Latest sample galleries
Latest in-depth reviews
We reviewed three of the more popular 'pocket printers,' the Canon Ivy, Fujifilm Instax Share and Polaroid ZIP. Here's the one we recommend...
|Canon EOS 5D MKIII, EF 24-105mm F4L IS USM (@40mm)
ISO 100, 1/10 sec. @F22, 0.6 ND grad, HDR image from 3 exposures, 9:45 p.m.
Most photographers dream of traveling to far-flung and exotic places where great images will presumably be served up on a golden platter. I'd argue, however, that many of the iconic landscape images we admire are often made in the photographer’s backyard - places that have become familiar to the photographer through months and years of conscious exploration.
In contrast to a faraway locale where you may only spend a few days in one spot, shooting closer to home affords you the time to learn the landscape's secrets like the best vantage point, season and time of day for shooting. Photography is first and foremost about seeing and interpretation. And with enough careful and consistent attention, you can discover amazing images to be made even in what (for you) may be the most ordinary of places.
Shortly after moving to Ireland I challenged myself to photograph the same location on a regular basis. This location - the one shown in all of these images - is called Loop Head and is just up the road from where I live. It's a headland in the very west of County Clare and the visual ingredients here are sky, ocean and a cliff face with some rocky islands and a natural rock arch. Over the years I have photographed the scene dozens of times, I think there are even some shots on slide film somewhere on the attic from my very first visit to the place some 20 years ago.
This is the first photograph I made shortly after settling in the area. It is a good example of a bad landscape image! I didn’t know the area well enough back then to figure out the best conditions in which to capture the place, nor did I spend enough time to figure out a suitable composition.
|Sigma SD9, Sigma 70-200mm F2.8 (@ 92mm)
ISO 100, 1 sec., F32, 5:39 p.m.
In addition I made the rookie mistake of shooting in high winds with a long lens and a long exposure time. The result? An image that is slightly blurred.
After that disaster I started doing my homework. The cliffs of Loop Head face north which means they are in shadows most of the year. Only around midsummer does the sun set far enough to the northwest to cast some evening light onto these cliffs. To create the scene I had in mind, however, I would also need an interesting sky. Now I had a plan. One I would try to implement many times over the years.
One summer, after waiting for weeks, the sky one evening was everything I'd hoped for. Dramatic clouds unfortunately also have the tendency to block the light so this evening was all about waiting and hoping.
The image you see below was eventually captured minutes before sunset when light broke through a small gap in the clouds. I had planned to take advantage of strong early evening light in order to bring out more detail in the cliff face. As luck would have it though, the late evening light that finally broke through brought along very strong, warm colours which turned out to be what this particular interpretation of the scene is all about.
|Canon EOS 1Ds Mark II, EF 17-40mm F4L USM (@ 38mm)
ISO 100, 8 sec., F20, 0.3 stop ND grad, 10:20 p.m.
Interestingly, this image was a bit of a compromise from the outset. I wanted to include the cliff face in the scene but I didn’t want to include a row of electricity poles that stand rather inconveniently on the cliff top so the right side of the picture looks a bit cramped while the left shows a lot of empty space. After a while, however, I warmed to this slightly rule defying approach. In fact, I know feel the empty space very much gives a sense of the place.
On another visit to Loop Head I wanted to emphasize the sense of space even more as well as illustrate a more autumnal feel. Although I used a medium focal length for the image below, the dominance of the sky provides the feeling of a wide-open space. The rather cool and subdued colour scheme as well as the slightly misty conditions in the distance help to convey a sense of a cool and damp autumn day.
|Canon EOS 1Ds Mark III, TS-E 45mm F2.8
ISO 100, 10 sec., F22, 0.6 stop ND grad and 0.6 stop ND, 8:51 a.m.
In autumn the sun rises in the southeast and for a short time casts some light on the land and parts of the cliffs. As there are no leading lines in this composition this light is integral to provide some kind of depth to the scene. Even more than in the first image the scene wouldn’t work without an interesting sky.
Finally to smoothen the rough waters of the Atlantic Ocean a bit I increased the f-stop to 22 and used a ND filter to get a longer exposure time. If I would have frozen the swell with a short exposure time the soft autumnal feel of the image would have been lost.
