#mirrorless interchangeable lens camera

[thephoblographer]

The Camera Market Will Thrive. But There are Some Curious Trends

As the year begins on a relatively good note, questions about the camera market begin to circulate on the internet. Over the years, reports of a decline in the camera market have been persistent, with very few feeling the need to switch from a smartphone to a dedicated camera. However, with younger users bored with what companies like Samsung and iPhone offer, there appears to be some hope for…

[bishtmeenakshi]

Indian Digital Camera Market Size, Trends, Challenges and Future Outlook

In a world increasingly dominated by smartphones, the Digital Camera Market in India stands as a testament to the enduring passion for capturing life's moments in stunning detail. This market encompasses a diverse range of cameras, from point-and-shoots to high-end DSLRs, catering to photography enthusiasts and professionals alike. The Indian digital camera market is a significant contributor to the global market. The market size was valued at USD 1.8 billion in 2023. This figure is projected to grow at a CAGR of 4.2%, reaching an estimated USD 2.4 billion by 2028.

Digital Camera Market Analysis: A Multifaceted Landscape

A thorough Digital Camera Market Analysis reveals a market segmented based on various criteria: Camera Type:

Digital Still Camera Market: This segment comprises basic point-and-shoot cameras, offering user-friendly features and affordability. The digital still camera market is expected to witness a decline due to the increasing camera capabilities of smartphones.

DSLR Camera Market (Digital Single-Lens Reflex): DSLRs offer exceptional image quality and interchangeable lenses, catering to photography enthusiasts and professionals. The DSLR camera market is experiencing a shift towards mirrorless cameras due to their portability and advanced features.

Mirrorless Camera Market: Mirrorless cameras (MILCs) combine the image quality of DSLRs with a compact and lightweight design. The mirrorless camera market is witnessing significant growth due to their versatility and technological advancements.

Lens Type

Interchangeable Lens Camera (ILC) Market: This segment encompasses both DSLRs and mirrorless cameras, offering users the flexibility to swap lenses for different shooting scenarios. The ILC market is expected to witness the most significant growth due to the increasing popularity of mirrorless cameras.

Take a look : Forecasting the Camera Market Trends and Segmentation

Top Players: A Competitive Landscape

The Indian digital camera market is a competitive space with established international brands vying for market share. Some of the top players include:

Canon

Nikon

Sony

Fujifilm

Panasonic

These companies are constantly innovating and introducing new models with advanced features like high megapixel counts, faster autofocus, and improved low-light performance. However, the rise of smartphone photography has led to a decline in market share for some traditional camera brands like Olympus, which exited the camera business in 2020.

Digital Camera Market Trends: Shaping the Future of Photography

Several key trends are shaping the future of the Indian digital camera market:

Smartphone Integration: The increasing sophistication of smartphone cameras is impacting the digital camera market. However, smartphones are unlikely to completely replace dedicated cameras. Instead, we are likely to see a convergence where smartphones cater to casual photography, while digital cameras remain the preferred choice for serious photographers and enthusiasts.

Focus on Full-Frame Cameras: Full-frame cameras offer superior image quality and low-light performance compared to crop-sensor cameras. The full-frame camera market is expected to see steady growth in India, driven by the increasing affordability of these cameras and rising aspirations of amateur photographers.

Rise of Online Retail: The growing popularity of online shopping platforms is influencing consumer buying behavior. Online retailers offer a wider selection of cameras and lenses at competitive prices, making it easier for customers to compare and purchase products.

Focus on Content Creation: The rise of social media platforms and content creation has fueled the demand for vlogging and video recording capabilities in cameras. Manufacturers are responding to this trend by introducing models with improved video features and functionalities.

Challenges and Considerations for the Future

Despite the promising future, the digital camera market in India faces some challenges:

Competition from Smartphones: As smartphone camera technology continues to improve, it will remain a significant competitor to entry-level and point-and-shoot digital cameras. Manufacturers need to focus on innovation and highlighting the unique advantages of dedicated cameras over smartphones, such as superior image quality, interchangeable lenses, and better ergonomics.

Economic Factors: Fluctuations in exchange rates and rising inflation can impact the affordability of digital cameras, especially high-end models. Manufacturers may need to explore strategies such as localized production or offering financing options to make cameras more accessible to a wider audience.

Shifting Consumer Preferences: Consumer preferences in the camera market are constantly evolving. Manufacturers need to stay up-to-date with these trends and adapt their product offerings accordingly. For example, the growing interest in videography necessitates cameras with robust video recording capabilities.

Camera Market Future Outlook: A Focus on Innovation and Specialization

The Indian camera market future outlook is expected to witness moderate growth in the coming years, reaching an estimated USD 2.4 billion by 2028. We can anticipate a future where:

Artificial Intelligence (AI) Integration: AI features like scene recognition and object tracking are likely to be incorporated into future camera models, making photography more intuitive and user-friendly.

Focus on Specialization: Camera manufacturers are expected to focus on specialized cameras catering to specific photography niches like wildlife photography, astrophotography, and sports photography. This will cater to the evolving needs of professional and enthusiast photographers.

Increased Focus on After-Sales Services: With the growing complexity of cameras, manufacturers may prioritize providing comprehensive after-sales services like training workshops and technical support to enhance customer satisfaction and brand loyalty.

Conclusion: Capturing the Future of Photography

The digital camera market in India is a vibrant and evolving landscape. With increasing disposable income, rising internet penetration, and a growing passion for photography, the market is poised for continued growth. While smartphone photography poses a challenge, dedicated cameras will remain relevant for serious photographers and enthusiasts who value superior image quality, creative control, and specialized features. By embracing innovation, focusing on niche markets, and providing excellent customer service, camera manufacturers can navigate the changing landscape and ensure the future of photography in India remains bright.

You can also read more at: Camera Market Trends, Segmentation and Forecast (2023-2030)

[skmalik0089]

Sony Alpha ZV-E10 - APS-C Interchangeable Lens Mirrorless Vlog Camera Kit - Black - Classified Ad

Large 24.2MP APS-C Exmor CMOS Sensor and fast BIONZ X processor

4K Movie oversampled from 6k w/ full pixel readout, no pixel binning

Product Showcase Setting transitions focus from face to object

Background Defocus button instantly toggles between defocus effect on/off

Easy live streaming w/ single USB cable and no extra hardware/software

Buy at Amazon

[sirfrogsworth]

Frogman's Camera Buying Guide

A few weeks ago someone asked if I could recommend an interchangeable lens camera (ILC) to supplement their smartphone photos and hopefully get better pictures of important things like vacations and pets.

I decided to go very extra with my response and due to that... I'm still not finished with it.

I'm worried I am letting this person down because they did not ask for a giant post explaining every detail about cameras in the history of forever.

So I am going to do a camera recommendation post without as much explanation and hopefully I can finish the giant post at some point in the near future.

If you want to take better pictures you are probably going to need a camera with a decent sized sensor, a fast lens, a tripod, and a flash.

The bigger sensor gives you more dynamic range so you can capture brighter and darker things in the photo.

A fast lens has a giant hole in the front that lets in a ton of light. That hole is called the aperture and the bigger it is, the better your photos in dark environments will be. So you will want something that does f/1.8 or f/1.4 (lower f-stop number = bigger hole = more light). This can also help you get a lot of cool background blur.

A tripod will help get you longer exposures without any blur from camera shake. Especially good for landscape photos.

And a flash is for taking photos of pets and other moving subjects when you are indoors and don't have a lot of light. A flash is an absolute game changer for indoor photos.

HOWEVER, never point it directly at your subject.

Point it at a large white ceiling or wall. The flash happens so fast that it freezes motion. It is how I got all of my indoor photos of Otis.

Here he was playing and being rambunctious and he is not blurry.

I used no special settings. I just stuck on a flash and pointed it at the ceiling and suddenly sheep are sticking to things.

Oh, and one other huge benefit of using a flash... you can take much better photos of pets with dark fur. So if you have a cute little void in your home, a flash can help you capture detail in their fur.

Just lift the shadow slider in your image editor and that beautiful fur will reveal itself.

If you get an ETTL or TTL flash, it will output the correct amount of light automatically. You can literally just put your camera in automatic mode, aim the flash at the ceiling, and press the shutter button.

Before I talk about recommendations I want to make one thing very clear.

GETTING A GIANT CAMERA WILL NOT AUTOMATICALLY GIVE YOU BETTER PHOTOS.

