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tuta-mblr · 5 years ago

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カレーを撮る最適なカメラに関する一考察（2020年4月16日版）

カメラ初心者が食べ物を最も簡単に（なんも考えずなんかいい感じに仕上げてくれる）撮れる最強の組み合わせは……iPhone(背景ボカシが出来るスマホ系ならなんでも)+googleフォトの自動調整です！！！以上！！！異論は認める。

でそれを踏まえた上でのカメラのいい所は自分好みの写真にできるって所ですかね。

提案される色味が気に食わないとかぼかし方が気持ち悪いとか好みが出てきたら自分でいじれる方が断然良いと思います。

さて食べ物を綺麗に撮影するにあたってざっくり

・構図

・明るさ（シズル感）

・立体感(ボケ味)

・色味

の検討が必要って一般的に言われます。

この内、

・構図に関連するカメラ性能が焦点距離

・明るさ/立体感で関係するカメラ性能がF値の小ささです。

焦点距離は人間の肉眼に近いとされる35-50mmが良いと思います。F値は小さいほど明るく、ボケみのある写真が撮れると思ってください。

と言う訳で以下では焦点距離35-50mm程度で適度に小さくF値の低いデジカメを��介していきます。

コンデジ編

CANON　PowerShot G7 X Mark II

ぶっちゃけ俺が持ってる。F値は1.8-2.8 光学ズームも4.2倍と広くポートレイトから風��写真まで幅広く使える優等生ちゃん。お値段6万円位。お金持ちなら最新版のMark IIIを買っても良い。

SONY サイバーショット DSC-RX100M3

G7 X Mark IIより5千円お安い分、光学ズームは2.9倍。ツアイスレンズが付いているのでかっちょいい写真が撮れる気がする。電子ファインダーが付いているので写真を撮りやすいと言う人もいる。ただタッチパネルが付いていないので操作性に劣る。お金持ちはDSC-RX100M5Aを買うと良い。

Panasonic LUMIX DMC-LX9

F値1.4-2.8。光学ズーム3倍。カメラ性能比較するとこれが一番良さそうだが最短撮影距離が標準で30cmなのが使いづらそう。マクロ3cmなので切り替えれば良いだけと言う話もある。ライカレンズを名乗っているのでいい写真が撮れる気がする。

あとはRICOH GR IIIとかSIGMA dp2 QuattroとかAPS−Cサイズで特色ある単焦点機種もあるけど割愛。

メーカーごとに画像エンジンの色味とか違うのでちゃんとHPとか販売店に行って写真を見て決めてください。

価格.comの比較表はこちら

一眼編

前章で焦点距離とF値はカメラ性能と言ったな。あれは嘘だ。正しくはレンズ性能だ。一眼（レフ/ミラーレス）はセンサー部とレンズ部が分かれるので訂正しました。ただ求めるレンズ性能は一緒で、焦点距離35-50mm程度でF値の低いレンズが対象になります。

あと撮影素子サイズ（撮影するセンサーサイズ）もボケみに効いてきます。ぶっちゃけサイズが大きいほどボケやすく立体感が出易いがお値段も高い。

一般的な一眼撮影素子サイズは大きい順にフルサイズ＞ＡＰＳ－Ｃ＞マイクロフォーサーズ＞１型（高級コンデジライン）です。

どのサイズを買うかはお財布と相談ですが、どうせ沼につかるんだったら最初からいいのを買ったほうがトータルダメージは少ないぞ。というわけで各メーカ毎のご紹介です。

キヤノン

安い、良い、純正レンズというレンズ沼の温床メーカー。カメラ本体に手振れ補正がついていないのが玉に瑕だが真のカメラマンはそんな軟弱なものに頼らないのだ。嘘です、レンズ側に手振れ補正機能をつけています、というわけで手振れ補正付きレンズを紹介。

