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2 episodes with nikons
3 episodes with nikons
2 episodes with nikons
2 episodes with nikons
2 episodes with nikons
Photografix-News ist EUER News-Podcast rund um alle Themen der Digitalen Fotografie!
Natur- og friluftsfotografering med Erik FaarlundFotografering og kamerautstyr for naturfotografering og friluftsbruk er tema i denne episoden, der Erik Faarlund fra Foto.no og Fotopodden er gjest.Kamerautstyr for naturfotografering og bruk utendørs av «villmarkinger» er overskriften i denne episoden fra Podkasten Villmarksliv. Erik Faarlund er redaktør i Foto.no og Fotopodden.Canon vs. Sony vs. NikonVi kommer innom knivingen mellom de ulike produsentene som Canon, Sony og Nikon. Vi snakker om hva som gjelder når det kommer til toppmodeller, men vi er også innom kjøp og bruk av brukt fotoutstyr.Hør episoden om natur- og friluftsfotografering her:SpotifyPodkaster for iPhoneGoogle PodcastsDirekte på PC-en herMobil og kunstig intelligensMobilkameraet tok effektivt livet av kompaktkameraet, men blir det kunstig intelligens (KI/AI) som tar livet av fotografiet? Og, skjer det noe på teknologifronten som gjør at mobilkameraet en dag kan konkurrere med systemkameraene på kvalitet?Sony på frammarsjCanon og Nikon var sent på banen når det kom til speilløse kamera. Her var Olympus den som startet «ballet», mens Sony utnyttet Canon og Nikons treghet til å ta en solid posisjon. Du får også tips til hva du kan gjøre om du er nybegynner og ønsker å starte med fotografering/naturfoto.Til informasjon, så arrangerer Villmarksliv NM i Naturfoto hvert år. Oppstart for 2024 er 10. februar. Informasjon og påmelding finner du på www.nminaturfoto.no.HØR OGSÅ: Valg av soveposeLev livet villere!Bli gjerne med i vår nye Facebook-gruppe for Podkasten Villmarksliv.Støtt Podkasten Villmarksliv ved å abonner på Villmarksliv, Jakt eller Alt om fiske.Vil du ha et gratis nyhetsbrev fra bladene Villmarksliv, Jakt og Alt om Fiske? Meld deg på her! Hosted on Acast. See acast.com/privacy for more information.
Photografix-News ist EUER News-Podcast rund um alle Themen der Digitalen Fotografie!
Throughout its history, Nikon cameras have been primarily aimed at the professional market, from their stunning rangefinders in the S-Range to the original Nikon F and beyond. However, the mid-century and post-war economic boom brought a new group of photographers, the advanced consumer. Now, hobbyist photographers have always been around. These new photographers want access to the same quality cameras and optics as the professionals. And while Canon and Minolta were certainly starting to fill that gap, Nikon wanted a piece of the action. While their initial offerings under the Nikkorex line fell flat, save the Nikkorex F, it was their second attempt, the Nikkormat or Nikkomat line of SLRs, that proved to be successful. And these lovely cameras make for an excellent addition to any Nikon photographer. What set these cameras apart is that Nikon went with the Copal Square shutter for each camera, starting with the Nikkorex F rather than building in-house shutters. Also, the Nikkormat EL is the first Nikon camera with a semi-automatic exposure system. Overall, the Nikkormat line was replaced by the small-form-factor SLRs of the FM and the FE. Nikkormat FT (1965) - The Original Nikkormat body that featured a full F-Mount (Pre-AI) and a metered prisim using the same metering technology as the Nikon Photomic T metering head. Nikkormat FS (1965) - An unmetered version of the Nikkormat FT. Nikkormat FTn (1967) - An improved version of the Nikkormat FT, it now uses a classic 60/40 center-weighted metering. An improved match needle display in the viewfinder. The FTn underwent a number of changes over the course of the camera's production that lasted for nearly a decade. Nikkormat EL (1972) - Uses a CdS meter cell and provides semi-automatic aperture priority auto-exposure. Nikkormat FT2 (1975) - Rolled all the improvements of the FTn into a single camera, and changed the power source from a mercury cell to a silver oxide cell. Nikkormat ELW (1975) - Basically the same camera as the EL, but added the contacts for the AW-1 autowinder. Nikkormat FT3 (1977) - Basically took everything from the FT2, but updated the mount to accept the new AI lenses natively. Nikon EL2 (1977) - An improved ELW, with a SPD metering cell, AI lens support (native).
Photografix-News ist EUER News-Podcast rund um alle Themen der Digitalen Fotografie!
Tune in to hear our thoughts on Artificial Intelligence. How will AI affect humanity for both better and worse! A special thank you to my panel for today's discussion Alex Palma:Archivist & Grant Writer IG: haunt_inhabit Ricky Clover: Award-winning Animator IG: Real.Clover Gabriel Setright: Artist, Educator , M.A. in Critical Theory IG: Tallernepantla Podcast mentioned in recording -Tech Wont Save Us by Paris Marx This whole podcast is dedicated to technology and silicon valley, and it's usually based around talking to experts. -Factually by Adam Conover Good podcast debunking a lot of myths, not just in tech. -Srsly Wrong It's a super funny podcast, with skits and jokes and interviews. Books mentioned during recording Utopia vs Futurism by Murray Bookchin: https://unevenearth.org/2019/10/bookchin_doing_the_impossible/ David Graeber's BS Jobs: https://en.wikipedia.org/wiki/Bullshit_Jobs Chat GPT Union in Africa: https://time.com/6275995/chatgpt-facebook-african-workers-union/ Article about Japan trying to automate healthcare: https://www.technologyreview.com/2023/01/09/1065135/japan-automating-eldercare-robots/ Nikons campaign against AI: https://www.collater.al/en/nikon-peru-campaign-against-ai-photography/ AI Black Supermodel Controversy: https://afrotech.com/the-worlds-first-digital-supermodel-is-a-black-woman
BLI PREMIUM PRENUMERANT & FÅ TILLGÅNG TILL EXKLUSIVT INNEHÅLL! Du kan enkelt få tillgång till exklusivt innehåll genom att bli Premium Prenumerant. Klicka på länken och få tillgång redan idag. https://podcasters.spotify.com/pod/show/humanchange This is a recording from the “Insight Café Podcast” hosted by Nikon Gormley and where I guested on Ep 47. Thank you so much Nikon for having me on your show. You can also see all his episodes on YouTube - https://www.youtube.com/@nikongormley Here is Nikons description for the episode. "Hello! Not long ago, a client sent me a message and asked me, "How do I surrender? How do I let go of control?" For context, my client was going through a challenging period in her life and was experiencing a high level of stress and anxiety . And my client was seeking relief from her stressed state of mind and return to clarity and wisdom. I was inspired to invite my friend and colleague Daniel Magnusson to explore the question with me in a special podcast episode. In this episode we explored the nature of surrender and control. It's a beautiful conversation that will inspire you to take a fresh look at your own relationship with surrender and control. Enjoy! -- Topics - How to surrender & let go of control? - What are you really controling? - Why should you let go? - What do you get by surrending? -- About Daniel Magnusson Daniel Magnusson is a Professional Certified Coach. During the last 10 years he has been coaching and training organisations and people at different levels, departments, to develop them in sales and leadership. At the end of 2019 he came across the understanding of the 3 Principles. That understanding has changed his way of showing up in life, and his interactions with clients and customers. Daniel love to coach and guide people to find their innate wellbeing and resilience. He has his own podcast “Human Change med (with) Daniel Magnusson”. The podcast has both episodes in Swedish and with English-speaking guests (including Nikon Gormley). He lives in Stockholm, Sweden, together with his wife Eva, their two sons and their dog, a three-year-old Chihuahua named Celine. --- Connect with Nikon Instagram: https://www.instagram.com/nikon.gormley/ LinkedIn: https://www.linkedin.com/in/njgormley/ Website: https://www.nikongormley.com Join Nikons Email List: Get powerful insights in your inbox. I send emails every other Monday with 1x Insight, 1x Questions, and 1x Quote: https://bit.ly/3zy6s69" Interested in coaching with Daniel Magnusson? Book a first exploratory coaching session for free on the link below: https://calendly.com/coachmagnusson/game-changer-session-pro-bono-75 Video training (Swedish) Nyckeln till Stressfrihet: https://stressfrihet.thinkific.com/courses/Nyckeln-till-Stressfrihet Record a voice message to me: https://podcasters.spotify.com/pod/show/humanchange Webpage: https://www.humanchange.se Instagram: https://www.instagram.com/coachmagnusson/ LinkedIn: https://www.linkedin.com/in/coachmagnusson/ Music: https://www.purple-planet.com Intro: Joakim Rasmussen - Podcast host of the podcast Din sikt i livet --- Send in a voice message: https://podcasters.spotify.com/pod/show/humanchange/message
My guest Nikon Gormley and I talk about how understanding how human psychology really works helps people to thrive by being content. Nikon shares how deep an insight about how many people it takes to make a “Peanut butter jelly sandwich” can change his trust in being taken care of. We also talk about Nikons “themes” for 2023. What they mean to him and how aligned and connected they are to our wellbeing and capacity to thrive. Nikons themes - 2023. - Alignment - Simplicity - Emptiness / Nothingness - Listen - Give Nikon Gormley is a Transformative Coach, Founder, Martial-Artist, Educator, and CEO, based in Bangkok, Thailand. Nikon helps leaders, entrepreneurs, and business owners realize their greatest resource, their innate wisdom, health, and capacity for insight. Through loving and creative disruption, Nikon helps them experience a greater sense of ease, joy, and well-being in their life, business, and impact. Contact Information: Website: https://www.nikongormley.com Facebook: Nikon Gormley (https://www.facebook.com/njgormley/) LinkedIn: https://www.linkedin.com/in/njgormley/ Instagram: https://www.instagram.com/nikon.gormley/ YouTube: Nikon Gormley (https://www.youtube.com/channel/UCjyn_UuRBYiVEvt23sYVDZQ) E-mail Sign-Up Link: https://nikongormley.ck.page/newslettersignup Links Interested in coaching with me, Daniel Magnusson? Book a first exploratory coaching session for free on the link below: https://calendly.com/coachmagnusson/game-changer-session-pro-bono-75 Video training (Swedish) Nyckeln till Stressfrihet: https://stressfrihet.thinkific.com/courses/Nyckeln-till-Stressfrihet Record a voice message to me: https://anchor.fm/humanchange Webpage: https://www.humanchange.se Instagram: https://www.instagram.com/coachmagnusson/ LinkedIn: https://www.linkedin.com/in/coachmagnusson/ Music: https://www.purple-planet.com Intro: Joakim Rasmussen - Podcast host of the podcast Din sikt i livet --- Send in a voice message: https://podcasters.spotify.com/pod/show/humanchange/message
We Finally did it! After a couple years of talking about starting a podcast we finally did it! Join us for the very first episode of Mamiyamigos! On todays episode we talk about Nikons, Leica's, and our plans for 2023! More Caleb: https://www.youtube.com/@BadFlashes More Jason: https://www.youtube.com/@grainydaysss Business Inquiries: mamiyamigos@gmail.com
