Larger images provide a world of options for photographers, but if you're not careful, more pixels could mean more problems. If you're one of the many photographers finding yourself with a new high resolution camera after the holidays, here's a guide to wrangling that newfound resolution.
Every now and then, it's nice to be reminded of how spoiled we are and how much information really lives inside our raw files. Whenever we capture a raw image, we have a plethora of information at our disposal. That's all well and good, but this one example really helps bring it home.
What do you do if you want a camera that has the quality and gorgeous depth of field of medium format with the immediacy and fun of an instant? Well, if you're a hardware interaction designer, you take the front half of a Hasselblad 500C/M and attach it to the back half of a Fujifilm Instax Mini 9.
For most people who know the name Edvard Munch, there’s an immediate association with his iconic painting, "The Scream.” This artist, fabled for his emotionally impactful painting, is not known for his photographs, but his lens-based work will soon be available for fans of art and photography.
For many architectural photographers, tilt-shift lenses from Canon are the go-to option. These particular lenses are quite possibly the best available, and although Nikon has their variants, they just don't seem to be as good as Canon. The problem, however, is that Canon doesn't currently offer the best camera to put those lenses on with cameras like the Nikon D850 and Sony a7R III offering much better noise performance and dynamic range. In this video, I adapt Canon lenses to Fuji's medium format camera.