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  • Rail to Trail: 12 U.S. Park Projects Reclaiming Urban Infrastructure

    [ By SA Rogers in Destinations & Sights & Travel. ]

    A whole lot of valuable land in America’s densest urban centers is occupied by the disused and often toxic remnants of neglected infrastructure, industrial complexes and other blight that could be green space instead. Taking inspiration from New York City’s High Line, an elevated linear park along a former New York Central Railroad spur, many cities are transforming urban riverbanks, viaducts, underpasses, freeway structures and even the tops of tunnels into parks, bike paths, pedestrian routes and other public amenities.

    11th Street Bridge Park, Washington DC by OMA and OLIN

    An aging freeway structure over the Anacostia River in Washington D.C. is set to become the 11th Street Bridge Park, with officials announcing in October 2017 that a design by OMA + OLIN has been chosen. Each ‘lane’ of the bridge is pulled upward toward the middle, crossing each other to form an X shape; the space underneath these overhangs will host a performance area, cafe, plazas and other public functions.

    Lowline, New York City, New York by James Ramsey and Daniel Barasch

    Complementing New York City’s famous High Line park, a 1.45-mile greenway built on a former New York Central Railroad spur, the subterranean ‘Lowline’ has been given a green light. Set to be the world’s first underground park, it will be tucked into a former trolley terminal in Manhattan’s Lower East Side, with a design by James Ramsey and Daniel Barasch. “The transformation of an old, forgotten trolley terminal into a dynamic cultural space designed for a 21st century city is truly a New York story,” says Barasch. “We know with input from the community and the city, we can make the Lowline a unique, inspiring space that everyone can enjoy.”

    The 606, Chicago, Illinois by Collins Engineering, Michael Van Valkenburgh Associates, Frances Whitehead

    Chicago converted its abandoned Bloomingdale Rail Line into a 2.7 mile linear park called the 606 (named for the zip code prefix shared by everyone in the city.) The greenway connects four separate neighborhoods and includes a park and trail system with elevated trails for bikers, runners and walkers as well as event spaces and lots of greenery. The project was designed by the firm Frances Whitehead, which approached it as a ‘living work of art,’ demonstrating the vital role that arts play in the fabric of the city.

    The Underline, Miami, Florida by James Corner Field Operations

    Down in Miami, a stretch beneath an elevated rail line could become ‘The Underline,’ a new public park by James Corner Field Operations, one of the studios behind the High Line in NYC. The 10-mile-long park and urban trail would sit beneath the city’s MetroRail, following an existing bike path called the M-Path, but widening it and adding a parallel pedestrian path that winds through various ecosystems of native plants and habitats for birds and butterflies. Spaces for arts and recreation would be scattered along the way, like pop-up structures and a bike tune-up station.

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    Rail To Trail 12 U S Park Projects Reclaiming Urban Infrastructure

    Seoul Sky Garden: Elevated Urban Park on an Abandoned Highway

    Deemed unsafe and left to rot, a stretch of highway in a prime location beside a train station in Seoul, South Korea will soon get a new life as an elevated park. Built in the ’70s, the …

    Leisure in the Sky: 13 Elevated Railway + Rooftop Parks

    In cities where highways and high-rises have taken up virtually every square foot of real estate there is to be had, lush parks, pedestrian walkways and bike paths can be hard to come by. That’s …

    Park(ing) Day 2014: Citizens Reclaim the Streets for Fun

    On September 19th, 2014, residents of cities around the world rushed into the streets to reclaim what is rightfully theirs, taking urban spaces back for their own enjoyment. Well, sort of. …

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    [ By SA Rogers in Destinations & Sights & Travel. ]

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  • Video: Why the Profoto A1 is a ‘gamechanger’ for wedding photographers

    Daniel Inskeep and Rachel Gulotta of popular photography YouTube channel Mango Street Lab recently got to test out the Profoto A1—an ultra-high-end $ 1,000 speedlight that Profoto is calling “the world’s smallest studio flash.” The flash has raised a lot of eyebrows with that steep price tag, but as they explain in their short ‘review’ of the A1, Daniel and Rachel believe this is a ‘gamechanger’ for wedding photographers.

    Why is that exactly? Because while it might look like a speedlight, it offers a combination of power, simplicity, and reliability that has the duo tossing their Canon speedlights in the bin.

    Their adulation for these flashes really comes down to three main advantages:

    1. Simplicity and Ease of Use – The menus are easy to navigate and syncing multiple flashes is a cinch.

    2. Built-in Air Remote – No need to purchase a separate air remote, just use the A1 on your camera to control all of your other Profoto lights.

    3. Fast Recycle Time – The duo’s favorite feature by far, this ensures that they don’t miss key shots, even when they’re running on only a partial charge.

    Check out the video to hear their thoughts on this light, and share your own in the comments down below. Are you considering the Profoto A1? Are the advantages worth the price tag? And if they’re not, what would you recommend instead?

    Articles: Digital Photography Review (dpreview.com)

  • Manfrotto unveils Element Carbon entry-level carbon fibre tripod range

    Popular tripod and accessory maker Manfrotto has just revealed a new range of entry-level carbon fibre tripods that it hopes will attract photographers looking for good quality gear at a slightly more affordable price. The two new Element Carbon tripods are aimed at travel photographers and come in two sizes with payload recommendations of 4kg/8.82lb and 8kg/17.64lb.

    The three-position carbon fibre legs feature twist locks, and the larger of the two has a detachable leg that can be fitted to the centre column to form a full-sized monopod. The ball-and-socket heads that come with the legs are made from aluminum and use an Arca-style quick release plate.

    The maximum height of the Manfrotto Element Carbon tripods is 143cm/56.3in for the small version and 164cm/64.57in for the large one, and they weigh 1050g/2.3lb and 1400g/3.08lb, respectively. The new tripods will be priced at £175 and £200—US pricing has yet to be released. For more information, visit the Manfrotto website.

    Press Release

    INTRODUCING THE NEW MANFROTTO ELEMENT CARBON

    Fast Setup. Perfect shot.

    • Smart traveller tripods for photographers who want to learn, experiment and travel free
    • Lightweight on your shoulders, stable on the ground.
    • Essential design ensures instant set up for an enjoyable shooting experience

    Manfrotto, world leader in the photography, imaging equipment and accessories industry, presents Manfrotto Element Carbon. The Manfrotto Element Carbon tripods are the perfect fit for travel photographers who are just starting out and enthusiasts.

