“You’re looking at 360 panoramas. They could be also be called 360° panoramas, 360-degree panoramas, omniviews, VR photos, virtual reality panoramas, sphere panoramas, etc.
Panoramic photography of some kind has existed for more than a century. You can see many examples of 360 degree photos from 100 years ago. Nowadays you can see a boom in this kind of visualization technology due to the ever-reducing cost of the technology, availability of software, abundance of publishing tools. One of the most important aspects is also that the broadband internet made it possible to easily share this kind of photography with others.” -360cities
360 Panoramas are a neat concept that I believe helped fuel the demand for things like the 360 degree video and augmenting things like the virtual reality programs we’ve seen in class. I worked in my internship to make 3D virtual tours, so I got rather close and personal with this concept of photography. I find the process fascinating and rewarding.
Because of the limitations of my expertise at the time, the process for shooting and processing was similar to this: I would use a specialized tripod head and fix my camera to that, and then go around a room and take 36 shots in triplicate. It was admittedly a little excessive, but I wasn’t a photographer and I didn’t want to mess up the job. Afterwards, I would process the pictures in a batch for consistent lighting and contrast fixes across the board. Afterwards, I’d stitch it in another program; or basically sow the ends of each picture together to make a streamlined panorama. The new panoramas were then fitted into yet another program, and this one took the panoramas and helped me weave a tour, that is, you could explore from one panorama to the other and view it almost as if viewing a building. With a little load time, you can check out one of the virtual tours I made here! http://www.laredhealthcenter.org/index.cfm?ref=60200
Overall, I had a really fascinating experience with it, and seeing how they’re slowly becoming more inventive with their pictures and applications for these panoramas, I thought it would be a great thing to look into!
“The development of the camera obscura took two tracks. One of these led to the portable box device that was a drawing tool. In the 17th and 18th century many artists were aided by the use of the camera obscura. Jan Vermeer, Canaletto, Guardi, and Paul Sandby are representative of this group. By the beginning of the 19th century the camera obscura was ready with little or no modification to accept a sheet of light sensitive material to become the photographic camera.
The other track became the camera obscura room, a combination of education and entertainment. In the 19th century, with improved lenses that could cast larger and sharper images, the camera obscura flourished at the seaside and in areas of scenic beauty. There are several pages that features images of camera obscura rooms such as this page on US park camera obscuras from our collection. Today the camera obscura is enjoying a revival of interest. Older camera obscuras are celebrated as cultural and historic treasures and new camera obscuras are being built around the world.” Jack and Beverly Wilgus
The make of the classic Camera Obscura (Latin for Dark Room) was not unlike my previous blog entry about pinhole cameras. Like a true ancestor to the modern camera, it could simply have been a box with a hole to filter in light, and it would project a vertically mirrored image of what it captured. Around the 18th century, designs were developed that used prisms and mirrors to flip this image, a marvel of evolution, given that recordings for devices like the Camera Obscura date back as far as 470 BC. While there could be pinholes, Camera Obscura traditionally did favor lenses, as the aperture lead for a brighter shot while still maintaining the focus.
As previously explained, there were two common uses for the obscura, as an artist’s tool and as a room that was almost an attraction. I had the pleasure of being in a Camera Obscura in Scotland, in the top of Edinburgh. It is a phenomenal construct; and I can see why it was and is still a popular attraction. From a drawing room to a scenic commodity to the father of the first permanent photograph, the Camera Obscura has quite a wake. Some articles seem to insinuate that it might be seeing a bit more vintage use and there might be another popular swing to it. Who knows? But I can’t wait to find out.
By Dylan Schmidt
Wildlife photography is the capturing of animals in their natural habitats. The main object of wildlife photography is to get as close to the subject as possible. Nature photographers are known for their patience and their dedication to capturing the best images of their subjects.
One of the main ideas of capturing good wildlife photos is to not frighten the animals being photographed. Usually, a cameraman will set up in advanced where they believe animals will come hours in advance to make sure they don’t get in the animals way or scare them when they show up. A good wildlife photographer learns how to anticipate the behavior of the animal, so they can photograph them the way they wish.
Most photographers believe that the best way to photograph wildlife is to let it come to you; learn the animals movements and stake out a location to shoot it. This not only allows the animals to feel in control, it gives the photographer ample time to frame the subject the way they want. The best times to shoot wildlife is usually early morning or late afternoon, before or after the sun has moved from mid-sky, which will cause shadows to ruin your shots.
I like wildlife photography because I love animals. The dedication and patience required to get real good shots astounds me. I also love the use of colors and light used in getting good wildlife shots. Wildlife photography, along with sports photography, seem to be some of the most intensive forms of photography that exist. I’m always surprised when I see photos like these that are so good for what the photographer has to go through just to get one good shot.
To learn more about wildlife photography, here are a few links:
Photography Life’s Wildlife Photography Tips
Nat Geo’s Shooting Wildlife
Don Gutoski: Wildlife Photographer of The Year 2015
With all the new advancements of the cameras now a days, its almost like the company makes it too easy for us.
