NiSi’s JetMag Pro Filters Promise Convenience for Photo and Video https://petapixel.com/2024/10/10/nisis-jetmag-pro-filters-promise-convenience-for-photo-and-video/ #magneticfilters #neutraldensity #nisijetmagpro #Equipment #jetmagpro #filters #News #nisi #cpl
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This week it was Patti’s turn, from P.A. Moed to host the Lens-Artists Challenge, and she chose ‘Finding Beauty in Unexpected Places’ as the theme for the week. Patti asked us to look beyond beauty in ‘its typical forms — a flower, a sunset, a full moon, a smiling baby’ and look beyond ‘the ideal concept of “what’s beautiful”’.
Readers of my previous Lens-Artists Challenge entries might have noted that I do like taking images of the mundane and trying to transform them into something different. This is not everyone’s ‘cup of tea’, and in fact my partner is constantly bemoaning my attempts, but Patti has asked to ‘surprise us with something that you find beautiful but other people might not’, so here we go.
One of my favourite cameras at the moment is the Olympus Camedia C-100, a 1.3-megapixel point and shoot released by Olympus in 2001. What makes this one particularly special is that the sensor is failing. If you just point it at a subject the preview on the display screen is fine but when you take a photo it overexposes by about 10 stops, I reckon. It’s great in low light, but in daylight you’ll just see a blank white image … unless you put a 10-stop neutral density filter in front of the lens, and then it works perfectly (sorry, ‘perfectly’ is doing some heavy lifting, here).
Image from the Olympus Camedia C-100 digital camera.Image taken with the Olympus Camedia C-100 digital camera and Neewer ND filter.I took it out around the neighbourhood and it makes some wonderful trichromes and digital aerochromes. It’s infrared response is really lovely, and of course you don’t need to use the ND filter because the 720nm infrared filter has a 10-stop filter factor already. But what I also like doing is attempting extreme multiple exposure photography. I’m not talking about double exposures, but ten or more exposures stacked into the same image.
On one outing with the Camedia C-100 I thought, let’s see what happens when you stack a load of frames of the same subject with this glitchy camera. Instead of staying in one position I thought it would be nice to walk around my favourite tree and well. I took several photos around the tree, Pep Ventosa style, then in GuIMP photo editor stacked them all into a single layered image. Fiddling around with the blend mode and the opacity produced the image above. I thought it came out rather well.
Soon after we left for our annual holiday to the south of Portugal, near Lisbon, which has already been presented in a couple of other Lens-Artists Challenges. Our walk to the beach takes us through a lovely pine woodland. This year I brought along the full-spectrum Panasonic Lumix DMC-TZ8. This is a little 12MP point and shoot camera from 2010 that I converted to full-spectrum myself. All this involves is removing the IR cut filter from in front of the sensor, which sounds easy but can be really fiddly with the wrong camera. Fortunately, the DMC-TZ8 is very straightforward to convert and with a 720nm Infrared filter can produce some lovely images.
Digital aerochrome of the Hotel Melia Ria in Aveiro taken with the full spectrum Panasonic Lumix.Like my favourite tree, I thought that it might be nice to make a few more image stacking experiments. This one was simply several images of a lonely tree taken as we made our way to the beach. I also thought it would be a good idea to try a digital aerochrome image stacking experiment, which I think would have worked much better with a symmetrical subject rather than the scrawny pine tree that I chose.
Of course, since I had the full-spectrum camera to hand it seemed only natural that I should take it further into the woods. Normally the pine woodland that we walk through is beautiful enough, you don’t have to look very far. But I always find that taking images in infrared always take its natural beauty to the next level — if that were possible. I’m never sure if it’s the reflection of infrared wavelengths from the vegetation, turning the landscape a surreal white, or the lack of infrared in the sky resulting in a dark sky, but it never fails to surprise and delight me.
To finish off this entry I just thought I would include this infrared image from a few years ago, probably the year I converted the Panasonic DMC-TZ8 to full-spectrum. We were walking through the woods and I was trying to explain how the camera worked. I turned around to take a photograph as an example and as soon as I saw the image on the display screen I knew I’d never top that. And I don’t think I ever have.
Themes for the Lens-Artists Challenge are posted each Saturday at 12:00 noon EST (which is 4pm, GMT) and anyone who wants to take part can post their images during the week. If you want to know more about the Challenge, details can be found here, and entries can be found on the WordPress reader using the tag ‘Lens-Artists’.
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#Abstract #Aerochrome #Digicam #Glitch #Glitchy #Landscape #LensArtists #NeutralDensity #Sensor #Trees #TrichromeEverything #UnexpectedBeauty #LensArtists
Finally I got my hands on a real glitchy camera, with a sensor well past its prime, the Olympus Camedia C-100, a 1.3-megapixel fixed-focus digicam released by Olympus in 2001. I reckon the camera is overexposing by around 10 stops, and normal daylight images are completely blown out, but I have a cheap variable ND filter, that on its maximum setting produces much more ‘natural’ images.
