El concurso de fotografía más lucrativo del mundo otorgó su primer premio (200.000 dólares estadounidenses) al chino Liping Cao por su imagen monocromática de un remoto parque eólico a orillas de un lago de agua dulce en Australia (ver más abajo).
El panel de jueces del Concurso de Sostenibilidad HIPA, ahora en su decimotercer año, que este año ofreció un premio récord de 1 millón de dólares para compartir entre los ganadores, eligió Fuerza silenciosaque muestra un parque eólico en 2021 en el entonces seco lago George en Nueva Gales del Sur, Australia, fue nombrado ganador absoluto.
Lo más sorprendente del logro de Liping es la cámara que utilizó para tomar la foto ganadora: A Canon DSLR.
Liping combinó la EOS 5D Mark III con el EF 24-105 mm F4L IS USM, un lente zoom versátil que en el pasado se habría comprado con la cámara como parte de un kit, una combinación que es fácil de obtener para los entusiastas.
La fotografía ganadora fue capturada en color y luego convertida a blanco y negro porque “muestra más niveles de detalle y es más apropiada para experimentar el impacto ambiental”, dijo Lepping.
Canon EOS 5D Mark III con EF 24-105 mm F4L IS USM, el equipo ganador de Liping (Crédito de la imagen: futuro)
DSLR para la victoria
Canon confirmó hace algún tiempo que ya no desarrollaba cámaras DSLR, sino que estaba trabajando en desarrollarlas por completo. Cámaras sin espejoPero la foto ganadora de Liping, que capturó con una cámara Canon ya desaparecida, nos recuerda que no siempre se necesita lo último y lo mejor. las mejores camaras Para obtener los mejores resultados.
La EOS 5D Mark III de fotograma completo tiene un sensor de 22,9 megapíxeles, que prácticamente iguala a los equivalentes modernos sin espejo de Canon en cuanto a detalles, como EOS R6 MarkIIque toma fotografías de 24 megapíxeles y es mucho más cara.
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Saluda al iPhone 16 Pro y Pro Max. Los últimos modelos de gama alta de Apple pueden parecer familiares, pero tienen pantallas un poco más grandes que las del iPhone 15 Pros: la pantalla del iPhone 16 Pro es de 6,3 pulgadas y la del Pro Max es de 6,9 pulgadas, un aumento de 0,2 pulgadas en ambos casos. Esto significa que los biseles del 16 Pros son muy delgados.
manzana
De hecho, esta vez se trata del botón de la cámara. Ambos nuevos modelos Pro tienen un botón dedicado para tomar fotografías y grabar videos con un estilo profesional. También es sensible al tacto: una ligera pulsación abre herramientas adicionales controladas deslizando el botón, como ajustar el zoom, la exposición y la apertura. Al presionar prolongadamente el botón de control de la cámara se cambia entre los modos fijo y de video. Apple planea actualizar el botón con enfoque de estado dual a finales de este año, lo que permitirá presionarlo hasta la mitad para activar el enfoque y presionarlo por completo para tomar una foto.
El botón de control de la cámara parece una progresión natural para Apple, como parte de la estrategia de la compañía De larga duraciónuna tarea Posicionar el iPhone como una máquina cinematográfica todo en uno. El botón también está integrado en los no Pro Modelos de iPhone 16.
Internamente, la cámara recibe un pequeño impulso. El teleobjetivo tiene capacidad de zoom óptico de 5x, un aumento específico del Pro más pequeño, que anteriormente tenía un zoom de hasta 3x. La cámara ultra gran angular se actualizó de 12MP a 48MP en ambos modelos Pro. Los nuevos teléfonos admiten modos de disparo personalizables y los usuarios pueden cambiar el estilo que prefieran después de tomar una foto, lo cual es una mejora útil.
