Archive for month: July, 2015
Affinity Photo – Adobe Photoshop killer?
Serif have launched their new image editing app Affinity Photo and it’s making waves already.
It’s powerful, realtime, intuitive and speedy workflow makes editing images a breeze and Adobe should be worried about this as it’s definitely a shot across their bows.
More information and a video can be found at their website and we’ve got a copy here at The NPS offices which we’ll be reviewing real soon.
How Von Wong Captured An Amazing Portrait Deep Under Water
I had this grand idea: To recreate the iconic scene of a young Chinese cormorant fisherman hard at work on a bamboo raft – shot 30 meters underwater in a cenote just above a toxic layer of hydrogen sulfide. Traditional culture as a whole, is something that is inexorably fading with time. I wanted to create a piece that would immortalize a piece of my own culture – the iconic cormorant fisherman. By placing him directly above an underwater river, within this portal that was believed to lead to the Mayan underworld, seemed like the perfect way to bid farewell to a proud tradition. As a general rule, taking underwater portraits is extremely complicated. Simple tasks like breathing, communicating. posing and moving become a lot more complex whilst standard lighting rules and equipment requirements change completely. Transport that shoot 30m underwater and suddenly things become exponentially more complex. Ambient light levels and visibility plummet, dive time is reduced significantly while the safety risks from potential malfunction increase. Add onto that a toxic layer of opaque hydrogen sulfide and only five days in Mexico meant we were really setting ourselves up for a challenge.
Last week I received a message from my buddy and talented photographer Ben Von Wong. We all know him for his incredible photos that mix practical effects as well as precisely-applied post production visuals. His recent photoshoot entitled “MAKING OF: BALLANTINE’S PRESENTS VON WONG’S UNDERWATER RIVER” is no exception. To make this all happen, Benjamin created a portrait shoot with a set his crew built aboveground and installed 30 meters underwater just feet above toxic hydrogen sulfide. Learn more about his shoot below.
If you want to learn more details about how this shoot was accomplished head on over to Von Wong’s blog: http://www.vonwong.com/blog/underwaterfisherman/
I appreciate Von Wong because he is always trying to push his boundaries to the next level creatively and production-wise. I think this shoot came out great and like it even more now that I know how much setup went in to making it happen.
Commercial Photographer (mainly Phase One medium format digital) and filmmaker based out of NYC. Started a site called Notabully.org to spread stories about well-behaved and positive pitbulls. Love cars, 80s movies, dogs, and adventure. Free time is spent traveling, sleeping, adventuring, or working on my baby, a 1969 Mustang Mach 1.
The aesthetic differences between umbrellas, reflectors and softboxes
As part of their OnSet video series, Adorama has shared a helpful tutorial showing off the difference between three of the most popular light modifiers available: umbrellas, reflectors and softboxes.
In the two and a half minute video, photographer Daniel Norton concisely explains what it is each light modifier is designed to do, how you can use each modifier and what the aesthetic changes are between the varying uses of each modifier. There isn’t much to the video, but it’s beauty and value is in its simplicity.
Yikes: Cameraman Has Close Call with NASCAR Crash at Daytona
A cameraman at the Coke Zero 400 NASCAR race escaped disaster this past weekend at the Daytona International Speedway. While working a #camera on a tripod on the side of the track, the man found himself just a short distance away from a car slamming into the catch fence after a big wreck. The startled man was seen on television stumbling and falling back from his position. Here’s NASCAR’s crash replay that shows the guy from two different angles:
Photographers at major races are generally asked to sign waivers before being allowed to get up close to the track to shoot, and these videos shows why: if a violent crash happens, up against the catchfence isn’t a very safe place to be.
Shooting racecars whizzing by at 180MPH from up close is a thrilling experience, though. Back in May we shared a video showing what it feels like for photographers who take track-side positions.
Sony-fit Nissin Di700A and Commander Air1 flash kit launched
The Nissin Di700A and Commander Air1 flash kit have gone on sale in a Sony-fit version in recognition of Sony as a ‘major contender’ in the #camera market.
Already out in #Canon and #Nikon versions, the Nissin Commander Air1 is designed to control three groups of Nissin Di700A flash, up to a maximum of 21 NAS guns.
It is an ideal controller for photographers who want to simultaneously fire multiple flashguns at various distances, without the need for cables, according to UK distributor Kenro.
Kenro’s managing director Paul Kench said: ‘We’re very excited about this new addition to the range. Sony is a major contender in the digital camera market – dominated by Canon and Nikon – and Nissin has recognised this by now making all their new flash systems compatible with Sony cameras.’
