and the fisheye lens i used

2

Robin from Fisheye Placebo looking melancholic in the city night. I wanted her eyes to resemble the fisheye lens of her camera. Many people think photography objectively captures reality, but that couldn’t further from the truth. A photographer can only capture the reality he/she chooses to see through. The types of lenses used, what’s included vs excluded in the photo, camera settings, and countless other things can alter the feeling a photo gives off, and thus reinterpreting the reality seen through the lens.

In other news, I’ve finally picked out my team of 3D artists to help me speed up my comic production. We’re still in some testing stages but I’ll be announcing the new team soon with sample artworks! So excited!

Astro Reacts | You Skateboard

Author’s Note: gifs aren’t mine and credits go to their owners! hey arohas! Although I’m not too sure many of you like this kind of stuff, I tried it for fun and for myself & my brother lol. also don’t be shy if you want to talk to me, I’m harmless~ thanks and happy reading -assstro 💫

JinJin

Probably from the street dance influence, jinjin would be pretty impressed that you were sponsored in skateboarding, even if it was the smaller companies. Even when you flipped to a grind down a seven-stair rail, and it didn’t cut the cleanest, jinwoo would love it. Sometimes, because he’s jin-photographer, he’ll try to use the fisheye lens and help take videos for you, cause honestly, thinks it’s the hottest thing in the world.
“If I film your part in the skate tape, could I get that one shirt?”
“No, the last one’s in stock for me~”
“Fine. If I film your part, can i get a kiss from you?”

MJ

MJ is such a cute little doof. Though he doesn’t seem the type to be into skateboarding, he will be curious about every little detail. When you try to send in videos for sponsors, MJ is always there to (loudly) cheer you on. He’ll see you one day trying to set up a new deck after you’d just snapped one, and he’ll be fascinated by the tools, grip tape and stickers. He’d ask how to apply everything, and you’d show him and sit beside him. MJ then watches for a few seconds, but it doesn’t last. Skateboarding will never be as fascinating as you. “Are you paying attention? You asked about the grip tape”
“Of course I am, keep going!”
*continues to stare at you endlessly*

Eunwoo

You and the boys met outside the studio one day to drop off some snacks for them, and while you stared at Eunwoo from a distance, he stared back - but not at your eyes. He was staring at your scraped up shoes. At first soft boi would be worried for you and wonder if you suddenly couldn’t afford new shoes, until you casually pull a pop shuv-it late flip on your board. He’d admire the happy face you made as you received praise from his members, and when you rolled up to him, he would just grin and look down to hint at your shoes.
“I can see you like my kicks.”
“Pshh. Don’t worry, I have plenty of money saved, so maybe I’ll get you a pair of new ones for your birthday, okay?”

Moonbin

While waiting for bin to come out of the fantagio building, you decided to mess around and skate in an empty and trashed space across the street. Little did you know that moonbin watched from afar as you attempted to treflip your board high up a trashy slope and accidentally snapped it in half. As you chased the one half sliding away, you found it caught under moonbin’ shoe, and he was grinning like an idiot. He couldn’t help but smirk, not because of the way you messed up, but the way you looked when he saw you fly up in the air and come down so strong.
“So hearts aren’t the only things you snap in half?”
“Ah, you’re too much, I might actually snap you in half.”

Rocky

Apart from dancing, rocky finds your skateboarding addicting to watch. While getting to know you, he saw you more as a sweet and gentle person, which you are - but that wasn’t all you were. While hanging out and watching you jump, flip and grind everywhere, he was impressed, until you fell down a ten stair, scraping your hands and knees. Rocky rushed over to ask if you were okay, but without hesitation, you got up and casually climbed the stairs. You gave your filmer friends a thumbs up, and did a varial heel flip and landed like it was no big deal. He would gape at first, but it would turn into a tiny smile, loving that you just got back up like it was nothing.
“I was ready sweep you off your feet and rescue you, but you never gave me the chance.”
“Thanks, but all I need are band aids, rocky.”
“Not even a kiss for the boo-boo?”

