International Fleet Review – Tips for Photographing Naval Ships

The International Fleet Review is coming to Sydney! Here are some useful tips and equipment suggestions to get you out around the water’s edge (whether in Sydney or not), shooting great quality pictures.

Lens Hoods

If you find yourself shooting in the middle of the day, particularly around water, a lens hood is a must.  The lens hood is the accessory that looks like a cup or flower and that attaches to the end of your lens. It is designed to stop unwanted light from entering your lens at a narrow angle in order to avoid lens flare while improving lens performance.  A lens hood also has the added advantage of providing a small amount of protection around the front of your lens in the unfortunate circumstance of a drop. While it does not guarantee a complete lens save, having one present may minimise the damage and is certainly better than not having one at all.

Circular Polarisers

A polariser is another great idea, particularly in circumstances where there is a lot of glare.  The polariser’s job is to diminish any reflections from non-metallic surfaces like water, foliage and glass.  It has a varying degree of effectiveness, depending on the angle of the light reflecting off the object and where the sun is in the sky.  At times a polariser can almost completely eliminate glare off water or reflections on windows. 

Using a polariser in a sunny situation around water can deepen the colour of the water and almost eliminate the specula highlights from the surface, giving shots an improved colour clarity and vibrance.  A polariser will deepen the blue in the sky and make clouds appear more defined. 

Something to keep in mind is that the polariser filter can absorb almost half of the light passing through. Better quality polarisers absorb less light and have better coatings so it may be worth spending a bit extra for the better quality filters.

Graduated Neutral Density Filter

Another type of filter to consider is the graduated neutral density filter (ND).  A filter such the Cokin P Series sits in a filter holder, which then attaches to your lens and allows you to use two or three filters at a time. 

The ND filter is square or rectangular shape filter that is dark at one end and gradually changes to clear at the other.  Use this filter when an area of the image is bright, but the rest of the image is not.  A perfect example is a sunset with a very bright sky but a foreground that is too dark to capture any detail.  The ND filter should be positioned so that the dark part of the filter covered the sky (rendering it darker) but the clear part covered the foreground (having no effect).  The result would be a ‘flattening’ of the image allowing detail in the brightest area and the darkest area. 

This would be great to capture a few late afternoon or sunset shots of the ships in the harbour.

Monopods

A monopod is a single leg that supports your camera and enables you to quickly change position when required and hold your camera steadily, allowing longer lenses to be used comfortably and at slower shutter speeds than handheld. 

The main advantage of using a monopod over a tripod is that they are smaller, lighter and faster to set up.  They're capable of supporting the weight of your gear easily with some models being able to hold in excess of 40kg.  When using a long focal length lens to photograph the ships, a monopod not only helps to hold your camera steady, but also reduces the risk of camera shake, allowing you to quickly change positions to capture the perfect shot.

Lenses

There are two types of lenses that may be useful when shooting on the harbour:  A wide angle and a telephoto.

Wide Angle Lens

The wide angle lens an ideal lens to use to capture the overall scene with a majestic wide shot of the harbour showcasing the scale of the International Fleet Review. A wide angle lens can also be very useful in the small confines of boats when there is insufficient room to ‘fit it all in’ with a standard zoom lens.  The focal length to aim for when using a full frame sensor would be in the 14 to 17mm range and around 10mm for a crop sensor DSLR.

Telephoto Lens

The telephoto lens is excellent when you’re trying to get close-up images of the ships from shore.  When using a telephoto lens keep in mind that you need to ensure your shutter speed is fast enough to eliminate blur caused by camera movement (see monopod).  The easiest way to do this is to use a higher ISO or a larger aperture lens.  Image stabilisation is also helpful with many telephoto lenses sporting this feature (it’s known as Image Stabilization for Canon and Vibration Reduction for Nikon).  Telephoto lenses are also great for singling out certain details while on-board one of the ships. E.g. A knotted rope or flag. Longer lenses around the 50 to 100mm focal length are also great for portraits.

These are just a few things to keep in mind when shooting events situated around water. Additional things to consider would be to ensure you are equipped with sufficient memory cards, compatible spare batteries, and some cleaning equipment such as the popular Spudz cleaning cloth at very least. 

