National Geographic contributing photographer and biologist Christian Ziegler often works in a world of miniature. His photographic techniques used to capture the intricacies of life in the rain forests of Panama have won him awards and recognition but he does it all, as he explains to CPN Editor David Corfield, to give the world beneath his feet a bigger voice...
They say a photo is worth a thousand words. An image by Annie Leibovitz? Legendary. #ThatsContinental.
This is a behind-the-scenes look at the process of renowned photographer Annie Leibovitz as she shoots the 2017 Lincoln Continental. Get the full story and view Annie's photographs at http://lncnmo.co/ThatsContinental
The EOS 5D Mark IV can do many things well, but in the hands of portrait photographer Lorenzo Agius it performed to another level, with its blend of speed, quality and flexibility enabling genuinely new ways of working.
It's a relatively well known fact that some lenses work better with IR photography than others. The most common lens issue – hot spots – are bright, visible circles in the image (sort of like flare) typically caused by various lens and barrel coatings which reflect IR light in undesired ways.
A few Canon and Nikon lenses which are prone to hot spot include (according to Life Pixel):
Canon EF 50mm f/1.4 USM
Canon EF 16-35mm f/2.8L USM
Canon EF 16-35mm f/2.8L II USM
Canon EF 20-35mm f/2.8 USM
Canon EF 28-70mm f/2.8 USM
Canon EF 24-70mm f/2.8 II USM
Nikon AF-S NIKKOR 24-70mm f/2.8G ED
Nikon AF-S DX NIKKOR 35mm f/1.8G
Nikon AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR
But I recently ran across another issue when it came to utilizing two different lenses under identical lighting conditions; the images looked completely different (angle of view differences aside). A white balance target taken with one lens didn't seem to work well with the other lens. And even when I took a second white balance target image with the second lens, I could never get the image to look the same as the first image. Hmm...
Bear in mind, I have the Super Color IR conversion which allows you to captures yellow and blue hues in IR imagery. Obtaining the correct white balance in a Super Color IR image is critical for isolating the various wavelengths for proper post processing. At least, I've found it's critical when shooting landscapes. Typically speaking, I take a picture of a pure (or nearly pure) white target in the same light that is illuminating the landscape. With a custom white balance selected in post processing, foliage becomes yellow and the sky remains blue after switching the red and blue color channels.
I called the helpful people at LifePixel to inquire about white balance variations and other differences between lenses. The technician I spoke to believed that various lens coatings might make a significant difference in the quantity (and possibly quality) of IR light that makes it to the sensor.
Intrigued, I decided to conduct a little experiment. I chose five different lenses (two zooms and three primes) which all feature 24mm focal lengths and shot the exact same scene on a cloud free day. The lenses were:
In post processing, I white balanced each lens' scene with an identically sampled color patch (pure white) on its corresponding ColorChecker target image. The red and blue color channels were swapped and an identical Hue/Saturation adjustment layer was added with Yellow Saturation set to -100 and Lightness to +100.
Here were the final results:
In the images above, the Canon EF-S 24mm f/2.8 STM produces the results I want to see when capturing IR photography. In other words, there is a very clear distinction between the color hues that are recorded. Notice how muddy most of the other results look by comparison. The only lens that comes close is the Canon EF 24-105mm f/4L IS USM.
Are lens coatings solely to blame for the varying results? I'm not sure. The lenses vary widely in their design, introduction year and [likely] coatings. But one thing is certain; a couple of them look better than the others, and one stands out above them all.
Now I'm curious to know if more simply designed lenses and lenses with minimal (or no) coatings may provide results similar to the Canon EF-S 24mm f/2.8 STM, even though the 24mm STM is advertised as featuring coatings to reduce ghosting and flare. For my next test, I'll disregard focal length differences and choose lenses which I hope will mimic the 24mm STM's results.
Get hands-on with Sigma’s brand new 85mm F1.4 Art, 12-24mm F4 Art, 500mm F4 Sport, Cine lens line and sd Quattro camera lineup, learn tips and techniques from Sigma Pros, and stop by booth 537 for a chance to win big!