Aside from my flash aimed at the ceiling trick, a big boy camera is not a magic solution for better photos. In some cases, you might actually get *worse* photos than your smartphone. You need to learn the basic fundamentals of photography and you also need to learn some basic photo editing skills.

Smartphones employ powerful algorithms and computational processes to make every photo you take look as good as possible.

ILCs say, "Here is your RAW data, you figure out the rest."

You don't have to become an expert, but if you watch this free 6 hour photography course, that will ensure you have the knowledge needed to improve your photos.

Okay, let's get into the nitty gritty of buying a nice new old ILC.

If you are on a tight budget and cannot afford a fancy mirrorless camera, I would highly suggest a used DSLR. You can get them for very reasonable prices. And unlike just about every other modern technological gadget, cameras and lenses are built to last for decades. So I have no qualms about recommending used photography gear.

However, I do highly recommend using either KEH or MPB, as they have a long trial period and decent customer service. If something goes awry with your used gear, KEH has a 180 day warranty and MPB has a 6 month warranty. So there is much less of a risk than eBay or Facebook Marketplace. You pay a bit of overhead, but the piece of mind is worth it.

Before I start my recommendations I want to quickly explain the difference between APS-C and Full Frame camera bodies. (For brevity's sake I am going to omit Micro Four Thirds bodies as they are not typically geared toward beginner photography.)

APS-C has a "crop" sensor. It is a bit smaller than full frame and does not perform as well in low light (more noise). However these bodies are cheaper and can still produce great photos. You can see above the sensor is still significantly larger than a smartphone. APS-C adds a 1.5x zoom to all lenses. This can be annoying in small spaces but advantageous for outdoor photography like wildlife and sports. You can use full frame lenses on a crop sensor body (within the same brand). APS-C lenses are usually cheaper but of lower quality.

Full frame has a larger sensor that will give you less noise in low light. It is also much easier to get background blur. Full frame also allows you to work in more cramped spaces. You *cannot* use APS-C lenses on a full frame body. However, the lenses meant for full frame cameras tend to be better quality in general.

If you can save up a little more and get a full frame body, I would recommend it. These bodies used to be geared more toward professional use, but since mirrorless cameras became popular, used full frame DSLRs have become much more accessible to those on a budget. Full frame cameras make it easier to get better results in challenging circumstances. And challenging conditions are really the main area where ILCs still kick a smartphone's ass.

For tight budgets I would recommend the following...

Canon or Nikon APS-C DSLR camera body

50mm f/1.8 lens (Nifty Fifty)

18-55mm APS-C lens (good for landscapes and portraits)

Yongnuo ETTL Flash

There are lenses called "superzooms" which can go from (as an example) 18-200mm or 70-300mm and other crazy focal lengths. That sounds fantastic and very versatile... but these are usually utter shite. You may be tempted to get one of these lenses hoping it can do everything you need, but there are no free lunches in lens land. Unless you are spending many thousands of dollars, the wider the focal range, the worse the lens will be.

When you stick to the 18-55mm range, you can be assured the images will be decent. And if you find yourself really needing a telephoto lens, you can save up and add it to your collection later on. The 18-55 will give you wide angle for landscapes all the way to slightly telephoto for portraits and moderately close wildlife. This lens cannot be used indoors or at night without a flash. Which is why I recommend the Nifty Fifty for that purpose. $100 for a moderately sharp low light lens is a no brainer.

Also, stick to Canon, Nikon, Sigma, or Tamron lenses. You can try exotic 3rd party lens brands when you know more what you are doing. And always make sure the lens has autofocus before buying.

It's hard to give you exact recommendations as used items are not reliably in stock. So I'm going to show you an example of the above, but I am not necessarily saying you should buy this *exact* combination. You might be able to get something similar with Nikon as well.

Canon 60D APS-C DSLR

50mm f/1.8 lens

Canon 18-55mm APS-C lens (EF-S mount)

Yongnuo TTL Flash

(I wouldn't recommend getting a used flash, as the Yongnuo is already a great price and you can't know if someone used the flash 100,000 times or 20 times.)

Altogether that is about $500. You can start with the 60D and the 50mm Nifty Fifty for $330 and add on the other two items later on.

My recommended full frame setup...

Full frame Canon or Nikon DSLR body

50mm f/1.8 lens (same as before)

24-70mm full frame zoom lens (full frame equivalent to 18-55mm)

ETTL Yongnuo flash (same as before)

And an example from KEH might be...

Canon 6D Full Frame DSLR

Canon 50mm f/1.8 Lens

Sigma 24-70mm Full Frame Zoom lens (EF mount)

Yonguo ETTL Flash

And that would be about $800 total.

Again, you can start with just the camera and 50mm lens and add the other items later. So invest $500 initially and go from there.

And just to give a Nikon example as well...

Nikon D600 Full Frame DSLR

Nikon 50mm f/1.8 Lens

Tamron 24-70mm

Yonguo ETTL Flash (Nikon version)

I highly recommend researching any camera body and lens before purchase. I can vouch for the items above, but you should definitely check out some YouTube videos before buying.

All of the stuff on KEH and MBP is marked down in price for aesthetic reasons. They do test everything to make sure it is functional. If you care if the camera or lens looks pristine, it will cost a little extra. But if you don't mind if it is beat to hell, you can save some money. Ugly or not, you will get the same photos out of the gear. As I said, photography stuff is built to last for a long time. Almost all repairs are due to user damage and not defects. And usually defects manifest when the product is brand new.

Oh, I forgot about the tripod!

Amazon's $35 tripod is surprisingly decent. It even got a good review on a very picky tripod review site. I recommend starting with this and then upgrading when you know more what you need out of a tripod.

Amazon 60 inch Tripod

I worry I'm leaving out a lot of important information, but hopefully I can expand in the other post I am working on.

That said, if anyone is thinking of buying a camera and you are not sure about the items you selected, please feel free to message me and I will help you assess your choices. Please make sure you include a budget range when asking for buying advice.

I hope that helps. I will try to finish the more in depth post soon. And it will include tips for how to get better photos from your smartphone if you cannot afford an ILC at the moment.

Further resources...

Recipe for Landscape Photos Froggie's Encyclopedia of Lens Terms

[which-item-poll]

Website is in the tags!

[istandonsnowpiles]

I've been inspired (in no small part due to your photos) to get a camera and start doing some photography. Do you have any tips for a beginner? Good cameras to get, things you wish you had known, that kind of thing? Your photos look so good!

Heyo! Welcome to the photography world! I'd glad I could inspire you a bit.

A few tips I've learned recently:

For buying gear, the actual camera doesn't really matter for beginners. Any camera will take good photos, even old ones.

If you're feeling sociable, go to a local camera store and try out some used camera. Pick one that feels good and fits your budget. Brand doesn't matter.

Last, if you get a camera with interchangeable lenses, spend more on a lens than the body. High quality lenses will continue to be great on newer, better camera bodies & make cheap bodies take amazing photos.

I've got two posts for more tips, check 'em out!

Okay, we've made it to the bottom of the post. My starter camera recommendation has always been a Panasonic G or GX body (GX1, GX7, G7, GX85, or even a G9 or GX9 if you're feeling very spendy) + a Panasonic 25mm f/1.7 lens, which is still one of my favorite lenses of all time.

Prefer a mirrorless camera over a DSLR. DSLRs are cheaper, but harder to learn. You can adapt DSLR lenses to mirrorless if you like using cheaper DSLR lenses.

[michaelwriston]

Hey Micheal what camera would you reccomend to some one starting out taking photos & what’s your set up?

Hey!

I'm a firm believer in buying an inexpensive DSLR or mirrorless setup with interchangeable lenses. You don't have to break the bank on a starter setup — just focus on buying a camera with a robust selection of first- and third-party lenses.

My usual advice is to start simple and only upgrade gear once you run into a physical or technical limitation that stops you from realizing your vision. For example, if you're not getting the shallow depth of field you want with your current lens and body, then maybe it's time to consider buying a lens with a larger maximum aperture (e.g., f/1.8 or f/1.4).

I started out with a Nikon D50 and a Nikkor 50mm f/1.8. That served me well for nearly five years, before I started running into technical limitations with the sensor that made shooting night photos difficult. That's when I switched to shooting medium format film for a spell, before ultimately settling on a full-frame Canon digital body. All-in-all, that experimentation period took about 17 years (I'm still not done).

That said, shop used for your first camera. Places like KEH or MPB have a great selection of tested and used gear. I personally shop from MPB. Here are a few great beginner full-frame camera bodies. I'll break out lenses later on in this post.

