Рубрика: Phototechnique

Save up to $1150 on Tripods, Monopods and Heads at B&H Photo

B&H Photo has a huge selection of tripods, monopods and heads in their DealZone today. These deals come from manufacturers such as Benro, Manfrotto, Gitzo

Top Selections

There are many more tripod. monopod and head options available from B&H Photo today, you check them all out here.

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Apple 16.2″ MacBook Pro with M1 Max Chip $2199 (Reg $3499)

B&H Photo has a couple of M1 Macbook Pro laptops at big discounts. For most people, the M1 Max chip is extremely capable.

Apple 16.2″ MacBook Pro with M1 Max

  • Apple M1 Max 10-Core Chip
  • 32GB Unified RAM | 1TB SSD
  • 16.2″ 3456×2234 Liquid Retina XDR Screen
  • 32-Core GPU | 16-Core Neural Engine
  • Wi-Fi 6 (802.11ax) | Bluetooth 5.0
  • Thunderbolt 4 | HDMI | MagSafe 3
  • SDXC Slot | FaceTime HD 1080p Camera
  • Backlit Magic Keyboard
  • Force Touch Trackpad | Touch ID Sensor
  • macOS

Apple 16.2″ MacBook Pro with M1 Max $2199 (Reg $3499)

You can also save big on the 64GB/2TB configuration of the 16.2″ MacBook Pro with M1 Max.

Apple 16.2″ MacBook Pro with M1 Max Chip $2499 (Reg $4299)

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Landscape composition: Beyond landscape: Digital Photography Review

What does this beautiful Celebes crested macaque have to do with landscape composition? How would you analyze the composition here with regard to the principles introduced in this series?

Canon 5D4, Canon 16-35mm f/2.8
27mm, f/2.8. 1/100 sec, ISO 800
Tangkoko NP, Sulawesi Island, Indonesia

So far in my landscape photography series, I’ve talked about compositional elements, their weights and how to use their properties to balance the composition by imagining a balance of torques around the middle axis of an image. I also discussed balancing of negative space, the perception of subject direction and the often-overlooked importance I reserve to the separation of elements. I then discussed the perception of depth and how to use sky in a landscape image, and finally how to connect the elements in a way which makes sense. I suggested one idea to guide the photographer when composing in the field, and showed how widely known photographic techniques are in fact private cases of the framework I explored in the articles.

My good friend Ian Plant always says “If you can shoot landscape, you can shoot anything”. I tend to agree, because in my view, composition takes the highest importance in landscape photograhy when compared to other genres. If you don’t have a good composition when shooting landscape, you have achieved nothing. I would claim that this isn’t necessarily true in street photography, for example, where what’s happening in the frame is most important, even more than composition.

As an addendum to the series, I’d like to show in this final article that the ideas I presented can be extended beyond landscape photography. This makes a lot of sense since, with the exception of the article about sky, nothing I wrote talks about landscape elements exclusively. I could have called this series ‘About Composition’ just as well. I only chose landscape because I’m most knowledgeable and experienced in this area, so to give the series the last stroke of validity and to persuade you of its merit, let’s look at a couple of photographic fields and discuss what principles apply to them, especially. I have added a lot of examples – I urge you to examine the images and think to yourself how what you’ve learned in this series reflects in what you see.

A female yellow-cheeked gibbon, perched high up in the trees at sunrise. What would you say about the composition here as compared to the landscape compositions you’re used to seeing in this series? Specifically, how would you treat the main compositional mass if it weren’t an animal, but a non-living subject such as a flower?

Canon 5D4, Sigma 150-600mm
421mm, 1/1000sec, f/6.3, ISO 3200
Cat Tien NP, Vietnam

A strawberry poison dart frog in the jungles of Panama. How good a job did I do balancing the compositional masses and minding subject direction?

Work dogs being gathered to shelter during a powerful snow blizzard. A nice example for balancing compositional masses around the middle axis, but one may ask – isn’t this a landscape shot?

Canon 5D4, Canon 70-300mm f/4-5.6
200mm, f/8, 1/800 sec, ISO200
Uummannaq, Greenland

Composition in Wildlife Photography

Wildlife may be the closest genre to landscape, in essence, and in the considerations one takes to produce a shot. The animal you are shooting is situated in nature, where everything else is basically landscape, and thus the ideas governing landscape composition are very much valid here. I would say that when it comes to animal subjects, the prominence of the mass associated with that subject is almost always very large. An animal is almost always the center of importance in a wildlife shot, even if it isn’t very large in the frame, and thus requires everything that a landscape subject of large prominence would require, and more: a large amount of negative space, for starters, and then a special consideration of subject direction (since we actually have a clear direction in which the animal is looking). Separation is also critical – the animal should not overlap other elements in a disturbing way.

A massive male Komodo dragon. Aside from the subject direction, which is pretty clear, I think the most important aspect of this composition is the separation of elements. The dragon’s head (the main focus of the image) is situated in the opening between the trees in the background, which contributes to depth perception and helps us avoid tension.

