It is evident to me that images can carry and convey truth – small and capital T – and that most people aren’t actually talking about truth when they talk about objectivity and subjectivity. Strong statement, I know, but I think as usual, the people using the Internets simply bring their own ideas and not really paying attention to how writers define their terms.
If you become a student of street photography, the curriculum is littered with advice and maxims on what defines and makes a “good” street photograph; I use the word “littered” intentionally – because much of that curriculum is just that… things that can be tossed out. Within that heritage, I don’t claim to be a master, let alone a division chair or associate professor, or even a teaching assistant. But I am a student, or a ‘disciple’ of the genre if you will – one that realizes that that I will never stop learning the craft, and that beyond the techniques or gear used or the aesthetic of an image I am working to create, the genre is itself as much about a process of self discovery, growth, and expression of who I am as it is about the final “result.” That may sound out of place in a discussion of street photography, but to that end, I want to state that – in this student’s opinion – what matters most in street photography is the choice and act of your presence, and shooting “who you are” in an image. Grab some coffee, as this isn’t going to be another “three essential ways to improve your street photography” kind of article.
Hello, my name is Rick Keller. I am an amateur photographer who lives in San Diego, CA, one of many readers of Photography Life, and an occasional participant in its forums. Recently, after having participated in the Photography Life Photo Critique and Weekly Critique Section, Nasim Mansurov graciously and enthusiastically extended me an invitation to write a guest article for Photography Life to share more of my film work and discuss the tools and methodology that I use. I wholeheartedly accepted the invitation. As I pondered this task, it was immediately apparent that I could write such an article in a variety of ways, each of which might lead to a discussion of additional subtopics in both general photography and film photography.
I have been shooting the night sky since my grandfather gave me my first 35mm SLR in junior high. Today’s digital SLRs allow us to shoot amazing things that I could only dream of a couple decades ago! In this article, I will go over some of the tips and suggestions for capturing the stunning beauty of the Milky Way.
Astrophotography is a hobby rapidly gaining popularity thanks to the fast advancing CMOS sensor technology. Over a decade ago, the light recording material employed in astrophotography was primarily chemical emulsion. Its low sensitivity makes it very hard to record the weak signal from deep space. In addition, the lack of real-time feedback is a huge source of frustration for beginners. Operational errors such as out-of-focus can only be realized after several nights of hard work after the film is developed. In the mid 90s, the advent of cooled CCD cameras provided solutions to both the sensitivity and real-time feedback problems. However, their high prices and miserably small sensor areas limited their uses to only a few kinds of astrophotography and to very enthusiastic astrophotographers. While CCDs revolutionized astronomical research, this technology has never really changed the landscape of amateur astrophotography. The true turning point took place in 2002. After Fujifilm announced its FinePix S2Pro DSLR and showcased amazing astronomical pictures taken by this camera, people started to seriously explore DSLRs for astrophotography. DSLRs can provide real-time feedback, which is very important for beginners. They have sensitivities not much worse than CCDs, and DSLRs with large sensors (APS-C) are quite affordable nowadays. Today’s landscape in astrophotography is shaped by a series of CMOS-based DSLRs from Canon, but DSLRs and mirrorless cameras based on Sony sensors are gaining popularity very quickly.
What do you think is the possibility, when you are choosing and sorting images based on the JPEG previews, that you are going to discard the better-quality image, and keep the lesser-quality one? Let’s take a look at a typical “training” shot for a holiday – noon of a sunny day, blue Ionian sea, bright white limestone pebbles, bushes with dark-green, high-detail leaves (which lose all detail if the shot is underexposed), deep shadows under the bushes. These types of scenes typically have a very wide dynamic range. We will see later, however, that the real range of the shot we are examining is pretty much only 8 EV, if the exposure is technically correct.
I was recently asked how many concerts I’ve photographed, and realized that it is coming up on thousand in the last 15 years. Any given week you can find me shooting anything from a 20 person house concert to The Who in a 30,000 seat arena, and anywhere in between. Tonight, it will be an up-and-coming band called The Spring Standards, who I’ve shot 7 times in the past. They are a dynamic, high-energy band with a lot of emotion, character and flying hair to capture.
A decentered lens contains one or more optical lens elements that are either moved or tilted from the principal axis of the lens. Such shifting or tilting of lens elements can potentially lead to blurring / softness of parts of the image due to divergence of light rays. While very slight decentering of optical elements can be observed in many lenses, especially on superzooms, severe decentering and tilting can render the whole image blurry, with the lens unable to achieve good sharpness across the frame.
The latest Nikon DSLRs like D810 (see our detailed review) and D4S came with the a new “Group-area Autofocus” mode. When compared to the regular Single-Point AF Mode, Group-area AF activates five focus points to track subjects. This focus mode is great for initial focus acquisition and tracking of subjects when compared to a Single-Point or Dynamic AF, especially when dealing with smaller birds that fly erratically and can be really hard to focus on and track. In such situations, the Group-area AF mode might give better results than Dynamic AF, showing better accuracy and consistency from shot to shot.
Incredibly, the first domes date back to people living in the Mediterranean region 4,000 years BC. Since then, artists have created a fascinating variety of them all over the world. Still today, they are an essential part of modern architecture, as shown for example by Calatrava’s spectacular glass dome of the library of the Institute of Law in Zurich, Switzerland.