Thursday, December 31, 2020

How To Make Your Own Pinhole Camera With a Matchbox or ILC

A pinhole camera is a simple image capture device that doesn’t use a lens but instead makes images through a tiny aperture. The simplest ones are just a light-proof box with a hole in it, and in this 7-minute video, you’ll learn how to make one as well as how to make your digital camera into one.

COOPH regularly uploads fun and easy photography projects that either involves simple tools or easy techniques that get the creative juices flowing. They recently uploaded a short tutorial on how to make a pinhole camera using 35mm film, a matchbox, a piece of aluminum scrap, and tape.

Pinhole cameras don’t have the ability to shoot the tack-sharp images that most photographers have become spoiled with thanks to how easy it is to get relatively inexpensive yet still high-performing lenses. But the point of making a pinhole camera isn’t to compete with what you could do with modern equipment, it’s instead designed to teach basic camera technology that paved the way to where digital photography is today.

If making a matchbox pinhole camera isn’t your style, COOPH also explains how to turn a lenscap into a pinhole camera that works with your digital camera. This particular method is a lot easier to just get up and start working with and requires a lot less setup time as well.

If you are looking for a fun project to try and home, it’s hard to beat the simplicity of the pinhole camera. Give it a shot!

For more from COOPH, follow them on Instagram or subscribe to their YouTube Channel.

How Bokeh Evolved and How Digital Photography Elevated it to Art

Bokeh is one of the most subjective aspects of photo or video. As Simon’s Utak says in this 20-minute discussion on its history and how it is elevating digital photography into art, we as photographers can’t even agree how to properly say the word.

This video is one of the most comprehensive discussions on not only what bokeh is – including descriptions and examples of the many different types – but also delves deep into the history of the defocused areas of images that predate photography as well as how digital photography elevated bokeh into an art form.

Prior to photography, artists – namely painters – rarely used blur as a method for isolating subjects. If you look at classic art, pretty much all aspects of an image are in focus. Simon argues that painters had an influence on how photographers first started using the medium, and then in turn photographers had an influence on how later painters would choose to render scenes.

Photo by Aaron Burden

Pre-photography Painters typically used one of two methods: they either isolated subjects using a neutral background or surrounded subjects with incredibly detailed backgrounds to help tell the story of the subject.

Simon points to an almost cliche example of when this changes: with Leonardo da Vinci’s Mona Lisa. Yes, this painting is popular, but Simon argues that may be due to the fact that the image has a soft, dreamy look to the subject and background that is reminiscent of how modern cameras would render defocused areas.

Photo by Ugur Akdemir

Once photography became a thing, the popularity of that blurred defocus grew. Originally, many photographers adopted the same techniques that painters did, either with neutral backgrounds of busy surroundings designed to tell a story. The longer exposures that photography used in the early film eras meant that bokeh wasn’t really a thing for quite some time. But that doesn’t mean lens manufacturers weren’t aware of what their lenses were doing to out of focus areas. There are multiple examples of old lenses with incredible out of focus areas made possible by huge numbers of aperture blades.

Even through the 1970s, bokeh still wasn’t really used and the word wasn’t really even common. Even fast lenses were most often stopped down and rarely wide open. Wide-open lenses were used mainly for their light-gathering ability instead of the benefits of out of focus backgrounds.

Photo by Илья Косарев

Simon argues that the digital era has really brought bokeh to the forefront. Since the explosion of digital photography, bokeh has ballooned in use as a method of adding interest to an image or using the defocused areas to isolate a subject. Simon argues that bokeh is very much a modern phenomonen and a product of the digital era. Its use is still evolving and growing, and how it is being used is about more than cameras and lenses, but also software.

Simon’s entire video is worth a watch, so we highly recommend hearing his full arguments. After you’ve done so, let us know what you think in the comments. Do you agree with his assessment? How do you feel about bokeh? There is no denying it is popular, but how much longer do you think it will continue to be important to many photographers and lens designers?

For more from Simon’s Utak, subscribe to his YouTube Channel.