Sanha

It’s said that cute pie maknae is a quick learner by his older members, so when everyone found out that you could skateboard, he would want in. It would almost be like an old rom-com, where you teach him to balance and properly push on the board instead of pushing mongo (pushing with your front foot like an idiot). You’ll be holding his hands, and he’ll look down at you with his awkward little smile. He’ll be slightly distracted by your presence, causing him to fall a lot, but at some point sanha will start skateboarding to impress you.
*rolls up to you and does a simple ollie*
“They see me rollin’, they hatin’-”
“Sanha, not too long ago you fell over pebbles in the ground.”
“I was falling for you, Y/N”
*continues to roll away and sing before you kick this meme boi’s ass*

4

As promised, my last night on the farm, when I heard the rain falling and could glimpse the weird gold light through my net curtain door. Photos all taken from the same place; the last thing I did was turn and try to capture how golden the light through the trees was behind the ger. 

The floral vinyl tablecloth I’m using as a door is not the most hashtag-aesthetic thing, but it’s serviceable. 

All photos taken with a D7100 and a 10.5mm fisheye lens, because the ones I took at 17mm with my usual 17-50 were not adequate. Sometimes you just gotta be overdramatic with landscape shots, y’know?

2

[Fish]Eye in the Sky

In his legendary career as a hockey photographer, Getty Images’ Bruce Bennett has pushed the boundaries of creativity and innovation. For 40 years he has seen the sport from countless angles and vantage points. But there’s always more to try, and always more to learn. In the Islanders’ last season at the arena affectionately known as “The Barn,” Bennett wanted a picture that had eluded him years before. He shares the story behind the shot:


The last time I mounted a camera on the bottom of the Nassau Coliseum scoreboard was four years ago and I wasn’t happy with the results. Even using a full frame camera with a Canon 15mm lens, it was tough to visualize how much of the ice surface would actually be captured in the frame. The resulting images hardly captured half the ice surface, and thus I shelved the thought for a few years.

Four years later, with the Islanders saying farewell to the Coliseum, I decided it was time to try it one more time. When the team moves to the Barclays Center next season, it will become impossible to recreate the vantage point because the scoreboard there is mounted off-center, sitting over one of the blue lines. This time I used the Canon 8-15mm lens and the Canon full frame 1DX camera. Fully racked out to 8mm, the lens produced not only an image that is ‘fisheye’ in appearance, but also masks out the remaining area in the frame in black, which helps accentuate the fisheye effect.

The installation required arriving three hours before game time so that the scoreboard could be lowered to the ice for installation. I had to take into consideration that the camera would need to operate throughout the game so the camera needed to turn itself off after a period of inactivity to preserve battery life. In addition, sufficient safety cabling had to be used to ease the minds of all parties involved. Remote frequencies were reserved so that the camera could be triggered by pushing a button from my rinkside position 100’ away. All images were shot in both JPEG and RAW so I needed to make sure that the camera was loaded with large enough memory cards to store all the images.

My first try was at the final regular season game at the Coliseum. I shot available light and blasted away at several opportunities, including the opening faceoff which resulted in a very viable and worthwhile image. But I held back throughout the game as the key to getting the winning photograph for me in this instance would be the postgame celebration. The team had done this throughout the season – with sticks raised in the air while standing on the logo at center ice. The game went into overtime and then to a shootout where the Islanders ultimately lost the game and I was unable to get the shot I wanted.