In an era brimming with instant gratification, some things are worth the wait. This is an apt takeaway from our chat with photographer Charles Daniels about his long-outdated film from the legendary Boston Tea Party and other 60s-era music venues, rarely processed until recently. Joining Daniels in conversation is his long-time partner Susan Berstler, and Gerald Freyer from Film Rescue International, the unique image processing and digitization specialists entrusted with his mother lode of 4,000 plus rolls. Listen in as Daniels tells of his rise from club denizen to emcee to cultural ambassador, introducing 60s-era British invasion rockers to America, with a Leica, two Nikons and a mic in hand. Berstler describes how the unprocessed rolls stockpiled in their home became a COVID project, which then went viral after the launch of a Go-Fund-Me campaign. After a break, Freyer explains how Film Rescue International's unique processing and scanning technologies can breathe new life into lost and found film, saving untold stories from oblivion. Freyer also recounts his epic drive from Saskatchewan to Somerville (and back!) to safely collect the film for processing, without risking x-rays or other shipping hazards. As Daniels notes during the show, “For years, I never really developed any film, but I was shooting all the time. It was just there, and then at some point I realized that I needed to bring some of this older stuff to light.” With a nod to Daniels's 80th birthday on November 30th, the pictures may have been a long time coming—but what a fabulous gift to photographers and music aficionados alike! Guests: Charles Daniels, Susan Berstler, Gerald Freyer Photographs © Charles Daniels For more information on our guests and the gear they use, see: https://www.bhphotovideo.com/explora/podcasts/photography/master-blaster-charles-daniels-reveals-his-unseen-60s-era-photo-archive Guest Bios: Charles Daniels was born in segregated Alabama, where his parents ran a late-night speakeasy after farming cotton all day; maybe that's how outlaw music got into his blood. After moving to Boston's Roxbury neighborhood with his family in the 1950s and teaching himself photography with a camera he found in his parent's closet, Charles began capturing whatever caught his eye on city streets and in the era's legendary music venues. Soon he was serving as emcee for the bands, which provided unique access and strong friendships. This led to Lear Jets and tours with the likes of Rod Stewart, Ron Wood, and the Rolling Stones. Since his start in rock-and-roll, Charles has expanded his photography to embrace a wide range of subjects from music and fashion to dance, performance, and everything in between. Susan Berstler has a long history as a visual artist, curator, and arts producer, deeply immersed in the vibrant arts scene of Somerville, Massachusetts. One of her primary interests is transformative events and media, especially within public art. Her passion for this medium is further enhanced by her work as an Emerging Technology Specialist for Creative Technologies at Harvard University's Cabot Science Library. After a small grant from the Somerville Arts Council allowed her to begin developing Charles's treasure trove of film, the Go-Fund-Me campaign set up by a friend quickly went viral, raising more than $70,000 to date. Susan was referred to the company Film Rescue International, which became an ideal solution for film processing and creating high-resolution archival files from the negatives. At present, she is also in discussions with publishers and university archives to identify a final home for this unique image collection. Gerald Freyer is a technically trained photographer who also studied folklore, monument preservation and cultural history at the University of Bamberg in Germany. After working as a research assistant in museums, he became a consultant for digital imaging pioneer Phase One. Since 2007, Gerald has trained museum and archive staff in the use of high-end digitization systems, completing both archival and 360-degree photography projects for international museums and cultural institutions. In 2021, he joined Film Rescue International to work on digitization projects for its clients. Stay Connected: Charles Daniels Go-Fund-Me Website: https://www.gofundme.com/f/2500-rolls-Charles-Daniels Charles Daniels Facebook page: https://www.facebook.com/profile.php?id=100088252000625 Film Rescue International Website: https://www.filmrescue.com Film Rescue International Facebook: https://www.facebook.com/filmrescueinternational/ Episode Timeline 4:15: Charles Daniels's start as a music emcee and his most productive years for photography: 1967 – 1969 6:36: A friendship with J. Geils Band front man Peter Wolf and coming up with his Woofa Goofa nickname 8:20: Hanging out with the bands during the day provided easy access and authentic pictures 10:07: Daniels's most enjoyable Rock & Roll subject and co-photographer mate: Alvin Lee from 10 Years After 13:26: How far to push black and white film for best results with concert pictures in low light 14:32: Using a handheld light meter, and shooting with Nikons and Leicas for best results 15:10: Daniels's go-to lens: a 21 mm wide-angle for a different look 15:41: The challenge of pushing black and white film and not labeling it with the ISO 18:34: Daniels's shooting strategy as emcee: a microphone in one hand and a camera in the other 20:53: Finding Charles's undeveloped film became a COVID project 21:55: Unprocessed color film includes several rolls of Kodachrome, which was developed as black and white 22:16: Juggling an active Go Fund Me campaign with Charles's recent health issues 24:30: Connecting with the lab Film Rescue International after developing initial rolls locally 25:35: Episode break 26:43: The back story to Canadian lab Film Rescue International in processing lost and found film 27:45: Effects to undeveloped film over time is based on cold storage and other environmental factors 28:46: A two-step process for developing old color film, including Kodachrome 30:35: The first step in Film Rescue's development process with lost and found film 33:34: Proprietary chemistry for film development, plus years of experience 34:22: Processing and scanning movie film, 16mm, and Kodachrome Super-8 with high end laser graphic film scanner 35:10: Do certain types of film hold up better over time than others? 36:05: The importance of scanning old transparencies to maintain color integrity and save the image 37:46: Digital scanning of slides and negatives can offer more detail and better quality than the original photo 39:50: Film Rescue International's workflow and time distribution between film development and scanning 41:14: Gerald Freyer's epic 7-day trip from Saskatchewan and Somerville to pick up Charles's film 43:08: Safety issues when shipping film and the risk of x-rays 45:59: Gerald's favorite picture from Charles's film: Joe Cocker 46:36: An update on Charles's project and the potential for a book and documentary 48:04: Susan's favorite roll of Charles's film: Jeff Beck Group on the tarmac 49:09: The thousands of stories Film Rescue discovers in its work, and how to reach them 50:54: Contact details for Charles Daniels and the project's Go-Fund-Me page
This is The Digital Story Podcast #856, August 16, 2022. Today's theme is "Mastering Your Autofocus." I'm Derrick Story. Opening Monologue Like many other advanced features on our cameras, we often take autofocus for granted. These days, it works that well. But it's also quite customizable. And it's worth taking a few minutes to wander through the camera's AF menu to tailor its performance to our preferred way of shooting. We'll take a closer look on today's TDS Photography Podcast. AF 1 > AF by half-pressing(button symbol)> S-AF> No. Continuous Autofocus C-AF - Every camera is a bit different in its implementation, but generally speaking, once you indicate what you want in focus, the camera will continuously focus and refocus for you. I've been using this a lot for my event shooting with the OM-1, almost always in burst mode. It's a great way to capture moving action. A variation on this is Tracking Autofocus. This usually narrows the continuous autofocusing to a specific subject. Where it goes, so does the camera's AF sensor, literally "tracking" it across the frame or coming toward you. Canons and Nikons do this particularly well. Canon calls it Servo. Olympus lists it as C-AF+TR. Face and Eye Detection Autofocus - This works well when you only have one or two subjects. The camera identifies their face and/or eyes, and automatically focuses on them. This had improved a lot over the years with things like "right eye" or "left eye" AF. A neat trick is to set this up with back button focus to quickly enable it and have the shutter button use sensor focusing. Subject Detection - Now we're getting into some sweet computational photography. In this mode, the camera will look for the subjects that you've indicated, and focus on them. With my OM-1, the options are: Cars and Motorcycles, Airplanes and helicopters, trains and locomotives, birds, and mammals such as dogs and cats. This works remarkable well. Manual Focus - You take over the focusing chores and use the focusing ring on your lens. Another area that I've increased trust is the number of focusing points that I have active. I used to use a single point for all of my AF work. But now I've gone to a cross pattern that incorporates multiple AF points, and I position it in the frame using the jog stick. This protects me when there is slight subject movements right at the moment of exposure. Final Thoughts I'm trusting my camera's focusing decisions much more than I used to. I'm still a little hesitant with face detection in crowded conditions, but I do use Continuous, Cross Sensor, and Subject Detection regularly. And the results have been very good. Fujifilm confirms X Summit event in New York City on September 8 You can read the entire article on DP Review. Fujifilm has confirmed its next X Summit event will take place in New York City on September 8, 2022. Fujifilm hasn't shared any details about what all we can expect from the event, but we do know we'll be getting our first glimpse of Fujifilm's X-H2 camera. After announcing its new X-H2S mirrorless camera at its X Summit event back in May 2022, Fujifilm teased the X-Trans CMOS 5HR, a 40MP CMOS sensor it said would be used inside the company's forthcoming X-H2 camera system. Fujifilm didn't further elaborate on what else we could expect from the sensor and the X-H2 it will be inside, but the tagline for the X-Trans CMOS 5HR is '40MP, beyond the format boundaries.' Compared to the 'stacked layer, ultra fast motion capture' tagline used for the X-Trans CMOST 5HS sensor used inside the X-H2S, it's clear the 5HR - and the X-H2 as a whole - will likely focus on resolution and image quality above all else. It's unclear if any further announcements will be made beyond Fujifilm's new X-Trans CMOS 5HR sensor and X-H2 camera, but considering