    The two new Element Carbon traveller tripods are reliable, lightweight and easy to carry. Both feature a compact and sturdy carbon fibre construction that makes them strong but still very portable. The three leg-angle positions mean they are highly versatile so they are perfect for experimenting with all kinds of creative shots. The twist lock mechanism enables photographers to get into the right position fast, in a few, easy moves, while the aluminum ball head is designed to deliver the fast movement when framing and a firm lock for setting equipment up exactly as you need it. The ball head mounts an Arca-type quick release plate with a 1/4″-20 camera screw on top that ensures equipment is balanced even when using zoom lenses.

    In addition, the Element Traveller Carbon Big Tripod features a detachable leg that, when removed and attached to the centre column, becomes a full size lightweight monopod.

    The Element Carbon Tripods have a payload of 4kg on the small tripod, and 8kg on the big tripod and feature a branded Manfrotto bag, an additional set of spike feet (big tripod only) and an Allen key to fix and tighten your gear.

    The Element Carbon Tripods are available from £174.95.

    For more information, please visit www.manfrotto.co.uk

    Articles: Digital Photography Review (dpreview.com)

  • How to Use Bulb Mode for Long Exposure Photography

    Most DSLR and mirrorless cameras have a feature called Bulb Mode. If you’re like me, you probably saw that in one of the menus or buttons when you first got your camera and have promptly ignored it ever since. Even the name sounds weird, and at first glance, you might think it has more to do gardening than photography. But it’s actually a very useful option that can unlock all sorts of creative possibilities with your camera.

    Learning to use Bulb Mode does take a bit of practice though, and it helps to understand how it got its strange name in the first place. But I think you’ll find that the payoff is worth your time.

    How to Use Bulb Mode for Long Exposure Photography

    Lightning shot using Bulb Mode.

    History Lesson

    Way back in the early days of photography, long before digital image sensors existed, and autofocusing lenses were little more than science fiction, the act of taking a picture still worked in many ways like it does today. Hidden inside the sealed innards of a camera was a piece of light-sensitive film onto which an image would be projected when the camera’s shutter was opened, thus letting light pass through the lens and onto the film.

    It’s the same principle that DSLRs use today. The only major change is how the shutter is constructed and the manner in which the timing is controlled. A hundred years ago there was no such thing as computer-powered cameras or precise mechanical actuators that could open the shutter for a long period of time (typically longer than one second). Instead, the photographer held a small bulb in his or her hand which was attached to the camera’s shutter by a piece of tubing.

    Squeezing the bulb opened the camera shutter and releasing the bulb closed it, which meant the timing of the shutter was entirely up to the individual taking the photo. As long as the bulb was squeezed, the shutter would stay open. This method continued to be used on cameras for years to come, and it’s even possible to find bulb-style shutter releases for cameras today.

    In short, think of Bulb Mode as Time Travel Mode. It basically makes your camera function like a camera from 100 years ago, when you had to squeeze a bulb to open the shutter, and then release the bulb to close it. The only major difference is that unless you literally have a bulb-style shutter release like the one pictured below, you will press the shutter button to open the shutter and release your finger to close it. Pretty neat, isn’t it?

    How to Use Bulb Mode for Long Exposure Photography

    Squeeze the bulb to open the shutter on this Pentax 35mm film camera. Release the bulb to close the shutter. Image courtesy of Wikimedia Commons.

    Bulb Mode Today

    Most modern cameras allow you to set the shutter speed anywhere from 1/4000th of a second and 30 seconds, which gives you an incredible range of creative photographic possibilities. These shutter speeds work in tandem with a camera’s light meter, as well as the ISO and lens aperture, to help you get properly-exposed images with little to no fuss or hassle. With that in mind, the idea of squeezing a bulb to keep the shutter open seems more than a bit anachronistic. Why would anyone want to hold the shutter open manually when you can just dial in a preset value for the shutter speed and not worry about anything else?

    The benefit of Bulb Mode is that it lets you keep the shutter open for as long as you want. The timing is not specified by you, the camera, or anything else which means it’s entirely your decision whether to use a fast, slow or extremely slow shutter speed. Using Bulb Mode, it’s possible to leave your shutter open for one, five, 10 minutes or even longer. The only limitation is your camera’s battery and your own degree of patience, which opens the door for some amazing photographic opportunities.

    How to Use Bulb Mode for Long Exposure Photography

    Finding Bulb Mode

    Shooting Mode Dial

    Canon mode dial, B is Bulb.

    The first step in using Bulb Mode involves figuring out how to access it on your camera, especially if you did not have even known it existed and have never tried to look for it. Because Bulb Mode involves controlling the shutter you might think that you need to first put your camera in Shutter Priority mode, but that’s generally not the case.

    For most cameras, you actually need to use Manual Mode and then set your shutter speed to as low as it can go. You will likely see decreasing speeds of 5 seconds (your display may show that as 5″), 10 seconds, and so on, all the way down to 30 seconds at which point one more click of the dial will put your camera into Bulb Mode. If this doesn’t work for you it’s possible your camera simply doesn’t have Bulb Mode (most DSLRs and mirrorless cameras do have it, on some Canons, it is on the Mode dial as B). If you really aren’t certain just Google the brand and the model of your camera along with the words “bulb mode,” which will likely turn up some useful results.

    How to Use Bulb Mode for Long Exposure Photography

    Instead of showing a shutter speed along with a light meter, my camera’s LCD screen now displays the word “bulb” to indicate that I have entered Bulb Mode.

    Understanding Bulb Mode

    Once your camera is in Bulb Mode a couple of things go a little haywire and you may think your camera is broken. Before you send it in for service, just know that everything is fine…but different. Right away you’ll notice that your camera’s light meter no longer works, and there is no indication of what exposure settings you should be using to get a properly-exposed image.

    This happens because your camera has no idea how long you want to leave your shutter open, and without that information, it doesn’t know whether to indicate if the final image will be overexposed, underexposed, or just right. This can make Bulb Mode positively primitive territory, and if you have ever wanted to know what your photographic forebears had to deal with when taking pictures 100 years ago you now know firsthand.

    The best way to figure out which settings to use is to simply start experimenting. The more you use Bulb Mode you will start to figure out what settings like aperture and ISO might be appropriate given the scene you are photographing. However, there are some general tips that can be applied, which I will cover in the next section.

    Holding the button

    The other weird thing about Bulb Mode, which directly hearkens back to the earliest days of photography, is the manner by which the shutter is controlled. To open the shutter you press the shutter button (a sentence which is most likely eliciting rolled eyes due to how obvious it sounds). However, there’s a catch.