Apart from that, keep your eyes open for any fleeting opportunities and keep shooting!

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Why not video too?

Our team is made up of passionate photographers, videographers, brand-loyalists, enthusiasts and the types of creative image-capturers that could convince departments of education around the world that funding for the arts should remain a priority. They’re passionate.

They are passionate about their chosen genre of visual communication - still photography, videography, mixed media and others.

With the ever-changing nature of technology and the genius of innovators in photography design and manufacturing, we are lucky enough to have tools and equipment that make the cross-over from one form of visual communication to another a hassle-free process.

The equipment is readily available. Things like basic camera bodies and lenses, action cameras, copter/drones for aerial shots, microphones and headphones, underwater accessories, software and printers are available online and in stores.

The transition from still photography to video is also conveniently possible. It’s simple with a few accessories. The fact that a standard DLSR camera is able to take high quality video also means that still photographers can move into the video medium without having to spend too much money and without having to learn an entirely new piece of equipment.

As a first step, you could simply use yourexisting digital camera, add some inexpensive pieces of sound recording equipment such as microphones or headphones, and you are ready to shoot. You could also install editing software on your computer and seek a friend to assist in editing your footage. What you end up with is a high quality video at a basic level. Don’t misinterpret us – it takes time to shoot the footage you want, plus it takes time to edit. Also, depending on where your final cut is going to end up, the time that you spend on your project will need to be adjusted, but it’s possible. E.g. Is it for your family or for a board meeting?  You can quite easily test your talents at video production.

Just think about all the videos you could shoot, edit and upload to YouTube: your kids’ first soccer match edited down to 3 minutes, your 4 minute Christmas video, or action footage of you on the slopes or the waves!

There are a number of brands in the market place that are specialists in the field of sound and sound recording equipment. We choose to stock our stores with four brands – Sennheiser, Audio-Technica, Rode and Rycote. Sennheiser is a German company with innovative design. Audio-Technica is known for its quality and comfort of headphones. Rode manufactures microphones used by enthusiasts and industry professionals globally. Rycote are renowned for their recording accessories. Along with a vast number of other manufacturers and distributors, all four of these brands design reliable products that will enhance video production, whether you’re an amateur or professional.

So, it’s an easy transition from still photography to video when you’re ready. Just make the decision, source the accessories and get shooting.

The question is… are you ready?

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Olympus Announces OM-D E-M1 Compact System Camera & M.Zuiko PRO 40mm F/2.8 Lens

Olympus OM-D E-M1

Olympus officially launches their long awaited addition to the OMD family - the E-M1, as well as M.Zuiko Pro 12-40mm F/2.8 Lens!

Feature highlights

1. Electronic  Viewfinder with 2.36 megapixel resolution,
advanced aspherical optics, x0.74 magnification (35mm equiv), 21mm eyepoint and 100% field of view

2. Dual FAST-AF technology – both Contrast AF and on-chip Phase Detection AF with lens detection capabilities

3. Enchanced 5-axis image stabiliser for improved stabilization at lower shutter speeds

4. New 16.3 megapixel LiveMOS high-speed image sensor (ISO 25,600 max. sensitivity)

5. TruePic VII advanced image processor

6. Built-in WiFi function with full PASM control

7. Full HD video with Multi-motion image stabilization (broadcast quality; stereo sound)

8. 3-inch tilting TFT-LCD touch-screen with 1,037K pixels

9. 10 fps sequential shooting rate

10. Splash, Dust and Freeze proof (to -10°C) metal alloy chassis

11. Intervalometer to 999 shots with movie compilation

Stay tuned for pre-orders! 

 

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Winter Tips: How to shoot in the snow

With winter well underway we thought it was time to put a few tips together for anyone looking to go out and shoot in the colder months.  If you get a chance to take photos in the snow (for the lucky few that actually get snow in this big old country of ours), there are a few things to keep in mind.  Below are a handful of things I discovered while walking the streets of Europe during the coldest months and dealing with snow, sleet and rain.

