Sunday, September 30, 2018
Saturday, September 29, 2018
Friday, September 28, 2018
Thursday, September 27, 2018
Hot on the heels of Nikon and Canon, Panasonic has announced the development of two full-frame mirrorless cameras as part of the LUMIX S series. Both the 47 MP LUMIX S1R and the 24 MP S1 will feature a Dual I.S. image stabilization system and 4K 60p video recording. And a first for Panasonic, they'll also feature a double slot for XQD memory cards and SD memory cards.
The cameras will utilize the same Leica L-mount found on Leica's SL system, and Panasonic plans to develop more than 10 new lenses by 2020, expanding its LUMIX S series of compatible lenses. These include a 50mm/F1.4 fixed-focus lens, 24-105mm standard zoom lens and 70-200mm telephoto zoom lens.
Panasonic has also announced a new service and support program called LUMIX PRO, which will offer global service and repair benefits. Details will be coming soon on the October launch for the U.S. market.
Prototypes of the new cameras and lenses are on exhibit at Photokina 2018. The LUMIX S1R and S1 are expected for release in early 2019. Learn more in the full press release below.
Panasonic Develops Two Models of Its First Full-Frame Mirrorless Camera
Cologne, Germany (September 25, 2018)– Panasonic Corporation has developed two models of its first Digital Single Lens Mirrorless camera with a 35 mm full-frame image sensor, the LUMIX S1R and the S1. These models are equipped with the world's first*1 4K 60p video recording function and the Dual I.S. image stabilization system. As part of the LUMIX S series, Panasonic aims to release them on the global market early 2019.
For 100 years since its founding, Panasonic has strived to help realize better lives for customers around the world by responding to their needs. Working on the concept of creating a new culture of photography for a digital age with digital cameras, in 2008 Panasonic released the LUMIX G1, the world's first*2 Digital Single Lens Mirrorless camera. Over the ten years since then, Panasonic has continued to lead the industry with product innovations, such as the world's first*3 camera supporting 4K video recording, and cameras equipped with the Dual I.S. (Image Stabilization) system, combining stabilization both inside the camera unit and the lens.
In recent years, telecommunications lines have increased in speed while social media video-sharing has gained popularity and as a result, more and more people are enjoying a hybrid of photos and videos, widening the range of expression in content production. This new field prompted the need for a new type of camera that goes beyond the boundaries of traditional photos and videos.
With this in mind, Panasonic adopted the concept, ‘Fuel the Photographers' Creative Vision’ to develop a Digital Single Lens Mirrorless camera with a strong focus on the expressive capabilities for both photos and videos. The company will bring these cameras to market as part of the LUMIX S series, striving to provide "specialized value" to customers desiring higher expressiveness. The cameras are user-friendly and offer a robust assortment of essential tools for professional photography and videography, as well as incorporate an entire array of Panasonic technology refined over a century. The latest innovations in Lumix S series also build on Panasonic’s ten years’ experience developing Digital Single Lens Mirrorless cameras, including digital technology such as image or signal processing, plus optical and heat dispersion technology and more. The combination of these capabilities will provide customers with new value for photography and videography.
The key features of the newly developed cameras, the LUMIX S1R and the S1, are as follows.
- Capabilities with high definition and high level of expression achieved with the newly-developed 35 mm full-frame image sensor and image processing engine.
(Effective pixels: approximately 47M for the S1R and 24M for the S1)
- World's first*1 support for 4K 60p video recording in a full-frame Digital Single Lens Mirrorless camera.
- World's first*1 full-frame camera equipped with Dual I.S. (Image Stabilization), enabling handheld shots for dark or distant scenes that would previously have required a tripod or other equipment.
- A double slot for XQD memory cards and SD memory cards, the first for Panasonic; and a rugged triaxial tilt LCD, emphasizing ease of use and supporting professional photography and videography.
- Leica Camera's L-Mount, making it possible to use interchangeable lenses that meet the L-Mount specifications of the partners*4 Leica Camera and Sigma. Expressiveness is further enhanced by increasing options for interchangeable lenses.
Panasonic will also expand its lineup of LUMIX S series compatible lenses, developing more than ten by 2020, including a 50 mm/F1.4 fixed-focus lens, 24-105 mm standard zoom lens, and 70-200 mm telephoto zoom lens.
For the LUMIX G series of Micro Four Thirds Digital Single Lens Mirrorless cameras, Panasonic has started developing a LEICA DG VARIO-SUMMILUX 10-25 mm F1.7 lens that will achieve the world's first*5 zoom with maximum aperture of F1.7 for the entire range.
In addition, Panasonic has announced the launch of LUMIX PRO, a service and support program for its LUMIX professionals. This program has been designed to ensure that professionals can receive service and repair benefits globally. Stay tuned for additional details on the October launch for the US market.
