Warm greetings to my fellow Photography Life readers! My name is Sharif and I am the photographer behind Alpha Whiskey Photography. I have been very kindly asked by Nasim to write an article for Photography Life, which has proved to be an excellent resource for photographers all over our planet. Nasim specifically invited me to write about my experience with my Olympus Micro Four Thirds mirrorless camera, the lenses I choose to use with it, and why I prefer it to my DSLR system, along with some examples of images I have produced with it.
This is a review of Weye Feye product (usage with Nikon D800 camera, iPhone 5 & iPad 2). Weye Feye is a wireless and remote control unit for a DSLR. This product is made by a company called “XSories”. I think this is a French company with a subsidiary located in Hong-Kong. Another device providing similar functionality (and known better than Weye Feye) is CamRanger. The primary reason why I started looking at an external camera control unit was pretty simple. Prior to purchasing and using the D800, I was using Olympus E-5 cameras (still use them). Olympus E-5 has a fully articulating LCD screen. Having this fully articulating screen was and is very convenient, as I often take shots with strange angles, especially low to the ground. Most of the semi-pro DSLRs (just about all brands) do NOT have articulating screens. The absence of this functionality on semi-pro and pro cameras actually infuriates me, because it significantly limits the artistic ability of the photographer. Why do I have to get down either on all fours or my stomach or in a crouching tiger position in order to get the shot I need? Please, put articulating screens on these cameras! So when I got my D800, I was searching for a long time for a device that could “replicate” the articulating screen of my E-5s. There are many various add-ons available, but all add significant bulk to the camera, require separate batteries and seem very cumbersome. Most of my photography is done in an external, non-studio environments, so I try to limit the bulk of my equipment.
Being at the right place at the right time is usually associated with happiness and success. But what happens when we are at the right place at the wrong time? Do we even know that this is the right place? And what if it turns out that it is the wrong place after all? But the right time!
What’s the BEST Lens for Wildlife Photography? If I had a nickel for every time I was asked this question, I could retire. It’s a very common and extremely valid question to ask. And to cut right to the chase, there is no one or right answer to this question. And that’s for many reasons from you, the photographer to the subject and most importantly, to the story you want to tell with your photograph. But there is a focal length that gets used over and over again and I feel is the best one to start with.
When using Lightroom, you might be wondering why the highlight recovery between different camera models allows for different room. Given the “color of light” (light source color temperature and tint) is the same, the highlight recovery difference depends primarily on baseline exposure compensation applied to a raw file when it is opened in Adobe raw converters (Adobe Camera Raw, ACR; or Lightroom, LR). This baseline exposure compensation is applied behind the scenes, the exposure compensation slider after the file is opened stays at zero. This is Adobe’s way to equalize cameras.
I guess today is a “blow your mind” Friday, because we have a guest post here by Iliah Borg, the person behind the RawDigger software that is used to analyze RAW images. I had a chance to engage in a conversation with Iliah when discussing the noise performance of the Nikon Df, where he not only proved me wrong on my assumption that the Df had exactly the same sensor as the D4 (turns out that they are similar, but not exactly the same), but also shared some incredible information about testing procedures, data analysis and other crazy, mind-boggling stuff! The learning curve with photography never ends, especially when you get into the whole sensor and image processing pipeline side of it. I must warn our readers though – the below article is very technical and is not intended for beginners! Hope you enjoy it! Nasim.
Here in California, we do not have the autumn hues to rival New Hampshire or Colorado. Nevertheless, the Sierra Nevada mountain range attracts a good number of photographers and seekers of fall colors every autumn. Yosemite Valley, situated on the western slopes of the Sierras has its own display, thanks to the Black Oaks, Maple, Cottonwoods and Dogwoods, which flourish here. Apart from these, there is the famous Elm tree in Cook’s meadow, which in peak color offers a memorable light show at sunrise and I believe it to be the most photographed Elm in the world.
Photographic photo papers are designed to produce a high quality image in an effort to best reproduce the photographed object. How good or bad the paper is at meeting this objective will depend on the type of printer, type of ink and of course the subject of this guide; the type of photo paper. In this guide we will explain the various considerations to take into account when evaluating your options.
Like any event photographer, most of my wedding shots are of people, i.e. the bride, the groom and their guests. This, after all, is what a wedding is all about and what people mainly want to see when they open a wedding photo album. Weddings, though, are always packed full of other visual details besides the people. So much time is spent in preparation to make a wedding look beautiful that it would be a shame not to preserve some of this in the album. I find that sometimes the best way to achieve this is to make these details the subjects of some of my photographs, even if this means leaving people out of some shots completely.
As a photojournalist for 25 years and shooting for much longer, I may have a different or expanded definition of what a portrait is, and what it takes to produce them. There are genres of portraiture, of course, such as: editorial, corporate, commercial/retail, documentary or candid, and illustrative portraits. With some you exercise almost no control (e.g., William Albert Allard), and with others almost total control (e.g., Annie Leibovitz). There is no right or wrong answer … the photographer chooses their style! There are many photographers whose portraits I love, and not all of them are pure portrait photographers. Allard is a documentary photographer, but his found portraits are wonderful. Annie L. imposes her will on her subjects, but the results are fascinating and something I’d love to be able to do. If I were to pick my top 3 pure portraitists, it might be Arnold Newman, Gregory Heisler, and Annie L, in no special order. I went back and read my Arnold Newman’s “One Mind’s Eye” the other day, and was struck by how many of his images don’t use “perfect” light by today’s standards, but so many are amazing. This one, of Igor Stravinsky, is still one of the most brilliant photo portraits ever taken, I think. It’s interesting to know that Greg Heisler was one of Newman’s last assistants.