#Canon EF 28–70mm

[calleryphoto]

X-Fed Fanling SkatePark Test 2024. 11. 28

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📸 @CalleryPhoto

📍 FanLing, Hong Kong

🗓 2024. 11. 28

💻 Final Cut Pro

🎼 AlexGrohl - Cool Me Down @Artlist.io

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🎞️ High Quality 4K Video On YouTube:

https://youtu.be/PKCMYMkt5NM?si=41d1rhOPizJhg8ar

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Social:

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• Panasonic LUMIX S1 @lumix

• Canon EF 11-24mm f/4L USM

• Canon EF 24-70mm f/2.8L II USM

• Canon EF 70-200mm f/2.8L IS II USM

• DJI Mavic 2 Zoom 24-48mm f/2.8-f/3.8

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[lokuhapuarachchi]

Transitioning Gear: From Canon to Sony - A Journey of Adaptation and Savings

Preparing for an upcoming event in Leicester City, I decided to introduce a new addition to my camera gear. Before diving into the shoot, I wanted to familiarize myself with this latest equipment to ensure it seamlessly integrated into my setup.

My journey with photography spans across several iconic camera brands, starting from Minolta, Yashica, Practica, Olympus, and Pentax cameras from 1984 to 1991, transitioning to Nikon cameras from 1991 to 1998. However, the landscape shifted in 1998 when Canon stepped into the scene, bidding adieu to the familiar camera room. Canon swiftly became my preferred brand, solidifying that connection in 1999 with the Canon 400mm f2.8 L IS lens.

This lens became a staple, accompanying me to photograph international cricket matches for the Sri Lankan cricket team during my tenure at Reuters News Service. Its recommendation stemmed from multiple factors—excellent image quality, minimal optical distortion, a rapid aperture, image stabilization, and an agile autofocus system. While this lens thrived in sports reporting, my repertoire expanded to include everyday news, even extending to covering conflicts, utilizing three lenses: the Canon 16-35mm f2.8, 35-70mm f2.8, and 70-200mm f2.8. With a surplus of cameras matched to these lenses, I seamlessly interchanged cameras during shoots, minimizing lens changes.

However, as time progressed, my photographic needs underwent a metamorphosis. Weight reduction in equipment and a streamlined lens collection became paramount. Deliberating on this, Sony cameras emerged as a plausible option due to their lightweight build. Additionally, capturing bustling scenes without frequent lens changes became an appealing prospect.

Yet, I wasn’t prepared to compromise on lens quality or sacrifice the minimum aperture of f2.8. While lenses like Tamron 18-400mm f3.5-6.3, Canon EF 28-300mm f/3.5-5.6 L IS, and Sigma 28-300mm f/5.6-6.3 offered a range, the varying aperture and potential compromise in image quality didn’t align with my standards.

Contemplating a transition to Sony while retaining my Canon equipment, I stumbled upon the 35-150mm 2-2.8 lens—an intriguing find. Among the options like Samyang AF 35-150 f/2-2.8 FE and Tamron 35-150 mm f/2-2.8 Di III VXD, I found subtle performance differences despite a significant price gap and that feverable to Samyang. Opting for the Samyang, priced attractively on Amazon at £854.00 while Tamoron price £1486.00, seemed like the right choice after thorough research.

Thus, with the Samyang 35-150 f2-2.8, a Sony A7 Mark II, and a Godox Xpro at an Amazon special price, I made the purchase using allocated funds for new camera equipment.

Adapting from my Canon gear to Sony, I sought solutions for flash equipment. I found that using the Godox XPro to employ flash strobe lights for Sony, alongside the Godox SX 400 Studio Flash for Canon and Godox V1Hot Shoe, proved more cost-effective than purchasing new flash equipment. The entire conversion from Canon to Sony, inclusive of accessories, totaled £1585.00. This transition meant relinquishing the focal range of 35-16mm and 150-200mm, which I deemed acceptable given the substantial savings.

Considering the Amazon prices, the total expense for the Canon lenses (16-35mm f/2.8 = £1599.00, 24-70mm f/2.8 = £1947.00, and 70-200mm f/2.8 = £1624.00) would have amounted to £5170.00. Thus, by completing a full Canon to Sony conversion, I managed to meet my requirements while saving £3585.00.