Fujifilm's current lens roadmap shows its new XF 56mm F1.2 and XF 30mm F2.8 Macro lens still due for 2022 launches, it's likely we'll see some additional details about these optics. Whatever the case is, we'll be here providing the latest updates as they're announced. In the meantime, mark your calendar for 6pm UTC for September 8, 2022. For anybody based in or near New York, Fujifilm is holding one of its 'Fujikina' events in the city on September 10th. This will include demonstrations and talks by a series of photographers and filmmakers, as well as a chance to get your hands on some of the company's latest gear. This is the first time Fujifilm has held such an event outside Japan. Tell a Friend I was thinking the other day about how people love to tell me about their favorite podcasts, which I appreciate! Then, I started thinking, we should be telling our friends about The Digital Story podcast. It's available on every service that's commonly used: Apple Podcasts, Google Play, Amazon, Spotify, and on and on. If each or our regular listeners told just one friend about this podcast and encouraged them to listen, those should be substantial numbers. So let's try it! Tell a friend about the TDS Photography Podcast. Not Using Auto ISO? You're Missing Out You can read the entire article on FStoppers. Auto ISO is one of those features that I ignored for a long time, considering it not much more than a gimmick. It wasn't until recently that I decided to try auto ISO, and I quickly realized that I was missing out on a valuable and practical feature. As the name suggests, in auto ISO mode, the camera will pick the correct ISO value for the scene being metered. Initially, the idea of letting my camera pick the ISO value seemed not only silly to me, but also like a genuinely bad idea, since I was afraid of winding up with grainy images if the camera chose a very high ISO. I was also firmly entrenched in a film shooter's mentality, since I grew up in an era when using ISO 800 film was pushing the boundaries of grain and typically only used as a last resort. Obviously, the world changed a long time ago, but as many of us know, old habits die hard, especially for us photographers! The beauty of using auto ISO is in the customization possible. The camera doesn't simply pick any appropriate ISO for your exposure, but gives you a number of other options to ensure you don't wind up with extremely grainy or blurry photos. In this article and video, I explain how these features work using a Canon EOS camera, but the basics will work with any camera that has auto ISO, although the customization levels will vary by brand. Once you've set your camera to auto ISO, you can tell the camera the lowest and highest ISO it is allowed to use using the "Auto Range" menu. At first, I thought of the auto range as a high-ISO cap, leaving the low ISO at 100 and setting the high cap at around 3200, which I felt was the most grain I would want to see in my images. I quickly realized that this was not the best way to use the feature and now fine-tune it a bit more based on the specific shooting conditions and not just on acceptable grain levels. By far, the most common way I use auto ISO is when shooting in aperture priority. In this mode, the camera picks the shutter speed and ISO, and I just dial in the aperture that I want. As a portrait photographer, selecting a wide aperture is almost always my main concern, and with two small children, I find this to be one of my favorite ways to shoot. I love not having to worry about the camera picking a shutter speed that is too slow for fast-moving kids or an ISO setting that's so high my images are too grainy. By dialing in my auto ISO settings, I am able to retain creative control in situations where I don't have a ton of time to fiddle with settings, in other words, any situation where kids are involved! I have found myself using Aauto ISO with aperture priority more and more when I leave my studio and work in natural light, whether it's taking some snaps of the kids or a concert in a dimly lit venue. Virtual Camera Club News Have you been unsubscribed? A number of listeners have let me know that they were unceremoniously unsubscribed from the show. If that happens to you, just go back to the app and click on subscribe. Inner Circle Members: A big thanks to those who support our podcast and our efforts! We are having a blast at our new Inner Circle hangout, the private group I've set up at DerrickStoryOnline. We'd love it if you join us. You can become an Inner Circle Member by signing up at our Patreon site. You will automatically be added to the new hangout. My Writing on Medium.com: I now have 51 published articles on Medium.com. And if you haven't visited the site, and enjoy good writing on a variety of topics, I suggest that you may want to take a look. You can just go to the home page and enter "Derrick Story" in the search field. And if you like what you read, then follow me! The New Donation Kit for Carefree Shipping of Found Film Cameras - If you've discovered a film camera that's no longer being used, our new Donation Kit makes it easy to pack and ship. Just visit the Contact Form on
Copeland Creative and Redneck Tech Podcast is growing more and more each day it seems and we have recently added a new face to the crew. Keagan Keddell is a seasoned guide and photographer from Wisconsin who is now on the crew. He brings all the qualities we look for in a new team member. The only things we are going to have to break him of are the likes running Nikons on PC's. We will break him. I promise.
Vi åkte till London för att fotografera med Nikons nya flaggskepp Z9 och testa det nya superteleobjektivet med inbyggd telekonverter. Här passade vi på att spela in en podd med Joel Marklund, chefsfotograf på Bildbyrån och specialiserad på sportfotografi. Joel Marklund har jobbat i över hela världen och bevakat många globala evenemang, inklusive åtta OS. Han har vunnit ett flertal priser för sina bilder, till exempel Picture of the Year International, NPPA Best of Photojournalism och ett flertal priser i svenska Årets Bild. Sedan 2016 är han ambassadör för Nikon Europe. Han precis kammat hem två priser i Årets Bild 2021. Hör honom berätta historien bakom de vinnande bilderna och hur han jobbar med sin utrustning på fältet – nu senast i vinter-OS! Joel Marklund kan du följa på instagram: @joelmarklund
Bohnensack Der Natur Fotografie Podcast Landschaftsfotografie Makrofotografie Tierfotografie
Shownotes: https://naturfotocamp.de/bohnensack/post/55-bohnensack-blogtalk-naturfotonews-nikon-z9-nikons-enttaeuschung-und-sony-a7-iv Adventkalender Workshops Europäischer Naturfotograf des Jahres 2021 50 Jahre GDT der Film, eine Geschichte der Naturfotografie in Deutschland Olympus heißt jetzt OM system OM System 20mm 1.4 Adobe Update auf Photoshop 2021 und Adobe Camera RAW 14 Profile für Canon EOS R5/R6/1DX III und Canon RF 14-35 Neue Maskierungsfunktionen Neue FW Für Canon EOS R5 und R6 angekündigt mit Fahrzeugerkennung Nikon Z9 Nikon Z 24-120mm 4.0 VR 77mm Filter 630g 1249€ Nikon Z 100-400mm 4.5-5.6 VR 77mm Filter 1435g 2999€ Nikkor Z 28mm 2.8 52mm Filter 155g 279€ Nikon FW Update für Z5/6/7/50 Nikon entwickelt Nikkor 400mm 2.8 mit eingebautem 1,4x Extender Sony A7 IV 2799€ Pentax FA 21mm f/2.4ED Limited DC WR Lens 1400$ Samyang 12mm 2.0 für Fuji X (213g AF 62mm Filter) Panasonic 35mm 1.8 für L-Mount 67mm Filter 295g 700$ Viltrox 85mm 1.8 für Canon RF Venus 85mm 5.6 Macro bis 2:1 bei ca. 300g 539€ Meike EF RF Adapter mit drop im Filter var. ND und Polfilter K-Lens erstes Objektiv im Bereich Lichtfeldtechnik für mehr Tiefeninformationen (Lidar)
This week on the Camerosity Podcast, we were once again joined by previous guests Paul Rybolt and Mike Novak and first time caller, Hong Joon Lee who has been following on Facebook and purchased the Contax Sonnar 1.5 I recently sold. Half way through the show however, we were joined by camera collector extraordinaire, Ira Cohen, whose massive collection of cameras I was able to visit earlier this year. Ira has the largest collection of rare and unusual cameras I've ever seen and the level of knowledge he has about collecting is unmatched. This was a fascinating episode that went in completely unpredictable directions with a lot of talk about Miranda and their history, why the Nikon F was so successful, what point is a Leica copy not longer a copy, and much, much more! As always, if you are interested in participating in our next episode, be sure to keep an eye here for a new link which will be posted around noon Central Time Sunday, November 14th! This Week's Episode Hong's Sonnar 1.5 and Mike's New Leotax Amedeo Contax Lens Adapters / Don't Buy Cheap Lens Adapters Paul's Orion Contax to Leica Adapter Miranda's Demise of the dx-3 What are the Good Mirandas? / Miranda Soligor Lenses Punch Above Their Weight Miranda's Risque Ads / Mike Gets in Touch with the Niece of the Lady from the Ads How Miranda Got Started and Why They Failed Mike Loves his Miranda A / Wirgin SLRs are Nice Too Montanus / Wirgin TLRs When Did SLRs Start to Take Over from Rangefinders? Mike's Contax I Will Never Be Serviced Ira Cohen Calls In! The Nikon F Officially Began the Era of the SLR Was it that Obvious that the Nikon F Was Superior to All Other Cameras at the Time? Camera Rigidity: Nikon vs Leica Why Was Leitz Hesitant to Release an SLR? When Is a Leica Copy No Longer a Leica Copy? We got Michael Gossett to buy an AGFA Speedex Anthony's Zeiss folders CLAd by Jurgen at certo6.com Ira's Blue Chair / Hong Works by Central Camera Ira's Prototype Box Camera Mike Gets a Book on Cameras by Douglas St. Denny from China Show Notes If you would like to offer feedback or contact me with questions or ideas for future episodes, please contact me at mike@mikeeckman.com. The Official Camerosity Facebook Page - https://www.facebook.com/CamerosityPodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Paul Rybolt - https://www.ebay.com/usr/paulkris Mike Novak - https://www.flickr.com/photos/greyscale3/ Hong Joon Lee - https://www.facebook.com/hongjoon.lee.33 Ira Cohen - Ira has no Internet Presence Theo Panagopoulos - https://www.photothinking.com/ Anthony Rue - https://www.instagram.com/kino_pravda/
An XL episode boasting two blockbuster features: Gabe's recap of his adventures covering New York Fashion Week, followed by our survey of the esteemed camera marque known as Nikon.Gabe recounts shooting NYFW and the Met GalaJeff's new acquisitions: a Canon P rangefinder… and (on the way) the Canon RF 50mm f1.4, the Japanese SummiluxAnd now: our Nikon show!when did you become aware of Nikon, and what was your first?Nikon rangefinders: the SP and its siblingsthe Nikon/Canon wars of the '70s/‘80sevolution of the F: F2, F3…why no more rangefinders? (till the S3 2000 and SP 2005 commemorative editions)spurred by the OM-1, Nikon goes compact: the FM and FE seriesthe Nikkormat / Nikomatthe FM3a — their best ever? 1/4000 with no battery!the coveted FM2/T Year of the Dog editionconsider the Nikonos — they're so cheap!countless point & shoot Nikons, APS cameras…the 35Ti, which is not good!favorite lenses (e.g. the 105mm f2.5)one Nikon to rule them all: which would you choose?
