Dennis’s bumper shields the ultra shatter-able square corners of the filter, giving protection while in use and while changing out the filter.
3D Printing is a beautiful thing. It gives those with the tools and the patience the superpowers to engineer a custom solution to design problems. That’s the case of New Zealand based architectural photographer Dennis Radermacher of Lightforge Photography.
Frustrated by the small shift knobs on the Canon TS-E lenses — especially when working in the heat or cold — plus the fact that Dennis couples his lenses with the Rogeti TS-E frame (making the knob access even more cumbersome) Dennis taught himself how to 3D print an ergonomic knob extension that is beefier and more accessible than Canon’s.
Finally! A review of the latest Arca Swiss geared head — the Core 75 — a.k.a the mini-cube, or the cylinder. The Core 75 is a strong contender to join the ranks of the ultimate geared head among the D4 and the C1 Cube.
Even with the amount of marketing around the Core 75, it is still difficult to find accurate information or a review delving into its features and functionality.
Remember that time on Sex and the City when Carrie went to boot up her laptop and got Sad Mac? If you’ve never blown on a Nintendo cartridge or used a pencil to wind a tape cassette, you’re probably too young to remember Sad Mac (actually, you might also be too young to remember Sex and the City, in which case, thanks for making me feel ancient).
In a previous article, I discussed why I think the Canon 5DS R is still the best camera for architectural photographers. This mostly came down to aspects relating to usability and the fact that image quality from this camera is still incredible. B&H are now offering a HUGE discount making this camera far more accessible.
If there’s anything that’s going to make me switch over fully to a Canon mirrorless system, it’s probably going to be the lenses. The latest rumors for suggest some incredible lenses are on the way for architectural photographers.
It seems that many of us can’t wait till this nightmare of a year is over.
Do I need a tilt-shift lens to photograph tall buildings? It’s a question I get a lot. The quick answer is pretty straightforward. Do you want to do it professionally? If so, yes, you need one (actually you need two). Do you want to do it as a hobby? Then no, you absolutely do not need one.
Architectural photography is one of those genres that tends to have quite a high entry cost. Although there are inexpensive gear options available, wide-angle and tilt-shift lenses generally come with a hefty price tag. For someone just starting out, a $1,900 lens might be a little out of reach.
When Canon first released the EOS R, one of the most compelling things they did was to also release an EF to RF mount adapter with a drop-in filter feature. This meant that you could adapt tilt-shift lenses to your EF camera and use drop-in filters whenever it was necessary. The only problem was Canon’s limited amount of filters available on the market.
Tilt-shift lenses are great. However, getting two or three of them at the same time comes at a high price.This post summarizes my experience with Canon extenders and tilt-shift lenses, their performance (a 2x on a 24mm tilt-shift, you say?) and why using them has been crucial in developing my personal vision and deciding which lens to acquire next.
Rumor season is over. On July 9th, Canon will be presenting their whole new lineup of products highlighting the RF mount system via live stream.
The event — REIMAGINE — invites us to hear from Canon Ambassadors and experts on the biggest product launch yet. Canon branches have announced simultaneous transmission times on their websites:
–Europe: July 9th at 14:00 CEST.
When it comes to geared tripod heads, the more popular options on the market are from Manfrotto. The Manfrotto 410 and 405 heads are go-to options for many architectural photographers, mostly due to them being great value for their price. Even I started with the 410 and then moved onto the 405 head, and personally love the heads I currently have.
One of the cardinal rules for architectural photography is that vertical lines must remain vertical. It’s considered bad form in many instances to photograph a building and have it look like it’s falling backwards, or heavily distorted. Unfortunately, there may be times when it just isn’t possible to achieve this in camera and some post production is required.
One of the key bits of equipment an architectural photographer is pretty much required to have, is a good geared tripod head. I would say it’s pretty difficult to photograph architecture without having one of these.
For many architectural photographers, including myself, our first geared tripod heads are probably one of the two options available from Manfrotto.
Most architectural photographers prefer to shoot while tethered to a laptop or tablet device. The main reason for this is because the screens on the backs of almost all cameras tend to be pretty poor, and pretty small. This is true even for more expensive medium format cameras; although their screens are better, they’re still not that great.
The majority of people entering the photography industry tend to ask questions mostly about gear. Questions tend to be about lenses, cameras and what they should buy first, and while the gear is important, actually learning how and what to shoot is far more important. In a video from 30X40 Design Workshop, architect Eric Reinholdt covers a number of important tips that are extremely valuable for beginner photographers.
For those of you that are just starting out in architectural photography, or thinking about joining the industry, you may have a lot of questions. Hopefully, the majority of those questions are about learning how to shoot as opposed to what to shoot with; however, the gear you use does still matter.
We are happy to announce that we are opening our store this week, which includes classic pieces from APA’s storied “history” – including our emotional support mugs and bingo mugs for those days when you just need a laugh before heading out to shoot, or tote bags to carry all of your accumulated props and snacks to and from the set!
Many of us architectural photographers are no strangers to a good tilt-shift lens. We probably even have a favorite that we use regularly for most of our shoots. My personal favorite is the Canon TS-E 24mm f/3.5 II. Although I don’t shoot with it as much as I do the 45mm, I still prefer the 24mm over the other tilt-shift lenses.
In my view, the most tedious and frustrating bit of equipment that I need to take with me to any meaningful shoot is a tripod. Most tripods are cumbersome, heavy and, unwieldy. They’re a pain to carry around and I absolutely hate them. Don’t get me wrong, I love the results I’m able to produce with a tripod, I just hate everything else about them.