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Olympus cleans up at Camera Grand Prix 2017

The Japanese Camera Journal Press Club has awarded Olympus three out of its four annual prizes after voting by photographic magazine editors and readers. The Olympus OM-D E-M1 ll came away with both the Camera of the Year award and the Readers award, while the M.ZUIKO DIGITAL ED 12-100mm F4.0 IS PRO won Lens of the Year.

The club, which was established in 1963, has ten member magazines and websites that each test and review camera equipment. The members come together with affiliated magazines to determine the best products released during the period between April and March each year. This year the OM-D E-M 1 ll attracted attention for its high speed AF system and frame rates that exceed those achievable by even top-end DSLR cameras.

Olympus didn’t wipe the board entirely though, as the Editor’s Award went to the Nikon D500 for its professional AF system and modest price, and the Fujifilm GFX 50S for its resolution and handling as well as for popularizing medium-format again.

For more information and to read why each of the products was awarded see the Camera Journal Press Club of Japan website.

Camera GP Japan information

Camera Grand Prix 2017 / CJPC

Camera Grand Prix is held by Camera Journal Press Club (CJPC, Japan), a group of representatives from magazines or websites specializing in photos and cameras. CJPC, established in September 1963, has 10 members from the media as of April 2017. The selection committee, organized under the auspices of CJPC’s Camera Grand Prix Executive Committee, deliberates and selects the best products to give the four awards from among those introduced into the market during the previous fiscal year (from April 1 to March 31).

Camera Grand Prix “Camera of the Year” is granted to a still camera recognized as the best of all released during the period. “Lens of the Year” is awarded to the best lens launched in the Japanese market, while “Readers Award” is determined by general camera users’ vote on a dedicated website. (The voting period in 2017 was from March 18 to April 9.) In addition, CJPC members give “Editors Award” to a camera or another form of photography-related product, excluding the one awarded “Camera of the Year”, in consideration for the product’s popularity, topicality, and innovativeness.

Camera of The Year
The award went to the OLYMPUS OM-D E-M1 Mark II
(production company : Olympus Corporation.)

Lens of The Year
The award went to the M.ZUIKO DIGITAL ED 12-100mm F4.0 IS PRO
(production company : Olympus Corporation.)

Readers Award
The Readers Award went to the OM-D E-M1 Mark II (production company : Olympus Corporation.). The award was stablished in 2008, in celebration of the 25th anniversary of the Camera Grand Prix. The winner is selected by general readers’ votes.

Editors Award
As the result of a conference of C.J.P.C. members, the D500 (production company : Nikon Corporation,) and the GFX 50S(production company : Fujifilm Corporation.) were selected for Editors Award.

Articles: Digital Photography Review (dpreview.com)

May 21, 2017
Nikon reshuffles management structure

Nikon Corporation announced today the reorganization of its corporate structure. Nikon’s Core Technology Division will be closed and replaced by Research & Development Division and Production Technology divisions. As you’d expect, the former is dedicated to research and development, the latter integrates the functions of group production strategy planning and production technology development. The objective of this move is to clarify functions and responsibilities and enhance the efficiency of the production system.

In addition Nikon is integrating its Medical Business Development Division and Microscope Solutions Business Unit to form a new Healthcare Business Unit with the goal to create business synergies.

The Japanese company has also decided to close its Business Support Division and distribute its functions across other divisions. By doing so, Nikon is hoping to optimize functions such as procurement, engineering and logistics, as well as quality- and environmental-management.

New organization:

Nikon announces reorganization of corporate structure

May 19, 2017

Nikon Corporation (Kazuo Ushida, President, Tokyo) announced today the reorganization of its corporate structure as outlined below, scheduled for June 29, 2017.

The Core Technology Division is to be closed, establishing the Research & Development Division and the Production Technology Division

Nikon has decided to close the Core Technology Division and establish the Research & Development Division which dedicates to research and development, and the Production Technology Division which integrates the functions of group production strategy planning and production technology development, etc.
With this change, Nikon reorganizes the corporate structure in a way that clarifies functions and responsibilities in order to revitalize the group-wide research and development structure and enhance the efficiency of the production system.

Establishing the Healthcare Business Unit

Nikon is integrating the Medical Business Development Division and Microscope Solutions Business Unit, to establish a new Healthcare Business Unit. This will enable the company to integrate/optimize organizations and functions rapidly, creating business synergy.
Nikon will boost existing businesses and accelerate creation/nurturing of new businesses in the healthcare, medical and biological fields, which are anticipated to grow in the future.

Closing the Business Support Division

To optimize group-common functions regarding procurement, engineering and logistics, as well as quality- and environmental-management, Nikon has decided to close the Business Support Division and relocate each function formerly handled by it.

Articles: Digital Photography Review (dpreview.com)

May 20, 2017
Review of the Benro Ranger 400 Pro Backpack

Ask most photographers and they will tell you that one of the hardest things to find with respect to photography gear is the perfect camera bag. One that will suit your every need. We search and search, but in the end, we all come to the realization there isn’t one bag that will be great for every situation. Though, sometimes you can find one that comes close, for me it was the Benro Ranger 400 Pro backpack.

Lots of options

One of the things to look for in a bag is one that gives you lots of options when using it. One that can handle most photographic situations that you might encounter.

I was looking for a bag that would hold my camera, my filters and holder, plus up to three lenses. Also ideally one that would take my laptop from time to time. It was also very important that it would hold my tripod.

The Benro 400 Pro backpack is lightweight and has a lot of protective elements. The outside of it measures 14 in (35cm) wide, by 19 in (50cm) high, and 8 in (20cm) in depth. It isn’t a large bag, but it’s big enough for most people. The inside is 12(W) x 17(H)x 6(D) inches, or 30(W) x 42(H) x 15(D) cm.

Sitting next to the Benro Tripod.

Space in the bag

The bag has three separate ways to enter it. The main zipper, that allows full access to the inside of the bag. There is a side zipper to allow easy removal of the camera with the lens attached. There is also a small zipper on the back near the top to help you get to your lenses faster for quick changes.