An XL episode boasting two blockbuster features: Gabe's recap of his adventures covering New York Fashion Week, followed by our survey of the esteemed camera marque known as Nikon. • Gabe recounts shooting NYFW and the Met Gala • Jeff's new acquisitions: a Canon P rangefinder… and (on the way) the Canon RF 50mm f1.4, the Japanese Summilux • And now: our Nikon show! • when did you become aware of Nikon, and what was your first? • Nikon rangefinders: the SP and its siblings • the Nikon/Canon wars of the ‘70s/'80s • evolution of the F: F2, F3… • why no more rangefinders? (till the S3 2000 and SP 2005 commemorative editions) • spurred by the OM-1, Nikon goes compact: the FM and FE series • the Nikkormat / Nikomat • the FM3a — their best ever? 1/4000 with no battery! • the coveted FM2/T Year of the Dog edition • consider the Nikonos — they're so cheap! • countless point & shoot Nikons, APS cameras… • the 35Ti, which is not good! • favorite lenses (e.g. the 105mm f2.5) • one Nikon to rule them all: which would you choose?
This week we finally open up the call-in lines and invite you all to participate in our weekly camera discussion. Using a Zoom link posted every Sunday, anyone can talk to Mike, Anthony, Theo, Johnny, and whoever else comes on. Without any warning or planned scripts, Vladislav Kern from USSRphoto and Matt Jones from Thailand join in and share stories about Nikons, Polaroids, and street photography in other countries. If you'd like to talk to us next week, be sure to keep an eye here for a new link which will be posted around noon Central Time this upcoming Sunday! This Week's Episode Introducing the Open Source plan Open Source alternatives to Adobe software / GIMP Digitizing vs Scanning: Something no one can agree on Vladislav Kern = Nikon Collector? Everyone loves the FM2 Hot Cameras in Thailand "Remember the Polaroid Cold Clip, It's Meant to Go Under Your Armpit!" Johnny's dad was a Polaroid sales guy Film photography stories need to be preserved before everyone who experienced them is gone Technology doesn't amaze us anymore Army of the Dead bukkakokeh's with the Canon f/0.95 Dream Lens Soviet фото magazine Don't buy Soviet military cameras now Soviet KGB camera museums Street photography in foreign countries Don't take photos of the Amish Recommendations for shooting a Space X Rocket Show Notes If you would like to offer feedback or contact me with questions or ideas for future episodes, please use the Comments section below. Vladislav Kern - http://ussrphoto.com/ and https://www.instagram.com/ussrphoto/ Johnny Sisson - https://www.classiclensespodcast.com/ and https://www.instagram.com/sissonphotography/ Theo Panagopoulos - https://www.photothinking.com/ Anthony Rue - https://www.instagram.com/kino_pravda/
The latest Contest! You've heard me talk about how to get yourself out of Auto mode on your camera. In this episode I am going to touch on shooting in low light situations where you cannot use flash. Shooting in low light can be a challenge for any photographer and many of you will be asked to do it at some point in your photography career, such as shooting bands in bars or night clubs and everyone knows how poor the lighting is in these places and generally you cannot use your flash here at it is too distracting. Low light photography such as this is tricky but not impossible and it's a matter of having the right gear to get the good shots. The following information will help you accomplish your mission. 1.) Use the fastest/widest lens Aperture-wise that you can afford. A lens such as a 50mm F/1.8 to F/1.2 will go a long way in shooting in this situation, plus they are great for group shots of the band and portraits if you move close. 2.) Use a camera with a higher ISO range. I know last week I told you to keep your ISO as low as possible but in this case, you WILL need a higher ISO like 1600 or 3200 to get the images to come out. The thing to remember here is newer cameras are better at high ISO and although I am a Canon shooter, Nikons and Sony's used to dominate here, but Canon is now on par, especially withe the release of the Canon EOS R5 and EOS R6. 3.) Move around. You are not going to get the shots you need unless you are willing to move around. Remember, you are shooting a band so you will have to get around the fans or people dancing so don't be afraid to move up close to the stage to get the good shots and get away from anything that could ruin you getting clear shots. 4.) Get the candid shots. Don't be afraid to stick around and get shots of the band after the show or during an intermission. Some of the greatest musician or band photos are of the artists just relaxing after the show either backstage or on their tour bus. The shot of the bassist holding their bass and relaxing or even practicing their chords before the show can be some really great images. 5.) Get some good group shots. Many times when a band hires you to shoot a show they are going to want to use the images on their web site or even as the cover of their new album. Make sure you get a few good shots of the band together before or after the show. Shooting in low light can be very challenging but can also be very rewarding. Once you master this type of photography, you are well on your way to becoming an accomplished professional. Now get out there and shoot some fantastic images. Give low light photography a try and feel free to post your comment or questions and post your images in Facebook Group for the show. Also be sure to join the Liam Photography Podcast Facebook Group https://www.facebook.com/groups/liamphotographypodcast/ You can reach the show by call or text @ 470-294-8191 to leave a comment or request a topic or guest for the show. Additionally you can email the show @ liam@liamphotographypodcast.com and find the show notes at http://www.liamphotographypodcast.com. You can find my work @ https://www.liamphotography.net on and follow me on Instagram, Facebook and Twitter @liamphotoatl. If you like abandoned buildings and history, you can find my project @ http://www.forgottenpiecesofgeorgia.com. and http://www.forgottenpiecesofpennsylvania.com. Please also stop by my Youtube channels Liam Photography Forgotten Pieces of Georgia Project Forgotten Pieces of Pennsylvania Project
#Rimac #Bugatti #Nikon Another day , Another Pod! Episode 516 Rimac has done a deal and joined forces with Bugatti and porch to make a truly hypercard company. The deal will see Porche get 45% of the new car company but Rimac will split its parts business and car business. Mate Rimac the founder will become the CEO of Bugatti/Rimac the new joint company and lead them into the electric future much like Elon did with Tesla. With roman just releasing its new hypercard the Navarro 1.97 secs to 100 412km top speed electric beast its perfect timing and im sure with Bugatti and porche jumping in bed the quality will only get better ! Nintendo switch OLED was announced today ! the 7" screen will now benefit form the best image quality available bu half their release add they had the switch docked and playing on a poxy normal telly ??? bit weird.. Nikon Rumours believes the long awaited unicorn Z9 will be released Nov-Dec This year ? The specs are at best bringing it in line with what's already out with sony and what is about behind what Canon is about to release with the R3 ? I hope for Nikons sake they have more coming then what nikon rumours is guessing is coming .... Canon RF lenses production issues are on stock levels won't be fixed until late august. so hopefully you have preorders in but still may have to wait for the to catch up ?? Shimoda Core units link - https://shimoda-designs.j8ujgp.net/c/2884568/1017837/10250 NEW MERCH AVAILABLE AT THE WEBSITE, SUPPORT THE DREAM!! Here's the link :- https://thirty4media.squarespace.com Want to send something to us, flick us an email to get the address details, cheers ! hankshouse@yahoo.com Catch us on our social pages- https://www.youtube.com/c/34Media Instagram- @nightcliff_34 Facebook- @34MediaAustralia Twitter- @34_mediaOZ Twitter- @34_mediaOZ Ebay link to support the channel - https://ebay.us/MNIK4y --- Send in a voice message: https://anchor.fm/34media/message
Paulette Brinkmann Wright grew up on a farm in northwestern Ohio. Her favorite thing about farm life was helping her father Paul tend to the livestock. As a little girl, he taught her how to take care of the baby chicks, or the “peeps” as she called them. Paulette later learned how to feed cattle, nurse baby calves, and help her dad and her uncle John on their milk route together. Paulette loved to follow her father around the barn, into grain elevators, farm equipment stores – pretty much everywhere – and her father loved having her company. Subsequently, at a young age, Paulette developed an appreciation for hard work, nature and animals. Paulette had a strong emotional bond to her father, however, it was her mother Bettie who inspired her to become a photographer. Paulette describes her mother as “the chronicler of the family.” She had a “Brownie Camera” that she used to document important events such as family reunions and their beloved horseshoe tournaments. One day, when Paulette was 11 years old, she asked her mother if she could borrow her camera out of curiosity. And her mother said yes. Paulette said, “I was in heaven! I started taking pictures all the time, honing my photographic skills with that Brownie. It took some time, but gradually I learned to pay attention to light, subject matter and composition.” During her lifetime, Paulette has worked in the insurance field, in the I.T. department for a newspaper, and as an office manager for an architectural firm. While she was working at Mozingo & Wallace Architects, she met Hank, the man she is now happily married to. Paulette recalls, “He walked into the office and it was basically love at first sight. Mind you, I had never had a reaction to any man who came into the office before, but there was just something about him. I took his business card back to my boss and said, ‘Your 10 am appointment is here and please keep him here as long as you can.' I was so embarrassed! We will have been married 20 years in September.” Paulette and her husband have relocated many times because of his work. Paulette says, “Our favorite place we have lived, other than North Carolina, was Glen Allen, Virginia.” The couple also love to travel, so many of her photographs are of the places they've explored. Paulette says, “We spent 5 days in France once, traveling to Marseille, Avignon, and Lyon, and ending our trip at Oustau de Baumaniere in a lovely, picturesque French inn outside of Les Baux-de-Provence. We also took a cruise to Alaska in 2019, which was fantastic! But Maui in Hawaii is our ultimate happy place. Oh, such paradise!” In fact, Hank and Paulette have visited 30 of the 50 states in the U.S.! One year for their anniversary, Hank bought Paulette a Nikon and a more advanced world of photography immediately opened up for her. She currently has 3 Nikons and uses each one for different applications. Paulette says, “ I love seeing beautiful nature in my viewfinder, particularly cows and other animals, and rainbows are a favorite of mine. Also, I find it satisfying to see something I photographed come out so beautifully in print. There are moments that have taken my breath away. I guess that's why I always come back to photography again and again.” Website https://www.wrightfineart.biz/ Instagram https://www.instagram.com/wrightfineart/ Facebook https://www.facebook.com/WrightFineArt/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Steve Rapport - Rock 'n' Roll Photographer - documented the London music scene of the 1980s with nothing more than a pair of trusty Nikons and a passion for music with heart and soul. Dive in to hear Steve's incredible stories of music photographer, including The Jam and The Style Council from Brixton Fair Deal, to the ICA, a key role in Red Wedge with Paul and Billy Bragg, to photography on The Lodgers and Long Hot Summer videos plus Wembley, Live Aid and so much more... These days Steve can usually be found at his (mostly) rock 'n' roll gallery at Rockaway Beach in his home town of Pacifica, CA, which showcases his incredible work. You can order Steve's new book here - Modfather: Paul Weller, The Jam & The Style Council And check out his portfolio of incredible photography If you want to support the podcast financially, you can buy me a virtual coffee via the link below (£3) Buy me a coffee on ko-fi
