How to photograph the International Space Station

Capturing the orbiting laboratory makes for an exercise in precision timing.


Have you ever watched the International Space Station (ISS) soar over your city? If not, you’re in for a treat. 

It orbits Earth every 90 minutes – so, 16 times every 24 hours – and its mighty solar panels are very bright when viewed just after sunset or just before sunrise. Its those solar panels reflecting sunlight that make the spacecraft visible from the Earth's surface; once you’ve seen it, you’ll always notice it streaking across the night sky as a very bright, constant white light.

Home to around six astronauts at any one time, the 109x73m, 480,000kg laboratory takes about four minutes to cross the sky. Take a well-timed long exposure photograph and it’s possible to capture its orbital path 400km above.



Getting a close-up shot of the ISS is tricky – even when using a telescope. Instead, aim to take a long exposure that captures its orbital trail across the night sky. That means you’ll need to open the shutter for between 30 seconds and a few minutes, so you’ll need a camera that allows manual control over exposure.

A wide-angle lens will also be useful, not only to capture as much sky as possible, but also to get something in the foreground. You’ll also need a tripod for keeping the camera completely still during the long exposure.

If you’re not sure of the cardinal points for where you are, a compass, or the compass app on a smartphone, will also be useful. The ISS always appears in the west and crosses the sky to sink in the east – most visibly near sunset or sunrise – so you’ll need to position your camera carefully.

How to plan an ISS photograph


Since Earth is rotating from west to east, and the ISS is orbiting diagonally from south-west to north-east, its path appears to shift north. It takes about four minutes to cross the sky, although depending on exactly when you see it, the ISS can fade quickly.

Because of this, taking a photograph of the ISS requires patience and careful planning down to the second. The next time it flies over your location may be a few weeks away, or it may be tonight. 

Visit the Heaven’s Above website for a detailed list of ISS flybys near you (they can be seen for about 100 miles either side of the orbital path), and sign up for NASA’s Spot The Station service, which will email you a schedule of flybys happening the next day. NASA will, however, only let you know about flybys that will be visible to you directly overhead.

Read more: How to create a moonstack

It will usually be visible from where you are after sunset for ten days in a row, after which you’ll likely have to wait a couple months for its return to the morning sky. And so it continues. It's always transiting, but in daylight, so it's invisible. 

On any one day, however, the ISS may be visible twice or even three times in a row, each 90 minutes apart, though only one sighting will be overhead. The others will be lower, nearer the horizons.

Useful ISS apps

There are also a host of apps that follow the ISS in real-time, such as ISS Spotter for the iPhone and ISS Detector for Android. These apps use the same prediction engine to make calculations specific to your GPS position.


Planetarium apps such as Star Walk 2 and Sky Guide will also send you alerts of ISS flybys occurring in five minutes’ time at your location. That’s not much warning, but if you’ve already got your camera mounted on a tripod and ready to go, it’s enough to get into your back garden to fire off a few shots (realistically, a maximum of two).

Once you know which crossing you’re going to try for, check the weather forecast and plan to visit a wide-open landscape, such as a park or open field. If it’s got a view low to the western horizon, you will see the ISS as soon as it rises.

Taking the shot

The ISS is only visible in the few hours before sunrise or after sunset. About 10 minutes before the scheduled flyby you’re planning on photographing, go outside with your camera on a tripod, preferably with a wide-angle lens that has its focus set to infinity, and put it in its manual exposure mode.

Take some 30-second test exposures on ISO 400, with the aperture at around f/4. As soon as you see the ISS rising above the western horizon, open the shutter. 

When the shot is complete and you've captured an ISS trail, swivel the camera and do the same again. With any luck, the ISS will drop into the camera’s field of view. If you have a very wide-angle lens, try exposures of a minute or longer, but adjust the aperture to prevent overexposing the image. It takes some practice, with the biggest variables being the brightness of the sky (ie how soon after sunset the transit takes place) and the amount of moonlight.

Read more: How and when to photograph the moon

If you see the ISS just after sunset (or just before sunrise), it will likely remain blazingly bright right across the sky. If you see it again 90 minutes later on its second pass, the sun will have sunk further, and its rays will only catch the solar panels until the ISS is perhaps third of the way across the night sky. As it enters Earth’s shadow it fades very quickly.

Photographing satellites

Although the ISS is the only spacecraft with humans onboard, there are other satellites orbiting Earth that can be photographed.