The side entrance to get your camera.

Inside the bag, you can move the dividers around to suit your needs. It is like most camera bags in that respect. It will take the camera, and more importantly large cameras fit easily. There are plenty of sections for your lenses, and it will also allow you to take up to three others (besides the one on the camera), filters, and other smaller accessories you may need for your trip. You do need to be careful that you don’t carry too much, think of your back.

The inside of the bag.

The bag is deep and you can put your lenses in length ways, unlike other bags where they need to lay down and take up more room. For most lenses you can put them in this way.

There are also places to keep memory cards and batteries. If you want to carry your laptop it will take up to a 14-inch one. A 13-inch Wacom MobileStudio Pro also fits into it fine.

The area at the back so you can easily reach your lenses.

Materials

The Benro 400 Pro backpack is made with a black water-resistant nylon. It has a hard bottom, so for a backpack it will stands up really well when you put it down. When moving around you can just place it down and not worry about it falling over as many other bags do. It is very hard and gives the bag a lot of support with the structure of the bag as well.

Comfortable to wear

It is very comfortable to wear and the smaller size makes it a good bag for most people. The straps are thick and provide a lot of padding which make it good to carry on your shoulders. When the bag is full of gear you can carry it with ease.

The bag sits well on the back and is comfortable.

Waist band strap

It does come with a waist strap that you cannot remove from the bag. The sides that come around your waist to sit on your hips also have small compartments with zips. When you get the bag, one of the pockets holds the strap for the tripod and the other side has the rain cover. You can remove both and use them as pockets for easy access. I use one to store my car keys. The zip means they will be safe there.

Tripod attachment

The strap that is found in the side waist strap pocket is used to put across the front of the bag, and another pocket from down the bottom at the front pulls out so you can attach your tripod. The strap is fiddly and can take a bit to put your tripod on it. I found it frustrating, and instead, choose to attach it a different way.

How the tripod fits to the front of the bag.

You can also attach it on the side of the bag as well, There is a strap at the bottom of the side that doesn’t seem to have much purpose, and then the strap that is used to keep the front section to the back section, extra security at the top of the side. You can use them to hold the tripod onto the bag. It is, in some ways, a much easier way to attach it. It is nice that you get a couple of choices.

The tripod attached to the side.

In the end

Since getting the Benro Ranger 400 Pro Backpack I’ve used it continuously. The only time I change bags is when I want to use one on wheels. It has been to many places and has not let me down so far. It has been comfortable to wear for hours and the tripod is easy to get on and off. For me it is almost the perfect camera bag.

The post Review of the Benro Ranger 400 Pro Backpack by Leanne Cole appeared first on Digital Photography School.

Digital Photography School

May 20, 2017
Beyond Human Vision – Seeing More With Photography

Have you ever been frustrated because you don’t seem to be able to photograph a scene the way it looks to you, with your vision? Maybe you can’t get a sharp image even though the scene is perfectly clear, or perhaps the camera fails to capture the beautiful variety of light in a landscape.

It’s possible that you’re having technical trouble in getting the most from your camera, but it might also be because the human eye and the camera aren’t the same, despite their compelling similarities. For instance, our eyes have a much broader dynamic range than any sensor or film, and our binocular vision gives us amazing depth perception.

But have you ever thought of the ways in which cameras can outperform the vision of your eyes? These aspects of your favorite tool are not obscure quirks, but commonly used techniques that broaden your perception of the world around you.

So let’s dive into the mysteries of the camera! Maybe realizing how photography expands your worldview will make you look at photography (and reality) in a slightly different way.

1. Capturing time

With the camera, you can capture time in different units than your eye does. This, of course, is done by choosing a shutter speed. There isn’t a direct counterpart to shutter speed in human vision, but that doesn’t mean we can’t take advantage of the camera’s ability to observe the passage of time beyond our own vision.

A long shutter speed of several seconds lets you see movement that isn’t discernible at all or in the same way by vision alone. Exposure: 1/3rd of a second, f/14.0, ISO 100.

Controlling shutter speed is also what makes light painting possible. Exposure: 134 seconds, f/5.6, ISO 100.

Using a really fast shutter speed lets you transform continuous motion that you see as a blur into a frozen instant. I thought I was photographing a bird sitting on a snowy branch, but all I got was a miniature snow flurry. Exposure: 1/500th, f/2.8, ISO 800.

2. Capturing light

Even though your eyes are better than cameras at distinguishing a wide range of light levels in the same frame, the camera can extend your observation of very dark and very light scenes. You can accomplish this by carefully balancing shutter speed, aperture, and ISO. Modern cameras allow for ever higher ISO levels, which increase the light sensitivity and allow you to capture images in really dark scenes.

If you’re lucky, you can see The Milky Way with your naked eye. Capturing it with a camera, though, allows you to see even more details of our galaxy. Exposure: 35 seconds, f/4.0, ISO 1600.

3. Field of view

The human field of view is static, about 190 degrees depending on the anatomy of your face. By using lenses, you can vary that field of view from slightly larger to much smaller.

A wide field of view, but still not as wide as that of most humans. Exposure: 1/13th, f/7.1, ISO 400.

A very small (narrow) field of view. This close-up, or macro, shows the tiny details of a fungus growing. Exposure: 1/25th, f/6.3, ISO 100.

4. Depth of field

Although you can’t control it, your eyes do have a changeable aperture called the pupil. It’s difficult to find information on exactly what kind of apertures the human eye can pull off. But whether the camera can do more or less, the effects of a small or large depth of field differ between eyes and cameras.

Examples of this are bokeh, which is achieved by a large aperture (small depth of field), and the starburst effects caused by a very small aperture (large depth of field).

Snow and ice crystals creating bokeh. Exposure: 1/100th, f/4.0, ISO 160.

Starburst over a snowy sea. Exposure: 1/500th, f/20.0, ISO 100.