This episode will no doubt have you doubled over in laughter as Kevin has another one of his hilarious games for Sean to play. We discuss Nikons new free editing software and debate its place among the other editors out there. And finally Sean talks about his experience so far on the app Clubhouse, a social media which could be the new best way to connect photographers around the globe. You don't want to miss this one! Make sure to check out our vlog cast of this episode which goes live tomorrow over on our youtube channel. Don't forget you can support us on patreon here: https://www.patreon.com/thetripod If you enjoyed the show, we'd love if you could leave review on iTunes and subscribe so you don't miss an episode! Don't forget to get in touch with us on Facebook, Twitter and Instagram. The Tri Pod is an Irish Photography Podcast hosted by Sean O'Riordan, Kevin Hennessy and Ronan HD. As always, a big thanks for listening!
The Nikon D750 was the first release in a new lineup of cameras aimed to offer similar features inherited from Nikons higher end Full-Frame cameras, namely the Nikon D810, at a low price point. https://photographypx.com/nikon-d750-review/ Video https://youtu.be/xrse_q7HvLc
Initially released spring 2015, the Nikon D7200 marks the official successor to the previously released D7100 and belongs to Nikons topmost DX enthusiast lineup. It's a feature-packed camera with classic DSLR styling and a large grip that demands a firm hand aimed squarely at aspiring professionals. https://photographypx.com/nikon-d7200-review/ Video https://youtu.be/j9UHTDYrw_M Lightroom Presets https://rebrand.ly/freelightroompresets
Kemper Brandon and Toby Talk about the state of Sony Mirrorless in 2020.Full Notes:Whats lacking in 2020:1. No Good feature rich video camera below $3,5002. Handling (touch screen, Screen Sharpness, menus etc.)3. The Sony 70-200 and 24-70 are larger and less sharp then Canon and Nikons. Other zooms not as good either.4. 8 bit5. Not the fastest lenses6. Overly obsessed with making the cameras small (maybe?) What’s Great in 2020:1. Sony has the highest MP camera2. The only true mirrorless flag ship camera3. They have the most pro lenses4. Best third party lenses5. The Sony a7siii (a video work horse)6. Auto focus (eye, and Video)Whats the future:1. Sony is making amazing new lenses (16-35mm f2.8, 12-24mm f2.8 135mm f1.8)2. Sony is moving forward, on nearly everything we are discussing.3. The future is bright, but right now is a little awkward for many artists.
Today I chat with Jake Rose about cutting costs while shooting film while on a students budget and starting out shooting film. We also chat about Leicas and Nikons, expired film and bulk loading.
Initially released spring 2015, the Nikon D7200 marks the official successor to the previously released D7100 and belongs to Nikons topmost DX enthusiast lineup. It's a feature-packed camera with classic DSLR styling and a large grip that demands a firm hand aimed squarely at aspiring professionals.https://photographypx.com/nikon-d7200-review/Videohttps://youtu.be/j9UHTDYrw_M
Are most cameras, phones, and televisions good enough nowadays? Have we reached a point of diminishing returns with Canons, Fujifilm's, Nikons, and Panasonics? Sorry Olympus. Are our Oneplus phones just as good as our iPhones. Do you need the latest iPhone? We think not.
Victor and William discuss Nikons and drones, an analyst who thinks the iPhone X is too popular, and iOS 12 betas on old iPhones.
Episode image by Andy Buscemi…episode 90 of Wedding Photographers Unite! In this episode Andy, Neal and Jimi passionately discuss, the Nikon Z series release information and what can we say other that Neal totally called it. Many thanks to Peter Foote for your beautiful creativity in helping to name the 2nd half of this episode title. Other […] The post WPU 90: Neal Called it – Nikons Kodak Moment appeared first on Wedding Photographers Unite.
Summary: Amy is the owner of Great Dane Photos and teaches the dog photography classes offered through FDSA. She is the also official show photographer for many of the premier agility events in the United States, including the AKC National Agility Championships, AKC Agility Invitational, USDAA Cynosport World Games, and NADAC Championships, as well as numerous local trials, regional events, and breed national specialties. She has photographed a wide variety of dog sports, including agility, obedience, rally, and conformation, and dog events, including FDSA camp. Her start in professional photography came by taking pictures of her friends' dogs at conformation shows, and quickly grew to outpace her interest in showing her own dog -- and today she's here to talk to us about the reason a great number of people use the internet each day -- dog photos! Links mentioned: Great Dane Photos Next Episode: To be released 8/11/2017, featuring Kamal Fernandez talking about FCI heeling and balancing motivation and control. TRANSCRIPTION: Melissa Breau: This is Melissa Breau and you're listening to the Fenzi Dog Sports Academy Podcast brought to you by the Fenzi Dog Sports Academy, an online school dedicated to providing high quality instruction for competitive dog sport using only the most current and progressive training methods. Today we'll be talking to Amy Johnson. Amy is the owner of Great Dane Photos and teaches the dog photography classes offered through FDSA. She is also the official show photographer for many of the premiere agility events in the United States including the AKC National Agility Championships, the AKC Agility Invitational, the USDAA Cynosports World Games, and the NADAC Championships, as well as numerous local tryouts, regional events, and breed national specialties. She has photographed a wide variety of dog sport including agility, obedience, rally and conformation, and dog events including the FDSA's Camp. Her start in professional photography came by taking pictures of her friend's dogs at conformation shows, and it quickly grew to outpace her interest in showing her on dog, and today she's here to talk to us about the reason a great number of people use the internet each day, dog photos. Hi, Amy, welcome to the podcast. Amy Johnson: Hi, Melissa. Thanks so much for having me on. Melissa Breau: I'm excited to chat. Amy Johnson: I am too. Melissa Breau: So to kind of start us out, do you want to just tell us a little bit about the dogs you have, who they are, and what you're working on with them? Amy Johnson: Sure. I have two dogs and one of them is here in my office with me, and well, if he makes any noise, but his name is Costner, as in Kevin, and so he is a Great Dane, a Fawn Great Dane, if anybody is interested in those details. He's about 39 inches at the shoulder, about 190 pounds, and that is ribs still visible kind of. That's just how big he is. so he's kind of a goof. We joke that he just has 3 neurons, he can eat, sleep and poop, and you know, he's just a really good hang out around the house dog. And then our other dog is a 60-pound Yellow Lab mix and her name is Dora. We don't do a lot with our dogs. They are companions, they like to go on walks, they like to go for hikes in the woods, they like to just be near us, and so they don't have any real special skills. Melissa Breau: I assume they can pose. Amy Johnson: They can pose. Although Costner is…if I try and put a camera in his face he generally kind of backs off and is like, what's that? So his actual special skill is that he is an AKC Breed Champion, and I cannot take any credit for that because we got him after his championship was finished from a friend of ours who were involved in the breeding of him, so he can look really pretty, so that's his special skill. He just doesn't really enjoy looking pretty, so what gets posted online of him are funny things where he's got drool or his lips are spread out on the floor where he's lying down, or you know, he's massive, and he takes up huge amounts of space, and so the pictures that I take are the ones that are just trying to show that and communicate that. We joke that he's a house pony, you know, he's not even really a dog, he's horse size, and then Dora…it's funny because she's the small dog in the house that people look at me and suddenly say we have a 60-pound dog that's considered the small dog, and then they, you know, okay, but she's got a few more brain cells in there. I do joke that I have to have dogs in my house that are dumber than me, so to call Costner not that smart is really, in our house, it's not an insult. That's just my reality. I admire the people who have the Border Collies, and the Jack Russells, and the Shih Tzus, and all those really, really smart dogs. That is not who I am and what I want to live with, so we have just dogs that are really good dog citizens and they know the routines. Costner knows that he has to sit before he gets his food. Sometimes he just stays sitting, even after I put his food down, but so we have our routines, but basically, we just want our dogs to be good citizens, and I think we've kind of got a good balance of that, so. Melissa Breau: Fair enough. So I mentioned in your bio that you got your start taking photos at conformation events. Was that kind of where your interest in photography started? Where did kind of you get started just in photography in general? Amy Johnson: In general, I got started back in junior high. My dad had a Minolta film camera, SLR camera, manual focus, and he taught me the basics of photography, the basics of exposures. So he taught me about shutter speed, and aperture, and at that point it was called film speed, now it's called ISO, but he taught me the basics of the exposure triangle, as it's called, and how to focus a manual focus camera, and how to set my exposure so that I expose the film properly. I never did any dark room work. It was always take the 35mm film canister to the WalMart, or wherever, and get it developed, so I'm not quite that much of a purist, but my beginnings definitely were in film, and with my dad, and we would vacation on the North Shore of Lake Superior here in Minnesota, and so he would take pictures, and then he would show me how to take pictures, and so kind of that father-daughter bond was really enhanced by our experience with him teaching me how to use a camera, and how to take pictures, so I kind of babbled with it throughout the years as I was growing up. I was given by my brother and my parents one year for my birthday they gave me a film Sor of my own, and this was a little more advanced. It was a Canon EOS Elan II, I think, and it had autofocus, so I didn't have to do the manual focus thing anymore, which you know, there's a little skill involved in manual focus, and I admired the photographers who could do it, and do it well. It's not my thing, but I understand the appeal of it. It kind of forces you to slow down and really takes things in, but so I had a film Sor that I, again, just kind of kept babbling, and various things, and then I got into dog shows, and that's a whole long story that we could talk about some other time, but I was showing my second Great Dane, her name was McKenzie, I was showing her in conformation. I was terrible, awful. She didn't have the temperament for it. I didn't have the skills for it. We tried for about a year and didn't really get anywhere other than I made a lot of friends, and really enjoyed learning about the conformation world, and understanding even just the rhythm of a conformation show, and understanding okay, these dogs are going in the ring, and then they're coming out, and then they're going back in, and so