North America

How to shoot the solar eclipse: a list of resources for photographers

The first successfully captured photograph of a total solar eclipse was shot on July 28, 1851, by Prussian photographer Johann Julius Friedrich Berkowski. Your eclipse photos can look better than this, with a little advice from some of our friends.

If you live in North America or are a citizen of planet Earth, you’ve probably heard chatter about the upcoming solar eclipse starting the morning of August 21st. It’s a rare opportunity for a lot of folks across the United States to see and/or photograph a partial or total eclipse of the sun, and it’s all happening just under a week from now.

We’ve already published our guide to photographing the eclipse (and a plea to consider not photographing it), but the Internet has no shortage of great information on the subject, some of which goes very in-depth. In an effort to provide you with the totality of eclipse photography resources, we’ve rounded up some of our other favorite articles and guides below. Good luck, and remember to protect those eyes and sensors!

Canon eclipse guide – 16 articles on shooting the eclipse

Canon’s guide to photographing the solar eclipse is very impressive and thorough. It features more than 15 articles on the subject. There’s also a nifty ‘Solar eclipse pocket field guide’ PDF you can download and print. The guide is slightly geared to Canon shooters, but we feel the information is useful to all photographers, regardless of brand of choice.

Read Canon’s eclipse guide

B & H eclipse guide- An easy-to-read complete guide

B & H also posted a really thorough guide on everything you should consider to safely and successfully shoot the eclipse. And unlike the Canon guide, these tips are all in one → continue…

From:: DPreview

Canon EOS Rebel SL2 / EOS 200D Shooting Experience

The EOS Rebel SL2 (known as the EOS 200D outside of North America) is Canon’s second-generation ultra-compact digital SLR. The SL2 is largely packed with Canon’s latest tech, including Dual Pixel AF, a DIGIC 7 processor, Wi-Fi with NFC and Bluetooth, and a new user interface for beginners.

While its small size may lead one to believe that it’s an entry-level model, similar to Nikon’s D3400, the SL2 actually sits above the bottom-end Rebel T6 (EOS 1300D), which costs $150 less.

The SL2’s main competitor is the aforementioned Nikon D3400, which is just a tad larger and heavier. The SL2s’ other peers are all mirrorless and include (in our opinion) the Canon EOS M5, Panasonic DMC-GX85 and the Sony a6000 which, after 3+ years on the market, is still competitive.

Key Features

  • 24.2MP APS-C CMOS sensor
  • Dual Pixel autofocus (for live view and video)
  • 9-point autofocus (through the viewfinder)
  • DIGIC 7 processor
  • 3″ fully articulating touchscreen LCD
  • 5 fps burst shooting
  • 1080/60p video
  • External mic input
  • Wi-Fi with NFC and Bluetooth
  • Available ‘Feature Assistant’ user interface

Just about everything in that list is Canon’s latest and greatest, and the external microphone input is a nice extra. The one feature that’s not new is the 9-point autofocus system that you’ll use when shooting through the viewfinder – it’s identical to what’s found the original SL1, which is over four years old. You’ll get a much better focusing experience by shooting in live view, which uses Canon’s excellent Dual Pixel AF technology.

Compared to…

Now let’s take a look at how the specs compare between the the SL2 and the peers mentioned a few paragraphs earlier.

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From:: DPreview

The Solar Eclipse is Two Weeks Away, Are You Ready?

By Canon Rumors The total solar eclipse is two short weeks away in North America, and is one of the most highly anticipated photographic experiences in nature. B&H Photo has a great landing page of gear and accessories that will help you safely enjoy photographing and viewing the solar eclipse. What is the Eclipse? A total solar eclipse … → continue…

From:: Canon Rumors

Pulling Focus: Wet Hot American Summer (2001)

By Shane Scott-Travis

“A delectable parody of dawn-of-the-Reagan-era teen flicks… a loving and meticulous recreation of the last moment before American youth culture went permanently ironic.”