On this occasion I was trying to see what the scene would be like on a summer morning. The vantage point is due east so I knew I would be shooting directly into the sun, which would normally mean a very wide range in contrast between cliffs and sky. But on this morning I was hoping that the fog would make the task manageable. Needless to say I didn’t expect this scene you see below! Loop Head lies slightly elevated to the rest of the peninsula but I didn’t expect this would have such an impact on how the scene would present itself.
|Canon EOS 1Ds Mark III, EF 70-200mm F2.8L USM (@ 85mm)
ISO 100, 10 sec., F22, 0.9 ND grad and 0.6 stop ND, 6:16 a.m.
At first I tried a similar composition as the previous image. The wide view however wasn't quite right, however. So I changed lenses and zoomed in. This image is about the contrast of the dark cliffs, the white fog flowing into the sea and the warm dawn colours in the sky. This tighter view isolates and focuses on these key elements. Again this composition breaks a major rule: The horizon line cuts the image in half and having 50% of an image consist of featureless sky isn’t exactly what you learn either. Here, however, it works very well.
The only thing left was to figure out the exposure time. After some test exposures, 10 seconds turned out to be perfect to blur the fog and emphasize its flow.
This final image was made recently during a spell of very stormy weather. I should say that standing on a north facing cliff top with gale force north-westerly winds (and gusts of 120km/h and more) is not necessarily a good idea! And using a long lens with a rather long exposure time in these conditions is an even worse idea. Unfortunately, this was the only way to achieve my goal: Focus on the rock arch and slightly blur the waves crashing through it.
|Canon EOS 5D MKIII, EF 70-300mm F4-5.6L IS USM (@ 300mm)
ISO 50, 1/5 sec., F18, 5:16 p.m.
The composition here was very straightforward. I zoomed in on the cliff face and the rock arch and left a bit of room in the background to put the location into some context. Now all I needed was for a moment of calm wind and a monster wave crashing through the arch to occur at exactly the same moment.
I shot more than 300 frames in just over an hour and as you can imagine most of the shots were blurred because of the wind rattling at the 300mm lens during the 1/5 second exposure. In the end I was left with two keeper images. An added bonus in the one you see here is the spray coming over the back of the cliff. This is not sea spray from below but small streams running over the edge of the cliff into the sea. Or at least they would have run into the sea were it not for the winds. The fact that the updraft propels these streams straight into the air gives you an idea of the conditions I was shooting in that day.
All the images in the article have been made from the same viewpoint, all that changed were lenses, seasons and weather conditions (and the experience of the photographer). Of course, over the years I have photographed the cliffs from other locations as well. I have walked up and down the coastline to find other ways of seeing and interpreting this place, sometimes with success and sometimes with not much to show for it. But I will keep going back. I know there are still some good images out there!
This is the latest article in Carsten's landscape photography series. Previous pieces include The DSLR Field Camera, Evolution of an Image, Landscape Photography Primer, Studio in the Wild and a Gura Gear backpack review.
Carsten Krieger is a professional landscape and wildlife photographer based in the West of Ireland and author of several books on the Irish landscape and nature, including his most recent title, Ireland's Coast. To find out more about his work please visit his website: www.carstenkrieger.com.
Wonder of nature: Eight winning photos from the 9th International Garden Photographer of the Year competition
Feb 21, 2016
Feb 28, 2016
Feb 27, 2016
Feb 19, 2016
We reviewed three of the more popular 'pocket printers,' the Canon Ivy, Fujifilm Instax Share and Polaroid ZIP. Here's the one we recommend...
Following testing of the Panasonic Lumix DC-LX100 II, we've added it to our Pocketable Enthusiast Compact Cameras buying guide as joint-winner, alongside Sony's Cyber-shot RX100 VA.
If you're looking for a high-quality camera, you don't need to spend a ton of cash, nor do you need to buy the latest and greatest new product on the market. In our latest buying guide we've selected some cameras that while they're a bit older, still offer a lot of bang for the buck.
What's the best camera for under $500? These entry level cameras should be easy to use, offer good image quality and easily connect with a smartphone for sharing. In this buying guide we've rounded up all the current interchangeable lens cameras costing less than $500 and recommended the best.
Whether you've grown tired of what came with your DSLR, or want to start photographing different subjects, a new lens is probably in order. We've selected our favorite lenses for Sony mirrorlses cameras in several categories to make your decisions easier.
|The Venetian Hotel and Casino, Las Vegas by pajarrett|
from Your City - Hotels
|Red Hot Knife 7501 by vbuhay|
from Macro - Cutlery. Knives, forks, and spoons
|Ditchling Beacon by Swervin Mervin|
from Best Photo of the Week...
|The Train that Crossed the Iron Curtain by cjf2|
The 12th International Garden Photographer of the Year winners have been announced. We've gathered the top photos from each category and rounded them up into a slideshow.
