On Saturday, 16 February, Kelyn Alyssa and her husband went to Broadacres in Houston to have some photos taken of their baby daughter to celebrate her first birthday. During the shoot, a woman started shouting at them from a car for taking photos. But then it got worse – she got out of the car and threw a tantrum. She was screaming at the couple and the photographer, she hit the husband and started moving the props, all while the terrified child was screaming.
To shoot directly into the sun is both challenging and fun. Challenging because it can be difficult to control the light and, not least, our images are very often marred by sunflare. One simple way of avoiding flare is to shoot an extra exposure with one finger or more obscuring the sun.
Admittedly, it happens that I forget to follow that simple step, or I am too lazy or I believe that clouds or mist sufficiently diffuse the light so that the lens won’t produce any flare. In the example below I believed that mist would prevent any flare. I was wrong something which became very evident when examining the raw file in Lightroom.
Hey guys. This morning I woke up and deleted all my social media. My Instagram, Twitter, and personal Facebook accounts (I deleted my Facebook business page a year earlier), all gone. I ghosted from the party. As a small business, it’s a bold move (if not insane) to walk away from such successful pages (I had over 60,000 followers between the three platforms). But I had had enough, and here’s why.
62nd year in a row, The World Press Photo Foundation has run the renowned World Press Photo of the Year contest. The finalists of the 2019 contest have just been announced, and these are powerful images that tell stories from all over the world.
I’m a full-time photographer, I take photos for a living. It’s my main source of income. Its how I pay the rent, keep the lights on and put food on the table. The problem when you work for money, specifically when you get paid for your photography, is that you are no longer in full control.
There’s been a lot of buzz around the new Panasonic S1 full frame mirrorless camera. Some of it good, some of it not so good. People like to complain about the size and weight, and the fact that it doesn’t have a flippy out LCD like the GH5. But how about the good? Well, cinema5D has been having a play with the Panasonic S1, and when it comes to low light performance, they feel it could be the new king in town.
The phrase “dual native ISO” seems to be coming to more and more cameras these days. Certainly not to all of them, but to many, especially when it comes to video. Panasonic’s done it with the GH5S, Blackmagic’s done it with the Pocket Cinema Camera 4K, and it’s out there on a few more, too.
But what exactly is it? I mean, we get what the end result is, but how does it work? What is this voodoo? And how does it really affect how we shoot? John Hess from Filmmaker IQ dives deep into dual ISO and the effect it has on dynamic range with the BMPCC4K in this video, and it’s probably the best explanation I’ve seen so far on how it all works.
Among so many great moon photos out there, it doesn’t happen all too often anymore that one of them makes you stop scrolling and just stare in awe. This is what happened to me when I saw this magnificent moon photo by Andrew McCarthy. Then I read that it’s an 81-megapixel photo, stacked from nearly 50,000 exposures. I reached out to Andrew curious to learn more, and he kindly shared the details of his process with DIYP.