With my setup primed, I am now geared up to capture the event in Leicester City next weekend, all with the convenience of a single lens.

by - Anuruddha Lokuhapuarachchi

[istvansgemischtwaren]

Zoom Lenses (EF) Tokina 11-16mm f2.8  Tokina ATX-Pro II 28-70mm f2.8 Sigma 17-50mm f2.8 IS Canon 17-55 f2.8 IS  Canon 16-35 f4 IS Canon 24-105 f4 IS Canon 70-200 f2.8 IS Canon 24-70 f2.8

from 20 Euro (excl. VAT)

[apo-sonnar-blog]

* by Gwenael Piaser Via Flickr: Rome April 2016

[olddigitalcamera]

Canon EOS 10D

これは別に青箱に転がされていたわけではなく、某オークションで確か3000円くらいで落札したものだ。 どうしてもこれが良かったわけではなく、出品者側で最低限の動作確認がされていて、バッテリーと充電器がセットになっているデジタル一眼という条件で探すと、もうほとんど選択肢がない状態だったので、その中で即決価格が一番安価だったコレにしたわけである。

2003年の3月に、EOS D60の後継機として発売された、今も続くEOS二桁機の元祖になる機種である。 有効画素数630万画素、 22.7×15.1 CMOSセンサーで、感度設定は標準でISO100～1600だが、拡張してISO3200まで対応する。

完成品

ぼくは今までにEOSシリーズは、デジタルが20D、40D 、5D、Kiss F。フィルムだと5、7、55や620、650、RTなどを使ったことがある。 感心したのは、三桁のフィルムカメラは除外して、他のフィルムカメラからデジタルカメラに移行したとしても、さほど操作性に違和感がないことだった。 この10Dより前のD30やD60はネットなどで見る程度にしか知識はないが、ほとんど操作に関しては現行のものと違いはないはずだ。 つまりEOSは2003年、いやもっと言うならフィルムの頃に、その基本は出来上がっていたといっても良いだろうと思う。

DIGIC前夜

この10Dまでは、EF-Sレンズに対応していない。 また、フィルム時代の古い他社レンズ（SIGMAが該当することが多い）を装着しようとするとエラーを吐くという、ちょっとナーバスな面もある。 また画像処理エンジンもDIGICの名前を冠する前のもので、もちろん同様の働きをするソフトは搭載されているが、画像を見ただけでもラティテュードが狭く感じたりするようなことが見受けられる。 CanonのAPS-Cサイズセンサーは35mm換算する場合1.6倍することが必要になる、少しサイズの小さいセンサーを搭載している。 これは現行機種も同様だが、現行は1000万画素以上を詰め込んでいるのに対して、10Dは「たかだか」630万画素である。 ここでまた画素間ピッチの話をしだすとややこしいので止めるが、やはり余裕があるせいか、高感度性能も大変に良い（と言っても2003年レベルではという注釈は要る） ISO800十分常用できるし、1600も（ぼくは）ノイズなど気にならない。 ほとんど光源のないところでの撮影は難しいだろうし、まぁ、そんなところで何を撮ろうというのかという話だが、そういう場所ではISO3200はおろか、5桁であってもなかなか条件的に厳しいだろう。

ぼく個人としては600万画素くらいの画素数が一番好きだ。 ハンドリングも良いし、大きく引き伸ばしたりしないのであれば、これくらいで必要十分なのである。

16年

意外ときれいだったので安心して使っているが、どうもシャッターのスイッチ周辺が怪しい。 半押しでAFを固定してから再度フレーミングするというのは誰でもよく行なう撮影方法だと思うが、半押しを丁寧にしないとシャッターを押し切る瞬間に再度AFが働いてしまって、思ったところへフォーカスできていないという症状がしばしば起きるようになってしまった。 このシャッターボタン周辺のトラブル��EOS系ではお約束のようで、こういった症状は30D辺りまで続いたようだ。 と言ったところで、このカメラは16年前のカメラだと気付く。 何人がどんな風に使ってきたのか分からないのだ。 ジャンク（これに関しては微妙だが）遊びのリスクはそこら辺にあるのだ。

[justclik-ltd]

Best Canon Lens For Best Photography In 2021 | Leeds | UK

Best Canon Lens For Best Photography In 2021 | Leeds | UK

1. Canon RF 28-70mm F/2 L USM Lens The Canon RF 28-70mm f/2L USM is a wide-angle to portrait-length lens distinguished by its impressively unique f/2 constant maximum aperture. This bright design yields excellent low-light performance along with enhanced control over the depth of field for isolating subject matter. Ultra-Low Dispersion glass is employed in the optical design, and greatly reduces…

[capicturestudioes]

What is the best lens for wedding photography?

Wedding pictures are particular in that it encompasses numerous genres of pictures: fashion, portrait, architectural, product, macro, family, and every so often even journey pictures. Few genres call for extra from photographers and their gear. 

Here is a subjective listing of 6 must-have lenses for any given wedding ceremony that the best wedding photographers in Madurai recommend.

