Feel like you’re not attracting enough attention when you’re out shooting photos? Want people to stop and stare? You’re in the right place.
The kit lenses that come with digital SLRs today may be capable of taking cool pictures, but they aren’t all that cool in and of themselves. I mean, let’s face it - no one is going to be impressed with that 18-55mm zoom hanging off the front of your shiny new Digital Rebel XTi.
We spent some time scouring the net to come up with our list of the top four strangest camera lenses you can buy today. While these lenses certainly set you back a pretty penny (and then some), those who can afford it can have a truly unique piece of kit that can take some pretty unique photos. From the ultra-wide to the ultra-zoom, these lenses represent the most extreme pieces of kit that engineers can dream up.
I’m sure you’ve noticed that the burger you see in a fast-food advertisement seldom resembles the greasy, congealed mess you get from the drive through. Guys like this have a lot to do with it. Check out this video on food photography:
Cheapshooter has a few exciting things in the pipeline this week, including a guide to concert photography and an interview. For Monday, check out this awesome look at a USA Today photographer and how he captured Barry Bonds’ record-breaking home run:
For home run #756, staff photographer Robert Hanashiro was able to achieve 30 frames-per-second by constructing a three-camera sequence rig consisting of Canon Mark III digital camera bodies (10 fps each); three 600mm f/4 lenses; two sets of MultiMAX radio triggers and cords (plus 2 back ups); Slik “triple plate” (to mount three cameras/lenses); Gitzo Pro Studex tripod and tripod head; three 10-pound Boa sandbags.
30 FPS? It only takes nearly $50,000 worth of equipment. While the rest of us can only dream, the video is an insightful look at the lengths it takes to get the job done.
Meet Bill Frakes. Even if the name doesn’t ring a bell, you’ve almost certainly seen one of his pictures. Frakes is one of the better-known photographers at Sports Illustrated, shooting covers ranging from Peyton Manning to college basketball. All that’s good, but where Frakes really shines is at the racetrack.
This photo, showing 2007 Kentucky Derby winner Street Sense, doesn’t necessarily look like the end result of dozens of cameras and hours sorting through thousands of digital frames. It’s a great shot, but don’t think it’s simply a result of being in the right place at the right time. Frakes leaves nothing to chance, enlisting assistants and equipment galore to make sure that each event he covers is covered from absolutely every angle.
What did all that effort get him? This photo ran as inside art in the May 14 issue of SI. It’s indicative of the effort and dedication pro photographers are willing to put in just for a few inches in a prime magazine.
It’s important to point out that this image is uncropped. If you want to see just how cool Frakes’ images can be after a little editing, check out this slideshow from Apple, who ran a profile on him as part of the promotion for their Aperture software.
Want to find out more about Frakes and remote photography? Pick up the article after the break.
Image copyright Sports Illustrated and Bill Frakes
