reCOMPOSE Podcast 056: Astrophotography

As inspiring as astrophotography can be, we are always surprised as to find out that most people think it is beyond their capabilities or their equipment. We are here to tell you it is not, astrophotography is relatively easy and you can do it with the gear you most likely already have. In this episode of the reCOMPOSE podcast, Juan and Andy go over the gear and techniques to help you make your own images of the stars.

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Photo Of The Day By Lorenzo Cassina

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Create Dramatic Light With Backlight, Part 3

Please review the previous two week’s Tip of the Week to learn how to incorporate backlight into your indoor and outdoor nature photography shots in addition to a few tips on how to utilize it to make better people images.

Concerns When You Incorporate Backlight

The two most important concerns when you make backlit subjects are flare and exposure. To deal with flare, be sure to shade your lens to prevent the sun from striking your front element. In the nature studio set up I have in my basement, I channel light away from my lens using sheets of cardboard on the side of my flash. In the field, I block the sun’s light from hitting the front element using whatever I have at my immediate disposal. A lens shade helps, but when you’re close to 180 degrees from the sun, it has little effect.

Since the majority of my shooting is done with my camera on a tripod, I walk around to the front of the rig and hold my hand above the lens. I move it until I create a shadow over the front element. Some people use a hat, newspaper or other means. Regardless of the tool, the key is to prevent light from entering the lens.

When wide-angle lenses are used, it becomes even more tricky. It’s a fine line between shading the lens and not getting the item that’s shading it in the image. Unfortunately, I found this out the hard way and discovered my palm in the corner of the sky of some very nice images. If it’s possible, have a friend look through the viewfinder while you’re shading the lens to see if any gremlins appear, and be sure to check the LCD to verify you didn’t create an “Oops.”

Flare can also be reduced by using as few filters as possible. Each extra glass surface you attach to your lens, you increase the chance of light bouncing around its insides. Additionally, keep the front element of your lens as clean as possible to help reduce the risk.

The higher the sun is from the horizon, the greater the chance of flare because there’s less atmospheric haze and pollution to block the sun. This makes the light more intense, adding potential flare problems. With this in mind, the higher in the sky the sun is located, the more intently I look for an intriguing subject to partially obscure its presence.

If I have only a section of the sun falling into my lens, the chance of flare is reduced. Trees, buildings, a sailboat’s mast, mountain peaks, etc., all work well to accomplish this.

A serendipitous side effect can be the addition of a sunstar. Let just a small portion of the sun become visible and stop your lens down to ƒ/22. Depending on the lens that’s attached to your camera, different shaped sunstars can add drama to the photograph.

In regard to exposure, the best recommendation I can make is to use spot metering and take a reading off the most critical area of the backlit subject. Verify the end result on your LCD. Until you feel comfortable learning how to read backlight, I suggest you bracket to ensure you get the exposure you desire.

As with any new technique, go out and experiment. Quite often, a mistake can open up a whole new world of photography. With backlighting, there’s a lot of forgiveness in what constitutes a perfect exposure. With this in mind, go out and have some fun. You’ll more than likely come home with winners.

Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

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Cinema-Focused Panasonic LUMIX S1H Announced, Plus Teleconverters

Panasonic today introduced the third model in its LUMIX S full-frame mirrorless series. The Panasonic LUMIX S1H, which will be available this fall, is targeted at filmmakers, with an emphasis on video capture. Panasonic states that the LUMIX S1H is the “world’s first” camera capable of recording in 6K resolution at 24p (3:2 aspect ratio), 5.9K at 30p (16:9) and 10-bit 4K at 60p.

In addition to multiple formats suitable for professional cinema, the camera also offers 14+ stops of dynamic range, comparable to the range of Panasonic’s Cinema VariCam. The LUMIX S1H output is compatible with V-Log footage from VariCam and the LUMIX GH5/GH5S Micro Four Thirds system cameras, giving filmmakers several camera options that can be used seamlessly together on a project with consistent color management.

The Panasonic LUMIX S1H joins the LUMIX S1 and LUMIX S1R in the LUMIX S lineup. Panasonic positions the LUMIX S1R as “ideal for high-resolution stills,” and the LUMIX S1 as a hybrid model with balanced still and video capabilities. Pricing info is not yet announced.

Along with the new camera, Panasonic is introducing two teleconverters for use with the LUMIX S system, the 1.4x Teleconverter DMW-STC14 and 2x Teleconverter DMW-STC20. These are compatible with the LUMIX S PRO 70-200mm F4 O.I.S. zoom. Availability is expected in July; like the LUMIX S1H, pricing for these teleconverters has not yet been announced.

For additional details on both the LUMIX S1H and teleconverters, see the official press releases below.

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Panasonic Announces the New LUMIX S1H Full-Frame Mirrorless Camera With Cinema-Quality Video and the World’s First 6K/24p*¹ Recording Capability

Newark, NJ (May 31, 2019) – Panasonic Corporation is proud to announce the newest addition to the LUMIX S series, the LUMIX S1H, a new Digital Single Lens Mirrorless camera equipped with a full-frame image sensor. As the world’s first camera capable of video recording at 6K/24p ^*1(3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K^{.*2 *3}, it combines the video quality of a professional camera and the high mobility of a mirrorless camera. The LUMIX S1H will be released to world markets in fall 2019.

