Today I get to tell you the story of my latest camera creation, a digital Polaroid camera that combines a receipt printer with a Raspberry Pi. To build it I took an old Polaroid Minute Maker camera, stripped out its guts, and replaced the innards with a digital camera, an e-ink display, a receipt printer, and an SNES controller to operate the camera. If you like this project, don’t forget to follow me (@ade3) on Instagram.
It’s time we put some updated sensibilities’ behind the statements “fix it in post” and “getting it right in the camera”.
A few people mentioned these phrases to me recently and honestly, I was surprised to hear how they interpreted the meaning behind them. I was even more surprised and disappointed when I posted the topic on social media today and quite a few people weighed in with very strong opinions and RULES for how things should be done.
I know, I know — I shouldn’t be surprised by people arguing their opinions on social media.
Choosing nature photography prints to complement your home décor can be one of the most rewarding aspects of decorating, creating a calming atmosphere and making your home interior more inviting and beautiful.
Today I want to show you how to get started with Darktable. This is part one of five in this series. At the bottom of this tutorial, you’ll find a link to the next article for getting started with Darktable.
Ready to cut the Adobe cord? Awesome! Let’s get started…
What are the restrictions for flying with Lithium Ion batteries? Today, we take a look at what you can fly with, what you can check in your bags, what you should carry on with you and what you shouldn’t take with you. What are the TSA and FAA Regulations for Traveling with Lithium Ion Batteries?
Hi, this is Jay P. Morgan. Today we’re going to take a look at batteries. What you can fly with, what you feel comfortable checking in your check bags, what you should carry on with you and what you shouldn’t take with you.
Let me start by saying that I am not a professional, and I’m well aware that my movement towards to success is an ongoing process that is (hopefully) in the early stages of even bigger things to come. That being said, I think it’s a good idea to reflect on my last year or so of growth.
Back in 2018, 2019, and the first half of 2020, I spent the majority of my time, as many other aspiring photographers do, on the ‘photography’ side of the internet. I primarily shared my work with other photographers in the hopes of getting both constructive and positive feedback from both my peers, and professionals alike. My hope was that if I got enough attention from other photographers, it would somehow lead to some kind of success ( I know, some real ‘Underpants Gnomes’ logic there). While it did help me grow as a photographer, lead to a few more followers on social media, a few more people to follow myself, and a few new photography buddies to talk shop with, it never lead to the kind of success I’d been hoping for.
If you’re an avid photographer shooting with remote-controlled strobes, you’ll have come across this issue: One set of flashes is connected to your camera, and it controls all the other flashes in the photo studio.
Almost all of these systems use the same terminology: “Master” for the trigger that is doing the controlling, and “Slave” for the receiving strobe. It seems convenient because the language is so clear — until you pause for half a moment, and think about what that use of language does to normalize and casualize literal slavery.
Blinking is a problem that every photographer deals with and while it frustrates many, most photographers come up with little tricks to avoid the blinks, but even those tricks aren’t fool proof and usually don’t account for the real reason the blinks are happening in the first place.
So right out of the box — I want to debunk a common misconception. When you are shooting with flash — doesn’t matter if we are talking speedlight or studio strobes — the flash does NOT cause the blink that you photograph. It very likely does cause your subject to blink — but that blink happens AFTER the shutter closes.
Need extreme close-up shots of tiny objects in your video? You’re on a budget and don’t have these fancy extreme macro lenses? Use the technique called “reverse lens macro”. It’s well known in the macro photography world but surprisingly unknown in videography.
Simply put, you take a wide-angle lens. For example, take an old 28mm and mount it in reverse via a macro coupler ring adapter to your camera. That’s all there is to it. The wider your lens is, the higher the magnification. This technique works with every DSLR / mirrorless camera not only with the Pocket 6K.
A few years ago I built an ultra-large format camera that is 24 inches by 24 inches. While it was a pretty huge camera, it was a simple build it was just two square standards, one for the front and one from the back which was connected by a big bellow.
There was no support base or focusing rails and I just support the two standards by using two tripods so it was not the most stable camera. After a while, I dismantled the whole setup and recycled the wood and the bellows so I thought that would be the end of my Ultra Large Format (ULF) camera building adventures but who knows a while back, my friend passed me a big lens and it got me thinking of rebuilding an ultra-large-format camera again.