1. 70-200mm

This is my preferred lens. It creates lovely bokeh (blur) at f/2.eight, and the compression you get while you’re zoomed in from 150-200mm offers your photo a glance that’s tough to gain with some other lens. It additionally lets you get in near the motion without disrupting the moment.

DSLR Options

Canon 70-200mm f/2.8L IS III USM Lens

Nikon AF-S NIKKOR 70-200mm f/2.8E FL ED VR Lens

Sigma 70-200mm f/2.eight EX DG APO OS HSM Lens for Canon EF

Tamron SP 70-200mm f/2.eight Di VC USD G2 Lens for Canon EF

Mirrorless Options

Sony FE 70-200mm f/2.eight GM OSS Lens

Canon RF 70-200mm f/2.eight L IS USM Lens

Nikon NIKKOR Z 70-200mm f/2.eight VR S Lens

2. 50mm

This is some other one in all my preferred lenses. The 50mm focal duration is terrific for portraits, and it may store the day while the mild begins off evolved to drop; the broader aperture lets you rely much less on for your flash and it creates a softer, extra herbal search for your subjects.

DSLR Options

Canon EF 50mm f/1.2L USM Lens

Nikon AF-S NIKKOR 50mm f/1.8G Lens

Sigma 50mm f/1.four DG HSM Art Lens for Canon EF

Mirrorless Options

Sony Planar T* FE 50mm f/1.four ZA Lens

Canon RF 50mm f/1.2L USM Lens

Nikon NIKKOR Z 50mm f/1.2 S Lens

Sigma 50mm f/1.four DG HSM Art Lens for Sony E

Rokinon AF 50mm f/1.four FE Lens for Sony E

3. 24-70mm

The versatility of the 24-70mm zoom lens is crucial for smaller spaces. For example, a tea rite at a Vietnamese wedding ceremony is typically held in a dwelling room. The 70-200mm might be too compressed for this situation, and the 50mm might now no longer offer sufficient versatility, as you usually don’t have lots of room for movement.

DSLR Options

Canon EF 24-70mm f/2.8L II USM Lens

Nikon AF-S Nikkor 24-70mm f/2.8E ED VR Lens

Sigma 24-70mm f/2.eight DG OS HSM Art Lens for Canon EF

Tamron SP 24.-70mm f/2.eight Di VC USD G2 Lens for Canon EF

Mirrorless Options

Sony FE 24-70mm f/2.eight GM Lens

Canon RF 24-70mm f/2.8L IS USM Lens

Nikon NIKKOR Z 24-70mm f/2.eight S Lens

Sigma 24-70mm f/2.eight DG DN Art Lens for Sony E

Tamron 28-75mm f/2.eight Di III RXD Lens for Sony E

4. 100mm Macro

If your bride and groom are spending hundreds of bucks at the info of a wedding ceremony, they may be positive to comprehend you taking pictures of the occasion in element. With the 100mm Macro, you may seize distinctive pictures with the equal best element as product classified ads in magazines. Add your contact of lighting fixtures and creativity, and also you get ring pictures just like the one below. Contact Capicture for best wedding photography in Madurai 

DSLR Options

Canon EF 100mm f/2.8L Macro IS USM Lens

Nikon AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED Lens

Sigma 105mm f/2.eight EX DG OS HSM Macro Lens for Canon EOS

Tamron SP 90mm f/2.eight Di Macro 1:1 VC USD Lens for Canon EF

Mirrorless Options

Sony FE 90mm f/2.eight Macro G OSS Lens

Tokina FiRIN 100mm f/2.eight FE Macro Lens for Sony E

5. 16-35mm

Sometimes the 24-70mm lens simply isn’t extensive sufficient to seize the whole lot you want. The extremely extensive perspective facilitates you to seize the environment. Venue and panorama pictures additionally offer a terrific addition for your wedding ceremony day coverage, as they set the scene for the day and let you take complete benefit of the scenery, in particular at lovely venues.

DSLR Options

Canon EF 16-35mm f/2.8L III USM Lens

Nikon AF-S Nikkor 16-35mm f/4G ED VR Lens

Sigma 18-35mm f/1.eight DC HSM Art Lens for Canon EF

Mirrorless Options

Sony FE 16-35mm f/2.eight GM Lens

Canon RF 15-35mm f/2.8L IS USM Lens

Nikon NIKKOR Z 14-24mm f/2.eight S Lens

6. 85mm

When this newsletter turned into first posted in 2009, the 85mm f/1.2 turned into in our honourable point-out category, however, we’ve fallen in love with this focal duration. The 85mm lens is a real portrait lens that doesn’t distort the photo the manner that a few wider-perspective lenses do (together with the 24mm or 35mm), in particular alongside the rims of the frame. This lens additionally gives terrific compression and historical past bokeh at wider apertures.