    The shutter stays open only while your finger is pressing the shutter button. It’s just like squeezing a pneumatic bulb in the early days of photography. As you might guess by now, the way to close the shutter is to take your finger off the button. It’s a strange feeling, and if you have a DSLR handy I invite you to give it a try right now. Go get your camera, put it in Manual, spin the control dial until you’re in Bulb Mode, and take a picture. I’ll wait.

    How to Use Bulb Mode for Long Exposure Photography

    Using Bulb Mode

    Did you snap a photo? I bet it felt kind of strange to have the shutter open and close only when you pressed and then released, your finger from the button. This, of course, brings up the next logical question of how do you actually use Bulb Mode to get good pictures? While each person will use it in their own way, there are a couple of guidelines to think about if you want to get good results.

    Low light

    Bulb Mode is most useful when you have little to no ambient light. It is almost worthless in daylight or in a well-lit room (unless of course, you are using really good ND filters to block some of the light) The best time to try it is at night when everything is pitch black except what you are hoping to photograph.

    Setting up to use Bulb Mode

    It’s important to keep your camera steady with a good tripod. You are typically dealing with really long exposures, and even the vibration from your finger pressing the shutter button can affect the resulting image. So the sturdier your tripod is, the better your images will turn out. If you have a cable release or some kind of remote shutter trigger for your camera, now is a great time to use it. Make sure you have one that either locks or counts the exposure for you (if you’re using the small wireless one that camera with your camera, you may need to click it once to open the shutter in Bulb Mode and click it again to close the shutter).

    Note: You cannot use the 2-second self-timer in conjunction with Bulb Mode, it will not work.

    Finally, try using a small aperture of f/8 or f/11 and a low ISO setting like 100 or 200 since the shutter speed is the independent variable in most Bulb Mode photography. This isn’t a requirement, but depending on your subject you might need a wider aperture or higher ISO, particularly if you want to shoot images of stars or capture star trails or other astrophotography phenomena.

    How to Use Bulb Mode for Long Exposure Photography

    I was able to capture a bolt of lightning by holding the shutter open, and the long exposure also shows movement in the clouds too.

    When to use Bulb Mode

    Now it’s time to experiment and really have fun with Bulb Mode. Everyone will use it in a different way, but here are a couple of ideas to get you started.

    • The next time a thunderstorm rolls in, use Bulb Mode to capture lightning strikes. The longer you leave the shutter open, the more lightning bolts you may be able to capture.
    • Try light painting, and experiment with using different kinds of light on familiar subjects you might already have just laying around.
    • Set up your tripod next to a road and shoot light trails as traffic passes by at the night.
    • For a variation on light trails, get a friend have some fun with fire spinning. Note that safety must always come first in these situations, so be sure to keep yourselves, your gear, and the environment around you safe from damage. The best place is a beach with no one around.
    • You don’t need fireworks either, and you can get great results with different sources of light from flashlights to sparklers to twirling glow sticks.
    How to Use Bulb Mode for Long Exposure Photography

    Using a long exposure helped me turn this ordinary jar of pasta into a surreal glowing work of art.

    Conclusion

    These ideas are just scratching the surface of what Bulb Mode can do. The best way to learn is to try it for yourself. If you have any particular tips for using Bulb Mode that you think others would enjoy, or some ideas to try that I didn’t mention here, please leave your thoughts in the comments below!

    The post How to Use Bulb Mode for Long Exposure Photography by Simon Ringsmuth appeared first on Digital Photography School.


    Digital Photography School

  • 7 Tips for Capturing the Decisive Moment in Street Photography

    There is probably no other term as often cited as “The Decisive Moment” in Street Photography. Yet there is no real agreement what a decisive moment defines.

    The street is normally a very chaotic place. People are walking in every direction and there isn’t much “sense” when putting everything together. The decisive moment is different. Suddenly every single detail that is captured in the photograph has a meaning. Subjects that are normally not connected are in a relation to each other, they don’t know it, but the picture clearly shows it.

    Dog Days What is the Decisive Moment

    Creating such images is not an easy task in a candid genre. While some state luck as the most important factor, I believe that you can work towards the Decisive Moment and capture it more regularly. Here are seven tips to help you.

    #1 – Become Quicker

    The street is not a place where you can slack off and take all the time you want to take a shot. There is no second chance to catch candid moments. A decisive moment can last for a few seconds and be gone forever. If you don’t catch it in time, you lose it for eternity.

    Photographing is a 2-step process. First, You have to be familiar with your gear. After spotting a beautiful scene, there is no time for adjusting the camera or learning how your equipment actually works. Take your time to experiment with different settings beforehand so you know what works and what doesn’t. Use the technique of zone-focusing and you will be a lot faster capturing interesting subjects too.

    Decisive moment street photography 01

    The second step is spotting potential scenes in time and developing an instinct even before something interesting happens.

    #2 – Get in The Zone

    To spot interesting scenes instinctively, you need the right mindset for street photography. Just going out with your thoughts somewhere else, won’t land you the money shot very often. Concentration is needed to absorb the chaotic environment and scan it for potential decisive moments.

    There are a lot of distractions in the modern world. Smartphones and your camera are two of the main distractions that can keep your mind away from the street. Before going out on the street, make sure to not have anything important scheduled for the time being and for the best results, turn off your smartphone.

    Decisive moment street photography 02

    Also, don’t get too distracted by your camera. It is just a tool that helps you to display your vision. You don’t need to have a look at every image that you have taken at the very moment. If possible, try out an analog camera and see how pure minimalism can help you to get in the zone.

    #3 – Overcome your Fear

    Spotting a scene is only the first step to capture the decisive moment. Afterwards, you have to translate your vision into the form of a photograph. When you still have fear to get close or take an image, it will limit your creative freedom.

    There is no need to be afraid of the street and strangers. After years of experience, I can assure you that with a minimum of common sense nothing truly bad will happen to you. In reality, the worst that can happen is that someone asks you to delete the picture, but that’s pretty much it.

    Decisive moment street photography 03

    The fear on the street is mostly irrational and your mind is playing tricks on you. Part of it is socialization and I will admit, that every social being feels this way, when starting in street photography. Not invading the “private space” of others has been beneficial for forming social groups, historically speaking. But it doesn’t make much sense in our modern world and is only a hindrance for street photography.

    To overcome your fear, you could try to get rejected purposely by asking for posed portraits pictures. It will show you that most people are actually very relaxed and even if you do get rejected, it isn’t the end of the world.

    #4 – Perfect the Composition

    There are a lot of situations happening on the street that you aren’t able to display to their full potential. This is heavily dependent on the way you frame the image and display it.

