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Flash made easy: Two portrait photographers try out Canon's 470EX-Ai smart flash https://ift.tt/2FMgQRe Flash made easy: Two portrait photographers try out Canon's 470EX-Ai smart flashPublished Nov 28, 2018 | Sponsored content, created with the support of Canon and Amazon VIDEO Canon's new Speedlite 470EX-Ai flash is designed to do the hard work for you, automatically repositioning itself for the best results. In this video we gave the 470EX Ai to two portrait photographers - John Keatley and Chelsea Miller, to see what they thought. John is a professional studio photographer, whose usual setups involve multiple external strobe lights. Chelsea, meanwhile, is a self-described 'natural light snob'. Watch our video to see how they got on with Canon's smartest accessory yet. This is sponsored content, created with the support of Amazon and Canon. What does this mean? Many cameras today include built-in image stabilization systems, but when it comes to video that's still no substitute for a proper camera stabilization rig. The Ronin-S aims to solve that problem for DSLR and mirrorless camera users, and we think DJI has delivered on that promise. The SiOnyx Aurora is a compact camera designed to shoot stills and video in color under low light conditions, so we put it to the test under the northern lights and against a Nikon D5. It may not be a replacement for a DSLR, but it can complement one well for some uses. At its core, the Scanza is an easy-to-use multi-format film scanner. It offers a quick and easy way to scan your film negatives and slides into JPEGs, but costs a lot more than similar products without a Kodak label. No Nikon camera we've tested to date balances stills and video capture as well as the Nikon Z7. Though autofocus is less reliable than the D850, Nikon's first full-frame mirrorless gets enough right to earn our recommendation. Nikon's Coolpix P1000 has moved the zoom needle from 'absurd' to 'ludicrous,' with an equivalent focal length of 24-3000mm. While it's great for lunar and still wildlife photography, we found that it's not suited for much else. A question frequently asked on the Internet is 'what's the best DSLR?' In this buying guide we've answered that question – but also whether it's the right question to be asking in the first place. What's the best camera for under $500? These entry level cameras should be easy to use, offer good image quality and easily connect with a smartphone for sharing. In this buying guide we've rounded up all the current interchangeable lens cameras costing less than $500 and recommended the best. Whether you've grown tired of what came with your DSLR, or want to start photographing different subjects, a new lens is probably in order. We've selected our favorite lenses for Sony mirrorlses cameras in several categories to make your decisions easier. Whether you've grown tired of what came with your DSLR, or want to start photographing different subjects, a new lens is probably in order. We've selected our favorite lenses for Canon DSLRs in several categories to make your decisions easier. Whether you've grown tired of what came with your DSLR, or want to start photographing different subjects, a new lens is probably in order. We've selected our favorite lenses for Nikon DSLRs in several categories to make your decisions easier. Photography News via Dpreview https://ift.tt/i0r8o5 November 28, 2018 at 01:37PM
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DJI announces the Osmo Pocket 'the world's smallest 3-axis gimbal' that shoots 4K60p video11/28/2018
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DJI announces the Osmo Pocket, 'the world's smallest 3-axis gimbal' that shoots 4K60p video https://ift.tt/2KHpVt8 DJI has announced the DJI Osmo Pocket, the world's smallest three-axis stabilized camera. 'Designed to be incredibly easy to use, Osmo Pocket offers a host of intelligent features to help capture creative videos and photographs in a portable form factor,' reads the press release for the Osmo Pocket. The camera features a 1/2.3" sensor that captures 12-megapixel photographs and 4K60p video at 100Mbps. It can also capture slow-motion footage at 120 fps when shooting 1080p. Audio is recorded with two buiilt-in microphones (one on the bottom of the camera and one on the rear of the camera) that feature noise-cancelling technology for reducing unwanted background noise. To compose shots, review media, navigate the menu, and select the various shooting modes DJI included a 1" integrated touchscreen onboard the Osmo Pocket. The integrated shooting modes include ActiveTrack, which tracks a subject within the frame; FaceTrack, a more advanced version of ActiveTrack that will follow a particularly persons face when visible; Timelapse & Motionlapse, modes that speed up time and integrate motion into timelapse videos; FPV Mode, a locked shooting mode that follows the movement of the users hand while keeping the footage steady; and Panorama modes, which enables the capture of multiple images for stitching together in post-production. For times when the onboard screen isn't enough — and to unlock a slew of other features — users can also attach a mobile device using the onboard USB Type-C port. Using the included adapters, Android and iOS mobile devices can be connected to the DJI Osmo and operated with the dedicated DJI Mimo app. In addition to live-view and image review, DJI Mimo also adds Story Mode and Pro mode. Story Mode