The LUMIX GH5, G9, and GH5S high-end Digital Single Lens Mirrorless cameras that Panasonic released since 2017 have already gained a solid reputation among professionals and high-level amateurs across the world for the quality of their pictures and ability to capture the vitality and beauty of life. This success is owed to Panasonic's world-first*6 support for 4K 60p/50p video recording, and the world's fastest autofocus*7 function using the company's proprietary DFD (Depth From Defocus) technology. Panasonic will continue to provide new value to customers through the unique features of the compact, yet high-definition, LUMIX G series, while also reaching the professional market through the introduction of the full-frame LUMIX S series and the greater reach of the company’s support system. Through these measures, Panasonic will help to create a new culture of photography and videography.
Prototypes of the new cameras and lenses introduced above will be exhibited at Photokina 2018.*8
Notes:
*1. World's first support for 4K 60p/50p video recording in a full-frame Digital Single Lens Mirrorless camera. Regarding the inclusion of the Dual I.S. image stabilization system, this is for a full-frame Digital Interchangeable Lens System Camera. As of September 25, 2018 when announced in Germany, according to Panasonic data.
*2. For a Digital Interchangeable Lens System Camera. As of September 12, 2008, according to Panasonic data.
*3. The GH4 Digital Single Lens Mirrorless camera capable of 4K video (as a Digital Single Lens Mirrorless camera, as of February 7, 2014), and the GX8 Digital Single Lens Mirrorless camera with Dual I.S. onboard (as a Digital Interchangeable Lens System Camera, as of July 16, 2015), according to Panasonic data.
*4. “The L-Mount Alliance: a strategic cooperation between Leica Camera, Panasonic and Sigma”(announced on September 25, 2018 in Germany)
*5. For an interchangeable lens for use with a Digital Interchangeable Lens System Camera. As of September 25, 2018 when announced in Germany, according to Panasonic data.
*6. As a Digital Single Lens Mirrorless camera. As of January 4, 2017, according to Panasonic data.
*7. For a Digital Interchangeable Lens System Camera. As of November 8, 2017, according to Panasonic data.
*8. Photokina is a leading exhibition for the photographic and imaging industries (to be held through September 26 to September 29 in 2018, at the Koelnmesse in Cologne, Germany).
- Leica is a registered trademark of Leica Microsystems IR GmbH.
- SUMMILUX and L-Mount are registered trademarks of Leica Camera AG.
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Wednesday, September 26, 2018
Tuesday, September 25, 2018
Monday, September 24, 2018
The single most important aspect that contributes to the success of any photograph is light. While it can be debated that other factors contribute to the quality, regardless of the factor, without good light, it can’t make for a killer image. A gorgeous animal in ugly light makes the viewer crave greater radiance. A healthy and mature lion in flat light leaves the viewer longing for better illumination. An elusive bobcat photographed in dull gray overcast is desperate for the warm glow of a sunrise or sunset. The list goes on, which proves the most significant ingredient is light. (Disclaimer: It goes without saying that the technical aspects in each above example are the same regarding exposure, depth of field, proper focus, etc.) In this week’s tip, we’ll discuss lighting considerations for photographing wildlife.
Early/Late Front Light: Sunrise and sunset light are often referred to as sweet light for obvious reasons. The color and quality is unrivaled. The warm glow that directly illuminates any form of fauna, and the vibrant and saturated colors they impart, can’t be had at any other time of day. Given the angle of the sun, gorgeous sweet light can’t be faked in Photoshop. Direct front light works well as the contrast is soft. It’s shadowless when the subject faces you, as you’ll have the sun directly on your back. If you’ve yet to give yourself the privilege of capturing your favorite animal at sunrise or sunset, get out and shoot at these times. Once you see your subjects bathed in gold, you’ll understand why.
Backlight: Did I hear someone say the word dramatic? If you want to add drama and intrigue to your fauna subjects, try backlight. Place the sun directly behind the animal and its perimeter glows. If it has hair, fur, fluffy feathers or whiskers, it will produce a rim-lit aura that’s impossible to mimic. You have the option to include the sun in the frame or you can get close to the subject and hide it behind the animal. The former provides more of a scenic look to the image while the latter creates more of a close-up silhouette. Additionally, if you go for the closer option, the sun can be somewhat high above the horizon, as it will be hidden by the mass of the subject. Include water drops to add featured focal points to your images, as you see in the photo of the backlit mallard taking off across the water.
Bright Overcast: Bright overcast light is a photographer’s best friend if he or she wants soft and subdued illumination that contains little in the way of shadows. My perfect day to photograph wildlife would be one with a clear sunrise with no clouds for the first one and a half hours. Once the sun gets too high in the sky, a thin layer of clouds would dominate. Without clouds, the sun is far too bright and its angle too high to make successful images of wildlife subjects. The shadows are harsh, the light is too strong, the angle is wrong and the contrast is high. But, if that soft layer of clouds covers the sun, the diffused light erases all four of the just-listed negatives. This allows the wildlife photographer to make images during the time you’d normally put the camera down. To continue my perfect day, the clouds would thin out one and a half hours before sunset and not return again until the following midday when I start the process once again. The strength of bright overcast is it allows you to make good images even at midday.
