Thursday, 15 September 2011

How To Shoot Black and White Animal Portraits. Plus, Nikon's New 50mm Lens Tested

PopPhoto
September 15, 2011
Breaking news from America's top photo magazines
PopPhotoAmerica Photo
Want to set your photography apart from the crowd and get images that can be even more compelling? Lose the color!

Think “wildlife” and you’ll likely think “color”—vivid plumage, multitone fur, brilliant scales, all against backdrops of verdant green and sky blue. So naturally everyone shoots wildlife in color. It’s all the rage these days—particularly in nature shooting—to crank up color saturation to make photos stand out. But while vivid colors certainly catch the eye, sometimes taking the saturation in the other direction can have just as much, if not more, impact.

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A normal lens at the right price
A revamped image processor, improved IS and more grip for Canon's popular pocket camera
Five tips for painless tones shifts


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Tip From a Reader
I came across this simple formula in an astronomy publication, and in practice I’ve found it reliable. To avoid star trails in nighttime photography, divide 700 by the focal length (full-frame equivalent) of the lens. The result, in seconds, is the maximum shutter speed. For example, for a 20mm lens, maximum exposure would be 700/20 or 35 seconds; for a 50mm, 700/50 or 14 seconds. I usually subtract a few seconds to be on the safe side.

-Jerry Lyle, Silverton, CO


 
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Thursday, 8 September 2011

9/11: The Photographers' Stories

PopPhoto
September 08, 2011
Breaking news from America's top photo magazines
PopPhotoAmerica Photo
Part one of our four-part expanded oral history of September 11, 2001, told by the photographers who documented it

On a bright, clear morning in September, 2001, American Airlines Flight 11 was commandeered by terrorists and steered into the North Tower of Manhattan’s World Trade Center. The initial impact occurred at 8:46 a.m. Within minutes, photographers were making their way toward Manhattan’s financial district. With only a dim notion of what was going on, they pushed past throngs of escaping workers and into the annals of history.

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A second plane crashes, chaos blooms, photographers press closer
Towers crumble, priorities shift, the world changes in an instant
Photogs dust off, shed tears, evade checkpoints and make pictures


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SuperDuper Macro
Q. Canon claims a 1:5 maximum subject magnification for its 65mm f/2.8 MP-E Macro lens, while Sigma states 1:1 for its 70mm f/2.8 EX DG Macro. Given that they both focus to approximately the same minimum distance, wouldn’t they both achieve essentially the same magnification?

A. The two don’t actually have the same close-focusing distance. Sigma measures this distance from the front element, while Canon uses the standard methodology, which is to measure distance from the focal plane.

But there is another issue here that has confused a fair number of our readers: the MP-E Canon’s maximum magnification ratio is 5:1, not 1:5. That means five times life size: an object 1/5 of an inch long would project an image of 1 inch on the film or sensor. That’s macro! Canon isn’t exaggerating by much when it states, “you can fill a 35mm frame with a grain of rice.” Long-grain rice, maybe.


 
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Thursday, 1 September 2011

The 28 Best Photo Gear Bargains for 2011

PopPhoto
September 01, 2011
Breaking news from America's top photo magazines
PopPhotoAmerica Photo
Stretch your gear budget as far as possible

With autumn comes a fury of new photo-product announcements - and the traditional season for bargain hunting. Our editors have scoured the marketplace to come up with the seasons best deals, ranging in street-price from $7 to $850. Some are closeout models, some are brand new, but they all give you great value for your gear-buying buck. Happy shopping.

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Not only did September 11, 2001 change the world forever, it changed photography forever
A new body and four new lenses come to the NX line-up
Not ready to pull the trigger on an X100? The X10 might be more your speeds


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Scan Plan
Q. I have thousands of medium-format transparencies and an Epson Perfection 2400 flatbed scanner set up to scan them. However the scans are never sharp, no matter what. I am told that a special medium-format scanner is required to do a good job. True?

A. For starters, you could try using Adobe Photoshop’s Smart Sharpen or Unsharp Mask filters to counteract this loss of sharpness. You could also try a scanner with a higher resolution, such as Epson’s Perfection V600 Photo, with resolutions of 6400x9600, compared with the Perfection 2400’s 2400x4800.

But your problem could be more fundamental. Since flatbed scanners have a fixed focus point at the plane of the glass, there is always some loss of sharpness when scanning film. In the end, a medium-format film scanner will likely give you the best results, but good ones are expensive—well over $1,000.


 
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