Kosmo Foto has announced the release and opened pre-orders for its new Mono 120 black-and-white film.
Uber software engineer Phillip Wang has created a website that shows a portrait of a person that doesn't actually exist by using AI to merge multiple faces together.
The Atomos Shinobi is a compact, lightweight monitor that features the same display found inside the much more expensive Ninja 5 monitor/recorder.
Want to know more about the Canon EOS RP? Dying to ask a question that hasn't been addressed anywhere else online? Join the editors of DPReview for a live Q&A about this new camera next Tuesday, Feb. 19 on our YouTube channel. Click through for details.
Got a couple of minutes? Then you have all the time you need to learn about Canon's second full-frame mirrorless camera body – and why it's a compelling option for someone stepping into full-frame for the first time.
NASA's Curiosity rover captures a 360 panorama from its Vera Rubin Ridge 'Rock Hall' drill site before moving on to greener...er...redder pastures.
Xiaomi's new flagship Android smartphone is expected to be launched on February 24 at the Mobile World Congress in Barcelona.
A quick glance at the spec sheet doesn't make the Canon EOS RP look that exciting. But having shot with it, we've become oddly fond of this little full framer.
Pixelmator Pro has received an update with new and improved features, including support for Portrait Masks with images captured by the iPhone's Portrait Mode.
Alongside the EOS RP, Canon showed us mockups of the six lenses it says are in development for 2019. There's a distinct high-end flavor to the options in the works.
The new X-T30 may not be Fujifilm's flagship model, but it arrives with some very impressive features and specifications. Chris and Jordan have been shooting it for a few days and share their first impressions, along with a look at an iconic new building in their hometown of Calgary.
We don't often get excited about $900 cameras, but the Fujifilm X-T30 has really impressed us thus far. Find out what's new, what it's like to use and how it compares to its peers in our review in progress.
The Fujifilm X-T30 is equipped with the same 26.1MP X-Trans sensor and X-Processor 4 Quad Core CPU as the X-T3, along with some autofocus improvements. The new camera arrives in March for $900 body-only.
Fujifilm's new XF 16mm F2.8 R WR is a compact, weather-resistant lens that weighs just 155g/5.5oz. It'll be available starting in March for $399.
Fujifilm's XF 16mm F2.8 is one of the widest lenses in the company's lineup of compact primes for its X-series interchangeable lens cameras. We've been up and down the streets of snowy Seattle - a rare sight - to see just what our pre-production copy of this petite prime is capable of.
Firmware version 2.00 brings two new shooting modes and one new setting to its X-T100 and X-A5 camera systems.
Fujifilm has announced its upcoming rugged point-and-shoot, the FinePix XP140.
Get a closer look at Canon's second full-frame mirrorless body and its unique combination of features, capability and price point.
Canon has unveiled its second full-frame mirrorless camera: the entry-level EOS RP. Touting its compact size and approachability for beginners, the RP uses a 26.2MP sensor and will sell for $1300 body-only this March.
A pre-launch event gave us a chance to shoot a sample gallery to show what sort of image quality you can expect from the least-expensive digital full frame camera ever launched.
Nikon has taken the wraps off a new standard zoom lens for mirrorless, the Z 24-70mm F2.8 Z. The new 24-70mm has been on Nikon's Z-series roadmap since the mount was announced last August, and it will ship in spring for $2299.
Canon has announced the development of six RF lenses, including the incredibly compact RF 70-200mm F2.8L IS USM, two variations of an RF 85mm F1.2L USM, plus a 15-35mm F2.8L IS USM, 15-35mm F2.8L IS USM and 24-240mm F4-6.3 IS USM.
Nikon has announced more details of firmware in development for the Z6 and Z7. As previously reported, firmware is being planned that will add Eye-detection AF, CFexpress support and Raw video over HDMI.
Tripod manufacturer Three Legged Thing has developed a new L-bracket designed to fit a wider range of cameras and allow users to mount their camera in a variety of ways.
Some user information, including names, usernames and email addresses was compromised in the incident.
The FAA has announced drones will soon need aerial license plates of sorts to fly their UAVs in the United States.
The new Galaxy S10 front camera will adopt several technologies that are already commonplace on many smartphone main cameras.
The Olympus M.Zuiko Digital ED 12-200mm F3.5-6.3 is a weather-sealed 24-400mm equiv. zoom for Micro Four Thirds and will go on sale in March for $900.
We put a pre-production version of Olympus' versatile new zoom through its paces.