The first thing anyone will tell you is that keeping your camera’s batteries warm is a necessity. This is spot-on as the cold temperatures can dramatically reduce the performance of your batteries.  When possible, keep your batteries housed within an internal pocket so that they are warm and retain their charge better.  Make sure they are fully charged at the start of each shoot and have a spare one handy as batteries lose charge quicker in cold weather.  Always be ready to shoot!

Pay careful attention to your exposure.  Some scenes that are predominantly white may cause confusion to your exposure metering system and attempt to underexpose the photo, giving a greyish look to the snow instead of a crisp white.  If this is happening you can either set your exposure manually to get the result you want or overexpose the photo by 1 to 1.5 stops on the exposure recommended by your camera.

Be mindful of where you step to ensure you don't leave footprints throughout the scene.  An ideal solution is to wake up and trek out early before the snow begins to melt and before people walk around, leaving footprints everywhere.  I was lucky to be in Hyde Park, London where it had snowed the night before and made it to the park first thing in the morning.  I captured some great shots of the park while it was almost deserted with a thick layer of snow on everything. By around 10:30am it had reduced to a snowy mush and looked decidedly less photogenic.

If you choose to shoot in JPEG then make sure your white balance is set to daylight so the snow will appear white.  If you know how to set a manual white balance in your camera then this could also be done using a photo of the snow although in theory this should give you the same white balance setting as the 'daylight' option.   If you shoot in RAW then disregard this advice as you will have a colour balance option during your RAW conversion.  I always shoot in RAW as it provides maximum control during post-processing. 

If your camera has no weather seals then take precautions to keep it dry.  My Canon 5D MKII DSLR is weather sealed and has survived through rain, snow, sleet, and hail with zero adverse effects.  I hate passing on photo opportunities and some of my best shots were taken during difficult weather scenarios.  Make sure you check for snow or water drops on your lens that will show up in the photo.  If moisture is present, ensure you dry it as soon as possible!  If your camera is not weather sealed then be extra cautious when water is present as cameras and water generally don't go well together and water damage is not covered under manufacturer’s warranty.

If you wish to shoot portraits in the snow then consider encouraging the subject to wear a bright, bold colour in order to draw attention to them so that they don't get 'lost' in the frame.  Red generally works quite well.

Dress appropriately for the weather. Think warm.  If it’s going to be windy then keep this in mind as the temperature can drop rapidly due to the wind chill factor.  One of the coldest days for me was in Edinburgh when the temperature was approximately 2^oC but then the wind picked up and it felt like I was in a deep freeze with the wind punching through every tiny gap in my clothing. I don't normally wear gloves while shooting but on occasion it has been necessary. This is when being experienced with your camera and knowing where all the buttons are is handy so that when you can only feel them with limited tactile feedback, the task is no challenge for you.

Acclimatise your camera when you go back inside.  I keep mine safely housed in my camera bag and under no circumstance will I ever remove the lens from the body until I am certain that the camera has reached the room’s ambient temperature which typically takes at least half an hour.  If you don't take this precaution then condensation may form inside your camera which can only lead to undesirable outcomes.

Finally, as with any form of photography, be on the lookout for any kind of photo that may present itself from macro to the grand-vista.  

If you do get a chance to shoot some winter photos then share your pics on this blog or with our Facebook community for live feedback and prize giveaways! We LOVE seeing photos taken by our talented customers and community fans!

Good luck and stay warm this winter! 

 - Marc @ DCW

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Portrait Photography: A Beginner's Guide

This blog post will guide you through all the necessary steps to recreate successful studio lighting using Canon flashguns that can be set up in almost any situation, though the same setup may be achieved with other brands in a similar fashion.  Shooting in a studio or similar scenario is an excellent way to learn how light can affect your photos.  These lessons can be used in any photographic situation, be it a highly controlled studio setup or shooting with natural light in an uncontrolled environment.



DCW's Portrait Photography Demo at Sydney Morning Herald's Photo1440 Workshop

The following are some general rules for lighting -

1) The larger the light source when compared to the subject, the softer the quality of the light that falls on the subject. This is because the larger light source wraps around the subject, softening the edge of shadows.  As the light source gets smaller you’ll notice the shadow edges become more defined.

Moving a large light source closer to the subject also has the effect of softening the shadows while moving the light away makes the edge of the shadow sharper and more defined.        