El iPhone 16 Pro puede grabar videos 4K a 120 fps y, después de grabar, puedes seleccionar qué fotogramas se reproducirán en cámara lenta si eso es lo que prefieres. También admite la captura de audio espacial en videos. Con Audio Mix, puedes aislar las voces de las personas en la cámara, hacer que una toma suene como si estuviera grabada dentro de un estudio o eliminar el ruido ambiental mientras resaltas las voces que hablan, lo que da como resultado una sensación más cinematográfica.
manzana
El iPhone 16 Pro tiene una batería más grande, dándonos otra línea clásica mientras evento en vivo de Apple: Aparentemente, esta es la “mejor duración de batería jamás vista”. Los nuevos teléfonos funcionan con el chip A18 Pro, que es una versión mejorada del A18 que se encuentra en el iPhone normal. Tiene un motor neutral de 16 núcleos y Apple dice que sus funciones de inteligencia artificial funcionarán hasta un 20 por ciento más rápido que las del iPhone 15 Pro.
El iPhone 16 Pro y Pro Max tienen soporte integrado para inteligencia de manzanaComo es el caso de los modelos no profesionales esta vez. Apple Intelligence es un sistema de inteligencia artificial que aborda todos los aspectos de los teléfonos nuevos, mejorando Siri, las herramientas de escritura, los resúmenes de llamadas telefónicas y otras aplicaciones. Esto incluye la nueva función Visual Intelligence, que funciona de manera muy similar a Google Lens: con el nuevo botón de la cámara, los usuarios pueden tomar fotografías de señales y objetos para recibir información instantánea sobre esos lugares y objetos.
manzana
Las últimas versiones Pro vienen en titanio dorado (Apple lo llama “desierto”), o en los colores estándar blanco, negro o titanio natural a los que estamos acostumbrados. El titanio dorado reemplaza la caja de titanio azul que debutó el año pasado para el iPhone 15 Pro.
El iPhone 16 Pro comienza en $999 y el Pro Max comienza en $1,199. Vienen en tamaños de 128 GB, 256 GB, 512 GB y 1 TB. Esta es una muestra de coherencia por parte de Apple: el iPhone 15 Pro tenía un precio de $ 999 con 128 GB de almacenamiento, mientras que el 15 Pro Max costaba $ 1,199 con 256 GB de almacenamiento.
El iPhone 17 puede tener un sistema de apertura variable para la cámara principal. Foto de : Culto a Mac
Apple puede agregar una apertura variable a la cámara principal del iPhone 17 en 2025. La apertura variable, que generalmente se encuentra en cámaras y SLR digitales de alta gama, permitirá que el sensor limite la cantidad de luz que ingresa.
También permitirá un mejor efecto de profundidad de campo con un agradable desenfoque del fondo al tomar fotografías en primer plano de un sujeto.
Una cámara de apertura variable puede ayudar a controlar el bokeh
Apple actualiza sus iPhones insignia casi todos los años con cámaras más grandes para mejorar el rendimiento de las imágenes. El sensor más grande permite que entre más luz, lo que resulta en un mejor rendimiento con poca luz. Sin embargo, los sensores de cámara grandes tienen desventajas. A la luz del día, la luz adicional puede abrumar a la cámara, lo que resulta en luces y exposiciones descoloridas.
Existe otro problema al tomar fotografías en primer plano de un objeto. Una cámara más grande con una gran apertura tendrá un área de enfoque limitada, lo que hará que otras partes del cuerpo aparezcan borrosas. Usar una apertura más lenta o un sensor más pequeño no es una solución viable ya que afectará la calidad de la imagen. Basado en cámaras DSLR y algunos teléfonos Android de alta gama, Apple planea utilizar una apertura variable en el iPhone 17 el próximo año.
la información Los informes indican que Apple planea agregar una apertura variable controlada mecánicamente a al menos un modelo de iPhone 17, y esto permitiría a la cámara ajustar la apertura de la lente según las condiciones de iluminación y escena para obtener el mejor resultado.
Debido al espacio requerido para la apertura variable, Rumores sobre el iPhone 17 Slim Es poco probable que Apple incluya el sistema. Alternativamente, Apple puede lanzar primero la tecnología de apertura variable en el iPhone 17 Pro Max.