Dawn/Dusk: When it comes to wildlife photography, dawn and dusk are what I refer to as “The Stage for Stunning Silhouettes.” Before the sun rises, there’s a gradient of color that spans intense color on the horizon to purple and blue as the elevation rises. At dusk, the same happens. The real drama comes when clouds are added into the mix. This is especially true if the clouds are high and thin and the sky below the horizon is clear. This is the recipe for an iconic red to orange to yellow sunset or sunrise. It’s at these times I search for animals that walk the skyline. When they ride the crest of the land, more of the animal is visible, especially its legs and feet. All parts should be visible to make the image as successful as possible.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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Sunday, September 23, 2018
Saturday, September 22, 2018
Location
Spirit Island is one of the most iconic locations in Alberta despite its small size. Emerald waters, pristine conifers and rugged snow-capped peaks surround the island. The box canyon where Maligne Lake resides was named the “Hall of the Gods” by Mary Schaffer, the first European to discover the lake in 1908. However, the island itself has been a site of spiritual significance to the native Nakoda people long before European settlers arrived.
Reaching the island is no small endeavor, requiring a 30-mile drive from Jasper on Maligne Lake Road to the dock, and then traveling by boat for 8.7 miles to the final destination. Shuttles and boat tours are available, but you’ll need to paddle out yourself if you want more time for a special photograph.
Weather At Spirit Island
Winters in Jasper National Park are long and brutally cold at times. Snowfall is common from October through April, and sometimes it snows as late as June. Spirit Island is nearly inaccessible during the winter months due to snow and ice on the lake.
Summers are pleasant and mild, with temperatures averaging around 71 degrees Fahrenheit for highs and 47 degrees for lows. Though the weather is more amicable in summer, storms can develop with little warning. At times, winds funnel through the mountains and generate waves that are dangerous for small watercraft. I recommend paddling the shorelines when possible, though a channel crossing is required. Allot extra time for unexpected weather and surface conditions.
Photo Experience
Kayaking to Spirit Island was an adventure I’ll never forget. I had little paddling experience but decided to buy a small 8-foot kayak for the voyage. Little did I know that the lake is actually quite large, and most people on the lake had either canoes or sea kayaks that were over 16 feet long. My journey was such a spectacle that locals frequently stopped to see if I was OK and joked about how crazy I was for going through with the trip. Everyone cheered me on as I pulled into the Fisherman’s Bay Campground.
The next morning was foggy, but I braved the paddle to the island at dawn. Initially, the visibility was poor, but the fog cleared perfectly at sunrise and shrouded the forest on both sides. The upper-level clouds were separated into lines, all pointing directly at the subject.
I shot this photograph using a Nikon D810 and AF-S Zoom-Nikkor 17-35mm f/2.8D IF-ED lens. Ideal conditions usually require more patience, but sometimes you find yourself in the right place at the right time. I only had one morning to take photographs, so this shoot involved more luck than planning.
Best Times To Visit Spirit Island
Summer provides the best conditions for this trip, as Maligne Lake is very chilly and the warmer temperatures are welcomed. Typically, I prefer autumn photography, but most trees in the area are conifers, and the later months are quite cold in the Canadian Rockies.
Most people will say that the evening is the best time to photograph Spirit Island, but I must say that the morning fog contributed to an excellent photography session. Regardless of the time of day or year that you visit, the scenery is absolutely breathtaking.
Contact: Jasper National Park, www.jaspernationalpark.com.
See more of Christopher Hawkins’ work at facebook.com/christopherhawkinsimages.
YOU MIGHT ALSO LIKE
Call Of The Wild
Photographing the rare wildlife and the vast and beautiful landscapes of the Canadian Arctic. Read now.
The post Spirit Island appeared first on Outdoor Photographer.
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Location
Spirit Island is one of the most iconic locations in Alberta despite its small size. Emerald waters, pristine conifers and rugged snow-capped peaks surround the island. The box canyon where Maligne Lake resides was named the “Hall of the Gods” by Mary Schaffer, the first European to discover the lake in 1908. However, the island itself has been a site of spiritual significance to the native Nakoda people long before European settlers arrived.
Reaching the island is no small endeavor, requiring a 30-mile drive from Jasper on Maligne Lake Road to the dock, and then traveling by boat for 8.7 miles to the final destination. Shuttles and boat tours are available, but you’ll need to paddle out yourself if you want more time for a special photograph.
Weather At Spirit Island
Winters in Jasper National Park are long and brutally cold at times. Snowfall is common from October through April, and sometimes it snows as late as June. Spirit Island is nearly inaccessible during the winter months due to snow and ice on the lake.
