Do your travel photos look like everyone else’s? What makes an impactful travel image beyond the postcard photos? They say (and it’s a myth) that the average person uses only 10% of their brain. Photographers use a very small percentage of their camera’s and computer’s brain.
In this seminar Jack Reznicki will show you where we can leverage the functions of our cameras and the richness of post processing, to give your travel photos more impact, beyond the postcard.
Cropping and composition
GPS and Why
Camera bag choices - Packing your gear for puddle jumper flights
While stalking elk on this ranch, I was focusing on areas with the potential for fall maple tree colors in my backgrounds. The sun had set, but the light, though somewhat dim, was still very nice when I noticed antlers approaching in the distance. I was working in heavy sage a moderate distance out from the maples and this bull's approach was as I would have directed.
I captured many images of the bull, but I selected this one to share for a few reasons. One was that I didn't cut off the antlers even at this relatively close distance and that the bull was large in the frame was another. That the bull is alert with a head angle that reflected the sky in his eye, adding some life to the image was another. I also like the body position displayed here. The bull is mostly broadside but approaching and his head and antlers are about 1/3 of the way into the frame facing toward the 2/3 side for good balance. While the animal itself is beautiful, a beautiful background adds greatly to an image.
When photographing antlered animals, I frequently try to keep the complete antlers in the frame, preferring the legs and sometimes the body to be cropped if desired.
MELVILLE, N.Y., March 10, 2017 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to congratulate O.J.: Made in America, ESPN Films’ five-part documentary directed by Ezra Edelman and shot by Nick Higgins on winning the 2017 Academy Award for Best Documentary Feature. The film blends archival video with new footage captured primarily with the Canon EOS C300 Digital Cinema Camera.
Cinematographer Nick Higgins chose the EOS C300 camera for O.J.: Made in America because of the small form factor and ability to capture long takes without stopping. Higgins said, “The EOS C300 was the best camera to shoot this documentary. I really appreciate the small form factor, and was able to roll for hours and hours with just two 64 GB cards and AC power.”
The ability to shoot for long periods of time with limited interruption was crucial. “Interviews for this film lasted at least three hours and were typically around five or six hours long; our longest was eight hours long,” Higgins explained. “The topic of conversation was always intense, and the flow would have been completely thrown off if I had to interrupt for the camera. That’s why the EOS C300 was so important to this project.”
In terms of lenses, Higgins’ relied on the Canon EF 50mm f/1.2L USM lens. “I shot the vast majority on the 50mm at an f2,” Higgins said. “That way, I could make the background abstract without fearing that the subject would go in and out of focus as they breathed.”
“When our skilled engineers develop cameras and lenses, it is our greatest hope that they end up in the hands of filmmakers like Nick Higgins and the team behind O.J.: Made in America,” said Yuichi Ishizuka, President and COO, Canon U.S.A., Inc. “We extend our congratulations on the Oscar win, from everyone at Canon.”
DJI’s designers and engineers have crafted a whole new type of drone that is the Mavic Pro. Watch and learn all about their creative processes in developing a tool that is exquisite in both form and functionality.
I haven't had an opportunity to use the DJI Mavic Pro, but if I were buying a drone today, this would be at the top of my short list because of its incredibly valuable feature set, including its innovative folding design. [Sean]
With two excellent, similarly-priced general purpose zooms available for Canon users, both of which feature an f/4 maximum aperture, weather sealing, great AF performance and image stabilization, choosing between the EF 24-70mm f/4L IS USM and EF 24-105mm f/4L IS II USM can be a challenge.
The primary and significant advantage held by the 24-105 f/4L IS II is the extra 35mm of focal length range on the long end.
The 24-70 f/4L IS is a smaller and slightly lighter lens. It is 0.99" (25mm) shorter when retracted (actual measured length) and 1.25" (31.8mm) shorter with the hood installed. The 24-70 weighs 6.7 oz. (189.9g) less with hood installed (actual measured weight). Are these differences? Yes. Are they significant ones? Possibly.
For many, a more significant advantage of the 24-70 is its very impressive macro capability. A 0.70x maximum magnification from a non-prime-macro lens is eye-opening and significantly more impressive than the 24-105L II's 0.24x spec. However, it should be kept in mind that a 12mm extension tube can push the 24-105 to 0.60x maximum magnification. Disclaimer: I have not made an image quality comparison with the extension tube in play.
Image quality comparisons I have made show that:
The lenses are more similar than they are different in terms of sharpness. The 24-70 has less CA at 24mm, but more at 70mm. The two lenses have a similar amount of vignetting aside from at 24mm where the 24-105 has an advantage even stopped down. The 24-105 shows less flare effects while the 24-70 has less linear distortion.
Affecting image quality on a limited basis is the aperture blade count. The 24-70 has 9 blades vs. the 24-105 L's 10. This difference will primarily be noticed when point light sources are photographed at narrow apertures, with the odd blade numbered aperture creating 18-point sun stars vs the even's 10-point stars.
On the whole, I would not consider image quality to be a primary differentiating factor between these two lenses.
There is a minor difference in these lens' IS systems. The 24-70 features Canon's 4-stop Hybrid Image Stabilization, correcting both angular and shift movement in macro mode. The 24-105 L has 4-stop non-Hybrid Image Stabilization.
If price remains a deciding factor for you ... the Canon EF 24-70mm f/4L IS USM's retail price is slightly lower than the freshly released EF 24-105mm f/4L IS II USM's, though rebates will likely increase or decrease the price differential from time to time.