To follow my previous article which stirred a healthy discussion about sharpness and whether that it's vital or not, it inspired to me to ask my fellow peers another question. Are the amount of megapixels on your camera crucial, or do other factors and features hold more value when purchasing a camera? Here are my thoughts.
Warning: treacherous waters are ahead. A dark, cold place where only the brave dare to explore. Recent video projects by photographer and cinematographer Sven Dreesbach create a feeling of icy-cold tension, contrasted by a sense of meditative pleasure. It's a vibe that is best soaked in rather than pontificated upon by some internet writer. Oh, and he did it all on iPhones.
Your headache from over-drinking (either in celebration or in deep depression) may be wearing off, but for those that had to photograph Super Bowl 50, that headache began days before the big day. The preparation for covering the game took its toll on those that enable us look back on it this week. Fstoppers caught up with ESPN photographer Andrew Hancock to get a look into the gear, setup, and planning to cover the most important event of America’s favorite sport.
Neutral density filters seem to be all the rage these days. If you are a landscape photographer, ND filters are a crucial tool for smoothing out rough water and giving your skies a nice blurred effect. For portrait photographers, neutral density filters are great for maintaining wide open apertures in super bright situations while using strobes. Recently, we tested five different brands' filters to see which one produced the sharpest and most accurate color renditions. The results were pretty shocking.
HoldFast is known throughout the photography community for their amazing and well-made dual camera straps. What most people don't realize is that they also have a camera bag. The Roamographer bag has the same attention to detail as their straps and is also constructed out of the same great-looking leather. It's designed to look like a vintage doctor's bag and provides both style and function.
Let us venture back in time for a minute. 35mm film was always considered small. In fact, it was developed in the early 1900s as a means to make high-volume shooting and consumer photography possible. If you were a working professional, you were shooting at least medium format (6x4.5-6x19 cm) or even more likely, large format, like 4”x5” or 8x10”. The idea is that the larger the format, the more detail you can see. As we fast forward to digital, full-frame is the ideal format for many working pros in a variety of genres. While full-frame can be expensive and yields incredible image quality, there is something more.
Almost everyone goes through times when the belt need to be tightened because money just isn’t abundant. During these times when income dips, we need to take care to avoid spending as much as possible. Photography, however, is an expensive vocation that seems to be an endless drain on the bank account. It becomes increasingly helpful to avoid having to replace gear you already own due to wear or damage.
One of the primary reasons many have given for stalling in making the switch to mirrorless is the lack of solid fast aperture zooms. With the newly announced Sony G Master series and initial debut of a FE 24-70mm f/2.8, FE 70-200mm f/2.8 OSS, and FE 85mm f/1.4 lenses, not only are we getting the highly requested fast zooms, but we are getting some of the best precision optics overall for the Sony Alpha system.
Today Sony has announced a follow-up to the insanely successful Sony a6000. The new 24.2-megapixel Sony a6300 with internal 4K video recording once again pushes autofocus capabilities into uncharted territory. Take a closer look at all the specs of this prosumer beast and tell me you aren’t impressed.
Getting accurate Autofocus must be one of the most frustrating things an event or wedding photographer deals with on a daily basis. How many times have you been in the right place at the right time, taken a photo at the absolute peak of the action, and then found yourself cursing under your breath when you review the image only to find it wasn't in focus? This used to happen to me a lot at weddings, and I still see many of my assistants struggling with autofocus in extremely low light situations. Luckily there is a very simple solution that works everytime.
We fell head-over-heels when we saw CineStill’s 35mm 800T film, repackaged from Kodak cinema film. Beautiful golden skin tones, cool shadows, and that ever-difficult-to-explain magic glow, brought the beauty of true filmmaking to the still format. It’s been a long wait since the 35mm format was introduced in 2012, but today, CineStill launches their high-speed, tungsten-balanced cinema film in the 120 format.
Just behind Nikon's announcement of the D5, Canon comes with their own anxiously-awaited update to their flagship DSLR: the new EOS-1D X Mark II. Building on the experience of both the 1D X and the 1D C, the 1D X Mark II features a modest increase in resolution to 20 megapixels, instead counting its improvements mostly in the areas of image quality, autofocus, and speed.
The Westcott Ice Light has been around for awhile, and a number of photographers in the community on our site have shown it to be a part of their kits. Whether they're being used to light cars for an automotive shoot, or for food or small product photography, one thing that's been noted more than a few times is the steep price.
Jay P. Morgan with The Slanted Lens has released a new video that demonstrates how he and his team were able to precisely capture the exact moment they wanted, using the laser mode on the MIOPS trigger system. Morgan breaks down the tricks for getting just the right shot, without having to rapid-fire a bunch of extra, useless images.