At about $1500 real tilt-shift lenses are not cheap. (Long time readers will appreciate the correct spelling :). Instructable user Cpt.Insano created a 3D printed adapter that converts practically and Nikon lens into a tilt shift lens.
If you’re not familiar with the history behind the website name, it’s derived from many of the ‘cheesy’ ideas and DIY projects that I’ve built and shared through this website. So here’s another ‘cheesy’ project i’ve been tinkering with, and I thought i’d share where i’m at with it.
Image: Photo Rumors April Fools’ Day is extra-hilarious for anybody who follows camera and photography news. Our little category has a healthy rumor mill, fueled by thousands of dedicated fanboys, many of whom are good with Photoshop,…
Nikon’s traditional strengths are very much evident in the Df: it’s built to last, takes amazing photos, and is compatible with one of the broadest and best lens ranges in the business. But then it’s also more than $1,000 more expensive than Nikon’s own D610, which is roughly the same size, much easier to use, and can record 1080p video.
"I am working with a modified Nikon D800 which has been altered so that it is now a true monochrome camera: no RGB filter array (removed), and of course no anti-aliasing filter. 36 megapixels that “see” in monochrome."
There is one camera company that is really getting noticed these days, and that is Fuji. They seem unstoppable as they continually are releasing new cameras and lens at a very fast pace. They stand apart with their APS-C X-Trans CMOS II sensor. It all started with the X100 and since that introduction Fuji has followed with numerous other X branded cameras. Not forgetting where their roots are they released the next generation X100s a few months ago. This little camera has a huge following and if there is a camera that has done retro right it is the X100s. Alain Briot a regular contributor here on Luminous-Landscape switches gears from his regular essays and does a Camera Review Of The X100s.
Two products that have been getting a lot of attention lately are the Sony a7 and a7R full-frame mirrorless cameras. Last month we took an in-depth look at the Alpha 7, and were mostly pleased with how it turned out. Now it's time to take a look at its big brother, the Alpha 7R, which offers a 36 megapixel sensor with no low-pass filter and a more conventional autofocus system. Is the a7R worth the price premium over the a7? Click below to find out.
Lately Sigma had quite a run in delivering very decent products not only in terms of value but also optical & mechanical quality as well as improved quality control. The transformation of their product lineup is still at the beginning but they are busy executing their new product vision. One of their latest products in the Sigma 24-105mm f/4 HSM DG OS | A. As the name implies it is part of the "Art" series thus their most prestigious segment of lenses. In Canon land, it is obviously targeting the (rathe Canon EF 24-105mm f/4 USM L IS which has been the 1st choice among customers looking for a high quality, full format standard zoom lenses with a slightly longer reach. Interestingly the Sigma lens is just marginally more affordable than its Canon counterpart. This trend certainly shows that Sigma is getting more confident about its products compared to high end products from original manufacturers.
We are big fans of CamRanger, while other options have been around for a while (both DIY and pro) they came up with a well packed product for camera remote control that has all the features you can possibly think about.
Today is another sad day, because Apple announced that it will no longer continue development of its Aperture software, which many photographers still rely on for their day to day photo management and editing.
NOTE: This is a Geek Post. If you aren’t into geeky photo measurements, or into adapting lenses from one brand of camera to another, you’ll not be interested.
A year or two ago, I wrote a blog post where I basically showed lenses shot on adapters on other cameras aren’t acceptable for testing. If you run them through Imatest the results aren’t accurate. I suggested that reviewers shouldn’t test lenses on adapters, although obviously adapters are a great way to use interesting lenses to take pictures.
More recently, in online discussions about why certain lenses weren’t working well on certain cameras, I brought up the fact that sensor stacks, the various layers of glass in front of the sensor containing AA filters, IR filters, etc. would be contributing to this problem; that there was more to it than just adapter irregularities. Most people thought that really wasn’t having an effect, though, so I forgot about it.
