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Camaras Digitales Online Las Ultimas novedades en Camaras digitales.


KFC Is Making a Fried Chicken Bucket That’s Also a Portable Photo Printer

I know, that headline is a lot to unpack, but earlier today, KFC posted a video to their Facebook page about a project that will turn their chicken bucket into a wireless photo printer. There aren’t many details to be had about the bucket printer, but the KFC social media people have been in the comments insisting that it’s eventually going to be a real thing.

The prints actually appear to be similar to the Fujifilm Instax film, but there are no hard specs to be had just yet. Basically, you download the app, Bluetooth into the printer, and it spits out chicken-scented photos you can share with you and your friends.

KFC Chicken Bucket Printer

I know, it’s a marketing stunt and it’s probably pretty impractical to have your mobile photo printer built into a chicken carrying bucket, but I’m still a big fan of instant photography, and if it takes filling the printer with crunchy, greasy chicken to get people to try it, then so be it.

I put in a note to KFC’s press department and will bring any information as it becomes available on this hugely important fried chicken photography product.


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Pro Tips For Shooting Better Photos at the Beach

Catch a Wave Ah, the stuff of summer dreams—the sweet spot where sand meets sea, where children play and adults lounge, where oceanic wonders call out invitingly—the beach is a photographer’s paradise. And it can be a camera owner’s nightmare.

“You have to be careful with the salty sea spray that can condense on your camera and lens,” says Santa Fe-based shooter Michael Clark, who caught this cresting wave at Waimea Bay on Oahu, Hawaii. But Clark shot this at a safe distance from the spray, taking advantage of the shoreline’s angular curve. “The waves at Waimea break pretty far from the actual beach, but because of the way the cove bends you can get on axis with the waves and see into the barrels. Autofocus isn’t super-critical because the waves break in a relatively consistent place.” If you’re shooting waves as they come toward you on shore, though, you'll need to use AF because of their speed and unpredictability.

Indeed, the challenge is the sea’s constant movement. “You need to shoot hundreds of images of every wave so that you can capture the split-second perfect moment,” Clark says. “Here, I shot more than 2,000 images in a couple of hours. This one was when the first rays of light were hitting the wave at sunrise, which gives it the wild array of colors.”

Like a surfer, anticipate where waves are going to break and position yourself to catch them. “Put your camera on a ball head to swivel and react quickly,” Clark advises. “The reality is waves happen so fast that if you aren’t already shooting by the time you see it, it’s over and gone.”

Get Up High Your vantage point can frame a composition—as evidenced by this shot by French photog­rapher Christian Chaize, who perched his camera and tripod on a rock outcropping far above a secluded cove in southern Portugal. “Don’t fall down!” Chaize jokingly advises. “And try not to give the impression that you are photographing people—someone might get upset.”

In fact, Chaize relies on the distance from his subjects to record candid social studies. This image is part of a long-term series, Praia Piquinia, in which he uses this same vantage point to document changing tides, weather patterns, color variations, and human interactions. “With perseverance and a commitment to this place, I have been rewarded: There is always something new,” he says.

In deciding when to shoot, Chaize watches for drama—“a ball suspended in the air, a wave, an exchange between a couple”—but he notes that surprises often appear when he develops his film. “That can impart the image with a meaning that I didn’t anticipate, or couldn’t have made up if I’d tried.” In addition to a wide-angle scope, he uses the vertical format “to put my subject matter in the form of a portrait—an ongoing record of this corner of nature.”

Chaize’s bird’s-eye view also lends this photograph an effective array of high contrasts and crisp shadows, even in high-noon conditions. “My axis of shooting is northwest, which is a distinct advantage,” he says, “because at all hours, the light is beautiful.” He notes that the key is keeping the sunlight at an angle to the camera: “You need to be sure that the sun isn’t directly hitting the lens.”

Find the Golden Light “The sun can be harsh on the beach,” says Andrew Levacy, a wedding and portrait photographer based in Coronado, California, who specializes in waterfront imagery. “It can be crowded and it may be windy. However, we call the hour before sunset the golden hour because the light gets softer and people start to leave. And the wind tends to die down. That’s the best time to take pictures.” A case in point is Levacy’s portrait (above) of a woman named Katie walking footloose on the sand at sunset. “Get people moving to make a portrait appear more natural,” Levacy says. “I had her walk toward me and look into that nice soft light.”