Kenro Ltd, the exclusive UK distributor of Nissin flash guns and accessories, has announced the immediate availability of a new SONY fit for the TIPA Award-winning Nissin Di700A with Commander Air1 Flash Kit.
Using radio transmission, the range of the new Nissin Air System is up to 30m. For flexibility, transmission channels and IDs can be set to prevent misfiring in the event of signal interference on the same channel.
The Nissin Commander Air1 can control 3 groups of Nissin Di700A flash (with a maximum of 21 NAS guns), making it an ideal controller for photographers who wish to simultaneously fire multiple guns at various distances and without the need for cables. The Commander Air1 is also available to purchase separately.
Select Dial with a simple user interface Supports TTL compensation +/- 2EV 8 steps of Manual output Manual zoom coverage 24 – 200mm High-speed synchronization: 1/8,000 sec 1st and 2nd curtain synchronization AF assist light 8 Channels Capacity approx. 3,000 flashes Flash Interval: up to 10 times per second Function Mode: TTL, Manual and Manual Zoom Flash Exposure Control: 1st Curtain synchronization, 2nd Curtain synchronization, High-speed synchronization, Red-eye reduction, Slow sync. (Nikon only), FE / FV Lock (set on camera) Uses 2 x AAA batteries Weight: 55g (without batteries)
Stylish design and simple operation A wide range of zoom angles from 24-200mm Guide No: 48 at 105mm zoom head position (at ISO 100 in metres) Rotating lock release button Recycle time 0.1 – 4 secs Number of flashes approx. 200 – 1500 High-speed synchronization up to 1/8,000 seconds shutter speed Wireless TTL slave for A/B/C groups Standard & 3.5mm PC sync terminal Quick-loading battery magazine – BM-02 Compatible with Power Pack Colour Temperature: 5,600K AF-assist beam effective range: 0.7 – 6m/ 2.3 – 19.7 feet Accessories included: Soft case, flash stand (with screw) Uses 4 x AA batteries Weight: 380g (without batteries)
Says Paul Kench, Kenro’s managing director: “We’re very excited about this new addition to the range. Sony is a major contender in the digital camera market – dominated by Canon and Nikon – and Nissin has recognized this by now making all their new flash systems compatible with Sony cameras.”
Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO Review
This ultra-wide angle zoom lens for Micro Four Thirds (MFT) system cameras provides an angle of view equivalent to a 14-28mm lens used on a 35mm format #camera and sports a constant f/2.8 maximum aperture throughout the zoom range. The lens is also dust and splash proof and is available from around £1000 at the time of writing. In this review we’ll take a look at how it performs.
The lens barrel is constructed from high quality, robust materials with a glossy finish and the bayonet is metal with a rubber gasket to prevent the ingress of dust and moisture into the camera body. Despite the robust construction and constant f/2.8 aperture the lens only weighs 534g. This makes the lens an ideal companion for the Panasonic Lumix G6 body used for testing.
Focusing is performed internally, although due to the bulbous front element, necessary to provide such a wide field of view there is no filter thread. Sliding back the focus ring reveals a distance scale and automatically changes the camera to manual focus mode, which is ideal for applying quick adjustments. However, it is quite easy to nudge this by accident when changing lenses, so care needs to be taken to ensure the lens is in the correct mode for shooting. The minimum focus distance is 20cm throughout the zoom range, which is ideal for close ups, or shooting in claustrophobic environments.
At 12mm sharpness is already outstanding in the centre of the frame and excellent towards the edges. The performance of the lens at this focal length is limited by diffraction, so there is nothing to be gained in sharpness by stopping down.
Zooming to 10mm results in a slight reduction in sharpness at maximum aperture, although performance is still excellent across the frame at maximum aperture. Stopping down to f/4 results in outstanding sharpness in the centre of the frame and excellent clarity towards the edges.
Finally, at 14mm sharpness is very good in the centre and good towards the edges of the frame at maximum aperture. Stopping down to between f/4 and f/5.6 results in excellent clarity in the centre and very good performance towards the edges for this focal length.
Chromatic aberrations are extremely well controlled throughout most of the zoom range for this kind of lens. Fringing barely exceeds half a pixel width, which should make these chromatic aberrations difficult to spot.
Falloff of illumination towards the corners is also well controlled. At 7mm and f/2.8 the comers are 1.52 stops darker than the centre of the image and at 14mm the corners are only 1.27 stops darker than the image centre. Stopping down to f/5.6 results in visually uniform illumination across the frame throughout the zoom range.
