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Canon drops flagship EOS-1v film body and projects end date for repairs

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May 31, 2018 at 10:33AM

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Feel The Frustration! Astronaut Discovers He’s Forgotten the Camera’s SD Card While on Spacewalk

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Space: The final frontier for making rookie photography mistakes.

It happens to the best of us.

You get ready for a big day of shooting with your camera and you find out at the last minute that you’ve forgotten a critical piece of gear and it sets you back or even ruins the outing.

Well, don’t feel so bad – the same thing just happened to astronaut Drew Feustel when he took his GoPro for a spacewalk only to discover he had forgotten his SD Card.

Feustel, a flight engineer aboard the International Space Station, discovered he had forgotten the card when went to take some shots of outer space only to find he couldn’t in an embarrassing lapse caught on camera while the astronaut was communicating with Houston back on Earth.

Of course, the GoPro camera Feustel is using is clad in protective casing to keep it safe from the harsh environment of space but, as Digital Rev points out, without an SD Card it really is just a glorified viewfinder. Feustel was going to take some epic pictures while he was out on a routine maintenance mission for the space station. We're sure that's a highly technical affair so his mind might have focused itself on other things, needless to say.

Cameras and space travel have had a long history together, with the relationship between Nikon and NASA going all the way back to 1971. We reported last year on a huge order of Nikon D5 DSLRs going to space, 53 to be exact. These cameras were delivered to NASA without modifications by Nikon but will likely undergo extensive reworking by NASA to tailor the devices to the agency’s needs.

If you would like to watch the moment Drew Feustel discovers he has left his SD Card back inside the International Space Station, you can do so by clicking here to view it here on YouTube.

The post Feel The Frustration! Astronaut Discovers He’s Forgotten the Camera’s SD Card While on Spacewalk appeared first on Light Stalking.

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May 31, 2018 at 10:00AM

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TIME’s Latest Cover Photo is a Drone Photo of 958 Drones

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TIME magazine’s latest issue is a special report on the rapid explosion of drones in our culture. For the cover photo, TIME recreated its iconic logo and red border using 958 illuminated drones hovering in the sky. It’s the first-ever TIME cover captured with a camera drone.

To create the photo, TIME partnered with Intel’s Drone Light Show team (which creates beautiful sky displays using hundreds of drones at a time) and Astraeus Aerial Cinema Systems to fly and capture (respectively) the 958 drones above Folsom, California (where Intel has a campus).

The project was one of the biggest drone shows ever done in the United States — it’s a display measuring 100 meters (~328 feet) tall:

Here’s a 13-second video in which a camera drone flies through the cover in the air:

And here’s a 4.5-minute behind-the-scenes video showing how the one-of-a-kind photo shoot was done:

The display was actually filmed with a cinema camera on the Astraeus-flown drone, and the cover photo was a still frame extracted from the footage.

The cover can be found on the June 11, 2018, issue of TIME, which will hit stands on June 1st.

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May 31, 2018 at 09:52AM

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Yongnuo Unveils 50mm f/1.4 II Lens, Replacing Its Canon Clone

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Now that Yongnuo is more established as a third-party lens maker, the company is slowly distancing itself from the lens designs it copied from Canon lenses early on. In addition to replacing its original 50mm f/1.8 “Nifty Fifty” clone, Yongnuo is now also updating its 50mm f/1.4 clone with a new YN50mm f/1.4.

The new autofocusing Yongnuo YN 50mm f/1.4 features a 7-blade aperture for “beautiful soft blurred backgrounds [with] circular defocused spots as well as 14-star effect if you stop down the aperture,” Yongnuo says. The company has been emphasizing bokeh quality as a strength of its lenses — its new 50mm f/1.8 II has what Yongnuo calls “Super Bokeh.”

As with Yongnuo’s other new lenses, the new 50mm f/1.4 II features a USB port that lets you update the lens’ firmware without any additional dock.

The lens also boasts live view focusing, Yongnuo says. “When Lv mode is on, this lens can focus from special angles, or focus precisely from the broadened view on the display screen.”

Other features of the YN 50mm f/1.4 II include an electromagnetic aperture (supports M/Av/Tv/P/B shooting modes), glass optics, multilayer coatings for increasing light transmittance while controlling ghosting and glare, gold-plated contacts, a durable metal mount, and a focus distance indicator.

The new Yongnuo 50mm f/1.4 II can be found through places like Amazon for $199 when it’s in stock for Canon EF mount cameras. No word yet on what other mounts it will be available for.

(via Yongnuo via Photo Rumors)

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May 31, 2018 at 09:17AM

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There are three fundamental settings in landscape photography: the ISO, Aperture and Shutter Speed (known as the Exposure Triangle). While all of these are equally important to understand in order to create technically correct images, there’s one that’s extra important when it comes to an image’s visual impact. Adjusting the shutter speed makes a big difference and is often what can make your image stand out from the crowd.

