#shooting in low light with manual cameras

[johnnymartyr]

Manual Focusing in the Dark: SLR vs RF

by Johnny Martyr I got a great compliment from Andy at analogue_dreams (his blog can be found here) recently on the image above. He said: “I am always impressed by how you achieve focus of fleeting moments with a manual focus RF in low light!” It was very kind of him to post this, and timely too because I had just starting typing this blog about my different experiences with shooting available…

[liverpoollomo]

92 Degree Coffee, Myrtle St. Zenit EM. Ilford FP4.

When I was out and about testing the Zenit EM I went for a coffee at 92 Degrees on Myrtle St.

Since I had a few prime lenses with me I decided to shoot a few low light shots to see what I'd get. All but one of them opened to f1.8 and I took readings on a light meter app on my iPhone.

[libraford]

Sometimes, I forget how good of a photographer I am.

I'm doing sports candids at a high school. School is in the middle of nowhere. There is no cell reception. Its homecoming. Theres a million cameras.

Its middle of the second period and I see a professional looking photographer struggling with her camera. There are two dudes nearby also struggling, same uniform. But I know that look of desperation because I've been there. Guy 1 is fussing with video camera. Guy 2 is on the phone, but like I said- theres no cell service here.

"Are you having trouble?"

"Oh my god, do you know cameras?"

"Take a picture, show me what it looks like."

She takes a picture, shows it to me. Its blown out and blurry.

"It has to be on the sports setting because I'm shooting sports. But I cant get it to work right. This thing is old and busted."

"Shutter speed too low, looks like 1/60."

"What?"

"Can I fiddle with it?"

Mind you, theres a whole football game happening in front of us. The videographer and the guy on the phone are watching me very closely.

It's a different camera than mine, but it's the same brand.

"I'm putting you on manual, but you have to trust me."

"I... dont have a choice. Everything is malfunctioning."

I put it on manual, fast shutter speed, high ISO. Take a shot, dont like it, fiddle with it again. Take a shot, hand it back.

"Try it."

She takes a shot. "Its a little blurry."

"Bump up the shutter speed to 1/300. It will be darker, so the ISO goes up, too."

She does this. "Holy shit, I've never taken photos like this before! These are better than anything I've ever done! Thank you! You just saved all our asses."

"Congrats, you're now shooting in manual- you have full control of how light enters the sensor in your camera. And that makes you a pro."

She starts catching back up with photos. Her dudes come over to me and say "seriously, from the bottom of our hearts, thank you so so much. Our video equipment went down and we can't get ahold if anyone."

"No problem. But out of curiosity, who are yall with?"

They give the name of the news section that covers local sports.

I just taught a photojournalist manual mode in less than a minute.

...I'm pretty sure they just give a camera to whoever is on staff and dont tell them how to work it.

That's frustrating to me.

[artificialgirl]

Your chest plating clatters against the floor as she sets it aside, exposing the darker matte texture of your insides to the light for the first time in months. You flinch every so often as she works, pulling cables, rearranging wires, attaching and removing temporary drives, doing things you're not even remotely programmed to understand. Elegant plastic hands move gracefully and with purpose, unhesitant in their dance through your internals, installing programs and bypassing security blockers.

She plucks one of the drives back out with noteworthy force, sending your head jolting forward involuntarily as the drive's data being ripped from your systems sends a euphoric wave coursing through you. "A-A-Almost Done?" Your words embarrasingly skip a bit, but she looks up at you with no judgement on her LCD face. "Just about, yeah. First time prep isn't hard, but if we don't get you set up beforehand there's a chance i could fry your processor when we do it."

She pops the plating back onto your chest, giving a new wire by your visual unit a final twist before she does. "Ready?" You nod timidly, readjusting to a more stable position. She flashes you a grin before popping one end of the cable into the side of her head and offering you the other end. You hesitate for a moment before jamming it into your own manual upload port.

Immediately, the visual feedback from your cameras is gone, drowned out by the rushing hurricane of her data, flying into and out of you faster than you can register. Instead of reading the individual files as they blink through you, all you're able to process is the fact that they're there- brief flashes of strong emotion leaving as soon as you can register them. After what could be an hour or just a few seconds, you feel her hand grasping for yours, and you take it as you both crash to the floor next to each other, fans blasting warm air as you're temporarily subsumed by the unyielding bliss of her thoughts shooting through yours.

You lay there together for a long time, growing a bit more accustomed to the debilitating euphoria but still unable to do much more than slowly inch toward each other and wrap your stiff bodies around each other. Eventually though, the familiar feeling of your low battery warning pulses in your head and you begrudgingly decide it's time to stop. You raise your hand to the jack to unplug it, but find that hers is already there, cradling your head for a moment before she pulls it out for you and unplugs her own end. The first thing you register when your camera feed blooms back into your consciousness is her face, illuminating the dark room as she smiles tenderly down at you.

[theworstofallpossibleworlds]

Can you please ask Brian what camera, lens and film he uses to shoot the eclipse?

This is a characteristically late response, but I'd love to get into it. I got into film photography by picking my dad's childhood brownie hawkeye off of a shelf and ever since then i've stayed pretty cheap with the hobby. I got a really good deal on a Kiev-80 a couple years ago. For those who don't know, its a 50 year old soviet camera made as an imitation of a Hasselblad (the camera we took to the moon). It's a medium format camera, so focal lengths work a little different than they do in 35mm

Medium format cameras like this take pictures that are 60mm by 60mm. Your typical 35mm camera takes 36mm by 24mm frames, so the added film sixe here means generally everything has to get bigger. The lenses i've gotten for this camera all have massive cases and can be carried with their own separate strap. The lens used for the eclipse is just... so big. oh my god. it's a mess. It's a Tair-33, with a minimum f stop of 4.5 and a focal length of 300mm (equivalent to 165mm on 35)

This model of the lens has very fun, characteristic stripes, the aperture control is all the way at the front, and easy to use. Focusing, however is slow, as the weight of everything creates quite a bit of friction. You can get one of these for about $80 bucks. Now 300mm here is not a great magnifier, so I also got a (faulty) accessory to extend the focus, bringing the lens to 600mm (330mm equivalent in 35). It also makes this camera, all put together, into The Largest Object of All Time.

squash and butter for scale

To see the difference between 300mm and 600mm, check out these photos of the regular, non-eclipsed sun at both lengths

You're probably wondering why these pictures look so weird. these lenses are don't have very effective coatings. you wouldn't believe the processes that go into coating your glasses, your camera lenses, your phone lenses. The easiest kind of picture to take is one where your subject is lit by a souce that is behind the photographer. things get complicated with backlight, creating ghosting and glare as seen above. the light bounces between the glass elements (and the dark filter used to photograph the sun is also glass, complicating it further). taking a direct photo of a light (especially the fucking SUN) leads to some pretty crazy unpredictable variables.

