The Digital Story Photography Podcast Podcast Por Derrick Story arte de portada

The Digital Story Photography Podcast

The Digital Story Photography Podcast

De: Derrick Story
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Where photography meets technology. Weekly podcasts, photo tips, equipment reviews, and more. Author and pro photographer Derrick Story shares his insights, experiences, and opinions.© & ℗ 2026 Story Photography Arte
Episodios
  • 5 Whacky, Fun Things to Do With Your Camera - TDS Photography Podcast

    5 Whacky, Fun Things to Do With Your Camera - TDS Photography Podcast
    Apr 14 2026
    This is The Digital Story Podcast 1,047, April 14, 2026. Today's theme is, "5 Whacky, Fun Things to Do With Your Camera." I'm Derrick Story. It's easy to get a bit too serious about photography. But the truth is, some of our best shots happen when just playing around. And to help stir that pot a bit, here are 5 whacky techniques that you can do with your camera to get your fun on. Plus industry news and more. I hope your enjoy the show. Digital Photography Podcast 1047 Tune-In Via Your Favorite Podcast App! Apple Podcasts -- Spotify Podcasts -- Stitcher Podbean Podcasts -- Podbay FM -- Tune In 5 Whacky, Fun Things to Do With Your Camera We're in the middle of our Creative Camera Techniques online workshop, and I'm having a blast preparing for each session. I thought this week, I would share the love with you. So, here are 5 fun things to do with your camera. 1. Try a New Technique Such as Intentional Camera Movement (ICM) or Zooming During Long Exposure. - Both of these incorporate motion during exposure. ICM requires you move the camera during a longish exposure, and the zoom method is turning the zoom ring while the shutter is open. Both can yield fascinating results. 2. Mount Your Weirdest Lens on Your Mirrorless - This could be an ultra wide, LensBaby, pinhole, or even a vintage optic with an adapter. Commit to using only that odd couple for an entire day. See what you can get. 3. Dig Out an Old Point and Shoot - It could be a digital compact from the past, such as the Canon S110, or a film favorite like the clamshell Olympus Stylus. Either way, take an afternoon challenge to see how many good shots you can capture with this old friend. 4. Vaseline on an Old Filter - Honestly, this is one of my favorites. With your finger, smear a medium coating of Vaseline on the outside of the filter, starting near the edge and working inward. Leave a clear spot in the middle, about the size of a dime. Then go shoot colorful objects. 5. Experiment with Multiple Exposure - Nearly every camera has some sort of Multiple Exposure function. Read up on how yours works, then go create your next visual masterpiece. Other options include digging around in your filter shoebox look for old special effects filters, or finally testing some of the unique features of your camera such as Live ND on OM System models. Whatever your settle on, commit to it for an entire day. I think you'll have a blast. This Week in the News OM System just gained more control over its future as featured on DPReview.com DaVinci Resolve 21 is Now a Lightroom Alternative: RAW Editing, Tethering, Masking, and More as featured on PetaPixel.com Can DxO Pure Raw 6 Save an ISO 25,600 Wildlife Shot? as featured on PetaPixel.com Virtual Camera Club News Workshops! The 2026 TDS Photography Workshop Season. We are featuring webinars, online workshops, and in-person events focused on creating impactful images in the company of those who love photography as much as you. Our workshops are like no others, and we think you will throughly enjoy the camaraderie and the tips and techniques. Stop by The Nimble Photographer Workshop Page and reserve your spot today. Inner Circle Bold. Sign up for the Annual Membership that's only $75.60 a year, you will receive all of the regular Inner Circle benefits, plus a coupon for your choice of a 2026 Online workshop hosted by me. Great Photography Articles on Live View - If you check out our publication and appreciate what you see, be sure to follow us and clap for those authors. You can find us at medium.com/live-view. If you're interested in writing for Live View, drop me a line at dstory@gmail.com. The Nimble Photographer Newsletter is now publishing every Thursday. Readers will enjoy a variety of content spanning from short photo essays, to commentary on weekly events, to reviews of the latest and coolest photo gear. Inner Circle Members: A big thanks to those who support our podcast and our efforts! We are having a blast at our new Inner Circle hangout, the private group I've set up at DerrickStoryOnline. We'd love it if you join us. You can become an Inner Circle Member by signing up at our Patreon site. You will automatically be added to the new hangout. The New Donation Kit for Carefree Shipping of Found Film Cameras - If you've discovered a film camera that's no longer being used, our new Donation Kit makes it easy to pack and ship. Just visit the Contact Form on thenimblephotographer.com, click the box next to Donating a Film Camera, and let me know what you have. In your note, be sure to include your shipping address. Affiliate Links - The links to some products in this podcast contain an affiliate code that credits The Digital Story for any purchases made from B&H Photo and Amazon via that click-through. Depending on the purchase, we may receive some financial compensation. Red River Paper - And finally, be sure to visit our friends at Red River Paper for all of your inkjet supply needs. See...
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    34 m
  • Journey to the Dark Side of the Moon - TDS Photography Podcast