– Owen Gleiberman, Entertainment Weekly

Season of the kitsch

Director and co-writer David Wain’s Wet Hot American Summer is a film that’s charm, cheek, and capricious good nature, albeit dirty-minded, is too much to resist. Well, perhaps that’s an overstatement as the uptight and on edge are bound to be bewildered by much of the lampoonery on parade. After all, it was an unassuming release back in 2001 that, like so many cult classics before it, took a little tenacity before crowds caught on.

Wet Hot American Summer drinks to youthful schmaltz, seditious misdeeds, and angst-filled adolescent lust as it centralizes on satirizing the teen exploitation films of the late ’70s and early ’80s, and more specifically the sub-genre of summer camp films. Those subpar and second-rate moneymakers like Meatballs (1979), Porky’s (1982), and Spring Break (1983), that were briefly ubiquitous either on cable TV, home video, or at multiplexes all over North America.

Horny juveniles charged with losing their virginity and getting potted while they were at it. Clearly this sort of film had a limited shelf life, Wain and his hilarious co-writer Michael Showalter (who also co-stars in two roles) however, saw that they could fashion an homage much better than the genus deserved, perforating not just oversexed teen staples, but dark horse sports clichés, Vietnam-trauma histrionics, gender politics, and much more.

The irreverent opening credit sequence sets up the tongue-in-cheek film that is to follow perfectly; the somewhat sentimental Cooper font, bubbly in appearance and forever associated with the Beach Boys’ Pet Sounds—how’s that for nostalgic?—superimposed over warm-hued footage of rollicking teens around a blazing campfire.

There are freeze-frames and sloppy French kisses in excess while the teens → continue…

From:: Taste Of Cinema

NPACT Partners With Pond5 to Connect Independent Nonfiction Producers with Global Marketplace of Licensable Footage Content

By Staff

NPACT, the trade organization that serves the producers of non-fiction entertainment content in North America, has announced it has signed an exclusive partnership with stock-footage and creative-asset company Pond5, making the media marketplace the first Gold Associate Member to join NPACT. NPACT general manager John Ford and Pond5 CEO Jason Teichman made today’s announcement. As a […]

The post NPACT Partners With Pond5 to Connect Independent Nonfiction Producers with Global Marketplace of Licensable Footage Content appeared first on Below the Line.

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From:: BLT News

Canon SL2 Nikon D3400 Canon M5 Panasonic GX85 Sony a6000
Resolution 24MP 24MP 24MP 16MP 24MP
Sensor size APS-C APS-C APS-C Four Thirds APS-C
Lens mount EF F EF-M Micro 4/3 E
Image stab. Lens-based Lens-based

Buried among the February 2007 announcements of Canon’s PowerShot SD750 and SD1000 Digital ELPHs*, and the A560 and A570 IS was the PowerShot TX1. It took the main features of camcorders at the time, namely the vertical design, rotating display and long-ish lens and put them into a stylish body about the same size as your average Digital ELPH. Add in 720/30p video and it quickly became obvious that the TX1 was created to bridge the worlds of photo and video shooting.

* The SD750 was known as the IXUS 75 while the SD1000 was the IXUS 70 outside of North America.

Behind that metal door was an F3.5-5.6, 39-390mm equivalent lens.

The PowerShot TX1 was based around a 1/2.5″, 7.1MP CCD, which was paired with Canon’s DIGIC III processor. While the F3.5-5.6, 10X zoom lens was quite long for that day, it had a focal range of 39-390mm equivalent, so wide-angle work was out. The lens featured Canon’s excellent image stabilization system – a necessity when capturing video at long focal lengths. Keeping with the stylish look of the ELPH/IXUS lineup, the TX1’s lens hid itself behind a door when powered off.

The 1.8″, 114k-dot LCD could rotate a total of 270 degrees, fitting in perfectly with the TX1’s camcorder-like design.

Canon had to cram a lot of buttons into a small area on the diminutive TX1. The result was a camera with pretty lousy ergonomics. DPReview’s Simon Joinson sums up the TX1’s ergonomic issues nicely in this paragraph:

‘Sexy looks aside, in use the design is nothing short of a disaster, and has the unique ability to make you feel like you have too many fingers on your right hand. Once → continue…

From:: DPreview