DSLR Options

Canon EF 85mm f/1.4L IS USM Lens

Nikon AF-S Nikkor 85mm f/1.8G Lens

Sigma 85mm f/1.four DG HSM Art Lens for Canon EF

Tamron SP 85mm f/1.eight Di VC USD Lens for Canon EF

Mirrorless Options

Sony FE 85mm f/1.eight Lens

Canon RF 85mm f/1.2L USM DS Lens

Nikon NIKKOR Z 85mm f/1.eight S Lens

The authentic article additionally covered the 15mm f/2.eight Fisheye lens which we now no longer use. Funny how speedy developments can change!

What do you think? What are your must-have lenses? If you haven’t executed so already, test out our Lens Wars series, the closing visible manual to actual international variations among an entire host of Canon expert zoom lenses and primes. In total, we examined 25 Canon lenses worth over $40,000 greenbacks beginning from 17mm to 300mm focal duration. For more information visit Capicture and contact us for wedding photography in Madurai

[deerwooduk]

In this street photography POV, I head to Hull city centre on a snowy day to meet Dave & Lee (links below), armed with the Canon 250D, Canon 50mm f/1.8 & Canon EF 28-70mm f/3.5-4.5 II Lens. https://www.youtube.com/c/DavidFlowerOfficial https://www.youtube.com/c/LeeGale https://twitter.com/KieranSuStreet Photography POV | Canon 250D, 50mm f/1.8 & 28-70mm f/3.5-4.5 via Pocket https://www.youtube.com/watch?v=r7E77KDof3A

[jason-lanier-photography]

Uncovering Covid-19- How New York City has handled the Subway, the Homeless, and the Pandemic

Uncovering Covid-19

NYC Subways, The Homeless, and The Spread

Episode 1

Uncovering Covid 19 is a film dedicated to shedding some light on the Corona virus Pandemic response by the New York City and State officials related to their subway and transit system. This documentary film talks about the impact the subway system has had on the possible spread of the corona virus to the workers at the Metro Transit Authority and how it relates to the homeless who ride and sleep on the trains everyday. This is a Jason Lanier Film created by Jason Lanier and Emily Rinaldo. For more information about the Uncovering Covid-19 Documentary Series please visit www.jasonlanier.com/covid19

This was shot using the Sony and Canon camera systems. Below is a link to the gear used for this project:

*Sony A7Riii- https://bhpho.to/2magAT1

*Sony Zeiss 35mm- https://bhpho.to/2VZ0jPS

*Canon EOS RP- https://bhpho.to/2SvmVoR

*Canon RF 15-35mm- https://bhpho.to/2YvoFma

*Canon RF 28-70mm- https://bhpho.to/2qnIOMd

*Canon EF 11-24mm- https://bhpho.to/2JjMQgp

*Manfrotto Fluid Head- https://bhpho.to/35xUQmf

*Sony Action Camera- https://bhpho.to/3dcnlIG

*Sony AX33 Camcorder- https://bhpho.to/35qv4QV

*Rode Shotgun Mic- https://bhpho.to/2SvjLBs

We thank you for watching and look forward to sharing more episodes regarding the Covid-19 Pandemic that has swept across the world. Would you like to share your story related to your experience with Covid-19? Please do so by visiting: www.jasonlanier.com/covid19 Thanks for watching! Jason Lanier

[kenhchiasethongtinhay]

Góc nhìn của máy ảnh (Phần 2)

Góc nhìn và trường nhìn phụ thuộc vào độ dài tiêu cự và kích thước cảm biến. Một vấn đề xuất hiện tại góc nhìn rộng nhất của ống kính là ảnh sẽ bị méo. Để khắc phục tình trạng này, chúng ta có thể dùng phần mềm chuyên chỉnh sửa ảnh (Đọc thêm bài viết “Méo hình và cách khắc phục”). Hiểu được bản chất và vai trò của góc nhìn, chúng ta có thể vận dụng vào việc lựa chọn ống kính cho từng trường hợp chụp ảnh.