Levacy often brings off-camera flash (with umbrellas). “Let’s say you’re meeting an hour before sunset: The light is still fairly bright, so off-camera light can help to fill some shadows. And if you want to show the colors of the sunset, they’re going to create a silhouette, so off-camera light helps.”

From behind the camera, the light at dusk still provides “that nice pink-orange soft glow in the background,” Levacy says. “So you can naturally backlight your subjects, or maybe have the sun off to the side, and there won’t be shadows on their face but it has a pastel, soft-lit look.”

Home in with a Macro Lens “Allow yourself to be in love with the subject, open to discovering the many aspects of it, be they old or new,” says Massachusetts-based photographer Harold Feinstein, who created the macro seashell study above. “You’ve got to have a sense of awe.” Here Feinstein sought to convey “the obvious relationship of this shell to the greatest aspects of architecture,” he says. “So I got in as close as I possibly could. The relatively small aperture [f/11] allowed me the most depth of field in that range, and thus I was able to get as much detail as I did. I was drawn not only to the extraordinary natural shapes of the seashell but also to its range of colors, almost like a rainbow itself.”

While this image appears carefully framed, Feinstein suggests an intuitive approach. “I work quickly so that [compositional] decisions are spontaneous and often not considered beforehand,” he says. “And I shoot a lot of exposures, so I have choices when editing.” During an illustrious photo career spanning more than half a century, the beach has been an oft-recurring location for Feinstein. “There’s a lot more light available than in most places, which makes it easier to close down the lens—sometimes even to f/22— which provides you with the most depth of field,” he says. “It’s great for close observation of these remarkable structures, born of the creatures who inhabit them. The phrase ‘form follows function’ certainly applies.”

Savor the Sunrise In stark contrast to action shots on the beach, sunrise images call for quiet, unhurried TLC. “Take your time, slow down,” advises wilderness photographer Rodney Lough Jr., who photographed the above scene in Hawaii. “If you want the imagery and the lighting and everything to be perfect, you can’t be thinking of where you want to be next; you have to be thinking about where you are.”

Lough notes that at daybreak, “not many people are usually up, and the day is still quiet and calm”—which allows for a tripod setup and long exposures (6.8 sec here) that capture nuanced lighting. “Expose for the highlights, because if you lose that data you cannot get it back,” he says. To accurately render the intense natural hues, he often shoots both sunrises and sunsets without filters. But in the case of his image here, “there is a fair bit of exposure difference between the darker elements in the foreground and the colorful sky,” Lough says. “To compensate, I used a graduated two-stop neutral density filter to help balance the tones. I also carry a four-stop neutral density filter, but I mainly use that in shots with brighter sunlight.”

Lough calls this picture “Harmony,” partly because it was shot on a special morning. “My wife and I were celebrating our 24th wedding anniversary,” he recalls. “Yes, I let her sleep in.”


New Gear: Fujifilm X-T1 IR Camera Is Built For Infared and Ultraviolet Photography

Fujifilm X-T1 IR Camera

Back in the film photography era, converting a camera to infrared was pretty straight forward. You put in some infrared film and put on an infrared filter and you were in business. With digital photography however, it’s not quite that simple and often required a special camera conversion process. Now, Fujifilm is offering their X-T1 camera in a native infrared version for those photographer who like to shoot outside the visible spectrum.

In just about every way, the X-T1 IR is similar to the standard version, including the beefed up weather sealing, magnesium body, and built-in 2.36 million dot electronic viewfinder. The difference, of course, is the 16.3-megapixel, APS-C X-Trans CMOS II sensor that can see light into both the UV and IR spectrums.

You can capture signals from approximately 380nm - 1,000nm.

Infrared and ultraviolet photography is getting more popular for things like law enforcement and scientific observation, but it has also had a bit of a rebirth in terms of creative photography as well. Some people also use IR photography to observe the night sky in hopes that it lets them see UFOs that would otherwise be invisible to the naked eye. But, whatever reason people want it, it’s cool that Fujifilm is offering it right from the factory.

The X-T1 IR will be available in October for $1,699.


Photo of the Day Gallery, August 2015

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Mejores Objetivos Réflex

Tener una cámara réflex supone increíbles oportunidades fotográficas a la hora de jugar con objetivos intercambiables. Cada objetivo nos abre nuevos mundos y posibilidades. Claro, esto plantea una nueva pregunta: “¿qué objetivos me interesa tener?” Con el artículo de hoy precisamente vengo a responder esa pregunta. No te voy a soltar teorías abstractas, tampoco vamos […]

Este artículo aparece publicado originalmente Mejores Objetivos Réflex en Blog del Fotógrafo.