Canon 5D4, Sigma 150-600mm
226mm, 1/640 sec, f/5.6, ISO 1600
Komodo Island, Indonesia

A cheeky baby orangutan peeks while hanging upside down while holding onto its mother. How would you analyze this composition in terms of balance between compositional masses?

Canon 5D4, Canon 70-300mm f/4-5.6
166mm, f/5.6, 1/160 sec, ISO 3200
Gunung Leuser NP, Sumatra, Indonesia

This gorgeous Indri Indri lemur did its best to challenge me with regard to subject direction, as its face was pointing in the complete opposite direction to its body!

Canon 5D4, Sigma 150-600mm
516mm, 1/500 sec, f/6.3, ISO 1600
Andasibe, Madagascar

I would claim that framing is an idea that’s utilized in wildlife photography much more often than in landscape (and produces a stronger effect), since animals tend to position themselves in natural frames. The clever photographer also knows how to position himself to use existing natural elements to frame a subject by juxtaposing these elements with the animal.

A female Sumatran orangutan and her baby. The animal was hanging from a branch that supplied a perfect frame.

Canon 5D4, Tamron 24-70mm f/2.8
45mm, 1/200 sec, f/2.8, ISO 1600
Gunung Leuser NP, Sumatra, Indonesia

A Decken’s Sifaka perched on a Y-Shaped branch.

Canon 5D4, Sigma 150-600mm
275mm, 1/640 sec, f/5.6, ISO400
Tsingy de Bemaraha National Park, Madagascar

I took a lot of work and sweat to perfectly frame this golden bamboo lemur in a heart-shaped frame of leaves.

Canon 5D4, Canon 70-300mm f/4-5.6
300mm, 1/250 sec, f/5.6, ISO 2000
Ranomafana, Madagascar

In wildlife photography, if the animal (or animals) serving as the main subject is interesting enough, it can, admittedly, dampen the need of a proper composition, but the best wildlife images are those which show the animal in its natural surroundings and include interesting elements from its habitat. Better yet, if the animal is interacting with its surroundings.

A beautiful red-shanked Douc feeding in a fig tree – the source of its favorite food.

Canon 5D4, Sigma 150-600mm
283 mm, 1/400 sec, f/5.6, ISO1600
Son Tra peninsula, Vietnam

An adult male Bornean orangutan showing off a power pose, as it’s taking a break from traversing the canopy. How did the pose contribute to the overall composition? Hint: lines.

Canon 5D4, Canon 70-300mm f/4-5.6
150mm, 1/400 sec, f/6.3, ISO 800
Tanjung Puting NP, Kalimantan, Indonesia

A male yellow-cheeeked gobbon leaping between tree branches high in the canopy.

Canon 5D4, Sigma 150-600mm
600 mm, 1/1000 sec, f/6.3, ISO1600
Cat Tien NP, Vietnam

Street and Portrait Photography

I’m not much of a people photographer, but I have done a bit of it during my travels. I think that while the photographic ideas and principles here are further away from landscape photography, the framework of thought still very much applies. For me personally, the compositional ideas I presented in this series are very much present when shooting people.

Tribal people of the Omo Valley. I would say that subject framing, leading lines, subject distance and balance of compositional weights are most definitely present.
Separation of elements is applied here by way of lighting.
How do the different elements counterbalance each other in this image?

Thank you for staying with me throughout this long series. I hope it’s been helpful, and I especially hope that it made you think about composition in a different way and take a moment before you click the shutter to make sure the subjects are in place and nicely separated!

Erez Marom is a professional nature photographer, photography guide and traveller based in Israel. You can follow Erez’s work on Instagram and Facebook, and subscribe to his mailing list for updates and to his YouTube channel.

If you’d like to experience and shoot some of the world’s most fascinating landscapes with Erez as your guide, take a look at his unique photography workshops in Svalbard, Greenland, Madagascar, the Lofoten Islands, Namibia and Vietnam.

Erez also offers video tutorials discussing his images and explaining how he achieved them.

More in The Landscape Composition Series:

Selected Articles by Erez Marom:

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Canon RF 100-300mm f/2.8L IS USM

Authorized Canon dealer Berger Bros has stock of the Canon RF 100-300mm f/2.8L IS USM, and they are selling it via Amazon USA.

Canon RF 100-300mm f/2.8L IS USM

  • Full-Frame | f/2.8 to f/22
  • Fast L-Series Telephoto Zoom
  • Dual Nano USM AF System
  • 5.5-Stop Image Stabilization
  • Floating Focus Design
  • Internal Zoom and Focusing Design
  • Function/Focus Preset Selector Switch
  • Fluorite, UD, and Aspherical Elements
  • ASC, SSC, and Fluorine Coatings
  • Weather-Sealed Design

Canon RF 100-300mm f/2.8L IS USM $9499

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Flashpoint XPLOR 600 R2 HSS TTL Battery-Powered All-In-One Outdoor Flash $449 (Reg $699)

You can save $250 on the Flashpoint XPLOR 600 R2 HSS TTL Battery-Powered All-In-One Outdoor Flash today at Adorama.