Trong trường hợp này, bạn sẽ cần phải nắm bắt được phạm vi lớn của cảnh để chuyển tải đến người xem một không gian rộng lớn. Do đó, bạn phải cần một ống kính có góc nhìn rộng với tiêu cự ngắn. Một ống kính góc rộng với độ dài tiêu cự nhỏ hơn 25mm trên APS-C là một lựa chọn được khuyến khích. Ống kính có thể dùng cho mục đích chụp phong cảnh, kiến trúc, cảnh quang đường phố có thể kể đến: Canon EF 16-35MM F/2.8L II USM, Nikkor 12-24MM F/4 G IF-ED, Sony 10-18mm f/4 OSS, Sigma AF 8-16mm f/4.5-5.6 DC HSM…

Đây là thể loại nhiếp ảnh rất linh động và phức tạp vì người chụp luôn luôn phải di chuyển nhanh chóng theo đối tượng. Bạn cần một ống kính với tiêu cự thay đổi, cho phép linh hoạt hơn so với khi bạn đang chụp chân dung trong một studio, nơi bạn có thời gian để thay đổi ống kính. Nếu chỉ thích sử dụng ống kính prime và có điều kiện, bạn có thể mang theo hai thân máy với ống kính tiêu cự khác nhau trên mỗi camera. Một ống kính gắn vào máy ảnh sẽ cho tiêu cự 23mm và máy kia sẽ có tiêu cự từ 80mm đến 200mm. Danh sách các ống kính phù hợp để chụp ảnh sự kiện, đường phố là: Canon EF-S 18-135mm f/3.5-5.6 IS, Nikkor AF-S DX 18-105mm f/3.5-5.6G ED VR, Leica Elmarit-M 28 mm f / 2.8 ASPH …

Bạn thường cần phải tập trung sự chú ý của người xem vào nơi hành động cụ thể đang diễn ra. Nó tạo ra nhận thức rằng bạn đang ở gần các hành động trong khi thực tế, bạn có thể chụp từ một khoảng cách xa so với chủ thể. Một ống kính 70-200mm hoặc 70-300mm là lý tưởng trong tình huống này. Tránh xa các ống kính siêu zoom như các ống kính 18mm-200mm. Trong khi bạn có thể tránh việc phải thay đổi ống kính, ảnh của bạn sẽ bị nhiễu và bạn sẽ hy sinh chất lượng quá nhiều cho sự tiện lợi. Để chụp ảnh hành động, thể thao trong nhà nên dung các ống kính: Canon EF 70-200mm f/2.8L IS II USM, Sony FE 70-200mm f/4.0 G OSS,  Nikkor AF-S 70-200mm 1:2.8G ED VR II…

Các môn thể thao như bóng đá, ô tô đua,…đòi hỏi ống kính có chiều dài tiêu cự lớn. Các khoảnh khắc như tàu lượn trên không, cú sút phạt thủng lưới hay xe máy ôm cua, với những ống kính thích hợp bạn có thể bắt dính nó một cách dễ dàng. Tùy vào ngân sách, bạn có thể mua một ống kính có chiều dài tiêu cự từ 100mm đến 600mm hoặc ống kính 70mm - 300mm zoom để chụp linh hoạt hơn. Các ống kính dùng để chụp ảnh thám hiểm, thể thao ngoài trời là Tamron 150-600mm f/5-6.3, Nikkor AF-S 600mm f/4E FL ED VR, Sony 70-300mm F/4.5-5.6 G SSM, Olympus 70-300mm f/4-5.6 Zuiko ED…

Tất cả các loại ống kính macro có sẵn với độ dài tiêu cự khác nhau đều hữu ích tùy thuộc vào đối tượng bạn định chụp. Nhưng khi chụp hình các loại côn trùng nhỏ như bướm, ong, ruồi… bạn nên sử dụng ống kính có độ dài tiêu cự 60mm vì nó đảm bảo rằng đối tượng sẽ không phát hiện ra bạn và bay ra khỏi khung hình. Danh sách các ống kính phù hợp với chụp ảnh macro/sản phẩm bao gồm:  Nikkor AF-S 60mm f/2.8G ED, Canon EF-S 60mm f/2.8 Macro USM, Sigma 105mm f/2.8 EX DG OS HSM, Laowa STF 105mm F2.0, Tamron SP 90mm f/2.8 Di VC USD…

"QC" Dịch vụ quay video chuyên nghiệp, quay phim sự kiện, quay video clip, quay phim HD, tất cả các dịch vụ về quay phim…

Hotline + Viber + Zalo: 0972.123.018 (Cameraman)

Mẫu tham khảo : www.heytv.vn

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[calleryphoto]

“西貢 白沙灣 月出日出” Hebe Haven, Sai Kung, Hong Kong Moon rise & Sunrise TimeLapse Video 🌝🌞

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瑕疵記錄：

1. 多塵縮時 🤦🏾‍♂️ 無論時間幾趕急，都一定要記得吹走啲塵先開始影 😂🤣

2. 事實證明，日出時間太短暫，三部相機係必須 兩部相機唔夠時間處理，一部廣角或者超廣角 一部標準或者遠攝 一部則負責超遠攝，有第三部相機負責執漏都好緊要，只有兩部相機所有素材都會爭啲爭啲咁，不過當時未有第三部相機 所以都冇辦法 😂🤣