Boxing Club

Hace unos cuantos años, quizás más de quince, mi querida amiga Pepi, me enseñó un lugar que sabía me iba a gustar. Era la Asociación Uruguaya de Boxeo y allí conocí a Antonio Canedo, gran entrenador de púgiles. Realicé durante tres veranos, unas cuantas sesiones de fotos que pueden resumirse en mi portfolio Boxing Club; pero ésta vez le pedí a Canedo de dar allí una clase del Taller Strobist que desde hace algunos años, imparto en Montevideo.

Isarrualde Photography Strobist Modelo – Vale Bottino / Valentino Bookings

La idea original no era realizar una fotografía que tuviese un punto deportivo, sino una serie de fotos a una modelo en un entorno que contrastase con su look y actitud. Pero al final de la sesión no pude contenerme en volver a la estética de mis fotografías de prensa de los años ochenta, y emular con la tecnología digital de hoy día, una fotografía realizada con película Tri X y revelada con D76, 1+1, 11 minutos, a 20 grados. Después de todo, el gimnasio se sitúa solo a dos manzanas del Semanario Brecha, donde comencé mi periplo profesional, en el fotorreportaje.

Las primeras fotos

Isarrualde Photography Strobist

El gimnasio es muy luminoso. Se sitúa en una esquina y por ambas fachadas hay grandes ventanales. A pesar de ello, salvo que subiese el ISO muy alto, no era suficiente para realizar la fotografía. Trabajé a 400 ISO y a 800 ISO; no suelo trabajar a isos más altos pues mi cámara no funciona bien en esas condiciones.

Isarrualde Photography Strobist

Coloqué entonces un paraguas traslúcido como luz principal. La ubicación del paraguas debía de coincidir con la dirección de la luz natural que entraba desde la ventana, para no llegar a un resultado antinatural, que no me agradaba.
No suelo trabajar con paraguas, pero debo reconocer que tiene sus ventajas. Por una parte, es barato en comparación a otros accesorios y además es muy fácil de montar y ligero para transportar. Si estamos impartiendo una clase de Strobist, éstos tres argumentos van de la mano con ésta técnica.
El paraguas de transmisión, como es el caso del que utilicé en esta clase, es amplio y algo duro en relación a un paraguas de reflexión o una caja de luz. Pero la modelo estaba lejos de la ventana real y la luz más parecida a la natural, era la que producía este paraguas.

Belen Schneider © Belen Schneider

El ratio de iluminación era muy importante, Se trataba de lograr que la intensidad de la luz del flash no estuviese por encima de la luz ambiente, por ello disparé en ratio 0. Como el ambiente debía de quedar sugerido, no fue necesario emplear una gran profundidad de campo. Al utilizar un diafragma abierto, la potencia del flash fue suficiente y la luz ambiente “rellenó” el espacio. Fue necesario, eso si, hacer un balance de blancos adecuado por la mezcla de luces existentes de distintas temperaturas de color. Hice dos procesados distintos del Raw y los superpuse por capas, en Photoshop.

El vestuario colorido era más apropiado para el espacio donde estábamos trabajando, por lo que hice varias fotografías en diversos rincones del gimnasio. Una pared llena de recortes de prensa de grandes estrellas del boxeo nacional e internacional decoraban las paredes. Aquí se trataba entonces de mantener el mismo carácter de la luz de las fotos que venía haciendo, pero evitando el reflejo de los brillos en dirección a la cámara. Para ello, esta vez situé el flash lateralmente y los reflejos se fueron fuera de la “familia de ángulos”. No tuve mucho tiro, y tuve que realizar la fotografía con gran angular.

Isarrualde Photography Strobist

La imagen final

Me gusta la fotografía resultante en color. Desde que la técnica es digital el fotógrafo puede hacerse cargo de la paleta cromática de sus fotografías. Antes también se podía, pero eran pocos los fotógrafos que contaban con un laboratorio color propio y las variables cromáticas que daban las películas eran muy limitadas. Me encanta la fotografía química, debo de haber revelado no menos de 1500 carretes en blanco y negro y algunos cientos en color. Pero la técnica fotográfica actual permite al fotógrafo ser artífice del acabado de su imagen. Por ello, me dí el capricho de procesar la fotografía en blanco y negro. Prefiero procesar el archivo Raw directamente en blanco y negro, aunque no en Escala de Grises. También suelo revelar mis fotos a 16 bits y en un espacio de color amplio.