So a week later when the Islanders played their first playoff game, I took another stab at it. Armed with the knowledge gained in the first game, I decided to utilize the arena strobes. These are flash lighting units that we have permanently installed in the catwalks and are synced to go off when our camera triggers. The gain here with strobes is the high quality, the lack of ‘noise’ in the image, and an increase in saturation and color. But it’s also somewhat risky. With strobes, I was locked into a maximum of one frame every three seconds instead of ten frames per second. More worrisome was that the camera in the scoreboard needed one remote to trigger it and a separate remote to trigger the lights, meaning twice the possibility of failure. With all the surrounding metal and all the electronics in the scoreboard it was risky, but the potential increase in quality with strobe lighting was worth the risk. (For you photo geeks out there: 200iso, 320th second at f/8 using the Pocket Wizard mini on hypersync)

So at game time, with the building packed, all electronics on, all fans tweeting, facebooking and clogging the RF and airwaves, I triggered the camera, and when the strobes went off at that same moment I knew I was in business. Less than three hours later, when the game went to overtime, I knew I had some good game action and some face-offs. But when John Tavares scored the game-winner just 15 seconds into overtime, I knew I had the crown jewel. As they did all season, the team slowly glided over to the center ice logo where I was able to grab three frames before they moved on. About an hour later the final images were moved to the Getty Images site once I was able to retrieve the camera. My favorite frame is the overall view with full fisheye effect but I’m happy with all the results.

Memorable shots, in a building with no shortage of hockey memories.

As much as I don’t want to admit but I can’t live without my phone, not because of the ease of communication it offers but because I love documenting everything I see. Here I share the stuff I use to enhance the quality of my photo using only my phone - even take underwater picture and a lot more. Take not that all these are cheap and easy to buy!

Keep reading

animalcrossephant  asked:

Wait, how do you lense correct? Is it on an app or something?

If it’s an indoors shot you can just use photoshop’s Perspective tool, dragging a top corner to pinch in the image so lines that should be traveling straight up, such as side edge of the window, do so (perpendicular to the top of the picture). This might make your picture look too thin, so use the Transform tool to crunch it down a bit so your characters look reasonable.

Note that you’ll lose part of the picture when cropping it into a rectangle.

If it’s an outside shot, fixing it is more complex because the whole would has a curvature which almost makes it like you’re looking through a fisheye lens. To fix this I use Adobe Lightroom’s Lens Correction settings which are used to undo fisheye in actual lenses. Here’s what the settings look like:

First I adjust the Vertical slider, which is the essentially same as using the Perspective tool in Photoshop, to again get those edges perpendicular. In this case, I’m using the left edge of the house as reference:

Next you can undo the fisheye by adjusting the Distortion slider. Moving it left adds fisheye and moving it right removes it. This time I’m going to move it all the way right, but watch the objects on the far right and left to make sure they don’t get too noticeably curved.

Finally, use the Aspect slider to stretch your image taller or wider to get the object proportions back to normal (the same as the “crunch” step in Photoshop):

Now the perspective of the image is a bit better, giving a better illusion of depth. If you want to straighten its sides out a bit you can mess around with the Warp tool in Photoshop.

4

Lomography Fisheye 2 + Leica M mount lens cap = focus free Fisheye lens in M mount.

Wide lenses are easy to modify for M-mount because they require no rangefinder coupling, and often no focus at all, so I bought a Fisheye 2 with a view to modifying it. (Un)fortunately after a year, it yet to die on me. I find it wasteful to hack a working camera, so I was delighted to find a second one with a broken shutter trigger in a bargain bin for $7. I measured the flange-focal length and found it to be OK for conversion to M-mount, so I dismantled and broke apart the camera till all that was left was the lens. Then all I did was cut a hole in a lens cap and file down the outside of the barrel till it focused right when put together. I used the same Versachem Plastic Welder epoxy glue that I usually use to stick the barrel and lens cap together. Altogether, it was a quick one hour’s project for me.

My only concern was the Fisheye 2 has a curved film plane, but it didn’t seem to make much difference when shot on a camera with a flat film plane or sensor.