Summers are pleasant and mild, with temperatures averaging around 71 degrees Fahrenheit for highs and 47 degrees for lows. Though the weather is more amicable in summer, storms can develop with little warning. At times, winds funnel through the mountains and generate waves that are dangerous for small watercraft. I recommend paddling the shorelines when possible, though a channel crossing is required. Allot extra time for unexpected weather and surface conditions.
Photo Experience
Kayaking to Spirit Island was an adventure I’ll never forget. I had little paddling experience but decided to buy a small 8-foot kayak for the voyage. Little did I know that the lake is actually quite large, and most people on the lake had either canoes or sea kayaks that were over 16 feet long. My journey was such a spectacle that locals frequently stopped to see if I was OK and joked about how crazy I was for going through with the trip. Everyone cheered me on as I pulled into the Fisherman’s Bay Campground.
The next morning was foggy, but I braved the paddle to the island at dawn. Initially, the visibility was poor, but the fog cleared perfectly at sunrise and shrouded the forest on both sides. The upper-level clouds were separated into lines, all pointing directly at the subject.
I shot this photograph using a Nikon D810 and AF-S Zoom-Nikkor 17-35mm f/2.8D IF-ED lens. Ideal conditions usually require more patience, but sometimes you find yourself in the right place at the right time. I only had one morning to take photographs, so this shoot involved more luck than planning.
Best Times To Visit Spirit Island
Summer provides the best conditions for this trip, as Maligne Lake is very chilly and the warmer temperatures are welcomed. Typically, I prefer autumn photography, but most trees in the area are conifers, and the later months are quite cold in the Canadian Rockies.
Most people will say that the evening is the best time to photograph Spirit Island, but I must say that the morning fog contributed to an excellent photography session. Regardless of the time of day or year that you visit, the scenery is absolutely breathtaking.
Contact: Jasper National Park, www.jaspernationalpark.com.
See more of Christopher Hawkins’ work at facebook.com/christopherhawkinsimages.
YOU MIGHT ALSO LIKE
Call Of The Wild
Photographing the rare wildlife and the vast and beautiful landscapes of the Canadian Arctic. Read now.
The post Spirit Island appeared first on Outdoor Photographer.
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Friday, September 21, 2018
Sony today introduced the FE 24mm F1.4 GM, the eighth lens in its premium G Master line of lenses, and the widest prime to date in that series. The G Master lens range covers focal lengths from 16mm at the wide end with the FE 16-35mm F2.8 GM zoom, to 400mm at the tele end with the FE 100-400mm F4.5-5.6 GM OSS zoom and FE 400mm F2.8 GM OSS prime.
The Sony FE 24mm F1.4 GM is exceptionally compact and lightweight, measuring 3.64 inches in length and 3 inches in diameter and weighing 15.7 ounces. Sony is positioning this lens as an excellent choice for landscape photography, and also for astrophotography due to inclusion of two XA (extreme aspherical) elements in the optical formula, which Sony states “effectively suppresses sagittal flare” to render stars and other distant light sources sharply. The lens also offers solid close-focusing capabilities with a minimum distance of just under 9.5 inches.
Designed for use with Sony’s full-frame sensor cameras like the a9 and a7R III, it can also be used with Sony APS-C models like the a6500, providing an equivalent focal length of 36mm with those cameras. The lens will be available in October at a list price of $1,400.
For additional details, see today’s press release below.
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Sony Expands Full-Frame Lens Lineup with Launch of 24mm F1.4 G Master
Prime
New Large Aperture Wide-Angle Prime Lens is the most compact and lightest in its class[i], with superb sharpness even at F1.4
SAN DIEGO, Sept. 20, 2018 –Sony Electronics, Inc. – a global leader in digital imaging and the world’s largest image sensor manufacturer – has today introduced an exciting new addition to their acclaimed G Master series of full-frame E-mount lenses, a 24mm F1.4 prime lens.
Expertly engineered to deliver best in class performance across all aperture settings, the new FE 24mm F1.4 GM (model SEL24F14GM) utilizes Sony’s most advanced optical technologies to satisfy the needs of the most demanding photographers. The new lens is the most compact and lightweight in its classi, measuring approx. 3.0 inches x 3.64 inches and weighing only 15.7 ounces, with a filter diameter of 67mm. Built to meet the strict standards of Sony’s flagship G Master series, the FE 24mm F1.4 GM offers exceptionally high resolution and beautiful bokeh, two qualities that are signature attributes of the G Master brand.
“We are continuing to evolve our lens lineup to maximize the power of our innovative α camera lineup, ” said Neal Manowitz, vice president of imaging solutions at Sony Electronics. “The new 24mm prime brings an exciting new perspective to our flagship lens series. With its incredibly lightweight design and signature G Master quality, our 30thnative full-frame mirrorless lens opens up a new world of creative opportunities for today’s photographers, videographers and multi-media creators.”