Irina Raffo © Irina Raffo

En la foto que nos ocupa, había buena luz natural desde un ventanal situado a la derecha de la cámara. Coloqué un pequeño Beauty Dish blanco que me gusta mucho utilizar, para disminuir el contraste de la escena. También utilicé el paraguas traslúcido para lograr una iluminación de efecto desde detrás, ya que no llegaba nada de luz desde allí.

JImena del Rio  © JImena del Rio

JImena del Rio © JImena del Rio

Como se puede apreciar en las dos imágenes siguientes, la luz de efecto del paraguas en posición de semi contraluz oblicuo , o “kicker light” , separa a la modelo del fondo, realza su trenza y da más volumen al cuerpo.
Como suelo trabajar en éstos casos, utilicé flashes Yongnuo 560, con sus respectivas baterías PB820 de Godox y los Pocket Wizards para sincronizar los flashes por radio.

Isarrualde Photography Off-camera flash  Isarrualde Photography Off-camera flash

En definitiva, dos flashes Yongnuo 560 chinos y un pequeño Beauty Dish de Singapur, fueron suficientes para conseguir éstos resultados.

Isarrualde Photography Off-camera flash

Peluquería: Flo Canedo
Maquillaje: Betina Gersberg

Boxing Club.pdf

Esquema de iluminación  Esquema de iluminación

Esquema de iluminación  Esquema de iluminación

Esquema de iluminación  Esquema de iluminación

Reservados todos los derechos. © Isarrualde Photography
Prohibida toda reproducción parcial o total sin el consentimiento escrito del autor.


Reto Semanal 120: Fotografía Narrativa

Esta semana te reto a contarnos una historia sin lápiz ni papel. Sólo sirve tu cámara. ¿Cómo Funciona? (Recordatorio) Cada semana propondré un nuevo reto, se trata de un tema que tendréis que plasmar en una fotografía y subirla a la página de Facebook del blog poniendo en la descripción la palabra clave que os iré indicando […]

Este artículo aparece publicado originalmente Reto Semanal 120: Fotografía Narrativa en Blog del Fotógrafo.


Ringo Starr Talks About His Beatles-Era Photography on Conan

If you’re a fan of the Beatles, you probably know how fond they were of photography. They were often seen with cameras in their hands as they traveled the world playing concerts. Recently Ringo Starr released a book of his photos from the Beatles days and he went on Conan to talk about them.

The photos likely won’t blow your mind, but seeing intimate photos taken by famous people is almost always interesting, especially when they’re old.


Canon’s New $30K Camera Shoots at ISO 4,000,000

Do a quick skim of the internet camera message boards and it’s not hard to find people criticizing Canon for their lack of innovation in terms of sensor technology. People quote DXO scores in a vacuum and say that Canon isn’t innovating anymore, but with cameras like their new ME20F-SH, it’s going to be hard to keep saying that. Their new $30,000 interchangeable-lens camera is capable of pushing its ISO rating over 4,000,000.

The sensor inside is a 35mm-sized full-frame CMOS with pixels that are roughly 5.5-times the size of those found in their high-end DSLRs like the 1D X. From the press release: “Furthermore, the sensor's pixels and readout circuitry make use of Canon proprietary technologies to achieve both reduced noise and exceptionally high sensitivity on subjects with a minimum illumination of less than 0.0005 lux.” So, basically, it can shoot in the dark.

The front of the camera has a cinema locking style EF mount, so it uses their standard lenses, while the back of the camera has an array of video interfaces that allow it to be worked into a cinema system.

As stated above, the camera costs $30,000 just for the module alone and is meant for industrial applications and big-budget productions, but it will be very interesting to see if this sensor tech starts to work its way down into the pro and even consumer grade camera lines.

The current DSLR ISO war is sitting at 409,600 with cameras like Nikon’s D4s and the Sony A7s, so this would be a substantial jump. However, it remains to be seen at what point images from the Canon cross the barrier into unusably noisy.

Canon has a large expo coming up, so it seems pretty safe to assume they will be touting this thing pretty heavily and I’m looking forward to checking it out.

Canon Press Release


Accesorios Creativos Para Conseguir Impresionantes Retratos de Bebé

30Cuántas veces has visto una impresionante fotografía de bebé y has pensado que tú no la podrías hacer… Es cierto que fotografiar un recién nacido o un bebé no es nada fácil, requiere kilos (por no decir toneladas) de paciencia, muchas ganas, un poquito de creatividad, seguir consejos como estos, evitar ciertos errores y tener […]

Este artículo aparece publicado originalmente Accesorios Creativos Para Conseguir Impresionantes Retratos de Bebé en Blog del Fotógrafo.