According to information on the web, the lens is supposed to have an aperture of f/8 but I found that it actually meters around f/16. Anyway, at least now I can adjust shutter speed and ISO to expose properly. I have tried it on two cameras so far, a full-frame Sony A7R and a Ricoh GXR + A12 module with an APS-C sized sensor. I find the APS-C results uninteresting, but the A7R produces the same nearly full circle fisheye pictures that the Fisheye 2 is known for.

cc @lomographicsociety

I went on tour with Steve Berra and Heath Kirchart immediately after graduating from college. I met up with them in Ohio where they dropped of the other filmer then we zig zagged our way to Atlanta. I had shown them footage of this rail in my hometown so Heath and I drove up so he could check out the rail and drop me off at my parent’s house. Heath liked the rail so the photographer, Braydon Knell, came up the next day. Heath lipslid, back lipped, and noseblunted (2X) the rail that day. I think the noseblunt photo was used for a CCS catalog cover and the fisheye footage was used in This Is Skateboarding. This long lens angle never got used for anything, so here is the gif. 

5

Romanian AES 10B (RPK), accessorized by a 4 piece flash hider, a 14mm to 22mm adaptor, a Tula bakelite mag, and a NPSU 1pn34 night vision optic.

The night vision optic is a NPSU 1pn34. It is old and heavy, but still works well in all conditions, save for pitch black. Although not something I look forward to carrying around, it is nonetheless effective from a fixed position. The picture quality takes some getting used to, due to the “fisheye” lens, but becomes second nature with use. It has the daylight filter attached and the image quality suffers from that. In my opinion, the image quality at night is more than functional, and I use the iron sights during the day. It has a battery adaptor to use common AA batteries. The optic can operate for 30 minutes to an hour with fresh batteries.  

The Romanian AES 10B essentially is a semiautomatic RPK.

okay I just finished watching Kingsman and there are some things I want to touch on because holy SHIT was that a kickass movie

  • Roxy and Eggsy were so tight and even physically reassuring towards each other but it never felt sexualized and Eggsy always treated her like an equal and they both got the job without either one really ‘beating’ the other or putting the other down and THANK GOD FOR ALL THOSE THINGS
  • Before Harry died he said out loud that he didn’t have control over his own actions in the church. Valentine already knew that, but Harry knew Merlin and Eggsy could hear him, and wanted them to know that because he wouldn’t get the chance to tell them in person. He wanted them to still think well of him even as he faced death.
  • I bet Eggsy picked up a paper from the day after Harry died. The front page he posted on the wall with the others, but he posted the obituary somewhere special.
  • Eggsy’s little sister is gonna need a hell of a lot of therapy after that Shining level shit that went down
  • EGGSY IN A SUIT THO
  • HARRY/COLIN FIRTH KICKING ASS THO
  • The use of the fisheye lens and the camera angles during the fight scenes were really amazing, they gave the film such a unique feel to them
  • I forgot how much I missed a good old fashioned shamelessly over-the-top spy movie
  • What are they gonna do when everyone recovers from trying to kill one another tho? like 95% of the world’s leaders and billionaires got their heads exploded. That’s one hell of a political and economic vacuum to be filled.
  • Could Roxy hear Eggsy with the princess or was she just getting her intel from Merlin? Merlin was kind enough to close his surveillance but i don’t know if Roxy could have? Also Eggsy never took off his glasses? imagine after it’s over he just hears Roxy in his ear like ‘Good job, Eggsy, she sounded like she enjoyed that.’
  •  Gazelle was amazing and I loved that she was treated as the real threat that she was, and wasn’t handed off to Roxy to fight b/c they’re both women. I loved that Roxy got her own mission and completed it despite her own crippling fear of heights and then continued to do her job by saving who she could and making sure Eggsy’s mom couldn’t hurt his little sister. I loved that Roxy was allowed to be kickass and intelligent and competent but was also allowed to be compassionate and have fears and show weakness without being treated like she WAS weak. I loved that the women were amazing and competent and weren’t played off each other or used to put each other down.

all in all gr8 movie 10/10 would watch five bazillion times

poisonboak  asked:

I'm really interested in taking pictures of the stars, what do you suggest I do in terms of lens type, expose time, and what times of year to try shooting?