Yesterday I got a dramatic rude awakening that made me return to this train of thought and do some investigation. The way it happened was simple enough. Dr. Brian Caldwell, the guy who designed the Coastal Optics 60mm Macro, the Metabones Speedboosters focal reducers, and a lot of other cool lenses came to visit. I’ve had the pleasure of knowing Brian for some time, but I will have to admit his visits (like those of several others) have become just a bit more frequent since we got our MTF bench up and running.
Brian had brought a prototype of his latest focal reducer. He told me it was so good that it clearly improved the MTF of full-frame lenses while increasing their aperture when mounting them to m4/3 cameras. He also brought the computer generated MTF graphs showing what it should do, which was pretty spectacular...
Filmmaker Paul Trillo and Microsoft, who previously collaborated on the NY 41x41 project, have teamed up again to work on another smartphone-based visual project. Trillo and his team built an apparatus which they call the "Lumia Arc of Wonder". It consists of 50 Nokia Lumia 1020 smartphones fixed to a custom-built metal arc on casters, some networking equipment and external power sources.
Fujifilm is on a mission. Their product release pace is like no other in the industry at the moment and rather than providing endless iterations of nearly identical low-cost kit lenses, they are busy adding high quality and high priced lenses to their system. This certainly helped to gain quite a reputation among enthusiasts as well as professionals. The new Fujinon XF 23mm f/1.4 R is another cornerstone in the already extensive list of prime lenses (for such a relatively new system). The Fujinon is obviously an ultra-fast, moderate wide-angle lens with a field of view equivalent to about "35mm" on full format cameras. Such lenses are especially popular among street photographers for instances.
The machines that made the Apollo program a success were, on the whole, huge. The Saturn V rocket rocket stood 363 ft. (111 m) tall. The scaffold-like gantry that serviced it measured nearly 400 ft. (122 m).
Some time ago the wonderful images of Elena Shumilova went viral. Suddenly there were dogs, rabbits and cute children everywhere. And I have to say – these images are extraordinary – we instantly begin to dream and to fell fuzzy. Something is going on with us while looking at these images. In some way, her work is magical.
We take a look at Fujifilm's latest X-series camera - the X-T1. It's an eagerly anticipated mirrorless camera but is it as good as people expect it to be or has it fallen short of the mark? Kai takes it out on the streets for a test......
Following its cloaked appearance in a teaser ad last week (and then a comprehensive leak), the Fujifilm X-T1 makes its official debut. It's a weather-resistant, SLR-styled mirrorless camera bearing Fuji's 16MP X-Trans CMOS II sensor, borrowed from its X-E2 sibling. Its built-in 2.36M dot EVF is similar to that of the XE-2, though it boasts a higher 0.77x equivalent magnification and claimed lag time of 0.005 seconds. Also included is built-in Wi-Fi, now with remote capture, and a tilting 3.0-inch LCD.
With the latest addition to Nikon’s popular F1.8 prime series of FX-format lenses, Nikon has announced the new AF-S NIKKOR 35mm F1.8G, a versatile fixed lens ready to thrive in any shooting situation. The new 35mm F1.8G lens rounds out a collection of acclaimed F1.8 lenses including the AF-S NIKKOR 28mm F1.8G, AF-S NIKKOR 50mm F1.8G and AF-S NIKKOR 85mm F1.8G lenses. Sporting the popular 35mm focal length and covering a 63 degree angle of view with a constant F1.8 aperture, Nikon’s newest FX-format lens delivers outstanding viewfinder clarity and high contrast while providing outstanding low-light performance and depth of field control.
Great for available light environment portraits, landscapes and travel photography as well as for producing beautiful images with soft, natural bokeh, the AF-S NIKKOR 35mm F1.8G is a versatile and valuable addition to any FX-format photographer’s lens arsenal and sports the latest in core NIKKOR technologies that ensure elite performance. The lens’ construction includes one ED and one aspheric element in addition to a Silent Wave Motor to provide quiet AF operation.
"As the latest addition to the extensive NIKKOR lens line-up, the new AF-S NIKKOR 35mm F1.8G lens reinforces Nikon's commitment to providing versatile prime lens options to photographers of all levels," said Masahiro Horie, Director of Marketing and Planning, Nikon Inc.