Los principales teléfonos Android chinos ya utilizan un sistema de apertura variable
Muchos fabricantes chinos de Android ya están utilizando aperturas variables en sus teléfonos estrella. El sensor primario de 50MP del Xiaomi 14 Ultra utiliza un sistema de apertura variable, lo que permite un ajuste suave entre aperturas f/1.6 y 4.0. Samsung también utilizó un sistema de apertura variable en su teléfono insignia Galaxy S, lanzado en 2018, pero lo abandonó poco después.
Y dado que aún falta más de un año para el lanzamiento del iPhone 17, muchas cosas podrían haber cambiado para entonces. Si Apple sigue adelante con una apertura variable, permitirá que el iPhone 2025 tome mejores fotografías.
Take the strain, and three, two, one, pull! No, I’m not in the gym lifting weights, but in the woods with my Nikon DSLR and raising its optical viewfinder to my eye to compose a picture. It’s my D800‘s first outing in years and it’s quickly reminding me why I was so happy to switch to mirrorless. At 31.7oz / 900g and combined with my Nikon 70-200mm AF-S f/2.8 VR lens (50.4oz / 1430g) it’s well over 80oz / 2300g, and being cumbersome isn’t even the worst part.
Don’t get me wrong, I’ll come away from this walk in my local woods that’s bursting with fragrant bluebells and wild garlic with some pictures I’m super-excited about (see below), but boy do I have to work that much harder to get the results I want. And without wanting to lug a tripod around, I actually can’t get the same degree of sharpness in my pictures from this day in the dim conditions under a dense tree canopy.
There are aspects of the Nikon D800’s handling that I really enjoy and mixing up creative tools keeps me fresh as a photographer, but overall my mirrorless camera is a much more streamlined experience and I’m still glad that I made the leap from a Nikon DSLR to the Z6 II. Let’s look at where my DSLR struggles begin.
1. Carrying the gear
(Image credit: Future | Tim Coleman)
My Nikon D800 from 2012 is an extra 50% heavier than the Nikon Z6 II I’m now used to, and also the Z7 II that is arguably my DSLR’s modern day equivalent. The 70-200mm f/2.8 F-mount lens is also heavier than the mirrorless Z-mount version, although not by much. Overall, there’s approximately a 20% reduction in weight in the mirrorless version of my DSLR camera and lens pairing.
The DSLR camera body is also bulkier, and I notice this quickly with the chunkier handgrip. In some ways it’s actually a better balance with the fairly large telephoto lens than what my mirrorless camera offers, but in practice I’m wanting to place the DSLR down quicker than mirrorless.
When you’re repeating the motion of bringing the camera’s viewfinder up to your eye to compose a shot, the strain starts to take hold quite quickly.
2. Composing the shot
(Image credit: Future | Tim Coleman)
I like the D800’s optical viewfinder (OVF), a lot. It’s a bright and big display through which I can immerse myself in the scene. And it’s one less digital screen to look at, and I’m all for that.
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However, what you don’t get with an OVF, like you do with a mirrorless camera’s electronic viewfinder (EVF), is exposure preview, which is supremely helpful as you go about taking photos. You get a bright display but potentially a very different looking final image, both in brightness and depth of field / bokeh.
That can cause a problem for me because I tend to fiddle with exposure compensation based on the mood I want in the picture. It’s all too easy to leave the camera at -2EV for a low-key effect and unwittingly carry on shooting dark pictures because the end result is not reflected in the OVF display. Overall, I prefer an optical viewfinder display for the feeling and an electronic viewfinder to meet my practical needs.
Another point regarding my D800 is that its screen is fixed, whereas my mirrorless camera has a tilt display which is super helpful for shooting at low angles, which I often do especially in scenarios like this. Some DSLRs like the Nikon D850 also have a moveable screen, but most don’t, and once you’re used to working from a tilting or swivel screen, it’s hard to go back to a fixed one.
3. Focusing issues
(Image credit: Future | Tim Coleman)
Focusing isn’t bad with the D800. It’s actually very good, but it’s not as refined as the Z6 II mirrorless camera. It’s evident as I pinpoint certain bluebells – the focus points simply aren’t small enough. I wrestle with autofocus as it hunts for the subject that’s right there, more so than with mirrorless.
