed extremely tall for a monopod.
Five-section ‘Alan’ will extend to 1.49m/58.7in but packs down to just 1.49m/58.7in for storage
Trent will be made from ‘aircraft-grade magnesium alloy’ and will be able to support kit weighting up to 30 kg / 66 lb, while a further monopod, Alan, will be made in carbon fibre and alloys and will carry up to 60kg/132lbs. Five-section Alan will extend to 1.49m/58.7in but packs down to just 1.49m/58.7in for storage – and fitting into cabin baggage with many airlines. Alan will weigh 0.6 kg / 1.34 lbs and four-section Trent will weigh 0.63 kg / 1.4 lbs.
Both models will feature 1/4”-20 and 3/8”-16 threads at both ends allowing them to be used as microphone booms as well as to support cameras.
The company is also introducing a new three-legged foot plate called Docz that is designed to add stability. Docz has an adjustable ball-and-socket fitting that can be used to alter the pressure required to move the monopod in the mount – to assist smooth panning and angling. The legs spread to 30cm/12in and fold upwards for storage.
All three products are available on the 3 Legged Thing website and are due to ship from 1st August.
- Alan – £129.99 / $ 149.99
- Alan Kit (Alan + Docz) – £169.99 / $ 199.99
- Trent – £69.99 / $ 79.99
- Trent Kit (Trent + Docz) – £109.99 / $ 129.99
- Docz – £49.99 / $ 59.99
Press release
The 1 Legged Thing
Winner of the Lucie Technical Awards Tripod of the Year, British Tripod Manufacturer, 3 Legged Thing, announces the release of two new monopods, and a rugged foot stabiliser.
Complementing their highly-acclaimed range of tripods and accessories, and inspired by the Bletchley Codebreakers and 90s industrial metal (there’s a sentence you never thought you’d read), 3 Legged Thing has announced the release of Alan, a rugged carbon fibre professional monopod; Trent, an ultra-tall Punks monopod; and Docz; a foot stabiliser that works with both monopods, and which is also available separately.
“It’s been five years since we last had a monopod in the range, and it was really important that we made sure that anything we develop is relevant in the current market place,” commented Danny Lenihan, Founder and CEO of 3 Legged Thing. “With these two monopods, kitted with our Docz foot stabiliser, we have straddled the divide between photo and video, without compromise, and at a price point that makes them hugely competitive.”
The perfect blend of size, weight and capability, Alan is built for versatility and resilience. Ideal for action and sports photography and to add stability when creating video footage, Alan has a stored height of 45 cm / 17.5 ”, and is compact enough for transportation in hand luggage. Alan extends to a maximum height of 1.49 m / 58.7 ”.
Formed from 8 layers of 100% pure carbon fibre and aircraft grade alloys, ensuring he is both light and incredibly strong, Alan can support a maximum load of 60 kg / 132 lb – almost 100x his own weight!
Both ends of the monopod feature dual 1/4”-20 and 3/8”-16 threads allowing Alan to connect to a variety of accessories, and to be used as a camera or microphone boom. The patented Tri- Mount plate has three hollowed spurs for the attachment of accessories, and the unique Big Grip provides maximum grip for security and has deep channels designed to disperse moisture.
Punks monopod Trent’s full extended height is over 2 m (80”) making him one of the tallest monopods in the world today. Formed from aircraft-grade magnesium alloy, Trent is both strong vertically, and is capable of lateral loads making him ideal for use as a camera or microphone boom. Trent’s maximum load capability is 30 kg / 66 lb, giving him an impressive load-to-weight ratio of 50:1.
Trent features 3 Legged Thing’s unique Bubble Grip technology on the leg locks and column grip. This offers users improved leverage, and maximum grip in inclement weather conditions. Like Alan, Trent also has dual 1/4”-20 and 3/8”-16 threads at either end allowing for use with a variety of accessories.
Both Alan and Trent have a detachable rubber Boot at the bottom, which can be replaced with any of 3 Legged Thing’s footwear – Heelz, Stilettoz, and Clawz – or can be used with the new foot stabiliser Docz.