you know, it's very confusing at first, and then you kind of figure out oh, okay, I know what's going on, those dogs aren't going back in, and yeah. So I learned a lot about dog shows, and I learned a lot about the people who breed dogs, and that was fascinating to me. I was taking a camera to most shows that I went to and just taking pictures of my friends, and then one time, and this was actually with a digital camera, one of the very, very early digital cameras that actually use the three and a quarter inch floppy disks in it, so not even memory cards. These were, you know, not the five and a quarter, but I think they're three and a half inch floppy disks, and that was your memory card, so and that didn't respond very fast to a dog moving across the ring, you know, you'd hit the shutter button and about two seconds later it would actually take the picture. Well, there's no more dog left in the frame if it takes that long to take the picture, so one time I brought my film camera with me and really enjoyed the success I had with getting dogs moving in the ring, rather than just the ones where they were stacked. So then my vet invited me to photograph her club's agility trial, and that's where it really kind of took off for me, so I really enjoyed the different games, I think it was a USDAA trial, but I'm not 100 percent sure, but the different games were, you know, some were all jumps, and some where you didn't know where the dog was going to go, which I know now are gamblers, and again, that camaraderie around the ring, of all the people and their dogs, was really intriguing to me, and just was very welcoming and fun, and there was a market for the photos there. There was nearly no market back in ‘99, 2000 for candid photos ringside at conformation shows. Nobody was doing them, nobody knew what those were, you know, but agility trials, on the other hand, there was a market for that, people understood what that was, people likes pictures of their dog doing agility, so there was a market there for it being a business, not just a, you know, I'm going to show up and have fun. So I did one agility trial with a film camera, and then quickly realized that I would go broke on film and processing, and then digital SLR's were just coming out, so this was in 2000, and I convinced my poor husband to let me buy a digital SLR, the Canon D30, and as he's hitting submit order on B&H's website he's looking at me saying, "just promise me you'll try and make some money from this," and the camera paid for itself in I think two shows. We realized we had kind of a winning formula there, and so I never have even thought about going back to film, of course, and digital cameras have gotten amazingly good, and amazingly fast, and responsive, and make my job easier with every new camera that I get, so. Melissa Breau: Can you show a little more about how you went kind of from that stage of your business to where you are now, because now you do really, really, big shows, and I mean, just kind of interesting evolution. Amy Johnson: Right. Yeah. It started out as me and the camera, and sometimes my husband would come. My first national event was actually in 2001, and you know, I look back on this and I really had no business doing it, but I was invited, again, so the social aspect of it, I had made friends, and they said will you come, and I said okay, sure. So 2001 they'd have championships and it was in Minnesota, it was in Mankato, which is about, I think, five hours south of me, and so it wasn't like going out of state, and I made the leap. Now, the only really interesting part of this was I had a five-week-old baby at that point, so it was me, and a camera, and Ben, my husband, and Mika, our five-week-old baby, who made the trip down to Mankato, and I had told my friends who were in charge of the show, I had said if this isn't working for me with having a baby here we're going to just have to cut and run at some point, and they were like, that's fine, you know, you do what you need to do, but it all worked, and we had an amazing time, and I got an exposure to what a national events was, and there's a lot of adrenaline that comes with that. In 2007, I was invited to AKC Agility Nationals, so from 2001 to 2007 I was just mostly doing weekend stuff, 07 was AKC Nationals, and again, it was still just me and Ben. Ben was in the booth running the sales side of things, I was taking pictures. Gradually, over the years, I've added photographers, and over the past two years, maybe two and a half, when I go to a national event I've really tried to make sure I had a photographer in every ring, and then also increase the size of my booth staff so that if someone comes through the booth and wants to look at pictures they don't have to wait to get some help to do that. So the whole business has been a very gradual…well, let's try this now, and let's add this now, and what if we do this, or what if we change this. I've never taken out huge loans for the business. It's always just kind of grown under its own as it can support more, you know, I'll put a little more money out, and then it's just been a very gradual, making sure everything still feels as comfortable as it can be when you're running your own business. Melissa Breau: You started to talk for a minute there just about having a photographer on each ring and things like that. What's that process, like you mentioned, you know, having a booth, and then having people shooting photos. I mean, how do you get from one to the other and handle all of that in the midst of a big show going on? Amy Johnson: A lot of deep breaths and a lot of screaming in my head that I don't let come out of my mouth. No, it's all good. I think if I had tried to go from me, and a camera, and my husband to covering six rings, and having six staff in the booth, you know, and the funny thing, I would have probably decided it was crazy and I was never going to do that again, but it went from…so one of the early AKC Nationals that I did probably in 08 or 09, there was me that was there, Great Dane photos was there, plus another photography vendor was there, so we just very amicably divided it. Well, okay, I'll take these rings on these days, and you take those rings on those days, and so there were two photographers there, and each of us had, I think, at least two photographers that we could cover all the rings, but it was between two different companies, and so that's okay. I can manage a few people in the booth and a few people out shooting for me, and then it's just gradually shifted to where AKC and these different agility organizations have said, you know, I mean, if you can cover the whole thing we're happy to allow you to do that, and so if It was a sudden transition I would've probably not managed it, but just gradually adding more and more. It's like anything, once you are comfortable at one level of participation you kind of go oh, let's see, how else could I get involved, or what more can I add onto my plate, and you know, at some point you may go oh, that's too much, but adding photographers has been kind of just word of mouth, and knowing people from other events. One photographer who had shot for me I had seen his work from a previous special event, and he did a really nice job, and so I invited him to come and work for me, and that's actually happened a couple of times. One of my photographers is someone who approached me at a trial here in Minnesota, and said you know, I'm really interested in this, do you want to just take a peek at what I've done, and she lived close enough to me that she could come to a lot of my different local shows, and I could mentor her, and well, okay, that shot didn't work so well, so what could we do differently, or oh, well, that's a great one, if you get a chance to do that kind of a shot again, go for it, so I think that's the beginnings of the education peaks, you know, I really enjoyed that mentoring process, and she now shoots…I mean, our styles are very similar, and so it makes it really easy to have her in the booth or as a photographer because the experience for the customer is that's a Great Dane photoist's photo, not that's Amy's, and that's so and so's, and oh, that's another person. It's all very cohesive and that's really important to me that the experience is one of I can go in any ring and get a good photo, not oh, shoot, I'm not in that ring today, so I'm not sure what I'm going to get, so yeah. Melissa Breau: So I'd imagine that there are probably more than a handful of unique challenges that come with photographing dogs, especially sorts dogs, compared to people, or other common photography subjects. Do you mind just talking about what some of those challenges are and how you guys deal with them? Amy Johnson: Sure. The most unique challenges really do come with the dog sports, especially…it all comes down to speed. You can have an Olympic sprinter in an Olympic stadium doing their race, and I can track that with a camera really easily. Cameras have been tuned to recognize the human form and whatever algorithms are built into their little tiny brains these days. Well, and if you think about it, so many cameras have facial recognition, well, how does it know what a face is and what is a face? Well, it's not looking for dog faces, it's looking for human faces, so there's something about the human from that a camera has been tuned to identify, and prioritize, and its ability to focus. So I'm constantly fighting against some of those things that are engineered into the cameras, so fast, black dogs in bad light are like my nemesis. They are, and the smaller they are, and the fuzzier they are, the worse it gets, but I've taken that on as a challenge. Okay, so that is my hardest subject, fast, tiny, fuzzy, black dogs in bare light, so what I do is make sure that my film and my gear is all prioritizing being able to take a picture of that worst-case dog, and it's nothing against black dogs, believe me, but they are just the hardest thing to photograph, and there's nothing like that in the human sports, or even cars, or you know, whatever. There's nothing like it out there, and so that's the most unique challenge I think, and so every time a new camera comes out I'm always hoping for some feature that makes my job of photographing a small, fuzzy, black dog in bad light a little bit easier, but even just the typical dog, you know, they do move very fast, they can move in very unexpected directions, they have really good reflexes, and so tracking that motion can be very difficult. They don't speak English, so if you want to tell them hey, pose for me, you got to figure out what that word is, you know, is it treat, or is it go for a ride, or is it are you ready. Figure out what the trigger word is to make their ears go up, and their mouth close, and their eyes kind of get a little brighter and go oh, oh, something's going to happen, and then that's the moment you click, as opposed to a human where you just say okay, look at the camera, and then you say cheese, right, and everybody follows directions. Now, when you get a teenager who's really not into this you might still get some not so great results, but at least you can speak to them in a common language. Well, and the other challenge I'm fighting that is actually fascinating to me is as people work on their relationship with their dog, which is a fabulous thing, and that's one of my favorite things about going to a dog show and seeing those relationships, but as they do that it makes it really hard for me if I'm trying to do a picture of the human, and the dog, and a ribbon, the dog is gazing adoringly at the human, and I can't get them to look at the camera. I don't care what word I throw out. There are times where the dog won't look at me because they are so engaged with their human, and that's a lovely thing, and generally, it's not been a problem, you know, the person is generally okay with that, but still, if you want to get the dog it's kind of a funny, you know, it's a good thing that the dog is so engaged with their