5. Color

Although cameras have been designed to capture the same colors that we see, some can detect color in a very different way, including sensors used mainly by scientists to detect ultra-violet, infrared, or other parts of the non-visible spectrum.

The ability of some film to capture black and white offers us a new way to see the world, focusing on tones rather than colors. You can also make black and white photographs with a digital camera, though this is almost always a conversion from color to monochrome, either in-camera or in post-processing (there are a couple of monochrome digital cameras available on the market, but they are neither common nor cheap).

A monochrome vision – this photo was taken as a color image, then converted to black and white in post-processing. Exposure: 1/80th, f/4.0, ISO 1250.

Conclusion

Can you come up with more things that the camera can do but you can’t? Do you think your camera helps extend your vision – both literally and metaphorically? I’d love to hear from you and see some of your creations in the comments section below.

The post Beyond Human Vision – Seeing More With Photography by Hannele Luhtasela-el Showk appeared first on Digital Photography School.

Digital Photography School

May 20, 2017
Analog gems: 10 excellent, affordable film cameras

Affordable analog

Battles rage over whether digital or analog is the better medium. But those shouting on both sides are missing out on the simple truth that the two compliment each other beautifully.

With digital photography, there is an ability and sometimes a desire to achieve something precise, while happy surprises can be a big part of the analog draw. Keen photographers realize that shooting with both mediums keeps one creatively-focused and balanced: aware that perfection exists, but open to creative serendipity. Moreover, film gives the user a chance to slow down and be decisive, and digital allows the user to quickly see results and learn.

Of course, many of the readers of our site are digital diehards. But let’s pretend for a moment that we’ve convinced you to dabble a bit in analog. What would be a good camera to run a roll through? What follows is a list of 10 cameras, all of which are easy to find, technically capable, and reasonably priced. These are cameras known for holding up mechanically and don’t require obscure or discontinued batteries, like mercury cells.

Of course, this list is far from complete – there are many excellent film cameras available that fit our criteria. Which is why we’ll be looking to add more periodically. So if there are any you feel particularly strongly about, let us know in the comments. Happy shooting!

Canon AE-1

History: The Canon AE-1 was produced from 1976-1984 and in that time more than a million units were sold. One of the first affordable SLRs on the market to feature TTL auto exposure metering, the AE-1 was also the first SLR to use a microprocessor. It is constructed mostly of injection molded plastic to keep costs down. However, this leads to a comparably lighter body than most metal SLRs of the day.

‘From 1976-1984…more than a million units were sold.’

Why we like it: This camera is a solid choice for beginners, offering both a shutter priority and a manual mode (though sadly no aperture priority mode). Metering tends to be accurate and the camera can be powered by a variety of common drugstore batteries. Canon FD lenses are cheap and readily available for the system.

Buy one: These cameras are extremely easy to come across in working order for under $ 100. If buying on eBay, you can often pick up an AE-1 with a bunch of FD lenses and other accessories for about the same price as the body.

Also consider: The Canon AE-1 Program (shown above). The Program was released in 1981 is the follow up to the original AE-1. It is largely the same camera, except for the inclusion of a Program auto exposure mode that sets both shutter speed and aperture.

Pentax K1000

History: The Pentax K1000 first debuted in 1976 (same year as the Canon AE-1) and was manufactured continuously for just over two decades. The body is made mostly of metal and the camera is fully mechanical in operation (there is no auto mode). The K1000 has a built-in light meter that runs on generic drugstore camera batteries. Just remember to put the lens cap on to avoid draining the charge!

Why we like it: The K1000 represents a very different approach to the amateur SLR market than the Canon AE-1. Both are great cameras with redeeming qualities, but we really appreciate the Pentax’s mechanical design, which means it can be operated without batteries (unlike the Canon). And due to its metal build, K1000’s tend to stand the test of time quite well. In short, these cameras have a reputation for being simple, but reliable – great for beginners or purists. And there is also a ton of great glass to be had for the system.

‘We really appreciate the Pentax’s mechanical design, which means it can be operated without batteries.’

Buy one: Not only are these cameras built to last, they were made non-stop for 21 years! So it comes as no surprise that they are easy to find used. Expect to pay between $ 50-$ 175 for one on eBay, depending on the condition. Snagging a deal that includes the body and some Pentax glass is not super likely, but also not impossible. Some collectors claim the bodies with “Asahi” on the prism are more reliable – as they are older and supposedly use fewer plastic components internally – something to keep in mind.

Photo credit: John Kratz

Olympus XA

History: The Olympus XA is one of the smallest 35mm rangefinder cameras ever made. Sold from 1979 to 1985, this camera manages to tuck a very sharp Zuiko 35mm F2.8 lens (with a 4-blade aperture) behind a protective sliding door. The camera is aperture priority-only, however there is a +1.5 Exp. comp. lever on the bottom of the body. The camera itself is built mostly of plastic, but still feels dense in hand.

Why we like it: There’s a lot to like about this tiny rangefinder: It’s incredibly quiet, the lens is sharp and the metering is good. It also represents one of the most unusual camera designs of its time. The focusing lever is admittedly a bit small and fiddly, but the focus depth scale makes things a bit easier.

‘The Olympus XA is one of the smallest 35mm rangefinder cameras ever made.’

Buy one: It’s pretty easy to find this camera sold alongside its original accessory flash (which mounts on the side of the body). Expect to pay between $ 50-150 for one in working order, with or without the flash. A note of caution: sometimes these turn up in seemingly working order, but with a dead light meter (bad news for an aperture priority-only camera).

Also consider: The Olympus XA2. It is essentially a simplified version of the XA, but with a 35mm F3.5 lens and zone focusing. Some people find the XA2 easier for casual pointing and shooting.

Mamiya M645

History: The Mamiya M645 was the company’s first 6 x 4.5 format SLR-style camera and was manufactured from 1975-1987. It uses an electronic focal plane shutter and features an interchangeable finder and focus screen, but not interchangeable film backs. The camera uses a generic 6 volt camera battery. There are several different versions available including the M645 1000 and the budget-friendly M645J.

