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Sunday, 20 May


The 5 Best Nikon Full Frame Lenses: Kai Wongs Picks PetaPixel

Heres a 16-minute video in which Kai Wong shares his latest list of the 5 best full frame lenses worth investing in if youre a Nikon DSLR shooter.

Heres the list of Wongs picks (watch the video to hear his intro and explanation for each choice):

#1. Nikon 70-200mm f/2.8 FL $4,000

#2. Nikon 58mm f/1.4 $1,600

#3. Nikon 85mm f/1.4G $1,600

#4. Nikon 105mm f/1.4 E $2,200



Moms Multi-Million Lawsuit: Photog Posted Indecent Photo of Girl at Dance PetaPixel

A Georgia mother is filing a multi-million-dollar lawsuit against a local photographers photo company, accusing it of publishing an indecent photo of her 15-year-old daughter at a school dance.

The Associated Press reports that the Cady Studios had been hired to photograph the North Cobb High School homecoming dance in September 2017, which the girl attended.

One of the photos shot that night was captured at the moment the teens dress slipped down, exposing her right breast.



The Physics Behind Sunbursts and How It Can Help You Focus Your Photos PetaPixel

Beauty is in the eye of the beholder, and when it comes to sunbursts in photos those points of light with rays streaking out of them people often have polarizing views. Optical diffraction is the physical property that causes this effect. The appearance of sunbursts is more technically described as diffraction spikes, and its caused by the bending (sometimes referred to as spreading) of light around an object like the edges of your cameras aperture.

When an aperture is large relative to the wavelength of light, you dont get much diffraction. But when the size of an aperture is small, the effects of diffraction become apparent. The divergent light of varying wavelengths travel different distances to the camera sensor and cause interference some interfering waves increase their combined amplitude, while others cancel each other out.

The diffraction that causes spikes is the same property that makes lenses less sharp at large f-stop numbers.

Lens performance is limited by aberration and diffraction. In full-frame systems, lenses are diffraction limited around f/22, with optimal performance occurring around f/8.

Diffraction spikes in camera lenses

Most modern lenses use an iris diaphragm to control the size of the aperture. Wide open, the effects of diffraction are unnoticeable because most of the light can pass directly through the diaphragm without being affected by diffraction occurring at the edges. But as the aperture becomes smaller and approaches the wavelength of light, diffraction has a pronounced effect. When diffraction occurs around an edge like an aperture blade, it creates two visible spikes of light 180 apart and perpendicular to the blade edge.

On a lens with an even number of blades, the diffraction spikes from opposite sides of the aperture overlap. So n-number of even blades yields n-spikes.



This Eye-Popping Flyover of NYC Was Shot in 12K PetaPixel

Over the past several years, director Phil Holland has been specializing in high-res, large-format aerial cinematography. This gorgeous video titled Above NYC is a flyover of The Big Apple shot in 12K using a special rig comprising 3 RED Weapon Monstro 8K VV cameras.

The cameras worth $79,500 each for a total cost of $238,500 were mounted inside a special 6-axis gyro-stabilized aerial camera rig called the Shotover K1 Hammerhead, which in turn was mounted to a helicopter.

For the stitching to work properly, they had to figure out the correct amount of overlap, and the cameras had to be synced using REDs Jetpack SDI module, Engadget reports. Putting the video together in post was equally tricky, as everything needed to be aligned, warped, stitched and blended.

Because all three cameras were pointed in different directions, shots needed a perspective adjustment to create a perfect rectilinear projection.

Once the footage from the individual cameras are stitched together and processed, each frame of footage is the equivalent of a 100-megapixel photo with a sensor size equivalent to 645 medium format film. The resulting 12K footage has 48.5 times the resolution of 1080p.

The video above is an 8K export of the original 12K film. For now, youll just have to be content with imagining how much detail the original 12K film contains.