Choosing the ideal shutter speed is not an easy process though. There rarely is a single correct shutter speed but there certainly are scenarios that benefit from a specific one. In this article, we’ll look at a few different scenes and how the shutter speed affects each of them.

Working with Fast Shutter Speeds

The easiest shutter speed to work with is a fast one. Working with fast shutter speeds doesn’t require a tripod and you can easily photograph subjects that quickly pass by. This is also the most common choice for most beginning photographers as it doesn’t require much effort (and most auto functions choose a relatively fast shutter speed).

Below you have a typical example of when you need to use a fast shutter speed. In order to freeze the motion of the deer, I had to increase the shutter speed to 1/320th of a second. Had the deer been moving at a higher tempo I would have to increase the shutter speed even more to avoid any motion blur.

Photographing animals is not the only time where you should use a fast shutter speed though. In the image below, I used a shutter speed of 1/1600th.

Why did I use such a quick shutter speed for that scene? By the looks of it, the water is quite still, there are no moving subjects and there’s still enough light to use a slightly slower shutter speed, right? Yes, however, this shot was taken from a boat and even though the waters were relatively still, I needed a very quick shutter speed in order to freeze the scene without any blur from camera movement.

Use the ideal settings not perfect ones

Had I been standing on land, I could have easily used a slower shutter speed and achieved a similar look. In fact, the overall quality could have been even better as I could have used a lower ISO and an ideal aperture. However, the purpose of photography isn’t to always have the perfect settings; it’s having the ideal settings that allows you to get the shot within the given conditions. The most important is to actually capture the image.

For too long I was too focused on always having the perfect settings. The truth is that this often leads to missing the shot as you focus too much on the technical aspect rather than working with the conditions you’re given.

For example, using a slower shutter speed when standing on a boat (such as in the image above) would have led to the icebergs being blurry due to the motion. What would you prefer? A blurry picture which is “technically” perfect, or a sharp picture that doesn’t have the technically perfect settings?

Before we move on to slower shutter speeds, let’s look at a few more scenarios where a fast shutter speed is recommended:

• When photographing handheld.
• Photographing quickly moving subjects.
• When aiming to freeze motion.
• When photographing from a vehicle.

Working with Slow Shutter Speeds

In landscape photography, the difference between slow shutter speeds is much bigger than between fast shutter speeds. While you won’t see a huge difference between 1/320th of a second and 1/640th of a second (in most cases) you may see a big difference between 10 seconds and 60 seconds. Because of this, I’ll split this section in two parts: less than 30 seconds, and more than 30 seconds (Bulb Mode).

The definition of a long exposure is somewhat vague but in my Ultimate Guide to Long Exposure Photography eBook, I describe is at the shutter speed where you no longer can capture a sharp handheld image. Typically, this is in the range of 1/50th of a second, depending on your camera and focal length (a longer focal length requires a quicker shutter speed to capture a sharp handheld image than a wide-angle).

Shutter speeds up to 30 seconds

While the difference between a 1 second and 30-second shutter speed is big, it’s more natural to put these together in one section to keep this easier to follow. Still, I’ll try to break it up a little to give you an idea of which shutter speeds you should experiment with in different situations. Again, there’s no correct choice and it often comes down to your preference and the tools you’ve got to work with.

When photographing beaches and seascapes where waves are crashing onto the shore or forming around rocks, I often work with a shutter speed of 0.5-1 second. I find that this creates a nice blur in the water while still keeping enough texture. A slower shutter speed such as 8 seconds blurs the water but not enough to give it the “silky” effect you often see with long exposure photography (we’ll come back to that in a bit).

This also applies when photographing waterfalls and rivers. I tend to use a semi-slow shutter speed rather than an ultra-slow shutter speed when working with these scenes, as I prefer to keep some textures in the water.

As you lengthen the shutter speed you’ll see that moving elements become more and more blurry. In the image below, I used a shutter speed of 20 seconds to blur the water and give some motion to the sky. If you look at the clouds, you can see that they have been moving and it’s starting to have the “dragged sky” effect.

Keep in mind that the speed of the clouds determine how slow the shutter speed needs to be in order to pick up this motion. When clouds are moving quickly you can pick up their motion even with a shutter speed of 5-10 seconds, but to really get the “dragged sky” effect you often need to use a shutter speed (or exposure time) longer than 30 seconds.

Shutter speeds longer than 30 seconds (Bulb Mode)

In order to achieve a shutter speed longer than 30 seconds you most likely need to activate Bulb Mode.

When I first got into long exposure photography and purchased my first 10-Stop ND filters, I immediately got hooked on these ultra-slow shutter speeds. I’ll admit that I don’t do as much of it anymore (as it rarely fits with the vision I have for most locations) but it’s certainly a lot of fun to play with.