If I was taking portraits today, I’d be much more relaxed with my mirrorless camera too thanks to its reliable subject and eye detection autofocus, whereas my D800 has regular back-focusing issues.
I’ve also become accustomed to composing shots through the Z6 II’s LCD display, often instead of the viewfinder. If I try to do the same – focusing through the D800’s Live View – it is a significantly worse experience, too. Nikon DSLRs aren’t really designed to be used for photography with autofocus through Live View, though Canon DSLRs do a better job.
4. No image stablization
When looking closely at the detail of the tree bark in sharp focus, there’s a subtle softness that comes with shooting handheld using a high-resolution DSLR like the D800. (Image credit: Future | Tim Coleman)
The single thing I miss the most when opting for my DSLR over mirrorless is in-body image stabilization, which in the Z6 II enables me to shoot handheld in more situations.
I remember when I first bought my D800 just how unforgiving its 36MP sensor was regarding camera shake and its resulting effect – softening detail. At the time, my golden rule to calculate the minimum acceptable shutter speed for sharp shots was shutter speed equals the focal length of your lens – for example, 1/200sec when shooting at 200mm.
That rule went out the window with the D800, the highest resolution full-frame sensor ever, and I would have to be conservative by around 2EV. At the same 200mm focal length a faster than normal 1/1000sec was as slow as I could go really. Or I could bring out the tripod to eliminate camera shake.
Image 1 of 7
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
I don’t want a tripod for my shooting techniques where I need maximum portability, like this day in the woods, nor do I want to damage the woodland and bluebells – I need a light footprint. No, I’m going handheld all the way.
Now I’m in these woods shaded by a dense tree canopy and the shutter speed I need to use with the 70-200mm lens requires a high ISO, even with the f/2.8 aperture. Put simply, the quality of detail I can get in this scenario cannot match what I can with my mirrorless camera which is equipped with image stabilization and able to shoot at slower shutter speeds and low ISO because it compensates camera shake.
The photos I came away with using my DSLR
Visually most woodlands are messy. You have to search long and hard for tidy compositions such as a single tree standing out from the rest. Or you can embrace and work with the chaos.
I’ve intentionally used a telephoto lens and shot through branches and leaves to add layers, a sense of depth and to bring in those elements that you otherwise have to work so hard to avoid. And I’m certainly not about to cut away branches or rip up flowers to get the shot I want.
Image 1 of 5
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
My overall experience bringing my DSLR back out of retirement was fine, but it has reminded me how mirrorless has evolved the camera experience for the better. Ultimately mirrorless is a more refined experience than a DSLR in just about every department.
Images are better, too. I haven’t been able to shoot handheld at ISO 100 under dense tree cover like I could with mirrorless, and there’s just an edge of softness in my pictures caused by subtle camera shake that I don’t have with mirrorless. I’m less concerned with my DSLR’s inferior corner sharpness and pronounced vignetting compared to mirrorless.
I’m not about to sell my DSLR – I’ll give it another run out soon. It’s just I’ve been reminded the extra dedication needed to the craft in order to come away with the pictures that I’m happy with. As I own both a DSLR and mirrorless camera, opting for the DSLR feels like taking the hard path.
If you’ve never seen a total eclipse in person, whatever you’ve seen and what you imagine don’t come close. The best photos, the most stunning video, they won’t match the silent, dazzling fury of the real thing. Your phone or monitor won’t capture the infinite diamond brilliance of the Sun’s corona twinkling around the black Moon. I set out to shoot the total eclipse with my three best camera phones and my Nikon DSLR, but I am thankful that I decided to enjoy the eclipse in the scant three minutes I was under its totality.
Before I talk tech, I’ll do my best to describe the total solar eclipse if you’ve never seen one in person. April 8 was my first total eclipse, and before that day I thought it would be my last. Now I’m sure that I’ll find another opportunity. I’ve already spotted an upcoming eclipse over Tunis, Tunisia, and Luxor, Egypt in 2027. That could be an incredible trip.
