I photograph a lot of things. And sometimes, that means I need to pick a location. Over the years, I’ve photographed hundreds of locations, and have done quite a bit of research. So what’s the best way to build a database of these places, so I can have easy access to see where might be…
How these dramatic photos were created in-camera
In this era when you can make pretty much anything in Photoshop, it’s always interesting to learn how artists achieve some creative effects without the help of it. Photographer Alexis Cuarezma shot some interesting, dramatic and colorful fitness shots. Although it may look like he heavily edited them, he actually achieved the effect entirely in […]
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Photography Marketing: Asking for a review
in previous columns, I’ve discussed the importance of getting reviews, especially on platforms like Google and Facebook. So what’s the best way to do it? How do you ask for a review without sounding desperate? Why are reviews important? Reviews on both Google and Facebook are important because they help build your reputation. Whether it be…
Sunday Comics: Discount??!?
Today’s photo laugh thanks to the Shoppe Designs!
Nikon Z7 and Sony a7R III offer similar results in our image stabilization test
Battle of the high-res mirrorless IS systems
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Both the Nikon Z7 and Sony a7R III feature 5-axis in-body image stabilization. When tested against one another at 24mm, 55mm and 200mm both cameras’ IS systems proved similarly useful. Users can expect around 2 to 3-stops IS advantage when shooting with wide angle lenses, 3 to 4-stops when using normal lenses and 4 to 5-stops when shooting with telephotos (helped by both cameras making use of in-lens IS at 200mm).
Nikon Z7 vs a7R III IS test results:
| 24mm | 55mm | 200mm | |
|---|---|---|---|
| Nikon Z7 | 2.3-stops | 4-stops | 4-stops |
| Sony a7 R III | 2.6-stops | 3.3-stops | 4.6-stops |
These results correlate pretty similarly to our Sony a7 III IS test. That camera is rated as being 0.5EV less well corrected than the a7R III, so it’s not surprising to see that it performed about 1 stop behind its high-res counterpart at 200mm.
How we test and why
Our standard image stabilization test is performed by shooting 10 frames of our test target, starting with a shutter speed of 1/focal length and working our way downward in intervals of 2/3-stops using a neutral density filter (to maintain the same aperture). The test is done at 24mm, 55mm and 200mm, since the challenges of stabilization change with focal length and exposure duration.
We first do this with IS on, and then with IS off. The images for both are then assessed to the following standard:
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| Excellent | Some softness |
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| Noticeable blur | Unusable |
1) Excellent – the best the camera is capable of
2) Some softness – only distinguishable from Excellent by comparison
3) Noticeable blur – blur can be perceived without reference to another image
4) Unusable – significant motion perceptible
After each frame is assessed, we plot the results in the graphs you see below. We then compare the lowest shutter speed at which the camera was able to maintain a 50% or greater hit rate with IS on and off at a given focal length (images that are acceptably sharp are those rated ‘Excellent’ or ‘Some softness’). This allows us to determine how effective the IS system is in real world shooting.
Our results compared to CIPA
CIPA offers a good baseline to compare cameras, but CIPA tests tend to use focal lengths around 50mm (which are relatively easy to stabilize) and do not include any rolling motion, which can give very high numbers. For instance, the Sony a7R III’s in-body stabilization is quoted as offering a ‘5.5-stop shutter speed advantage,’ according to CIPA testing (the Nikon was rated at 5-stops). That suggests you can get usable shots, consistently, at 0.8 secs (5.3-stops below one over focal length), which we could not reproduce: at 1/2 sec (4.6-stops below) we were only about to get one usable shot in ten with IS on.
Nikon results
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24mm Equivalent
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55mm Equivalent
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200mm Equivalent
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|---|---|---|
| Stabilization On | Stabilization On | Stabilization On |
| Stabilization Off | Stabilization Off | Stabilization Off |
For 24mm and 55mm we tested the Z7 using the Z 24-70mm F4. At 200mm we used used an adapted Nikon 70-200m F2.8E FL ED VR.
At 24mm with IS on, the Z7 maintains a 60% acceptable hit rate at 1/5 sec and a 40% at 1/3 sec, which indicates 1/4 sec would likely be where it’d hit the 50% acceptable threshold. With IS off, the acceptable rate is 60% at 1/20 sec and plummets to 10% thereafter. The results indicate about a 2.3-stop IS advantage at 24mm.
With IS on, the 50% acceptable hit rate at 55mm should be 1/4 sec – the Z7 maintains an 80% acceptable rate at 1/5 sec and a 40% at 1/3 sec. With IS off, we weren’t able to hit the 50% acceptable threshold at 1 over the focal length (40%), but it’s safe to assume at a third a stop faster (1/60 sec), 50% should be manageable. 1/60 sec off vs 1/4 sec results in a 4-stop IS advantage at 55mm.
