Category: Photography Page 1 of 10
27:00 DR 400 difference shown, dynamic range settings
See: The Advantages of DR400 vs DR200 vs DR100 – High Contrast Scene
Fujifilm GFX100S II Medium Format Camera Review | Time to Switch?
Veteran AP photographer Evan Vucci, who got the iconic Trump-under-flag photo never shoots faster than 6 or 8 fps (frames per second), so why was NY Times photographer, Doug Mills shooting at max fps and max shutter speed, 30 fps at 1/8000 a second to be able to capture the bullet flew by Trump?
Interesting how he got this amazing shot.
VERY EXCITING new printers from Canon that have significant, cutting edge upgrades!
Quotes from the video:
“The print surface is scratch resistant even when rubbed.”
“For glossy paper, the Chroma Optimizer is designed to suppress reflection that interferes with viewing and produce the print’s original colors. This helps to improve gloss uniformity and reduce bronzing to achieve clear and vibrant color expression.”
“Prints retain outstanding lightfastness, enhancing their value as artwork.”
They write:
The imagePROGRAF 60” PRO-6600, 44” PRO-4600, and 24” PRO-2600 professional large-format printers offer an 11-color plus Chroma Optimizer ink system that can bring your prints and reproductions to life. From stunning black-and-white prints with deep blacks, and detailed gradations to extraordinary color, the Canon imagePROGRAF PRO Series is designed to achieve it all. With intelligent media handling and color calibration technologies to improved black density and high scratch resistance, these are the most advanced large format printers Canon has engineered yet. The imagePROGRAF PRO Series meets EPEAT Gold® standards – a first for this series!
THE BOOK: “Color and Light in Nature”
CHAPTERS
– Intro (0:00)
– Film, camera, & composition details (1:16)
– Anatomy of a Sunset (7:10)
– The science of Blue Hour (18:36)
– A closer look at the light (20:57)
3:00 “The big advantage to dye inks is the vibrancy you get. If you print on a dye based printer on say luster gloss, baryta type papers, you will get this lovely, rich color, and it just pops off the page to you. It almost just looks a little bit 3D. When you compare it to the pigment equivalent, the pigment inks just look a little bit flat.”
Archivability: “Canon says their [dye based] prints will last in kind of average conditions on the wall, not in direct sunlight for around 30-40 years. If it’s in direct sunlight, that can go down to years, like one or two years before it starts to fade.”
“Canon will say with their new inks they released for the Pro-200, these inks will last well over 100 years if they’re in an acid-free box….
5:50 “Pigment based inks will last well over 100 years without you even having to do anything to them.
7:45 “To sum up, dye inks give lovely, vibrant colors. Pigments will give you full archivability and perfect black and whites.”
NOTE: metal prints are printed with dye ink, often with an Epson printer that has only 3 colors plus black. Less inks reduces the color gamut, especially in the lighter tones. Printers who print metal in Anchorage, Alaska only use these Epson sublimation printers. Sawgrass makes 8-ink printers for metal, which some printers in the lower-48 use.
The Canon Pro-200 dye based printer, mentioned in the video has 8 inks, 5 color, 2 grey and 1 black..
Australian, Nightscape Images photographer, Richard Tatti shot this amazing *single exposure* image of our Milky Way galaxy while lovely sunrise colors were appearing!
Others have probably done this, but I’ve never seen anything like this before; had always thought the sky had to be completely dark to shoot the Milky Way.
Wonderful!
Charlie Waite is one of the photographers who inspired me about shooting in different aspect ratios, which he doesn’t mention in this talk, but his images here have varied aspect ratios from square to pano!
I actually gave up on photography for a long season partly because no camera company would make a full frame camera with an oversized, multi-aspect ratio sensor; though, they could have easily done it. Everything had to be cropped from 3:2, which made extreme wide angle shots in other aspect ratios impossible, and made photography much less interesting for me. Much of the lenses’ image circle couldn’t be used. Creativity was stifled.