After seeing the total solar eclipse live, I felt like I can’t live the rest of my life without seeing one again. I’ve never seen a photo that was equally compelling. Seeing the real eclipse in person, it was so gloriously beautiful that I was immediately sad that it was so fleeting.
Here’s what a total solar eclipse really looks like
I was not shocked to hear the crowd around me erupt into spontaneous applause.
There is a bright flash in the instant before the Sun goes dark. The world gets colder suddenly, but the landscape is not pitch dark. Watching the eclipse from the shore of Lake Champlain in Burlington, Vermont, the view of Mount Marcy and the Adirondacks presented a panoramic sunset, with waning light surrounding me at the horizon on all sides, and the black eclipse at the center.
The Sun’s corona dazzles and flares with wisps of magic. You’ve never seen any light move in such a way. The contrast between the shockingly dark moon and the incredibly bright corona makes the halo seem brilliant and crisply present, as though the Sun is just beyond your grasp, and not seven light-minutes away.
The corona is bright, but not as bright as the face of the Sun. It reaches the limit of what my eyes could tolerate without causing pain. To see something so shockingly intense, after avoiding the painfully bright Sun for the previous hour, is a revelation. It feels like a gift being unwrapped in the sky above. It is a surprise and a joy, and I was not shocked to hear the crowd around me erupt into spontaneous applause.
I was awestruck. I forgot everything I was supposed to do at that moment. I’m now grateful that I decided at the last minute to drive all the way up to Burlington, where the clouds were wispy and few and the totality lasted more than three whole minutes. A good friend traveled farther to experience just over thirty seconds of totality in the Ozarks. Neither of us regrets taking our trip.
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Ruining a solar eclipse with too much tech
The eclipse shot with iPhone 15 Pro Max and Vaonis Hestia telescope (Image credit: Philip Berne/ Future)
Back to the tech. My plan was … too much. I brought a telescope, and a DSLR, and three phones, and even smart glasses on my face. I don’t know what I was thinking. The eclipse lasted three minutes. I barely had time to focus one camera, let alone try to shoot with five. My plans fell to pieces, and I gave up quickly. I got a few good shots, then I turned my attention to the sky and just allowed myself to soak it in.
Seeing the eclipse was more rewarding than the best photo I’ve seen of the eclipse.
Here’s the gear I brought to shoot the solar eclipse. I borrowed a Vaonis Hestia telescope, which uses your phone as the viewfinder. I used an iPhone 15 Pro Max to take photos and view the eclipse through that telescope, with a solar filter provided by Vaonis. Those photos turned out pretty good, but it isn’t the most powerful telescope. Plus, an eclipse is a very complicated scene for lighting, especially for a phone camera.
Image 1 of 3
(Image credit: Philip Berne / Future)
(Image credit: Philip Berne / Future)
(Image credit: Philip Berne / Future)
I also had a Google Pixel 8 Pro and a Samsung Galaxy S24 Ultra. I already decided I was not going to try to take telephoto zoom shots of the eclipse with these phones. The 5X range is simply not enough to capture any detail, and the sensor for the longest lens is also the smallest, lowest-quality sensor on the phone. Better to take wide-angle photos.
I set up the Galaxy S24 Ultra to shoot a time-lapse (Samsung calls it Hyperlapse) video of the entire event. I was pretty disappointed with the results. The sun was too high in the sky for even the widest lens to capture the scene around me as well as the eclipse in progress. The camera had trouble balancing the incredibly bright partial eclipse with the surroundings, so it just looks like a sunny day until totality occurs. When the eclipse happens, the camera balances the light in a way that doesn’t present the sunset colors and the changing light in the way I remember it.
The eclipse shot with Pixel 8 Pro and a solar filter (Image credit: Philip Berne/ Future)
I attached a solar filter to the Google Pixel 8 Pro, hoping I would be able to see more of the partial eclipse as it happened. Nope, the filter cut out too much light for the phone to handle. I was barely able to see the Sun through the filter, let alone capture great shots.
At the last minute, I decided to also bring my Nikon D750 camera with a Nikon 80-400mm lens. I don’t have a solar filter for that huge lens, so I planned on shooting only the totality of the eclipse, when it is safe to look at the sun without glasses. I got some pretty good shots, but I was rushing around too much, juggling too many chores. I should have reduced the exposure levels, or used a manual mode to dial back the shutter speed. The photos were blurry and blown out, not very good.