3. 時間要充裕，唔好急住走，否則片尾又係會爭啲爭啲咁 🤦🏾‍♂️

4. 魚眼鏡好似真係麻麻哋，低角度唔適合用，需要一支更加廣嘅超廣角鏡頭 😎

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📸 Callery

📍 Hebe Haven, Hong Kong

🗓 2021. 05. 09 & 2021. 05. 28

🎞 Two days footage combine

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Best quality video on YouTube:

https://youtu.be/g7YkhMifaaE

Music by: Aaron James Eckardt - A Fool’s Paradise @Artlist.io

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Social:

IG: Instagram.com/CalleryPhoto/

FB: Facebook.com/CalleryPhoto/

VERO: Vero.co/calleryphoto

Flickr: Flickr.com/photos/169222263@N02/

Twitter: Twitter.com/CalleryPhoto

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YouTube: Youtube.com/casi1209

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• Panasonic LUMIX S1

• Panasonic LUMIX GH4

• Canon EF 8-15mm f/4 L Fisheye USM

• Canon EF 16-35mm f/2.8L II USM

• Canon EF 24-70mm f/2.8L II USM

• Canon EF 70-200mm f/2.8L IS II USM

• Canon Extender EF 2X III

• SIGMA Mount Converter MC-21 ( EF - L )

• Metabones Smart Adapter ( EF - M4/3 )

• iFootage Gazelle FastBowl TC7 Tripod

• Leofoto G4 Geared Head

• Leofoto Ranger LS-324C + LH-40R Tripod

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[luxuslove]

CANON Objectif EF 24-70mm f/2,8 L II USM

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CANON Objectif EF 24-70mm f/2,8 L II USM

Geben Sie Ihr Modell ein, um sicherzustellen, dass dieser Artikel passt. CANON Objectif

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[boncloset]

Check out this listing I just added to my Poshmark closet: Canon LP1219 Soft Lens Case.

[robyncourtneyphotographyhnd1a]

Capture and Output

Robyn Courtney

HND1A - Capture and Output Q&A

Group Questions

Sensors

There are many different types of sensors in photography which do so many different things for your camera.

-        The CCD sensor was used for quiet some time for video and still camera, this type of sensor had a better image quality, dynamic range and noise control.

-      CMOS sensors are very inferior to other sensors out there such as the CCD sensor. CMOS sensors are able to use less power and are high speed. When shooting in bursts the CMOS sensor is the best to use as It is pretty much required to have.

-      The LiveMOS sensor has the best of both of the sensors above, it has meant to have the image quality of the CCDs sensor and the same consumption of power as the CMOS sensor and is used for Micro four thirds and four thirds cameras.

-      The Foveon X3 sensor has been based on the CMOS sensors technology and has been used in DSLR cameras and sigma’s compact cameras. This sensor doesn’t have the ‘Bayer filter array’ but has three layers on silicon instead of it.

CCD vs CMOS

CCD ( Charge-Coupled Device)   CMOS (Complementary Metal Oxide Semiconductor)

Both the CCD and CMOS sensors have the same starting point, they have to convert light into electrons. A clear difference between the two sensors is that the CCD creates high quality images with relatively low noise. On the other hand, the CMOS sensors are more prone to developing noise. Also, they are very different due to the amount of power they both use, the CCD sensor has shown to use as much as 100 times more power than the CMOS sensor. The CCD sensor has been used for a number of years in both still and video cameras. It has long offered much better image quality in comparison to the CMOS sensors. To this very day, they are still used in budget compact but due to the fact they use more power they have been replaced by CMOS alternatives.

Dynamic Range

There are two types of dynamic range that is important to think about when taking an image, dynamic range of the subject and the dynamic range of the camera. The dynamic range of the subject measures the intensity of the light from the shadows to the highlights. The dynamic range can be seen to be quite small in low light conditions but much higher on days when it is bright and sunny. The dynamic range size can vary for many reasons, the most likely to be the type of camera being used as all cameras show a different range. If the dynamic range of your camera does not exceed the range of the subject, then technically the image will be perfectly exposed. If this is not the case and the ranges vary the subject will be either under or over exposed in one part. Dynamic range is important to photographers because it the thing which determines how much of the image is represented within the bound of black and white. It is also important as it balances the exposure ratio when a photographer is capturing both and dark and light in the one image. An example of this is shooting a subject indoors with a bright naturally lit background as usually it would be either the dark foreground or light background that would be perfectly exposed, this allows both to work simultaneously.  