New York, NY – October 14, 2016 – Sigma Corporation of America, a leading DSLR lens, camera, flash and accessory manufacturer, has announced its participation in the 2016 PDN PhotoPlus International Conference + Expo (PPE), held at the Javits Convention Center in New York City from October 20-22, 2016. In addition to presentations by its esteemed group of Sigma Pro photographers, Sigma will display the brand-new 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art and 500mm F4 DG OS HSM Sport Global Vision lenses and its new line of Cine lenses at booth 537.
Adding to this year’s excitement, Sigma will also have one giveaway each day for attendees who visit the booth. Attendees can enter the daily drawing for a chance to win a 24-35mm Art lens, 50mm Art lens or a Sigma sd Quattro with a 30mm F1.4 Art lens, a total value of more than $2500.00!
Brand New High-Performance Sigma Global Vision Lenses Unveiled at Photokina 2016, the highly anticipated Sigma 85mm F1.4 Art, 12-24mm F4 Art and 500mm F4 Sport Global Vision lenses will headline the Sigma photo exhibit.
Sigma 85mm F1.4 DG HSM Art – the ultimate portrait lens. The new Sigma 85mm F1.4 Art lens is engineered to support the highest resolution sensors on the market with an exceptional degree of sharpness. The high-performance optical system is purpose-built by Sigma R&D to produce the attractive bokeh effect sought after by discerning photographers.
Sigma 12-24mm F4 DG HSM Art – an ultra-wide angle zoom for the era of high resolution digital cameras. Boasting the renowned Global Vision image quality from center to edge, the new Sigma 12-24mm F4 features the largest aspherical glass in the industry, offering photographers an ultra-wide angle zoom with virtually no distortion, flare or ghosting.
Sigma 500mm F4 DG OS HSM Sport Lens – the pro fast-aperture prime super telephoto. The flagship Sigma super telephoto 500mm F4 Sport lens incorporates the very latest in Sigma optical technology and innovation. Designed for the professional sports and wildlife shooter, the ultra-durable lens features magnesium alloy components, a carbon fiber hood and a water- and oil-resistant front element, and is dust and splash proof. In addition to the enhanced weather sealing, the 500mm F4 features a drop-in rear filter slot for polarizers, UV and other critical filters.
In addition to the new lenses announced at Photokina, Sigma will have the sd Quattro H, its second camera in the Quattro DSLR line up, on hand. Sigma’s highly unique APS-H mirrorless camera features the Foveon sensor and is renowned for its incredible image quality and color fidelity; producing imagery comparable to that of a 51MP DSLR with a Bayer-pattern sensor.
A Leap Forward for FilmmakersSigma will also be showcasing for the first time in the United States its new lineup of Cine lenses. A bold step forward into the world of cinematography, the new Sigma Cine lineup features eight high-performance lenses purpose-built for the latest, high-resolution digital cinema cameras. Supporting 6k and 8k productions, the new Sigma Cine lenses leverage the outstanding optical design of the company’s world-renowned Global Vision still photography lenses. Engineered with a completely new mechanical lens body, the new Cine lenses are designed to meet the needs of modern-day cinema production with the core optical quality DNA that has defined the Sigma benchmark of imaging excellence.
The Cine High Speed Zoom Line - 18-35mm T2 and 50-100mm T2 The high speed zoom line offers the constant aperture of T2 throughout the zoom range with superior optical performance that is capable of high-resolution 6K-8K shooting. Delivering the highest image quality in its class, the High Speed Zoom is ergonomically compact and designed for E, EF and PL camera system mounts.
The Cine FF Zoom Line - 18-35mm T2.2 FF Compatible with a full-frame image sensor, the FF Zoom’s outstanding optical performance also supports 6K-8K shooting. Because so few lenses cater to the requirements of the latest digital cinema cameras’ image sensors, this line provides a rare option for cinematographers. The FF Zoom is designed for E and EF camera system mounts.
The Cine FF High Speed Prime Line - 20mm T1.5 FF, the 24mm T1.5 FF, 35mm T1.5 FF, the 50mm T1.5 FF and the 85mm T1.5 FF The Cine High Speed Prime lineup features lenses ranging from 20mm to 85mm, with all five touting an aperture of T1.5. Highly compact and compatible with full-frame sensors, these lenses offer superior resolution. They bring a consistent level of light to the production, offering greater consistency to any film’s color, contrast and overall look before it enters post-production. The FF High Speed Prime line is designed for E, EF and PL camera system mounts.