Why full frame? I think you get superior image quality, better depth of field, better image resolution for printing, and phenomenal dynamic range.

Canon EOS 5D Mark III ($714)

Nikon D750 ($774)

Canon 6D Mark II ($884)

Nikon D810 ($819)

Anyone of these are going to get the job done and then some.

The world of lenses is complicated and varied. You'll have “prime purists” that will tell you to eschew zoom lenses and only shoot prime (a lens with no zoom capabilities). You'll have people that say longer telephotos are all you need. The truth is, you'll find your niche the more you shoot. I prefer prime lenses for their simplicity (and the less I have to think about, the better).

I'll break these out by purpose.

Portraiture

Canon EF 85mm f/1.8 ($259)

Canon EF 50mm f/1.8 ($134)

Nikkor 85mm f/1.8 ($184)

Nikkor 50mm f/1.8 ($78)

Landscapes

Canon EF 24mm f/2.8 IS ($294)

Nikkor AF 24mm f/2.8 ($134)

Multipurpose

Canon EF-S 18-55mm f/3.5-f/5.6 IS STM ($54)

Nikon AF-P DX Nikkor 18-55mm f/3.5-5.6G ($73)

I could go on and on, but this is enough to get you a start in the right direction.

If I were to put together a beginner kit with the above options, I would snatch up the Canon 5D Mark III with the Canon 50mm f/1.8 and the Canon EF 24mm f/2.8 IS. Total cost before taxes and shipping would be $1,142. You would have an incredibly flexible kit that lends itself to portraiture, landscapes, and street work, all for the same price as a new “prosumer” kit with only one lens from Amazon or other big box stores. If you don't know which direction you want to go, or you want to save on cost, there's nothing wrong with swapping out the two primes and grabbing the 18-55mm kit lens for next to nothing. That will at least let you dabble with different focal lengths and see what suits you.

I'm happy to answer any other questions here!

P.S. I shoot with a Canon EOS 6D Mark I and usually have a Sigma 35mm f/1.4 lens mounted on it for street portrait/street landscape work. My other carry-around camera is a Ricoh GR III.

[matmarrash]

My 2023 in Review: Grants, Public Art, and Teaching

With 2024 right around the corner, now’s the perfect time to reflect on 2023 and share a bit more about what I’ve been up to. In terms of making pictures, 2023 is currently in my Top 3 worst years for creating photographic work. This doesn’t mean that everything else I was working on wasn’t photography related, it just wasn’t work for myself. Looking back, this year was all about strengthening my arts connections locally by sharing photography with the community. In no particular order, here’s what I’ve been up to for the past twelve months.

After-school Arts

Since the Fall Semester of 2022, my good friend Tariq Tarey and I have been working closely with a local charter school to develop an after-school photography program. For our first year, we were able to get interchangeable lens mirrorless cameras into the hands of fourteen eager 7th and 8th graders. Each week, we would take an hour to introduce the kids to a different aspect of photography. Throughout the year we managed to guide them out of Auto Mode on their cameras and start “seeing” their photos instead of simply “point and shoot”. By the end of year one students had: photographed a body of work, critiqued and edited their pictures, printed, framed, and entered their photographs into a local art show.

It’s been a long time since I’d worked with middle school aged kids, and to say I was nervous about working with younger students is an understatement. From years of teaching privately via Midwest Photo and One-on-One workshops, teenagers haven’t been my typical clientele. Many of them had no experience with a camera outside of a smartphone, and the idea of a dedicated device for picture taking was completely foreign. To the surprise of Tariq and myself, they picked up the basics at lightning pace. The mechanics took a bit more practice than anticipated, but their grasp of the language of photography was impressive and helped guide their vision. Overall I’m incredibly proud of what our students were able to accomplish in our short time together, and I’m looking forward to 2024 where we’ll be back for a new class of creatives!

Hilltop Cyanotype Day

Each year, the Greater Columbus Arts Council (GCAC) offers financial support to individual artists and arts organizations in the Columbus, OH area in the form of grants. These can range from one-time stipends for artist’s supplies to sustaining grants for arts nonprofits in the area. I’ve been participating in GCAC Individual Artist grants since 2015 and looking through the 2023 opportunities list, there was a new program that piqued my interest. The Neighborhood Arts Connection (NAC) grants are a way for artists residing in a particular Columbus neighborhood to receive funding to elevate and engage the community. And one of the two neighborhoods on the list for early 2023 was the Hilltop, where I’ve been for the last four years. There were two levels of the NAC grant available, $5k and $10k for a neighborhood based art program, so I decided to swing for the fences. I pitched a one-day public workshop where ANYONE would be able to attend free of charge to make a cyanotype print. To my complete surprise, the grant was approved; this was going to be my biggest undertaking of the year by far!

Even as I talk about it in past tense, $10k is a lot of money to spend on any one thing. I’m incredibly grateful that Columbus has an arts organization that’s able to support artists and their communities with grants like this. All of that being said, $10k for a public art event can be tough when accounting for everything that goes into the day. Breaking it down into three core categories, here’s what the budget looked like on my grant application versus what it actually came out to:

Material Resources - $4360 planned, $3878.81 actual

Includes art supplies, consumable goods, first aid supplies, and miscellaneous goods purchased for the event.

Human Resources - $4400 planned, $4682.50 actual

Includes pay for event host (me), eight assistants, and security all at a fair wage.

Event Planning - $1240 planned, $1693.11 actual

Includes space rental, permits, insurance, and event marketing.

So how far did that $10k go? I’m a little biased here, but I think it was enough to make an impact on my neighborhood. On Sunday October 1st, 2023 at Westgate Park, I along with eight other local artists hosted a hands-on workshop where all attendees were able to make their own cyanotype prints, free of charge. No photography experience? No problem! There were 200+ pieces of pre-coated light sensitive materials on-site, with dozens of different stencils and objects to make a unique photogram.

Throughout the course of the day, we had over 130 members of the public join us in making nearly 200 cyanotype prints on: watercolor paper, t-shirts, tote bags, napkins, and a few giant cotton murals! We had folks of all ages in attendance from age 4 - 72, many of which stayed to make extra prints. There were a few photographers that showed up, but a vast majority were Hilltop and Westgate locals that were interested in making something by hand. Any leftover arts and craft supplies that were used from the day made it into the hands of Hilltop art teachers, and two of the giant “snow angel” murals were donated to Hilltop local establishments. Most importantly, no attendees left the event empty handed, and everyone remained safe while having fun experiencing the joy of photography!

There were plenty of hurdles and a lot of lessons learned during the planning and execution of this event. Once I have that all of my thoughts and feelings compiled into an explainer video, I’ll be sure to append this blog post accordingly. For now, here are a couple of galleries of photographs taken on Cyanotype Day by photographers Shiann Banks (below) and Gracie Becker (above), thank you both SO MUCH for your help!

Research & Residency

Working as a freelance photographer is still not something I’m 100% used to yet, but in this second year of not having a 9-to-5 job I’ve started to look at opportunities that were previously out of reach. In previous years I’d see a handful of amazing location workshops and artist in residence (AiR) programs that I couldn’t participate in due to lack of paid time off days. One of my big goals for 2023 was to change this by applying to upcoming AiR programs and explore new grants. The Hilltop Cyanotype Day was one such opportunity afforded by a generous GCAC grant, but I’m happy to report there are a couple more.

Starting in January in 2024, I’ll be taking part in the Winter Residency program at the Penland School of Craft. Penland is an amazing craft school nestled into the Blue Ridge mountains of North Carolina. Each year they host over a thousand students in residencies and workshops of various lengths and disciplines. During those few Winter weeks I’ll be in charge of the photo studio and darkroom spaces at Penland in exchange for some much needed time and access to work on my alternative process photography.

Alongside the Winter Residency at Penland, I’m equally excited to announce that I’ve received a generous grant award from the Ohio Arts Council (OAC) to help fund additional materials and research related to alternative process photography. Combined with my upcoming time at Penland, my aim to is come back to Columbus and spend more time making fine prints throughout 2024. With any luck I’ll be attempting several new-to-me alt processes and be reporting back to you all here on the blog and the YouTube channel.

In retrospect, 2023 was another year defined by photography, just not my own. I wasn’t out making pictures with big sheets of film through an “old timey” as much as usual, but I still had a blast. Thanks to everyone that helped make this past year a meaningful one, and an especially big thanks to the Greater Columbus Arts Council and Ohio Arts Council for helping support my continued photographic projects. Have a safe and Happy New Year, and I hope to share more photography with you all very soon!