For an example:back in the day to shoot a time-lapse you had to stand at the camera and take pictures or use a remote so that you could take pictures and reorganized them in your editing software
With the new Canon 80d; it has a new built-in interval timer. Just set of the timer and the amount of shots and then it’s all done by its self.
Another example of how cameras advancements make it easier for photographers now a days is this bad boy here!
The Sony A7s is a camera with the best low light shooting available!
If you don’t believe me check out this video
Low Light Video
For outdoors shooting you no longer need to get expensive lighting equipment
One last thing that the new cameras do that make everything easier for us is
BUILT IN WIFI
Cell phones cameras were built with more pixels and bigger chips in order to get the same resolution as dslrs.
With the new DSLRs with built in wifi you can now send your grade A pictures to your phone so you could upload to you phone then instagram.
Before images how to go to many stages in photoshop in order to put on your phone.
The art of Bokeh just seems like depth of field for some, but others toke the liberty of making something cool out of it.
People have been making shapes out of the Bokeh turning a simple depth of field shot into a work of true art.
First thing you want to do is get a lens with a wide aperture. The one used in the example would be a 50 mm lens with 1.8
50mm F 1.8
piece of paper (Black)
It’s quite simple.
Cut the shape that you desire into the piece of paper (in the center) and then tape it over the front of your lens.
Next you’re gonna want to open the aperture as wide as you can (lowest aperture value).
You could change the cut out to anything you wish and get good results. Here are other examples
By Dylan Schmidt
Sports photography is, obviously, photography taken at sporting events. Because of the nature of sports, sports photography is all about moments. Capturing actions at their peak moments comes and goes in seconds makes sports photography one of the hardest forms of photography.
To be a good sports photographer, the two things most important is timing and closeness. Timing is essential for capturing the peak moment, while closeness is important to getting as near the action as possible, as well as finding an unobstructed view of the action. You don’t want to be there for the action, but be blocked by fans or other players. On the other side, you don’t want to be near the action but miss the peak moment by seconds or fractions of seconds.
To get the timing down, many sports photographers recommend focusing on the ball or puck. That is mainly where the action in the game will take place; if you have a clear view of the ball or puck in action, the players will obviously gather to it, meaning you have a better chance of catching a moment than by having your gaze wander over the field.
What drew me to sports photography was the skill required to be good at it. You have to be a master of timing to get anything worth shooting. You also need to know practically everything about the sport you’re shooting so you know where and when the action is coming from at any given moment. I think that sports photography is one of the hardest forms of photography to be good at because of the tenseness of the shoot. You can have a good idea of where and when the moment you want to capture is going to happen, but you can never be 100% sure of exactly what you want to shoot.
To learn more about sports photography, here are some things worth looking at:
Sport’s Illustrated’s 100 Greatest Sports Photos of All Time
Sport Event Photography Tips
8 Tips for Taking Sports Photos Like A Pro
Street Photography makes it possible for the people seeing it to see more than the original photographer has intended. One of the great things about street photography especially in cities, is that things are always happening, all around us. Photography makes us possible to freeze moments and see things that we maybe didn’t see before we took the picture. Many street photographs are candid, but I don’t believe it limits to that, though personally my favorite are candids.
Many Street photographers look for in the moment shots, off-guard moments. Many look for emotion or something that triggers emotion, such as humour or a fascination with something that is happening.
Photo-Net has great techniques to capture the perfect street photographer
The classic technique for street photography consists of fitting a wide (20mm on a full-frame camera) or moderately wide-angle (35mm) lens to a camera, setting the ISO to a moderate highspeed (400 or 800), and pre-focusing the lens. Pre-focusing? How do you know how far away your subject will be. It turns out that it doesn’t matter. Wide angle lenses have good depth of field. If your subject is 10 feet away and the lens is set for 12 feet, you’d probably need to enlarge to 16×20″ before noticing the error, assuming a typical aperture. This is why the high ISO setting is important. Given a fixed shutter speed, the higher the ISO setting, the smaller the aperture. The smaller the aperture, the less critical it is to focus precisely. The extreme case of this is a pinhole camera, for which there is no need to focus at all.
Street photographers traditionally will set the lens at its hyperfocal distance. This distance depends on the lens focal length and the aperture but the basic idea is that it is the closest distance setting for which subjects at infinity are still acceptably sharp. With fast film and a sunny day, you will probably be able to expose at f/16. With a 35mm lens focussed to, say, 9 feet, subjects between 4.5 feet and infinity will be acceptably sharp (where “acceptable” means “if the person viewing the final photograph doesn’t stick his eyes right up against it”).
A modern alternative is to use a camera with a very high-performance autofocus system and a zoom lens. The Canon EOS bodies coupled with the instant-focusing ring ultrasonic motor Canon lenses (about half of the EOS lenses use these motors) are an example of what can work. How important is modern technology? Testing out the Mamiya 7 rangefinder camera, a mechanical design straight out of the 1920s, doing some street work in Guatemala, my yield of good images was as high as it ever was with the Canons.