Hey there! It depends on what kind of camera you are using for the lens…
But in general the two things to look for are:
1. A fast lens which means you want the smallest possible f-value/ aperture, eg preferably 4.5 or less (smaller is better but gets really expensive!)
2. A wide lens so that you can get as much sky as possible in the shot 

I use a Canon Sigma 10-20 mm lens for most of my star photos but I also sometimes use a Nikon Rokinon fisheye lens with a canon adapter if I want to go ultra wide.

Exposure time really depends on the kind of photo you want. If you want this look:

 …then you want to go about 1 hour to get the long streaks. Note that the stars are circling around a central point which is the North Star so if you live in the Northern Hemisphere it is good to be able to identify that. As you can see, there is much more movement in the stars when you are shooting farther away from North.
If you want a photo where the stars are just points and not moving like this: 

 …then you need to get your exposure time down to less than a minute. That’s where the fast lens thing comes into play as it allows you to get more light in with less time! Use a headlamp to briefly illuminate things in the foreground if you want to get super-creative :)

When setting up the shot, a helpful trick is to line up the camera where you think you want your shot to be, then take one or a few short 5-10 second pictures at maximum ISO to see if your image is in focus and the context is what you want. This is really important as there is nothing worse than waiting an hour in the cold for a photo and realizing you didn’t get the focus right! 

As for time of year I would say winter hands down. Although it is cold, the sky tends to have less particulates during the winter and is much clearer. Also the sun sets so much earlier, meaning you don’t have to stay up quite as late to get the shot. But I’ve taken many nice star photos at all times of the year so don’t let the season stop you!

Hope I was able to help, 
Good luck with your star photos!

Nicole

4

Meet Kurt Wenner the Master of Anamorphic Art 

By James Buxton 

Widely acknowledged as the inventor of 3D anamorphic pavement art, Kurt Wenner went from working at NASA to opening up portals to other dimensions on the street with a piece of chalk. Since the early ‘80s, the U.S. artist has travelled extensively, bringing the secrets of Sacred Geometry and the Renaissance to life on the sidewalks of cities around the world. Gifted with extraordinary technical skill and the vision and determination to see his illusions come to life, Wenner has been the subject of a National Geographic documentary, created art for the Pope and developed his own style of anamorphic perspective, Wenner’s Geometry. I caught up with him to discover the secrets behind his mind-bending art.

When I was in Rome and Venice last year, I noticed anamorphic work was on the ceilings of cathedral frescoes as opposed to on the ground. I’m interested in the way you studied Renaissance art and explored ancient texts to gain an insight into theories of proportion and perspective and applied it to the streets. Did you have any epiphanies during your research and what was the most important discovery you made that has influenced your work?

Actually, it would have been an easy job merely to turn the ceiling geometry upside-down. The problem was in the viewing angles. The angle of view necessary for the pavement work was nearly three times that of a baroque ceiling. My first photos of the pavement works were photo-mosaics. I would stitch about 12 photos together to capture the pavement work. Then I figured out I could use a fisheye lens to get a single clean image. The fisheye lens has the same curved geometry of the back of the human eye. I realized that when I composed a work in fisheye perspective and projected it across the pavement surface, the projection was hyperbolic. This was a new form of perspective that addressed many of the issues artists struggled within the Renaissance and Baroque periods.

Could you talk a bit about these issues, and why you chose the sidewalk as your canvas as opposed to a wall?

My first (traditional) drawings on the pavement were mostly done on the Via del Corso in Rome, right across the street from the Italian Parliament. I earned on an average day about three times my NASA salary just with the tips thrown in the buckets. The lifestyle was fabulous — I had unlimited funds to study and travel with. It took 10 to 15 years for 3D pavement art to take hold and become interesting to the corporate world and therefore a possible full-time occupation. It may never have happened had it not been for the development of the Internet and social networking.