(via Fstoppers)

78-Year-Old Everglades Photographer Didn’t Let a Stroke Slow Him Down

Photographer Clyde Butcher is most well known for his giant photos of the Everglades taken with a large-format camera. In 2017 he suffered a stroke, but that setback hasn’t slowed him down. In this 4.5-minute video, Butcher explains why photography continues to be important to him.

Butcher originally created massive artistic prints of his landscape photography that he used to bring awareness to the Everglades. To him, the area he photographed was a special place and it was his goal to show that to as many people as possible through his work.

Using large format photography, Butcher captured grand vistas in tricky situations that would be a challenge even for more modern equipment. In the video above there are scenes of him up to his chest in the water, gingerly swapping film slides and meticulously checking focus.

“I make the picture big so that when you get close to it, you have to scan it. And when you scan it, you get the feeling of being there. If you do it just right, it actually looks three-dimensional,” he says. “That’s why it’s large. it’s not the ego to make a big print, but to bring people into the picture.”

After suffering a stroke in 2017, Butcher was at first depressed and disheartened at his physical condition: He was afraid he would not be able to take photos anymore. But instead of wallowing in that sadness, Butcher adapted. He left his large-format camera at home and instead took his much smaller, nimbler digital camera. The experience of taking photos revitalized him and he thinks he might take even more photos than he did before the stroke.

“I think when you get to my age, it feels good to accomplish things,” Butcher says. “People don’t realize how important it is to accomplish something. There are all kinds of things that older people have the knowledge wisdom, and they waste it at home watching television. You’ve got to get out and start doing things. There are so many important things to be done.”

For those photographers who struggle with physical and health issues and therefore feel disconnected from the art they once loved, Butcher’s story shows that being held back by those problems can be mainly mental. If you set your mind to it, you can continue to be a prolific photographer.

(via ISO 1200)

2020 Displayed in a Year of Aerial Drone Photographs

Photographer Armando Martinez is celebrating the final day of 2020 by sharing this beautiful montage of drone video footage and photography that he captured in the last year.

This year has seen a flurry of news surrounding the present and future of drone photography and videography.

Olympus patented a “high performance” drone camera, and Sony announced that it was entering the market with it’s new Airpeak division.

DJI was added to the United States “economic blacklist,” opening the door for other competitors like Sony to make waves in the space.

Meanwhile, the FAA finalized its rules for commercial drone pilots, necessitating the use of a “digital license plate” while also loosening its regulations around flying at night. Speaking of the FAA, a drone pilot was hit with a $182,000 fine for violating a host of regulations.

In early December, SurfShark published a helpful infographic that visualized drone rules around the world.

On the creative front, this photographer produced the first sunrise to sunset hyperlapse of a city, another one managed to capture the collapse of the Arecibo Observatory, and another photographer captured an incredible photo of a couple by happenstance.

Drones have been a major part of the story for photographers in 2020, and looking back on everything that has happened, there are few better ways to contemplate the future of the format than enjoying some of the beautiful images that the little flying cameras allow photographers to create.


Image credits: Photos by Armando Martinez and used with permission.

Nikon Z 50mm Shootout: f/1.8 vs f/1.2 vs 0.95 Noct

Youtuber Matt Granger has published an 18-minute Nikon 50mm shootout that pits the Nikkor Z 50mm f/1.8 against the 50mm f/1.2 and the 58mm f/0.95 Noct. As Granger says, every system needs a great 50mm lens, so which of these is the best?

There are a lot of factors to consider when pitting these three lenses against one another. For one, not all of them are 50mm lenses: the Noct is a 58mm and while that’s not a big difference, it is worth noting.

Additionally, and perhaps more obviously, the price differences among these three lenses is a bit extreme. On the low end, the 50mm f/1.8 is $500. A step up from that, the 50mm f/1.2 is $2,100. Finally, the 58mm f/0.95 Noct is $8,000. Additionally, that Noct doesn’t feature autofocus and is considered by many to be more of a showpiece optic than one that a photographer would actually use. Still, it’s available for the Nikon Z mount and as such it’s important to see how it performs versus lenses that are more attainable.