simplifies the process the entire shooting process by offering ten templates that automatically control the camera movement and include music, transitions and color grading presets in post-production. After shooting is finished, the DJI Mimo app constructs an entire video that's ready to share. Pro Mode, which is available on numerous other DJI products, gives complete control of almost every camera setting imaginable. As its name suggest, it's oriented more towards professionals, but when auto modes just aren't enough, Pro Mode is there to fill in the gaps. The DJI Osmo Pocket battery life is rated for two hours when shooting 4K30p video. The battery is built-in, so there's no swapping out batteries on the fly, but it's possible to charge on-the-go with an external battery pack. DJI has also announced a range of nine accessories for the Osmo Pocket to expand creative possibilities: • Accessory Mount - The accessory mount makes Osmo Pocket compatible with action camera accessories so you're able to capture your adventure footage, such as when mounted on a helmet, backpack or your wrist. The DJI Osmo Pocket retails for $349 and is available for pre-order at DJI.com and through other DJI Authorized Retailers, including B&H and Amazon. Photography News via Dpreview https://ift.tt/i0r8o5 November 28, 2018 at 01:16PM
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This Video Shows an Untethered Hang Glider Hanging On For Dear Life https://ift.tt/2DPMHhh There are action shots in movies, and then there’s this video that will give you sweaty palms. A camera mounted on a hang glider captured what happened when a man suddenly realized that his safety harness wasn’t attached to the glider. It was a 2-minute-long white-knuckle ride 4,000 feet in the air. American Chris Gursky was visiting Switzerland when he decided to experience hang gliding for the first time. Before launching from a high hilltop, however, the instructor in the tandem flight failed to attach Gursky’s safety harness to the glider. Only after launching into the air did the duo suddenly realize that Gursky was completely untethered and hanging on with only his hands. And despite the instructors best efforts, the glider had no place to land for over 2 minutes, during which it flew higher and higher until reaching a reported 4,000+ feet. Gursky gripped the steering bar as hard as he could with his left hand while searching about with his right hand in an effort to find a good grip on the instructor’s body and harness. He held on just long enough for the instructor to get low enough for a bumpy end to the terrifying flight. “The landing was a rough one, but I lived to tell the story,” Gursky says. He fractured his wrist in his fall to the ground, but he otherwise escaped serious harm and death. (via Gursk3 via Steve’s Digicams) Photography News via PetaPixel https://petapixel.com November 28, 2018 at 12:54PM
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There’s Now a Museum of Selfies in Hollywood https://ift.tt/2Q3tO1J The word “selfie” has exploded into mainstream culture over the past decade as more and more people around the world shoot and share self-portraits using their smartphone’s front-facing camera. And now the selfie has just unlocked a new achievement: it has its own museum. The Museum of Selfies has opened in Hollywood, California, and it’s designed for anyone who wants to immerse themselves and their cameras in the popular cultural phenomenon. Inside the museum are many interactive exhibits that allow you to “create eye-popping selfies” (and non-selfie portraits). There are also exhibits containing selfie-related art and “mind-blowing” selfie facts. Oh, and unlike the trend with other museums around the world, the Museum of Selfies encourages you to bring and use a selfie stick. “Whether you’re a selfie lover or a selfie hater, after a visit to the Museum of Selfies in Hollywood, you’ll never see selfies the same way again!” the Museum says. The museum originally opened as a pop-up in Glendale, California, before finding a permanent home in Hollywood. You can visit the museum on Hollywood Boulevard seven days a week, and tickets cost $20 for kids and $25 for adults. Photography News via PetaPixel https://petapixel.com November 28, 2018 at 12:19PM
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One of my favorite photographers, Ernst Haas, said we should seek inspiration from anywhere and everywhere. Listening to music, looking at paintings and sculptures, and reading books feeds your imagination more profoundly than just looking at the work of other photographers. I think this is true. Exploring the work of a painter I love is as enriching to me as exploring a new city at sunrise. Similarly, wandering through a forest and photographing the sunlight filtering through the trees. Our minds are hungry beasts. We think around 60-70,000 thoughts every day, with the majority of them being the same thoughts we had yesterday (and the day before). That’s scary. You can see how easy it would be to live life on autopilot. We can choose to think the same thoughts as yesterday, or we can feed our minds with new ideas – be they visual, sensory, words or music. One artist who has inspired me with his work and ideas is Pablo Picasso. When he spoke about the artistic process, he articulated many of my core beliefs about taking photos. He reminded me of the most exciting and essential elements of living a creative life. In the busy-ness of life, I so often forget. Today I’d like to share some of Picasso’s ideas that are incredibly inspiring and impactful on any photographic journey. 