Docz is a rugged foot stabiliser with a 30 cm /12 “ base, designed specifically to add stability to monopods. With an alloy base construction, a rugged ABS top cover and rubber boot adjuster, Docz adds a stable, solid base for monopods with no flexing. The rubber adjuster controls the friction and tension settings on Docz’ ball mount, enabling an ultra-smooth motion for action and sports photography. The ball mount has a 3/8”-16 thread, and can also be locked upright for extra stability.
Docz legs can be folded upwards, creating a more compact footprint for transportation.
Alan, Trent and Docz will each be available separately, as well as in kits with the following suggested retail pricing:Alan – £129.99 / $ 149.99
Alan Kit (Alan + Docz) – £169.99 / $ 199.99
Trent – £69.99 / $ 79.99
Trent Kit (Trent + Docz) – £109.99 / $ 129.99
Docz – £49.99 / $ 59.99All products are available to pre-order online now and via retailers worldwide, and will ship in time for the official release date of 1st August 2018.
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6 Tips to Capture Wildlife Photography with Impact
Wildlife photography has become even more popular since the advent of digital cameras. Capturing wildlife can be a challenging undertaking whether your photographing animals for the first time or are well practiced. If you’re new to the subject and want to learn how to photograph animals, here are some tips to help you get started:
1. Use a telephoto lens
One of the most frequent questions I get asked about wildlife photography is, “Which lens should I use?” You may want to photograph birds in your garden, animals at the zoo, or even polar bears in the Arctic. Whichever is your preferred subject, I find that while a wide-angle lens is great for capturing the bigger picture, to really capture an animal from afar, you will need a telephoto lens.
A telephoto lens is the ideal solution to draw you nearer to the action where anything from 70-400mm will facilitate the ability to zoom in to photograph wildlife.
You will find photographing from a distance an advantage as getting too near to the creature could scare them away, particularly wild animals that are timid such as foxes. Animals living in urban environments are more likely to be used to people so you may be able to snap them from a closer vantage point.
2. Use a fast shutter speed to capture the action
Camera shake will be more apparent when using a telephoto lens rather than a standard lens due to its size and weight. The longer the lens, the more susceptible you are to camera shake. A shutter speed of at least a 1/100th of a second will help to photograph moving animals and minimize movement.
Clicking the shutter at faster speeds will enable you to freeze the action whether your subject is moving or motionless and will help you to capture sharper images. In addition, many modern lenses now have the option of image stabilization which can also be used to reduce vibration.
3. Focus on the details
Sometimes filling the frame with an animal’s features can make a wildlife photograph more appealing. The intent stare of a lion or the face of a monkey, for example, can be a captivating subject and even more interesting than the animal as a whole.
As you begin to photograph wildlife more, you will notice the details about an animal that could make an interesting picture. Be sure to photograph different features that you find compelling.
4. Make sure your battery is charged and your memory card has space
This may seem obvious, but it’s surprising how many times I have heard people say they have run out of battery power or that they don’t have enough space left on their camera card to take any more pictures. If you ensure your battery is fully charged and your memory card is empty, you will be prepared for any potential wildlife sighting.
During a wildlife safari drive or whilst out walking in the countryside, you never know when an animal encounter will happen. You could see wildlife at any given moment. With your camera charged and cards empty you will be ready for any photo opportunity as and when it arises.
5. Create pictures with interest
Many newbie photographers that capture images of wildlife tend to place the animal right in the center of the frame. This can work well with the right composition. Try to photograph the animal off center too, by positioning it to one side of the frame to make the image more interesting.
Placing your subject on a third of the frame can create impact.
You could include part of the animal’s habitat in the frame such as a bird in its nest. Woodlands and rivers are great natural havens for wildlife and can make for an appealing setting to frame your subject within.
6. Wait a while
As animals are difficult to predict and they often move, you will find it challenging to capture a good shot with the first image you take. Be prepared to wait a while and you may get to see and capture a more rewarding image.
For example, when I came across this serval cat during a game drive in Tanzania, I spotted the cat looking for prey in the long grass. After pulling the car over and waiting a few minutes, the serval cat turned for a split second after being alerted by the noise of the engine and I captured the moment.
Conclusion
Next time you are out with your camera to do wildlife photography, whether you’re out walking, observing in your garden, or watching wildlife from afar, remember these tips. Hang around for a while and be amazed at what you might discover.
What wildlife photographs have you taken that you would like to share?
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