Granger supplied PetaPixel with two sets of image samples from all three lenses for your perusal. First is a more traditional portrait:

Nikkkor 50mm f/1.8
Nikkor 50mm f/1.2
Nikkor 58mm f/0.95 Noct

Below are 100% crops from each sample:

Nikkor 50mm f/1.8
Nikkor 50mm f/1.2
Nikkor 58mm f/0.95 Noct

Below is a second image set to compare:

Nikkor 50mm f/1.8
Nikkor 50mm f/1.2
Nikkkor 58mm f/0.95 Noct

And again, below are 100% crops from each sample:

Nikkor 50mm f/1.8
Nikkor 50mm f/1.2
Nikkkor 58mm f/0.95 Noct

If you want to look at these images for yourself, Granger has uploaded the RAW files here.

“I went out wanting to love the 58mm Noct,” Granger says. “I can appreciate amazing engineering and perfection even if it has tradeoffs of price and size. But shooting these side by side, it actually just reinforced my opinion that this is for such a limited market and I’m not in that market, unfortunately.”

Unsurprisingly, Granger says the 58mm was not a practical option. On the other hand, the other two 50mm lenses have a lot more to offer to more people. Granger states that he does think the f/1.2 model is better than the f/1.8, unsurprisingly, but doesn’t go so far as to say the f/1.8 isn’t a good lens. Depending on your budget, either option is going to likely satisfy your needs.

Based on the samples he provides, what are your thoughts?

We recommend you watch Granger’s entire video, and for more from him make sure you subscribe to his YouTube Channel.

These Photos of Saturn and Jupiter Look Photoshopped, But are Real

During the peak of the astronomical event that was the conjunction of Jupiter and Saturn in December, a photographer named Garret who goes by gm_astrphotography posted a photo that sparked some debate to its authenticity. The fact is, the image is 100% legitimate.

The images below at first seem like they must have been manipulated after the fact to give the “spikes” that are seen around the planets. Garret provided the following explanation:

“This is what the conjunction looks like through my small 72mm refractor telescope. Notice the colorful diffraction spikes coming from the planets. They are unique in the fact that diffraction spikes can differ depending on the shape and size of the planet!”

USA Today fact-checked his explanation and found it to be sound.

“Diffraction spikes in astrophotography are “artifacts” that show on images of brighter stars where beams of light run through an obstacle on the camera lens and are bent, causing the light to spread out to capture a better image of the sky, according to Photographing Space. Said another way, in an image of a star or planet, they are the straight beams of light that point out in four directions from the object.”

Garret explains that he made those prominent spikes by using tape and rubber bands that he stretched across the front of the refractor in a cross pattern as a kind of practical effect. So while the image is enhanced by the photographer, it was not done in post-production: what is seen is really how the camera captured the photos.

“If you’re into telescopes as much as I am, you’re probably asking yourself how did I capture these spikes with a refractor?” Garret writes. “The best way I found to do this is with tape and rubber bands stretched across the front of your refractor in a symmetrical pattern (I did a plain cross). I feel like it adds something a little extra to the image!”

USA Today accepts his explanation and has rated this viral image as “true.”

In its fact-checking notification, Facebook has linked to this very USA Today article that actually states definitively that the image shown is 100% real, which might lead to some confusion. What is actually contested is the caption that the image was captured at an observatory in Chile when in reality it was shot from Massachusetts.

(via USA Today)

The 10 Most Popular PetaPixel Posts of 2020

2020 has been a crazy and eventful year. Before we turn the page and move into 2021, we thought we’d take a look back at the 10 most popular articles published here over the past 365 days.

Here’s the list in descending over from the 10th most popular to the most popular post of the year:

#10: Photographer Captures the Touching Bond Between a Dog and an Owl

#9: Photo of Turtle ‘Flipping the Bird’ Wins Comedy Wildlife Photography Awards

#8: Subway Mouse Fight Wins People’s Choice for Wildlife Photographer of the Year

#7: This Woman Tried to Take a Picture with a Wild Bear

#6: If Your iPhone Has a Green Dot in iOS 14, Your Camera May Be Spying On You

#5: SpaceX Satellites Ruin Photographer’s Shots of Comet NEOWISE

#4: Lady Gaga Criticizes Music Pirates with Pirated Photos. Shutterstock Responds

#3: Photographer Catches the ISS Crossing the Sun and Moon

#2: Indian Photographer Shoots Stunning Macro Photos Using His Phone

#1: Photographer Gets Death Threats Over Utah Monolith Photo in NYTimes


A huge thank you to all of you who have read our articles this year — you reading and sharing our articles keeps this publication going. Here’s to hoping that 2021 will be a much better year!