1. “Art washes away from the soul the dust of everyday life.” – Pablo PicassoThis quote of Picasso’s sums up why I dedicated my life to photography. Why I let it be almost everything that I am. There is something about photography that deeply stirs my soul. I feel more alive while taking photos than I do with most other things. Playing with my kids or talking to my teenage son deep into the night about challenges he faces, brings a similar feeling of purpose. However, very little else matches the feeling I get in the act of creation. Photography is a life-affirming pursuit. It makes me feel I am not just skating on the surface of life – rushing to and fro, writing emails and filling in forms. Of course, there is nothing wrong with either of those activities, but do they really make you feel alive? We all have to live and do necessary mundane tasks. But, we can also commit to making a vast amount of space in our lives for things that create deeper satisfaction in ourselves. 2. “Inspiration does exist, but it must find you working.” – Pablo PicassoThis quote of Picasso’s is a testament to say: take photos even when you’re not in the mood, even when you’re only getting rubbish images. The only way to get that fantastic image is to keep going. You never know when the light may dramatically change, making the scene before you look eerily beautiful. Alternatively, an intriguing stranger might walk past doing something peculiar! Even though I am a professional photographer, I sometimes suffer from procrastination as much as the next person. I intend to go out shooting but get distracted by my kids or get too tired after a heavy meal. I realize if I’m not out there, I’ll never know what experiences, and then what photos, I’m missing. That seems like an insane waste of life. Keep going. Continue searching for that great scene, interesting person, or a beautiful landscape. Whatever it is that floats your boat, go and find it. 3. “Art is the elimination of the unnecessary.” Pablo PicassoI look at thousands of photos on my workshops. One thing I see regularly is people making images too complicated. When your images are too complex, you are not defining your subject correctly. There’s a myriad of compositional ideas you can use to help define your subject. For example, Rule of Thirds, creating clean backgrounds for your portraits and breaking the world down into elements. The overarching concept in all of these ideas about composition is to eliminate all that is unnecessary. Photography is a process of choosing what to put in the frame, and what to take away. It is wise to make your composition, then look and think. What isn’t working here? What do I need to remove? For example – one common mistake many photographers make is not checking their corners. It’s amazing how often people spend so much time composing their subject, but not checking all around the frame, especially the corners, to see that everything within it should be there. Therefore, creating images is not just – ‘what do I put in the frame?’ But also – ‘what do I take away?’ 4. Creating Feeling Within Your Images
The same is true for photographers. You can photograph any number of things, and it looks entirely real. However, what does it feel like when you look at your photograph? It is all too easy to just document, without creating any sense of what it feels like to be in that hot and humid city, to look at that face, to feel the textures of the buildings you are capturing. Photographing a cold winter’s morning is simple. Nevertheless, to translate the feeling of what it would feel like to stand in a misty field, with cold biting your face and a deep feeling of eeriness as fog rolls in across the land – that is another skill entirely. Ultimately, the success of any photo is whether it creates an impact for your viewer. The only question you need to ask is, ‘does this image invoke a feeling?’ It’s not just what we see that creates an impact, but the feeling that is created within our bodies when we see something that we love, dislike, or invokes joy, or sadness. Feelings are what we remember. Images have no sense of feeling are instantly forgettable. 5. “I am always doing that which I can not do, in order that I may learn how to do it.” – Pablo PicassoOne of the things that surprised me about being a parent is how quickly young children latch on to the idea, ‘I can’t do this now, so I’ll never be able to do it.’ Once you have allowed that thought into your mind, it can quickly mushroom until you are utterly convinced that you can’t do something. Never, ever. I see it in my children, and I see it in 70-year-old clients who come to my workshops. I have to say that, ‘I can’t do this, so I’ll never be able to it,’ is one of the most destructive ideas for your photography. Of course, the technophobe might never become the most skilled camera person alive. In contrast, they can overcome their self-perception and become competent and confident with their cameras. I see proof of this regularly. One of the most exciting ideas I have noticed coming out of the science community in recent years is the idea of Neuroplasticity. Instead of the old belief that our brains become ‘fixed’ and unchangeable as we enter into adulthood, we now understand that brains are completely changeable. In fact, at any point in life, one is able to totally rewire thoughts and beliefs we hold about ourselves.