Why we like it: These are beautiful cameras both to hold and to operate. Not only that, they are also mechanically reliable. And while there are more feature-packed 6 x 4.5 cameras on the market (including many from Mamiya), few are as affordable as the original M645.

‘There are more feature-packed 6 x 4.5 cameras on the market, but few are as affordable or reliable as the original M645.’

Buy one: These cameras are easy to find in working order. You can expect to pick one up on eBay, with a lens, for between $ 250-350. Note: the M645J model (shown in the image above) is a stripped down version of the M645 for slightly less cash (it has a limited shutter speed range, no mirror lock-up, and one shutter release as opposed to two).

Nikon L35AF

History: Introduced in 1983, the L35AF was Nikon’s first compact with autofocus capability. Its sharp 35mm F2.8 lens and simple design led it to become a marketplace hit. The camera is fully automatic, but does have a +2EV exposure compensation lever on the front of the body. The metering cell is located directly below the lens and the camera can accept filters. It also has a built-in pop-up flash.

Why we like it: At first glance, the L35AF looks like a cheap, plastic camera. But looks are deceiving. This camera is in fact a gem (the body is actually metal with a plastic shell). As mentioned, the lens is sharp, and metering is accurate. AF is also surprisingly accurate. Plus, the camera is powered by two generic AA batteries. Technically-speaking, this is an outstanding film point and shoot. The only down side is the camera is a tad chunky.

‘The L35AF looks like a cheap, plastic camera. But looks are deceiving because this camera is in fact a gem.’

Buy one: You can expect to pay between $ 60-150 for one of these cameras, in working order, on eBay. However the L35AF often turns up in thrift store bins and at rummage sales. Spend a little time hunting and you might find one for under $ 10. There is also the Nikon L35AD, which is the same camera as the L35AF, but with an autodate function.

Minolta Hi-Matic AF2

History: The Minolta Hi-Matic AF2 first debuted in 1981 and is a fully-automatic fixed lens compact, with the exception of its manual film advanced/rewind (weird, we know). The camera has a fairly sharp 38mm F2.8 lens. And like the Nikon L35AF, the camera’s meter is located directly below the front element, which also accepts filters. The camera runs on two AA batteries and offers a pop-up flash.

Why we like it: There are affordable film cameras, and there is the Hi-Matic AF2. In terms of lens sharpness-to-price ratio, this camera is hard to beat. And while there is no exposure compensation lever as you’ll find on other fixed lens compacts of its time, the camera will warn you if there is not enough light or if a subject is too close. It does this by emitting an irritating beep. It’s plasticky, light weight and a lot of fun to shoot with.

‘There are affordable film cameras, and there is the Hi-Matic AF2. In terms of lens sharpness to price ratio, this camera is hard to beat.’

Buy one: These camera can be purchased in working order for between $ 10-35 on eBay. And if you are really turned off by the manual film advanced, consider the Minolta Hi-Matic AF2-M instead. It’s the same camera, but with a motorized film advanced.

Photo credit: Jonathan Mauer

Olympus Stylus Epic

History: The Stylus Epic or Mju II, as it was called in European and Asian markets, is a fully automatic, weatherproof compact camera that debuted in 1997. Like the Olympus XA, the Stylus Epic features a sliding door to protect the lens – it also doubles as an on/off switch. These cameras are revered for their sharp 35mm F2.8 lens, good autofocus and compact design. Plus the camera is powered by a long-lasting and easily obtainable lithium battery.

Why we like it: There’s a lot to like about the Olympus Stylus Epic. While not everyone is a fan of the camera’s odd, rounded design, this writer finds it fits perfectly in a back pocket. This, plus its weather-sealing make it a great take-everywhere-camera. Also, the flash starts charging as soon as the cover is opened, meaning it should be ready to go when it comes time to photograph a decisive moment.

‘These cameras are revered for their sharp 35mm F2.8 lens, good autofocus and compact design.’

Buy one: These cameras are a cult classic and can be a tad tricky to acquire. This is partly due to the fact that Olympus made numerous compacts under the ‘Stylus’ and ‘mju’ names. However the Stylus Epic/Mju II is optically the best and therefore the most coveted. You can generally find one for between $ 150 and $ 250 on eBay – not bad for a camera originally marketed as a budget compact.

Nikon N90s

History: The N90s, also know as the Nikon F90x in Europe, first debuted in 1994 and was manufactured until 2001. Geared toward advanced amateurs, this camera sounds quite advanced on paper, for a film SLR. Features like 3D Matrix metering, a top plate LCD, 4.1 fps continuous shooting in AF-C and a 1/8000 sec max shutter speed sound like digital camera specs. But don’t get too ahead of yourself, it has only a single AF point and AF performance does not compare to that of modern DSLRs. Still the camera is quite capable. And it runs on four ubiquitous AA batteries, which is a plus.

Why we like it: The turn of the century was an interesting time for camera makers: as consumers slowly began to shift from film to digital, a lot of advanced film cameras debuted at a time when the market was drying up. In a sense, the N90s offers nearly the same feel and handling of a modern Nikon DSLR in a film SLR body. If you’re a Nikon digital shooter, there’s simply no reason not to pick one of these up just to try. They are fantastic.

‘The N90s offers nearly the same feel and handling of a modern Nikon DSLR, in a film SLR body.’

Buy one: It’s kind of crazy how cheap these cameras can be had. On eBay, expect to pay between $ 40-$ 120. Plus, they are easy to find in working order because of how recently they were manufactured. Just don’t expect to find a sweet deal on one with with a lens included. Oh and be aware, the rubberized coating on the body can become unpleasantly sticky with age, especially if the camera was stored in a warm environment.