    Journey to the Dark Side of the Moon - TDS Photography Podcast
    Apr 7 2026
    This is The Digital Story Podcast 1,046, April 7, 2026. Today's theme is, "Journey to the Dark Side of the Moon." I'm Derrick Story. On April 1, 2026, Artemis II launched for a historic 10-day crewed mission orbiting the Moon, marking it the first human return to deep space since 1972. The pictures from the mission have been stunning. Today we will learn about the gear they are using and hear from the astronauts themselves. I hope you enjoy the show. Digital Photography Podcast 1046 Tune-In Via Your Favorite Podcast App! Apple Podcasts -- Spotify Podcasts -- Stitcher Podbean Podcasts -- Podbay FM -- Tune In Journey to the Dark Side of the Moon NASA provided the audio of Mission Control and the astronauts, as well as the image for this podcast. A big thank you! The crew of four - Reid Wiseman, Victor Glover, Christina Koch, and Jeremy Hansen--are testing NASA's Orion spacecraft and SLS rocket. This mission will break records, flying further than any humans before, to prepare for future sustainable lunar exploration. For their image-making, the crew has 32 cameras aboard the Artemis II. Eliminating the cameras that are mounted on the spacecraft itself, the four astronauts aboard have 17 handheld photo-taking devices at their disposal, including Nikon D5 DSLRs, a Nikon Z9 mirrorless camera, GoPros, and iPhones. (More on the iPhones in the next story.) Lenses include the Nikon AF-S Nikkor 14-24mm F2.8G ED, Nikon AF Nikkor 35mm F2D, and the Nikon AF-S 80-400mm f/4.5-5.6G ED VR. NASA has selected National Geographic to help tell the story of Artemis II, the first Artemis flight that will carry astronauts around the Moon and back to Earth aboard the agency's Orion spacecraft. Nat Geo collaborated with NASA to train the Artemis II crew in 2025-2026, acting as a "mini astronaut film school". Staff taught astronauts storytelling techniques, cinematic videography, and social media skills for documenting their lunar mission. The crew will act as photographers and filmmakers during their journey. Some of the images we've already seen include "art002e000192" (April 3, 2026) - A view of Earth taken by Artemis II Commander Reid Wiseman from one of the Orion spacecraft's windows after completing the translunar injection burn on April 2, 2026. The image features two auroras (top right and bottom left) and zodiacal light (bottom right) is visible as the Earth eclipses the Sun. He used a Nikon D5 with a Nikon AF-S Nikkor 14-24mm F2.8G ED at 22mm, f/4.0, 1/4 sec, at ISO 51,200. This is the shot that everyone has seen and marveled. Another image that I really like is "art002e000191" taken in the same session by Reid Wiseman of a view of Earth from one of the Orion spacecraft's four main windows, with earth framed by the window and also showing the interior of the Orion craft. Again, with the Nikon D5, Nikkor 35mm F2D, f/20, 1/250 sec, ISO 250. These images are made available by NASA. Even though this is a mission of a lifetime, with amazing equipment and technology, these are still humans trying to figure things out in real time. One of my favorite quotes is: "The moon is so bright in window 4 they have had to temporarily cover it with a t-shirt." I also liked: "Time to swap positions at the window and take your SD cards with you." Mission Control. So let's hear from the astronauts themselves. Here is some actual dialog from April 6, 2026, as they near the moon. I also want to mention, great job by NASA press secretary Bethany Stevens, who is moderating this mission in real time. This Week in the News Here's how NASA cleared the iPhone 17 Pro Max for astronauts on Artemis II as featured on 9to5mac.com How Steven Madow Captured the Artemis II Launch With 14 Cameras as featured on FStoppers.com 'Project Hail Mary' Cinematographer Says Film Was 'Challenging', But Was Helped by Cheap Amazon Filter as featured on PetaPixel.com Virtual Camera Club News Workshops! The 2026 TDS Photography Workshop Season. We are featuring webinars, online workshops, and in-person events focused on creating impactful images in the company of those who love photography as much as you. Our workshops are like no others, and we think you will throughly enjoy the camaraderie and the tips and techniques. Stop by The Nimble Photographer Workshop Page and reserve your spot today. Inner Circle Bold. Sign up for the Annual Membership that's only $75.60 a year, you will receive all of the regular Inner Circle benefits, plus a coupon for your choice of a 2026 Online workshop hosted by me. Great Photography Articles on Live View - If you check out our publication and appreciate what you see, be sure to follow us and clap for those authors. You can find us at medium.com/live-view. If you're interested in writing for Live View, drop me a line at dstory@gmail.com. The Nimble Photographer Newsletter is now publishing every Thursday. Readers will enjoy a variety of content spanning from short photo essays, to commentary on ...
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    32 m
  • Why I Revisited Crop Sensor Mode on a Full Frame Camera - TDS Photography Podcast