Saturday, 19 May


New Canon patent discloses a 16-28mm f/2.8 lens for a future Full Frame mirrorless mirrorlessrumors

A newly published patent application discloses the design of a wide angle zoom lens for the future Canon Full Frame mirrorless system cameras. Those are the lens specs: Zoom ratio: 1.67 Focal length: 16.48 27.44 mm F number: 2.88

The post New Canon patent discloses a 16-28mm f/2.8 lens for a future Full Frame mirrorless appeared first on mirrorlessrumors.


Why Photographys B&W vs Color Debate Is No Debate At All PetaPixel

In the 1950s, early color photography was widely scorned. Now its the default. What happened?

Black and white, meet color. A composite made from one of the earliest, impractical color photos.

Prologue: No Space for Dreams

In 2015, Leica released a beautiful, ridiculous ad. It was for a special product in their lineup; a digital camera that only takes black-and-white photos.

The clip itself is strangely compelling. Set to hypnotizing black-and-white patterns, a calm voiceover says B&W is purer than color. The hyperrealism of color, it points out, isnt just overly crass, its unnecessary. Color is an aid for people without imagination: In the color world, theres no space for dreams.

Of course, this is wrong. If anything its the other way around: color is actual, we dont see in monochrome. Insisting on black and white is often a pretentious turn. Leicas ad rehashes one of the oldest debates in the history of photography: Which is better, black and white or color? The two do different things, the debate is fruitless. However, it helps to know about this controversy in order to understand how we and photography got here.

Act I: Color is Bulls**t

Lets recall that photography only became an art form relatively recently. When it came about at the end of the 19th century, observers had considered it...


I Shot Photos of Cameras Placed on Film PetaPixel

Last summer, I visited Gifford Stevens at his home in Bradley, Maine. He was one of the best teachers Ive ever had. He taught English at Hampden Academy.

His classes were always fascinating, and a few favorites were Folklore and Outdoor Life. He led a guitar club, took us white water rafting, and I was fortunate enough to have been able to build an Appalachian dulcimer with him.

Gif is retired now (I think hes on trip 74 around the Sun this year) and spends the summers here in Maine.

Last summer, he wanted to pass a few things along to me. First, he gave me a guitar, a fascinating story on its own. Then he gave me a camera.

The camera was once his grandfathers camera. Alden Gifford Stevens, according to a letter Gif wrote for me to go with the camera, traveled to Africa in 1926 and stayed until 1929. On his travels, he met Ernest Hemingway, the Prince of Wales, and George Eastman among some other notables. George Eastman himself gave Alden this camera!

In 1960, he sent it to Rochester for a bellows repair. The folks at Kodak wanted to buy it for the collection but, to my good fortune, he declined. When Gif handed me the camera, I took off the back and tried to show him the projection of the lens onto a piece of paper where the film would usually go. I was not familiar with the proper functioning of this particular camera so my demonstration failed (so much for that Masters Degree).

This inspired me to make a series of images titled The Shadows and Projections of Cameras Placed On Film.

35mm Point and Shoot Camera Placed on 45 inch Film 2017

Usually film goes inside the camera, but I wanted to show the camera as an object and capture the projection through the lens all in the same image. I thought this would elegantly bridge cameraless and camera-based work.



This Astronaut on a Spacewalk Left His Cameras SD Card at Home PetaPixel

Have you ever pulled out your camera to shoot, only to be horrified to find that you forgot to put a memory card inside before leaving home? Thats what just happened to a NASA astronaut while he was in the middle of a spacewalk outside the International Space Station.

Astronaut: Hey, uh, Houston, I gotta ask a question about the GoPro real quick.
Houston: Im all ears. Go ahead.
Astronaut: Pushing the button, I see a No SD. Do I need that to record? And if its recording, is there supposed to be a red light on?
*A long silence ensues*
Houston: Im told that if it has the card in it, it should have a red light if its recording.
Astronaut: And if it says No SD, what does that mean?
Houston: I think that means no card. Were checking though, hang on.
Astronaut: Well, lets just forget it for now. Ill get it later. Lets just not worry about it.

Thankfully, the ISS has an impressive arsenal of camera equipment (including 10 new Nikon D5 DSLRs), so dont worry: the astronaut isnt going to have to rush home to Earth to retrieve his forgotten memory card.


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