How does the environment affect your work?

In the early years it mostly affected the works because they were constantly being damaged by rain, sun and wind. A quote from my book reads: “Making a street painting is a lot like constructing a sand castle: while working on one part, another part is eroding… Street painting is a constant reminder that art is about process rather than product.” Now the major importance of the environment is that it appears in the final photographic image (along with the public). I therefore seek to cite the work so that image, public, and environment combine to tell a story.

Illusion is a major factor in your work. Why you find illusion so fascinating and what does it allow you to communicate?

In a general sense, illusion calls into question the nature of human perception. This is always a fascinating topic because we labor under intense misconceptions as to how we experience the world visually. Illusions poke fun at these misconceptions, but in fact, if there were no misconceptions there would be no illusions. In a more specific way, illusion is what allows me to combine the work, the audience and the environment into a single image. It is the combination and juxtaposition of these elements that is central to my work.

You have created hundreds of art works around the world. Which works are you most proud of and why?

I am partial to my “Dies Irae” because it was my first signature work of 3D pavement art and brought the form into existence. I like my darker works such as the series of contemporary “hells.” I am proud of my very large works such as the one I did for Greenpeace. The works I designed to be executed by teams of artists, such as the “Last Judgement,” “The Circus Parade,” and more recently the Guinness Book world record “Megalodon Shark” have given me a lot of pleasure.

You are widely acknowledged as the creator of anamorphic 3D art, what do you think is the future for this form of art?

My feeling is that relatively few young people today are drawn toward collecting artworks as physical artefacts. They seem to be very un-materialistic. What they do buy are things like iPhones and computer games. These are essentially tools that promise interaction with others rather than “things” to collect. It could be that the interactive aspect of the artwork needs to be maintained even in the form of fine art.  

7

A nice walk around the financial district today.

This was with the Samyang 8mm f3.5. I barely use it and had a craving to give it a go again. I enjoyed the angles needed to get some of these shots. Fixed my back a bit!

As a note to folk looking at doing some fisheye photography the samyang is a good cheap starter lens (if on a crop sensor). It’s manual focus (autofocus isn’t really needed as you can pretty much keep it on infinity focus unless the subject matter is <1m away).

This lens is pretty soft up until about f8-f11 so you need a lot of light for it but it gives pretty solid results.

I’d also recommend just try looking through the viewfinder and bending around to see how the distortion warps lines. Remember you don’t need to stay like that to take the photo! (Don’t do your back in doing some weird crab shape!) Enjoy the unique perspective it can provide.

D7200, Samyang 8mm 3.5

Hello, I’m Pete, I live in Manchester England, and I’ve taken a photo every day since January 1st 2010.

I bought a Nikon D300s DSLR after graduating from Manchester School of Art, and I started a 365 project to help me learn how to use it… I’m still going.

Most of my photo’s are architectural, or abstract macro images. I have more frequently been experimenting with triple exposures, and with my new fisheye lens. I was recently diagnosed with Autistic Spectrum Disorder, which very much explains my continued, persistent obsession. One day, I will take a photo of a person.

My Tumblr homepage is HERE

My Twitter page is HERE

My Flickr page is HERE

2

i bought this neat film camera for a dollar and put my fisheye lens on it later on in ny a “friend” stole it when i was in the pit and i wish i had it still that lens was a gift from someone very close to me and i adored that camera.

the first photo is just some palm trees and the second photo is the homeless guy i know he used to skate back when he was younger.

south florida, 2015

7

A Maginhawa tale: “Saan makakaabot ang P50 mo?”

I’ve always wanted to try new things, explore, and travel. But I always hesitate since I don’t know who to go with, or where to start. I know where to go, and I have a list of places I want to explore. But my enthusiasm usually wears down whenever I try to plan things up.

But yesterday was different, and thank God it was.

Keep reading