Photo credit: Amydet at English Wikipedia

Minolta X-700

History: At the time of its release in 1981, the X700 was Minolta’s top tier manual focus camera. A market success, it was manufactured continually until 1999 and was also the final manual focus SLR the company made. Stand-out features include TTL flash metering, a bright viewfinder and multiple auto exposure modes. Like the Canon AE-1, the body is made mostly of plastic, which keeps the weight (and manufacturing cost) down. It uses generic drugstore camera batteries.

Why we like it: The X-700 offers both Program auto exposure and Aperture Priority modes as well as full manual mode, making it a good choice for those learning. Plus, Minolta glass is fairly easy to come by on the cheap for this system.

‘The X-700 offers both Program auto exposure…as well as full manual mode, making it a good choice for those learning.’

Buy one: You can expect to pay between $ 75 – $ 150 on eBay for one of these cameras with a lens. And like the Canon AE-1, it’s pretty easy to come across a bundle with camera, extra glass and accessories for around the same price as a single camera and lens.

Photo credit: Retired Electrician

Canon EOS 5

History: The Canon EOS 5, also sold as the EOS A2 in some markets, is a semi-professional SLR manufactured starting in 1992 and discontinued around the turn of the century. It uses Canon’s latest EF mount, first introduced in 1987. The camera features 16 zone evaluative metering and offers a top burst rate with AF, of 3 fps (5 fps in one shot mode). Other standout features include 5 selectable autofocus points as well as the very first iteration of Canon’s infamous eye-controlled focus. The body is powered by a single 2CR5 lithium battery. These batteries can be a tad pricey, but they’re easy enough to find online.

Why we like it: High and mid-range SLRs from the 90’s are strange beasts: retro in format, while offering some modern-DSLR features. The EOS 5 is a great example of this: it’s highly capable despite its lack of a sensor. Canon diehards can learn a lot about of the lineage of their modern DSLRs by spending some time with the EOS 5.

‘Canon diehards can learn a lot about of the lineage of their modern DSLRs by spending some time with the EOS 5.’

Buy one: No need to break the bank. You can pick up one of these cameras body-only for between $ 30 – $ 100 on eBay. But because they use the modern Canon EF mount, picking one up with a decent lens is going to set you back considerably more.

What cameras should we add?

Is there a camera you feel strongly should be added to this list? Is it affordable, readily available and technically capable? Let us know in the comments!

Articles: Digital Photography Review (dpreview.com)

May 20, 2017
Impossible Project launches special edition Two-Tone B&W Polaroid 600 camera

Impossible Project has announced the launch of a ‘strictly limited edition’ Two-Tone Black and White Polaroid 600 camera. This camera is a refurbished original Polaroid 600 redesigned with a custom two-tone paint job, according to the company, and it is exclusively available via the Impossible Project website.

In describing its new Polaroid 600 special edition camera, Impossible Project explains, ‘The new camera celebrates the work of the photographers and artists who have perfected the monochrome palettes – names like Robert Longo, Ansel Adams and Eva Rothschild.’ The new model is priced at $ 179; it isn’t clear how many units are available.

Via: PhotographyBLOG

Articles: Digital Photography Review (dpreview.com)

May 20, 2017
How to Photograph Your Museum Visits – Turn Limitations Into Creative Challenges
Do you feel frustrated that you are not allowed to make selfies in museums? Did a light reflection ruin the photo of your favorite artwork? Are the other visitors always in the way of your perfect shot? Then this article is for you, to help you photograph your next museum visit!

Museums are a great place to get inspiration, however, the great teams behind every exhibition have to be more concerned with the preservation of the artworks than about your photo. Therefore, photographing in a museum poses two big challenges.

First, the multiple rules that you have to follow, remember to always be respectful of them because they exist for a reason. Second, the fact that you can’t alter the conditions in which you have to shoot. But this doesn’t mean that you can’t make great photos, actually, you can turn it around and use these limitations to take your photography to the next level.

Every museum has different rules so I’ll cover some of the most common:

NO SELFIE-STICK

Many museums of the world like the Palace Museum in Beijing, the Van Gogh Museum in Amsterdam, the Metropolitan Museum of Art in New York, and many others have banned the selfie-stick. Not to worry, this shouldn’t stop you from making a memory of yourself with your favorite artwork.

Whether it’s in a frame or a display case, most objects in museums are protected by glass. So, you can use your reflection on the glass to make a selfie. You can also use mirrors and other reflective surfaces you can find.

Crystals, Teylers Museum, Haarlem, The Netherlands.

Albergo Diurno Venezia, during the exhibition Senso 80 by Flavio Favelli, Art Week Milan 2017, Milan, Italy.

In order to work with reflections, you need to understand how light works. Without going into a complicated physics lesson, what you need to know is that light travels in straight lines.

Which is also why you can get those annoying light flares that can ruin your photos. So you need to be very aware of all the other objects in the room to avoid unwanted reflections.

Me As Mapplethorpe, 2009. Gillian Wearing RA, (based upon the Robert Mapplethorpe work: Self Portrait, 1988) exhibited at Gemeente Museum, The Hague, the Netherlands.

Now that you know how it works, you know how to move around the space in order to control your reflection. A few tips to consider though:
- The darker the background, the better you will see the reflection. For example, if you are doing the selfie in front of a black and white photo, position yourself in a way that you will be reflected in the darkest part of the photo, so you will stand out more. If you are wearing white or a light color shirt that’s even better.
- Try different positions so that you are not blocking an important part of the artwork. You can even try interacting with it.
- If there is a metallic surface or a mirror in the piece, use it to your advantage, and acknowledge your presence (smile, wave, etc.) so that it doesn’t look like a mistake.
- Locate the light source and then position yourself in a way that the bouncing trajectory doesn’t hit the lens of your camera, but it does hit any objects you want to reflect.
NO FLASH

This is one of the most universal rules in museums. This is because the hundreds of thousands of visitors that some artworks attract would sum to a great amount of light that some materials cannot take without damage. So you’ll have to make the best with the lighting of the museum that is designed to either preserve the delicate artworks, or to set a mood that complements a whole concept of the exhibition.

In other words, more often than not it will be very dark. This is where the settings of your camera (and even some smartphones) come in.

