LDP Podcast: #66 – Third Generation Cameras

3rd Gen Cameras

3rd Gen Cameras

The latest and greatest from the podcast laboratory is a discussion with my good friend Kerry Garrison, and we tackle this hot topic of 3rd generation cameras.  Are these for real?  What is the deal?  What to look for,  pros and cons...and a teaser about the DIY Prequel!  All that bundled into a great episode of The Learning Digital Photography Podcast! (Episode #66).

For another bit of maintenance, I was reminded that the January contest ended and I never launched the February contest, so apologies to all who waited so patiently!  Bragging rights for January (and February I guess), go to:

Evelyn B

Evelyn gets to pick the theme for the March contest!  And it's with great excitement that I share the news there will be two winners for the month of March!  My new friend Joe Farace (fellow photographer and Coloradan, as well as an esteemed journalist and long-time writer for Shutterbug magazine) has contributed not one but two copies of his book titled "Studio Lighting Anywhere"!  You can read reviews and catch a sneak peak of his book over on Amazon, or simply submit your photo to the March contest thread, which is open early!

So, get shooting, and look for the word from Evelyn (hopefully in this thread) on what our theme will be.  Standard contest rules apply!  The thread will go live hopefully by the end of the weekend (this also gives Evelyn some time to both brag about her win and think about the theme!)  Before we sign off for the weekend though, here's the show notes for the 75 minute podcast with Kerry!


3rd Generation Cameras


1st Generation digital cameras – characterized by low MP counts,  “jaggies” and major deficiencies in tonal range

2nd Generation digital was/is today’s classification – basically the maturity of the DSLR

3rd generation – what we can expect in the future

Defining the Future

1.No more mirror – Good vs bad?

2.No more view finder – Real time versus almost real time

3.Sensor sizes – non-full frame, how important is it?

4.New lens sizes

5.Frame rates

Models on the market today

1.Nikon 1 Series


i.J1 - $650

ii.V1 - $900



ii.30-110mm - $250

iii.10mm f2.8 - $250

iv.10-100mm - $750

2.Sony NEX

a.16mm lens


c.Nikon adaptor

3.Leica M7, MP, M9 & M9P


4. Samsung NX200 NX100, NX10


5.Olympus - EP1

Where does that leave the consumer?


Phew, long post and tons of content today, but hopefully enough to get you through the weekend!  Happy shooting and we'll see you back here on Monday!  Special thanks again to Kerry Garrison for taking the time out of his schedule to sit in on the podcast, and to Joe Farace for his contribution to the monthly contest series.  You can find out more about them on their website and social media presences:

Kerry Garrison, Twitter

Joe Farace, Twitter


Avoiding Red Eye

Four Light Setup

A common side effect of introducing flash on your subjects is that of "red eye" - those garish red dots that appear in peoples eyes (or green eyes in pets).  We all know it's from the flash, but sometimes you need flash in a shot to provide enough light for exposure to work.  So, what can you do?  Well, most of us can probably agree that the best approach is to move your flash off-camera.  While this is true enough, the reason why this works isn't because the flash is off the camera, but more accurately, because the camera is off-axis!

Here's what happens - when you line up your camera to your subject, an imaginary line can be drawn from the front of your lens to the face of the subject.  When you "pop" that on-camera flash up, it is pointing directly in that path, and while the goal of lighting the area is achieved, it's happening right in your models face.  Here's the classic setup you'll see a lot of people using that produces red eye in their photos:

Straight on Flash

So, that's why most professionals try to avoid on-camera flash for portrait work.  Most often, we use wireless triggers to fire flashes that are positioned off-camera, either to the left, the right, behind the subject (called hair lights), or any combination of the above:

One Light Setup

Two Light Setup

Three Light Setup

Four Light Setup

Any of the above scenarios could avoid the occurence of red eye in your photos.  There are other accessory lighting kit items as well, including soft boxes, shoot throughs (which I've talked about before), reflectors, and umbrellas, but sometimes you just have to use that on-camera flash, so what to do then?

The answer lies in shooting at an angle.  Remember that term "off axis" I used above?  You need to get that axis off your subjects face.  Get yourself above or below the straight on shot.  You can also turn them to the left or right a tad (and I would recommend this just from a portraitist perspective as it makes for better posture.) Other tactics include some neat light modifier tricks, including gels, diffusers, and the like.  I know folks that put a very subtle gel on it, others who have cut out pieces from a milk carton to use as a diffuser.  Heck, even a sheet of paper or a napkin (if you're in a bar) could work in a pinch.  The ultimate goal is to avoid that harsh garish light bouncing right off your subjects face, with the resulting red eye!

There's a multitude of ways, and I certainly have not cornered the market on ways to diffuse light or avoid red eye, so if you've got your own ideas, tricks, or unique ways to deal with this issue, sound off in the comments!


Today's blog post comes to you courtesy of my good friends over at Nations Photo Lab - A professional Photo Lab Specializing in Photo Books