Flashpoint XPLOR 600 R2

  • An option to trigger the flash through a synchro socket of 3.5mm type and photocell.
  • Extremely fast shutter speeds of up to 1/10000 s (t0.1, at 1/256 power).
  • Integrated Flashpoint R2 receiver and the connection for the Navigator receiver.
  • LED light modelling at 10W power.
  • Maximum flash output of up to 600 WS.
  • Power supply ensured by 8700mAh battery allowing for up to 500 full-power flashes.
  • Stable flash color temperature (5600K 200K).
  • Stroboscopic flash function and synchro with short exposure times.

Flashpoint XPLOR 600 R2 HSS TTL Battery-Powered All-In-One Outdoor Flash $449 (Reg $699)

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SIGMA EF 12-24mm f/4 DG HSM Art $799 (Reg $1599)

B&H Photo has the SIGMA EF 12-24mm f/4 DG HSM Art in their DealZone for $799 (Reg $1599). This lens is compatible with your EF to RF mount adapter.

SIGMA EF 12-24mm f/4 DG HSM Art

  • EF-Mount Lens/Full-Frame Format
  • Aperture Range: f/4 to f/22
  • Five FLD Elements, One SLD Element
  • Three Aspherical Elements
  • Super Multi-Layer Coating
  • Hyper Sonic Motor AF System
  • Rounded 9-Blade Diaphragm
  • Built-In Lens Hood

SIGMA EF 12-24mm f/4 DG HSM Art $799 (Reg $1599)

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Canon USA refurbished gear sale stock update

The Canon USA store refurbished sale seems to have been a great success, as stock levels for a lot of the gear has been depleted, though there are still some great deals available. The full sale runs until November 30, 2023, but stock likely isn’t going to last that long.

Canon EOS R Cameras & Kits

Canon RF Lenses

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The State of RF – 5 Years of Lenses

Part of me was thinking to myself that Canon’s lens releases have been very sluggish, or at least they just “felt” that way. So I decided to take a look at just how Canon did in their history from the EF mount onwards. So armed with Excel and Canon Camera Museum (honestly, if you haven’t spent a few hours there yet, you really need to do so), I went to work.

Having grabbed all the data I plotted out just how many lenses Canon has developed over the years (231 so far), and wanted to see if the rate looked dramatically lower during the RF years.

image 14 728x432 - The State of RF - 5 Years of Lenses

To my surprise, the plot really wasn’t that different. In actuality – Canon has averaged around 7 lenses over the RF mount timeframe (37 total lenses), whereas the overall average for the EF mount was around 6 lenses per year (194 total lenses).

Next, I wanted to see how Canon did during the 5 year segments, and how that matches up to the RF mount. Again, Canon has outpaced the EF mount development outside of a notable period at the start of the EF mount.

image 15 728x363 - The State of RF - 5 Years of Lenses

I know some sharp-eyed people will notice what I did for the first 7 years in the above graph, the 1987-1994 data is equalized out to a 5-year average instead of 7 years (the first 7 years of the EF mount produced 62 lenses in total). As you can see from the above graph, outside of the initial burst of EF lenses, the RF mount releases have outpaced every 5-year period of lenses developed for the RF mount.

The RF mount lens pace not reaching the burst period of the first 7 years of the EF mount at its inception perhaps isn’t too realistic. We need to consider factors that happened during the 5 years of Canon’s RF mount development – in particular three;

  • Unlike the RF mount, the EF mount was disruptive. You simply couldn’t use the older FD mount lenses on the EF mount. Canon had to scramble far quicker to roll out lenses for a radically new mount. The RF mount allowed for a more gentle approach, with some excellent adapters allowing the use of EF lenses on the RF mount. There was far greater urgency to roll out EF lenses than there is to roll out RF lenses.
  • Most of the RF lenses were entirely new designs for Canon. They didn’t have hundreds if not thousands of prior patented optical designs to fall back on for a lens. They had to develop, patent, and design all these lenses from the ground up to take advantage of the shorter registration distance of mirrorless cameras. Many of the initial EF lenses were simply reused FD mount lens optical designs.
  • COVID-19 affected Canon’s production and product development and even leading up to and into this year, Canon’s supply chains have been problematic at best. Even Canon I’m sure didn’t want to announce lenses they had absolutely no hope of manufacturing.

When we consider these factors, what Canon has accomplished is actually quite impressive, certainly better than I originally thought. They turned their entire camera ecosystem around to mirrorless and rolled out lenses faster than they’ve ever done before in the digital era. Now we should also toss some credit to the dark side here, Nikon in that nearly same period of time has developed 40 new mirrorless lenses. So Canon isn’t quite up to an industry-leading pace at the moment, but I’m still rather impressed by Canon’s efforts to date.

So if it feels like Canon is releasing lenses at a slow pace, they aren’t – it just seems that way. Canon has done an admirable amount of work releasing lenses at an increased pace for the RF mount under some challenging circumstances. Canon will undoubtedly continue this pace until they have completed what they feel is their lens lineup and turn it into an industry-leading ecosystem much like the EF system before.

Now where’s that Canon RF 50mm F1.4?

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