Now that you know more about your mechanics and attributes of your kit lens, the time has come to look at the creative use of the wee plastic beasty and we’ll start with macro first, this is by far the longest of the three Kit Lens Masterclass articles so grab a cold drink and some snacks.
When you’re photographing interiors or tall buildings, perspective distortion is often inevitable. There’s ways around it with tilt shift lenses or large format film cameras, but for most of us that’s not an option. These days, Lightroom, Adobe Camera Raw, Photoshop and other tools provide a number of fancy automated ways to help correct for this. Sometimes, though, it doesn’t quite hit the mark, and we need to step in and do it manually.
This particular type of perspective distortion is commonly known as “converging verticals”. It’s caused by things getting smaller as they get further away from the camera. It’s essentially the same thing you see when looking down a straight set of train tracks that seem to eventually arrive at a point. Only, this happens vertically when shooting up or down on objects oriented vertically. Fixing it manually is fairly simple and straightforward. This video from the folks at Sleeklens shows us how.
Fuji’s GFX 50S medium format camera got a lot of attention when it was announced at Photokina in September. But, it was also still shrouded in quite a lot of mystery. They wouldn’t let us have a look at it outside of its glass cabinet, and certainly not test it out. Even the official GFX page on the FUji website doesn’t really have a whole lot of information now.
We know it’s medium format, mirrorless, has a 43.8 x 32.9mm 51.4MP sensor and will have an array of impressive looking lenses available. We also know that there’s a vertical grip available for it, for those that shoot portrait orientation often. Fuji have been teasing us with some videos, though. The first two appeared in September during the GFX announcement, but several more we released just a few days ago.
Earlier this year, we were quite surprised (to say the least) by the information that Dutch police were training eagles to take down drones. And what’s more, it seems that the weird approach against UAVs worked. But it appears eagles in Australia require no training to do it. Because they started seeing surveillance drones as their prey, a mining giant Gold Fields has lost nine drones!
I really, really hate guns. If someone invited me out for some shooting, I would think he wants me to go taking photos with him. And this is exactly what happened to astrophotographer Marc Leatham. Some friends invited him to a bonfire shoot at Four Peaks Wilderness in Arizona. It was only when they got there that he realized they didn’t bring cameras – they brought guns instead.
Using coloured gels with speedlights has become pretty common. Many people who shoot with speedlights have given it a go at least a couple of times. But speedlights are quite easy to gel. All you need is a small strip of gel which you then gaffer tape over the front of the head. Studio strobes, though, are a different matter entirely. They’re not flat on the front like speedlights, and they project light in all directions.
You could, of course, just cover the entire front of your softbox with a massive gel sheet. But that can get expensive if you use many different colours. So, what can we do? Photographer Robert Hall shows us two options in this video on the Godox AD600 strobe. The first is the way he has been doing things, although it does have a problem. White light is still able to come out of the front, without a second piece of gel attached. One of his viewers sent him a solution to try that seems to work brilliantly.
It is not uncommon for a photo to be retouched more than once. Maybe you spent a night sleeping over it, maybe you learned a new trick and most commonly: maybe the client came back with some feedback.
In this case, you will go back to the files and re-do some of the work you already did. If you did it all on the background layer, you may find yourself in a bad situation. The work that requires a fix is already used in another layer. Say a liquify filter. Since you can not un-liquify an image, you will have to redo everything and then liquify again. But this is true not just for liquify, it’s true for everything: healing brush, dodge and burn, working on skin, or on eyes or on lips. Fixing the skies. This is why we use layers.
As we’re only days away from CES 2017, YI – who named themselves GoPro killers – has announced their plans for the a New action camera. It seems their YI 4K Action Camera (which we reviewed here) is about to get the update. This January in Las Vegas, YI is about to present their new 4K+ Action Camera, which will allow you shooting 4K videos at 60 fps. They’ve also revealed more details about their upcoming YI Erida drone and announced to fly it live for the first time.
Timelapse seems to have exploded in 2016. Every other week, there’s a new one coming out trying to best the ones that came before it. Part of this boom is the ease with which cameras can shoot it now. Nikon has had built in timelapse features for years. Other DSLRs and mirrorless manufacturers have also started included timelapse capabilities over the last couple of years. Video editing software has become more intelligent in putting it all together, too.
This video from DigitalRev In-Focus introduces us to the history of timelapse. First demonstrated in 1897 by French filmmaker George Méliès, it quickly expanded to biologists. They used timelapse to show the growth of plants over time, leading to increased preservation of various parks.
When you’re shooting a film, it can be pretty hectic on the set. So, you want to make sure that the set is safe, efficient and well organized. Efficiency and good organization give you more time to be creative – but they are of no use if you don’t keep yourself and the crew safe and sound. So, safety first! These seven tips will help you make the set more secure and safe for working.