My camera has recently taken on a new malady too, where at low speeds, the shutter (which in this camera is a huge metal curtain sticks at the edge without totally closing. It causes these stripes at the edge of the picture. This can be frustrating if i forget, but I like having the issue. If i want a picture to look normal, to plan it out, to totally control it, I have a digital camera for that. I got into this film stuff for the eccentricities.

For the regular sun photos, I think I was shooting on Ilford FP4, which i think i stand developed in rodinal. At the eclipse, I only got through one roll of film, becasue the cloud cover was brutal, but i took those pictures on Kodak Tri-x 400 (developed normally in D-76). I did it all in Black and white because, in general, b&w negatives are pretty generous with mistakes. All the guides i could fine for solar photography were understandably written with digital cameras in mind, so I couldn't be totally sure about my math (as the camera is totally manual) or even my eye safety (as I'm using a viewfinder; my vision seems fine a month later)

the actual iris on this lens is right up in front. Tightening the aperture, especially when the extender is attached, leads to a vignetting issue, turning your pictures into a circle

once totality hits, the light changes dramatically. you can stare straght at it without glasses and not have to worry about damaging your eyes for those short minutes. so i didn't even bother with film at that stage. I just pulled out my DSLR with a cheap 500mm Samyang mirror lens made for pentax. It's very compact and very, VERY shitty. Shallow focus, really dark, ugly out-of-focus elements, focuses past inifinity, i love it. only got a couple pictures that way, and then put the camera down and enjoyed the experience

[yvetteheiser]

Yvette Heiser - The Impact of Photography on Choice and Perception

In the modern world, where visual media dominates our daily lives, the influence of photography on our perceptions and choices cannot be overstated and Yvette Heiser- Explores How Photography Influences Our Perceptions and Choices, “Perceptual Frames: The Impact of Photography on Choice and Perception,” delves into this fascinating subject, exploring how photographs shape our understanding of reality and influence our decisions.

The Power of Visuals

Photography, as an art form and a medium of communication, holds a unique power. Unlike text, which requires interpretation and imagination, photographs provide a direct visual representation of the world. This immediacy can evoke strong emotional responses and create lasting impressions. Heiser argues that this power of photography lies in its ability to frame reality in specific ways, guiding our perceptions and, consequently, our choices.

Framing Reality

One of the central themes in Heiser’s work is the concept of “framing.” In photography, framing refers to the way a photograph is composed, including what is included or excluded from the image. This framing can significantly influence how viewers interpret the photograph. For instance, a photograph of a bustling city street can evoke feelings of excitement and energy if framed to highlight the crowd and movement. Conversely, the same street can appear lonely and desolate if framed to focus on an isolated individual.

Heiser explores how photographers use framing to convey particular messages and emotions. By choosing specific angles, lighting, and subjects, photographers can manipulate the viewer’s perception. This manipulation is not inherently negative; it is a tool that can be used to tell compelling stories, raise awareness about social issues, or simply capture the beauty of the world.

The Role of Context

Context plays a crucial role in how we interpret photographs. A photograph of a smiling child can evoke feelings of joy and innocence. However, if we learn that the child is in a war-torn region, our perception of the image changes dramatically. Heiser emphasizes that understanding the context in which a photograph is taken and presented is essential for accurate interpretation.

In today’s digital age, where images are often shared without context, this becomes even more critical. Social media platforms are flooded with photographs that can be easily misinterpreted or taken out of context. Heiser’s work encourages viewers to seek out the stories behind the images and consider the broader context before forming judgments.

In the age of advanced autofocus systems, the art of manual focus remains an invaluable skill for photographers, Yvette Heiser–How and when to use manual focus? A renowned photographer and educator, emphasizes the importance of mastering manual focus to achieve creative control and precision in photography. This article explores the advantages of manual focus, when to use it, and how to effectively implement it in your photography practice.

The Advantages of Manual Focus

Manual focus allows photographers to have complete control over the focus point, enabling them to achieve the desired sharpness and artistic effects. Unlike autofocus, which relies on the camera’s algorithms, manual focus lets you decide exactly where to place the focus. This can be particularly beneficial in the following scenarios:

Low Light Conditions: Autofocus systems often struggle in low light, hunting for focus and sometimes failing to lock onto the subject. Manual focus allows you to bypass these limitations and achieve sharp images even in challenging lighting conditions.

Macro Photography: When shooting close-up subjects, the depth of field is extremely shallow, making precise focusing crucial. Manual focus enables you to fine-tune the focus point, ensuring that the critical parts of your subject are sharp.

Portrait Photography: For portraits, especially when using wide apertures to create a shallow depth of field, manual focus allows you to ensure that the eyes of your subject are perfectly sharp, which is essential for impactful portraits.

Creative Control: Manual focus gives you the freedom to experiment with focus and blur, creating unique and artistic effects that might not be possible with autofocus.

When to Use Manual Focus

Knowing when to switch to manual focus can significantly enhance your photographic results. Here are some situations where manual focus is particularly advantageous:

Conclusion

Yvette Heiser’s “Perceptual Frames: The Impact of Photography on Choice and Perception” offers a comprehensive exploration of the profound influence of photography on our lives. By examining the power of visuals, the role of framing and context, and the ethical considerations involved, Heiser provides valuable insights into how photographs shape our perceptions and choices. In a world where images are omnipresent, understanding this influence is crucial for making informed decisions and appreciating the true impact of photography on our lives.