Realizing consistently high resolution across the entire frame,even at F1.4, the FE 24mm F1.4 GM boasts a new optical design comprised of 10 groups with 13 elements, including two XA (extreme aspherical) and three ED (Extra-low Dispersion) elements. The incorporation of two XA elements effectively suppresses sagittal flare[ii]to ensure that point light sources like distant stars can be accurately reproduced, making the FE 24mm F1.4 GM a compelling proposition for astrophotography. For impressive clarity, Sony’s unique Nano AR Coating is applied to reduce lens flare and ghosting, even in landscape shots where the position of the sun can be problematic with a normal lens.
This outstanding performance is packaged in an extremely compact and lightweight body weighing it at only 15.7 ounces, a welcome relief for landscape or adventure photographers that are hiking, climbing or traveling over long distances. This advantage is further compounded when the FE 24mm F1.4 GM is paired with one of Sony’s award winning α7 / α9 cameras. The lightweight lens design has been realized in part by the development of a new high power DDSSM (Direct Drive SSM) that delivers approximately three times greater thrust than the previous focus system, enabling fast response, high positioning accuracy and quiet operation for both stills and movie shooting.
This incredible lens is also a perfect complement to Sony’s APS-C sensor mirrorless cameras such as α6500 and α6300, and brings the total number of nativeSony α E-mount lenses to 48[iii].
In addition to its landscape and starscape shooting abilities, the FE 24mm F1.4 GM also has excellent close up performance of 0.24 meters (0.79ft.) and delivers soft and natural bokeh, a feature that is common across Sony’s entire G Master seriesof lenses. This is achieved by extreme control over factors like spherical aberration, and axial and lateral chromatic aberration, at the design and manufacturing stages, as each lens is individually tested and adjusted to achieve maximum performance.
The FE 24mm F1.4 GM also includes a number of professional controls that aide ease of operation for both stills and movie shooting. These include an aperture ring that allows direct, intuitive aperture control, and a focus ring that features Linear Response MF for fine, responsive manual focus control. There is also a customizable focus hold button, and a focus-mode switch that makes it possible to quickly select auto or manual focus to match changing shooting conditions.
Pricing and Availability
The FE 24mm F1.4 GM will ship in October 2018 for approximately $1,400 US and $1,900 CA. The lens will be sold at a variety of Sony authorized dealers throughout North America.
[i]Compared to other full-frame 24mm F1.4 auto-focus prime lenses. As of September 2018 press release, based on Sony research
[ii]A phenomenon that results in an unnatural spreading of point light sources that appears somewhat like a bird spreading its wings and becomes more pronounced towards the image periphery. It is most common in large-aperture lenses
[iii]Including converters, excluding discontinued models
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Thursday, September 20, 2018
Wednesday, September 19, 2018
Tuesday, September 18, 2018
Monday, September 17, 2018
Numerous autumns have come and gone and for each, I provided tips and insight on how to capture splendid fall color. To keep it fresh this year, I looked through previous tips I wrote, compared them to a number of fall images I have in my files, compared those to the ones I used in previous years and came up with a few I hope are different enough so you can gain at least one new technique. I also included the classics that are not to be missed. So, I present this year’s edition of my fall color tips.
New Techniques
Sunstar + HDR: Backlit fall color glows as rim light decorates each leaf. Additionally, all foliage takes on a radiance giving the impression that each petal, frond or blade is lit from within. I always say, “It’s all about the light,” and when it comes to fall color, the most dramatic is backlight. The problem with backlight is controlling the sun. Enter a total photographic bonus that perfectly falls into place. Autumn is the time for scenics, which need depth of field. Depth of field is increased when the lens is stopped down. When the lens is stopped down, a bright light source becomes a sunstar when just a piece of the light is made visible. To create this, hide the sun behind a branch of a tree or thick cluster of leaves. Then, ever so slightly, move to the left, right, up or down to let about one-third of the sun become visible. With the lens stopped down to Æ’/22, you should get a gorgeous sunstar. There’s one more issue that needs to be addressed with regard to backlight—contrast. To combat the contrast, shoot a bracketed series of exposures without moving the camera, which is best accomplished by putting it on a tripod. Make a 3-stop series of 2 stops under, on the meter reading and 2 stops over. Process the three images in your favorite HDR program, and you’ll be rewarded with a backlit autumn scene that contains a sunstar and is perfectly exposed. One word of caution—when you shift your position to include one-third of the sun, be extremely wary of eye damage and use extreme caution!
