Hot on the heels of DJI’s announcement of the Osmo Action camera, PolarPro is here to announce new filters for it. There are six different packs available, each offering a different combination of filters depending on your needs. They’re based on PolarPro’s very popular range of ND and ND/PL filters for drones, the Osmo Pocket and GoPro cameras, but these are designed specifically to fit the Osmo Action.
Timelapses are a lot of fun to shoot. I don’t shoot them anywhere near as often as I would like, but I try to shoot them as often as I possibly can. Shooting them in daylight, though, can present some challenges, especially if you have fast-moving subjects like people or vehicles. Yes, when it comes to timelapse, people are fast moving subjects.
It often results in very jerky motion with one frame looking drastically different from the last, losing that flow of motion we like to see in a timelapse. There is a way to solve the problem. Two, actually. And in the above video from Fenchel & Janisch, Moritz Janisch walks us through both of them.
There are so many neutral density filter brands out there that it can be difficult to know which one to choose. The choice becomes even more difficult when you start to look at super strong ones claiming 10 stops of light stopping power. You hear all the time about softness issues, vignetting and colour casts. But which one is the best?
That’s what photographer Christopher Frost wanted to find out. So, he contacted a bunch of 10 stop filter manufacturers to do a straight up side-by-side comparison between them all to see how they stand up.
Dealing with flash sync speeds has traditionally been a bit of a pain if you’re shooting outdoors on location. Until fairly recently, most strobes just can’t handle those high speeds. The instant you go past 1/250th (or whatever your camera’s sync speed is) you start to see black bars. Neutral density lets you lower the outdoor light levels to shoot within sync speed.
But is that still needed in 2018? Flash tech has come a long way, and there are quite a lot of powerful strobes out there now that support high speed sync. Photographer Manny Ortiz explores the topic in this video, and gives his thoughts. I’m not surprised that he seems to edge towards high speed sync.
There’s a reason we often see light painting done at night or during low light conditions. During the daytime, it’s just too bright to be able to do them effectively. You have to use fast shutter speeds to not blow everything out, which is the opposite of what you need for light painting.
But there is a way to light paint during the day, too. In his latest episode of Tube Stories, light painter extraordinaire Eric Paré uses neutral density filters to help bring that daylight under control.
Since the initial announcement of Irix’s new Edge filter series at PPE last year, the range has grown slowly but steadily. A new 15 stop neutral density filter, the Irix Edge ND32000 was announced just a couple of weeks ago, and today we got to see it in person during The Photography Show in Birmingham, England. We also got the chance to check out their new square filter holder, too.
Some might have you believe that neutral density and polarising filters aren’t required in today’s modern era of digital photography. That you can replicate their effects in post. No problem, just a couple of clicks, right?
Well, no. While many filters aren’t really required any more (unless you just want to save yourself some time in post), neutral density and polariser filters both offer effects that can’t be accurately recreated in post. In this video, Evan Ranft explains why and how each of these different filters work.
The likes of B+W and Lee have pretty much dominated the strong neutral density filter market for the last few years. Both of their 10 stop NDs are excellent, and then Lee upped the game with their 15 stop Super Stopper. Now, Irix is expanding their new line of Edge filters with a 15 stop ND3200 screw-on neutral density filter.
Have you ever heard of a reverse graduated neutral density filter?
If not, this is a specialty filter designed to balance the lighting conditions between foreground and background at sunrise or sunset – when the sun (and therefore brightest part of the image) is at the horizon.
You’re not going to use this filter on a regular basis – but when you do need one, you’re going to be very happy that you packed it!
With a new year comes new products. There’s already been a couple of new ones announced yesterday by DJI, including the DJI Osmo Mobile 2. And here’s another one for mobile photographers and filmmakers from Moment Lenses.
Moment lenses have become rather popular and are often found in the serious mobile photographer’s toolbag. But one of the biggest questions they’ve received concerns the use of filters. Specifically, how the heck do you attach one? Moment have answered this call with a new 62mm filter adapter, allowing photographers and filmmakers to use many of their existing filters.