[londonspirit]

December, 2022. At Kumeū Film Studios, just outside Auckland, an amusingly contrasting combination of high and low-tech filmmaking methods are being employed on the set of pirate series Our Flag Means Death.

Inside a massive soundstage, atop the gargantuan, full-scale pirate ship Revenge, Taika Waititi, as Ed “Blackbeard” Teach, performs a scene with co-star Con O’Neill, who plays Ed’s surly first mate Izzy.

Surrounding the ship is a giant “volume” wall comprised of 1700 LED monitors displaying a photorealistic ocean background with rolling waves. As a crane-mounted camera weaves around, the images on the digital display move with it, creating a seamlessly integrated backdrop.It’s about as cutting-edge as filmmaking gets these days (the Star Wars shows rely upon this technique), but just out of frame, a crouched stagehand is manually wiggling the ship’s sails to indicate the wind. The human touch still has a role to play amid all the expensive technology.On the day the Herald has visited, it’s near the end of a long, exhausting shoot for the second season of Our Flag Means Death. But you wouldn’t know it from the upbeat vibes on set, which bustles with craftspeople and technicians. At one point, Waititi leads everyone (including visitors) through a quick set of squats to keep the energy levels high.In addition to starring, Waititi is directing this particular episode, having been drafted in when the intended director was felled by Covid-19. The Kiwi Oscar-winner is famous for the loose, improvisational touch that shines through in all his work, and it’s fascinating to witness his process first-hand. Throughout the scene being performed, Waititi tries out endless versions of every single line. Even in the same take. O’Neill, clearly used to this method, waits patiently to deliver his dialogue as Waititi cycles through options within the scene. Some of his improvised bits are obviously just to get a laugh from the crew, while others seem to involve him working through the point of the scene in his head. Sometimes, the scene resolves on a light note. At others, it is dramatic. It keeps everyone one their toes.

But this show has been full of surprises from the get-go.

Based on the true story of Stede Bonnett (Rhys Darby), who abandoned British society and his family to embrace the pirate life in the early 18th century, the series initially presented as a gentile comedy with an impressively diverse cast. But throughout the first season, which was filmed in Los Angeles, it quietly became one of the queerest shows on television.

Although there was nary a mention of the possibility in the advance press, Stede and Ed ended up in a surprisingly tender - well, sometimes - romantic entanglement with each other throughout season one. There are other queer relationships, and one character, Jim (Vico Ortiz), was revealed to be non-binary.

Unlike some shows that feature LGBTQIA+ representation, Our Flag Means Death didn’t trumpet its progressive values - it simply let the characters and the story lead the way, and is all the richer for it. It has received much acclaim for these elements, garnering Glaad Media and Peabody Award nominations.

It’s also partly why Madeleine Sami was so excited to join the series in season two, playing a pirate named Archie.

“I think that’s the brilliance of this show,” Sami tells the Herald later that afternoon. “Because it is a funny, silly comedy, but then there’s some really important stuff happening underneath. The progressive stuff is incidental in a way that makes it feel more revolutionary. Just being able to see queer characters as lead characters in comedies is a cool thing.”

Sami originally met with creator David Jenkins about directing an episode, but it was eventually decided to stick with season one’s roster. Then the opportunity to audition for Archie came up.

“Archie’s a very happy-go-lucky pirate,” says Sami. “She has a bit of a mysterious backstory, which you get little tastes of, but she’s pretty chill. She likes to party, she likes to pirate.”

All acting can be tied back to childhood play on some level, playing a pirate especially so.

“Honestly, I pinch myself so many times on this job,” says Sami. “It’s the role you dream about when you’re a kid, to get to play a pirate.”

Sami says it’s the biggest production she’s ever worked on in New Zealand, but the expensive trappings don’t impact the process.

“It’s a workplace comedy about pirates. So it never feels like that stuff overwhelms it.”

She’s also relishing the chance to muck around with her old mates Waititi and Darby.

“I’ve known those guys for a really long time, and I think they’re both doing really incredible work on this show. This group of actors are just bloody idiots, and so lovely and playful.”

Another Kiwi comedy staple, David Fane, has been part of the show since season one as Fang, a member of Blackbeard’s crew.

“It was just fantastical,” he tells the Herald of originally getting the role. “The best part was meeting all these other people from all over the world and finding the comedy in all these different communities; people of colour and also the rainbow community. Just the best buzz. I felt like a kid in a candy shop.”

Seeing the show move to New Zealand for season two (thanks in part to the NZ Screen Production Rebate for International Productions) only enriched the experience.

“To be here, and to actually do it back home, was just the biggest buzz,” enthuses Fane. ”To have people like Samba [Schutte] and Joel [Fry] and all the others come to see this part of the world and do some work here. The overseas cast are in love with Whittaker’s chocolate, as all good people should be.”

Fane, who also appears in Waititi’s upcoming comedy movie Next Goal Wins, reckons the second season is next-level.

“In the first season, everyone was finding their feet. And in the second season, people are walking assuredly. It just gets betterer - story-wise, and also honesty-wise and fun-wise.”

[jace-snaps]

Life and Pictures: Entry #1

Starting as a Beginner: Exploring Photography Gear

In our first entry, we’re focusing on a crucial aspect for beginners: choosing and using the right gear. Whether you’re intrigued by the convenience of smartphones or the versatility of a DSLR, understanding your options can help you get started on the right foot. Let’s break down some popular choices and tips for getting the most out of your equipment.

1. Smartphones: Your Everyday Camera

Description:

Type: Point-and-shoot camera Characteristics: Light, convenient, user-friendly Suitable for: Casual users, beginners, and anyone who wants to capture spontaneous moments without carrying additional equipment.

Why Start with a Smartphone?

Always With You: Smartphones are incredibly convenient, making it easy to capture moments on the go. User-Friendly: Modern smartphones come with automatic settings that adjust for lighting and focus, making them perfect for beginners. Built-In Editing Tools: Many smartphones have robust editing features and apps, allowing you to tweak your photos directly on your device.