The LumoPro LP605M Convertible Light Stand That Converts Into a Monopod

LumoPro clearly has multitasking on its mind. Yesterday they introduced a flash case that also converts into some lighting modifiers and now they have introduced the LP605M Convertible 7.5' Compact Light Stand and Monopod. While the name is a mouthful, the device itself is meant to be as minimalist as possible and weighs in at just 3.6 pounds.

The light stand/monopod was developed in collaboration with industrial designer and photographer Eric Au, and aims to smooth the shift between using off camera flash and shooting action shots.

The stand has retractable monopod feet that can be tucked away when you want to use it as a support for speedlights or modifiers, or they can be used along with a fluid chamber and mounting adapter to capture smooth stills or video. Built-in ground spikes can be used for extra stability and the stand's legs can flatten when extended for support.

You can use your existing ballhead with the LP605M's included adapter to allow for mounting a speedlight or a camera without the extra gear.

The LP605M is made from lightweight aluminum in five sections, and has metal locking collars. The LP605M features a standard 5/8" top with a 3/8" thread and has a platform mounting adapter and LP605-3 3/8" to 1/4"-20 Adapter.


Adobe Camera Raw v9.1.1 Will Be the Last to Support Photoshop CS6

Adobe Camera Raw No Longer Natively Supports Photoshop CS6

When Adobe first started making the transition over to their Creative Cloud software subscription service, it was a pretty huge shift for them and their users. Some people thought it made the barrier to entry into the Photoshop infrastructure much lower, while others were staunchly opposed to “renting” software they would never own. Some folks in the later camp vowed to stick with the last standalone version, CS6, until the day it was pried from their cold, dead hands. That day is one step closer now that Adobe has announced v9.1.1 of their Camera Raw software will be the last to natively support Photoshop CS6.

The announcement was made in a short, no-frills blog post on the Adobe site. Of course, that doesn’t mean CS6 users won’t be able to edit raw files using their software, it just means they will have to go through the extra step of converting the original raw files to DNG files using the Adobe DNG Converter Utility.

The motivation for the change according to Adobe is to “pursue further innovations in image processing and workflow technology,” which seems like pretty standard boiler plate, but this is honestly something everyone saw coming already anyway.

This news will likely rile up some users who have been clinging onto CS6 as it means that, for them, buying a new camera in the future will also mean switching to another image editing system or enduring an extra image conversion process before they can start editing.

Personally, I’ve been a subscriber to the Creative Cloud For Photographers plan since it was first offered (Disclosure: I pay for my Creative Cloud subscription personally, it’s not provided by Adobe, though, they are an advertiser on this site). It’s not without its troubles, but I’ve had an overall very positive experience with the program and Adobe has made it very clear that they don’t intend to go back to the old methods any time soon.

So, CS6 users out there, is this enough to push you into the Creative Cloud?


LumoPro’s LightSwitch Is A Flash Case That Turns Into a Lighting Modifier

A new product from LumoPro called the LightSwitch is a 2-in-1 multifunctional tool meant to cut down on the amount of gear that you need to lug to a shoot. The LightSwitch has a super clever, but simple design that allows it to be used as a case for your speedlight and either a reflector, bounce card or flag.

The genius of the LightSwitch’s design is in a double pull zipper and a velcro strap. When zipped together it will hold and protect a standard speed light. When it is unzipped its various parts can be used to modify your light. The product is lined with stain-resistant white vinyl to soften and direct the light emitted by the flash.

Not only does it cut down on the number of things you have to carry, but it can also prevent you from losing small lighting modifiers, which is something that happens more frequently than it should.

The LightSwitch retails for $29.99.


This Site Lets You Know If Landmarks And Attractions Allow Your Selfie Stick

Like it or not, selfie sticks seem to be here to stay. If you plan on taking yours with you on your next trip, the site can help.

The site lists popular travel and entertainment destinations from museums to amusement parks, and gives you a simple yes or no as to whether your selfie stick is allowed in.

You can search the site by alphabetical order, location, or the type of attraction.

As long as you make sure to practice selfie safety, bring the right equipment, and get a little inspiration, you should be ready for your trip.


