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Kevin Lee The Phoblographer Canon PowerShot SX500 HS Product Images-1

Canon has introduced two new hybrid camera additions to its superzoom family. First up the PowerShot SX520 HS digital camera, which incorporates a 42x Optical Zoom lens for an absurdly wide equivalent focal length of 24-1008mm. To help keep all your shots steady at the camera’s longest focal length Canon claims it has come with an incredibly robust image stabilization system with eight different modes.

Behind this long, long zoom lens is a 16 Megapixel High-Sensitivity CMOS sensor and Canon’s DIGIC 4+ Image Processor. With these parts in tow the PowerShot SX520 HS can record movies in Full HD 1080p.

Canon also introduced the PowerShot SX400 IS, a compact superzoom hybrid camera designed for carrying around in your jacket pocket. The SX400 IS trades in some reach for a slightly smaller body size but the 30x zoom lens still provides a full range of focal lengths spanning 24-720mm.

The Hybrid camera also packs a 16 Megapixel CCD sensor (which sadly can only shoot videos in 720p), the DIGIC 4+ image processor, plus Canon’s intelligent IS system. Canon promises both cameras have been programmed to help beginners take photos effortlessly with Smart AUTO mode, which chooses between 32 pre-defined scene modes for still and 21 for video.

The PowerShot SX500 HS digital camera will be available this September $399.99. Shortly this next month the PowerShot SX400 IS will come out in black or red for $249.99. Until then hit past the jump for more images of the cameras.

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julius motal the phoblographer fujifilm xt1 review-2

What’s the difference between a full-frame and APS-C sized sensor? You might think it’s quality but according to famous photographer Zack Arias it’s really just about having a sensor that’s just a tiny bit bigger. Arias put out a new humorous and biting video that debates the advantage of full-frame sensors over the course of 11-minutes (plus two and half minutes of bonus gear porn).

Arias does not mince words and points out the size difference between sensors pales in comparison to film days when image sizes became exponentially larger. Going back in time Arias gives us a history lesson on how film photographers though bigger was better. Medium format was better than 35mm film, large format was better than medium, and then real large format users took pictures with 8 x 10-inch frames, not that baby crap 4 x 5-inch paper.

Arias said people think bigger is better applies to digital sensors in the same way. Sure APS-C sensors used to have poorer high ISO performance, but technology has advanced to the point where a Micro Three Fourth sensor backed Panasonic GH4 can perform amazingly at ISO 12,800. Otherwise the only other advantage full-frame sensors have is the ability to resolve slightly more bokeh.

To sum up the video, Arias says the difference is negligible. To illustrate this he chooses to use the Fujifilm X-T1 over the Nikon D4s for his next shoot. Lastly the famous street photographer points out cameras from full-frame DSLRs, to APS-C mirrorless cameras, and even Go-Pros are amazing cameras, but at the end of the day they’re just pieces of gear. What really matters is the “moron behind the camera”—that’s you by the way—because you’re the one who knows about composition and lighting.

Make sure to watch until the end of the video for all the gear porn set to trance music.

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Chris Gampat The Phoblographer Fujifilm XM1 review images (2 of 6)ISO 2501-40 sec at f - 5.6

Hit the jump, and check them out.

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Taken from our original post

The Phoblographer and BorrowLenses are teaming up to go vintage for an Instagram Giveaway! You have a chance to win a vintage medium format rangefinder camera: specifically the Fujifilm GSW690 II. This leaf-shutter, fixed lens aging beauty shoots 6″×9″ exposures on 120. You can also take home a $250 BorrowLenses.com gift certificate so that you can still rent something from the modern age.

Hit the jump for the rules.

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julius motal the phoblographer hasselblad moon

Considering the fact that astronauts on the Apollo 11 mission were shooting in complete darkness, getting the right exposures when out in space could prove to be a tough task with no gravity and all. But Redditor TruetoFiction found the exposure instructions that were issued to the astronauts on the mission. Back then, they had to shoot on film, so this was done on 160 ISO film: which seems a bit crazy for being in total darkness with no gravity to stay stable. However, the shutter speed was also set to 1/250th with an aperture anywhere from f5.6-11.

Considering that the mission shot with medium format black and white film, this meant that in the 35mm equivalency that you more or less have the depth of field of f8. According to a NASA article, they had to capture loads of photos for the geologists so that they could study the conditions up there.

Via R/Photography

Chris Gampat the Phoblographer Zeiss 35mm f2 review images (1 of 5)ISO 4001-800 sec at f - 5.6

One of the biggest things that you’ll learn as a photographer is how to meter correctly. Something that I’ve personally learned is that no camera in the world can tell me what I want. And if you’re a computer programmer, you know that any machine can’t think: it can only do what you tell it to. So in order to figure out how to get your image to look the way that you originally thought, you need to figure out how to expose a scene according to what you want. We’re refraining from saying the word “proper exposure” because no exposure at all is proper–it’s only what you want it to be.

So what do you need to remember? Check out our tips below.

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