ＡＰＳ-Ｃ

CANON　EF-S35mm F2.8 マクロ IS STM　3.4万円

マクロレンズなので被写体に近づいて大きく撮影することが可能

シグマ　17-50mm F2.8 EX DC OS HSM [キヤノン用]　2.8万円

ズームレンズなので旅行などにも使えて便利。

フルサイズ

TAMRON　SP 45mm F/1.8 Di VC USD (Model F013) [キヤノン用]　3.6万円

CANON　EF35mm F2 IS USM　5.8万円

ボケみを最大限に楽しむならこの辺から。

カメラ

ＡＰＳ-Ｃとフルサイズから一機種ずつチョイス

ＡＰＳ-Ｃ　ＥＯＳ　ＫＩＳＳ　Ｍ　6.4万円＋変換マウント1万円

将来を見据えるとミラーレスのほうが良いのでは。

フルサイズ　EOS 6D ボディ　中古5万円～

フルサイズにこだわるなら中古もあり。

Ｎｉｋｏｎ

調べたけどいまいちおすすめできる感じがしない

ごめんZ50忘れてたわ

カメラ

ミラーレスじゃないのが個人的にNG。キヤノンよりシステムが古い…

フルサイズ　Ｄ610　中古　4.9万円～

ＡＰＳ-Ｃ　Ｄ3500　3.9万円

Z50レンズキット 10.8万だけどキャンペーンとかで2万円引きになった所を狙うのだ

レンズ

ＡＰＳ-Ｃ

シグマ　17-50mm F2.8 EX DC OS HSM [ニコン用]　2.8万円

キヤノンと一緒ですね。

フルサイズ

ニコン　AF-S NIKKOR 24-120mm f/4G ED VR　中古4.2万円

F4だけどこれはお買い得品

富士フイルム

緑が特徴的な絵作りを得意とする。好きな人はめっちゃ好きなイメージ。カレー向きかは知らない。

フジはミラーレスＡＰＳ-Ｃか中判しか選べない漢気メーカなので実質ＡＰＳ－Ｃから選ぶ。手振れ補正は最近の上位機種のみ採用。

FUJIFILM X-E3 レンズキット（XF18-55mmF2.8-4 R LM OIS）か単焦点レンズキット（XF23mmF2 R WR）がおすすめ。8.5万円位。

マイクロフォーサーズ系

強力な手振れ補正機能を有する。もはやぶれる写真を撮るほうが難しいのではないか。半面撮影素子が一眼系でもっとも小さいのでボケ味は不利。

カメラ

OM-D E-M1 Mark II　中古　6.2万円～　

ほぼ三脚要らずの最強機　さらなる高みを目指すのならMarkIIIがおすすめ。

OM-D E-M10 Mark III　4.8万円

入門機なれどちゃんと手振れ補正がついてい��。

レンズ

オリンパス　M.ZUIKO DIGITAL ED 12-100mm F4.0 IS PRO　中古9.8万円

これがあればもう何も怖くない。沼にはまる必要もない。

オリンパス　M.ZUIKO DIGITAL 25mm F1.8 [ブラック]　3.2万円

単焦点ならこれからスタートがよいのでは。

LEICA DG SUMMILUX 25mm/F1.4 ASPH. H-X025　4.0万円

パナライカもあるでと言う情報戴きました。ライカ様やで！

ソニー

元祖ミラーレスメーカ。いち早く本体側に手振れ補正を付けた先進的なメーカ。レンズバリエーションがキヤノン、ニコンに劣るのが欠点だが変換マウントを使えば他社レンズも使えるようになるぞ！（ＡＦが使えるかは知らない）オールドレンズをつけて悦に浸るのも吉。

カメラ

ＡＰＳ-Ｃ　α6500 ILCE-6500 中古6.5万円～

フルサイズ　α7 II ILCE-7M2　中古7.0万円～

手振れ補正付きだとこのラインナップ。なしでよいならもう少しお安いが初心者には手振れ補正ありがおすすめ。カメラ性能としてはα6500のほうが連射、タッチパネルの点でおすすめ。