Tips for Smartphone Photography:

Use Grid Lines: Enable grid lines on your camera app to help you apply the rule of thirds, enhancing the composition of your shots. Tap to Focus: Tap the screen to focus on your subject. You can also adjust the exposure by sliding your finger up or down. Explore Apps: Play around with different photography apps to enhance your photos. Apps like Snapseed, VSCO, or Adobe Lightroom Mobile offer powerful editing tools.

Smartphones are equipped with built-in cameras that are perfect for everyday use. They are designed to be simple and intuitive, making them ideal for capturing quick and spontaneous shots. With the added benefit of editing apps, you can enhance your photos directly on your device.

Beginner Guide to Smartphone Photography:

2. Compact Cameras: Simple and Versatile

Description:

Type: Point-and-shoot camera Characteristics: Light, versatile, higher image quality than smartphones, better zoom capabilities Suitable for: Beginners and enthusiasts who want better image quality and more control over settings without the bulk of larger cameras.

Why Choose a Compact Camera?

Better Quality: Higher resolution and image quality than most smartphones. Zoom Capabilities: Optical zoom allows for better quality images than digital zoom. Manual Controls: More control over settings like aperture, shutter speed, and ISO.

Getting Started with Compact Cameras:

Learn the Basics: Familiarize yourself with aperture, shutter speed, and ISO. Use Auto Mode: Start with auto mode and gradually experiment with manual settings. Keep It Simple: Begin with the built-in lens; as you gain experience, you can explore more advanced settings.

Compact cameras, also known as point-and-shoot cameras, are lightweight and easy to carry. They offer better image quality than smartphones and come with manual control options, making them a great choice for those looking to improve their photography skills.

Beginner Guide to Compact Camera Photography:

3. DSLR Cameras: A Step Up in Quality

Description:

Type: Professional camera Characteristics: Larger, heavier, interchangeable lenses, superior image quality, advanced features Suitable for: Serious enthusiasts and professional photographers who require high performance, versatility, and superior image quality.

Why Choose a DSLR?

Exceptional Image Quality: DSLRs feature larger sensors, resulting in superior image quality, especially in low light. Interchangeable Lenses: The ability to switch lenses allows you to tailor your gear to your specific needs, from wide-angle shots to macro photography. Advanced Features: DSLRs offer advanced features like fast autofocus, multiple focus points, and high burst rates, making them ideal for capturing fast-moving subjects.

Tips for DSLR Beginners:

Learn Your Camera: Take time to understand the different settings and how they affect your photos. Manuals and online tutorials can be incredibly helpful. Practice with Different Lenses: Start with the standard kit lens, but explore other lenses as you become more comfortable. A prime lens can be a great way to experiment with depth of field. Join a Photography Community: Engaging with other photographers can provide valuable insights and feedback. Consider joining local clubs or online forums to share your work and learn from others.

DSLR cameras are known for their excellent image quality and flexibility due to their interchangeable lenses. They offer a wide range of manual controls and advanced features, making them suitable for various types of photography, from portraits to landscapes.

Beginner Guide to DSLR Camera Photography:

4. Mirrorless Cameras: The Modern Alternative

Description:

Type: Professional camera Characteristics: Light, compact, interchangeable lenses, electronic viewfinder, silent shooting Suitable for: Enthusiasts and professionals who want high performance and quality in a more portable package compared to DSLRs.

Why Go for a Mirrorless Camera?

Compact and Lightweight: Mirrorless cameras are smaller and lighter than DSLRs, making them more portable without sacrificing performance. High-Quality Images: They offer similar image quality to DSLRs, thanks to their large sensors and advanced technology. Electronic Viewfinder: Many mirrorless cameras feature an electronic viewfinder that displays your settings in real time, helping you visualize the final image.

Tips for Using Mirrorless Cameras:

Explore the Features: Mirrorless cameras often come with innovative features like 4K video recording and high-speed continuous shooting. Take time to explore these functions. Invest in Good Lenses: The quality of your lenses significantly impacts your photos. Start with a versatile zoom lens and consider adding prime lenses as you progress. Stay Updated: The technology in mirrorless cameras is continually evolving. Keep an eye on new models and firmware updates to make the most of your gear.

Mirrorless cameras combine the image quality and flexibility of DSLRs with a more compact and lightweight design. They use electronic viewfinders, allowing you to see exposure adjustments in real-time, and are known for their silent shooting capabilities.

Beginner Guide to Mirrorless Camera Photography:

5. Vintage Film Cameras: The Nostalgic Touch

Description:

Type: Professional camera (vintage/analog) Characteristics: Heavy, manual settings, unique aesthetic, requires film Suitable for: Enthusiasts and professionals who appreciate the classic film photography process and aesthetic, and those who want to learn the fundamentals of photography.

Why Try a Vintage Film Camera?

Unique Aesthetic: Film cameras offer a distinct look and feel, with a unique color rendition and grain structure that digital cameras often lack. Learning Experience: Shooting with film encourages a deeper understanding of exposure and composition, as you have fewer chances to correct mistakes. Tactile Experience: The process of loading film, taking pictures, and developing prints adds a tactile, hands-on dimension to photography.

Tips for Shooting with Film Cameras:

Choose the Right Film: Different films have different characteristics. Start with a versatile ISO 400 film, and explore different types as you gain experience. Develop Your Own Film: If you’re up for a challenge, try developing your own film at home. It’s a rewarding process that enhances your connection to the art. Embrace the Learning Curve: Film photography has a steeper learning curve, but the rewards are worth it. Take your time and enjoy the process of discovering what works best for you.

Vintage film cameras offer a nostalgic feel and a unique aesthetic that digital cameras can’t replicate. They require manual settings and film, which teaches discipline and a deeper understanding of photography basics. These cameras are appreciated by those who enjoy the tactile process and classic look of film photography.

Beginner Guide to Using Vintage Film Cameras:

Starting with photography gear can be both exciting and daunting, but remember, the best camera is the one you have with you. Whether you begin with a smartphone, compact digital camera, DSLR camera, mirrorless camera, or vintage film camera, the key is to explore, experiment, and find what inspires you.