Seek Reflected Light: Ask 90 percent of all photographers to show you their fall images and you’ll see trees, barns, covered bridges, country roads, footpaths blanketed with fall color, etc. Rarely will you see images of just reflected fall color. Learn to not be like everyone else and seek out the images that separate you from the masses. Yes, still make the obvious shots, but expand your boundaries and look beyond the obvious. A still lake reflects color, trees and mountainsides, but even these images are quite the norm. Take it a step farther and look for subtle reflections. Strive to make images that are solely abstract. If that’s not comfortable, include a surrounding element that’s obvious to the viewer so the onlooker turns to you to say, “I get what you did—very cool!” In essence, expand your horizons.
Stage It: Autumn is a great time to be with friends and family. It’s nice to document the time you spend together. If photography is more than a hobby and you strive to sell prints or get invited to submit images to a stock agency, think about what you can do to make the images of those with whom you travel moneymakers. Before you head out, have them wear specific-colored clothing and then include them in your photos. Bring along a prop or two that would make sense, such as an umbrella, a cane, a cool hat, red wagon, etc. Have them pose in places that are iconic and scenic so it becomes more marketable. Look for a winding path, a tree in peak color, a country road or another location that screams autumn and good times.
Classic Tips
Polarizer—don’t leave home without it: The polarizer helps saturate a blue sky when positioned 90 degrees from the sun, and it also removes glare that robs leaves of their color. As you spin the polarizer, both these things will be visible through the viewfinder.
Zero In: Break out your macro lens, and don’t overlook the single fallen leaf, the one that dangles by a hair before its inevitable descent to the ground or the one that lives on a rock next to a pristine stream. Also, think about making images that include just parts of a peak-colored tree, a fence with fallen leaves or any other small-scale subject.
Time of Day: Sunrise and sunset provide the warmest tones that bathe subjects in gold, yellow and red. Because the warm tones are emphasized, be sure to monitor the red channel of your histogram so you don’t overexpose delicate yellows, red and oranges.
Send in the Clouds: Clouds cover the sun, and a covered sun means soft light. Country roads and dirt trails love to be photographed in soft light as the contrast is lessened and every detail becomes visible. If you get an overcast day, exploit the light.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Fall Color Tips appeared first on Outdoor Photographer.
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Sunday, September 16, 2018
Saturday, September 15, 2018
Friday, September 14, 2018
Congratulations to Harry Lichtman for winning the recent Beaches, Shores And Coastlines Assignment with the image, “Odiorne Oasis.”
"New Hampshire doesn't have a large coastline, but one of the wildest sections is around Odiorne Point," says Lichtman. "A favorite section is this small patch of grasses that surround this reflecting pool, surrounded by the rocky coast. In the spring, these grasses are a vibrant green, but come September they turn a multitude of tans and yellows."
See more of Harry Lichtman’s photography at www.harrylichtman.com.
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Thursday, September 13, 2018
Wednesday, September 12, 2018
Tuesday, September 11, 2018
Monday, September 10, 2018
A camera’s lens records the world as seen by the photographer. The camera freezes history, exaggerates time via slow shutters, captures the brightest stars and probes the deepest shadows. Perhaps an irony, perhaps a coincidence and even a possibility, but one of the most photographed subjects captured with a camera is people. With this in mind, deeply ponder this—people have faces; kids are often photographed and they have small faces; Rod Stewart was the lead singer for Faces /Small Faces; Rod Stewart’s world-renowned album is Every Picture Tells A Story; his most famous song possesses the same title. While not every picture tells a story, I question why. Bring your photography to the next level and apply what’s below to get your pictures to tell stories. Humming the tune while you read is highly recommended!
Seeing Is Believing—or is it? Make a photo where a story is obviously depicted but it has an undetermined ending. Make it apparent to the viewer that a story exists, but let the observer draw his or her own conclusion regarding its outcome. The storytelling aspect is left open-ended and could go a few ways. In the above photo, is the male lion bringing his capture to offer as a gift to impress the lioness? Is the female ready to spring into action and steal the catch? Is there going to be a standoff between the two or will there be a conciliatory greeting? Are there cubs around that will get fed? There are many other open-ended scenarios. It’s often better to leave the viewer hanging as it forces him or her to probe deeper into the photograph, which is what you want. The more the photo is studied, scrutinized and examined, the longer it will be remembered.
Show-And-Tell: Push beyond the simple recording of the scene. Wait for the peak moment where everything falls into place and the story is revealed. Press the shutter when the action or emotion reaches its climax. As the action unfolds, there may be a few instances where a storytelling image can be made. If so, treat it as a bonus and keep photographing until the action/interaction breaks up. Think about a movie that made you cry. What occurred at that exact moment that triggered your tears? Make the analogy—it’s at that exact moment you capture your photo. When I was photographing the baby baboon and its mother, there were a few moments that motivated me to make a photo, but when the mother put her arm around the baby’s head and looked down at it in a loving way, that was the moment that told the most complete story.