Of course, what I like to do with most new (to me) noughties digicams is see how they work for making trichromes, and what their infrared response is to make digital aerochromes. So off I went ‘around the block’ to the woods behind our house armed with my trusty travel tripod, the Camedia C-100 and a collection of filters, including the variable ND filter.
The snag with this camera is that it doesn’t have a black and white mode, although you can desaturate a colour image through the menus. So what I did was to screw the Neewer variable ND filter to each of the red, green and blue filters and take the photographs through this. Because the 720nm infrared filter already has about a 10-stop filter factor I just used the filter on its own, and thus seemed to work. Of course, with the sliding cover I couldn’t fix the filters to the front of the lens so had to hold them in front of the camera, so this was prone to some light leaks.
On the whole it worked a treat. The failing sensor produced quite pale images, even with the combined ND/colour filter arrangement, but when the images were combined together in GuIMP photo editor produced some lovely ‘painterly’ results. When making the RGB composites in GuIMP I first desaturated the colour images and then chose the colour levels for the red, green and blue layers.
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#Abstract #Aerochrome #Digicam #Digitalcamera #Glitch #Glitchy #ICM #IntentionalCameraMovement #NeutralDensity #Sensor #Shittycamerachallenge #Shittydigital #Trees #TrichromeEverything #Camedia #Olympus
Using K&F CONCEPT Accessories To Elevate Your Photography Game https://petapixel.com/2024/07/16/using-kf-concept-accessories-to-elevate-your-photography-game/ #neutraldensity #photography #BlueStreak #K&FConcept #Equipment #Sponsored #sponsored #Features #backpack #ndfilter #products #feature #filters #tripod #prism #bag #cpl #KF
I’ve mentioned before about getting my hands on a glitchy camera, you know, one that’s working but the sensor is way past its prime. I had the Vivitar Vivicam, but that failed on me last year, and I have the kiddies circuit-bent camera from Freedom Enterprise, which is ideal but is not ‘naturally’ glitchy. Then, in the last few weeks was the supposedly glitchy Canon Powershot G12, which has been anything but glitchy so far (though I live in hope) and has almost become my take anywhere camera. But so far I’ve failed to find a really naturally glitchy camera. Then, a few days ago, that all changed.
I was randomly surfing the web, checking out the Kamerastore website and a few other places for nothing in particular, when I visited the Cano Amarelo website. Cano Amarelo is a shop in Porto run by Nuno, a lovely guy from whom I have got a lot of my old film cameras. Just lately, Cano Amarelo has Ben offering sub-standard cameras in an ‘Outlet’ section. These are cameras that fall short of being in condition to sell at normal retail prices so are offered with the caveat that: ‘Outlet products are sold as damaged for parts or decoration without warranty or return’.
There among the Outlet cameras, in fact it was first on the list, was this wonderful little Olympus Camedia C-100 digital. Normally I would pass this one by, I have more than enough noughties digicams and I prefer to get ‘generic’ cameras from the CEX website, which can sometimes be a treasure trove, but I paused and clicked on the entry and looked at the sample images (Nuno always posts some photos taken with the cameras on sale, which is really helpful) and froze. The interior images were wonderful, the colours were distorted and there was a glow to the image that I wasn’t sure was because of haze in the lens or just the sensor failing.
The exterior image was something else completely, and it’s hard to describe without actually seeing one. There was certainly something there, but it was almost impossible to make out. Of course, I was smitten and placed the order straight away. Well not straight away, first I contacted Nuno to see whether he had a SmartMedia card available. I have a couple, but I wanted one to go with this camera, and even though the SmartMedia card cost twice as much as the camera, it was worth it.
Before we go on, here’s a little bit of background about the Olympus Camedia C-100 E-10 SLR. The C-100 is a 1.3-megapixel CCD sensor and a fixed-focus lens released by Olympus in 2001. There’s no zoom function, although there is a digital zoom which no one should ever be using, and it’s fully automatic which means there are next to no changes you can make to the image you are taking, like monochrome mode for my beloved aerochromes. It literally is ‘point-and-shoot’. With four AA batteries installed it’s a heavy beastie, and the sliding lens cover means that I can’t fix a filter thread to the camera, so if I ever want to make trichromes or aerochromes (I do! I do!) then I’ll have to hold these over the front of the lens.
The C-100 uses SmartMedia storage cards to save images, so of course in addition to SD cards, and CompactFlash cards you’ll need to add some of these to your collection of noughties storage devices. There are no options to change the style of image that you are taking, but you can navigate the rather clunky-looking early twenty-first century menu to transform full colour images to sepia or black and white. I’ve not tried this yet to see if it will make a copy of the image file or if you’ll lose your ‘carefully crafted’ colour original.