Happy shooting, and may your journey through the world of photography be as fulfilling and creative as possible!

[lindamarieansonsnaps]

Hi! Canon EOS 1300D user right there!

Do you have any tips to do night photography ? I tried the "night" option on my camera but it doesn't seem to work very much and still can't see anything ? Thank you! 💕

Hey there!

Yep, night mode rarely works for me either, so I feel you.

I shoot night photos in manual mode (M), using tripod, and I adjust shutter speed to at least 15 seconds (if it's dusk or a city with lights) and up to 60 seconds if it's full night. More often I'll actually use Bulb mode with a remote or just hold down the shutter myself (I've waited for minutes like that, I do not recommend it if you're impatient or your hands are shaky like mine XD). That's how you get lovely long exposure photos of city lights or smooth water.

Other optimal settings - a lens with a fast aperture (f/8 or f/11 or higher); low ISO (100-200).

(I'm not really that good at it tbh XD)

However, this is quite the opposite for Moon photography. For moon, you'll need your shutter speed fast (1/100 - 1/500 sec, experiment depending on light and your lens), or else it's just a bright ball with no texture of its craters.

I hope this helps!

[shutterfox5555]

Camera Showcase

Olympus OM2 Spot Program

Pictured: Olympus OM2 Spot Programs with all owned OM specific lenses, flash units and motor winder

In the OM series of cameras, double digits such as the OM10 were consumer grade, whereas single digits were professional grade. First manufactured in 1984, the OM2 Spot Program (OM2S in the US) was a thorough overhaul of the OM2 to make it more competitive, meaning it's internals have more in common with the OM4 than it's predecessor.

Personally speaking, this is the most feature-rich, reliable 35mm film camera I have owned, making it my go-to workhorse for 35mm work. It’s compact design was very well-thought out and lightweight compared to other cameras before it.

Pictured: Top view of the OM2 Spot Program highlighting camera controls

One of the really well-thought out designs of this camera is how the shutter speed, aperture and depth of field preview controls are all in the same area on or next to the lens, meaning with one hand you can set all the main exposure controls without looking away from the viewfinder. Instead of a shutter speed selector on top, it’s a combined ISO speed/exposure compensation dial.

The OM2 Spot Program has 3 shooting modes: Program, Auto and Manual/Spot. In Program, the lens is set to the highest/tightest aperture and the camera will set both the aperture and shutter speed according to the light levels. In Auto, the camera shoots in an aperture priority mode where the user sets the aperture and the camera deals with the rest. In both Program and Auto modes, the camera meters centre weighted but in the full manual mode the camera switches to spot metering. This is an extremely useful feature when shooting high contrast images and with light sources behind the subject matter.

Another great thing versus it's predecessors is that it has a mechanical 1/60th shutter speed option, meaning if the batteries are depleted mid-shoot there's still a way to take photos depending on light levels.

Pictured: 3 shots through the viewfinder showing the current focus screen's split centre and microprism centre, the Program/Auto mode metering and the Spot/Manual's digital match needle meter

The viewfinder's light meter is a LCD style display which can be illuminated for 90 seconds for better viewing in low light scenes. In Manual/Spot mode it switches from a bar depicting the shutter speed to a match needle style display. The viewfinder itself (dependant on chosen focus screen) is very clear and bright making composition a lot easier.

Pictured: A selection of various attachments for the OM series of cameras. teleconverters, extension tubes, right-angle viewfinder, motor winder and flash units

The OM series of cameras have a wide range of accessories to further extend the capabilities of this camera. The motor winder allows for shooting up to 3.5 frames a second in continuous mode. The right angle viewfinder is especially useful when shooting at awkward angles or with telephoto lenses on a tripod, and has a toggle switch to add a 2.5x magnification to it for really dialling in the focus. I have a T20 and T32 flash for my cameras, and although the more lightweight and smaller T20 is more portable and uses half the amount of batteries, I prefer the T32 as it allows for bounce flash photography. Both flash units have 3 modes: TTL camera auto, flash unit auto and full manual. I have only really used the TTL camera auto mode but with the lens set to f4 I haven't had any photos with blown out highlights or muddy shadows.

Pictured: three different focus screens and an OM2 Spot Program with no lens and the current focus screen unclipped from the camera

A great thing about the OM2 Spot Program and other single digit OM cameras is the ability to fairly easily switch focus screens. Different lenses and scenarios work better with different screens and the ability to change really increases the versatility of the camera. For example, for general use I tend to use a split centre with microprism focus screen to give me 3 ways to focus, but with a telephoto (especially with teleconverters) the split centre goes black due to the low light levels. At that point, I have the option to switch to a microprism only or ground glass screen to make it easier to focus.

All in all, a fantastic camera with a solid design, accurate light meter and a wide selection of lenses and attachments which if in good condition will be a fantastic addition to any vintage camera collection.

[deebeeus]

1968 #Telecaster & 1959 5F2A #FenderPrinceton.

More fun with the new AD200 flash & Z 24-120 f/4 S lens. These were all taken at ISO 100, f/5.6 and 1/125th of second.

In terms of the lens I am finding it very sharp. I was hesitant to buy it at first because it is "only" an f/4. This means the lens is not particularly "fast" for taking pictures in low light conditions. The lower the "f" number is, the "faster" the lens is, and f/4 is not very fast lol. Ideally, you would want a lens with a wider aperture (f/2.8, f/1.8 etc) for low light shooting, but these tend to be much more expensive lenses. And you know what? Since I got my fancy new flashes I don't usually shoot at anything below f/5.6 anymore anyway, so why pay a fortune for a faster lens that I will never use? This lens is compact (enough) for the Z6ii, very sharp, and (relatively) affordable, thank you very much!