At 200mm, the Z7 maintained a 50% or greater hit rate down to 1/8 sec, our lowest speed on the graph. We pushed it an additional 2/3rds stop slower in testing (down to 1/5 sec) and found it dropped to a 30% hit rate. With IS off we were able to get 50% or greater usable down to 1/125 sec. The result is a 4-stop IS advantage at 200mm. This is helped by the use of a VR lens: Nikon says the pitch and yaw corrections are handled by the lens, where possible.
Sony results
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24mm Equivalent
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55mm Equivalent
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200mm Equivalent
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|---|---|---|
| Stabilization On | Stabilization On | Stabilization On |
| Stabilization Off | Stabilization Off | Stabilization Off |
At 24mm we tested using the Sony 24-70 F4 OSS, at 55mm we used the Sony 55mm F1.8 and at 200mm we used the Sony 70-200mm F2.8 GM OSS.
At 24mm with IS on, the a7R III maintains a 60% hit rate down to 1/5 sec and 40% hit rate at 1/3 sec, meaning 1/4 sec is where it’s likely to hit the 50% threshold. With IS off this threshold is reached around 1/25 sec. This gives the a7R III about a 2.6-stop advantage at 24mm. Note that this result includes the use of a lens with its own stabilization (though sensor shift is usually better-suited to the corrections needed for wide-angle lenses).
At 55mm we opted to de-couple the Sony’s sensor IS from lens IS by using a non-stabilized lens (the same we tested on the a7 III). With stabilization on, the hit rate was 60% at 1/8 sec and 40% at 1/4 sec meaning 1/6 sec is the likely 50% point. We weren’t able to get a 50% hit rate with IS off at one over the focal length, but it’s safe to assume we would have by 1/60 sec (and surely by 1/80 sec). This gives us at least a 3.3-stop advantage at 55mm using sensor IS alone.
Like the Z7, we tested the a7R III at 200mm with IS on down to 1/5 sec. Good thing we did: it’s not until this speed that a7R III’s IS system also drops below the 50% acceptable threshold with 2 images rated ‘some softness.’ This means you can expect a 50% or greater hit rate down to 1/8 sec with IS on vs 1/200 sec with IS off, providing a 4.6-stops advantage at 200mm. Like the Nikon, this is helped by the use of a lens with IS, which is able to provide the large movements needed to correct long focal lengths.
Is Tumblr Still Worth it for Photographers Today?
Just a few years after Tumblr came out in 2007, it was one of the hippest blogging platforms where you can get your creative works seen. One of the most popular ways to spread the word about your work was by linking your posts to your Flickr account, so people could see more and follow you there. Because creating posts and customizing the look of Tumblr blogs is easy, it quickly became one of the go-to venues for photographers to build a proper portfolio. But given all the new cool platforms today, does Tumblr still have a place in every photographer’s online presence?
Multiple lights, Multiple colors setup – The Lighting Series 8
There is one genre of photography that is black and white. There is another genre that is exactly the opposite and it is full of color. Today’s breakdown belongs to the second genre. Gear 3x Striplights with orange gel on a three 500Ws monoblocks 1x 150cm octabox with cyan gel on a 1000Ws monoblock 1x normal […]
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Our favorite photographs of 2018: Part 3
Last year, we unveiled our favorite photos of the year for the first time-a collection that showcased the breadth and depth of the 500px community, as well as many up-and-coming talents. The curation process was an exercise in inspiration for our team, and further demonstrated how much talent, creativity, and passion 500px photographers have to offer. We’re honored to reveal another instalment of our favorite photos of the year.
Similar to last year, we started our discovery process with 500px photos that were popular in each category throughout 2018, to give us a sense of what the community was engaging with. We hand-picked some choices from that group with the aim of recognizing as many photographers and as much high-quality work as possible. We also added our favorite shots of 2018 from Editors’ Choice, and dug deep into hidden gems and “undiscovered” work through our Recommended Photos and our own discovery.
While we can’t recognize every great photographer on the platform, we want to thank you all for the outstanding work you’ve shared with us again this year. We hope you enjoy our favorite photos of 2018 as much as we enjoyed discovering them. This is our third and final instalment of our favorite photos of 2018-read part 1 here and part 2 here.
Animals
What our photo editors loved:
Being one of our most popular categories, animal and wildlife photography is a competitive environment. What we love most about this set is the emotional connection these images create, forcing us to contemplate the relationships in the imagery. The viewer is invited to create or follow along with the implied narrative of friendship, acceptance or family; humanizing the experience between the animals within the frame.