When I discovered the medium format, Fuji GFX 100S could be used with my smaller, full frame, SLR lenses in any aspect ratio, I got excited and reengaged : )
Nice little intro video from Fuji, showcasing their new lens line!
Equivalent to the Canon 24mm TS-E field of view on a full frame, Keith’s previous, favorite lens.
Related: Keith’s first impressions video
In comments, flat earthers again try to claim that a fisheye lens was used to cause the curvature, but none were fish-eye lenses.
My Comment — how we know for sure it’s NOT A FISHEYE: At 20:24, the earth’s surface is near the middle of the lens, where fisheye lenses do NOT bend lines. All of the aircraft’s lines are straight, including the lower-right corner, where a fisheye lens would have radically bent them. Also, the earth’s horizon’s curvature is the same no matter where its placed in the frame. There are many different placements of the horizon in this video.
2:50 The plane flew above above 70,000 feet.
16:00 What it was like when Blair saw the curvature of the Earth.
Eight years of discussions. Six months of training. Two days of final preparations. Much was required to give photographer Blair Bunting two hours at the edge of Earth’s atmosphere to conduct the first-ever photo shoot at near-space where he captured images that have never been made before and will likely never be made again. Join us on this incredible adventure!
Read the PetaPixel’s detailed feature: https://petapixel.com/2023/09/05/at-7…
More photos, videos, and stories: http://photoshootattheedgeofspace.com
Directed by Chris Niccolls and Jordan Drake
Video should start at 20:24
I watch a lot of photography videos, which I rarely mention or post, but this one is exceptional in its grandeur — really is epic!
Mads and Sophie are from Denmark.
I Have Dreamed Of Photographing These New Iceland Locations for Years!
“In this video, I travel down to the California redwoods and photograph some impressive trees, beautiful trees with light beams, and the odd rhododendron.” – Adam Gibbs
Canon is now using rectangular plastic elements in their mirrorless cameras. Glass has always had the greatest light transmission.
Amazing technology and video, but so sad to see them stuck in the 3:2 aspect ratio, regular sized sensor. I’m moving on to medium format Fuji, where more of the image circle of Canon’s great EF lenses can be used in any aspect ratio.
They should have developed a full frame, oversized, multi-aspect ratio sensor, or at least Panasonic should have. This is sad to see.
Mark’s medium format Fuji GFX 100S has 7 aspect ratios to compose images in the viewfinder: 1:1, 7:6, 5:4, 4:3 (native), 3:2, 16:9, 65:24 (pano).
Most full frame 35mm cameras still only offer 1:1, 3:2 (native) or 16:9. Some add 4:3 and/or 5:4. Panasonic S1R has 1:1, 4:3, 3:2 (native), 16:9, 2:1, 65:24.
iPhone only shoots in 16:9 and 4:3.
Thomas Spence took this photo.
The Big Lake They Call Gitche Gumee…
There was a rare beacon lighting at Split Rock Lighthouse on Lake Superior this evening to honor the life and music of Gordon Lightfoot, who passed away earlier this week. The beacon, which was decommissioned in 1969, is always lit on November 10th to honor the 29 lives lost on that day in 1975 when the lake freighter Edmund Fitzgerald was sunk in a stormy gale. It’s one of only a few times per year they illuminate the beacon. For many, Lightfoot’s song about that night resonates every time they visit The Lake. That was surely the case tonight at Split Rock. The light of the near full moon lit the scene nicely. Waves lapping at the shoreline with a gentle, cool breeze. Perfect evening. Thank you to Hayes and the crew for lighting the candle tonight.
“Don’t worry about what other people think about it. Just make the photographs that you’re driven to make. That’s all that really matters.”
“In terms of permanence, the major advance of the HD, HDX and Pro inks has been a greatly improved yellow ink. And that has managed to bring all of the permanence numbers two to three times higher than they were with the previous inkset.” – Henry Wilhelm
35mm cameras are still stuck in the 3:2 aspect ratio, even after the SLR mirror box and film limitations are gone. 3:2 has not been the most pleasing aspect ratio for art, which is traditionally 4:3 and even squarer. And 4:3 uses the lens circle area more efficiently. How did 3:2 become the 35mm camera standard?