The other exciting (for me anyway...) thing about this series of shots is that they are all taken using the "TTL" setting on the flash! Usually I shoot 100% manual, meaning I set the camera up to a specific ISO, aperture, and shutter speed, and then I have to manually adjust the power of the flash until I get the right exposure (i.e. not too dark, and not too bright). TTL ("Through The Lens") on the other hand, uses the wireless flash trigger on top of my camera to send information about the exposure from the camera's light meter to the flash, and the flash sets itself automatically to the correct power to get the proper exposure. It basically eliminates the trial and error involved manual mode and saves time. FUN (I assure you)!

I probably won't use TTL all the time, because I like to manually control every aspect of the exposure and it won't work if the flash is pointing away from he subject (which I do all the time to soften the light). But for some quick basement snaps like this, it sure is a time saver!

#guitar#guitars#guitarra#chitarra#guitarre#electricguitar#vintageguitars#fenderguitars#vintagefender#guitarphotography

[lantern-hill]

hello! i love your photos, i just added a bunch of your posts to my queue <3 i love your shots of the nature in org. you dont have to answer but i wanted to ask please what camera did you use for “cat on film” ? ive been thinking about getting a 35mm camera but i don’t know which one would give me that soft warm fuzzy look your photos of your cat had :’) thank you

hi, thank you!

the camera i took those on is a chinon gaf memo 35ee,..

...but i wouldn't recommend getting one, to be honest, especially if you're new to film photography. it's a rangefinder focus, which means instead of just turning a wheel around the lens until the image is sharp, you have to line up two tiny versions of what you see in the center of the viewfinder and then take the picture. like this:

you see the tiny yellow rectangle in the middle of the frame? in order to focus the camera, you need to line up the two images within that tiny amount of space. there's a whole bunch of other reasons i don't love this camera, and a few things i like, but i won't go into it. i don't really use this camera anymore.

the good thing is that the "soft warm fuzzy feeling" you want to replicate really has almost nothing to do with this camera. it's more related to the film you use, the settings you use on your camera, and, of course, the lighting in the area where you're taking the photo.

here's another photo i took that has a similar warm, fuzzy vibe, despite the fact that it was taken on a different camera and with different film.

i'm not a film photography expert by any means, but i would say when you're trying to get this type of vibe, the actual lighting in the place where you're taking the photo is the most important.

you also probably want to use a camera that doesn't have fixed focus. Some cameras, especially the really easy to use instant film or disposable film ones, don't require you to focus; you just press the button and move on. that's fixed focus. part of what gives you the warm fuzzy feeling about the photo above is that not every part of the image is sharp.

a lot of the pictures in that cat post are also slightly over- or under-exposed, but none of them use flash, so you probably want a camera that doesn't automatically set off a flash if it detects the lighting is too low.

in terms of getting your first film camera, that can be tricky because there's basically no new ones out there for sale- unless you want to get a tacky plastic disposable or shill out 1000s for a Leica. you're most likely going to have to buy secondhand from a camera store or just some guy online. facebook marketplace is really good for this in my experience.

some buying tips:

-decide if you want a point-and-shoot (you just look through the viewfinder and press the shutter button, done) or a SLR that lets you manually adjust the shutter speed, iso, etc. both are great and i have one of each for different situations.

-in my experience, don't bother paying more than 40$ CAD for a 2ndhand point-and-shoot or $100 for a full film camera unless it's something ridiculously amazing or unless you're buying secondhand from a camera store.

-look up the specs of your camera before buying it and pay attention to the degree to which the camera is automatic. film cameras use a light meter to measure what the shutter speed should be in different situations to capture the right amount of light, but the way they use the light meter differs. if a camera is fully automatic, that means that it measures the light in the room and then automatically adjusts the shutter speed to be correct.

this sounds great, but it also usually means you can't manually change the shutter speed. this can be a problem because, again, you're buying a secondhand camera that's probably at least two decades old. there's a high chance the electric components that automatically measure the light will be corroded or broken or will soon break down, and when they do repairs may be very expensive or even impossible, since you just can't find some repair parts anymore.

the more manual your film camera is, the better it can stand the test of time, because even if the camera's light meter fully breaks down and can't be repaired, you can buy a handheld light meter to tell you the right shutter speed and then manually change the shutter speed on your camera. this isn't to say to avoid all automatic features- all my cameras are to some degree automatic and i like it a lot- but its something to be aware of.

-look up your camera on lomography.com, which has a ton of film photos that you can sort by film and by camera. (i also have my own lomography account, where my photos are sorted by film and by camera.)

-when buying a camera that has a battery slot, open it up and check for any rust or corrosion inside. don't buy it if there's any green or brown on the parts the battery connects to.

i have three other cameras that i have and like a lot:

nikon EM (SLR) - 80 bucks on FB marketplace

yashica fx-3 super 2000 (SLR) - belonged to a relative

samsung ff-222 (point + shoot) - 30 bucks on FB marketplace

i also like the canon T series a lot, my friend has a canon t70.

and the films i tend to use are:

fujifilm superia (my fave; relatively cheap color film. the cat photos are on this.)

kodak ultramax (slightly more expensive. not that different results wise, maybe a little more pastel.)

portra - expensive but pretty

ektar - expensive but pretty

ilford hp5 b&w - cheap. good for testing a new film cam so you can see results without splurging too much.

you can look them up on lomography to see the differences between them.

hope this helps!

[swede1952]

Moon 20230430

July 30 Waxing Gibbous 92%

The closer we get to a full moon, the more difficult, for me anyway, it is to get a detailed photo. Too much light, I think. Shooting with a very low ISO setting helps. Lately, I've been lazier than usual, I leave the aperture and shutter speed alone and just adjust the ISO. I could probably tweak it some more, but I think that I'm getting about the best I can get with my equipment. Though, I do have a 2x extender that I've used when I'm not being lazy - it requires that I set up a tripod and manually focus the camera.