Distortion is well corrected in camera, but without corrections applied, #Imatest detected 1.73% barrel distortion at 7mm which reduces to 0.61% at 14mm. The distortion pattern is uniform across the frame throughout the zoom range, which should make applying corrections in image editing software afterwards fairly straightforward.
A petal-shaped hood is built onto the front of the lens, which does a reasonable job of shading the lens from extraneous light that may cause issues with loss of contrast or flare. Strong sources of light in the frame, such as the sun can cause flare and a noticeable loss of contrast.
Currently, this lens is available for around £1000, which is good value for a lens of this quality. There is no direct equivalent currently available for Micro Four Thirds cameras, with the closest alternative being Panasonic’s 7-14mm f/4 lens, which costs around £800.
Given the ‘Pro’ moniker assigned to this lens, expectations of its build and performance should be high. During testing this lens proved itself worthy, by delivering images with outstanding sharpness, whilst handling well and sporting a robust dust and moisture resistant construction. The lens may be a little prone to flare, but given the extreme angle of view on offer and the compact size of the lens, this flaw may be something many will be able to forgive, or even forget.
Outstanding sharpness from maximum apertureRelatively compact and lightweightRobust buildDust and splash proofQuick access for manual focusGood valueExcellent control of CA
The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges. Averaging them out gives the red weighted column.
Chromatic aberration is the lens’ inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.
30,000 back petition against ‘barking’ European copyright plan, as MEP behind proposal speaks out
As we reported earlier this week, there are growing fears that proposed changes to European copyright law will require photographers to obtain permission from architects – and possibly pay them royalties – before publishing pictures of tourist attractions such as the London Eye and The Shard, even just on Facebook.
The change.org petition against the plans was started by German photographer Nico Trinkhaus who called on MEPs to bring Freedom of Panorama to all European countries and ‘not limit the Freedom of Panorama in any way’.
In a separate post on Facebook Trinkhaus explained that he started the petition to raise awareness of an issue first highlighted by Germany’s Pirate Party MEP Julia Reda.
‘This would have a huge effect on many kinds of photographers, on myself and maybe even on everyone who just shares a photo on Facebook,’ claimed Trinkhaus.
He added, ‘So far I have not heard about any architect who complained about the petition. I think they understand the difference. An architect gets paid as the building is built. A photographer most of the time shoots first and gets paid later.’
MEP at centre of copyright storm speaks outMeanwhile, the French MEP who first tabled the controversial proposal, Jean-Marie Cavada, has responded to the furore surrounding the issue.
Raphaël Dorgans, Cavada’s parliamentary assistant claimed that no-one in Europe has thus far been sued for commercial use of images not covered by Freedom of Panorama – which protects photographers in certain EU countries.
Dorgans told AP: ‘Contrary to what Ms Reda says, Mr Cavada’s amendment would not have far-reaching consequences for internet users who upload their photos on line.’
He added: ‘At the present time, in the EU Member States which don’t have any exception for Freedom of Panorama – and which indeed currently require their citizens to get an authorisation before making a commercial use of a picture of a work located in the public space (i.e. Belgium, Bulgaria, Denmark, Estonia, France, Finland, Italy, Latvia, Lithuania, Luxembourg, Malta, The Netherlands, Portugal, Spain, Romania, Slovenia) – not a single European citizen has been sued after having posted such pictures online, just as in the EU Member States which implemented an exception for Freedom of Panorama (i.e. Germany, Austria, Croatia, Cyprus, Greece, Hungary, Ireland, Poland, the Czech Republic, the UK and Slovakia).’
‘And consequently, the legal liability of dealing with the potential copyrights of the pictures they upload weigh on the users’ shoulders. We consider that this situation is outrageous.’
Cavada’s representative suggested his office would support a law where Facebook itself, rather than its users, would be responsible for asking the right’s holders for authorisation to use images commercially, and possibly pay them royalties.
‘He only struggles for a fair remuneration for artists and to stop the copyright abuses used by internet service providers such as Facebook, Instagram, Flickr, etc.’
In April, the European Parliament’s Committee on Industry, Research and Energy called for a review of the liability of service providers with regard to copyright.
Dorgans said: ‘So, should they use these pictures for commercial use, they would have to ask for the authorisation of the right holders, and they may have to give them a financial compensation.
Mr Cavada is lying again. Malta, the Netherlands, Portugal and Spain have full Freedom of Panorama, meaning that images are freely re-usable for any purpose.