    Decisive moment street photography 04

    Lots of images are destroyed because the composition is simply off. I know that street photography is often seen as a genre of freedom. But when it comes to aesthetics, there are natural formulas that are more pleasant than others.

    The rule of thirds is not a myth, but a fact. To embrace this in your photography will make your images visually more profound than ignoring your natural instincts.

    Additionally to the rule of thirds, I would also focus on leading lines, not pointing away from the main subject. For an even more interesting picture try to fill every layer from the foreground to the background with interesting details.

    #5 – Be Inspired

    Decisive moment street photography 05

    The right mood can also influence you in finding a potential scene that can lead to an outstanding image. Inspiration can stem not only from other photographers that you admire but from any creative source.

    Listen to music, watch your favorite movie or read a good book. Anything that helps you to open your mind for creating something outstanding, is suitable to bring you closer to the decisive moment.

    #6 – Dedication

    Decisive moment street photography 06

    Street Photography is not a discipline where you can expect quick results after following a simple guide. It takes years or even decades of dedication to street photography to be able to create the decisive moment, seemingly out of nowhere.

    Developing a photographer’s eye takes a lot of training. Therefore, I would recommend forming a group of other photographers who have the same goals in mind. Walking the street with multiple photographers can also open your eyes to their vision. They are able to point out scenes that wouldn’t even cross your mind on your own.

    #7 – Stay Curious

    Decisive moment street photography 07

    Whatever you do, don’t lose interest in your environment and mankind in general. Curiosity can lead you to interesting scenes that otherwise would seem as if they had no potential. Embrace the tourist in your town.

    Do you remember the last time you were on vacation and took some holiday pictures? Suddenly even the most mundane places can become interesting when you are in a foreign location. The little ice parlor might be totally boring to the residents, but for you, it was worth a picture.

    Follow the same instincts in your own neighborhood. Rather take an image too much, than missing out on the decisive moment. But most importantly, keep the fun. Don’t force yourself too much.

    Conclusion

    The process of doing street photography should always be fulfilling even when the results might not satisfy you. Get out on the street, be mindful, have fun, and over time the results will follow.

    The post 7 Tips for Capturing the Decisive Moment in Street Photography by Sebastian Jacobitz appeared first on Digital Photography School.


    Digital Photography School

  • Review of the new Agua Versa Backpack 90 by Miggo

    Photography is an expensive hobby, and yet still we love doing it whether be it professionally or as a passion. Owning costly camera bodies and lenses is one part of our job, and making sure that they are stored safely in a camera bag is an equally important responsibility. As a street and travel photographer, I am always on the go carrying a camera body, a zoom lens, and a flash. I make sure that I am not carrying all this gear in a heavy backpack.

    The Agua Versa Backpack 90 by Miggo is one of a kind. It’s a versatile storm-proof backpack that can be used as a camera bag as well as a normal day-to-day use bag. When it comes to choosing the right camera bag, I am very particular about its quality, comfort, and weight. Now let’s find out if this classy looking backpack comes out as a clear winner or not.

    Agua Versa Backpack 90 2

    What you can store in the Agua Versa Backpack 90

    • DSLR with attached lens (such as Canon 5D Mark III or IV with 24-70mm f/2.8),
      or medium size DSLRs / large size mirrorless cameras
    • Extra lens (such as 70-200mm f/2.8)
    • Flash unit
    • Up to 14.5” laptop (but I am able to store my 15.6-inch laptop)
    • iPad / tablet
    • Memory cards
    • Cables
    • Extra battery
    • Extra personal belongings

    Appearance

    Cover Photo

    Trust me when I say that this backpack could make you fall in love with it at first sight, and I am saying this from my personal experience. It’s not just me but my fellow photographers have been asking me about this bag as I have been carrying around for weeks now.

    The matte black kind of finish that this bag has is the reason that you may get attracted to it. That is the storm-proof material (tarpaulin) that has been used to create the bag. The combination of black and blue colors makes this bag look elegant as well as stylish at the same time. By looking at the bag you can tell how light and convenient this bag would be to carry on your back.

    Inside the Bag

    The Agua Versa Backpack 90 has three pockets in total. One on the front side which can be used to store accessories such as lens filters, memory card holder, a mobile phone, etc.

    The second pocket is on the right-hand side of the bag which is the main compartment where you can store your laptop (I was easily able to store my 15.6-inch laptop), iPad, pen drive, Gorillapod, etc. You also get a removable padded insert in which I was able to carry my Canon 5D Mark III with the Canon 24-70 f/2.8 lens mounted, a Canon 70-200 f/2.8 lens and the Godox TT685C flash. The best part is that you can carry this padded insert as a standalone camera case during shoots. Once the insert is removed, you can use the backpack as a day-to-day bag as well or store your clothes while you are traveling.

    Agua Versa Backpack 90 5

    Agua Versa Backpack 90 7

    The third pocket which is placed on the left-hand side is a secondary storage space where you can securely store the card reader, important cables, some accessories, and anything that fits inside the pockets.

    Agua Versa Backpack 90 4

    3 Different Carrying Options

    The Agua Versa Backpack 90 allows you to carry the bag in three different ways. The first being the basic backpack position, which is the most comfortable in situations when you are walking a long distance carrying heavy gear. The second way is the X position, in which you can customize the straps in a cross pattern which could be helpful if you are trekking or hiking. The last way is the sling position which basically converts your backpack to a sling bag. By using it as a sling bag, you can easily and quickly draw the camera out of the bag and avoid missing any important moment.

     

    Agua Versa Backpack 90 1b

    My personal favorite is the sling position as I do not have to constantly take the bag off my shoulders to take out the camera. Simply swing the bag forward, open the side zip and draw the camera swiftly.

    Agua Versa Backpack 90 3

    Comfort

    One of my favorite things about this backpack is the quality of padding that it has on the back as well as on the straps. I have been using this Miggo bag for weeks now, sometimes for hours at a stretch, and not once did I have any kind of shoulder or back pain despite carrying a camera body, two lenses, a flash and other accessories. Be it the backpack or the sling position, the bag sits comfortably on my shoulders and the lower back padding is just perfect.

    Dual-Port Charging Connector

    Agua Versa Backpack 90 6

    How this backpack by Miggo stands out from the rest is the external USB connector that it features on the lower right-hand side. The USB connector unit has two ports which allow you to use a power bank stored in an internal dedicated pouch inside the bag. This means that using one port you can charge your smartphone or any other USB connected device and by using the second port you can charge that power bank too without taking it out of the bag.

    Final Verdict

    At a price of $ 169, the Agua Versa Backpack 90, come sling bag, is a good value for your money if you are a frequent traveler or if you shoot in extreme conditions.