Hands-On and Sample Photos: Zeiss 85mm F/1.8 and 25mm F/2 Batis Lenses

Zeiss Batis Lenses Hands-On and Sample Photos

It seems pretty safe to say that Zeiss sure knows how to make an 85mm lens. They aren't too shabby when it comes to wide-angle lenses either, so when I got the opportunity to spend time with their new Batis lenses for Sony full-frame E-mount cameras, I was eager to mount them up and head out to shoot.

One of the big talking points when the lenses were first announced was the inclusion of an LED indicator screen right on the lens. It's a very nice addition, but it's not something I use all that often. I feel it won't be something that makes or breaks the lenses for many shooters, but I think it makes a lot of sense. The camera is electronic, the viewfinder is electronic, it only makes sense that the distance scale should be electronic.

When you're using them, the lenses feel very much like you'd expect Zeiss lenses to feel. I spent some time with the Touit when they were first announced and these certainly still feel like a step up. The focus ring is particularly nice, offering a very smooth action and nice damping, even though the lenses aren't mechanically driven. That might actually be an important point for some users. The Batis lenses are "focus by wire" which means the ring is electronically linked to the actual focusing action. The ring you turn with your hand is linked to focusing only by electronics, not mechanical pieces. That said, the manual focusing still feels very responsive to me.

With the Touit lenses, I wasn't quite sold on the autofocus performance, which was likely due--at least in part--to the AF system in the body. I found the Batis lenses to be quicker and smoother, even if they do seem to hunt a bit. I also sometimes found it fairly tricky to lock focus when I was approaching the minimal focusing distance of the lens, especially with the 85mm. It's times like that the excellent manual focus is greatly appreciated.

The lens hoods on these things are rather beautiful, following a flowing shape that mimics that of the camera's body. They're not made of burly metal like the Otus, but that keeps weight down and they also feel very sturdy. I found myself keeping them on pretty much at all times. Even without the hood, however, they aren't very prone to flaring. Even when I was actively trying to flare the lens a little, both lenses keep the sun corralled rather nicely.

In terms of sharpness, my eyeball tests suggests what you might already suspect: When you get the focus right, both lenses are extremely sharp, even under scrutiny available thanks to the A7r's big resolution. The bokeh on both lenses is nice and smooth, with round specular highlights thanks to the circular aperture.

One thing I noticed when going through all the images I took was how neutral the images are. I was shooting with everything on neutral mode and the images came out looking fairly flat. Even the JPEGs look a little flat, which is a bit of a departure since I've often found some Zeiss lenses to be extremely contrasty. That said, the files that were shot with the Batis lenses hold up extremely well to editing, which is ideal for many shooters (including myself) who edit everything before sharing.

All images in the gallery were shot on the A7r and are unaltered unless noted. The chances are mostly a few little exposure tweaks, but never more than a stop and there are no structural or perspective corrections added to the photos so you can get an idea of what the images actually look like. That 25mm seems excellent in terms of distortion to my eye.

I'm looking forward to shooting a little bit more with these before they go back to the Zeiss mothership, so if there's something specific you'd like to see, leave it in the comments or ask via Twitter.


Descubre la Belleza de los Retratos Tomados con un Beauty Dish

Como amante del retrato que seguro que en algún momento eres o serás 😉 lo normal es que empieces tus andares con poco o con nada, que empieces a aficionarte a la fotografía con una cámara compacta, una cámara de teléfono móvil o una cámara que cayó en tus manos de casualidad, aquella que usaba […]

Este artículo aparece publicado originalmente Descubre la Belleza de los Retratos Tomados con un Beauty Dish en Blog del Fotógrafo.


Panasonic’s 3D-Scanning Photo Booth Uses 120 Lumix GH4 Cameras

Panasonic 3D Photo Scanning Booth 120 GH4 Cameras

3D scanning and printing is an extremely complex process that requires a lot of specialty equipment and tons of know-how. As a mega-electronics company, Panasonic has plenty of both and they have recently opened a very impressive 3D scanning booth at The Panasonic Center in Osaka, Japan.

The booth uses an array of 120 Lumix GH4 mirrorless cameras that are all triggered simultaneously and fire within 1/1,000,000th of a second. The output is over 2-billion pixels of image data.

They can then take all of that data and make a 3D model that can be printed out into a small statue. From the looks of the video, the statues actually look pretty great. The whole process costs just under $500 US after the currency conversion, which is a bit pricy, but when you consider the amount of technology involved, it’s not all that surprising.

I wonder if we’ll ever get tired of seeing giant arrays of cameras doing interesting things.

From: DPReview

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