[sineout]

#I'm really considering dropping serious cash on a real camera @kelila

I can't stress enough, buy second hand. Literally any Interchangeable Lens (aka, dSLR or Mirrorless) Camera made in the last fifteen years is capable of producing excellent quality images.

I have a Nikon D50 (released June 2005), which with a lens, I could probably pick up for under £100, which is perfectly capable of producing images for the web (I've been uploading my photo archives, most of which were taken with that camera, and you wouldn't know it if I didn't list the camera used in each post), it can even do prints up to A4/Letter size with excellent quality, in spite of it being only 6 megapixels.

I recently bought a Nikon D300s (released July 2009, in itself basically the same as the D300 released in August 2007), for £100; adding a decent lens to that would probably make both around £200. Which would give you a 12 megapixel (semi)professional camera that is again perfect for the web and can produce A3/Tabloid size prints with excellent quality.

Again, you don't need to spend a lot to get a good camera. Newer cameras offer higher resolutions, or faster focus, or fancy video features, but if you don't need that then there's little reason to spend the money on them.

You know that thing where you see a gorgeous view (left) and try to take a picture of it, but your phone camera is a joyless fucking nihilist who refuses to see the beauty in anything and only sees this (right)

[lensclickerphotography]

Footwear Product Photographer: Capturing the Perfect Shot for Your Brand

Introduction

In the competitive world of e-commerce and online branding, footwear product photography holds immense importance. A well-shot photograph not only showcases the design and quality of the product but also drives customer trust and engagement. This blog explores the nuances of footwear photography, from essential tools to FAQs, to help you excel in this art form and boost your brand.

Why is footwear product photography important?

Footwear photography is more than just capturing pictures; it’s about telling a story. A few benefits include:

Increased Conversions: High-quality images attract more buyers.

Better Branding: Consistent and professional photos build brand trust.

Enhanced User Experience: Customers feel more confident purchasing when they see detailed, appealing images.

Essential Equipment for Footwear Photography

1. Camera

Use a DSLR or mirrorless camera with features like high resolution, interchangeable lenses, and manual settings.

2. Lighting

Good lighting highlights textures, colors, and materials. Use softboxes, LED panels, or natural light for the best results.

3. Tripod

A tripod ensures steady and consistent images, especially for macro or close-up shots.

4. Backgrounds

A clean, simple background, such as white or black, keeps the focus on the footwear.

5. Editing Tools

Software like Adobe Photoshop or Lightroom is crucial for postprocessing.

Key Techniques for Footwear Photography

1. Highlighting Details

Focus on intricate details like stitching, logos, and textures. Use macro lenses for close-ups.

2. Lighting and Shadows

Control light to avoid harsh shadows. Experiment with reflectors to illuminate darker areas.

3. Angles That Sell

Capture multiple angles, including side, top-down, and 45-degree shots to showcase the product comprehensively.

4. Lifestyle Images

Incorporate lifestyle photography where models wear the footwear, providing context and relatability for customers.

SEO Tips for Footwear Photography

Rename Files: Use descriptive names like “men-leather-shoes-brown.jpg.”

Optimize Alt Text: Include keywords while describing the image.

Compress Images: Reduce file sizes without sacrificing quality.

Use Structured Data: Add schema markup to improve search engine understanding.

Common Footwear Photography Mistakes to Avoid

Poor lighting that washes out details.

Overly cluttered backgrounds.

Ignoring post-processing to refine the image.

Inconsistent angles and presentation.

FAQs About Footwear Product Photography

Q: What camera is best for footwear photography?

A DSLR or mirrorless camera with a macro lens is ideal for capturing footwear details.

Q: How can I ensure consistency in my product images?

Use a tripod, uniform lighting, and similar angles for every product shoot.

Q: Is post-processing necessary?

Yes, it helps refine images, adjust brightness, and correct imperfections.

Conclusion

Footwear product photography is a vital aspect of e-commerce success. By investing in the right equipment, mastering techniques, and focusing on SEO, you can create images that captivate and convert. Whether you’re a brand owner or a photographer, these tips will help elevate your craft and boost your online presence.

[atplblog]

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Gear Guide: Essential Equipment for Quality Video Content Creation

In today's digital age, video content has become a powerful tool for communication, marketing, and storytelling. Whether you're a content creator, marketer, or business owner, having the right equipment is essential for producing high-quality video content that captivates and engages your audience. In this gear guide, we'll explore the essential equipment you need for quality video content creation.

1. Camera:

A good-quality camera is the cornerstone of any video production setup. While smartphones have advanced camera capabilities, investing in a dedicated camera can take your video quality to the next level. Options range from DSLRs and mirrorless cameras to camcorders and cinema cameras. Consider factors such as resolution, sensor size, low-light performance, and autofocus capabilities when choosing a camera that suits your needs and budget.

2. Lenses:

Interchangeable lenses allow you to achieve different looks and perspectives in your videos. Invest in a selection of lenses, including wide-angle, standard, and telephoto lenses, to cover a variety of shooting scenarios. Prime lenses offer superior image quality and low-light performance, while zoom lenses provide versatility and convenience. Choose lenses with a wide aperture for shallow depth of field and beautiful bokeh effects.

3. Tripod or Stabilizer:

Stability is essential for producing professional-looking videos. A sturdy tripod provides a stable platform for your camera, allowing you to capture smooth and steady shots. Look for tripods with adjustable height, pan and tilt controls, and quick-release plates for easy setup and adjustment. Alternatively, consider using a gimbal stabilizer for handheld shooting, which helps eliminate camera shake and allows for fluid movement.

4. Microphone:

Audio quality is just as important as video quality in creating engaging content. Invest in a high-quality microphone to capture clear and crisp audio. Options include shotgun microphones for directional sound pickup, lavalier microphones for hands-free recording, and condenser microphones for studio-quality audio. Choose a microphone that suits your recording environment and intended use, and consider using an external audio recorder for maximum flexibility and control.

5. Lighting:

Proper lighting is essential for achieving professional-looking results in your videos. Invest in a lighting kit with adjustable LED panels, softboxes, and diffusers to control the intensity and quality of light. Position your lights to eliminate shadows, reduce glare, and highlight key subjects or areas of interest. Consider investing in additional accessories such as reflectors, gels, and light stands to further enhance your lighting setup.

6. Editing Software:

Editing is where the magic happens in video production. Choose a professional-grade editing software that offers a wide range of features and tools for cutting, trimming, adding effects, and enhancing your videos. Popular options include Adobe Premiere Pro, Final Cut Pro, DaVinci Resolve, and iMovie. Experiment with different editing techniques and styles to bring your vision to life and create engaging and impactful video content.

7. Accessories:

In addition to essential equipment, there are several accessories that can enhance your video production workflow. Consider investing in additional items such as memory cards, batteries, lens filters, camera bags, and cleaning kits to protect and maintain your gear. Accessories like external monitors, wireless remote controls, and camera rigs can also improve your shooting experience and expand your creative possibilities.

Conclusion:

Quality video content creation requires the right equipment and tools to bring your vision to life effectively. By investing in essential gear such as cameras, lenses, tripods, microphones, lighting, editing software, and accessories, you can elevate the quality of your videos and create content that captivates and engages your audience. Experiment with different techniques, styles, and equipment setups to find what works best for your creative vision and production needs. With the right gear and a passion for storytelling, you can produce compelling video content that resonates with your audience and achieves your goals.

[abes-of-maine]

Abe’s of Maine: How to Pick the Right Camera for Your Needs

Abe’s of Maine, a family-owned electronics retailer, has been helping customers make informed decisions about photography and video equipment for decades. Whether you’re a beginner, enthusiast, or professional, selecting the right camera depends on a few key factors. Here’s a comprehensive guide to help you pick the perfect camera for your needs.

1. Identify Your Purpose

The first step in choosing the right camera is understanding your primary use. Are you looking to capture family moments, create professional-quality photos, or shoot videos for vlogging? Your goal will significantly influence the type of camera that suits you.

• For beginners: Point-and-shoot or entry-level DSLR or mirrorless cameras are ideal. They offer ease of use, compactness, and enough features to get you started.

• For enthusiasts: Consider mid-range DSLR or mirrorless cameras with interchangeable lenses, manual settings, and better image quality.