Since this article is not about exposure I won’t go into a lot of detail, but I will give you a quick guide to adjust it to better photograph in low light. The correct exposure depends on three things:

ISO

In photography this stands for International Standard Organization just like every other ISO that you’ve heard about. What it standardizes in this case is a scale for measuring sensitivity to light. The higher the ISO number you choose, the higher sensitivity your device will have. A lot of people are afraid to go very high because there is the risk of getting noise in your image, which is like the grain that used to be in film photography.

Nowadays most cameras can keep the quality even at higher numbers, so try all the settings out to determine which one is the highest you can go with your own equipment. However, in my experience, you get less noise from a high ISO than going lower and then trying to correct the underexposure in Photoshop later. Here is an example:

This image was taken at ISO 320.

Versus . . .

This image was taken with an ISO of 3200.

Aperture (f-number)

The simplest explanation I can offer is that the aperture is the hole in your lens that lets in light. Therefore the bigger the hole, the more light will enter.

But here is the tricky part, the aperture reference scale is inversely proportional. So, contrary to what you might think, a smaller number means a bigger hole and therefore more light. For example, a photograph taken with f/8 will be lighter than the photo taken with f/11.

This setting also controls the depth of field of your image (the area that will be in focus). So be careful moving this one because you might loose some sharpness in areas that are farther away from your point of focus if you use smaller f-numbers. Notice in the image below how the objects are loosing focus towards the back.

Crystals, Teylers Museum, Haarlem, The Netherlands.

Shutter Speed

This setting controls how much time you expose the sensor to light. Since the sensor (or film) is accumulative, the more time you expose it, the lighter your image will be. Shutter speed is very straightforward and it could be your best choice, except that anything moving will look like a blur if you go too slow.

Even if everything is still, if you are not using a tripod, YOU are the one moving. So don’t let it stay opened too long. In some museums you’re allowed to use a tripod if you pay an extra fee, so feel free to ask.

It is also useful to know that telephoto lenses need a faster shutter speed to avoid blur than the wide angle lenses. So you can also consider re-framing your image like the next example.

Shutter speed 1/8th, f/5.6, ISO 800, focal length 55mm.

Shutter speed 1/8th, f/5.6, ISO 800, focal length 22mm.

You can also use this setting in a creative way. For this photo I wanted the tram passing in between the two pieces of the sculpture to leave a blurry line to have a more dynamic result and also show more context on how the sculpture was meant to interact with the space.

Shutter speed 1/2 second, f/11, ISO 400; focal length 18mm.

Shutter speed 1.3 seconds, f/11, ISO 400; focal length 18mm.

Now that you know what each setting does, you can adjust them to your needs. Keep in mind that they are interrelated, so if you move one you need to correct the others accordingly. For example, if you close your aperture because you want more depth of field, remember to compensate it by leaving the shutter open for a longer time, or by making your ISO more sensitive (higher number). Always keep an eye on your exposure meter!

NO TOUCH

Given that you can’t change your surroundings or rearrange the artworks, you will have to be extra creative and flexible.

Take care of composition.

When photographing an artwork in a museum, don’t try to just reproduce it. To do that it’s always better to buy the postcard or the catalog. What you do want is to capture what it’s transmitting to you. Use the architecture of the gallery, make it interact with the other pieces of the exhibition, try to capture the ambiance. In other words, make it your own. Notice how in this example I didn’t photograph any specific artwork, just the space and the atmosphere.

Rijksmuseum van Oudheden, Leiden, the Netherlands.

Change your position.

Retaking the topic from the No Selfie-stick, if you need to avoid reflections and you can’t move the artwork or the lighting, then reposition yourself. Do this also to play with perspective, to include or exclude objects from your frame, and just try as many angles as you can.

For this next image, I was playing with perspective and the position of the circular lamps in order to make them look like the aura of the statue.

Rijksmuseum, Amsterdam, the Netherlands.

Be aware of other visitors.

It will be very difficult for you to have the museum to yourself, so try to be respectful of others and don’t get in the way. Don’t be afraid to include people in your photo as well, just be sure to wait until the right moment so that they complement your image.

Het Dolhys, Haarlem, the Netherlands.

Museo de la luz, Mexico City, Mexico.

COPYRIGHT

Last but not least, there is one rule that you won’t see on the museum signs, but it exists and it’s very important – the issue of copyright.

While getting inspiration from other artists it’s great, remember that you are photographing the work of a fellow artist so it is covered by copyright. This can apply from the artwork being exhibited to the architecture of the museum so it can be a very complicated issue to understand.

I advise you inform yourself about it in more depth. A general rule of thumb that you can always follow is that you can’t use the image for commercial purposes without permission and/or retribution from the creator. And in any other context for educational purposes (e.g. this tutorial or giving a conference) you should always give the credits. Let’s be respectful of one another.

Next time you go to a museum you can both get inspired and creative. Enjoy and share your photos!

The post How to Photograph Your Museum Visits – Turn Limitations Into Creative Challenges by Ana Mireles appeared first on Digital Photography School.

Digital Photography School
May 20, 2017
How to Merge and Combine Images in Photoshop
The ability to combine images together is a very useful skill for photographers. Although most want to get the image right directly in the camera, there are instances where merging images together prove useful (and necessary). As well as this, the image we have in our mind may not always be physically possible to produce during the shoot, and merging multiple photographs together can bring that vision to life!

There are many different ways to merge images together. Of the hundreds of approaches to this task, the best one is the method that works for you. This tutorial will showcase my personal, manual preference of merging images. There are ways to automate image merging in software, but it is better to know the manual method before doing so (as they say, learn the hard way to be able to use the easy way!). The manual method also offers significantly more control.

