KENDALL CAMERA CLUB BLOG FEED

Classic camera design keeps showing up on new releases, but the vintage look in your photos comes from the glass, not the body. Cheap, older lenses can deliver a character that no retro-styled body will fake for you.   [Read More] Original link(Originally posted by Alex Cooke)

The teal peaks and orange haze of the "Cosmic Cliffs," the Carina Nebula image that helped introduce the James Webb Space Telescope to the world in July 2022, do not exist. Not those colors, anyway. Almost none of the light Webb recorded is light your eye can see, and every filter used for that particular image sits in the infrared. The moment you understand why, the picture gets more impressive rather than less.   [Read More] Original link(Originally posted by Alex Cooke)

The 50mm is the lens most people buy first because it's the cheapest prime in the catalog, and plenty of them spend the first few months shooting it wide open just to see the background melt. Fewer people learn to see at that focal length, and the habits that work at 28mm or 35mm tend to fall apart once you move to something tighter.   [Read More] Original link(Originally posted by Alex Cooke)

Compact fixed-lens cameras have been getting more and more popular in recent years, and the Leica Q series holds a spot at the top of that category. While the Q3 is already more than a couple of years old, there are some updates to the camera that make it more enticing. [Read More] Original link(Originally posted by Nicco Valenzuela)

This week on The Grid, Scott Kelby and Erik Kuna are back with another round of Blind Photo Critiques, reviewing everything from landscapes and astrophotography to portraits, wildlife, travel, and street photography. There’s plenty for Lightroom users to pick up throughout the critiques. Scott demonstrates how masking, gradients, and targeted adjustments can help direct the viewer’s eye, including a look at some of Lightroom’s lesser-known masking tools. He also shows how to bring a washed-out image back to life and use color adjustments to create a warmer, golden-hour look. But the biggest lesson isn’t about a particular Lightroom tool. Scott and Erik repeatedly come back to the importance of knowing exactly what your subject is and eliminating anything that competes for...

Whenever I've photographed weddings, world events, landscapes, or anything else, it's not been uncommon for other photographers to come up and start a chat about gear. And as someone who's worked for a major camera company and taught photography for almost two decades, I've always been happy to engage in talks about megapixels, autofocus, and dynamic range.  But then the other day, when photographing the 9/11 Tribute in Light in New York City, it happened, and it hit me: I don't really think about this stuff anymore. I haven't for a long time. [Read More] Original link(Originally posted by Wasim Ahmad)

Wedding photography has always seemed safe from AI, since someone still has to stand in the room with a camera when the vows happen. That assumption gets shakier every year as editing, culling, marketing, and even business planning shift onto software anyone can pick up for the price of a cheap subscription.   [Read More] Original link(Originally posted by Alex Cooke)

User-generated visual content is steadily pushing photographers and videographers out of commercial work. It's easy to dismiss its creators as amateurs and cheap labor, but brands aren't choosing them by accident, and ignoring the shift won't slow it down. The only real question is how to adapt.   [Read More] Original link(Originally posted by Alvin Greis)

Henri Cartier-Bresson's "decisive moment" shaped how you think about photography more than almost any other idea, yet plenty of newer shooters read it backward. That misreading quietly stunts a skill that separates strong photographers from average ones: knowing how to pick the right image out of a pile.   [Read More] Original link(Originally posted by Alex Cooke)

Tilt a 600mm lens by a tenth of a degree, a movement too small to feel, and the image it projects slides about a millimeter across the sensor. Nearly every stabilizer in a modern still camera exists to cancel that millimeter while the shutter is open, either by shoving a piece of glass sideways or by flying the entire sensor on magnets. How each one does that explains why the stop counts printed on the box are so hard to compare.   [Read More] Original link(Originally posted by Alex Cooke)

You keep taking pictures of anything that catches your eye, and back home they look off without any obvious reason why. Crowds pile up, harsh sun bites, and the frame reads as noise instead of a subject.   [Read More] Original link(Originally posted by Alex Cooke)

One issue in the photography community has always lingered, and only tenured photographers seem to grasp it: exposure is a decision, not a setting.   [Read More] Original link(Originally posted by Justin Tedford)

I love Nikon cameras. I've been using them since I bought a secondhand EL2 in 1984. I've owned more Nikon cameras than I care to remember, and just last month, I acquired an F from 1972. So this isn't an anti-Nikon article, nor am I arguing that Nikon makes bad cameras. Quite the opposite. I’m a bit of a fanboy, if I’m completely honest.   Nikon makes some of the best cameras in the world. But there’s something that has been bothering me for a while: I think Nikon has forgotten about the photographer. [Read More] Original link(Originally posted by Simon Burn)

Adobe Camera Raw now handles a full retouching workflow, blemish removal included, without pushing you into layers and manual cloning. The new one-click Remove tool runs on AI, finds imperfections you might miss on your own, and gives you sliders to pull the effect back instead of forcing an all-or-nothing result.   [Read More] Original link(Originally posted by Alex Cooke)

Nikon built a full frame camera without a viewfinder, added automatic scene modes for the first time on a full frame body, and aimed the whole thing squarely at people leaving their phones behind. The Nikon Z5IIC strips away features many shooters assume are essential, and the result raises a real question about how much camera you actually need.   [Read More] Original link(Originally posted by Alex Cooke)

Nikon has announced the Z5IIC, a smaller, viewfinder-less version of its Z5II full frame mirrorless camera built around the rear screen, available for preorder now at $1,399.95 body only and shipping in mid-October.   [Read More] Original link(Originally posted by Christopher Malcolm)

A $199 fifty that outresolves a Panasonic 50mm at double the price and half the weight is the kind of result that reshuffles a whole lens lineup. That is exactly what happened when the Viltrox AF 50mm f/2 landed on L-mount this week.   [Read More] Original link(Originally posted by Alex Cooke)

The short side of a full frame sensor is a silent-movie measurement. Cinema's full aperture ran about 24.89mm across the strip, from one row of perforations to the other, and when Oskar Barnack turned that film on its side in a workshop at Ernst Leitz in Wetzlar, that number became the height of a still photograph. The 36mm long side is two movie frames laid end to end with a millimeter or so shaved off.   [Read More] Original link(Originally posted by Alex Cooke)

Rain forecast for hours, gone in two minutes, followed by sun, clouds, wind, and a location that shut down mid-shoot. That's the exact scenario behind this off-camera flash session, and it turns into a lesson far more useful than the tidy tutorial that was planned.   [Read More] Original link(Originally posted by Alex Cooke)

Adobe has completed its acquisition of Topaz Labs, the company behind the upscaling and enhancement models a lot of photographers and editors already run on their own files. Topaz Labs continues as a standalone brand, its apps and models stay available on their own, and its technology is already in Adobe Firefly and Photoshop. Adobe did not disclose financial terms.   [Read More] Original link(Originally posted by Alex Cooke)