• For professionals: Advanced DSLR or mirrorless cameras with high-resolution sensors, fast autofocus, and robust video features are essential for commercial work or serious hobbyists.

2. Understand the Types of Cameras

At Abe’s of Maine, we categorize cameras into three main types. Understanding the differences will help you find the perfect match:

• DSLR Cameras: Known for their versatility and image quality, DSLRs offer a range of manual controls and interchangeable lenses. They are perfect for photographers who want full control over their shots. DSLRs tend to be bulkier but are a great choice for serious photographers.

• Mirrorless Cameras: These are compact and lightweight but still provide high-quality images. Mirrorless cameras offer similar features to DSLRs but without the internal mirror mechanism. They are excellent for both photography and video, making them a popular choice among enthusiasts and professionals alike.

• Point-and-Shoot Cameras: Ideal for casual users, point-and-shoots are compact and easy to use. They typically have a fixed lens and fewer manual settings, making them perfect for travelers or people who want a camera that’s simple yet effective.

3. Consider Sensor Size

The sensor size plays a big role in determining the quality of your photos. Larger sensors typically mean better image quality, especially in low-light conditions. At Abe’s of Maine, we recommend understanding the different sensor sizes:

• Full-frame sensors: These are the largest and offer the best image quality, dynamic range, and low-light performance. They are commonly found in high-end DSLRs and mirrorless cameras.

• APS-C sensors: These are smaller than full-frame but still offer excellent image quality, especially for hobbyists and semi-professionals.

• Micro Four Thirds sensors: These are smaller than APS-C but allow for compact cameras and lenses. They are a good compromise between size and quality.

4. Think About Lenses

The lens you use can often be as important as the camera body itself. When choosing a camera, think about the type of lenses available for that system.

• Interchangeable lenses: If you opt for a DSLR or mirrorless camera, you’ll have the flexibility of choosing from a wide range of lenses. This is ideal if you want to shoot in different styles—portraits, landscapes, sports, or macro photography.

• Fixed lenses: Point-and-shoot cameras typically have fixed lenses. While this limits flexibility, it also simplifies the shooting process for casual photographers.

At Abe’s of Maine, we carry a vast selection of lenses, from standard zooms to specialty prime lenses, to fit every photography need.

5. Evaluate Additional Features

Different cameras offer various features that might align with your specific needs. Here are a few to keep in mind:

• Autofocus System: A fast and accurate autofocus system is essential, especially for action, sports, or wildlife photography.

• Video Capabilities: If you plan on shooting videos, ensure the camera offers 4K recording, stabilization, and good autofocus tracking for video.

• Weather Sealing: If you plan on shooting in challenging environments, a weather-sealed camera body can be a lifesaver.

• Battery Life: For long shoots or travel, consider cameras with longer battery life or the option to use external battery grips.

6. Set a Budget

Cameras come in a wide price range. Setting a budget will help narrow down your options. At Abe’s of Maine, we offer cameras for every budget, from affordable entry-level models to high-end professional gear. Remember, you may also want to invest in accessories such as memory cards, extra batteries, tripods, and camera bags.

7. Test Before You Buy

Whenever possible, test the camera before making a final decision. At Abe’s of Maine, our knowledgeable staff can help you try out different models and answer any questions you have. We’ll guide you through the process to ensure you make the right choice based on your needs and preferences.

Conclusion

Choosing the right camera doesn’t have to be overwhelming. By identifying your needs, understanding the different types of cameras, and considering key features like sensor size, lenses, and video capabilities, you can find the perfect camera that fits your goals and budget. At Abe’s of Maine, we’re here to help every step of the way, ensuring you get the best camera for your photography or video journey. Visit our showroom or browse our online selection for expert advice and the latest deals!

For more information, browse our products at Abe’s of Maine website.

Check out our listings on eBay.

Follow us on Instagram for updates and offers.

In this version, each link is placed in its own paragraph as requested.

[sirfrogsworth]

Hi Froggy,

I hope you've been well! I wanted to reach out and first say that you inspired me many years ago to rescue a corgi! She was a grump, I think she may have taken her name (Elphaba) too literally. She recently crossed the rainbow bridge, but she was such fun and a joy. I hope our pups are playing together, somewhere peaceful.

I have a question unrelated to stumpy Corgis. I'm a veteran birth doula and an aspiring birth photographer! I've been trying to research cameras, lenses, and all sorts of technical stuff. I'm leaving towards purchasing the new Nikon ZF, because of the purported low-light capabilities.

Lenses are throwing me completely.

Do you have any guidance or resources to help a newbie like myself? Not really looking for an in-depth answer (I know how complicated things can get), but maybe a general push in the right direction?

If you don't want or can't answer, no hard feelings! I enjoy just seeing your posts on my dash and I hope the rest of your year is amazing and calm!-Steph

(continued...)

My budget is pretty flexible, since I am an independent contractor the expense would be tallied towards my taxes. But that being said, maybe $1-3k? I know it's important to invest more into lenses!

Usually, I am in a hospital, and lighting is extremely variable. I would be shooting mostly in low-light before baby is born. During delivery and after there is usually a spotlight or fluorescent lighting. The low lighting is exactly why I was looking at the new ZF, but if you have suggestions on that too I'm happy to hear them!

It's very cramped when the baby is born, most medical and support staff are clustered around the laboring person.

Warning! A lot of birth photos will have baby crowning or blood. It's a messy business, so I don't want to trigger you if you're sensitive to those sorts of images.

I will not be able to be directly next to the laboring parent, more than likely I'll be a few feet away, possibly behind the parents or standing on a stool.

After the baby is born, I'll be able to get closer to both parents and baby!

Here's a portfolio that is close to what I would like to provide (once again TW for blood and crowning):

https://www.sarahginderphotography.com/birth-photography-north-new-jersey

I cannot thank you enough for any help or advice, this whole endeavor is like learning a new language!

----------------------------

Note from Future Froggie...

I went way overboard on this response, as usual. I have decided I'm going to break it up into 3 parts.

First, an encyclopedia of lens terminology.

Second, a camera and lens buying guide.

Third, practical advice for shooting in cramped rooms with tricky lighting conditions.

While this will be geared towards the original ask, I think this could be helpful to a lot of people. So, let's learn about lenses!

--------------------------

Lenses throw everybody, just because there are so many options. It can be overwhelming to look at a picture like this and wonder what will suit you best.

It's a lot of pressure too, because lenses are more important than the camera in a lot of ways. Interchangeable lenses are probably the biggest advantage big cameras have over smartphones these days.

But I think I can help get you up to speed.

The following terms are photospeak you might hear in camera and lens reviews and if you aren't familiar with them, it can make it difficult to figure out what camera and lens to purchase.

I tried to put these in an order that makes sense, but some terms relate to other terms and you may have to read the list twice to make sure you understand how everything mushes together.

Froggie's Encyclopedia of Lens Terms

Lens Mount

Every camera has a specific lens mount. Sony calls theirs the E Mount. Nikon has the F Mount (older) and the Z Mount (mirrorless). So you need to make sure the lens you are looking at is compatible with the mount on your camera.

Mirrorless cameras all upgraded to a mount with a "short flange distance." Going without a mirror allows the lenses to be closer to the sensor.

Long story short... Short flange distance = easier lens design = sharper/lighter lenses.

However, if you want to use older DSLR lenses, there are adapters for Nikon and Canon that allow you to do that.

Aperture

"Aperture" is an opening at the front of the lens. It gets bigger to let in more light or smaller to restrict light.

Wider apertures have a shallower depth of field, causing blurry foregrounds and backgrounds outside the plane of focus. Smaller apertures expand the focus area to keep more stuff from being blurry, but they let in much less light and are difficult to use in dark environments.

Aperture can be a creative decision or it can be a technical decision or it can be a mix of both. If you need a blurry background, use a wider aperture. If you need everything in focus, use a smaller aperture. If you need more light in a dark scene, open it up.

F-stop

"F-stop" is a number representing how big the aperture is. A lower number is a bigger hole. Higher number is a smaller hole. It is helpful to memorize f-stops as they are not easily divisible. Cameras generally allow third stops, half stops, and full stops.

These are all a "full stop" apart.

Stop Down/Open Up

When someone says to "stop down" a lens, they are telling you to make the aperture smaller or use a higher f-stop number.

If they say to "open up" they are saying to make the hole bigger or lower the f-stop number.