Think of all the things you believe you can’t do with your photography, and go out and challenge those beliefs. If you believe you can’t do street photography, but would secretly love to try it, do it! If you think you’ll never master manual mode, read up on it. Go out as often as you can. Make a ton of mistakes. You’ll get it eventually. If like me, you think, ‘I’m not a nature photographer, but I’d love to try it,’ go and spend time in nature. Experiment, play and try new things. As long as you approach the world with the attitude of ‘I can,’ you probably will. 6. The World is Rich With Ideas
Of course, photography starts as a technical exercise. You need to use a machine, often with a little computer in it. Fully get to know the machine you are using. At least to the place where you are comfortable. Photography is a union of the technical and the creative. The creative part of photography comes from an ethereal place within you that is unique. Your creative vision flows from everything that has made you who you are – your experiences, your life, what you love and what you detest. It also comes from the world around us; from the feeling of history we experience when we walk through old city streets; from the awe of looking at a majestic five hundred-year-old tree. The world isn’t a flat surface. Everywhere we look we see the ‘moment;’ the weather; the time of day. We also know that in a few hours everything we are currently seeing can change. Most people are so locked in their minds and focused on themselves that they don’t open themselves up to the mysteries of the world. There are stories and ideas all around us that can inspire us in our photography, can provoke new ideas and adventures for us. All we have to do is pay attention and commit to the awesome power of photography. 7. “Only put off until tomorrow what you are willing to die having left undone.” – Pablo PicassoThe older I get, the more I feel like I need to demand of myself. That by the end of each day I want to be profoundly and truly satisfied. Not just to be content, or to have my to-do list full of check marks. I want to have created something. Something that is entirely my own. A creation that no one else could have, because they are not me. Photography gives us that, and I love that it does. It can give us opportunities to see, feel and experience more of the world. Without photography, life would not be anywhere near as rich and meaningful as it is. When faced with either sleep or the chance to catch an amazing sunrise – I get up to photograph the sunrise. Our lives are speeding along and, although we are aware of this, we become complacent. In a subconscious part of ourselves, we truly believe we live forever. The possibility of not existing doesn’t seem right. Our time on this planet is finite. If we acknowledge that we are organic beings, it can motivate us to demand more of what we truly want from our lives. For me, it’s exploring and taking photos. It’s creating art and sharing it with others or showing people what beautiful things I see all around me. Of course, your photography journey is different from mine. You may record the breathtaking journey of your children from babies into adulthood or documenting the joyous color of flowers. Alternatively, you may be climbing snowy mountains and showing the world the awe-inspiring landscapes you witness. You may be documenting the strange and humorous things we humans do when out in the world, inhabiting our little bubbles as we move around the streets, unaware of the world watching us. There are so many ways to be a photographer. So many things to document, explore and see. Follow your own path. Just be open, and inquisitive. Look around you and open your mind to everything you don’t usually notice. By showing yourself and others what you see in this world, you open up other people’s perspective of the world around them. You take them out of their hectic bubble – full of the 24/7 news, the list of things to do, the emails and daily demands of daily life. You give them a gift of seeing — a gift of taking a moment to stop and stare in awe at what the world has laid out before us. It’s a pretty exciting, amazing and incredibly life-enhancing pursuit taking photos. Have these ideas fed your creative soul? If they have helped you demand more from your photography, and to take more time out of your life to commit to this fantastic pursuit, let me know below. It’s always great to hear from you. The post 7 Things I’ve Learnt About Photography From Pablo Picasso appeared first on Digital Photography School. Photography via Digital Photography School https://ift.tt/29wB9CX November 28, 2018 at 12:04PM
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Then-and-Now Photos Reveal How San Francisco Has Changed Over a Century https://ift.tt/2KFTWts Want to see how the city of San Francisco has transformed over the past century? Here’s a neat set of then-and-now photos showing old shots of The City by the Bay next to modern pictures shot in the same locations. The series was created by the travel company Orbitz, which gathered historical photos from OpenSF History and the San Francisco Public Library. The present-day photos were captured in October 2018 by San Francisco-based photographer Niall David. Golden Gate Bridge: 1982City Hall: 1913Old St. Mary’s Cathedral: 1900Lombard Street: 1922Flood Building: 1904Hyde Street Pier: 1975Chinatown: 1910Haight Theater: 1948Transamerica Building: 1911Sentinel Building: 1915Photography News via PetaPixel https://petapixel.com November 28, 2018 at 11:28AM