レンズ

ＡＰＳ-Ｃ　

E PZ 18-105mm F4 G OSS SELP18105G　4.3万円

旅行にも使える万能レンズ。

シグマ　30mm F1.4 DC DN [ソニー用]　3.1万円

ボケ感を追うならこれか。

カールツァイス　Touit 1.8/32　中古　4.5万円

ＡＦの効くツァイス様は貴重。撮った空気感が違う。これつけてたらかなり玄人の目でみられるのでは。

フルサイズ

Vario-Tessar T* FE 24-70mm F4 ZA OSS SEL2470Z　中古5.0万円

値段とパフォーマンスを両立するならこのラインから。

TAMRON　35mm F/2.8 Di III OSD M1：2 (Model F053)　3.3万円

お値段を抑えつつ最高のパフォーマンスを期待するならこれ。

FE 50mm F2.8 Macro SEL50M28　5.0万円

マクロを使ってカレーを大きく、細部まで撮りたいならこれ。

あとはペンタックスとかシグマとか気になったら調べてください。

まとめ

最安構成をまとめると

・マイクロフォーサーズ

オリンパス　OM-D E-M10 Mark III＋M.ZUIKO DIGITAL 25mm F1.8　8万円

・ＡＰＳ-Ｃミラーレス

富士　Ｘ－Ｅ3　＋XF18-55mmF2.8-4 R LM OIS　8.3万円

ソニー　α6500 ILCE-6500＋シグマ　30mm F1.4 DC DN　9.6万円

キヤノン　KISS M + 変換マウント＋シグマ　17-50mm F2.8 EX DC OS HSM＝10.2万円

・ＡＰＳ-Ｃ一眼レフ

D3500　＋　17-50　F2.8　6.7万円

・フルサイズミラーレス

ソニー　α7 II ILCE-7M2＋TAMRON　35mm F/2.8 Di III OSD M1：2 (Model F053)　10.3万円

・フルサイズ一眼レフ

キヤノン　EOS 6D　＋　SP45ｍｍF1.8　8.6万円

ニコン　D610　＋　24-120　F4　9.1万円

価格.comのまとめ表はこちら

個人的なおすすめは将来性も考えてソニーのフルサイズミラーレスです！

いか��でしたか？

まずは自分で触ってみて、感触を確かめてからご検討ください。

そしてカメラ沼、レンズ沼にはまることを心よりお待ち申し上げております。

補足：カメラ、レンズの撮影例はヨドバシフォトとかを見るとよいです。

選択肢が多すぎるとの声を聞きましたのでフローチャート作りました、ご活用下さい

#カメラ

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photomaniacs · 8 years ago

Photo

Why I Burned My Own Property and How I Photographed It http://ift.tt/2tfsh9l

I was committed to burning my property. I know this sounds a bit crazy but we’re talking about a prescribed burn. My wife researched programs in our area for homeowners to reduce fire hazard. In our area the firefighters are cross-trained for both wildland and structure fires so they are perfectly qualified to do prescribed burns on a residential property.

After getting an assessment we got rid of all the pine needles dropped by the numerous ponderosa in proximity to the house and studio. The fire crew dug a containment “line” around the perimeter of our property. Then they trimmed low hanging branches and small trees that could be potential “ladder fuels” Then we waited for the right weather and time to burn.

My wife, Barb, is also a fire ecologist and participated in initiating the prescribed burn in autumn. Using a drip torch like this, the burn crew strategically places fire based on wind and weather conditions. Nikon D800E with Nikon AF-S NIKKOR 24-120mm f4 G ED VR at 70mm, 1/160, f8.0

I live in the WUI (pronounced woo-ee). That stands for wildland-urban interface. The upside is I’m in the woods and mountains with beautiful views; surroundings that motivate me creatively, it’s quiet, and I see lots of wildlife. The downside is I’m in the woods, which means potential danger from wildland fires. Exacerbating that danger is that I also happen to be in northern Arizona, where wildland fires are not uncommon.

Scary Moments Can Motivate You

I’ve seen smoke plumes and hazy skies from forest fires many times but they are usually far off. However, a few years ago a young man, despondent over his girlfriend, decided to light a dozen fires in the forest near my house and studio. My wife happens to be a fire ecologist and although we were away at the time, one of her colleagues that manages a wildland fire crew called us to let us know there was a fire in our area. We drove home, got our dogs, and packed up a few irreplaceable items while coughing from smoke.