Frame It: While you simultaneously wait for “the moment,” you also need to scan the entire viewfinder to make sure you create a well-made image. Be sure to exclude peripheral elements that aren’t part of the story or that may detract from what you want to convey. Zero in on the subjects, as they’re the words. Be aware of your exposure, shutter speed, and aperture, as these are the sentences. If the sentences are garbled and grammatically incorrect, the story won’t make sense. Finally, be cognizant of the foreground and background to make sure you complete the paragraph. If the words, sentences and paragraphs all come together, the story will be well written.
Every Picture Tells A Story: To quote Rod Stewart, every picture does tell a story in the sense that every time you raise your camera to your eye, something compels you to do so. Your goal as a photographer is to convey the message to the viewer that motivated you to lift the camera and press the shutter.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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Sunday, September 9, 2018
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An old darkroom trick is to tone down the edges of a print so the eye is lead to the center/primary subject in the photo. This is accomplished very easily in Adobe Camera Raw or Lightroom. Use the “Effects” tab and utilize the sliders in the Post Crop Vignetting section to accomplish this.
Open the Effects tab to gain access to the Post Crop Vignetting sliders. Using them will darken the bright edges and corners of the image.
Get Familiar With The Sliders:
Note the hard edge of the circle. It corresponds to the Feather slider, which is set to zero. Adjusting the slider softens the edges of the darkened area. Experiment by moving it left and right and watch the changes in real time. All the way to the left creates a hard edge. All the way to the right creates the softest possible transition.
With the Feather slider still set to zero, experiment moving the Roundness slider to the left and right, and watch the shape of the vignette change. Depending on the subject, use the shape that best fits the image. At +100, a circle is formed. At zero, an oval is formed. The more it’s moved to the left, the shape becomes rectangular or square.
Experiment moving the Midpoint slider to change the overall size of the vignette. The size should be dictated by how much outside darkening you need to create.
Once you feel good with the overall shape/size/amount, adjust the Feather slider to smooth out the transition. Fine-tune each slider to finalize the effect.
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Sunday, September 2, 2018
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Introduced today is a new wide-angle zoom for Canon and Nikon full-frame DSLRs, the Tamron SP 15-30mm F/2.8 Di VC USD G2 (Model A041).
As a Tamron Di series lens, it's optimized for use with full-frame cameras, but can also be used with APS-sensor models, providing an equivalent focal length rage of approximately 22.5mm to 45mm.
The Tamron SP 15-30mm F/2.8 Di VC USD G2 is the third high-speed (Æ’/2.8 contestant maximum aperture) lens with Vibration Compensation in Tamron's lineup to be upgraded to the "G2" (Generation 2) designation, joining the SP 24-70mm F/2.8 Di VC USD G2 (Model A032) and SP 70-200mm F/2.8 Di VC USD (Model A025). Tamron's G2 lenses feature enhanced physical design and ergonomics, as well as improved VC and AF performance and optical design. The VC system in this new model provides up to 4.5 stops of image stabilization.
The lens can focus as close at 11 inches, great for landscape photography when you want to anchor a composition by getting close to foreground subjects and details. The Canon EF-mount model will include a rear filter holder.
Expected availability for the Nikon F-mount model is September 21, followed by the Canon version on October 12. List price is $1,299. For additional details, see the press release below.
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Tamron Announces A New Advanced, Super High-Quality, Fast, Ultra-Wideangle Zoom Lens
SP 15-30mm F/2.8 Di VC USD G2 (Model A041)
Model A041
August 31, 2018, Commack, New York–Tamron announces the launch of a new high-speed ultra-wide-angle zoom lens, the SP 15-30mm F/2.8 Di VC USD G2 (Model A041), for full-frame DSLR cameras. The new model will be available in Nikon mount on September 21st and in Canon mount October 12th at a suggested retail price of $1299.
With a well-established reputation for ultra-high-quality wideangle zoom lenses with its Model A012, Tamron carries on the tradition of high optical performance with the new SP 15-30mm F/2.8 Di VC USD G2 (Model A041). By incorporating an XGM (eXpanded Glass Molded Aspherical) lens element, as well as multiple LD (Low Dispersion) lens elements, the distortion and lateral chromatic aberrations so common in wideangle shooting have been greatly minimized. Furthermore, a newly developed AX (Anti-reflection eXpand) Coating has been applied to reduce ghosting and flare more thoroughly than ever before. The optical performance in this high-speed F/2.8 ultra-wideangle zoom lens is outstanding. In addition, the built-in Dual MPU (Micro-Processing Unit) enables vastly improved AF speed and precision and image stabilization. This is a next-generation super high-quality, high-speed ultra-wideangle zoom lens with first-rate optics and a wide range of features that serve to revitalize the user's shooting experience. With the release of this model, three[1] of Tamron's high-speed F/2.8 zoom lens with VC (Vibration Compensation) are now G2 (Generation 2).