If you diffuse a light source, the light scatters and results in a softened quality as the diffuser essentially becomes the light source. For example - On a bright, sunny day the shadows are strongly defined as the light source is far away i.e. the sun. If passing clouds then block the sun, the light will soften as it becomes diffused by the clouds, thus simultaneously drawing the light source closer as the clouds now become the source.  So you can look at it two ways - the hard light source is now diffused OR the light source is now very large and close.

2) Bouncing a hard light source off a wall onto your subject effectively creates a larger light source.

This occurs by making the wall a light source.  As the wall is much larger than the size of the flash, the light also becomes a lot softer.  This requires a greater power output from your flash as some light is lost from the wall and the light also has to travel further to reach the subject.  Be aware of the colour of the wall as the light from your flash will change to whatever colour the wall is i.e. red wall equals red light, green wall equals green light, etc.

3) Front lighting diminishes texture, side lighting (from any direction) emphasizes texture and rear lighting highlights the shape of the subject.

The direction of a light source has a big affect on the appearance of texture in an image. Lighting from the side will increase the appearance of texture on surfaces while light hitting the subject from the camera position will flatten the texture in an image. To achieve this, the light should be un-diffused as a diffused light source will soften the shadows and may even eliminate the texture. Light from behind the subject highlights the shape of the subject; a prime example of this would be a silhouette.

Some general portrait photography tips -

1) A messy background will interfere with a good portrait. That is unless the background helps to tell the story of the portrait.  For example - a violinist may have a portrait taken with their violin in the background to tell the viewer more about the subject.  If the background doesn’t assist the story then blur it out as much as you can with a large aperture or if possible, get rid of any distracting elements completely.  There’s nothing flattering about seeing images of people with trees sprouting from their heads.  

2) Have the lighting set up and the camera ready to go before your subject arrives so that they won’t have to wait for you upon arrival.

3) In portrait photography the primary area of interest and focus is almost always the eyes.  As humans, that’s where we look first. Because of this it’s critical that the eyes are in focus.

​4) The direction of a subject’s eyes is also very important in a portrait. Having the subject return the gaze of the photographer can give the viewer a sense of connection with the subject.  An alternative is to have your subject looking at someone or something within the shot, which sets up a story in the image.  The most obvious one is a mother with her child looking at each other.  If you imagine that same photo with the mother looking directly at the camera and not her baby, the image immediately shifts to a completely different vibe.

​5) Portraits are most commonly taken at the same eye level as the subject. Playing around with the angle can give a different perspective to the portrait. For example, shooting down on your subject from above, or up at them from ground level can change the viewer’s perceptions of the inherent power of the subject.

​6) Firing a number of shots at a time can either give you a series of images that work together or it can help you achieve one image that is natural. This is useful when you’re photographing somebody engaged in an activity or when working with kids.

Lighting Setup

The following is a list of steps to recreate our portrait set up.  In this example we used 3 Canon 600EX RT flashes, 2 60x60 Mircopro soft boxes and a Honl light shaper (for the hair light).

Step One.

Flash 1 is set up with the soft box at a 45 degree angle to the subject.  The light in this photo is softer than a direct flash due to the soft box and off-centre position which creates a nice modelling effect upon our subject.  This light is referred to as the key light or main light as it is responsible for the primary lighting effect in the shot.  At this point the line between the lit part and the shadow is nice and gradual but the shadow area is quite dark. I set this flash at +1/3 exposure compensation to make the image a bit brighter.

Step Two.

To lighten this area we require a second light from the opposite side of the subject.  This light needs to be less powerful than the key light so it doesn't eliminate the modelling effect the shadow creates.  I set the power of this light to half of the power of the key light and use the same soft box on it.  This will lighten the shadows to even out the contrast while still keeping the shadow areas present but to a lesser degree.  I set this light at -2/3 exposure compensation.

Step Three.