It sounded like we were in an air raid with planes flying right over our heads dropping fire retardant. Then the sheriff knocked on the door and told us to get out of there. We stayed at my mother’s house trying to get updates on the progress of the firefighters. Finally in the early evening we breathed a big sigh of relief when a neighbor called and said it was OK to come back to our homes.

Thankfully, the fire crews did a spectacular job safely containing the fires. There was no fire or smoke damage to our home or my studio and we were able to clean the fire retardant off of our house.

With the main fires out I walked into the woods to shoot photos of the remaining smoke, the remnant flames, and the remaining firefighters making sure everything remained under control.

After this experience I was ready for a prescribed burn of our property.

Shooting the Burn

In order to shoot, I had to mentally dissociate myself from the fact this was my home so close to the flames. The flames never reach the house due to careful planning and preparation prior to the burn. Nikon D800E 24-120mm, 24mm, f8.0, 1/250 sec.

I knew I wanted to shoot this and tell the story. Although I asked lots of questions about it of my wife, the Burn Boss, and some of the crew, I didn’t fully know what to expect in terms of photo opportunities. I knew I would have to be able to move quickly during the burn so I didn’t want to be laden with too much gear and using a tripod was likely going to be out of the question.

I made sure to cover my bases with my full frame rig (Nikon D800E and Nikkor 24-120), and a Micro 4/3 for video and backup stills (Olympus OMD E-M1) along with my infrared body, also a Micro 4/3 (My old GH2 with IR modification), and an Olympus 12-40 f2.8 lens. I kept all 3 cameras on straps around my shoulders and neck so all were accessible. I also had a compact camera (Sony RX100 III) in my pocket. With all but the Nikon rig being compact and lightweight I was fairly unencumbered and able to move quickly.

I Was Blown Away by What Unfolded During the Burn, In a Good Way

Capturing smokey sunbeams is aided by backlight shooting directly into the sun during the fire. Dense air masses keep the smoke low to the ground. This combined with a sunny day and blue skies helped me capture these unusual effects. Olympus E-M1, ED 12-40mm f2.8 Pro zoom at 15mm f5.6 (30mm FF equiv)

Infrared capture of the prescribed burn. My infrared camera offers a very different look, “seeing” parts of the spectrum that we can’t see with our eyes. The symmetrical pattern of the flames are from the drip torches used by the burn crew to place the fire in specific locations. Panasonic GH2 Infrared (IR) modified, Olympus ED 12-40mm f2.8 Pro at 12mm (24mm FF equiv) f11, 1/250 sec.

Infrared capture at peak of the burn. The crew made sure to burn piles and old fallen trees to eliminate them as potential fire hazard in the future. Panasonic GH2 IR modified, Olympus ED 12-40mm f2.8 Pro at 40mm (80mm FF equiv) f11, 1/250 sec.

The smoke helped me capture a spot lighting effect on the foreground tree. Olympus OMD E-M1 with ED 12-40mm f2.8 Pro at 28mm f2.8 (56mm FF equiv)

I had a minute to run to my studio and grab my longer telephoto zoom. With the dense air mass it got quite smokey on the ground, dramatically decreasing the visibility. I used a long lens to accentuate that. Nikon D800E with Tamron SP 70-300mm f/4-5.6 Di VC USD at 300mm, f8.0 1/320 sec. ISO 200

There happened to be a dense air mass that day that kept smoke close to the ground. Combined with the blue skies, trees, and the sun, it made for unique and magnificent lighting and wonderful effects from the smoke. I couldn’t have dreamed up anything like this. There were nature shots, firefighters, vehicles, all in a dreamscape. I wanted to be everywhere at once. Then when night fell, I had another set of opportunities.