Bit Depth

Bit depth is the information of the colour stored into one image, the image can store more colours if the bit depth is high. Black and white are the only two colours or shades that can be shown in a simple 1 bit image, this is because the 1 bit is only able to show one of the two values, e.g. 0 white and 1 black. The differences between bit depth is the amount of tonal values that can be stored, for example an 8 bit can contain up to 256 tonal values for 3 colour channels. However, a 16 bit can store up to 65,536 tonal values each channel.

Noise

Noise is an equivalent of film grain that is shown within digital cameras, noise appears as random speckles on what should be a smooth surface that is been captured within digital photography, it can degrade image quality greatly.  Although the noise is often avoided as it takes quality from an image, it can also be added deliberately into an image to create an old fashioned grainy look which is reminiscent of old fashion film photography.

Outputs

There are many different outputs that you can use in photography such as:

-      JPEG

-      PSD

-      PNG

-      TIFF

-      GIF

Paper Surfaces

-      Glossy (the most used). Glossy paper has a shine on one side of the paper, this is what helps to make the photo paper more appealing. This type of paper usually brings out the colour in images more than most types of paper. However, glossy paper is more prone to get fingerprints and dirt marks over it as it is very delicate so it should be held at the edges to prevent any damage to the paper or print.

-      Matte. This paper is used in the industry for two main reasons. One being the fact that it does not have any gloss on it what so ever and the other is that due to the matte finish, they re resistant to any smudging or fingerprints.

-      Canvas. Canvas is more efficient to use if you want to display your images amongst professional photographs. It is very similar to the matte finish with the exception that is shows better colour and contrast. Many photographers use this because of that fact as it is seen to be more colour efficient than the matte finish.

-      Art. This type of paper is also very efficient for putting your images platforms that will be seen by many. This particular paper provides the classic textured look to your photographs, as the name suggests. There are many art type papers that can vary in terms of tonne of the paper, contrast of colours, textures and colours.

-      Lustre. This type of paper can be seen as semi – glossy with a textural feel. They are high quality products and are very popular within the photographic world as it combines both qualities of matte and satin photo papers.

https://blog.inkjetwholesale.com.au/printer-education/learn-about-different-types-of-photo-paper/

https://www.outdoorphotographer.com/tips-techniques/printing-output/#

http://facweb.cs.depaul.edu/sgrais/bit_depth.htm

https://photo.stackexchange.com/questions/7616/what-is-dynamic-range-and-how-is-it-important-in-photography

https://www.whatdigitalcamera.com/technical-guides/technology-guides/sensors-explained-11457

                                         Individual Questions

Canon EOS DSLR 50D  & Canon EOS DSLR 4000D

-      Both the Canon EOS DSLR 50D and the Canon EOS DSLR 4000D have the CMOS sensors built into the camera body.

-      The Canon EOS DSLR 50D has a 15.10 megapixel which is 22.3 x 14.9 mm  CMOS sensor and the Canon EOS DSLR 4000D has an 18.0 megapixel CMOS sensor which is 22.3 x 14.9 mm. This is a table by https://www.ephotozine.com/article/complete-guide-to-image-sensor-pixel-size-29652showing the many different pixel sizes/camera sensors you can get for many different cameras:

-      The pixel size of one pixel for the 50D is 21.9 however the 4000D is 18.4, the sensor on the 50D is approx. 19% bigger than a pixel on the 4000D.  The sensors actual size is shown in the image below :

-      The maximum bit depth that the 50D can record is 21.8 bit(14-bit data Raw) as well as the 50D the maximum bit depth that the 4000D can have is also 14 bit.

-      The dynamic range for the Canon 50D is 0.5 medium and the range of the 4000D is 11.4.

-      Both cameras have different maximum ISO, the canon 50D is 3200 and the 4000D is 6400.

-      The image processor of the canon 50D is DIGIC 4 and the canon 4000Ds processor is the DICGIC 4 +.

Lenses suitable for the canon cameras are:

-      Canon EF 50mm

-      Canon RF 28-70mm

-      Tamron AF 18-200mm

-      Canon EF 100mm

-      Canon EF 100-400mm

Accessories for the canon cameras are:

-      External flash.

-      Camera bag.

-      SD card.

-      Lens hood.

-      Extra batteries & charger.

-      Wireless remote control.

-      Remote flash trigger.

-      All in one camera lens E.g. 55-200mm.

-      Tripod.

-      Camera cleaning kits.

-      Extra lens caps.

-      All of these help you to better your experiences/journey with your camera as it makes it a lot easier to use and can help you in the future as it is handy to have everything you need.

-      The focus point of the Canon 50D is 9 point diamond array with nine cross-type autofocus points. The Canon 4000D has the exact same focus point as the 50D.