Depth of Field (DoF)

Depth of field refers to how much of the photo is in focus. Things in front of the plane of focus will get blurrier and blurrier and things behind the plane of focus will get blurrier and blurrier. A shallow depth of field means only a tiny sliver of your image will be in focus. A deep depth of field means almost everything will be in focus.

The wider the aperture, the shallower the depth of field.

The smaller the aperture, the deeper the depth of field.

Focal Plane or Plane of Focus

The focal plane is the sharpest point within the depth of field. You can imagine an imaginary section of 3D space where things within the depth of field are sharp and things outside are blurry. The farther away from the focal plane, the blurrier they will get. But the focal plane is not always dead center of the depth of field.

Typically, at close distances, things will be sharp half in front of where you focused and half behind where you focused. As things get farther away, that changes to more 1/3 in front and 2/3 behind. The ratio changes even more at greater distances, but the 50-50 and 1/3-2/3 ratios are typically what photographers try to remember.

Shallow Depth of Field

The focal plane is something you need to be very aware of at close distances with a wide aperture—as the depth of field can end up as a tiny sliver.

Let's say you are only a few feet away from a baby and you have the aperture set at f/1.2. You focus on the nearest baby eye, and then you notice its ears and nose are out of focus.

The plane of focus and shallow depth of field are causing this issue. This might be a worthy compromise if you are in a dark room and your ISO is very high and you are worried about too much noise.

However, if you can use a flash or some kind of lighting, you can stop down your lens and increase that depth of field around the focal plane.

Bokeh

Bokeh is the quality of the blurriness. Some people are more obsessed with how good the blurry parts of the photo are more so than the in focus parts. Bokeh is typically judged by "bokeh balls" which are just out-of-focus lights in the background. While I like attractive bokeh balls as much as the next photographer, I will admit this is one of the sillier aspects of photography.

Field of View (FoV)/Angle of View

This is how much stuff you can fit in frame at a given distance. Wide angle lenses can fit more stuff in at a shorter distance and telephoto lenses can fill the frame with stuff that is farther away. The focal length of the lens determines the field of view. The focal length is designated by millimeters and the field of view by degrees.

Focal Length

Technically, this is "the distance between the lens's optical center and the camera's sensor."

In simpler terms, this is how you determine the field of view of a given lens.

A short focal length, like 10mm, will have a wider field of view. You have to be very close to your subject to fill the frame with them.

And a longer focal length, like 500mm, will allow you to fill the frame with your subject from farther distances.

Typically all lenses are designated by their focal length. If someone says, "Hand me the 50" they mean a 50mm lens.

35mm Equivalent

Not every camera has the same sized sensor. So when we talk about lenses, we need a reference to help us understand how a given lens will behave. A 50mm f/2.8 lens does not have the same field of view or depth of field when placed on different sensors. So, we need a standard for comparison.

The standard that is used is the "full frame" sensor which is roughly the same size as a 35mm piece of film.

Anything smaller is considered a "cropped sensor."

Those cropped sensor cameras have a "crop factor"—a simple multiplier that helps you understand how lenses compare. And when you use this multiplier it tells you the "35mm equivalent."

Confused yet? Yeah, sorry, it would be easier if camera manufacturers chose metrics that didn't change depending on the sensor, but this allows them to make their cameras and lenses seem more impressive in the marketing.

There are two main cropped sensors for ILCs. (Interchangeable lens cameras.) APS-C and Micro Four Thirds. They have a "crop factor" of 1.5x and 2x respectively. The Micro 4/3 sensor is half the size of Full Frame, therefore it has a 2x crop factor. And when you apply this crop factor to the aperture and focal length you can determine how a lens will behave.

For example, a 50mm f/2.8 lens on a micro 4/3 sensor would behave the same as a 100mm f/5.6 lens on a full frame—as 100mm is 2x 50mm and f/5.6 is 2 stops above f/2.8.

As you can see, the Micro 4/3 lens is not going to do as well in low light. The iPhone boasts an aperture of f/1.8 on its main lens, but when you figure out the 35mm equivalent, it's more like an f/8 lens.

I went to all the effort to explain this because it demonstrates that larger sensors allow you to work in cramped spaces with less light. If you want to use a 50mm in a hospital room, you probably can on a full frame. But on a Micro 4/3 you might need to be out in the hall because your lens is acting like it is 100mm. So the Zf would be a good choice in this regard.

Camera Shake

This is the bad kind of blurry. Humans are not tripods, so when you are handholding a lens, you need to make sure your shutter speed is fast enough to freeze the action of your image. Camera shake is very easy to control on wide angle lenses and very difficult to manage with telephoto lenses.

Reciprocal Rule

The reciprocal rule states that in order to get sharp photos without blurry camera shake, you must set your shutter speed to 1 over twice the focal length of your lens. So if you have a 100mm lens, you need to set your shutter speed at 1/200 to be safe.

This rule breaks down at a shutter speed of 1/50 if there is anything moving in your image. So if a dog is running or a car is driving by, it will have a motion trail, but at least it won't be due to your shaky hands.

Image Stabilization

This is a feature some lenses have that helps reduce camera shake. Image stabilization can counteract shaky hands and let you get sharp photos with a much slower shutter speed. Newer cameras have sensor stabilization which does the same thing. And if you pair up a stabilized sensor with a stabilized lens, it is almost as effective as using a tripod.

Stabilization is measured in stops. You might hear a lens has 4 stops of stabilization. That means you can handhold the lens and not get camera shake with a shutter speed 4 stops below the reciprocal rule. So for that 100mm lens, that 1/200 becomes roughly 1/12. And if your sensor has 4 stops, you could handhold a shot for nearly a second without any shake.

However, at shutter speeds that slow, if anything in the frame is moving, they will probably have motion blur. But for still life scenes, or maybe a sleeping baby, this can be very handy if you don't have a tripod with you.

If being able to handhold at lower shutter speeds seems important, then you might want to seek out a lens with stabilization and pair it to a camera with sensor stabilization for maximum stable-osity.

Lens Compression

Lens compression is kind of a myth, but I think we still call it compression because it is easier to explain to beginners than optical physics. The lens doesn't really compress anything, it's actually a matter of distance and the aforementioned physics. But I'm going to go with the easy explanation for now.

Lens compression is a phenomenon seen with different focal lengths. If you take a photo with a 500mm lens, the background will seem to compress with the foreground. Thus objects in the background will seem much larger in size.

This also happens with faces.

Wider lenses exaggerate distance. At 10mm, the lens would only be a few inches away from someone's face.

From the lens's point of view, the ears are several times farther away from the lens than the tip of the nose. So the lens is like, "Your ears are really far away! And far away things are really small, right?" So the lens gives us a big nose and small ears and makes us look a bit alien.

But at 100mm, the lens will be several yards away.

From this perspective, the lens feels like your ears and your nose are nearly the same distance away. And the lens is now like, "Things that are the same distance away do not get bigger or smaller." The lens seems to compress or flatten the face, causing a more flattering appearance in the image.

Minimum focus distance

This is sometimes called the working distance. This is how close you can get to your subject while maintaining focus. If you get too close, your camera will just hunt and freak out perpetually until you back up and it can lock on again. This isn't always advertised prominently for lenses, so you need to make sure the lens will be able to focus in the space you plan to use it.

Extension Tubes

Sometimes called "macro extension tubes." These are spacers you put between your camera and lens to decrease the minimum focus distance. In some cases you can even turn a normal lens into a macro lens. These tubes are able to stack and the more you put on, the more into the macro realm you can go. They come in smart and dumb versions. The dumb ones require you to manual focus whereas the smart ones can still use the autofocus system. I highly recommend the smart ones, as they are not too much more expensive.

Lens Imperfections

There are a few imperfections that can plague all lenses and their quality is sometimes judged by how well they mitigate those imperfections. Here are some of those attributes.

Lens Distortion

As lenses get wider, they allow a larger field of view by accepting light rays that are coming from the side of your lens. Let's look at this image again.

Your lens then has to correct those rays and send them to a square, flat sensor. If you look at the 180 degree fisheye, that entire arc has to be flattened and made square. And as good as optical engineering has become, the wider the lens, the harder it is to keep the image from distorting.

This is typically called "barrel distortion." Minor distortion can actually be corrected in editing software. Every lens has correction algorithms. Though sometimes it is best to embrace the distortion, like on a fisheye lens. Make the distortion a feature and not a bug.

Chromatic Aberration

This is the fancy name for color fringing. This is a defect in the lens that cause false colors to contaminate certain objects in a photo. Typically this happens around dark skinny things against a bright background, such as tree branches.