    Cover Photo

    You may be thinking that I am only highlighting the positives of this bag, but there are few negatives as well. This bag lacks a side pocket which can hold a tripod/monopod or a water bottle. The straps are way too long, they roll up and there is a band which holds them up but on some occasions, it comes off.

    You can get your hands on the Agua Versa Backpack 90 and a couple of more bags in the Agua series of Miggo brand on Indiegogo.

    The post Review of the new Agua Versa Backpack 90 by Miggo by Kunal Malhotra appeared first on Digital Photography School.


    Digital Photography School

  • Outta Sight: 15 Closed & Abandoned Opticians

    [ By Steve in Abandoned Places & Architecture. ]

    The optics are all wrong when it comes to these closed and abandoned opticians, optometrists and ophthalmologist shops as anyone can clearly see.

    There’s no optician like an Ophthalmic Optician, except of course when it’s closed and there’s, er, no Ophthalmic Optician no more. Such is the case in Castlehead, a declining district of West Paisley, Scotland, where it seems there are more steel-shuttered shops than stores still open for business. Flickr member David Cameron Paisley Photographer (dddoc1965) captured this sorry sight – or should that be “sorry site” – in early November of 2014.

    Spec Easy

    It takes some extra effort if you want to stand out between a Polish foods store and a tattoo parlor. Thus it’s not surprising this abandoned Bristol, England optician’s rainbow-hued sign is the last remaining sign of the store’s previous existence. Flickr member Graeme Dawes (HUNGRYGH0ST) snapped the store’s lurid yet eye-catching signage in May of 2016.

    Innercity Vision

    Touring downtown Detroit by bus and on foot isn’t such a great idea today and it wasn’t so wise back in 2004, when Flickr member Lucas (bilateral) did just that – and survived to show & tell the tale. We presume Drs. Phillip Aznik and Charles Benjamin also survived their exodus out of urban Detroit though their long-abandoned optometrist store (and its sign) didn’t quite make it.

    Sol Survivor

    Sol Moscot Opticians (founded 1915) was a Lower East Side landmark from 1935 to 2013, when the business moved to new digs on the opposite side of Delancey Street.

    The old store sat sporadically abandoned for several years following the move, until demolition and construction on a 12-story mixed-use tower finally commenced in early 2017. We’re guessing the new development will be far less colorful which in hindsight (see what we did there?), would be a bit sad.

    The Italian Jobless

    While the late and lamented Sol Moscot store was, in its later stages, almost overwhelmed by a flood of (perfectly legal) graffiti, this unnamed abandoned optician in Rome, Italy has only the above painted panel to prove its previous occupation. Good thing that sole example is awesome! Flickr member Tobia Maschio (The Great Slug) snapped this brilliant work of anonymous street art on July 16th of 2010.

    Next Page – Click Below to Read More:
    Outta Sight 15 Closed Abandoned Opticians

    Nix Tape: 10 Closed & Abandoned Blockbuster Stores

    Blockbuster Video’s torn-ticket logo once fronted thousands of stores worldwide. That was then, this is now… by late 2013, Blockbuster was officially busted.

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    Pawn Scars: 10 Closed & Abandoned Pawn Shops

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    (image via: A …

    Wax On, Wax Off: 12 Closed & Deserted Drive-Thru Car Washes

    Abandoned car washes are oddly abundant – you’d think they invented the self-cleaning car! Here are 12 more car-less washes left high, dry and brushed-off.

    This opening quartet …

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  • Gudsen Moza Air gimbal review

    Gudsen Moza Air
    $ 599, ($ 798 for the thumb controller kit)
    www.Gudsen.com

    There are whole lot of things about shooting video that are difficult, such as getting to grips with the specific terminology, mastering audio, understanding input/output files types and finding your way around new software. All of this stuff can be learnt, but what I struggle with most, and which just wrecks most of the videos I shoot, is just holding the camera steady. This beats me even when I’m standing still, but it destroys every beautiful or dramatic scene I encounter if I have to so much as pan across a view let alone actually move my feet as well. I can achieve smooth motion sometimes, but with such a degree of concentration that everything else goes out of the window. In short, I find this aspect of shooting movies almost impossible to overcome.

    The Moza Air is designed for compact system cameras and small to medium sized DSLRs

    I guess I’m not entirely alone here, as there are now quite a number of mid-sized gimbals designed to help videographers achieve smooth footage when they are moving with a handheld camera. The Zhiyun Crane has been a popular option for some time, but newer on the scene is the Gudsen Moza Air.

    Gudsen had mostly produced gimbals for small devices and mobile phones, but has recently moved into support for larger, heavier cameras. The Moza Air is designed for compact system cameras and small to medium sized DSLRs with a maximum payload of 5.5lbs/2.5kg – a restriction which actually only really excludes top-end professional models.

    Specification

    The Gudsen Moza Air is motorized gimbal platform-on-handle designed to create smooth motion and steadier stationary views for videographers. It is made from aluminum tubing and weighs 2.4lb/1.1kg when it is all put together and the batteries are loaded. The large camera platform offers two cut-out runners and two sizes of threaded screws, as well as plenty of room to shift cameras backwards and forwards to find a balance. There is less side-to-side space than front-to-back though, with the maximum gap between the camera retaining screw and the right hand arm being 3 7/8in/97mm. This isn’t necessarily an issue when it comes to actually fitting a camera in that space, so much as for attaching cables to ports on the right hand side of the camera.

    The platform allows continuous 360° yaw, tilt and roll movements, all of which can be controlled via the joy stick on the main handle. Built-in Bluetooth 4.0 allows these actions to be controlled remotely via a separate thumb controller too, and users can take charge of settings and motion via the Moza Air app. Further connections come in the form of a micro USB port for connection to camera remote control sockets.

    Three 3.7V lithium ion batteries drop into the handle to power the device and Gudsen claims their 2000mAh capacity will drive the gimbal for between four and eight hours. The dramatic discrepancy between the battery life figures is a function of the range of weights the gimbal can accommodate as well as the differences in power required to hold a camera in the normal position and at some contorted angle.

    Handling

    The Moza Air comes very nicely packaged in a hard case with a range of accessories. I’m not entirely sure what is in the standard kit, as I received two kits each with different accompaniments. The basic setup includes the main handle with the gimbal as well as the battery compartment and the thumb controller. Also in the box is a set of handlebars is that allow the device to be used with two hands while a second person deals with the head movements via the thumb controller.