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COOPH photo vest features smartphone-controlled heating system https://ift.tt/2PZKt6m If you appreciate the practicality of a photo vest but aren't really into the beige or khaki safari design of most traditional models, the new COOPH photo vest might be worth a closer look. The vest features a more modern reversible padded design and comes in several color options. There are plenty of storage options for gear, accessories and smaller lenses. COOPH also says the vest is easy to fold and carry when not worn. The outer material is a rip-stop fabric and sheep wool is used for insulation. Despite the attractive design touches, the vest's real highlight feature is smartphone controlled built-in heating. The optional THERM-IC Heating System warms the hand pockets and heats kidney, back and stomach regions. It is compatible with any 5V USB power bank and can be used as a simple "dumb" heating system. However, if you add the THERM-IC bluetooth dongle into the mix, it becomes smartphone-controllable. A dedicated app lets you control the temperature and a motion control mode provides more heat when you are static and reduces power while you are moving. An eco mode delivers a constant level of heat for best energy efficiency. COOPH claims an approximate five hours runtime with its own THERM-IC 5200 mAh battery. Vest and heating system (including battery and dongle) are available as a bundle for approximately $440 (389 Euros). More information can be found on the COOPH website. Photography News via Dpreview https://ift.tt/i0r8o5 November 28, 2018 at 11:23AM
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Sony: We Could Make f/1.0 Lenses, But Photographers Don’t Want That https://ift.tt/2QqZ7CR Compared to companies like Canon and Nikon, which produce f/1.2 and even f/1.0 full-frame camera lenses, Sony’s E-mount lenses max out at f/1.4. But it’s not that Sony can’t match the faster lenses on the market — it just doesn’t see a need to. Amateur Photographer just published an interview with Sony Digital Imaging Business group Senior General Manger Kenji Tanaka, who shares thoughts on the current landscape of mirrorless cameras. When asked whether Sony could come out with an f/1.0 lens on the E-mount, Tanaka states that it’s possible from a technical point of view but unwise from a business point of view. “Yes we could, but there is no market demand,” Tanaka says. “Maybe some demand exists for an f/1.2, but an f/1.0? Technically we could produce an f/1.0, but it would not make business sense.” This statement from Sony’s camp comes just days after Nikon went on the record to say that its giant Z-mount could technically accept lenses as fast as f/0.65. But as with Sony’s view on f/1.0 lenses, there’s presumably near-zero demand for a Nikon f/0.65 lens and the size, weight, and cost that would undoubtedly come with it. And Sony isn’t impressed with Nikon’s oversized lens mount, despite Leica’s recent claims that Sony’s smaller E-mount wasn’t originally designed to support full-frame lenses. “The diameter of lens doesn’t matter,” Tanaka tells Amateur Photographer. “Honestly speaking it is very difficult to create a small size mount. But the quality of our new 400mm f/2.8 is better than the competitors. That means the diameter of the mount is not critical for our foremost lenses.” Nikon, on the other hand, says its Z mount is designed to be futureproof for the next 100 years of photography and that it opens the door to wider-aperture lenses such as the upcoming flagship NIKKOR Z 58mm f/0.95 S Noct. (via Amateur Photographer via sonyalpharumors) Photography News via PetaPixel https://petapixel.com November 28, 2018 at 11:01AM
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Making a Conceptual Photo of the Man Who Controls Day and Night https://ift.tt/2P99tTg Swedish photographer and retoucher Erik Johansson has created a new conceptual photo titled “Daybreaker,” which shows the man in charge of controlling the transitions between day and night. Johansson is also sharing a behind-the-scenes look at how he put both day and night into one photo. “The idea behind this particular image was to create a place where persona controls the day and night,” Johansson tells PetaPixel, noting that the idea is similar to his popular “Full Moon Service” conceptual photo. “I wanted it to look as realistic as possible so I knew that the best would be to build the prop lever for real,” Johansson says. “I had a place here in Prague build it for me based on a sketch I made earlier this summer and I then transported it to Sweden and photographed it with a model out in a field in late August.” As is common with his projects, “Daybreaker” started out as a rough idea on paper: After rendering the design for the giant dial in Google’s SketchUp software and having it made into a large physical prop, Johansson hauled it to a field in Holmestad, Sweden, that he had previously scouted. His model was photographed in both “day” and “night” at the same time. He used one flash (Profoto Pro7b 1200ws with Telezoom Reflector, ¼ CTO) as the sun with a black flag to isolate light onto the model’s legs and the lever. The other flash (Profoto B1X with a white umbrella, ½ CTB) was used to create the moonlight hitting the model with cooler light from behind. Johansson shot his photos using a Hasselblad H6D-50c at 50mm, 1/60s, f8, and ISO 200. To get his finished image, Johansson composited his photo of the model with a nighttime photo of the background. Various other parts of the scene, including the cat behind the man, were photographed separately and added in during post-production. Here’s a 3-minute behind-the-scenes video showing how it was all done: And here’s the final photo that resulted: You can find more of Johansson’s work on his website, Facebook, and Instagram. Photography News via PetaPixel https://petapixel.com November 28, 2018 at 10:01AM