As night began to fall I could start to see glowing stumps and remnants of the burn. When it was completely dark I could see many more (see below) I shot this one hand-held with a Nikon D800E and AF-S Nikkor 24-120mm f4.0 G ED VR zoom at 24mm, f5.6, 1/60 sec. ISO 25,600

This is one of the very few shots with a tripod- the use of which was a luxury I didn’t have during the burn when I had to move quickly. Smoldering stumps burn through the night under a star-lit sky. Nikon D800E with AF-S Nikkor 18-35mm f3.5-4.5G ED wide-angle zoom at 18mm, f5.6, for 30 sec.

The next morning, amidst the smoldering charred ground that used to be my yard, I looked at my wife, the fire ecologist, and said “Wow, that’s a whole lot of black” She assured me that not only would green grass and flowers return but we’d have a much healthier forest with less potential fire hazard on our property.

Then my longer term project began: after the fire was out I ended up shooting all the blackness, then little green sprouts coming up through the ash and charred ground, the contrast of snow and blackened tree trunks, and the elk coming around for the nutrient rich regrowth. I ended up shooting this story through all four seasons spanning a year.

Wintertime. The purpose of the burn is to get rid of flammable ground cover. Amidst the charred remains from the burn are healthy ponderosa trees which are adapted to survive fire. Nikon D800E with AF-S Nikkor 18-35mm f3.5-4.5G ED wide-angle zoom at 18mm, f8.0, 1/320 sec.

Spring brings new grass sprouts right out of the charred remains of the native grasses. Nikon D800E and AF-S Nikkor 24-120mm f4.0 G ED VR zoom at 28mm, f8.0, 1/250 sec.

The regrowth started early in the spring and the elk, showing up before sunrise, take advantage of the fresh sprouts. The lack of light for this pre-dawn shot required ultra high ISO. This was about the time of year I switched to a Sony system. Sony A7II with Sony FE 24-240mm f3.5-6.3 OSS, f5.6 1/15 sec, 70mm ISO 20,000. Even at ISO 20,000 I had to bring up the exposure in post capture processing. The Sony raw file handled it well. Although the A7II and A7II R have in-body stabilization and I was using a stabilized lens I wasn’t worried about my own movement- the weak link here are the subjects themselves. Because I was shooting at 1/15 sec. I had to wait until the elk were fairly still to eliminate motion and get them sharp.

Also in the spring my wife, Barb, a fire ecologist shows our daughter some of those grass shoots coming out of an area burned in the fire. Sony A7II with Sony FE 24-240mm at 146mm, f11, 1/160 sec., ISO 160.

Summer showcased a large visible departure from the previous charred ground. The remaining ash you see in the foreground transitions to grasses and wildflowers in the former burn area. Sony A7II with FE 24-240mm zoom at 67mm, f16 1/60 sec.

Late summer/early fall brings more regrowth with taller grasses and wildflowers. Sony A7R II with 24-240mm at 181mm f8.0, 1/200 sec.

Full circle: A year later, notice how the vegetation in the former burn area is much taller. It brings the elk back for their winter fuel. With all the nutrient rich regrowth we see wildlife far more frequently than before the burn. Sony A7R II with FE 24-240mm at 210 mm f6.3, 1/250 sec.

I’m not a wildland fire specialist but I was able to take advantage of a rare occasion as a photographer: the weather on the particular day we did the burn, a controlled environment with a fire crew and their equipment at hand, and a beautiful day in the forest, all came together for some amazing opportunities and an ensuing story with many photographic rewards.

About the author: Joel Wolfson is an internationally published photographer who loves teaching as much as shooting. He shares his 30 years of experience as a working pro with other photographers and enthusiasts by way of his workshops, 1 on 1 training, webinars, articles, blog and speaking engagements. He is one of the pioneers of digital photography, having conducted digital photography seminars for Apple and other corporations starting in the early 90s. This article was also published here.

Go to Source Author: Joel Wolfson If you’d like us to remove any content please send us a message here CHECK OUT THE TOP SELLING CAMERAS!

The post Why I Burned My Own Property and How I Photographed It appeared first on CameraFreaks.

July 19, 2017 at 07:00PM

#photo photography art camera cameras

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