Sony has created a few gems when it comes to lenses in the past few years, with the 90mm Macro and 16-35mm f/4 potentially being some of the best in their class. 50mm for some reason seems to be their favorite focal length to produce, seeing as they now have seven different "normal" lenses with the release of their new 50mm Macro this morning.
Xavi Bou shoots image-bursts of birds and then compiles them in Photoshop to form the working project called "Ornitographies." It almost looks like frequencies moving across the photograph, and there’s a visible rhythm that is not so obvious when comparing it to what we know as an image of a bird flying. It tells a story, capturing an event in totality. These images show how birds move together as one organism, communicating in some way or form to make their flight time together as productive or joyful as possible.
A photograph that does not tell a story, is a lifeless picture – it’s a failure to capture the viewer and therefore, his heart. One single photograph can inspire a person if a photographer knows how to tell a good story. Because photographer Paul Choy wanted to find out the truth for himself behind media headlines, and because he wanted to tell the individual stories of each refugee, he set out for the refugees’ camps in Calais and Greece with his camera. The result is the ‘Faceless, Forgotten’ – a photo essay and a documentary about the struggles of refugees.
Today the Sony Digital Imaging team announced their latest lens addition, the FE 50mm f/2.8 Macro for full-frame E-mount cameras. Shipping at the end of September, the new lightweight macro lens will offer a 1:1 reproduction and 6.3-inch minimum focusing distance. See all the specifications here as Fstoppers gets a first look at the FE 50mm f/2.8 Macro.
As I was perusing Reddit today, I came across this amazing photograph, said to be taken in 1899. The one thing that is both frustrating and beautiful about Reddit is many times, there is no additional information, which means I had to do a little research about the photograph and find out who the photographer was.
This is one of the most important questions that most photographers out there have been asking themselves. We admire the photographers who have their own styles, and sometimes we try to imitate their styles that we like most. We were all taught to try everything, until we find our own unique visual styles. But, is that really important?
This year has been rich in new exciting product releases. While most wedding photographers were probably awaiting the Canon 5D4 announcement, the action and sport photographers were looking forward to the new pro bodies, such as the Nikon D5 and Canon 1DX II. However, Nikon surprised us with the D500, their new APS-C flagship camera. Being the geeky photographer that I am, I wanted to try it out and see if it was good as a Nikon full frame body.
Stop motion animation is by far one of the most forgotten mediums for filmmaking, yet it holds high respect for what it is and how it's done in large motion pictures today. Those pushing the envelope in 2016 are the geniuses behind Laika Studios where they blended hand crafted puppets, CGI, and 3D printing to build a world filled with imagination and story.
I bet everyone has done a baby shoot in their life even if it is not their genre. I bet majority has faced magenta skin tone on the final pictures of the newborns. Whereas it might be suitable for extra realistic or photojournalistic photos, most often it doesn’t look that adorable on final images, where we visualize those sweeties in a better light and color tones.
Just three days ago, the new Canon 5D Mark IV dropped, and while it's a great stills camera, all of the talk has been about what it can and can't do in the video department. This video takes a MUCH closer look at many of those features in the Mark IV, going through menu functions and showing examples. I've included a list of the topics covered along with their time in the video, in the post below.
One of the most common questions photographers have is about how to effectively price their work. Rates vary so widely based on location and skill level that many are left scratching their heads as to what is fair. This has lead to the common mantra stating “ask for the clients budget”. Here is why I think that's a ridiculous way to price yourself and a horrible piece of advice.
When you're shooting film, especially large format film, you have a lot of time to think. When your hands are in a bag and you're loading or unloading many sheets of film, the mind tends to wander and probably the subject that crosses my mind the most is "why?" Shooting digitally would be so much faster. I could be out having a beer somewhere! I could be editing some images in Photoshop from an editorial gig that I've been putting off. Hell, I could be practicing my juggling skills (or learning to juggle). So, why am I instead up to my elbows in this bag, enduring the necessary tedium of film life? Here are some common doubts I have and the reasons I push past them!
The concept of permanence is flawed. Nothing can keep its state, unchanged indefinitely. What is young and vibrant will eventually wither and fade. I never fully grasped this simple truth until my father lay dying in the next room. While he would always be my father, I realized my dad wasn’t as permanent as I once thought. I had confused permanence with stability, and stability was exactly what I needed as my world spun out of control. Gut-punched, I reached out for the most stable thing I could find: my camera.