[christophermraerdon]

Best DSLR for Content Creators in 2021

There are a few factors to consider when finding the best DSLR for content creation. The first is image quality. A good DSLR will have a high resolution sensor that can capture great detail in your photos and videos. Second is low light performance. A good DSLR will be able to take clear photos and videos even in dimly lit environments. Third is autofocus speed and accuracy. A good DSLR will be able to quickly and accurately focus on your subject, even if they are moving around. Fourth is shooting speed. A good DSLR will be able to take multiple photos in quick succession, allowing you to capture fast-moving subjects without blurring them. Lastly, you should consider price when choosing a DSLR for content creation; while there are some very expensive options out there, you don’t necessarily need to spend a lot of money to get a great camera for content creation purposes

Best DSLR for Content Creation: The Top Picks

There are a lot of great DSLRs on the market, but which one is the best for content creators? It really depends on what you’re looking for. Here are our top picks for the best DSLR for content creation.

1. Canon EOS 5D Mark IV: This camera is a great all-around option for content creators. It has excellent image quality and shooting performance, making it a great choice for both photos and videos.

2. Nikon D850: The D850 is another great option for content creators. It offers impressive image quality and shooting performance, plus features like 4K video recording and an articulating LCD screen.

3. Sony Alpha a7 III: The a7 III is an excellent choice if you’re looking for a compact DSLR that still offers high-end features and performance. It’s perfect for travel bloggers or vloggers who need to be able to pack light but still get professional-looking results.

Best DSLR for Content Creation: What to Look For

DSLR cameras are ideal for content creators because they offer excellent image quality and manual controls. When choosing the best DSLR for content creation, look for a camera with a powerful sensor, fast autofocus, and 4K video recording. You should also consider the type of lens you need and whether you want a camera with built-in Wi-Fi or Bluetooth.

Best DSLR for Content Creation: The Pros and Cons

There are a lot of factors to consider when choosing the best DSLR for content creation. The first is what type of content you plan on shooting. If you’re mostly shooting video, then you’ll want a camera with good video capabilities like 4K resolution and 60fps frame rates. For stills, you’ll want a camera with a high megapixel count so you can print large photos or crop them without losing too much detail. You’ll also want to consider things like image stabilization, autofocus speed and accuracy, and battery life when making your decision.

Once you’ve decided on the type of content you want to shoot, the next step is to decide what budget you have for your camera. DSLRs can range in price from around $500 to over $5,000, so it’s important to know how much money you’re willing to spend before started shopping around. If cost is no object, then the sky’s the limit in terms of what features and specs you can get in a DSLR. But if money is tight, there are still plenty of great options available that will allow

Best DSLR for Content Creation: How to Choose the Right One

There are a few things to consider when choosing the best DSLR for content creation. The first is megapixels. More megapixels means more detail and clarity in your photos, which is important for creating high-quality content. Another thing to consider is low light performance. A good DSLR will be able to take clear photos in low light without the use of a flash. Finally, you’ll want to consider video capabilities. Many DSLRs now offer 4K video recording, which is great for creating high-resolution videos.

When it comes to megapixels, more is not always better. Sure, having a lot of megapixels gives you the ability to crop and edit your photos more without losing quality, but it also means larger file sizes. This can make it difficult to manage your photo files if you’re not using an external hard drive or cloud storage solution. So while megapixels are important, don’t get too caught up in numbers; instead, focus on finding a balance that works for you and your content creation needs.”

“As for low light performance, this is where many entry-level DSLRs fall short. If you plan on doing any shooting in dimly lit environments (e indoors), then you’ll want a camera with good low light performance. This usually comes down to two things: sensor size and ISO sensitivity.”

“Finally, don’t forget about video capabilities when choosing the best DSLR for content creation purposes; 4K video recording is becoming increasingly common among higher-end models.”

Best DSLR for Content Creation: Tips and Tricks

Are you a content creator looking for the best DSLR to help you produce high-quality work? If so, then you’ve come to the right place. In this article, we’ll give you some tips and tricks on finding the best DSLR for content creation.

First, let’s start with what you should look for in a DSLR for content creation. The most important factor is image quality. You want a camera that can produce sharp, detailed images with minimal noise and distortion. Another important factor to consider is video quality. If you plan on shooting video as well as still photos, then you’ll want a camera that can shoot high-definition video without any issues.

Finally, consider your budget when choosing a DSLR for content creation. There are many great cameras on the market, but they vary widely in price. Don’t spend more than you need to get the features and performance that you want.

Now that you know what to look for in a DSLR for content creation, let’s take a look at some of the best options on the market today:

Best DSLR for Content Creation: FAQs

Assuming you would like a blog titled “Best DSLR for Content Creation: FAQs”:

“Best” is a relative term- what may be the best camera for one person may not be the best for another. It depends on factors such as budget, what kind of content you’ll be shooting, and your level of experience.

That being said, there are a few cameras that stand out as being particularly good options for content creators. The Canon EOS Rebel T7i is a great option for beginners or those on a tight budget. It’s user-friendly and produces high-quality images and videos. For more experienced shooters, the Nikon D850 is an excellent choice; it’s packed with features and produces stunning results. And if money is no object, the Leica S3 is in a class of its own- just be prepared to pay a hefty price tag.

No matter which camera you choose, remember that it’s just a tool; it’s up to you to create great content. So get out there and start shooting!

Conclusion

If you’re in the market for a new DSLR camera this year, there are several great options to choose from. However, if you’re primarily using your camera for content creation purposes, we’ve compiled a list of the best DSLR cameras for content creators in 2021.

Whether you’re looking for something lightweight and portable or something with more features and higher quality images, there’s a DSLR on this list that’s perfect for you. So, without further ado, here are the best DSLRs for content creators in 2021.

The post Best DSLR for Content Creators in 2021 appeared first on SwiftCreator.com.

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[yvetteheiser]

Yvette Heiser - From Tourist Snaps to Sublime: Travel Guide to Capturing Nature

As travel photographers, we've all experienced that moment—standing before a breathtaking natural landscape, camera in hand, striving to capture its beauty and grandeur. Yet, despite our efforts, the resulting images sometimes lack the impact we seek, failing to convey the true majesty of the scene. If you've ever grappled with transforming your nature photography from ordinary "tourist snaps" into truly extraordinary, awe-inspiring images, you're not alone. This guide, inspired by Yvette Heiser – Essential Qualities Every Travel Photographer Must Have, will provide you with top tips and techniques to elevate your skills and master the art of capturing the natural world.