    A set of cables allows you to connect the handle to certain compatible cameras for stop/start recording controls and there’s a support bracket for heavy lenses. In one package I got a mini-tripod that attaches to the threaded base of the handle. This is very useful for getting the camera balanced and can also be used to extend the handle for an even greater field of motion.

    Once the gimbal is assembled you have to balance the camera in the main cradle. It’s important to get the kit as well balanced as possible before switching the gimbal on so that you get the maximum out of the movements possible and so that you don’t use more power than you need to. Getting the balance right can be time consuming especially the first time you have to balance a kit. You have to remember to get the camera exactly was you want to use it first as well, as even taking the lens cap off, or flipping out the camera’s screen, will upset the balance.

    Having a tripod, mini or not, with you is a good idea for when the kit needs to be altered.

    Switching lenses during a shoot means taking a break to rebalance the gimbal, which is difficult to do in the field if there is nowhere level to position it – so picking a non-extending zoom makes life a bit easier. Having a tripod, mini or not, with you is a good idea for when the kit needs to be altered. Using in-camera levels is handy for ensuring the camera is perfectly balanced, if your camera has them.

    The Moza Air makes leveling reasonably easy by having arm-brackets that slide nicely to allow small adjustments. There are three brackets to get in balance so this isn’t a ten-second job – though measured markings on each of the arms makes positions easier to return to when re-attaching a previously used camera and lens combination. Some way of keeping the camera screw in place would be really useful, and in fact a quick release plate even better, so that after moving the camera for a battery change or a card swap you don’t have to rebalance it all over again.

    One of the more obvious differences between the Moza Air and the Zhiyun Crane is that the Moza Air features controls that face the user, so they can be operated with the thumb. There are only two control points and each can perform a range of tasks according to how many times it is pressed. It doesn’t take too long to commit these functions to memory, and I appreciated having all the controls in one place while trying to keep an eye on the screen while filming – so I guess it is better than having a collection of dedicated buttons for each task.

    The stop/start function is very useful, and the proximity of the thumb rocker is handy for controlling the camera angle without having to change the way your hand is gripping the handle. The rocker controls the left-right/up-down direction of travel of the gimbal, but there’s no way to tilt the camera left-to-right, and it takes some practice to get the motion slow and smooth.

    Despite its light weight, in use the Moza Air gets quite heavy

    Despite its light weight, in use the Moza Air gets quite heavy. That isn’t an inherent fault of the device so much as the nature of holding a camera on a stick at an angle for a long time.

    If you record sound from a hotshoe mounted microphone you’ll want to choose a small one that doesn’t restrict your movements too much. When using the gimbal in the upright position there is loads of room for a microphone, but as soon as you begin to tilt the gimbal forward into the flashlight position the brackets of the device will clash with the back of the microphone.

    When the camera is slung under the gimbal for low angle shots there is even less space for a microphone, but there are accessory points where a mic can be attached. I used the Rode VideoMic Pro and Pro+ in the hotshoe for most of this test, and attached it to the handle bars when shooting with the camera slung low.

    Motion in action

    The second version of this gimbal that I received was dramatically improvements over the first very early version I used. Its motor seems much stronger, or better tuned, so it can hold more weight in more difficult positions for longer without suddenly giving up and throwing the camera around – which happened a lot with the early model.

    The ability of the gimbal to support and steady the camera at quite a wide range of angles is pretty amazing, and allows the user to perform crane-like sequences with the camera coming from a low angle up to an overhead view in one smooth motion. The side-to-side support is also very good, and though side movements can create clashes with cables and screens sticking out to the side of the camera.

    at the extremes, the head can’t hold the camera for long before flipping out

    Using the controller on the Moza Air’s handle you can introduce tilt and twist actions. With the handle in the upright position you can rotate the camera 360 degrees about the vertical axis while the tilt motions are more moderate. Although I didn’t expect to be able to get the camera to look directly down I’d rather hoped to for a better range of tilt angles – and at the extremes the head can’t hold the camera for long before flipping out.

    The controller on the handle doesn’t really allow fine movements or adjustments during filming as the increments are crude and a bit jerky, so users will be better off using the Bluetooth thumb controller that comes in the kit. With a bigger joystick and a wider range of actions this provides a little more precision. The thumb controller can instruct the head to move at different speeds as well as customize the way it works and to instruct the system which camera is in use. It is important for the system to be informed of the camera brand so that the cabled remote that connects the head and the camera can operate properly.

    The new Mimic Motion Control feature makes a massive difference to the finesse with which movements can be communicated to the head. Attaching the thumb-controller to the handle bars and setting it to the appropriate mode allows users to control the head remotely just by moving the handle bars – and the head follows every action. This allows much finer movements as well as complete flexibility in the speed at which the head moves. It makes a huge difference to how the camera angle can be dictated when the rig is mounted on a tripod or being carried by a third party.

    recording can be initiated and stopped using either the thumb controller or from the buttons on the gimbal’s handle

    Using the cabled remote, which connects the camera’s remote control socket to the gimbal via USB, recording can be initiated and stopped using either the thumb controller or from the buttons on the gimbal’s handle. Canon users’ cameras compatible with the system can be made to focus from the remote buttons as well. The stop/start feature is particularly useful as it means you don’t have to alter your grip on the handle to kick off the recording – and suffer a few seconds of wobbly footage at the beginning and end of each clip. This can save time in editing and quite a lot of memory card capacity during a long shoot with a number of scenes.

    The App

    I used the smartphone app with my iPhone 5s and found early versions of it slightly prone to hanging and displays lagging behind what the head was doing. The app offers a virtual joystick for controlling the head, but I found the lag such that accurate instructions proved hard to communicate.

    The app also allows you to program the speed of the head as well as to calibrate the motors and determine the angles of movement in each of the controllable axes. The early version was not especially easy to use, but the more recent update has made a big difference.

    The head’s timelapse feature is also controlled via the app, and gives filmmakers the opportunity to determine start and end points for motion in the sequence as well as three other points for the head to cover during the action. Thus the head doesn’t just move from side to side or up and down – it can move in all directions across the four shooting segments of the timelapse. Initially the head moved continuously during the sequence, which wasn’t ideal for those wanting to use long shutter speeds. Consequently many of my first timelapse sequences are a bit jerky.

    The recent firmware update allows the head and camera shutter to synchronize and offer a move-stop-shoot-move routine that holds the camera still while the shutter is open – with cameras that are compatible with the head’s cabled remote. The timelapse feature of the app now offers plenty of control over the end result, and with cameras that plug into the head it will start and stop the shooting too.

