Posts Tagged ‘explanation’
If you’re thinking about adding a video component to your portfolio, one of the most important-but-confusing things you’ll have to wrap your head around is codecs — the different video compression/decompression formats available to you. These not only determine the quality retained by the camera, but also affect how you will approach the post-processing of the footage.
Unfortunately, video codecs — with all of the myriad factors at play and the number of options available — can be a bit confusing, and so cinematographer David Kong has shared the above, incredibly comprehensive look at everything you need to know. Read more…
It’s not news that RAW files have a far greater latitude than the same JPEG photographs. However, many beginners only understand this difference on a theoretical level.
Polarizing filters are a piece of gear that some photographers swear by and others don’t touch. One reason why might be the various misconceptions and misunderstandings surrounding what polarizing filters do and what benefit they truly provide.
Thankfully, photographer Steve Perry is here to clear up any misconceptions. In the video above, he details what exactly polarizing filters do, why they’re beneficial for far more than just ‘making the sky blue,’ and then shares a few tips for making the most of the polarizing filter in your gear bag. Read more…
This post contains absolutely no mathematics. Explaining MTF without math is sort of like doing a high-wire act without a net. It’s dangerous, but for any number of reasons is more likely to keep the audience interested.
Have you ever wondered why the professional photography industry is dominated by cameras that carry on the design tradition that was started by classic film SLRs?
Fujifilm’s new X-Trans sensors diverge from the traditional way CMOS sensors are designed by using an irregular pattern of red, green, and blue pixels. This allows the sensors to eschew the standard anti-aliasing filter, eliminating moiré patterns without putting an extra component in front of the sensor. Roy Furchgott over at The New York Times has an interesting piece on how the new tech is inspired by Fujifilm’s glory days in the film photography industry:
Old fashioned analog photographs didn’t get a moire pattern because the crystals in film and photo paper aren’t even in size and placement. That randomness breaks up the moire effect.
So Fuji built a new sensor employing what it knew from the film business. Instead of using the Bayer array, it created a pattern called the X-Trans sensor which lays out the red green and blue photo sensors in a way that simulates the randomness of analog film.
Furchgott does a good job of explaining the new sensor design (and its benefits) in an easy-to-understand way.
Here’s a dissection video for those of you who like photography better than biology. It’s a Khan Academy lesson that offers a glimpse into how digital cameras work on the inside. The camera being dissected is a Vivitar V25, a 2.1 megapixel camera that you can pick up for around $18 from places like Walmart. Although it’s basically the digital equivalent of a disposable camera, the camera still shares some things in common with higher-end digital cameras. You might be able to learn an interesting thing or two about how your own camera works.
AFP photographer Joe Klamar’s portraits of US Olympic athletes have caused a firestorm of controversy in the past week, with people calling the images “insulting” due to their lighting, angles, and concepts. Klamar has responded to the controversy over on AFP. Rather than being intentionally “bad” for the purpose of making a point, they were simply the result of being unprepared:
“I was under the impression that I was going to be photographing athletes on a stage or during press conference where I would take their headshots for our archives,” [Klamar] explained. “I really had no idea that there would be a possibility for setting up a studio.” It was the first time AFP had been invited to participate in the U.S. Olympic Committee’s Media Summit, which was held this year, in May, at a Hilton Hotel in Dallas.
Joe had come armed with two cameras and three lenses (17-35, 70-200 and 300), plus one flash and a 12-inch laptop. To his horror, he saw upon arriving that his colleagues from other news agencies and media organizations had set up studio booths with professional lights, backdrops and prop assistants. “It was very embarrassing to find out that I wouldn’t be able to take advantage of a studio,” Joe told us by email.
Image credits: Photographs by Joe Klamar/AFP/Getty Images