Modern lenses have nearly eliminated this, except for the super cheap models, but if you do end up with fringing, this can be easily corrected in Lightroom or Photoshop. And many lenses even have that correction built in and all you have to do is check a box.

Sharpness

You might not think of sharpness as an optical flaw, but no lens is perfectly sharp. And the quest to make a perfectly sharp lens involves engineering those optical flaws to a minimum.

A "sharp lens" is one with incredible fidelity. Even zoomed in beyond 100%, sharp lenses will show great detail. If you can't get close to the subject and need to crop your photo later, having a sharp lens can make up for the loss in resolution—as you can upscale without much loss in quality. If you plan to make large high quality prints, a sharp lens will help more than tons of megapixels.

That said, if you truly want to get the most out of a high megapixel camera, a sharp lens comes in handy here too. A smartphone may boast in the marketing as having 200 megapixels, but it has a tiny plastic lens. So even though it technically has 200 megapixels on the sensor, the lens will give it the equivalent of maybe 8-10 megapixels worth of detail. People forget, the lens has a resolution as well, and if the lens cannot resolve 200 megapixels, you aren't going to get a 200 megapixel image.

A sharp lens will allow for more detail than higher megapixels. In some cases you need to double or triple the number of pixels to see an increase in detail. Whereas you can put a super sharp lens on a 12 megapixel camera and blow any smartphone out of the water.

And if you put a sharp lens on a 50 megapixel camera, you can almost see into skin pores.

So... sharp = more detail. And more detail gives you greater cropping power for when you can't get close to babies.

Now, I am obligated to say that some photo nerds chase sharpness as if it is some holy grail. They need the sharpest lens so all of their pixels are perfect at 100% zoom even though no one ever looks at an image that close. There are amazing photos that have been blurry. There are amazing photos taken with 50 year old vintage glass. Sharpness is just another tool. If you need to crop. If you need to upscale. If you need to print large... it is a great help. But nearly every lens made for a modern mirrorless camera is "sharp" to some degree.

So, if you need extra sharpness for certain situations, do your research and find a lens that is sharp as can be. But sharpness should be like 8th on the list of priorities.

Soft Lens

A "soft" lens is how a non-sharp lens is referred to. Most modern optics for mirrorless cameras have some degree of sharposity.

Sharpitude.

Sharp...ness.

So you don't need to worry too much about getting a detrimentally soft lens unless you go super duper budget. This is why I usually recommend people skip the "kit lens" unless they absolutely can't afford anything better.

Though sometimes people purposely get vintage lenses because they don't like sharpness and prefer the "character" of older lenses. The imperfections can achieve a different artistic goal. Though this can also be achieved through lens filters... or Vaseline.

I'm looking at you, Barbara Walters.

Sharpness at the Corners

When I read that in my head just now I said it the same way I do "Panic! at the Disco."

Engineers will prioritize sharpness at the center of the lens since that is where most of the interesting stuff tends to be. But also, the light rays at the center tend to be the most parallel as they head to the sensor, so they don't need as much correction. The rays coming from the sides have to be bent and manipulated to correct for distortion, so keeping things sharp at the corners can be a challenge.

Now, knowing that, and knowing how the aperture works, you can infer that when you stop down your lens and make the hole smaller, all of the light rays are constricted to a smaller area. This makes them easier for your lens to deal with, so if a lens has problems with corner sharpness, you can usually stop down to improve this. So if a lens is soft at the corners at f/1.8, you might be able to go to f/2 or f/4 to get better results.

Vignetting

Vignetting is a circular area of darkness at the perimeter of your photo. This is another side effect caused by the same things as soft corners. When correcting those non-parallel light rays, it causes them to travel an ever so slightly farther distance getting to your sensor. And the inverse square law tells us that light becomes dimmer as it travels longer distances.

This is very easy to correct. Usually your camera has a setting to correct vignetting if you are outputting JPEG files. And if you are shooting RAW photos, your editing software should have a check box to fix the vignetting—usually the same one that fixes chromatic aberration. This is usually called "lens correction" in most menus.

Also, same as with corner sharpness, stopping down your lens will usually fix this optically rather than with software algorithms.

Contrast

Contrast is probably the most important attribute to determine lens quality. Good contrast can make a soft lens look good. But lens contrast is not always consistent. It can get better or worse depending on the lighting in your scene.

The best way to test the contrast of a lens is to take a picture of something that is backlit. A person with the sun behind them is a great indicator. If they have no light on them, the person should fall into inky darkness. But if a lens has poor contrast, they will seem like a faded gray.

Focus Breathing

Focus breathing is a phenomenon where your focal length changes depending on how far away your subject is. It's usually not a big deal and most people don't even notice it, but if you ever do video, it can cause a few headaches. Some people can get annoyed because they feel they aren't getting the advertised focal length on the lens they bought. Like, if you get a 300mm lens and it only goes to 250mm for things super far away, that can be annoying.

This video explains it in detail.

Lens Types

Prime Lens

A "prime lens" has a fixed focal length and cannot be zoomed. Typically prime lenses are "faster" (wider max aperture) and sharper. Weirdly they can be very inexpensive or the most expensive. They can be extremely lightweight or weigh a ton. And if you want the sharpest lens possible or the fastest lens possible or both, it will be expensive and heavy.

Having at least one fast prime is usually recommended for any professional photographer.

Zoom Lens

A "zoom lens" allows you to zoom. Obviously. But there are few that go below an aperture of f/2.8, so less light gathering and you sacrifice a bit of sharpness. However, if you don't know how much space you will have to work with, the flexibility of a zoom can be invaluable.

Be warned, while a cheap prime lens can still take fairly good photos, cheap zooms are usually pretty terrible. There are plenty of reasonably priced zoom lenses to choose from, but if the price seems too good to be true, I would trust that intinct.

Wide Angle Lens

A "wide angle lens" is any focal length below 35mm. Wider focal lengths allow you to get more stuff in the photo at shorter distances. A theme you might notice with photography is that every benefit has a compromise or consequence to go with it. Wide angle lenses are wonderful if you are in a cramped space. They also make it easy to keep everything in focus. But as you go wider, distances become exaggerated and barrel distortion becomes more pronounced and harder to correct.

Things that are close to the lens seem huge and things farther away seem tiny. One trick to remember is things in the center of the frame will be less affected by distortion. Something to take into account when taking those smartphone selfies.

If you look, the ball looks huge in frame because it was only a few inches from the lens. Otis was literally smaller in frame than the ball despite only being about 2 feet away. However, he doesn't look all stretchy like the ball because he is centered.

Standard Lens

A "standard" or "normal lens" represents about the same field of view as the human eye. Generally around 40mm to 55mm on a full frame camera (there is some debate on this, but close enough). This is right about where you can take pictures of faces without the unflattering side effects of wide angle.

Telephoto Lens

A "telephoto lens" allows you to stand farther away and still fill the frame with your subject. Usually lenses 200mm and above are considered telephoto. These are often heavy and expensive.

Specialty Lenses

Ultrawide

This is just an extremely wide angle lens. At this point, you just except the massive amounts of distortion and embrace it. These lenses are extremely fun.

Medium Telephoto

These are sometimes called "portrait" lenses as well. They are a little more tele than standard and not quite tele enough for long distance photography. Usually in the 70-200mm range. This is the focal range that allows you to still be close to your subject but you are far enough away to get extra flattering lens compression on faces.

Superzoom Lens

A "superzoom" has an extremely large focal range. It can go from very wide to very telephoto. These are usually not wonderful lenses, although they have improved on mirrorless cameras in recent years. There are a few that could even be used professionally now. But most are just a huge mediocre compromise for vacation pix.

The cheap ones aren't fast, they aren't sharp, and every time you zoom people think your camera is having an erection.

If you are traveling and you have no idea what you might be photographing and carrying around a bunch of lenses is impractical, these have utility. But the larger the focal range, the more mediocre they get. Typically if the zoom range exceeds ~150mm you will start noticing that mediocrity. So a 70-200mm can be fantastic. But an 18-300mm will be very mid.

Macro

A macro lens is any lens that has 1x or more magnification. 1x magnification is a designation that relates the sensor size to how much of the subject fills the frame of your image. For 1x, that ratio should be 1:1.

So if you imagine a quarter lying on top of an image sensor, that's how big the quarter should be in your photo. 2x magnification would be like if a quarter doubled in size and you laid it on top of the image sensor. And so on.