-        Both The Canon 50D and the Canon 4000D are made up of many different things such as magnesium alloy chassis, plastic and rubber. As they are both canon cameras the materials used for building the cameras are basically identical.

-      The Canon 50D has slight durability to the weather as it has been sealed properly but not to the point that you could take it out into torrential rain as you wouldn’t want to damage anything on your camera. However, the 50D can be safe to use in small amounts of rain and bad weather because of this sealing. The Canon 4000D isn’t properly weather sealed so I would refrain from taking It out into any rain at all and any other terrible weather that would occur to protect the camera.

Paper based outputs

Glossy & Matte.

-      The average cost of glossy paper can range from £0.20p to £138.49 depending on the size of print you are looking for. The maximum print size for the glossy printing paper (standard size) is 95x48. The average amount of cost for the matte paper ranges from £0.20p and £138.49, just like the glossy paper and the maximum size of print is also the same at 95x48.

-      The variety of paper type (substrate) for glossy paper is that it has a high sheen to it and they have as little bulk and opacity as possible, they also are very affordable and the paper has an accurate colour definition. For matte paper it isn’t glossy at all and has very little sheen and also have a bigger bulk and cost a little more than glossy paper.

-      For glossy paper the coloured inks on the image are glossy and they can work either on glossy or matte paper but the glossy papers black is able to work onto the matte paper, however it gives it a less black, black.

-      The size of the dots (microns) in glossy paper are around 100 microns for a 360 dpi image and 720dpi image has around 50 microns. For the glossy paper it takes around a full day minimum to dry and print out an a3 print.

-      When printing your images it is vital that you have a look at the ‘life expectancy’ of your paper as you want your images to last a very long time, especially If you sell them on in the future. Glossy paper print normally lives for around 85 years in a frame under glass whereas if it was stored in darkness with best atmospheric conditions it could last up to an amazing 300 years. The matte paper however could only last around 83 years in a glass frame and 200 years in the dark conditions.

https://michaelscottlees.com/gallery-info/how-long-will-the-prints-last/

https://www.printerland.co.uk/blog/printer-buying-guide/in-depth-guide-to-printer-paper/

https://printingpartners.wordpress.com/2012/05/24/paper-types-explained/

http://www.brancher.com/-Les-differents-supports-et-leurs-.html?lang=en

https://forums.moneysavingexpert.com/showthread.php?t=4044565

In conclusion, the advantages and disadvantages of the Canon 50D and the Canon 4000D is that the 4000D is a lot lighter and smaller to carry around than the 50D. However, most of the things inside the camera are pretty much identical such as the sensors, they’re both the same size. The canon 50D has easier settings that you can use, larger screen, faster shutter speed, has better sealing for the weather and long lasting. The 4000D has more detail in the camera, its more compact, more affordable, more modern and has an easier file upload and device pairing system. However, both cameras do have some faults such as the 4000D isn’t sealed for the weather therefore you have to be more aware pf the weather before you shoot etc and the 50D is a lot heavier than the 4000D which makes it more efficient to travel with and have on the go.

The advantages and disadvantages of the glossy and matte papers varies depending on what image you are looking for and how you want it to look, you might think that the glossy finish to an image creates a beautiful shine and helps illuminate your image whereas you could also completely go the opposite way and say that the matte finish is more for you as it doesn’t add any unwanted glare or shine to your image, you just want it to look at It the way it is and not too edited looking or too in your face. So the disadvantages and the advantages are really depending on if you want a smooth and non- glare image or a crisp sharp and bright image.

[deerwooduk]

In this street photography POV, I head to Hull city centre on a snowy day to meet Dave & Lee (links below), armed with the Canon 250D & Canon EF 28-70mm f/3.5-4.5 II Lens. https://www.youtube.com/c/DavidFlowerOfficial https://www.youtube.com/c/LeeGale Vallerret Photography Gloves: https://photograSnowy Street Photography POV | Canon 250D & 28-70mm f/3.5-4.5 via Pocket https://www.youtube.com/watch?v=lu35UyyPZsY

[heykav]

Photo Of The Day By Bob Faucher - Outdoor Photographer

Photo Of The Day By Bob Faucher – Outdoor Photographer

Photo By Bob Faucher Today’s Photo Of The Day is “Moose’s Tooth” by Bob Faucher. Location: Denali National Park, Alaska. “The distinct 5000-foot vertical columns of the Moose’s Tooth, with Bear Tooth on its right, appear suddenly on the east as one approaches the northern end of the Ruth Gorge.” Canon EOS 5D II, Canon EF 28-70mm @ 50mm, Exposure: 1/250 sec., f/16, ISO 100. Want to get your…