Almost everyone dreams of getting their hands on a full frame 35mm digital camera, and while people want it, they don’t need it necessarily. So why would you need a full frame camera? Two reasons are high ISO image quality and more megapixels, particularly if your job demands these things. Additionally, if you need a shallower depth of field than what you’re capable of getting (though wide aperture lenses are always available) then you may need a full frame camera. But again, this isn’t entirely necessary.
Not many people really NEED a full frame camera–and if you do then why not shoot with 120 film or 645 medium format digital?
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Today, Nikon is announcing three new lenses–and two of them are monsters. The company will soon be offering the new smaller AF-S DX Nikkor 16-80mm f2.8-4E EF VR along with new 500mm and 600mm lenses. The lens most likely to be purchased by folks is the 16-80mm f2.8-4, which is designed for APS-C sensor cameras and comes out to render a 24-120mm field of view. The ones that are more exciting though are the new 500mm and 600mm lenses. These are designed for photojournalists, sports shooters, and wildlife shooters.
And man, are they expensive.
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Though Olympus Air has already been announced in Japan, the little camera that might is finally coming to the US. Very similar to Sony’s QX series of cameras, the Olympus Air product line is an open source camera that takes Micro Four Thirds lenses and is essentially just the sensor, lens mount, WiFi electronics, and a button crammed into ergonomics that will remind you of a can of Burt’s Bees skin moisturizer. The open source designation means that app developers can actually develop apps for the system to make it better.
The Olympus Air A01 is the company’s first offering and has the same 16MP four thirds sensor that many of the company’s other cameras have. However, it doesn’t have Image stabilization in order to keep the unit small. If you mount Panasonic’s lenses that have IS built in though, you’ll get the image stabilization that your shaky hands crave so badly. When it links up with your phone, tablet or phablet you’ll be able to see what the camera sees on a giant screen.
The camera also has focus peaking, which means that all your manual glass will work fine. Additionally, with the electronic shutter the camera can shoot at 1/16,000 of a second and therefore give the user almost no trouble shooting with a lens wide open in sunlight at a lower ISO setting. The Air A01 can shoot 10 fps, has RAW capture, and uses a Micro SD card.
Pretty much everything that you’d expect with an Olympus Micro Four Thirds camera is transferred to the phone when they let their powers combine.
The Olympus Air A01 will be available in the United States in July 2015 in Black or White for $299.99 (body only) or $499.99 paired with a 14-42mm EZ lens, and in Canada in August 2015 in Black or White for $399.99 (body only) or $599.99 paired with a 14-42mm EZ lens. More photos are after the jump.
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Think back to the last really cool building that you’ve seen. What was it? Did you simply just look up at it, point your camera and shoot? Most people do this when they’re so caught in the moment, and don’t think about how they can get a better photo.
The next time that you’re captivated by beautiful architecture, consider how you can make the building look even better. To quickly get this out of the way, expose for the highlights because you can easily bring back the shadows in post-production.
Before you even start to think about an interesting composition we’re going to implore you to get down low to the ground maybe even with a tripod. Most people tend to photograph a building from eye level, and to that end everyone’s images look the same. Assuming that you can’t afford a helicopter to fly you right above the building for you to get a much more breathtaking photo, get down even lower to the ground. What this does is get much more of the building in the field of view. If you’re not using a tripod, Fujifilm’s cameras like the X-T1 also have a tilting LCD screen that can help you get the shot in a tricky position.
Shooting from a much lower perspective can help you get even more details like doors on the ground floor, logos and so much more. It also allows you to get more interesting compositions not necessarily using the rule of thirds but also through a balance of positive and negative space.
When shooting lower, always use a wide angle lens. Amongst Fujifilm’s lineup, the 10-24mm f4 R OIS, 14mm f2.8 and 16mm f1.4 are great options that give the Fujifilm APS-C sensor a very wide field of view.
Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.
16MP–that’s what I say most people need at most though consumers may only really need as little as 8MP. But chances are that if you’re shooting professionally or semi-professionally with the intent of only publishing on the web, you don’t need many megapixels at all. As it stands, we always recommend that folks upload their images at 1000 or 2000 pixels long to the web even as displays become more high resolution.
This is a story that I’ve shared before with other sites but that I’m sharing in a different way here. Years ago, I was a celebrity photographer (a paparazzi, life was tough when I got out of college). My agency wanted photos of the celebrity up close and personal and what I didn’t know was that they wanted crops of just the celebrity. What I actually thought was that they wanted me to get up close and personal. So with a Canon 5D Mk II and 24-105mm f4 L IS, I was able to create many images that the agency loved and could sell to both print and for the web.
Part of this was because I was able to crop in majorly and still give them a useable image. But most folks don’t need to do this and in fact many people don’t even crop their images–they usually try to keep them as they were in the camera or the thought is just an oversight.
Here’s what we mean.
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Canon Watch found a reference to new patent from Canon where the company has put an EVF and a translucent mirror into a DSLR very much in the same way that Sony does with their cameras–except that Sony called them a DSLT. What you should know though is that Canon originally had this technology years ago way back in the film days. It was based on what’s called the Pellicle mirror system and allowed the photographer to take a photo with a DSLR without the mirror moving. The problem was that there was light loss that one needed to compensate for–it’s a problem that Sony even has today with the translucent mirror system in their camera but have managed to work with.
If Canon is indeed working on a camera like this, then it’s going to mean a big advancement in their DSLRs is on the way and it’s time to get excited all over again. What’s even better is that if the camera is a higher end one, then we can know that it’s truly weather resistant and when using the company’s weather sealed L lenses you’ll be able to get much better performance in inclement weather.
So what does this mean for the industry? An EVF in the DSLR will also make filmmaking much easier for documentary and news crews since they won’t need to use some sort of external EVF. Ergonomically, this means a lot more stability. We’ve done the same thing with Sony’s Alpha DSLRs–and it works splendidly.
We’re just going to have to see what’s in store for us from Canon.