Underwater
What our photo editors loved:
Water diffuses light differently than when we see it on land, creating a number of challenges when attempting to photograph underwater. Embracing the ever-fluctuating light source from the surface is what makes these images so dynamic.
Landscapes/Nature
What our photo editors loved:
These landscapes play on space, utilizing natural land formations to help drive our eyes to the landforms in the distance.
Travel
What our photo editors loved:
A style of photography defined by the Steve McCurrys of the world, these images explore people, landscape, and culture, uncovering the day-to-day in these destinations. From busy streets to tight, lower-light conditions, these images provide us with an informative glimpse reminiscent of documentary photography, encouraging us to explore these places for ourselves.
Macro
What our photo editors loved:
Focusing on smaller subjects, macro photography provides us with an unobstructed view to things that are on a smaller scale-enlarging details and almost abstracting what has been photographed. We love the central focus these images provide, giving us the ability to see the fresh dew droplets, the texture of the snail shell, or the hairy shell of the heineken fly.
Sport
What our photo editors loved:
Sport photography can be considered a subset of documentary or photojournalism as it often revolves around reported sporting events. Using a quick shutter, these action-packed shots are immortalized with minimal blur, providing definition and expression within each shot.
Wedding
What our photo editors loved:
Authenticity in wedding photography is not always easy to capture, however, these images provide us with an intimate look into the moments that help define a memory meant to last a lifetime.
Abstract
What our photo editors loved:
These images isolate complex and naturally-occurring patterns, leaving us to interpret what has been captured. What we love most is the range of textures, shapes, and how the photographers have obscured these natural phenomena, creating a seemingly-unreal visual experience that is easily associated with a memory or mood as your mind jumps around the image, trying to discern what it is.
What do you think of our favorite photos of 2018? Share your picks in the comments!
Energetic Fashion and Lifestyle Photography by Joseph D. Tran
Marvelous lifestyle shots by Joseph D. Tran, a talented photographer, filmmaker, and artist currently based in the Northern Virginia, Washington DC metropolitan area. Joseph focuses mainly on portraiture, lifestyle, and commercial photography. His work has been featured in editorial pages of fashion and lifestyle magazines, and his commercial clients have included Discovery Channel, Canon USA, Kellogg’s, and Blenders Eyewear.
I graduated from Virginia Tech and have spent the majority of my professional career working in Information Technology, but have since found a desire to pursue art as my true passion. I have spent the last few years traveling around the world in search of finding interesting culture, art, people, but mostly to find myself. It’s opened my eyes to the variety of lifestyles and stories we each hold, and the importance of capturing those moments as living memories to share.
More info: Instagram / Facebook / Website
The post Energetic Fashion and Lifestyle Photography by Joseph D. Tran appeared first on Photogrist Photography Magazine.
Aquatica announces hot shoe mount strobe trigger for Canon 5D series housings
Image for illustration purposes
Aquatica has announced (PDF) an LED strobe trigger for their Canon 5D series housings. Mounting on the camera’s hot show and powered by 2 Lithium batteries, the trigger is supplied with two fiber optic bulkheads/
The strobe trigger will be available soon as either a factory or dealer fitted option, priced at $369.
Press release
Announcing our new LED Optical Flash Trigger for the Canon 5D series (5D MKII, 5D MKIII, 5DS R, 5D MKIV) housings.
Available SOON!
In our continuing desire to offer the greatest convenience to underwater photographers the world over, Aquatica, one of the pioneers in the underwater photo industry is now shipping the new LED Optical Flash trigger #18963. Designed for those cameras that do not have a built-in pop-up flash like the Canon 5D series, the trigger offers an extra level of convenience and peace of mind by removing the electronic contacts between the housing and strobe.
About the Trigger:
Using the latest in LED technology, Aquatica has created an answer for users who want to use Fiber Optic Sync instead of the traditional N5 electrical cables. The trigger is powered by 2 lithium button batteries with a life of over 5000 pulses and can easily fire at over 10 frames per second!
In addition, there are additional benefits to using optical triggers:
- The use of a sealed Optical Port adds to the integrity of the housing
- Removes the chance of corrosion of the sensitive contacts within the bulkhead and strobe
- Reduced cost and increased robustness of Fiber Optic Sync Cords vs traditional N5 electrical cords
- Repair of a Fiber Optic Sync Cord is easily done in the field
Specifications
- Power source: 2 x 2016 Lithium batteries
- No of shots: Over 5000
- Dimensions: 3”x 1.5”x 0.4”
What’s in the box?
- 1 x LED Optical Flash trigger
- 2 x Low profile Optical ports
- 2 x 2016 Lithium batteries
The optical trigger option is now available as a factory installed unit or existing housings can be easily retrofitted by your Authorized Aquatica dealer.
Price: $369.00 USD
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