person, but it makes my job just a little bit harder, so it's those weird things. Melissa Breau: You mentioned kind of following gear, and new things coming out, and things like that, so I was curious what equipment you use and you know, you kind of got a little bit into the why there, but if there's more you want to elaborate on? Amy Johnson: Sure. No, and oh man, I could talk gear for hours. I love gear. I love camera gear, and it's a really good thing I have a job that lets me write it off because otherwise, that would be a problem. So I shoot canon, primarily, and I have canon's top of the line sports camera. It's called the 1D X Mark II. It is their latest and greatest and it shoots 14 frames a second. It has a really high ISO rating or can shoot at a really high ISO, which is the piece that's critical in shooting in the really bad lighting, and actually, my definition of bad lighting is somewhat different than the average Joe Shmoe on the street, you know, a camera needs a descent amount of light to shoot in, and our eyes are amazing, our eyes can really come in the huge range of lighting conditions, and cameras aren't quite to that point yet, so I need to high ISO so that I can have a high shutter speed so I can stop the motion of my small, fuzzy, black dog in bad light. A Canon Body is the best that money can buy, at least in terms of an SLR. I use what's called fast glass, and that means that it's a lens with a really big opening for the light, it's a big aperture, and so my favorite lens for shooting agility is a 400mm F2.8, as my husband says, it just means is has a really big light bucket so it can collect a lot of light, and make sure I'm getting enough light to again, get that fast shutter speed so that I can stop motion. I also have a Nikon camera, and I bought that about six months ago, primarily, because I felt like I needed to learn Nikon camera bodies for my students. I am able to give really specific advice and troubleshooting information about Canons, and I was not able to give that same level of troubleshooting advice for Nikons, so I got a Nikon D500, which is not quite the top of the line, but it's a really good performance camera for wildlife, and I got a big lens for it, and I use that for a lot of my bird photography these days. So learning the other major brand of camera has been a really good experience for me. It's given me a new appreciation for oh, yeah, this is what it's like to open up a camera that you've never had your hands on before, and be a little overwhelmed by all those buttons, and dials, and menu items, and all that, but yeah. So my equipment, I tend to get the best I can, which is easier for me to justify, again, because it's a business, as opposed to just a hobby, you know, you got to be a little more careful about how you spend that money, but I do love gear. You know, there's also of course, all these accessories. There's monopods and tripods, you know, there's more lenses than just that 400mm, and that could be a whole other podcast episode. Melissa Breau: It's really kind of awesome that you are able to provide that kind of support in a class or to a student when you're talking about a Nikon versus a Canon. I would love to dive a little more into what you cover in your classes at FDSA. What are some of the skills you teach? I know right now I think there are two classes... Are there more than that on the calendar? Amy Johnson: Right now, what's coming up in August are two classes. One of them is my foundation class called Shoot the Dog, and in that class, we really just start from assuming people are starting from ground zero. We learn the basics of exposure, we talk about shutter speed, we talk about aperture, we talk about ISO, we talk about the effects that each of those has on the way a photo looks, as well as just the technical details of, what does it mean to have a fast shutter speed, or what does it mean to have a wide open aperture versus a closed down aperture, and then what does ISO mean? We don't delve too deeply into the uber techie stuff, but we do talk about that a bit, but really, it comes down to if I change the shutter speed how does that change how my photo looks? If I change the aperture how does that change how my photo looks? When should I care most about aperture, and when should I care the most about shutter speed, and we really work on kind of creating photos that communicate to a broader audience than just you yourself. So one of my students used the phrase that she had read somewhere, and I don't where, but the difference in doing an emotional portrait and a photograph, and we kind of laughed about it at first, but the more I think about it I think that's an important distinction. If I take a quick snapshot of my dog and it's not really in focus, and the light's really not that great, but there is something in that expression that just screams oh, that's my dog, that's like the essence of my dog. It doesn't matter about the technical bits. It doesn't matter if it's not quite as sharp as I would want it to be. It's an emotional portrait. I have an emotional connection to that. Now, if I post that online my friends are probably going to say oh, that's great, yes, that looks like Costner, that is so Costner, that's wonderful, but if I post it to a photography site in general, they're going to think I'm crazy because they can't see that emotion, they don't know my dog, they don't understand that, that is his quick, essential, expression. They think I can't really see what's going on in his face because the photo's a little dark, and I can't see his eyes all that well because it's really not that in focus, so what I really want students to do is to be able to conquer those technical bits, the sharpness, and the exposure so that they can make the soul of the photo really come through, and be obvious to anybody, rather than have all the technical stuff be in the way and mask the true soul of that photo, the true meaning of that photo. So that's a hard thing for people to do because it takes stepping back and really applying a critical eye to your photos and saying oh, yeah, I see how I can see the dog's expression, but I can see how someone else wouldn't be able to see it and read it as clearly as I can, because they don't have the emotional connection to the dog, to the subject that I do. So that's something that really has started to be a common thread in all of my classes. We want to move beyond the emotional portraits, and believe me, they have their place, you know, I don't have any beef with them, but in my classes I want to move beyond that and into something that can speak to a broader audience, and get that emotional connection across. Melissa Breau: So in August you're teaching a foundational class, and what's the other class that you're offering? Amy Johnson: The other class is called Chase the Dog, and this is kind of my wheelhouse, and that is dogs motion, so we'll talk about…I kind of break it down into two different kinds of motion. There's motion that's predictable, and motion that's unpredictable, so the prime example of motion that's predictable is agility, and you know, in general, there are always exceptions, but in general, the dog will go where it's supposed to go. There's a pre-established path, their obstacles are numbered. You do this one, and then you do that one, and then so I know when I can anticipate where the dog is going to be at any point in that run, so I can do things differently with that than if I'm just photographing a dog that is having a good romp in the field for play time, so that would be the unpredictable motion. So you let your dog out and you want to take pictures of it just playing around. Well, unless you set up some sort of fencing it just portions the dog's path, you know, you have no idea where that dog's going to go, so tracking that…camera's, you know, there's a limit to how fast they can track that motion, and then there's a limit of how fast I physically can track that motion, and this is where our fast dogs…you know, this is tough, there's a lot of skills, and a lot of practice that just has to happen of getting that muscle memory in you, and once you can track your own dog really well that doesn't necessarily mean you can track another dog, because all the dogs have a different rhythm, they all have their own unique characteristics about how they move. So the class is really about offering some skills for how to do both predictable and unpredictable motion, but it's also about setting some realistic expectations of what can I expect to get out of, you know, a 10 minute photo session with a dog just running and playing in the field? Well, you're not going to end of with every photo being perfectly in sharp, or perfectly in focus, and you know, a true winner. You're going to get a lot of junk, and that's okay, and that process of being okay with the junk is really hard, and take someone like me saying it's okay, I have those too, and what students in the class are going to see are a lot of my…you know, rather than just the edited versions, here are the ones that I kept, they're going to see well, here was a whole series that I shot, and notice how many of those were actually good photos, and notice how many of those were not so great. Here's my junk. They're going to get to see my junk photos. Okay, well, I better be a little more careful here. They're going to get to see my junk photos, and I think that's a really important process to understand that there's no camera in the world good enough to capture everything, so let's talk about what's realistic, let's talk about what you can expect, let's talk about ways to increase the percentage of those keepers, but let's also become comfortable with the idea that you're going to have some clunkers in there. Melissa Breau: Now I wanted to ask if there's one piece of advice that you can give listeners, something they can start working on today or tomorrow, to help them take better photos of their dogs, what would that be? Amy Johnson: The first piece of advice I give everyone who asks me that question is to get down to the dog's level, and it's really easy, and it's really basic, and it does not matter what kind of camera you have, but if you change your perspective instead of shooting the photo from your standing height and looking down on the dog, get down to their level. You know, if you've got a tiny little dog it may mean that you are on your belly in the grass taking a picture of that dog, but you will be amazed at how much of a difference that makes in the photo of your dog. If you don't want to get down to their level then bring them up to your level, so if you have a grooming table throw a nice tablecloth over it and put the dog up on the grooming table. Bring the dog up to your level. Just be on the same level as the dog that you're trying to take a picture of and it transforms the whole thing, so that's my go to piece of advice for anybody. Melissa Breau: That's great because that's something that people can really just go do. Amy Johnson: Yeah. Exactly. Melissa Breau: I know that we're talking about kind of a little bit of a different subject than we usually do here on the podcast, but I still wanted to ask you those key questions that I always ask at the end of an episode, because I'm going to let you go into photography related stuff if you so choose. So to start, what's the dog or photography related accomplishment that you are proudest of? Amy Johnson: There's the experience of going to the national and that's huge, that's great, and there's a feeling of kind of I've arrived with that, but the most recent thing that I'm proudest of is actually my experience at camp. I had five of my students that came and were my minions, as I called them, and they were the ones who actually did all of the photography for the events at camp, and being able to stand back and watch them in action I was really proud of them, and that was a more of a feeling of accomplishment than going to a national. Don't get me wrong, I love going to nationals, I