Beware of lenses claiming to be macro and really only having a short working distance. 0.5x is not macro, but is sometimes advertised as so.

Tilt Shift Lens

This is a very niche lens. Most people know of it from the photos that make everyone look like they are in a miniature land.

For every other lens, the focal plane is perpendicular. If you move the camera at an angle, the focal plane will match that movement. So what the tilt shift lens allows you to do is angle the focal plane so your depth of field goes in bonkers directions.

Product photographers love this because you can take a photo of an array of products from a 45 degree angle and keep everything in focus.

This image would be impossible to maintain complete focus of all the objects without a tilt shift lens.

In this example, without tilting the lens, the tip of the multitool is out of focus.

And now you can see the camera hasn't moved, but the lens is at a steeper angle. And you'll also notice the entire tool is in focus.

But wait, there's more! Did you forget about the shifting? Architectual photographers can use the shift function of the lens to correct perspective distortion and keep buildings looking straight.

Will this lens help in the photographing of infants?

Probably not.

But I bet you thought it was cool and are glad I included it.

Recommended Essential Lenses

I didn't know what to call this section. These are just the collection of lenses most photographers will try to acquire as they build out their kit.

Nifty Fifty

This is probably the first lens everyone should buy. Almost every brand has their own version. It is an inexpensive 50mm lens with a sub f/2 aperture. Canon's Nifty Fifty or "Plastic Fantastic" is probably the most famous example. It is only $125 and has an f/1.8 aperture.

This lens may not be the sharpest and it might have a lot of plastic-y, cheap feeling parts, but it is a wonderful way to get started with photography. You can use the wide aperture to experiment with bokeh and shallow depth of field. And the 50mm focal length is probably one of the most versatile. Not too wide, so people look normal, and not too tele, so you aren't a mile away from your subjects.

The Holy Trinity

The "Holy Trinity" is meant to describe the 3 lenses that can handle nearly every photographic task while maintaining professional quality results. Typically these lenses are all f/2.8 and are high quality zoom lenses. The 16-35mm, the 24-70mm, and the 70-200mm.

Most photographers can accomplish just about any task with these lenses in their bag.

Froggie's Holy Hexagon

That said, if I had an unlimited budget I would actually have 6 lenses to cover everything. Beyond the Holy Trinity, I would get a fast prime, an ultrawide, and a macro lens.

A fast prime can see in the dark and has more background blur. The nifty fifty would work great for this.

An ultrawide is one of the most fun lenses you will ever use, even if it distorts everything to a crazy degree and isn't useful very often. It is great for breaking you out of photographic ruts and can really get the creative juices flowing.

And a macro lens is not just useful for making tiny things big. It also allows you to focus at any distance. Sometimes you just need to get a tad bit closer than your other lenses will allow. Macro lenses are also pretty great portrait lenses and can serve multiple functions.

And if anyone is interested in sports or wildlife photos, a nice telephoto lens might be a seventh lens to consider.

I think that is the end of part 1.

I hope this was helpful. And I look forward to posting part 2 soon.

[thekangaroo4]

Super Easy Beginner's Guide to Photography!

Invest in the best camera that fits your budget. While the A6000 is a solid choice, it’s nearing a decade old. Any mirrorless interchangeable lens camera will offer similar fundamental controls and serve as excellent tools for learning. If you’re considering a used model, either have someone knowledgeable check it out or purchase from reputable sites like KEH or MPB that provide strong buyer…

[soundorp]

Why Sony Cameras are better for Podcast?

Video podcasting has become an incredibly popular way to share content, engage with audiences, and build a brand. If you’re a podcaster looking to add a visual element or a beginner who wants to get in video content, choosing right camera is crucial. The best cameras for video podcast are also the best cameras for streaming, and that’s because we’re looking for a camera that can connect directly to our computer and doesn’t have an auto shut-off feature to cut us off in the middle of our interview or live stream.

Prosumer Cameras for Podcast

Sony ZV-1 Digital Camera for Content Creators, Vlogging and YouTube with Flip Screen, Built-in Microphone, 4K HDR Video, Touchscreen Display, Live Video Streaming, Webcam

If you want to take it up a notch and improve your picture quality and add to the professionalism of your video podcast, the next one you would want to buy is a prosumer camera. Our top pick for that is the Sony ZV1. This camera really is everything you need to get going with video podcasting, content creation, YouTube videos, and a lot more. It connects directly to your computer and it won’t shut off when it’s connected to your computer, so it’s perfect for live streaming or for using remote recording solutions like Squadcast, which is now part of Drip.

Impressive Lens Flexibility

The lens that it comes with is very impressive. It’s a zoom lens that ranges between 24mm and 70mm, which gives you a lot of flexibility to get lots of different types of shots. If you zoom all the way into that 70mm, that’s where you can get a cinematic look and a more blurred out background. Of course, you will have to step farther away from the camera. Conversely, the 24mm is perfect for that wide-angle shot if you need to get more than one person in your shot or if you’re in a small space and need to be very close to the camera.

Reversible Flip Screen

Another thing that makes this camera so popular with content creators and vloggers is the reversible flip screen. This makes it perfect for solo applications when it’s just you running the show. You can see what shot you have set up, ensure that it is actually recording, and monitor what the camera sees when you’re creating your videos and podcasts. So it’s perfect for that.

4K Video Capability

Another amazing feature with this camera is it captures 4K video. It’s really important to get 4K video if you plan on cropping in on your video. In the case of a video podcast, if you’re doing a host and a co-host and you have two people in the same shot, and you want to create three shots in the edit and crop in on whoever’s speaking or create an active speaker view type effect, you can do that more easily with 4K. There’s so much resolution there it allows you to really zoom in and crop in on your picture without it becoming too pixelated. As soon as you get down to 1080p, zooming in on your footage becomes more difficult. This really gets you playing around in the professional world.

Professional Cameras for Podcast

Sony a7 III (ILCEM3K/B) Full-frame Mirrorless Interchangeable-Lens Camera with 28-70mm Lens with 3-Inch LCD, Black

Now, let’s move on to the professional level cameras. Our top pick for that is the Sony A7 Mark III. What makes these cameras so special is that you can detach any number of lenses to the camera, and this is why professional photographers and videographers will opt in for a nice Sony camera like this. The biggest contributing factor that makes the most significant difference between professional video and consumer video is the lens. It’s all about the lenses, especially prime lenses. Prime lenses have what’s called a fixed focal length, which means they’re not zoom lenses, and they get a superior image quality to zoom lenses. But these lenses can be very expensive, over $1,000 just for one lens. To get a nice DSLR, just the body of a nice DSLR camera like this can run you $2,000, so you’re getting into the $3,000 range.

Cinematic Picture Quality

Lenses like this allow you to get really cinematic picture quality with a lot of details and a blurred-out background. Our go-to lens for the Sony A7 Mark III is the G Series FE 1.5 35mm lens. This lens is incredible not just because of the clear, really great picture quality that it gets, but also because it has really intelligent and fast autofocus. This is really important, especially when we’re running the show solo. In these Sony cameras, you can actually select an area on your screen that you want to be in focus. These Sony cameras allow you to select a small area that it will prioritize to keep in focus.

Intelligent Autofocus

To demonstrate how fast this autofocus is, I can just hold my hand in front of my face and you can see that it will compensate and focus on my hand. That’s really cool and fast autofocus—very intelligent. Notice that it’s never focusing on the microphone down here or on my hands down here; it’s keeping my face in focus for me. This is really important when you’re running the show solo. Of course, these cameras capture great 4K quality. They also have a half an hour shut-off time with the 4K video onto the SD card. They also work and operate with the same Cam Link 4K adapter, and you will also need to purchase a dummy battery for these cameras as well.

Why Sony Over Canon?

Now, finally, you may be asking why Sony over Canon. I know that the Canon M50 is a similar price to the Sony ZV1. So why would you choose a Sony ZV1 that has a fixed lens over a Canon M50, which has a detachable lens? The biggest reason for that is the Canon M50 has an auto shut-off, and the only workaround is to actually hack the firmware on the camera and download complicated software for your computer. Most of us don’t have the technical know-how or the patience to make that happen, which is a deal breaker for Canon cameras when it comes to video podcasting. Sad, I know but with video podcasting, Sony is the clear winner.

Conclusion

So my overall pick is the ZV1. This is just such a great camera for so many reasons. Setting up a video podcast can be very complicated. This is actually why we are here.

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