Sigma Pros and Experts Headline the Sigma Theatre Sigma Pros and experts will once again take center stage on the Sigma PPE Theater. Fan favorites Roman Kurywczak, Brian Linhoff, Andy Marcus, Jen Rozenbaum and Jim Schmelzer will share their latest tips and techniques in the following presentation topics: Paradigm Shift in the World of Bird Photography, Fast Glass for Night Photography, Destination Weddings, How to Empower with Boudoir, Design your own Portrait, Maximum Impact and Creative Flair as well as a special presentation on the new Sigma Cine lenses. For more information including presentation descriptions, please visit: https://blog.sigmaphoto.com/2016/sigma-at-photoplusexpo-2016/.
Sigma Giveaways at PPE 2016 PPE 2016 attendees who visit Sigma at booth 537 will have a chance to enter and win one of Sigma’s daily gear giveaways: 24-35mm Art lens, 50mm Art lens or a Sigma sd Quattro with a 30mm F1.4 Art lens.
One of my favorite aspects of photography is being transported back in time, with memories of sights, sounds, smells and dormant emotions flooding back (even if ever so briefly). It's why couples treasure their wedding pictures. It's why we take so many pictures of our children. It's why pictures of lost loved ones adorn our walls. A cherished picture is simply a physical manifestation of a memory, but one which provides a catalyst for reflection and appreciation for our own experiences in life [Sean].
Taking videography content creation wanderlust to a new level
Upper Saddle River, N.J. (October 13, 2016) – Manfrotto, a leading global innovator and manufacturer of premium photo, video and lighting support products and accessories, launches Befree Live – the smallest, most on the go versatile video tripod and kits in the Manfrotto range. Befree Live will premier in the U.S. next week at PhotoPlus Expo in New York City.
Key features include:
The most compact and lightweight high-quality video tripod kit
Intuitive and easy to use, rapid to set up, effortlessly versatile on the move
Reliable & stable Fluid Drag System to ensure the smoothest pan & tilt movement
Video head compatible with the existing Befree family of products
Befree Live meets all the needs of emerging CSC & DSLR content creator communities, including vloggers and mobile journalists. Suitable for both indoor and dynamic outdoor use, Befree Live follows video content creators on their exciting quests for ground-breaking discoveries, enabling them to always be prepared to capture amazing video footage with an extra focus on ease of use and portability with a minimalist design.
The new Manfrotto Befree Live foldable video tripod has all the quality characteristics that made the Befree line such a success. Among its distinguishing features, it boasts awesome fluidity on pan & tilt along with precise leveling. The pan bar is removable and foldable for easy portability. The tripod reliably supports a payload of 8.8 pounds, extends to a height of 59.4 inches and folds down to 16.5 inches. It weighs only 3.9 pounds and also features a sliding plate for use with a wide array of camcorders, CSCs and DSLRs. It has larger feet and a special hook for extra stability, regardless of where it is set up.
The Befree Live assortment also includes the Befree Live Fluid video head: the smallest fluid video head version available on the market. It provides reliable fluidity on pan & tilt, has a removable and foldable pan bar on a very compact head and is compatible with the existing Befree family, 290 Light and all 40mm diameter tripods.
The following models will be available this fall:
MVKBFR-LIVEUS – Befree Live Aluminum 4 Section Kit with Befree Fluid Head – $239.99 MVH400AHUS – Befree Live Fluid Video Head – $99.99 MK290LTA3-VUS – Befree Live Fluid Video Head with 290 Light Kit – $169.99
Marketing firm Mediakix has designed an infographic comparing the GoPro Karma and DJI Mavic Pro drones. Because of the large size of the infographic, we've only posted a small part of it here. Click on the image below to see the full infographic on Mediakix website.
Shooting "straight down" at a tabletop is very popular these days. There are many techniques for lighting these shots and in this video Greg from Lens Pro to go and I breakdown the "Drop Shadow" technique.