Leica has announced the release of a Super Elmar-M 21mm f/3.4 ASPH, which is an update of one of the more popular wide-angle optics available for Leica M-series film and digital cameras.
Before a swarm of guests descends on the reception hall and disrupts the carefully arranged environment, be sure you’ve captured it in its exquisite perfection. Most halls are tastefully appointed and designed with visual impact in mind. With the exception of the occasional fluorescent-lit VFW hall, the reception venue is best shot in available light.
The wedding reception is where you win your battle stars. Events unfold quickly and sometimes simultaneously. You have to be very organized to stay on top of the action here. Enter the arena armed with cameras, lenses and battery-powered, on-camera or handle-mounted flashes.
In the days when film was king, medium format was the camera of choice for wedding photographers because the larger negative produced a better image, and cropping a large negative didn’t really degrade anything.
Even among the likeminded, you’ll find those who prefer standard-issue shoulder bags, and others who go for photo backpacks, sling and holster-style bags or hard cases.
There are many variables that go into selecting the best lens for your needs. A good starting point is to establish what your current lens does not do. In other words, is my lens not wide enough, long enough or perhaps fast enough?
The ability to choose from literally hundreds of lenses opens up a world of possibilities once impossible for small-budget productions. Being able to capture a wide view of a small room with a super-wide-angle lens, or getting a close-up of a subject from a distance, are just two of many powerful options at the photographer’s disposal.
While many "looks" can be achieved in post-production, certain aspects of the image are better controlled before the image is recorded. Optical filters modify the light before it enters the lens. The benefit of using optical filters instead of digital filters is that there is no added time in post production and less degradation of the image quality, especially in HDSLRs, which already have limited color space and a highly compressed image.
Almost all lens manufacturers offer a choice of 50mm lenses; one with a maximum aperture of f/1.4 and another with a maximum aperture of f/1.8. As a rule, the faster lens is both pricier and noticeably sharper. Nikon’s latest “cheap 50mm” bends the rules by being both a bit pricier than its predecessor, though more importantly, noticeably sharper.
There are a number of reasons and advantages for choosing to shoot with wider-aperture lenses. Included are the ability to capture sharp, low-light imagery at slower shutter speeds, quicker autofocus and exposure response times—which in turn reduce shutter lag times—and the option to capture your subject in a narrow, selective band of focus.
Back in the 1960s there was a car called the Amphicar, which as its name suggested, was a car and a boat, depending on whether you were tooling up the boulevard or up the canal. Though it was designed and manufactured in Germany, the engine and electrical system of these four-seater convertibles was English, which in itself should have served as a red flag for anyone considering one.
Panoramic photographs have been around since the earliest days of photography, and almost all of them were created with cameras featuring rotating lenses or multiple, slightly overlapping images recorded sequentially across the desired viewing field.
Standing out from the crowd has long been a challenge in the camera biz, and considering how much technological cross-pollinating there is nowadays among camera manufacturers, making headlines ain’t so easy. For this reason alone you have to hand it to Ricoh for introducing a camera concept that, at the very least, makes you pause and take a closer look.
Image stabilization, or “vibration reduction,” “O.I.S.,” Optical SteadyShot, SR, VC, VR, MegaOIS, and other equally catchy monikers, are technologies that enable photographers to take pictures under lighting conditions that once upon a time would have been considered too iffy for capturing sharp still images.
Ask any cinematographer (or any still photographer for that matter) who manufactures the best lenses in terms of image quality, construction and design, and the answer will invariably be “Carl Zeiss.” But until now, videographers shooting with professional HD camcorders have had to cheer from the sidelines.
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Before a swarm of guests descends on the reception hall and disrupts the carefully arranged environment, be sure you’ve captured it in its exquisite perfection. Most halls are tastefully appointed and designed with visual impact in mind. With the exception of the occasional fluorescent-lit VFW hall, the reception venue is best shot in available light.
The wedding reception is where you win your battle stars. Events unfold quickly and sometimes simultaneously. You have to be very organized to stay on top of the action here. Enter the arena armed with cameras, lenses and battery-powered, on-camera or handle-mounted flashes.
In the days when film was king, medium format was the camera of choice for wedding photographers because the larger negative produced a better image, and cropping a large negative didn’t really degrade anything.
Even among the likeminded, you’ll find those who prefer standard-issue shoulder bags, and others who go for photo backpacks, sling and holster-style bags or hard cases.
There are many variables that go into selecting the best lens for your needs. A good starting point is to establish what your current lens does not do. In other words, is my lens not wide enough, long enough or perhaps fast enough?
The ability to choose from literally hundreds of lenses opens up a world of possibilities once impossible for small-budget productions. Being able to capture a wide view of a small room with a super-wide-angle lens, or getting a close-up of a subject from a distance, are just two of many powerful options at the photographer’s disposal.
While many "looks" can be achieved in post-production, certain aspects of the image are better controlled before the image is recorded. Optical filters modify the light before it enters the lens. The benefit of using optical filters instead of digital filters is that there is no added time in post production and less degradation of the image quality, especially in HDSLRs, which already have limited color space and a highly compressed image.
Almost all lens manufacturers offer a choice of 50mm lenses; one with a maximum aperture of f/1.4 and another with a maximum aperture of f/1.8. As a rule, the faster lens is both pricier and noticeably sharper. Nikon’s latest “cheap 50mm” bends the rules by being both a bit pricier than its predecessor, though more importantly, noticeably sharper.
There are a number of reasons and advantages for choosing to shoot with wider-aperture lenses. Included are the ability to capture sharp, low-light imagery at slower shutter speeds, quicker autofocus and exposure response times—which in turn reduce shutter lag times—and the option to capture your subject in a narrow, selective band of focus.
Back in the 1960s there was a car called the Amphicar, which as its name suggested, was a car and a boat, depending on whether you were tooling up the boulevard or up the canal. Though it was designed and manufactured in Germany, the engine and electrical system of these four-seater convertibles was English, which in itself should have served as a red flag for anyone considering one.
Panoramic photographs have been around since the earliest days of photography, and almost all of them were created with cameras featuring rotating lenses or multiple, slightly overlapping images recorded sequentially across the desired viewing field.
Standing out from the crowd has long been a challenge in the camera biz, and considering how much technological cross-pollinating there is nowadays among camera manufacturers, making headlines ain’t so easy. For this reason alone you have to hand it to Ricoh for introducing a camera concept that, at the very least, makes you pause and take a closer look.
Image stabilization, or “vibration reduction,” “O.I.S.,” Optical SteadyShot, SR, VC, VR, MegaOIS, and other equally catchy monikers, are technologies that enable photographers to take pictures under lighting conditions that once upon a time would have been considered too iffy for capturing sharp still images.
Ask any cinematographer (or any still photographer for that matter) who manufactures the best lenses in terms of image quality, construction and design, and the answer will invariably be “Carl Zeiss.” But until now, videographers shooting with professional HD camcorders have had to cheer from the sidelines.
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