Before we begin with the tutorial, there are several key concepts to keep in mind:
- Make sure that the images are the same resolution. If one image is 300 dpi (or dots-per-inch), and the other is 72 dpi, you will need to convert one of them to match the other.
- Try to pick images with a similar light source. Although you can add artificial shadows and highlights, it is quite difficult to ensure that these simulated sources look natural (although absolutely possible). It is far more convincing to find images that already have a very similar lighting situation.
- Try not to over-complicate the merge. Attempting to add elements that are extremely convoluted (due to having very fine outline details or other types of intricacies) can be frustrating to blend realistically.
How to Combine Images

I can think of many instances in which a photo shoot could be better enhanced by combining different images together. When merging from the same location, the benefit is that, presumably, the lighting and shooting settings are the same (or similar). As well as this, the location being the same makes for an easier merge. If you are merging images from a different location, try to pair elements that can blend in well together! Burning edges can be a great way to blending images together.

On to the steps:

Begin by planning what elements of the individual photographs you will want to combine together (see two images below).

Source image #1.

Source image #2.

Make a selection – then copy and paste

Secondly, take the lasso tool in Photoshop and draw around the object, model, or animal you want to add to your base image. You can also utilize the selection tool or quick selection tool to do this. In this particular image, because the colors and tones are all very similar to one another, I found the lasso tool to be a much faster way of selecting the part of the image I need. Other photo editing software will likely have very similar tools.

Note: You cannot do this kind of work inside Lightroom. A program that utilizes layers is needed, and that is a function which Lightroom does not offer.

Image with a selection made around the part to copy to the other image.

Next, paste the image into the spot it belongs in the other image. I like to lower the opacity when placing so that I can see exactly where the subject should be positioned. You can then raise the opacity back up.

Pasted area at lowered opacity to aid in placement.

Blend using a layer mask

Fourthly, to blend the image into its rightful place, I utilize layer masks and the brush tool. The benefit to these two tools used in unison is that if you accidentally erase a part of the layer that you want to keep, you can always undo your mistake. Likewise, if you find later that you would like a certain part of the first layer to show, you can do that without issue.

All you need to do is select the top layer, click “add layer mask”, and then select the brush tool. When utilizing the brush tool, the black color will act as an eraser and remove the top layer, while the white color will bring the top layer back. Make sure that the brush is very soft, as that helps blend. Change to a harder edged brush for straight edges.

Note: Make sure you paint on the mask not on the actual layer!

Paint on the layer mask to blend the two images smoothly.

Keep blending until the image looks to be a natural part of the frame.

The final blended image – two combined into one.

Repeat the steps as many time as necessary.

Adding or Changing a Background

Adding a new background is quite possibly the most common use of the image merging skill. Whether you shoot your subject in a studio or just a snap out in nature, changing the background can add an entirely different feel to the photograph.

The same steps apply to this type of merging as with the aforementioned. If you’re working with hair or fur, a tip is to try to pick backgrounds whose light and dark areas match with the original background, as that allows you to not have to work around those very fine details (and can leave them untouched). In the photo example here, the new background elements were matched to the dark parts of the photograph, which allowed me to not have to select the fine fur details (see the ear and snout fur).

Original image.

Edited image with a new background.

Changing Animal Heads

Animals are notorious for not sitting still, blinking, looking away at an inopportune moment, or otherwise being uncooperative for photographs. A very common practice in animal photography is to swap the heads out.

Similarly to the aforementioned merging methods, follow all of the same steps. Make sure you pay attention to how the fur flows, and use that to your advantage when blending! In the photo example case here, the wolf’s neck and head were placed onto the body of the base image. After some basic additional retouching (cloning out the leash and lightening the eyes), I got the finished result.

Original image.

Second source image for left wolf’s head.

Final image of the two combined.

Swapping Human Heads

Like animal photography, sometimes it is necessary to take a head from one image and put it on the body of another. Occasionally, you will like the model’s pose but not her facial expression, or like the model’s expression but not her pose. The key is to make sure you align the neck correctly, or else your model will look disfigured.

Image #1 – I used her face from this shot.

Image #2 – combined with her body from this shot.

To make this final image.

For a more detailed look at head swapping check out: How to do a Head Swap using Photoshop

Conclusion

There is a good overview of how to merge and combine images in Photoshop. If you didn’t know that the final images in the article had been altered could you tell they weren’t shot that way?

What other applications can you think of to use this technique? Please share your ideas in the comments below.

The post How to Merge and Combine Images in Photoshop by Anabel DFlux appeared first on Digital Photography School.

Digital Photography School
May 20, 2017
2017 Roundup: Semi-Pro Interchangeable Lens Cameras
What do we mean by Semi-Pro?

Within this category, you’ll find some of the most capable cameras the industry has to offer. The Semi-Pro name doesn’t indicate that they’re below the consideration of professionals, though. Quite the opposite: it means that their price and performance makes them attractive to a range of enthusiasts, photographers who make some money from their shoots and professionals who earn their livelihood with their camera.

Due to the fuzzy line between semi-pro and pro, we’ve made the decision to not include very high-end full-frame (e.g. Nikon D5, Canon 1D X Mark II, Sony a9) and medium format (e.g. Pentax 645Z and Fujifilm GFX 50S) cameras in this roundup.

All of the cameras in this price range use full-frame sensors. And while most of them are DSLRs, there are also several mirrorless options as well. Simply put, there is something here to satisfy just about everyone who is willing to pony up the requisite funds. Read through to see what makes this segment so cut-throat, and what innovations are driving this tier forwards at a remarkable pace.

The models covered in this roundup are:
Read on to see which cameras we chose as best-in-class!

Articles: Digital Photography Review (dpreview.com)
May 20, 2017
Review of the Interfit Fluorescent Ring Light INT812

What is a ring light?

Even if you don’t know what a ring light is, it is probable that you have seen photos made using them. As the name suggest, they are a light source in the shape of a ring, often, your camera is mounted on the light so the lens points through it. This on-axis lighting provides even, shadowless illumination on the front of your subject. It is a very distinct style most often seen in fashion photography.

In the past, ring lights were expensive or required a solid set of DIY skills to build your own.