    Performance

    I have been very pleasantly surprised by how well this gimbal performs. I had expected it to be of some assistance in keeping the camera stable during walking shots, but didn’t expect the degree of correction that it provides when running. When kept within the perimeters of the angles it can handle the gimbal works really very well, so it is a question of finding where those extremes are. Inevitably I wanted it to be able to cope with angles it could not manage, but in the course of normal shooting I suspect the more difficult poses I demanded in testing would not be required. I found that the more I got used to what it can do the more I was able to compensate with my own movements so that the gimbal didn’t have to work so hard.

    There were a number of occasions on which the humming of the motor rose to a level that would be noticed in the audio. These occasions were not limited to handheld and demanding shooting with heavy equipment, but also occurred while the Moza Air was mounted on a tripod. Usually the whirring could be solved by rebalancing the camera, but sometimes that wasn’t enough – but it would go away by itself.

    Battery life isn’t too bad, and I found a set of three could keep the Moza powered for at least four hours. I also found though that removing the batteries from the handle in between shoots was a surer way of there being power in them the next time of shooting.

    In general, I thought the Moza Air behaved rather well throughout the test, and it allowed me to get plenty of shots I wouldn’t have managed otherwise, and the updated timelapse feature is actually really useful.

    Conclusion

    The Gudsen Moza Air is slightly less than perfect in some respects, such as the complications of getting the camera balanced to begin with and in the arms clashing with each other when in certain positions. However, the company doesn’t appear to be sitting on its laurels – there have been really quite significant updates even during the period of this test. It is an excellent solution though for holding a recording camera steady for 80% of the shots any videographer is going to want to shoot. It can’t do angled up or down shots very well, but for everything else I found it a great assistance.

    In the world of video, where everything seems to cost a small fortune this device is relatively affordable

    Critically, the Moza Air has allowed me to create a video that doesn’t look like it was shot by a monkey even though this is pretty much the first time I have shot more than two clips that were intended to be stuck together, and my videography experience is slim to say the least. In the world of video, where everything seems to cost a small fortune this device is relatively affordable and actually presents very good value for money considering the difference it will make to your footage.

    Yes, some of the mechanical design is in need of refinement, but for the most part I can live with that for now – although when the motors give up when holding the camera during a difficult angle it can be frustrating. More powerful motors would allow it to hold better and would reduce the whine and wobble that can be produced in the extremities of the head’s operating envelope, but I suppose that would cost more money. If you don’t push it too hard, and don’t expect too much you will be very happy indeed with the Moza Air – as I have been.

    This little movie was made for a bit of fun – but primarily to demonstrate what the Moza Air can do in a range of situations. It was shot with the Panasonic Lumix DC-GH5 in VLogL and edited in Davinci Resolve. I used two Moza Airs – one to support the camera for the whole of the shoot and the other in the box that we could film being assembled. It’s neat that Gudsen supplies a hard case for the kit, but it struck me as something you might see in a gangster movie – hence the theme we went with for this clip.
    Pros:
    • Relatively good value
    • Supports most DSLRs
    • Nice button controls
    • Good stabilization
    • Mimic Control is excellent
    Cons:
    • Build quality could be refined
    • Could be made lighter with different materials
    • Hard to balance the camera quickly

    For more information see the Gudsen website.

    Articles: Digital Photography Review (dpreview.com)

  • 3 Powerful Tips for the Perfect Vignette in Lightroom

    The vignette is one of the most powerful ways to boost your photos. It reduces your photo’s brightness at corners and sides compared to the image center. It’s mainly used to highlight elements in the center even more. Besides, you can also use it to cover distracting details on the sides of your image.

    As popular as it is, it’s just as common to not apply vignettes properly using Lightroom or Adobe Camera Raw. Let me show you three powerful tweaks to squeeze out 100% of its potential and present your photos in a better light!

    1) How to decide which photo is suited for a vignette

    The vignette shifts the focus to the center of your frame. That’s why you’ll ideally have a photo where your subject is placed in the middle. Otherwise, the vignette will make your subject darker and take away the spotlight.

    To make the vignette even more powerful, it really helps to have the light in the center of the frame as well. Your subject is either lit up from the front or illuminated by some backlight. Of course, it depends on how strong you apply the vignette. If you use it lightly around the sides and corners, then the subject can also be a bit to the top, bottom, left or right of the frame.

    3 Powerful Tips for the Perfect Vignette

    Take a look at the two photos above. The one on the left has the subject on the far left. The vignette not only covers the subject, it also highlights the less important wall in the middle. The right photo, however, has the subject in the center. The vignette blends out the unimportant details of the office and highlights the person and the view in the center. Do you see how the vignette works much better in the example on the right?

    Whether you are capturing buildings in a city, trees in the countryside or animals in the zoo, the same rule of thumb applies: place the most important element in the center.

    2) How to make the vignette as smooth as possible

    The best vignette in the world is the one you barely notice. That’s why you always need to make sure that the transition is as gentle as possible. Once you notice the transition from dark to bright, it’s not done right. Do you see the circle of the vignette in this photo?

    3 Powerful Tips for the Perfect Vignette

    The reason for this is generally that the feather slider is too far to the left side. As you can see in the screenshot below, it’s at 33. The more you go to the left, the more visible the transition will be.

    Transition Bad - 3 Powerful Tips for the Perfect Vignette

    Always make sure to move the feather slider to the right side. For most of my vignettes, I slide it all the way to 100. That way, you will achieve the smoothest transition for your photos.

    Transition Bad - 3 Powerful Tips for the Perfect Vignette

    Once you’ve applied the feather more generously, the vignette’s border will largely disappear. As a result, your vignette will blend more smoothly into the natural light of the scenery. In case the transition remains too strong, you can always reduce the amount a bit as well.

    3 Powerful Tips for the Perfect Vignette

    3) How to create a custom vignette

    Although the post-crop vignette works best with subjects in the center, you will also use different placements. Luckily, you can always create a custom vignette that is tailored to your composition. The easiest way to do this is to use the Radial Filter.

    The following photo could really need a vignette. That way, we could highlight the sunset and the silhouette even more. In order to create a custom vignette, open the Radial Filter (Shift + M) first. Then you decrease the exposure to a level between -0.20 and -1.0. In this case, I set it to -0.64.

    Radial 3 Powerful Tips for the Perfect Vignette

    Click on the subject in your photo, hold and drag the circle around your subject. Everything outside of the circle will become darker.

    3 Powerful Tips for the Perfect Vignette

    Remember the first tip how the transition always needs to be smooth? We will do the same for the custom vignette. With the feather slider, you can make the transition from dark (outside the circle) to bright (inside the circle) smoother. The further you slide it to the right, the gentler the transition becomes. For this photo, I changed it to 81 instead of 50.

