Heading out to shoot at night time in the middle of nowhere usually brings visions of astrophotography to mind. But that’s not the only kind of photography you can do at night, as this video from Adam Karnacz at First Man Photography illustrates. Adam heads out to England’s picturesque Lake District to show off three ways you can shoot nighttime photography and open up your creative freedom.
Movie and shot breakdowns are always a lot of fun to watch. Even breakdowns for bad movies are often quite interesting. That’s the case here, as film boffin Patrick Willems describes in this particular video. It describes a particularly bad movie (The Bonfire of the Vanities) by a particularly good director (Brian De Palma).
It was widely regarded as a pretty bad movie when it was released and it still is today. But there are elements of it that are quite exceptional. Such as one particular shot that De Palma said he’d never include in a movie. And that’s one of a plane landing – to signify that one of the characters has just travelled somewhere.
While other third parties might not be in a rush to produce autofocus lenses for the Nikon Z mount, Viltrox certainly seems to be. With a trio of APS-C as well as 85mm f/1.8 and 24mm f/1.8 full-frame autofocus lenses, they’ve now expanded their set with a new 35mm f/1.8 autofocus lens for Nikon’s Z mirrorless format.
Priced at $399, the Viltrox 35mm f/1.8 Z mount lens is pretty reasonable. But unlike many other low-budget lenses, particularly the few available for the Z mount, this lens contains a chip that passes along the EXIF data to the camera, so it knows exactly what it’s shooting and can record it in your files.
For most of what I shoot, high ISO performance isn’t really much of a concern. It’s rare that I need to go above ISO400, usually. But with today’s cameras having ISOs that go up into the multiple hundreds of thousands, what’s the point if going that high degrades the image so badly that it’s pretty much unusable?
That’s the topic that music and sports David Bergman explores in this video. Cameras and their crazy high ISO values, what’s the point of them and when and why you might want to use them.
Digital Photo Pro has posted an interesting interview with photographer Jeff Cable who recently had the opportunity to give the new Canon EOS R3 a good workout during the Tokyo Olympics. There’s been a lot of hype about the camera since it was initially announced, but does it live up to it?
This is why I say that the interview is interesting because while it is an overall positive review, Jeff doesn’t really sugarcoat anything. He talks about what he loves, what he’s not so keen on, how good the Eye Controlled autofocus system is and when it can’t really do what’s demanded.
Usually, when it comes to bright lights in the night sky, all we hear about from photographers is “Aurora Borealis!”, also known as the Northern Lights. But there are also the Southern Lights, which goes by the name Aurora Australis. They’re much less photographed because most photographers live in the northern hemisphere and they’re generally much easier to see. But from the ISS, there are great views of both.
French astronaut and aerospace engineer Thomas Pesquet managed to grab these images from aboard the International Space Station that shows a breathtaking sight. And it seems to be a somewhat rare event that shows the normally green Southern Lights with red & purple fringes turn more towards blue.
Samsung’s 200-megapixel ISOCELL HP1 smartphone sensor has been creating quite a store since it was first rumoured back in January. For some, it’s got them very excited, while others have been quite critical without even having seen (let alone tried) a real working sensor inside a camera. But whatever your thoughts on it, it’s a pretty impressive feat.
A new promotional video about the new sensor has been released by Samsung explaining in simple terms how some of its features work, like its “ChameleonCell” technology, Smart-ISO multi-sampling and how they all adjust themselves depending on what it is you’re shooting.
Keeping the amount of kit you use at a low level can sometimes be down to simply a lack of availability. But it could also be that you’re simply limited in what you’re able to carry with you to shoot at a client’s location. Or, maybe you just want to bring things right back down to the bare minimum to really understand light and how your gear works.
Whatever the reason, Lindsay Adler is here to help. Using just a single strobe with a big softbox and a big reflector (in this case, a white v-flat) she creates a very effective and dramatic portrait. That’s the key word here, though. Big. Big light sources produce beautiful light for portraits as Lindsay demonstrates in this shot breakdown.
ProGrade Digital has announced its new CFexpress Type A cards. At the moment, this means that their only real competitor is Sony and their target market is Sony shooters. The new cards offer read speeds of up to 800MB/sec, with sustained and burst write speeds of 400MB/sec and up to 700MB/sec respectively for high-resolution video capture.
We often see lenses described as being for a particular type of photography. Anything in the 50-135mm range is for portraits, anything 150 and up is for wildlife or sports and anything 28mm or less is generally regarded as a “landscape lens”. Wide angle lenses just typically seem to be designated to that genre.
It’s all nonsense, of course, you can shoot whatever you want with whatever focal length you like. And that’s put to the test in this landscape photography challenge between landscape photographers Nigel Danson and James Popsys. One is only allowed to shoot with a 24mm while the other has to shoot 200mm.