Now we need to add a bit more light to the hair of our subject to create a bit of shape.  For this I put a Honhl flash bender onto the third flash.  I’ve put it into the shape of a snoot, which is simply a tube made to funnel light into a specific area of a photograph.  In this case I want the light to fall onto the hair of our subject to highlight it and give some definition and shape to the subject. To do this I simply aim the snoot towards the subject directly from the other side of the key light.  Also make sure you have a bit of height so you are shooting the light at more of a downward angle.  This has created a highlight effect that helps the image to pop and adds a bit more depth.  This light is set to +/-0 exposure compensation to make the highlights stand out when compared to the second flash.

So there you have it. A simple, quick technique for studio lighting to get you started.  Off-camera flash is a great way to begin learning about how different angles and quality of light can change the look of the subject.  Once you are confident in using flash then it is easier to know how the quality of existing light will look in your photos.  Using flash is also a really good way to train yourself to understand how different lighting can affect the photo you take and also trains you to identify lighting conditions and ways you can manipulate it to obtain a good result. 

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Crumpler Bags & Accessories Arrive At DCW!

We’re thrilled to announce our new partnership with Crumpler and as of now are stocking the full range of Crumpler professional camera and photography bags online and in all of our retail locations! We’re super excited to be the largest photographic specialist stocking Crumpler’s pro photo and camera range in the country outside of Crumpler branded stores.



Our Crumpler wall-of-pretty is here!

Crumpler is an Australian owned company that designs and manufactures an extensive range of premium quality bags that include professional camera and photography bags, laptop and technology bags, backpacks, casual sling packs and travel luggage. Complimenting their wide range of bags are numerous accessories that include camera straps, tablet sleeves and even compact gadget pouches that are easily affixed to their larger bags. To top is all off, Crumpler offers a lifetime warranty on their products as they truly believe in the quality of their goods! 

 

So if you're in the market for a new camera bag or accessory, why not join the millions around the globe and see what the hype is all about? We know you will be pleased!

Click here to discover more!

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Canon Releases the EF 200-400mm f/4L IS USM Extender 1.4x Lens

 

Canon have finally released the long awaited EF200-400mm f/4L IS USM Extender 1.4x lens that was originally seen at a tradeshow in Japan two years ago in prototype form.  The trick this lens has is the inclusion of a built in 1.4 x extender that is activated via a switch on the lens.  This turns the focal length from 200-400mm to a massive 280-560mm and the maximum aperture changes from f4 to f8.  The lens also features all the usual high quality things you would expect from Canon including a fluorite element and four UD elements to give superior sharpness and contrast.  The great thing about this lens is the extender can be activated without the need to remove the lens from the body, greatly reducing the risk of dust and moisture getting inside your camera. 

Below is the official press release from Canon for those of you that want all the nitty gritty detail.  The lens is expected to ship to us at the end of May.

CANON EF200-400mm f/4L IS USM Extender 1.4x Press Release

Sydney, Australia, 14 May 2013 – Canon announces today the launch of a new addition to the company’s line-up of interchangeable EF lenses for use with Canon EOS-series SLR cameras: the EF200-400mm f/4L IS USM Extender 1.4x. The ground-breaking L (luxury)-series lens, the world’s first*¹ super-telephoto zoom lens to incorporate an internal extender, delivers enhanced convenience and exceptional imaging performance on par with large-diameter super-telephoto prime lenses. Covering a wide zoom range from 200–560 mm, the new lens supports the advanced needs of professional photographers and contributes to expanding the possibilities in imaging expression.

 

Featuring a built-in 1.4x extender that employs eight lens elements in four groups, the new Canon EF200-400mm f/4L IS USM Extender 1.4x enables users to instantly change the lens’s zoom range from 200–400 mm to 280–560 mm with the single flip of a switch.*² In addition, the super-telephoto zoom lens realises high image quality even when the extender is in use.*³ Offering superior convenience, the model is particularly useful for capturing sports, nature and other types of photography involving weight and shooting-space restrictions that limit the amount of equipment that can be brought to a location, or in situations where users are unable to get close to a subject.