    Radial 3 Powerful Tips for the Perfect Vignette

    When you compare the original photo (left) with the custom vignette (right), you can clearly see the difference. The light atmosphere in the right photo is more intense and the vignette guides the viewer to the subject.

    3 Powerful Tips for the Perfect Vignette

    Conclusion

    I hope these three tips for better vignettes will you take your images to the next level. Of course, practice makes perfect. Play around with the sliders as much as possible to get a feel for the right amount. If you have any questions, let me know in the comments and I’m more than happy to help you out!

    The post 3 Powerful Tips for the Perfect Vignette in Lightroom by Marius Vieth appeared first on Digital Photography School.


    Digital Photography School

  • Taking the Canon 28mm F2.8 IS USM to Big Sur, California

    Big Sur, little lens

    Standing alongside the Bixby Creek Bridge in Big Sur, California. Processed to taste from Raw.
    ISO 125 | 1/160 sec | F11

    By virtue of a considerable quantity of dumb luck, we had timed it perfectly.

    Our belongings shifted gently to and fro in our rented cherry-red Hyundai Sonata as we zig-zagged freely along Highway 1 in California’s Big Sur region, a stretch of road that has been described as the ‘longest and most scenic stretch of undeveloped coastline in the contiguous United States.’*

    We were visiting Big Sur just into the off-season, with Highway 1 subdivided by a massive landslide to the south and a bridge closure to the north. As a result, the road was remarkably unoccupied, devoid of the typically ubiquitous caravans of gawking tourists.

    Although the extensive closures tacked on about six hours of additional driving onto our trip, the journey along the famous Nacimiento-Fergusson Road – the only way in and out of the region cut-off by the closures – was unforgettable. Unfortunately, thanks to the rampant switchbacks, it was also literally nauseating. Can’t have it all, I guess.

    It was into this scenario that I brought Canon’s diminutive 28mm F2.8 IS USM lens attached to an EOS 5D Mark IV; my only photographic tools for the duration of our time in central California.

    Fitting into the lineup

    Photograph courtesy Jordan Stead

    The Canon 28mm F2.8 IS USM is not a new lens by any means. So why write about it now? Well, for starters, we didn’t yet have a gallery on it here at DPReview. It also happens to be among the smallest and lightest full-frame Canon lenses around, and so a great way to (attempt to) minimize the bulk of bringing a full-frame DSLR on my vacation.

    Announced back in early 2012 alongside its 24mm cousin, the 28mm IS is very straightforward. You get a rubberized focus ring with a fairly long throw, an AF/MF switch and a stabilizer on/off switch. And that’s about it.

    Alongside Canon’s EF 40mm F2.8 Pancake and two ‘nifty fifties,’ it’s among the the lightest full-frame lenses that the company currently offers, though it is by far the most expensive of this group with a current MSRP of $ 499. Despite its price, the 28mm IS does not come with any claims of weather-sealing, which is a disappointment.

    I’m happy to report that, despite the lack of weather sealing, the EF 28mm F2.8 IS USM survived a few drops of salt water. Processed to taste in Adobe Camera Raw.
    ISO 100 | 1/200 sec | F8

    Regardless, the build seems very good. The outer barrel is polycarbonate, and the mount is metal. Due to the stabilizer, there’s a very slight rattle if the camera is jostled while the power is off, but the 28mm has an overall dense feel of quality to it.

    For use on 30MP (and even higher pixel count) cameras, the 28mm is good, if not mind-blowing in terms of sharpness. There are also noticeable amounts of green and purple fringing if you leave those corrections off, but both the camera’s JPEG engine and Adobe Camera Raw tame those handily, so it’s rarely an issue.

    Corrections off Corrections on
    I actually quite like some vignetting, and in certain situations, I think it can add to a certain ‘mood.’ It certainly won’t be everyone’s cup of tea, though.

    The biggest issue you’re likely to run into comes in terms of vignetting, which is readily noticeable with this lens. In particular, if you have the corrections turned on within Adobe Camera Raw, the corner exposure will be lifted enough as to perhaps introduce unwanted noise, especially if your image was already taken at a higher ISO value.

    Recommendations

    I’ll freely admit that I haven’t been much of a 28mm guy until this past year and half. That changed after I was tasked with reviewing the Leica Q, and subsequently purchased a secondhand Nikon Coolpix A as a casual carry-everywhere camera.

    Without a super fast aperture or a telephoto lens to fully isolate subjects and blur backgrounds into oblivion, the 28mm F2.8 IS USM made me slow down and focus on my compositions more. Processed to taste in Adobe Camera Raw.
    ISO 160 | 1/125 sec | F4

    What I find most intriguing about the 28mm focal length this Canon offers is that it forces me to think more holistically about the images I’m making. Without telephoto compression or a faster aperture to more easily isolate my subject, the context becomes nearly as important as the subject itself.

    When I pick up a 35mm, 50mm or 85mm lens, I know that I’m likely going to get a faster aperture, and more background compression, making the scene look a little more ‘interpreted.’ When I pick up a 24mm-and-wider lens, I’m often doing my very best to exaggerate the perspective between objects that are both near to me and far away for a more interesting look.

    But with 28mm, I feel almost as though I’m simply documenting what’s happening in front of me without letting the optics of wider or more telephoto focal lengths influence the look of the scene.

    Processed to taste in Adobe Camera Raw.
    ISO 100 | 1/250 sec | F8

    In other words, it’s a fun challenge if you’re used to those other options. As with many photographers, I’ll admit I sometimes find myself relying on fancy gear as a crutch to make a photograph more ‘interesting.’ On the other hand, this 28mm lens just got out of the way and recorded what I put in front of the camera; it was up to me to make the most of my subjects and compositions.

    If you haven’t given 28mm a try, I’d certainly recommend it, and if you happen to be a Canon shooter, the EF 28mm F2.8 IS USM represents a solid, lightweight and affordable option.

    Samples

    Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don’t abuse it.

    Unless otherwise noted images taken with no particular settings at full resolution. Because our review images are now hosted on the ‘galleries’ section of dpreview.com, you can enjoy all of the new galleries functionality when browsing these samples.

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6264240715″,”galleryId”:”6264240715″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    * Per Wikipedia: Marvinney, Craig A. (1984). “Land Use Policy Along the Big Sur Coast of California; What Role for the Federal Government?”. UCLA Journal of Environmental Law & Policy. Regents of the University of California. Accessed 22 August 2016.

    Articles: Digital Photography Review (dpreview.com)