Sports Camera with Interchangeable Lens

I’ve owned three or four different sports cameras in the past 10 years. These were all point-and-shoot varieties built well enough to survive if they were dropped, withstand the inclement weather and capture photos underwater.

My main reason for buying a sports camera was to use it at the sandy beach, in and around the swimming pool and at the ocean for underwater photography. All of the cameras produce decent photos above water but picture quality underwater is just passible from the earlier cameras and average from the more recent models.

For highest quality, serious picture takers usually rely on an underwater housing matched to a specific DSLR. The best housing often costs more than the camera itself. Add an underwater flash and you’re talking real money.

It’s with this high cost in mind that my ears perked up a few weeks ago after hearing an announcement about an interchangeable lens sports camera from Nikon. I made it a point that the Nikon 1 AW1 was a “must-see” at PhotoPlus Expo.

The AW1 is based on Nikon’s mirrorless interchangeable lens “1” series. It has a 14 MP sensor, fast hybrid autofocus and also takes HD video. In addition to the waterproof body, there are two lenses specifically for underwater use: 10mm f/2.8 and 11-27.5mm f/3.5-5.6

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Accessories include a rubberized jacket for the camera body and the lens. These make the AW1 easier to handle underwater.	With the lens removed and with no mirror, you can see the sensor and the light blue O-ring which keeps the water out at depths to 50 feet.
As the Nikon rep Brian is demonstrating the the use of the AW1, you can’t help but notice the compact size of the equipment. In addition to its underwater performance, the AW1 is shockproof to withstand a 6 ft. drop and operates at temperature as low as 14 degrees. The built-in flash is also waterproof. The AW1 with 11-27.5mm lens sells for $795. The AW1 with both a 11-27.5mm and 10mm lens sells for $995. It’s available in black, white and silver. Brian mentioned that there are 7 other Series 1 lenses that are compatible with the AW1, although they are not for underwater use.

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To be honest, I’m quite interested in this innovative camera. Currently, it’s available only with the 11-27.5mm lens. But when the dual lens kit (with 10mm f/2.8) is available, I think I’m going to jump in to buy one. If so, I’ll have a review in an upcoming article.

 

 

Written by Arnie Lee

 

 

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Polaroid Redux

If you’re old enough to remember the phrase instant photography then you’ll know Polaroid. For several decades beginning in the 1950’s you would often see picture takers peeling the negative backing from their print to reveal a magical photograph.

 

Last week I traveled to New York to attend the PhotoPlus Expo, a yearly gathering where major manufacturers of photographic equipment and accessories exhibit their wares and providers of services and training hold sessions and demonstrations for both professionals and the interested public. I’m told that some 22,000 of the photographically inclined attended the expo over the three days. PPE which just celebrated its 30th anniversary, is held at the Jacob Javits Convention Center. In coming articles, I’ll have several reports on some of the new equipment and accessories that I found interesting at this year’s PPE.

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I’ll start this short series of articles with a piece of equipment which is a throwback to a much earlier time. Those of you who recall Polaroid are familiar with the concept of “instant” photography. With a Polaroid camera, after you press the shutter, a stiff sheet of shiny paper is ejected from its side and after 60 seconds (not quite instantly) the image magically develops on the paper.

 

For several years now, Fuji has been selling a replacement for the defunct Polaroid system. Their newest model, the Instax Mini 90, uses a 10 exposure ‘print pack’. The Mini 90 is a solidly built and very retro black. The white, blue and pink models are from their previous Mini 8 and Mini 25 series. Print pack pricing breaks down at a cost of about $1 each.

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The film packs are either with white background or “rainbow” with a variety of background colors. The Fuji representative captured my face using one of the Mini 90 cameras to prove to me that it was real! The image takes about 10 seconds to appear and the coloring is quite good.

 

I have seen these cameras being used a weddings, showers and other gatherings and the Fuji rep confirmed their popularity. If you have need for quick prints, this is certainly a foolproof and affordable way to get them.

You can find out more about the Mini 90 at Fuji Instant Photo System.
Written by: Arnie Lee

 

 

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The Case For a Tripod

I’ve never been a big user of tripods. I have nothing against using them and in fact I own several of them. I use a tripod mostly around the studio when shooting still life and products. But when I’m shooting out of the studio, I rarely take one along. I like the lightweight freedom and try to minimize the amount of gear that I carry. And I am not very patient trying to set up for a shot. When traveling by airplane a tripod is just not very convenient.

 

That being said, I found a tripod very helpful on my most recent outing. To be completely truthful, I didn’t use a conventional tripod. Instead I carried a Joby Gorillapod. The Gorillapod is a very lightweight flexible stand. It has a 1/4″x20 screw for mounting to your camera’s tripod socket. Its legs are jointed and bendable to provide a stable platform even when rested on uneven surfaces. I carried a Gorillapod with me while exploring Antelope Canyon in northern Arizona. These are slot canyons formed from sandstone and carved by wind and water over millions of years. What is thrilling about these formations is that light filters it way from above through narrow passages creating amazingly colorful visuals as you hike through the passageways.

 

During daylight, the canyon is dimly lit yet remains easily and comfortably walkable. Photographically, there is enough light in some areas to shoot handheld. However to capture images of some of the more dimly lit rock faces, you’ll need to use longer exposure times e.g. 1/2 second or longer. Not many of us can handhold at these slower shutter speeds.

Knowing this ahead of time, I mounted one of my cameras on the Gorillapod. As you can see from its short legs, when placed on the ground it’s not convenient to use unless you’re kneeling down. In the canyon, the rocks are the perfect surface on which to rest this mini tripod.

For much of the tour, I’m looking upwards towards the light entering the canyon from above. To capture a long exposure, I twisted the legs to conform with the contour of an adjacent rock surface to make a “rock steady” platform. I used this technique for exposures up to two full seconds.

If you too are a non-tripod guy like me, you might find it useful during one of these outings to include a very portable tripod. There are several brands of portable steadying devices. You can find out more about the one I used at Joby Gorillapod

If you’re interested in visiting these amazing slot canyons located near Page, Arizona, you’ll want to book a tour with one of the five Navajo owned companies. I chose an extended photo tour 2-1/2 hours instead of the normal 1-1/2 hour tours. I booked through Antelope Canyon Tours and our tour guide Rosie was splendid in pointing out many of the colorful formations and giving us photo shooting tips.

 

 

Written by: Arnie Lee

 

 

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