Eclipse shot with Nikon D750 at 400mm (Image credit: Philip Berne / Future)
Image 1 of 4
(Image credit: Philip Berne / Future)
(Image credit: Philip Berne / Future)
(Image credit: Philip Berne / Future)
(Image credit: Philip Berne / Future)
In the end, I got a couple of good shots from the iPhone on the telescope. They were better than the shots my friends took with their phones, and they impressed the people I shared them with. From my own perfectionist standards, I was disappointed with my pics, but I wasn’t disappointed at all with the experience.
In fact, I’m happy that I didn’t try much harder to take great photos, because at the last minute I chose to sacrifice the pics and enjoy the eclipse. It was amazing. It was the greatest natural phenomena I’ve ever seen. For the next eclipse, I’ll bring only one camera, and only one easy plan, and if I screw it up then I won’t even care. The best photo I could get would pale in comparison to the totality of the real thing.
Photography enthusiasts and professionals alike are always on the lookout for ways to enhance their photographs and make carrying cameras easier. The SPINN SWIFT-LOCK system is a new camera carrying solution that promises to do just that. It’s designed for photographers who are constantly moving, whether they’re climbing mountains or weaving through city streets. This system is set to change the way photographers carry and use their DSLR or mirrorless cameras.
At the heart of the SPINN SWIFT-LOCK system is a magnetic quick-release mechanism. This feature allows for fast camera swaps or detachment from the strap with little effort. The quick-release plate attaches quickly to the camera strap mount, so photographers can be ready at a moment’s notice to capture those once-in-a-lifetime shots.
Early bird benefits are now available for the inventive project from roughly $60 or £51 (depending on current exchange rates), offering a considerable discount of approximately 25% off the purchase price, while the Kickstarter crowd funding is under way. But the SPINN SWIFT-LOCK system isn’t just about speed. It also focuses on stability and comfort. The design keeps the camera secure and close to the body, reducing the risk of it swinging or bouncing when you’re on the move. This means that no matter where you are—pushing through a crowd or hiking on a rough trail—your camera is safe.
Bottom camera strap mount
One of the key benefits of the SPINN SWIFT-LOCK is its universal compatibility. It works smoothly with many tripod and accessory brands, including Arca and Peak Design. This means photographers can easily integrate it with the equipment they already own.
The camera strap mount itself is designed with both functionality and sustainability in mind. Made from recycled materials, it’s adjustable, lightweight, and compact, without sacrificing strength. The strap’s material slides smoothly, and it has carbon fiber-reinforced quick-adjusters, ensuring a comfortable and durable carrying experience.
If the SWIFT-LOCK campaign successfully raises its required pledge goal and the project completion progresses smoothly, worldwide shipping is expected to take place sometime around June 2024. To learn more about the SWIFT-LOCK DSLR or mirrorless camera strap mount project audit the promotional video below.
Produced in Germany, the SPINN SWIFT-LOCK system is a testament to precision and quality. It’s perfect for photographers who lead an active lifestyle and often find themselves outdoors, engaging in activities like climbing or cycling.
Overall, the SPINN SWIFT-LOCK is more than just a camera strap mount. It’s a comprehensive carrying solution that meets the needs of photographers who prioritize quick access to their camera, comfort while on the move, and compatibility with their existing gear. The quick-release mechanism, stabilization features, and wide-ranging compatibility make the SPINN SWIFT-LOCK an essential tool for any photographer’s collection.
For a complete list of all available pledges, stretch goals, extra media and material specifications for the DSLR or mirrorless camera strap mount, jump over to the official SWIFT-LOCK crowd funding campaign page by following the link below.
Source : Kickstarter
Disclaimer: Participating in Kickstarter campaigns involves inherent risks. While many projects successfully meet their goals, others may fail to deliver due to numerous challenges. Always conduct thorough research and exercise caution when pledging your hard-earned money.
Filed Under: Camera News, Top News
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