 

Through a simple one-touch operation, the zoom range of the EF200-400mm f/4L IS USM Extender 1.4x can be extended without having to switch lenses, eliminating the risk of dust or moisture entering the lens or camera when changing lenses. In addition, with the attachment of an external 1.4x extender (sold separately), users can realise image capture up to a maximum focal length of 784 mm and auto-focusing at a maximum aperture of f/8.*⁴

 

The Canon EF200-400mm f/4L IS USM Extender 1.4x incorporates a new optical design that makes use of a fluorite lens and four UD (ultra-low dispersion) lens elements, which effectively correct for colour aberrations across the entire zoom range, making possible high-resolution, high-contrast imaging performance comparable to that made possible by large-diameter super-telephoto prime lenses. Greatly minimising the occurrence of flare and ghosting, the new lens employs optimal lens positioning and coatings, as well as Canon’s proprietary SWC (Subwavelength Structure Coating) anti-reflection coating technology.

 

In order to equip the new lens with an internal extender, Canon newly developed a compact IS unit that delivers image stabilisation equivalent to approximately four shutter-speed stops.*⁵ The EF200-400mm f/4L IS USM Extender 1.4x allows users to select from three different IS modes, including IS Mode 2, which is ideal for photography where panning is necessary, such as when shooting motor sports and moving trains; and IS Mode 3, which provides optimal image stabilisation when capturing fast-paced action, such as sports.

 

The new super-telephoto zoom lens has been thoroughly reduced in weight through the liberal use of magnesium alloy and features a construction that ensures a high level of durability and ruggedness in the face of harsh shooting conditions to satisfy the demands of professionals.

 

The Canon EF200-400mm f/4L IS USM Extender 1.4x super-telephoto zoom lens is expected to be available in Australia from the end of May with pricing at dealer discretion.

 

*1 Among interchangeable lenses for interchangeable-lens cameras (SLR and compact-system cameras). As of May 1, 2013 (based to a Canon survey)

*2 When switching on the internal extender, different restrictions may apply depending on the camera used

*3 When using the internal 1.4x extender, the amount of light is reduced in accordance with the amount that the focal length has been extended (one f-stop), making it necessary to adjust exposure

*4 When using a camera that supports auto-focusing at an aperture of f/8

*5 Based on a Canon standard. A shutter speed of 1/(focal length) seconds is generally considered the limit to prevent hand-shake blur during hand-held photography

 

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Documentary and Photojournalist Tips and Techniques

Shooting in a documentary or journalistic style is a really good way to produce a strong and coherent body of work on a subject you are passionate about.  Unfortunately it’s not always easy to get the results you want.  We have a few preparation tips for events or assignments which you wish to photograph as a story. This could range from your kids first soccer match to a harder hitting subject.  Whatever the story is, there are some key things that will enable you to be capture-ready when that perfect moment occurs.  To get a head start on telling your story, read on....

 

The most important thing is to be prepared with batteries fully charged (both primary and spares), testing them in-camera to ensure all necessary gear is in good working order. Triple-check your camera settings before you begin to confirm everything is a-ok. Don’t forget to also obtain permission to shoot the event if required.  

Have a pre-determined idea of the story you wish to tell and think about the type of shots needed to tell that story effectively. An example might be a wide-angle shot of a factory to set the stage, a few portraits of factory workers and some candid photos of their day-to-day experiences.  Remember to be patient as you may not always get the shot on day one. The photographic style you choose can say a lot about the subject and the aim should be to always show the reality of the subject’s situation. The challenge is to capture the humanity in the scene and this only comes from practice, patience and experience.

Keep in mind you may need to do some homework before you start.  Check with the organisers (if applicable) of the event to see if there are any restricted subjects or areas and if you need a permit to shoot in a specific location. If it's a public event held on public property then you should generally be fine to simply show up and shoot.  If you do have a meeting with anyone in the lead up to an event make sure you are punctual and act in a professional manner.  This will give you credibility and shows that you have respect for them as well.

Some factors to consider during your project is – ‘How will you present the finished folio?’ ‘Will it be in colour or black and white (or both)?’ ‘Are you going to print them or will it only be viewable online?’ Also take note of locations, dates, times and names as you shoot because the photos will need to be given context with a few words attached to each image.  People need to know what they are seeing and their significance as it pertains to the overall portfolio.  Documentary photos rarely speak for themselves.