The effect is not to everyone’s taste, and that’s fair enough. Sometimes, the light can appear flat and lifeless, which puts some people off. Also, a lot of photographers don’t like the distinctive ring-shaped catch-lights. That is also fair. If, however, you do like what can be achieved with a ring light, but you’ve been put off by price in the past, then the Interfit Fluorescent Ring Light may just be for you.

Pros of the Interfit Fluorescent Ring Light

There are a lot of things to love about the Interfit Flourescent Ring Light. In no particular order, they are:

Cost

At $ 100, the Interfit Fluorescent Ring Light is cheap. No, it’s not a strobe, but when you compare it to, say, Bowens’ dedicated Ringflash Pro (listed for $ 2021 on B&H), the Interfit is close to $ 2000 cheaper. This makes ring lights accessible to almost every photographer who wants to use one.

Weight

The unit itself is quite large, but at 1.3 kg it’s light enough to carry anywhere without much trouble. If you often shoot in a studio or space that isn’t your own, throwing the Interfit ring light in the back of your car is not going to be a logistical issue.

Size

The ring light itself is rather large. But because you are not attaching the lens to the light, it gives you a lot of space to move around with the camera while still being able to see your subject through the light’s aperture. It also means that you can use a longer lens, such as 200mm while keeping the light really close to your subject.

Continuous

With the Interfit INT812 being a continuous light source, you gain a few advantages. The first of these being that replacement bulbs are cheap, despite the size, they are only around $ 14 each.

Another is that after being on for about an hour, the bulb never gets particularly hot. This is great if you’re photographing people as you don’t have to worry about that aspect of your subject’s comfort.

Finally, there’s the matter of your subject’s pupils. With strobe lighting, you are usually in dark environments with periodic bursts of bright light. As we all know, our eyes adjust to the dark and our pupils dilate to allow us to see. In bright light, such as this ring light offers, it’s the reverse and your subject’s pupils contract, revealing more of the color in their eyes.

Bendable arm

Thanks to a bendable arm, the Interfit INT812 is able to be put in almost any position, making it a very versatile light.

The real beauty of this light is the bendable arm that it is mounted on. This arm, combined with the fact that the light is not mounted to your camera, means that you are not limited to using it as a traditional ring light. You can use and position it as you would any other light source. It’s also possible to point it straight down, a feat usually reserved for boom arms.

At one point I found myself using it as a hair light, alongside a softbox fitted to a strobe as my key light. The versatility all of this provides is more than worth the price tag, even if you never use it on-axis as a traditional ring light.

Placed at a 45-degree angle, the narrow edge creates interestingly shaped highlight and shadow areas.

Positioned straight down and a few inches above, the Interfit Ringlight provided some much-needed fill on an all black subject.

Cons of the Interfit Fluorescent Ring Light

As much as I like this light, it does have a few problems as outlined below.

Build quality

As I’ve mentioned already, the Interfit Fluorescent Ring Light is not an expensive piece of equipment. In terms of build quality, it’s reasonable to not expect too much from it. The entire casing is made out of lightweight plastic and does feel a bit flimsy at the best of times. That said, both the bulb and the bendable arm seem to be of good quality. So far, I’ve used it about a dozen times and I have yet to have an issue.

Low intensity

Because this is a continuous light at the cheaper end of the market, the intensity of the light isn’t exactly the brightest. Because of this, you will be limited to working with large apertures and high ISO settings. Depth of field is unforgiving at apertures like f/1.8, so I would encourage using a tripod and taking your time focusing.

At the other end of the scale, it is very bright to look directly into from less than a foot away. This may be uncomfortable for your subjects if you have them in front of it for a long period of time.

If you’re used to using high powered strobes, you need to keep an eye out for other light sources that may affect your images. As the ring light isn’t very high powered, any ambient light around will add unwanted color casts to your images.

Chromatic aberration

When used on axis, chromatic aberration appears around the catch-lights in almost every photo. This isn’t much of a problem as Lightroom will make short work of the aberrations, but it is important to know about.

Chromatic aberration appears around the catchlight from the Interfit INT812; however, this easily fixed in Lightroom.

Color temperature

In terms of mixing multiple light sources, The Interfit INT812 does pose a few problems. It is not daylight balanced, nor does it match the fluorescent light balance preset in camera or in Lightroom. If this is the only light source present, you can eyeball the sliders in Lightroom or use a simple grey card to solve the problem.

The Interfit Right Light works well as a fill/hair light, although it does take some time to fix the resulting color casts.

However, when you’re mixing light sources, for example, if you use the ring light in combination with studio strobes, you will have to overcome unwelcome color casts. With the white balance set to flash, the color from the ring light is an unpleasant green. It’s an easy fix with all of the color correction tools in Photoshop and Lightroom, but it’s a problem easily avoided if you’d rather not spend the time correcting it. Of course, you could just use this as an excuse to shoot in black and white.

Extra equipment

So far, I have only come across one real problem while using the Interfit ring light. Because it is so light, I was happy to put it on one of my cheaper light stands. When I started using the bendable arm to put the light at weird angles, it became top-heavy and off balance and started to fall over. Putting it on a heavy duty light stand solved the problem. However, watching one of your lights start on its way to the floor is not an experience that I recommend anyone replicating.

The problem here is that good quality, heavy-duty light stands can start at around half the price of the ring light. If you don’t already have a good light stand before you consider purchasing the Interfit INT812, please be sure to include that into your pricing considerations.

Overall Impressions

For $ 100, I love this thing. No, it isn’t perfect, but it does add an awful lot of versatility to my toolkit. I like it so much, that as long as there’s a place to plug it in, I will be going out of my way to take it with me from now on.

It might be obvious, but I do like the ring light effect a lot. However, even if you hate ring lights, the Interfit Fluorescent Ring Light INT812 brings a lot to the table and does so in a price range that doesn’t make it cost prohibitive to give it a try.

The post Review of the Interfit Fluorescent Ring Light INT812 by John McIntire appeared first on Digital Photography School.

Digital Photography School

May 20, 2017