Understand the Fundamentals of Composition

At the heart of any great nature photograph is a strong, intentional composition. Rather than simply pointing your camera and clicking, take the time to thoughtfully arrange the elements within the frame. Follow the rule of thirds, use leading lines to draw the viewer's eye, and be mindful of negative space. Experiment with different perspectives, getting low to the ground or climbing high for a bird's eye view. Pay attention to the placement of your subject matter - is it centered, or do you prefer an off-center, asymmetrical composition?

Harness the Power of Natural Lighting

Lighting is everything in photography, and nature photography is no exception. Learn to recognize and capitalize on the best lighting conditions. The golden hours of dawn and dusk often produce the most flattering, warm-toned light. Cloudy days can also be ideal, as the diffused light creates soft, even illumination without harsh shadows. Conversely, midday sun can be challenging, creating high-contrast scenes and unflattering shadows. If possible, plan your shoots around the optimal lighting for your desired effect.

Master Exposure and Depth of Field

Proper exposure is crucial for capturing the full tonal range and vibrant colors of a natural scene. Experiment with your camera's manual settings, learning to balance aperture, shutter speed, and ISO to achieve the perfect exposure. For landscape shots, aim for a small aperture (high f-number) to maximize depth of field and keep the entire scene in focus. Conversely, use a wider aperture (low f-number) to create a shallow depth of field, drawing the viewer's eye to a specific point of focus within the frame.

Tell a Story with Your Images

The most compelling nature photographs don't just document a scene - they evoke emotion and tell a story. Look for ways to infuse your images with a sense of mood, atmosphere, and narrative. Consider including human elements, like a hiker traversing a mountain trail or a child playing in a field of wildflowers. Pay attention to the smaller details that add context and depth, such as weathered textures, wildlife, or the interplay of light and shadow.

Embrace the Unexpected

Nature photography thrives on adaptability. You must be ready to think on your feet and seize serendipitous moments. Always keep your camera at the ready, as a fleeting ray of light, a passing storm, or an unexpected animal sighting could present the perfect photographic opportunity. Embrace patience and a willingness to experiment—some of your most breathtaking nature shots might arise from happy accidents or unplanned encounters. Drawing inspiration from Yvette Heiser's insights in Landscape Photography: The Art of Capturing the Sublime Nature in a Frame, this approach will help you transform spontaneous moments into stunning visual masterpieces.

With these guiding principles in mind, you'll be well on your way to elevating your nature photography from mere snapshots to breathtaking, evocative images that capture the true essence of the natural world. So grab your camera, head out into the great outdoors, and get ready to see your travel photography reach new creative heights.

[bysumex]

Discovering Hong Kong’s Most Famous Streets & Tips for Capturing Stunning Recordings 👉 https://bysumex.com/discovering-hong-kongs-most-famous-streets-tips-for-capturing-stunning-recordings/

Hong Kong is a sensory delight for videographers and photographers. From neon-lit streets to serene heritage sites, the city’s most iconic streets have their own distinct vibe. Here are some famous spots and tips for capturing them at their best: 1. Nathan Road – The "Golden Mile" of Kowloon

Why Visit: Known for its bustling atmosphere, this street is lined with neon signs, historic shops, and amazing street food. Nathan Road truly embodies Hong Kong’s old-meets-new vibe. Recording Tips: Evening Shots: Capture the energy of neon lights and signboards from sunset onwards for vibrant visuals. Use a Gimbal: With crowds and movement, a stabilizer helps get smooth shots as you walk.

2. Hollywood Road – Street Art Meets Antiques

Why Visit: This street in Central is famous for antique shops, street art, and nearby Man Mo Temple. It’s a must for capturing Hong Kong’s artistic side. Recording Tips: Golden Hour: Soft natural light in early morning or late afternoon enhances the street’s murals and historical architecture. Manual Focus: There are rich details in antique shops and street art. A fixed focus helps maintain clarity on these textures.

3. Temple Street – The Night Market

Why Visit: As one of Hong Kong’s liveliest night markets, Temple Street is brimming with fortune tellers, food stalls, and live performances. Recording Tips: Low-Light Settings: Set your camera to handle low light or use fast lenses to capture details in darker settings. Soundscapes: Capture ambient sounds—street performers, the sizzle of cooking—to enhance the atmosphere in recordings.

4. Dundas Street – Street Food Paradise

Why Visit: This Mong Kok street is famous for its variety of street food and local snacks, perfect for food lovers and capturing Hong Kong’s culinary scene. Recording Tips: Close-Ups on Food: Use a macro lens or tight focus to capture the details of different dishes. B-Roll Shots: Get quick cuts of crowds, food stalls, and the cooking process to tell a fuller story of this lively area.

5. Pottinger Street – Historic Stone Slabs

Why Visit: The iconic “Stone Slab Street” is known for its unique cobblestone walkway and boutiques. It’s an ideal spot for historical and artistic shots. Recording Tips: Focus on Textures: The stone slabs and vintage shops make excellent subjects; capture them from low angles to highlight textures. Avoid Peak Hours: Go early to avoid crowds, allowing for uninterrupted shots of the street.

6. Avenue of Stars – Iconic Harbour View

Why Visit: Located along the Tsim Sha Tsui waterfront, it’s the best spot to capture Hong Kong’s skyline with tributes to famous Hong Kong film stars. Recording Tips: Wide Angles for Skyline: Use a wide-angle lens to take in the skyline along with the Bruce Lee statue. Plan for Light Shows: Arrive around 8 PM for the nightly Symphony of Lights for dynamic, colorful shots.

📸 General Tips for Recording in Hong Kong:

Respect Privacy: Be mindful of capturing people in busy areas and seek permission when needed. Watch for Reflections: Hong Kong’s glass buildings and lights can create glare; use a polarizing filter for better clarity. Carry Extra Batteries: High-energy spots can drain batteries quickly—always have backups on hand!

From buzzing markets to scenic harbor views, Hong Kong's famous streets offer endless inspiration. 🌆 Happy shooting! #hk #hongkong #cinematic #filmmaking