The main reason to use a shutter speed longer than 30 seconds for landscape photography is to achieve the “dragged sky” effect and to completely blur out moving elements such as water. It can also be a good way to remove people from your images (if they walk around during your 2-3 minute exposure they most likely “disappear”).

For the image above I used a shutter speed of 180 seconds. As you can see, this has completely blurred the water and the sky is dragged across the frame.

Conclusion

Working with longer exposures can be a lot of fun but it’s not something that’s always beneficial. For example, when photographing a scene that doesn’t have any moving elements (and no clouds), there’s no need to use an ultra slow shutter speed, as it will most likely look exactly the same with a slower one.

So knowing how to select the best or most appropriate shutter speed takes practice, and comes down to what you want to achieve in your image.

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For more information about this and other aspects of this type of photography, check out my Ultimate Guide to Long Exposure Photography eBook,

The post Working with Different Shutter Speeds for Landscape Photography appeared first on Digital Photography School.

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May 31, 2018 at 09:07AM

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Review: Peak Design Capture Clip V3

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May 31, 2018 at 08:07AM

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Are You Traveling To Germany? Here Is A Photographer’s Guide To Cologne

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Set on a wide sweep of the River Rhein, Cologne like many German cities was heavily bombed during World War Two. Also like may German cities a lot of the old sections were carefully and realistically rebuilt, while other areas gave birth to more post-modern looking architecture.

The end result is an eclectic looking city. Despite this, perhaps because of it, Cologne makes an interesting destination for photographers. The wide expanse of river affords excellent views for cityscapes, while the narrow streets of the old town are great for street and candid photographers.

Today we are going to take a look at what to shoot in Cologne.

Getting There

With an international airport a few kilometres from the city centre and a well served central train station, Cologne is an easy destination to reach from most parts of Europe. Budget airlines such as Wizzair serve the city from multiple locations.

From further afield direct flights into Frankfurt and a three-hour train ride will bring you to the heart of the city.

Like most German cities, Cologne is well served by local transport. Overground trains, the S-Bahn and a light railway U-Bahn allow you to get around the city easily. However, the centre of the city is compact enough to get around on foot.

The Iconic Locations

Arguably the icon of the city is Cologne Cathedral. It stands high and proud in a relatively low-level city and can be photographed from numerous locations.

Getting up close and personal some great shots can be had from Roncalliplatz to the south of the structure. This modern plaza contrasts sympathetically with the gothic spires of the cathedral. The entire cathedral is surrounded by a modern plaza and also numerous artworks which can be used as a juxtaposition to the building.

Surrounding the cathedral on the south and west is the Museum Ludwig and Kolner Philharmonie both housed in the same modern building.

Shooting from the pedestrian path beside the river gives a great contrast between the ultra modern and the ancient. From the riverbank, on both sides of the Rhein, you can shoot another of Cologne’s icons, the Hohenzollernbrucke. This is a multi-arch, multi-tracked railway bridge that spans the Rhein in front of the Cathedral. 

Perhaps the most famous shots of Cologne are taken from the East bank of the Rhein beside the Hohenzollernbrucke and incorporating the Cathedral on the opposite bank.

The best location is on the viewing platforms to the side of the bridge and the best time to shoot is during the blue hour when both the bridge and cathedral are spectacularly lit.

The bridge itself has a wide pedestrian walkway with hundreds of thousands of love locks adorning the frame. On summer’s evening, this is a great location for shooting people and silhouettes looking back towards the cathedral.

Back on the west bank of the Rhein, the area south of the cathedral is the restored old town of Cologne. Featuring colourful Hanseatic style architecture and pretty squares this is a great place to wander with your camera at any time of day.

Its centrepiece is the Catholic Church of St Martin, which is best shot from the pretty park on the riverbanks.

Just South of the old town is the modern Deutzer Bridge. In itself nothing spectacular but from it, you can get some excellent cityscape shots that incorporate the old town, St Martin and the Cathedral.

Dawn is a good time to shoot here as the sun rises behind you casting a soft yellow light on the pastel shades of the old town.

Just south of Deutzer Bridge is Rheinauhafen. This is the renovated dockland area and will appeal to photographers of modern architecture where canyon like buildings provide a contrast to the architecture of the old town.

North of the city on the west bank of the Rhine is Skulpturenpark. With free admission, this pretty park is a great place to shoot modern works of art from people such as Anish Kapoor.

Further Afield, Cologne’s location makes it ideal for trips to other Rhein cities. The nearest is Dusseldorf to the north and Bonn to the south, both worth a photographic trip if you have a longer stay in Cologne. 

Like many German cities, Cologne is a heady mix of the old, the restored and the ultra-modern. While not as photogenic as nearby cities such as Paris and Amsterdam it is still a place well worth visiting as a photographer.

Cityscapes, architecture and street photographers will all enjoy what this western German city has to offer. 

The post Are You Traveling To Germany? Here Is A Photographer’s Guide To Cologne appeared first on Light Stalking.

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