Focus stacking is a popular technique for macro photographers. But did it ever occur to you to try it with landscapes? No? Nor me. But it makes a lot of sense, depending on the look you’re after. Although landscapes are often shot with ultra wide angle lenses, they can also be made at much longer focal lengths. I like to do this myself with a 70-200 f/2.8, but that means you start to see the effects of depth of field....
At some point or another, most of us that shoot video have to create a clip sliding past, or moving around some kind of static object. Perhaps something small, like a pair of rings for wedding shooters, or it could be something as large as a car. In this video from DSLR Video Shooter, Caleb Pike walks us through the process with techniques and tips to get a smoother final video using some slow motion tricks....
Richard Wong has been taking a bit of a deep dive into the HDMI output latency of his shiny new Panasonic S5 Mark II. HDMI latency is a big thing when using a field monitor, especially if a focus puller is watching that monitor to do their job. The problem with the S5 Mark II – and quite a few of Panasonic’s other cameras – is that the HDMI output latency is pretty high....
Most of the photographers avoid direct sunlight when taking outdoor portraits, especially if the Sun is the only light source. However, you can turn the harsh sunlight into your advantage, and use it as a key light. Jay P. Morgan picked up his camera to show us how to do it, and ended up with some interesting shots using only the light coming from the Sun. Jay and his crew shot in Bombay Beach, CA....
If I lay my cards on the table, in my personal and professional work I prefer to avoid the use of flash in favour of natural light. In an ideal world, I like nothing better than working with a fleeting beam of winter sunlight that glances across a face full of character, producing the type of photograph that would typically grace the cover of National Geographic. The trouble is, as a busy corporate photographer, it’s much more likely I have to take a series of senior executive portraits from a basement office, generously artificially lit with horrible overhead fluorescent tubes, working to shoot directors who can spare about three minutes of their time and are itching to be off back to work....