Image credits: Header illustration based on photo by nck_gsl

Camera Predictions for 2021: What We Think You Can Expect

DPReview just released its annual camera industry predictions video where Chris and Jordan discuss what they think will come from the leading manufacturers. I think that, for the most part, they’re right on the nose.

2020 was an “upset the apple cart” kind of year. I think that were it not for the COVID-19 pandemic, we would have seen different decisions from the major camera manufacturers, and that many of them looked at what they could do this year and if they found that they could wait one more year before taking that action, they chose to.

So looking at next year, this is what I (along with Chris and Jordan) think you can expect from the big names in 2021.

Canon

Chris and Jordan are pretty spot on in their analysis of Canon’s position: the company is in really good shape when it comes to the high end. Right after the launch of the EOS R, Canon spent a majority of its time building out its lens lineup. By the time it finally released the R5 and R6, there was a robust lens library to back up those two cameras.

The thing is, almost everything Canon sells in the RF line is extremely expensive, making it challenging for anyone with a limited budget to get a toe in Canon’s mirrorless pool. The DPReview video duo believes we’ll see more inexpensive camera equipment from Canon in 2021, including an RP replacement, and I tend to agree with them.

One area that is a bit of a wild card is what Canon plans to do with its M mount. As Jordan says, the “M50 Mark II was kind of an embarrassing upgrade.” It’s true. That camera does not deserve the “Mark II” name, as Canon essentially gave it a firmware upgrade and put it on sale. I’m absolutely not confident in this hot take, but I do think Canon will keep it around. I’m not getting the sense that the company wants to make smaller sensor products in the RF line, and the M line is a perfect place to offer that kind of support while the RF line continues to cater to those wanting full frame.

Canon is a hard one to predict because while it’s early on in the mirrorless game for it still, the company seems so well-positioned to do whatever it wants. The company’s mirrorless strategy seems to have paid off, and now there is so much flexibility with where Canon can take its brand that it’s hard to predict. Canon fans really just have a lot of reasons to continue to be optimistic.

Pentax/Ricoh

I think if you’ve been paying attention, it’s kind of easy to guess what Pentax/Ricoh is going to do in 2021: not a lot. We’ll get the Pentax K3 Mark III, maybe a new GR under the Ricoh brand, and perhaps one Pentax lens, but the company has repeatedly underwhelmed for years. Leadership has said time and again that it will never produce a mirrorless Pentax product and seeing how long it takes the company to make lenses for its DSLRs, I believe them. There is no way that at its current pace, Pentax could compete even if it did produce a great mirrorless ILC: you’d have to wait 5 or 6 years before there was any kind of flexible library of first-party glass to use on such a camera.

I am a bit excited to see how the K3 Mark III integrates on-sensor stabilization since we haven’t seen that technology in a DSLR before (at least not to my memory, I could be wrong). Aside from that though, there is scant little to say when it comes to Pentax/Ricoh.

Fujifilm

I have to admit, I can’t predict Fujifilm. I like the cameras, but I’ve never been a “Fuji guy.” Jordan has a small list of expectations for the company in 2021 which primarily aim at the company’s video capability. Fujifilm has been steadily upping its video game over the last two years and stepping into Panasonic’s micro four-thirds space. I think what Jordan says here is a smart guess: expect them to give video shooters more.

I also agree that it would make sense to see Fujifilm play around a bit more with medium format cameras. Right now, those cameras are big, bulky, and still relatively expensive. Fujifilm could try and compress that excellent 100-megapixel sensor down into a smaller, more affordable, and even more approachable body.

Leica

Chris doesn’t seem to think we’ll see much in the way of cameras out of Leica this year, but there are rumors swirling that disagree, such as one hinting at a more affordable rangefinder as well as a new CL camera early in 2021.