love interacting with people, I love watching a great run, and then being able to find them later and say I saw that run and that was phenomenal, and it was beautiful, and I was so happy I was able to capture that for you, but working with students and then watching them take the skills they've learned in my classes and do that for others, you know, capture those moments, that was cool, that was really hard to beat. And now to extend on that, one of my sons is showing interest in photography, and he was able to shoot the jumpers courses at AKC trial that I had shot last weekend, and so again, when I had a break I went over to his ring and just stood back and watched, and seeing the next generation whether it's, you know, the literal next generation or just a new group of photographers that have come through my courses, being able to pass that information on has been really an amazing experience. Melissa Breau: That's really cool because it's something that you managed to learn from your father and now you're passing it on to others. Amy Johnson: Exactly. Yeah. Melissa Breau: What is the best piece of advice, and this can be either production or photography, that you've ever heard, and bonus points if it applies to both, but it doesn't have to. Amy Johnson: The best thing that I've learned to do over the years, and I don't know that it's ever been told to me exclusively, but it's the thing that I have learned to do is to slow down, and to think, and to just breath, and so that is the thing that I try and tell my students all the time because there's this urge to…the action in front of me is happening really fast and so that means I have to grab my camera fast, and throw it up to my face, and press the shutter, and get the picture really fast, and it doesn't work that way, or it doesn't work well that way. So taking a moment to make sure your camera is set correctly for the situation you're trying to photograph, making sure that you understand what's going on in front of you, and can maybe anticipate what's going to happen next, and then just breathing because if you get out of breath or find yourself holding your breath because you're just so excited you end up messing it up more often than not. And that advice I think applies to dog training as well. Slow down, think, just breath, and that kind of brings you back to center, and lets you focus on what's important, and focus on what the task at hand is. Block out everything else that is going on around you and just take it one thing at a time, and the results will be much better. Melissa Breau: Bonus points earned. So our last question, who is someone else in the dog world that you look up to? Amy Johnson: There are two people that come to mind immediately, and it's not because of their dog training skills, it's because of the way they handle pressure in running their dog businesses, and so the first one is Denise. Who isn't amazed by Denise and the way she handles FDSA really, and not trying to get brownie points from her, but as a business owner myself it's really important to find those people who are running their own business, and who I admire how they handle that business. You know, Denise has the pressure of thousands of students. She has the pressure of all of the instructors who…meeting some of them at camp was an eye-opening experience, and I love them all, but I admire Denise even more for her ability to handle all of us and our quirks, but to watch her handle that pressure of both the negative and the positive has become important to me. I know one of her things is people won't remember what you say, but they'll remember how you made them feel, and that is a phrase that runs through my mind constantly as I am dealing with customers, or if I'm dealing with students, and even with my family. It's changed the way I interact with everybody, including my family, and to say in my mind, you know, yes, I really want to make that snarky comment, but that's probably not the best way to handle it because it's going to make me feel better, but it's not going to do anything for our relationship, and it's not going to do anything for them and the way they feel, so that's been a really good thing for me. The other person that I look up to for similar reasons is Carrie DeYoung, who is the head of AKC agility, and I work with her a lot because I do both of AKC's big agility events for the year, so I watch her and how she interacts with her staff, and then watch how she interacts with the exhibitors at those national events, and her calmness, and her…I have never seen her flustered. I'm sure inside there are probably moments of, you know, face palm, or screaming, or whatever, because we all have those, but she does a really good job of on the outside she holds it all together, and that's something that I don't always feel like I do very well, but watching her has helped me do that better, so she's another person I really admire in the way that she…granted, she doesn't own AKC, but she is the queen bee of the agility piece, and I just really admire the way she handles all of the…I mean, if you think about any agility organization there are things that people want to tell them to do differently, things they like, things they don't like, and to be able to handle all of that constantly takes some real talent and skill. I mean, I admire anybody who trains dogs because I don't have that talent, and I don't have the patience to develop it. I know that I could, but it kind of goes back to the whole I live with dogs that are dumber than me, and so I mean, I love watching good trainers, I loved coming to camp and watching all of these amazing instructors that I get to call my colleagues. I loved watching them work with people, and with dogs, and that kind of level of discipline fascinates me, so there's lots to admire about the training side in the dog world in that respect, but for me what's been most important is to find those people, and specifically, women that are at the top of their game and dealing with those pressures that come with being at the top of their game. Melissa Breau: Awesome. Well, thank you so much for coming on the podcast, Amy. Amy Johnson: You're welcome. It was a pleasure. Melissa Breau: It was. It was a lot of fun to chat. And thanks to all of our listeners for tuning in. We'll be back next week with Kamal Fernandez to discuss what it's like to be a man, in a female dominated job. Just kidding. We'll be chatting at FCI style of heeling and more. If you haven't already subscribed to the podcast in iTunes or the podcast app of your choice to have our next episode automatically downloaded to your phone as soon as it becomes available. CREDITS: Today's show is brought to you by the Fenzi Dog Sports Academy. Special thanks to Denise Fenzi for supporting this podcast. Music provided royalty-free by BenSound.com; the track featured here is called “Buddy.” Audio editing provided by Chris Lang and transcription written by CLK Transcription Services.
Episode 105 of the PetaPixel Photography Podcast. Download MP3 - Subscribe via iTunes or RSS! Featured: Lars Boering, World Press Photo Managing Director In This Episode If you subscribe to the PetaPixel Photography Podcast in iTunes, please take a moment to rate and review us and help us move up in the rankings so others interested in photography may find us. World Press Photo Managing Director Lars Boering opens the show. Thanks Lars! Thank you to those who entered our Think Tank Photo camera bag giveaway! Apple announces the iPhone 7 and 7 Plus, but what do mean to photographers and mobile photography? (#) Canon plans on selling its sensors, but could we see them in the bodies of Nikons and other camera brands? (#) Fools destroy a natural landmark on the Oregon coast. (#) Nikon launches its Nikon School Online with some top name instructors. (#) Garmin beats GoPro to market with a voice-activated action camera. (#) Outtakes Connect With Us Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on Twitter, Instagram and Facebook (all @LensShark) as we build this community. We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome! You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”
Well, I started out many, many years ago with some of the first. They weren’t even cameras. They were trail timers, and you had to put a piece of string across the trail and it tripped. And I started even before that time, with photography. I had trip cameras, my Nikons. I would put those on bear baits or elk trails, or waterholes, and rig them up to where the trip string [inaudible 00:15:29]. And I had a mouse trap with electrical coil. Pull the string, it would set the mouse trap off, which would close the circuit and take a picture. That was many, many, years ago. That was back before there was such a thing as trail camera. And then the first thing that came out was with trail timer. And I started using those. There was a couple of them that you just got one picture, break the string, tell you what time the deer had come.
Well, I started out many, many years ago with some of the first. They weren’t even cameras. They were trail timers, and you had to put a piece of string across the trail and it tripped. And I started even before that time, with photography. I had trip cameras, my Nikons. I would put those […]
We chat about photography, a bunch of Nikons, MacFuddy Pepper Elixer, and my somewhat vast knowledge of The Gilore Girls...
A review of Nikons latest full frame DSLR. Listen to host Anthony Feliciano give his review and experience with the Nikon Df. Learn why this camera has so many mixed reviews. Is this the camera for you. Learn the pro's and cons and what the future holds for these smaller full frame cameras.
Well, it was about time that I got myself a camcorder, a decent one. I have been meaning to for a long time. The app that I have has bonus content which can either be an extra audio file, or a video. Until now, I have not really offered this bonus material because my little camera that takes pictures and videos, does not make quality videos at all. So, I took the plunge. What was I looking for then? Firstly, I wanted something that was easy to use. I also really didn't want anything big. I thought that if I could fit it in my handbag, then I would be happy. And, finally, I wanted something of quality. So, bearing these three things in mind, I drove to Walmart, and went to the electronic department. They mainly had cameras. There were the regular cheapo ones, all the way up to Nikons. Well, I didn't want to spend that much. A friend of mine recommended that I get just a camcorder, not a camera that also takes videos. "A video taking camera could compromise quality," he said. I took his advice. There were only two camcorders to choose from. Both were the same size, shape, and quality. They both had a USB plug to download directly into a computer. However, the slightly more expensive one had HD quality picture, and a stabilizing capability, so when you walk or run while filming, the video doesn't jump around and get blurry. Bingo! I finally got what I needed. I am thrilled with my new device. I'm looking forward to adding video to my apps to become more of an expert producer. I have used my camcorder already: at my son's basketball game, and in a restaurant. One of the cool options is to plug it into our television to see what I have recorded on a big screen. I can also send decent videos to family and friends around the world through email. I'm feeling very proud of myself; I feel like I've caught up to the twenty first century! Grammar notes. Related vocabulary: to be meaning to, to take the plunge, to bear in mind, cheapo. 1. I've been meaning to call you for weeks; I've just been so busy! 2. He took the plunge and started a business; fortunately for him, he was successful. 3. You can borrow my car to drive there, but, bear in mind, the roads are very icy. 4. I finally bought a decent toaster. The one we had was a cheapo, and kept on burning the bread! // //
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