The equipment required is very personal and also dependent on the story type.  For some stories, being unobtrusive and ‘under-the-radar’ is essential so therefore using a compact but high-quality camera is important.  Some suggestions would be the Fujifilm X100s , Sony RX1, Leica X2 or Olympus OM-D-E5 . These are all compact cameras with serious sensors and high quality optics yet they are hard to notice and whisper quiet when shooting with them.

If there is no need for a low-profile then feel free to equip yourself with what you think will be needed and that you can deal with carrying around all-day.  For me it would be the Canon 16-35, 24-70 f2.8 and 70-200 f 2.8 (or equivalent lengths in your chosen brand) or a combination of two of these depending on the situation.  Also, two strobes may come in handy with two Gorillapods to hold them in position should an opportunity arise to set up some posed portraits. A small tripod with an adapter can work as a light stand or a tripod when required.

Check out these links to get inspired by some talented photojournalists.

*Please note that the following links are to external sites and may contain photos of a mature nature so reader discretion is advised.

Verve Photo - photos and links to some of the best photographers in this field.

The New York Times Lens blog - excellent photography with each entry telling a story from The New York Times.

Tatiana Cardeal - a mixture of travel and photojournalist work.

Sanjit Das - some great reportage stories and great photography.

Once you're feeling inspired why not give it a go and enter the Sydney Morning Herald Photos1440 Challenge!  Great prizes are on offer for the best of the best including a Canon 5D Mk3 Pro kit (includes a 24-70 f2.8 II Lens), an internship with The Sydney Morning Herald and prizes from Digital Camera Warehouse!  The challenge is 'Capturing the minutes of the day' and the winning entrants will be displayed as part of The Sydney Morning Herald exhibition - Photos1440 capturing the minutes of the day.  The exhibition is proudly presented by Canon Australia.

Good luck and don't forget to share with us your results on our Facebook page or right here on this blog.

 

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Prime Lenses - A Quick Guide

Canon 50mm EF f/1.8 II aka 'Nifty Fifty' 


A prime lens is a lens with only one focal length, like a 50mm or 100mm lens.  They are different from zooms which have a varying focal length such as an 18-55mm 'kit' lens most people buy with their first DSLR.  Shooting with a prime lens is one of the quickest ways to improve your photography.  It makes you think about your image more and forces you to get out of the zoom lens habit.  If you think that you've hit the creative wall and are looking for something to kick start your passion again or are looking for a different angle with your photography than read on to find out how a prime lens can help.

Advantages of a prime lens over a zoom -
Optical quality for even entry level prime lenses is usually better than or equal to all but the most expensive zoom lenses.  This is due to the fact that fixed focal length lenses are less likely to suffer from excessive chromatic aberration (colour fringing near the edge of the frame), barrel or pincushion distortion than a lot of zoom lenses.  A prime is also lighter and more compact than a zoom and is easier to carry around all day.

Disadvantages of a prime lens over a zoom -
You will need to carry around several prime lenses to cover the same range of a single zoom lens.  Changing focal length is sometimes the only way to get a shot if you can't physically move your position.  Changing lenses less often with a zoom can keep more dust out of your sensor area.  A professional level zoom can have very high quality optics but at a much higher cost (you get what you pay for). 

I carry around 24mm, 50mm and 100mm lenses in my kit bag for when I go out for a day’s shooting.  I also have a 24-70mm Canon L series lens for professional work as the optics are very good and there is no time to change lenses on a fast paced shoot.  For street and architecture I almost always use a prime lens as the situation is a bit more predictable, particularly architecture as buildings don't tend to move much.  The 50mm is my favorite for portraits as the shallow depth of field is very effective at isolating my subject and I find the perspective to be quite natural. 


Olympus Zuiko 25mm f/2.8 'Pancake'

A Few Tips -
With a bit of practice you can become quite quick at changing lenses on the fly.  Keep your surroundings in mind while changing lenses, keep an eye on things like rain, high dust environments and always face the camera in a downwards direction as this helps stop things falling inside the mirror box.

You can get a prime lens for a surprisingly small amount of money and it can be a great way to get inspired again, plus, isn't it always nice to buy some new glass?

Check out our wide range of lenses HERE. 

- Marc Busoli @ DCW

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