When particles of dust and debris get on your camera sensors, they can cause frustrating spots in your shots that ruin entire batches of photographs. Thus, many photographers like to regularly give their sensor a cleaning to make sure it’s free of spots. In the 10-minute video above, PhotoRec Toby offers a detailed look at how you should go about dry and wet cleaning your image sensor.
Toby begins by showing us exactly how dirty his Sony a7R’s sensor became after a recent photo trip to Iceland. Snapping a photograph of a white surface and then importing it into Lightroom for closer examination confirms his sensor needs a good bit of cleaning.
Starting with a bulb air blaster, Toby tries to remove larger bits of dust and debris. Unfortunately, in his case, the current of air isn’t enough to eliminate the particles clinging to the sensor itself. Using the camera’s
Canon is clearly in a forward-looking frame of mind: announcing more development projects that it has under way. These include a 120MP DSLR and a Cinema EOS camera that can shoot 8K video. Although it adds caveats that specifications can change, the press release suggest both projects are planned for commercial, rather than research purposes. Read more
Are you starting to work with directors and/or ADs who haven’t made their way up through the ranks? How is a production and even the industry as a whole impacted when the people up top don’t have the experience they would have needed to have 5-10 years ago?
Since 1888, National Geographic magazine has been the official journal of the non-profit National Geographic Society headquartered in Washington, D.C. Starting today, however, the magazine won’t be non-profit like the society is.
The National Geographic Society just announced that it has signed a major agreement with 21st Century Fox. In exchange for $725 million, Fox will own 73% of National Geographic’s media properties. That means the iconic yellow-bordered magazine is now very much for-profit.
A new joint venture called National Geographic Partners will be created as part of the deal, and it’ll be an umbrella company that owns National Geographic TV channels, National Geographic magazines, National Geographic Studios, and other businesses as well (e.g. media, travel, entertainment, licensing, and ecommerce).
National Geographic Society will own 27% of the new company, while 21st Century Fox will own the lion’s share of 73%. The Society’s endowment will increase to roughly
As photographers we are constantly learning. It's how we get better at our craft, to say we are always learning is an understatement. Everyone I know in the field is always looking up how to do something better or more efficiently. People tend to start to see these when they try to transition mediums, be it from photo to video, and they begin to realize they have to learn things from the ground up. As photographers we tend to stick with what we know we are good at, but how do we go about identifying our weaknesses and improve on them?
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Alex Lopatnyuk recently went gator hunting and brought his GoPro and selfie stick along for the first time.
“The selfie failed,” Lopatnyuk writes.
Here’s a short video showing the aftermath of the fail.
As you can see, the end result of a careless snapshot was a shattered windshield and a more compact canoe. Lopatnyuk’s lucky the canoe didn’t go straight into his face.
The composite photo above shows the International Space Station zipping across the face of the Sun on September 6th, 2015. Traveling at 5 miles per second and carrying 9 crew members, the Space Station appears as nearly a tiny silhouette in the transit.
The image uses 5 quickly captured shots by NASA photographer Bill Ingalls, who had his camera set up at Shenandoah National Park in Front Royal, Virginia.
Here’s a closer crop of the image:
Back on Sunday, August 2nd, 2015, Ingalls captured a similar shot showing an ISS transit of the moon from Woodford, Virginia:
(via NASA via Engadget)
Image credits: Photographs by NASA/Bill Ingalls
Some say that a film is really made in the editing room, and to a certain degree, they're right.
Two different editors with different tastes and sensibilities could take the same raw footage, cut it, and come out with completely different films. This is because editing, like cinematography and screenwriting, has its own language. You can elicit specific emotions based on where you make your edits, where you place them, and how long a shot is. This is demonstrated effectively in Fandor video essayist Kevin B. Lee's video essay highlighting the editing in Denis Villeneuve's film Polytechnique.
For Polytechnique, Villeneuve filmed important scenes from several points of view, so there are multiple versions of these scenes that unfold in the film. Kevin synchs up a few of these scenes to reveal how the different approach to editing changes the way Continue reading "This Side-by-Side Comparison of ‘Polytechnique’ Shows How Timing Can Change a Scene"
A Hungarian journalist and camerawoman has been fired after photos and videos of her tripping and kicking fleeing refugees spread far and wide on the Internet.
Petra Laszlo, a reporter for the Hungarian news channel N1TV, was using a camera to capture footage of migrants fleeing from police at a relocation camp in Roszke, Hungary. But that’s not all she was doing: other cameras on the scene captured her kicking and tripping migrants as they ran past her — both adults and their young children.