So, as mentioned earlier the sensor is failing (I had another ‘f-word in mind, but we’ll keep it civil) and I reckon that it’s overexposing by around 10 stops. I’ve invested in a cheap Neewer ND2-400 variable ND filter for some intentional camera movement (ICM) with my Powershot cameras, so it seemed like a good idea to use that filter with the C-100 and see what happens. And it works! The vastly overblown natural image is made much more legible holding the variable ND filter on its maximum setting over the lens. It’s still a little overexposed on bright sunny days, but in overcast weather or in shadow the results are quite ‘good’.
Indoors, the C-100 behaves like any ‘normal’ camera, though you can take photos in hand-held in low light. In really low light it’s also good for intentional camera movement by waving the camera around erratically during exposure — there’s no need for an ND filter here. The images are also really hazy and have a glow about them. I’m not sure whether this is because of haze in the lens or just a ‘feature’ of the failing sensor, but it’s certainly a bonus with this already amazing camera (‘amazing’ for all the wrong reasons, of course).
If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.
#Abstract #Digicam #Digitalcamera #Glitch #Glitchy #ICM #IntentionalCameraMovement #NeutralDensity #Sensor #Shittycamerachallenge #Shittydigital #Trees #Camedia #Olympus
'Driftwood' || Bayfield, Ontario, Canada || April 2023
Got this one with my new neutral density filter; first one I have liked with it (I got a few I think this past weekend). 14 second exposure of Lake Huron and this lovely piece of driftwood.
#Nature #NaturePhotography #NaturePhoto #NatureLovers #Ontario #Canada #LakeHuron #BayfieldOntario #NeutralDensity #LongExposure #Driftwood #Beach #Water #Photography #PhotooftheDay #Photographie #Photodujour #Fotografie #FotodesTages #Photographer
It's #waterfallwednesday ?! Don't mind if I do!
Ringing Rocks State Park
Upper Black Eddy
Bucks County, PA
2017
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ND Filter: A Beginner’s Guide to Neutral-Density Lens Filters
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Near Perfect Results in a Quality Filter: Lee Elements VND 2-5 Review
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Is It Everything You Need? K+F Concept Filter Package Review
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Why I Use Stacking Instead of an ND Filter for Long Exposure Photos
In this article, I'll share a technique that I learned many years ago and that I still use occasionally. You can use it for removing people from a scene, but in this case, I will be using it to mimic one of a neutral density (ND) filter's main purposes: longer exposure.
There are disadvantages to using an ND filter for longer exposures.
First, if the camera has moved or if something happens in front of the camera, those changes will often be permanently saved in the resulting photo.
A second problem is the noise that's introduced when shooting longer exposures. Yes, higher-end cameras and sensors can help you avoid some of the noise, but even on those cameras, using image stacking instead of a single ND filtered exposure can help you achieve cleaner results.
To create the following photograph, I first captured 247 separate photos:
I then stacked the photos in Photoshop after making simple adjustments to my raw files.
Here's what you do:
1. In Photoshop, under the File menu, go to Scripts , then Load Files Into Stack.
2. If you have opened your files from Camera Raw, click on Add Open Files. If you have tiffs, then hit Browse. Make sure you check the boxes to automatically align source images and to create a Smart Object after loading the layers.
3. After Photoshop does its magic of aligning, go to the Layer menu, select Smart Objects , then hit Stack Mode. Choose Median or Mean. You have to make your choice based on what works best with your work.
Note : If you're stacking large numbers of files, you may need a computer powerful enough to handle this kind of task.
Making basic adjustments across the individual photos before stacking them.
So instead of using an ND filter for longer exposures, you can capture a longer cumulative exposure time across multiple photos and then stack them for a combined longer exposure.
The main advantage of this technique is the control you get when you have so many frames to choose from and work with.
For example, if someone walked in front of your camera during the shoot, you can easily delete the frames that have the person in them.
If your photo contains moving subjects such as trees, those objects would be blurred with a long exposure shot through an ND filter. But if you have a large number of photos captured with shorter exposure times, you could bring back detail and sharpness to things like trees and skies if you'd like to.
But one of the biggest advantages of using this technique for me is the fact that it allows me to do minimal retouching.
Say you captured the same lightning photograph seen above, except you used an ND filter and one long exposure. If there were more flashes of lightning than you wanted, you'd have to remove those lightning strikes in post-production. If a boat in the water stayed too long in the same place, you may be forced to remove the light from that boat in post-production if you want a clean river.
These types of things would ordinarily force you to clone and retouch your final photos.
By using stacking for long exposure photos, I am able to avoid all of that. I only choose the frames that I want in my final photo, and I did not need to do any retouching whatsoever aside from my usual color correction and dodging/burning.
I've been using this stacking technique for my long exposure look for a long time now due to the increased control it gives me.
About the author : Alexander Light is a photographer focused on street, travel, and landscapes. The opinions expressed in this article are solely those of the author. You can find more of his work on his website, Facebook, and Instagram.
#postprocessing #tips #walkthroughs #alexanderlight #longexposure #ndfilter #neutraldensity #photoshop #stack #stacking #technique
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