[1]SP 15-30mm F/2.8 Di VC USD G2 (Model A041), SP 24-70mm F/2.8 Di VC USD G2 (Model A032), SP 70-200mm F/2.8 Di VC USD (Model A025)
PRODUCT HIGHLIGHTS
1. Super high-quality high-speed ultra-wideangle zoom lens
The Model A041 is an F/2.8 ultra-wideangle lens with a focal length starting at 15mm that offers high resolution even in the peripheral area of the image. By incorporating an XGM (eXpanded Glass Molded Aspherical) lens element and multiple LD (Low Dispersion) lens elements to curtail distortion and lateral chromatic aberrations, Tamron has achieved a degree of resolution throughout the range that is just as good as a fixed focal length lens.
2. Newly developed AX Coating
The AX (Anti-reflection eXpand) Coating, especially effective for wideangle lenses that tend to let in harmful light from peripheral areas, was developed to control rays that affect image quality. It is a revolutionary new proprietary coating developed in-house by Tamron using specialized deposition technology. The new coating keeps the reflection factor for peripheral areas at the same high level as that for the center area, not only overcoming standard curvature issues, but even overcoming the problems of conventionally produced convex surface with large curvatures for which uniform deposition has always proved difficult to achieve. Furthermore, the Model A041, along with eBand (Extended Bandwidth & Angular-Dependency) Coating utilizing nanotechnology, and BBAR (Broad-Band Anti-Reflection) Coating, makes effective use of three different types of coatings, thereby enabling unsurpassed curtailment of ghosting and flare and consequently enabling superlative, exceptionally clear image quality edge to edge.
3. High-speed, high-precision AF
Superb AF speed and precision is delivered by equipping the lens with a Dual MPU (Micro-Processing Unit) system and employing an enhanced AF control algorithm to improve performance. The AF drive uses proprietary Tamron technology, USD (Ultrasonic Silent Drive), enabling high torque, high response, and silent operation. And because it comes with a Full-time Manual Focus override system, manual focus adjustments can be made on the fly.
4. VC promises sharp images for all varieties of shooting
Tamron released the first high-speed F/2.8 ultra-wideangle zoom lens in the world equipped with a VC (Vibration Compensation) mechanism, the original Model A012. The new Model A041 has been further improved with a newly developed VC mechanism that surpasses former versions and reaches 4.5 stops[2], according to CIPA standards. This makes it possible to shoot sharp photos over a wide range of photographic scenes, including indoor and outdoor shots as well as handheld shots at stopped-down aperture settings for landscape photography.
5. Rear filter holder
The Model A041 made for use on Canon (EF-mount) cameras comes with a filter holder as a standard feature that lets you insert gelatin and other sheet filters into the rear side of the lens. This makes photography using filters much easier and simpler by overcoming the problem of the curvature of the front lens elements that made shooting with filters so difficult in the past.
6. Vastly improved highly durable Fluorine Coating
Abrasion resistance capability has been vastly improved on the new Model A041. The front surface of the lens element is coated with a Fluorine Coating based on a newly developed fluorine compound with high water- and oil-repellent properties. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture, and fingerprints, and enabling your important lenses to be continually protected on a long-term basis.
7. The new design provides greater operability and design consistency
With the new SP design applied, Model A041 shares the same feel of high quality and operability as the other two models in this series, SP 24-70mm F/2.8 Di VC USD G2 (Model A032) and SP 70-200mm F/2.8 Di VC USD G2 (Model A025). Tamron has merged beautiful craftsmanship with intuitive design in this new high-speed ultra-wideangle zoom lens. Even details like the shape of the switch box, distance-scale window, and the precision and stability of the metallic mount reveal a commitment to functionality, as well as design. The result is a next-generation lens that's easy to use yet loaded with cutting-edge technology.
8. Compatible with TAMRON TAP-in ConsoleTM, an optional accessory
The new Model A041 is compatible with the TAMRON TAP-in Console, an optional accessory product that provides a USB connection to a personal computer for easy updating of the lens's firmware as well as customization of features including fine adjustments to the focus position of AF and VC control.
9. Moisture-Resistant Construction
Seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain to provide Moisture-Resistant Construction. This feature affords an additional layer of protection when shooting outdoors under adverse weather conditions.
10. Manufacturing innovation with thorough attention to details based on the rigorous quality standards worthy of the SP series
Tamron has enhanced the SP series lenses to fulfill high-level photographic requirements and provide the pleasure of ownership. While introducing a new exterior design, Tamron reviewed the SP series standards. The new SP series has been developed by setting rigorous standards for design, manufacturing and quality that apply to the optical design and mechanical design as well as such wide-ranging areas as the product's robustness and improvements in a variety of individual functions. This has helped to achieve a more consistently superb optical performance, making it a lens that fulfills the demand for higher image quality that is compatible with the latest high-pixel cameras. To maximize the optical performance of the SP series, Tamron will continue to enhance the accuracy of the component parts of each lens element unit and improve the mechanical precision of the entire lens, thereby achieving a high overall performance.
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