British car manufacturer Land Rover has introduced an interesting new technology that uses multiple cameras to make trailers “disappear” from an LCD rearview mirror while you’re driving. By combining video feeds from both the existing rear view and side view cameras with a digital wireless camera mounted on the back of the trailer, the system creates the impressive illusion of transparency.
Here’s a video that shows how this see-through rear-view system would work (it also describes some other trailer-centric camera features as well):
“Our transparent trailer project is researching how we could offer a view out of the vehicle unrestricted by your trailer, no matter what its size or shape,” says Land Rover research director Wolfgang Epple. “Our prototype system offers a very high-quality video image with no distortion of other cars or obstructions.”
“This means the driver would have exactly the right information to make safe and effective
As predicted by HD Warrior many months ago we no soonwerhave 4K in the bag when Japan will decide 8K is the way forward. Canon, not known for their advanced seek previews has published a paper telling us all about their future developments. I suspect Canon have lost so much ground to the 4K Sony […]
By technical editor Matt Allard: Sony have just announced the new features that will be included in Version 7 firmware for the F5 and F55. One of the biggest gripes owners of the cameras had was with the menu system, and although they did make some changes in earlier firmware, it still left a lot […]
TIM BLANKS: Do you think you were looking for yourself in those photos? There was a strand in your work for a long time of very ambiguous, beautiful people with long black hair.
Steven Meisel: I think I’m in every picture that I take, regardless of whether it’s a super-commercial something; it’s all me. So am I looking for myself in those kinds of photographs? It’s not intentional; it’s just a sensitivity. Thinking of the Sean pictures: Am I looking for me in them? No, I am them.
TB: Does that mean that everyone in your photos is an alter ego in a way?
SM: Um, not in every one, but yes, to a certain extent, sure.
TB: Thinking of your photos of Linda [Evangelista], for example, there’s a real symbiosis in those images.
SM: Yeah, that’s me, absolutely. That’s a part of who I am. But I have to be honest—I don’t know what I do. I learn more about what I do from other people asking me questions or commenting. It’s nothing I think about; I just do it.
TB: But are there moments when you stop to think, “God, I did that one well”?
TB: You mean it’s always on to the next thing?
SM: Yes. Emotionally, it’s very difficult for me to look at old work. That’s why it was so hard to do the Phillips thing. I either look at what I could have done better, or I start crying. I’m ridiculously sensitive, that’s just who I am, so it’s really tough for me to look at old pictures.
TB: Even when you’re looking at those pictures which I think of as a conspiracy between you and Linda? You don’t feel a thrill?
SM: I always get sad.
TB: You mean melancholy at Continue reading "It’s really tough for me to look at old pictures, I either look at what I could have done better, or I start crying– Steven Meisel"
By technical editor Matt Allard: SLR Magic have been hard at work and have just announced their SLR Magic ANAMORPHOT-CINE 2x lens set for indie filmmakers. The set comprising of a 35mm, 50mm and 70mm in a M 4/3 mount. According to SLR Magic, they developed the SLR Magic ANAMORPHOT-CINE lenses to deliver the classic […]
We’ve pulled out all the stops to give away a photo tour for two to Jordan, courtesy of Dream Photo Tours, an organization that designs unique photo tours for photographers. For 10 days, November 6 – 15, 2015, you and a guest will join fellow photographers to explore the ancient ruins of Jordan, float on the…
If you’ve been working in this business for awhile you’ll most likely have fond memories of Automatic Duck. The Duck as it was often called provided many an editor with a path from their NLE of choice into Adobe After Effects. Later on The Duck help move from one editing and finishing system to another. Automatic Duck was doing their translation thing long before Dynamic Link was but a glimmer in Adobe’s eye. In 2011 Auto Duck moved into a partnership with Adobe and the translation tools went away. In 2015 Auto Duck returns via Red Giant Software with an updated Media Copy and Automatic Duck Ximport AE, a way to get Final Cut Pro X project into After Effects.
Photographers are used to being behind the camera, but the prominence and rise of photography – particularly through social media – has created emerging opportunities for photographers. No longer relegated to pimping camera gear and workshops, the contemporary photographer has many more possibilities to endorse everything from cars to credit cars. Sell outs? Only in…
The first lesson while filming the news is “don’t get involved”. The video footage below apparently shows this camerawoman deliberately sticking her leg out tripping a father with his son clutched to his arms. Since this act of stupidity the camerawoman has been sacked.
Hong Kong's SLR Magic has just announced the development of two sets of anamorphic primes: 1.33x and 2.0x. The sets are comprised of a $2500 35mm T2.4, a $3000 50mm T2.8, and a $3000 70mm T4. Given that SLR Magic's previous ANAMORPHOT adapters in both 1.33x and 2.0x have performed rather well, I'd expect these new ANAMORPHOT primes to be very nice indeed.