Still, over the past two years, Leica has been making a lot of cameras and I think Chris’s opinion that we will instead see more optics from the company this year is a pretty safe bet. The L-Mount could use more interesting, faster glass. I also think that Leica should leverage its ability to make interesting lenses as opposed to the current trend of high-performing, soul-less glass. I hope we see them play around a bit in that space.

We’ll get to this more in the Panasonic section, but Leica’s autofocus needs work: it’s not a good sign that the SL2 didn’t win me over until I used manual focus lenses. Unlike Panasonic who has the DFD technology, Leica just has a competent contrast-based system without the intelligence behind it. Leica either needs to just license what Panasonic has, or it needs to add phase detection. This middle ground it’s sitting in isn’t working for anyone more than a hobbyist.

Nikon

Nikon has repeatedly been featured in a negative light in the news this year, mostly due to its financial situation. Things don’t look great on that end, but I don’t believe that we are anywhere close to seeing the end of Nikon. No, instead, I think the company will do what it keeps threatening to do: make more mirrorless lenses and produce one more DSLR.

Jordan’s prediction of a Z-mount sports body to compete with the Sony a9 is a pretty good guess, and I do agree we’ll see a new sports body from Nikon in 2021, but it may be either a DSLR or a mirrorless. I’m not certain if Nikon has the technology to make a high-performing sports mirrorless quite yet, but we know it can do it with DSLRs.

Sigma

Sigma is primarily known as a lens manufacturer, but it is technically a camera maker, too. While Jordan says he hopes to see a Foveon mirrorless camera, I have my doubts. I have said for years that I expect them to use that technology again and always predict that “this year will be the year.”

I think I’m done hoping there.

I bet we do see a compact, street/travel oriented mirrorless photo-focused camera from Sigma but I doubt it uses the Foveon sensor. It’s been so long since it has been seen in a camera that at this point, I have to believe that Sigma is having difficulty with making it a compelling option when faced with the market.

What is more likely is an “I Series” camera to go with Sigma’s latest compact primes.

Olympus

Chris and Jordan are of the same mind as me: it’s hard to not believe this is just the beginning of the end for Olympus. Japan Industrial Partners (JIP) purchased the brand this last year and it’s hard not to believe that it will slowly just let the brand die off.

Financially speaking, I don’t know how that makes sense for JIP, though. The purchase of Olympus was not cheap and letting the brand slowly fade away doesn’t seem like a stound financial strategy to me. I have a bit more confidence that Olympus will stick around for a while than Chris does, but it’s really hard to tell. We rarely see new owners of camera brands in this industry so it’s hard to look at situations from the past and as a barometer for what we are seeing now. Unfortunately, we will just have to wait and see.

Panasonic

Panasonic is my favorite camera brand, and I have no qualms about saying that. I switched over to Panasonic with the GH4 and now happily use the GH5, S1, S5, and S1H. There are many who do not use Panasonic products who say that the company’s DFD technology is bad and its insistence on contrast-based autofocus is never going anywhere, but I disagree. I think Panasonic will stick with DFD and continue to improve it. At this point, if Panasonic was going to use phase detection, it already would have.

I am also with Jordan: I am 100% confident we’ll see the GH6 this year as a video-focused micro four thirds camera that will have at least the same specifications we see in the a7S III. I don’t think video shooters want more resolution, and as such it will be a camera that will focus on absolutely rocking 4K performance.

Sony

I think that if 2020 were a normal year, the a7 IV would already be on the market. Sony took a very conservative approach to 2020 because, let’s face it, the company doesn’t have to take any risks anymore: it kind of owns the mirrorless space. That won’t last forever though with Canon breathing down its neck though, and as such we are most certainly going to see Sony release some impressive new products in 2021 starting with an a7 IV.

I think Sony will also make a stronger case for its APS-C line, hopefully leaving behind that a6000-style body. Fujifilm could use some stronger competition, and I think Sony recognizes that.

Also, some of the older G-Master lenses desperately need a refresh – I am looking at you 24-70mm f/2.8. I am fairly confident that we’ll see new versions of those lenses come this year with updated optics and the brand new autofocus motors.


Do you agree with Chis and Jordan? What did I miss or get wrong? What are your predictions for 2021? Let us know in the comments.