    Why I Revisited Crop Sensor Mode on a Full Frame Camera - TDS Photography Podcast
    Mar 31 2026
    This is The Digital Story Podcast 1,045, March 31, 2026. Today's theme is, "Why I Revisited Crop Sensor Mode on a Full Frame Camera." I'm Derrick Story. An APS-C sensor isn't exactly chopped liver, right? And it becomes even more alluring when it's extending the reach of your telephoto by 1.5X, and with no light loss! But you do lose a bit of resolution, and that was a speed bump for me. But I'm over it! And I'll explain why, plus industry news, in today's TDS Photography Podcast. I hope you enjoy the show. Digital Photography Podcast 1045 Tune-In Via Your Favorite Podcast App! Apple Podcasts -- Spotify Podcasts -- Stitcher Podbean Podcasts -- Podbay FM -- Tune In Why I Revisited Crop Sensor Mode on a Full Frame Camera Captured in crop-sensor mode with a Nikon Zf and 28-400mm Z zoom. What is crop sensor mode? Many full frame cameras have a crop sensor setting that provides 1.5X or 1.6X magnification. Essentially, this mode uses the center area of the chip and not the full 35x24mm surface. This allows photographers to use compatible crop-sensor lenses, call DX in Nikon terms, on a full-frame body. But it's also a way to extend the reach of a full frame optic without having to add a physical teleconverter. The catch is, since you're only using part of the sensor, the resolution decreases. In the case of my 24.4 MP Nikon Zf, I co from 6048x4032 pixels in FX mode, to 3984x2656 in DX mode, which is 10.6 MP. Unlike digital magnification that interpolates pixels, these are real pixels right off the sensor. DX mode renders both the JPEGs and the RAWs the same resolution. There is savings in file size too. A DX RAW from my Zf is around 14.6 MBs compared to FX at 30.9 MBs. Why did I revisit DX mode? As I mentioned earlier, dropping down to 10.6 MP was a speed bump for me. Sure, for publishing online, 3984 pixels on the longest side was more than enough. But beyond that, let's say for printing, it's a bit short. Plus, why not just crop the FX version of the shot in post production and call it a day? What changed things for me was the potential of AI resolution enhancement when I needed it. If, for example, I used Photomator's Super Resolution enhancement, I could enlarge that 10.6 MP shot to 6147x4095 pixels, essentially the same size of the FX version, with no noticeable loss of detail. In fact, sometimes the shot looks better. Having this capability in my back pocket allowed me to reconsider DX mode. I could now frame the picture the way that I wanted as I was shooting. And I was recording half as many megabytes in the process. Essentially, I was getting 600mms for the price of 400. For those of use with higher resolution full frame cameras - 40 MP+ - the equation makes even more sense. Examples of cameras with cropped sensor modes Sony full-frame cameras including the A7 III, A7 IV, A7C, A7C II, A7R II, A7R III, A7R IV, A7R V, A7S II, A7S III, A9, A9 II, A9 III, A1, and FX3. Look for the setting called Super 35mm or APS-C mode. For example, the Sony a7R V with a 61 MP sensor yields approximately 26-megapixels (6240x4160) when using APS-C/Super 35mm mode (1.5x crop factor). Nikon full-frame cameras including the Z6III, Z6II, Z7II, Z8, Z9, D850, and D780. The Nikon Z7 II with its 45.7-megapixel FX sensor provides 19.5-megapixel images when using the 1.5x DX (APS-C) crop mode. Canon full-frame EOS R-system cameras including the R1, R3, R5, R5 Mark II, R6, R6 Mark II, and R8 have a 1.6x crop setting. For example, the Canon EOS R5 Mark II offers a 1.6x crop mode that produces approximately 17.5-megapixel images (5088x3392). Panasonic L-Mount cameras such as the Lumix S5II/S5IIX, S1H, and S9. The Lumix S5 II utilizes a 1.5x crop factor in its dedicated APS-C mode, reducing the 24.2MP sensor's active area to an effective resolution of approximately 10.7MP (3984x2656). Cameras with fix-mounted lenses High-resolution fixed lens cameras, such as the Leica Q3 and the Fujifilm GFX100RF use crop-sensor technology to provide additional focal lengths from a single optic. The Leica Q3 with its 60MP sensor allows for cropping to 35mm, 50mm, 75mm, or 90mm. The Fujifilm GFX100RF takes this even further with its 102MP, 44x33mm medium format sensor. The fixed 35mm lens provides a 28mm equivalent field of view. Its high resolution allows for significant cropping, yielding 66MP in 35mm mode, 31MP at 50mm equivalent, and 20MP at 63mm equivalent. Final thoughts Photographers with full-frame sensors who don't always need the highest resolution they provide can extend the reach of their existing telephoto lenses, or travel with lighter optics when switching to crop sensor mode. It's not a choice for everyone, but for those willing to exchange pixels for reach, they can travel with smaller, more flexible lenses. As for me, with my Nikon Zf, I'm going to continue stretching my 28-400mm Nikkor zoom to 600mms when the occasion calls for it. PS: I've also published an article with ...
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    34 m
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