What should have happened, now that film and the SLR mirror box is gone: oversized sensors. I’ve long argued that digital cameras should have oversized sensors, so what the lens sees can be captured by the camera in other aspect ratios like 4:3 and 16:9.
All of the different aspect ratios feel different, and can massively impact the feel of the photograph.
Aspect ratio is: “The stage on which the content can perform.”
Cropping in-camera can create a passion for the photo.
Rarely shoots in 3×2; often in 4×5.
Nick Carver shines here — and only 17 minutes!
Related:
Nick Carver taking this ‘Desert Train Hopper’ shot: Photography On Location: Desert Trains
• • •
I’m telling the truth, friends…TWO PRINTS. And you know what’s even better? One of them is a pigment print on Hahnemühle photo rag paper while the other is a c-type print on Fuji Crystal Archive Pearl Paper. So we’re going to look at how these bad boys compare. Two different printing technologies, two different papers, one 6×17 negative on Kodak Portra 160 film. Let’s dive into it.
I find image #10 to be a great example of what starts out looking like just a ho-hum 4×5 image, but then it’s transformed into a gorgeous pano, in this case in a 2.2:1 ratio.
True, the original starts out in RAW, which is duller than how it looked in the real world. Adding in the appropriate saturation, contrast, etc. made a difference, and he did give the sky an extra boost. But to me, what makes the image work so well is how Adam Gibbs cropped it.
I love the result, and especially how the original capture just didn’t look that appealing. What a difference creative cropping to the appropriate format can make!
The video should start on Image #10
🔘 Tenth Photograph: 22:27
Stunning! God’s universe — our tiny part: 200 billion stars in our own Milky Way galaxy (our sun is an average sized star)!
Imagine: there are at least 200 billion galaxies, averaging 100 billion stars each. We’re still finding more as our orbiting telescopes get more powerful!
“It all happened by chance from nothing, by no Designer?” Yeah, sure. God’s universe is AMAZING!!!
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The Wairarapa on the North Island of New Zealand, is set to become the largest dark sky reserve in the world. I’ve been photographing the night sky in the Wairarapa for over a decade now, and this is a collection of my favorite moments under those starry skies.
My favorite video that Panasonic produced which shows how useful, creative and fun the multi-aspect ratio sensor is on this camera. I fell in love with this feature while using it during most of my final days working at NWA/Delta cargo, from 2010-2012.
Currently, Panasonic’s only still camera in production using the multi-aspect ratio sensor is the LX100 II, which is much bigger, but has stellar image quality because of its all-glass lens and large, micro four thirds sensor.
Their GH5S also has a multi-aspect ratio sensor, but is designed for video mainly, as it only has 10 MP and no IBIS (in-body image stabilization). [a review]
Great review of the camera I used during most of my final days working at NWA/Delta cargo, from 2010-2012. Sometime in 2012, Sony’s RX100 replaced it, because the image quality was much better in low light especially with the 20 MP 1 inch sensor.
With this camera, I fell in love with the multi-aspect ratio sensor, which sadly, is almost extinct now.
One of my favorite places on Earth!
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It’s easy to get discouraged in Landscape photography when you visit a location over and over, but you can’t seem to get an image. On this journey, we capture the Coastal Redwoods, a location I have struggled to get an image of for 10 years.
16:08 “You have to get to a point where you just don’t care … what anyone else thinks.”
“You know better than anyone else what you like. Don’t give up on that. …when you do get an image it will be created from some place in here (touches his heart), and other people will be able to respond to it as well.”
“I literally walk around and go ‘Huh! That’s beautiful, and I don’t care anyone else thinks it is or not.”
https://www.youtube.com/watch?v=VpL0pVh6xFA