With today’s news of the Sony A7 and A7r suffering from light leaks, we decided to answer the question about what exactly they are without totally confusing everyone. First off, light leaks are little white tinges that you see on an image which was significantly more common when photography was primarily done by shooting film. What they often look like is just like what you see above. Photographer John Angelone said that this happened when he was shooting with his Fuji GW690III + Fuji Pro 160S film. Typically, light leaks were often seen to be unacceptable and that they tainted image quality until it started to happen in such a way that it appeared beautiful to some artists.
Today, we often think about it being associated with Hipster trends. But for what it’s worth neither VSCO, Instagram or Hisptamatic give you light leaks as a filter or modification option. The only way to actually accomplish them though post-production is through Photoshop Touch. But you can still get them through the camera.
Light leaks occur when seals on the lens or between the lens and camera body aren’t properly closed. This is a bigger problem due to the construction of digital sensors but it wasn’t as horrifying when it came to shooting film. When a camera takes a picture, it only sees the light that comes in from its eye: which is essentially the sensor. Everyone’s eyes have a lens, which is represented by the lens of a camera. When the lens isn’t working correctly, it starts to get blurry and sometimes the world may be too bright in certain areas–this is a common complaint amongst many folks who suffer from extreme astigmatisms.
What I also found out later on while using film is that sometimes, light leaks can occur when the back of the camera isn’t closing correctly too. This is far more rare and more than often the images just end up completely washed out, but it’s still an interesting problem to have. This won’t happen with digital cameras at all.
Samyang (otherwise known as Rokinon or Bower) has just announced an accessory filter holder for its 14mm f2.8 ultra-wide angle lens. Due to the strongly curved front lens element, the 14mm f2.8 comes without a built-in filter thread. This is the case with many ultra-wide angle lenses, and it can be annoying for photographers that are used to shooting with filters such as polarizers or ND filters.
For users of the Samyang 14mm f2.8 there is now the SFH-14 filter adapter, which attaches to the front of the lens and takes rectangular filter plates with a size of 161×139 mm and a thickness of 3 mm. The SFH-14 can take up two filters at a time, and can be rotated so that graduated filters can be used both horizontally and vertically.
Three filters that fit the SFH-14 will be manufactured by Cokin: the model 154 ND8, which is an ND8 neutral density filter, the model 121M ND4, which is a split ND4 neutral density filter, and the model 123S, which is a split blue filter. There’s no word yet on whether additional filter types–such as a polarizer filter–will be available in the future.
So far, it appears the SFH-14 filter holder has only been announced for Europe, where it will retail for € 32, which is approx. US-$ 44 at current exchange rates. The Cokin filters have retail prices of € 63 for the 154 ND8 model, and of € 68 for the other two models.
Tiffen has just announced the Tiffen ND 3.0, a new 10-stop neutral density filter, which will be shown off at the company’s booth C9143 at CES 2014 in Las Vegas. The Tiffen ND 3.0 will block ten stops of light from entering the lens, making the use of wide apertures as well as long exposures possible even in bright light. In the press release, Tiffen claims that with this filter, no color changes will occur.
The Tiffen ND 3.0 will be available in sizes ranging from 52mm to 82mm. Pricing and availability have not been announced thus far.
When Google acquired Nik Software in late 2012, I was among those photographers who wondered what this would mean for the future of the software suite of plug-ins. Silver Efex Pro II, Color Efex Pro, Sharpener and the other plugins had become an integral part of my workflow. So, I not only wondered whether the plugins would continue to be updated but also would there be any new plug-ins in the future?
Well, it seems that both questions have been answered with the latest addition of Analog Efex Pro to the Google Nik Collection which gathers together 7 plugins for$149.00.
The new plugin that simulates a variety of cameras, films and lenses is not a revolutionary introduction. There are other plugins on the market that have covered similar territory. However, Analog Efex Pro provides a unique editing experience that complements the other apps found in the collection.
If you’re a videographer or a landscape photographer, you’re very familiar with graduated ND filters. These filters usually start with a lot of light cutting ability at one end and very little light cutting on the other. In practical terms, you use them to get more details in a sky while exposing for the shadows in a scene. Today, Hoya is announcing their Graduated ND10 graduated Neutral Density filter. The new filter will cut out three stops of light at its darkest portion and one stop at its lightest–basically giving you more power to create an HDR image in a single shot if the situation and conditions are correct.
The filter is two pieces of glass that rotate around themselves so that the darker or lighter portion can be moved appropriately. The filter will come in sizes of 52mm, 58mm, 77mm, 82mm when they launch. No word on launch date or price point yet.
Videographers perhaps more than photographers are being treated to Hoya’s New Pro ND Neutral Density filters. These filters are said to eliminate color casts that other ND filters often add to your videos–which require better white balancing in post or in the camera. Buying a bunch of them in various sizes will also mean that your footage will be easier to white balance in camera.
The 9 filters can reduce anywhere from two to 10 stops of light. They’re all built using an aluminum frame and have the company’s ACCU-ND and Metallic ACCU-ND coatings that help to do everything that we stated previously.
You can snag sizes from 49mm to 82mm if you’re dealing with super large lenses. No official word on pricing or availability has been released; but we’re sure that come holiday season loads of these will be under the trees of videographers.