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What You Need To Know About Taking Video And Stills On The Same Camera At The Same Time https://ift.tt/2E28fYO The digital era has allowed the convergence of the two main branches of imaging, stills, and video. Pre-digital, to shoot both at the same time, you would need an SLR with several lenses and a large bulky camcorder. These days we can shoot both to a much higher quality in a camera smaller than film SLRs. It's an amazing time to be an image creator. However, while video and stills share many common elements, in particular, lighting and composition, there are some aspects where they can be quite different. Many of us, these days, like to shoot both at the same time. We might see a fantastic scene, set that camera up to shoot a still then realise it would also look great in video. Today we are going to look at some of the important differences we need to consider when shooting both video and stills at the same time. Shutter Speed and the 180 Degree Rule.In stills photography, we will often use shutter speed to define how an image will look. We might choose a high shutter speed to freeze action, we might choose a slow shutter speed to create an ethereal blur. In video, however, we are tied to what is known as the 180 degree rule. In order to make video look smooth, even cinematic, we must have a certain amount of motion blur in each frame. This is achieved by setting a shutter speed that is twice the frame rate of the video we are shooting. If we are shooting a frame rate of 25 fps, then we would need a shutter speed of 1/50th of a second. Depending on what we are shooting this 180 degree shutter rule might be too slow for the type of still image we are trying to capture. When switching between video and stills on our cameras we need to pay special consideration to setting the correct shutter speed. Filters or No Filters.Because of the 180 degree rule, most videographers need to use ND filters when shooting in most daylight conditions. This is to keep the shutter speed low enough without having to close the aperture to a minimum. When shooting stills, the only time we really use NDs is, like video, when trying to achieve slow shutter speeds. In daylight shots, this is usually not the case and so we do not need the ND filter. The best solution to this is to use a square filter system such as Lee or Formatt-Hitech. With these systems, it is very easy to remove either the filter or the entire filter holder, take the still and replace it. White Balance.Unlike with stills, when shooting video we do not have the luxury of shooting a RAW video file. This means we need to accurately set the white balance for the shot we are taking. In video, we are often look for a particular mood, perhaps a cold, blue mood and hence we may set the white balance to reflect this. In order not to worry when shooting stills we should set out camera’s to shoot RAW. This means that we can adjust the white balance in post production and not have to worry about changing the setting from our video selection. Image StabilisationVery often, if shooting video our cameras are likely to be fixed to a tripod or three axis gimbal. Generally, when using either, we switch off any camera/lens stabilisation as it tends to fight against the solid lock that we get from the tripod. However, if we remove the camera from the tripod we might need that image stabilisation to reduce camera shake. This will be particularly true if using longer telephoto lenses from 200mm up. Try to make a mental note when removing from the tripod as to whether you will need image stabilisation and switch it on as required. ISO and LogLOG is a flat contrast type of colour profile used in video. It is used by filmmakers who plan to grade their footage in post production, a little like shooting RAW in stills. Many video capable stills cameras now offer LOG as an option for video shooting. However, the majority of these cameras will raise the ISO to 500-800 when shooting LOG as this gives the flattest contrast. Usually, cameras will return to your default ISO when switching back to still images but it’s well worth checking that that is the case before rattling of a series of images with an unnecessarily high ISO. There is no reason not to shoot stills and video at the same time. As mentioned at the top there are some very fundamental similarities between the two disciplines. There are however some differences, the majority of which we have detailed above. Make a mental checklist of these items and you will soon find yourself slipping easily between motion and still imaging, creating both great stills and engaging video. The post What You Need To Know About Taking Video And Stills On The Same Camera At The Same Time appeared first on Light Stalking. Photography News via Light Stalking https://ift.tt/2kwTW5i November 28, 2018 at 10:00AM |
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