The main features of the new LUMIX S1H are as follows:

1. High resolution up to 6K for multiple formats.

Maximizing the use of the pixels in the full-frame image sensor, the LUMIX S1H, as a digital camera, has achieved 6K/24p (3:2 aspect ratio) or 5.9K/30p (16:9 aspect ratio) video recording for the first time in the world^.*1It is also the world’s first full-frame digital interchangeable lens system camera^*1to enable 10-bit 60p 4K/C4K ^*2*3video recording. It accommodates a variety of recording formats like 4:3 Anamorphic mode, to meet professional needs. Its high-resolution data can also be used to create 4K videos with higher image quality or to crop images in 4K.

2. Rich gradation and a wide color space virtually equal to those of cinema cameras.

The LUMIX S1H features V-Log/V-Gamut with a wide dynamic range of 14+ stops, which are virtually the same as those of the Panasonic Cinema VariCam, allowing it to precisely capture everything from dark to bright areas. So much so, that the color and even the texture of human skin are faithfully reproduced. Designed under consistent color management, the S1H’s recorded footage is compatible with V-Log footage recorded by VariCam or the LUMIX GH5/GH5S.

3. High product reliability that allows unlimited video recording.^*7

In every S1H recording mode, video can be recorded non-stop under the certified operating temperature so the user can concentrate on shooting.

Since the 1990s, Panasonic has been a leader in the development of video recording technologies for digital cinema, and has produced a host of innovative technologies for impressive cinematic imagery, such as 24p video recording, slow motion video using a variable frame rate, and the wide dynamic range and color space of V-Log/V-Gamut. By working with film creators for more than 25 years, Panasonic has successfully designed a number of cinema cameras that exhibit stunningly high video performance. The LUMIX GH1 made its debut in 2009 as the world’s first Digital Single Lens Mirrorless camera capable of full-HD AVCHD video recording. ^*4The LUMIX GH4 was launched in 2014 as the world’s first Digital Single Lens Mirrorless camera^*5capable of 4K video recording. Next, the LUMIX GH5 was released in 2017 with the world’s first 4K/60p, 4:2:2 10-bit 4K/30p recording capability.^*6The LUMIX GH5 is highly acclaimed by film creators for its high performance, excellent mobility, and superb versatility in film production. And now, in 2019, the LUMIX S1H joins as Panasonic’s newest cinema camera.

Panasonic now offers three innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, and the new S1H. The LUMIX S1R is ideal for capturing high-resolution images, while the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed especially for film production. With this lineup, Panasonic is committed to meet the demands of every imaging professional by challenging the constant evolution of the photo/video culture in today’s new digital era.

The LUMIX S1H prototype will be exhibited at the 2019 Cine Gear Expo.^*8

^*1As a digital interchangeable lens system camera, as of May 31, 2019 (U.S.). Panasonic research.

^*2As a full-frame digital interchangeable lens system camera, as of May 31 May, 2019 (U.S.). Panasonic research.       In Super 35mm-equivalent size.

^*3Corresponding to 4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).

^*4As of March 25, 2009, as a digital interchangeable lens system camera. Panasonic research.

^*5As of March 25, 2014, as a Digital Single Lens Mirrorless camera. Panasonic research.

*⁶As of January 25, 2017, as a digital interchangeable lens system camera. Panasonic research.

^*7Recording time varies depending on the battery capacity and memory card capacity. When the camera’s temperature rises above the specified operation temperature, the camera may automatically stop video recording to protect it from heat damage.

^*8Cine Gear Expo 2019 is the premier annual event for professionals engaged in the technology, entertainment and media industry to be held at Paramount Studios in Los Angles, U.S., through May 30 to June 2.

･Design and specifications are subject to change without notice.

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Panasonic Announces New Teleconverters for LUMIX S Series Telephoto Zoom Lenses 1.4x Teleconverter DMW-STC14 and 2x Teleconverter DMW-STC20

Newark, NJ (May 31, 2019) – Panasonic today announced new teleconverters for the LUMIX S Series telephoto zoom lenses – a 1.4x Teleconverter DMW-STC14 and a 2x Teleconverter DMW-STC20– available in July . The latest teleconverters can be attached to the LUMIX S PRO 70-200mm F4 O.I.S. (S-R70200)*¹, turning the lens into a super telephoto lens with  extended zoom range of maximum 400mm with high-speed and high-precision AF. The rugged and dust/splash-resistant*²design withstands use under harsh conditions, even in -10 degrees Centigrade for high mobility.

Both teleconverters DMW-STC14 and DMW-STC20 will also be compatible with the new 70-200mm / F2.8 S Series lens, to be introduced later in 2019.

Specifications:

DMW-STC14

Lens Composition 7 lenses including 2 UHR (Ultra High Refractive Index Lens) lenses in 4 groups

DMW-STC20

Lens Composition 8 lenses including 2 UHR (Ultra High Refractive Index Lens) lenses in 4 groups

*1 The firmware needs to be updated to its latest version.

*2 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

・Design and specifications are subject to change without notice.

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