For now, the most popular and visually arresting are Iridium satellites. A vast network of hundreds of communications satellites launched in the late 1990s, they often glint dramatically – and very predictably. Rising and falling in brightness over about 15 seconds, they can be very, very bright, so an exquisitely-timed long exposure photograph can capture a unique diamond shape in the night sky.

Sadly, this generation of ageing satellites are currently being replaced and de-orbited, and by mid-2019 Iridium flares will be gone from the night sky. If you want to catch one, the rules are the same for photographing the ISS. The GoSatWatch (iOS) and Heaven's Above (Android) apps provide the crucial countdown. 

Credit to Jamie Carter and Digital Camera World

Tips from Camera Craft on How to Buy a Camera

General tips

  • There is no spec that tells you which camera is best. And few specs can be taken at face value.
  • Resolution ("megapixels") doesn't matter unless you're a pro or already understand why. Sensor size, autofocus system and image-stabilization system are among the features that do.
  • Don't get hung up on making sure you've got the "best" or newest in a particular class. The truth is, one camera rarely beats the rest on all four major criteria -- photo quality, performance, features and design. And last-year's (or even the year before's) models tend to be perfectly fine as well as a lot cheaper.
  • Try before you buy. Make sure it fits comfortably in your hand and that it's not so big or heavy that you'll prefer to leave it at home. It should provide quick access to the most commonly used functions, and menus should be simply structured, logical and easy to learn. Touchscreen models can allow for greater functionality, but can also be frustrating if the controls and menus are poorly organized.

Why get a camera when you've got one in your phone?

  • Many cameras have or support real zoom lenses which cover a much bigger range than the computational zoom used by some dual-lens phone cameras. (That's when they combine information from the two different focal-length cameras to provide a photo that's better than what you'd get with digital zoom, but not as good as true optical zoom.)
  • Despite all the advances in phone cameras -- and phone marketing -- they still can't match the quality, speed or control of a good dedicated camera. So some people like to use a separate camera for special events.
  • Not every phone has a good camera and not every phone with a good camera is a great phone. You might want both.

Top considerations

Interchangeable or fixed lens?

Interchangeable-lens cameras (ILCs) are dSLRs or mirrorless models. The advantages of an ILC over a fixed lens model is:

  • You can always buy a better lens to improve photo quality and performance.
  • If you need a wider or narrower angle of view, you can always get another lens to cover it.
  • You can get a faster (i.e., wider maximum aperture) lens if you need better low-light performance.

Fixed-lens cameras come in two flavors: bridge cameras (the ones that look like dSLRs and have really long lenses) and compacts (formerly point-and-shoots, which for the most part have been replaced by phones). The advantages of a fixed-lens camera over an ILC:

  • The compacts tend to be much smaller.
  • The bridge cameras tend to cover a zoom range that would be prohibitively expensive and/or heavy in a standalone lens.
  • Swapping lenses on an ILC can be a pain.
  • Frequently, the kit lenses that ship with ILCs frequently aren't as high quality or wide-aperture as the fixed lenses.
  • Many people never buy a second lens, anyway.

To read the full article click here.

From SooToday's Spotlight: How one simple philosophy has kept a local business going for over 6 decades

Serving the people of Sault Ste. Marie for over 60 years, Camera Craft has a clear picture about what its customers expect. And it’s oh-so-good for you.

A strong emphasis on the buying experience, that’s the secret ingredient Camera Craft is stocking in surplus for its customers. Their level of service is one that only a specialty shop can offer and one that only experience can dictate.

With over six decades serving Sault Ste. Marie it’s safe to say that Camera Craft has history in the community. But when you ask what history means to their store,
they’ll tell you the word is in no way synonymous with what is old.

“We’re old school but we’re always up-to- date,” explains the family. “We’ve kept up with the technical changes throughout the years and have done so with the belief that the customer always comes first.”

Camera Craft has lived photography in a way that only a few specialty shops can boast about. They’ve seen the landscape transform from Polaroid instant film, to the first point and shoot auto-focus, to the digital era and advanced DSLRs.

Their rich history with all things photographic runs deep.

Because of their experience Camera Craft has an understanding that when entering the world of advancing technology the buying process can seem intimidating
whether you’re the family photographer or a budding visual artist.

The world of pixels, lenses, aperture, filters, flashes and tripods are enough to make most people shudder.

That’s why according to Camera Craft, the experience for the customer is so important.

To read the rest of the article, click this link.

How to understand everything written on your camera's memory card

Memory cards are straightforward in use: you just pop them in your camera, format them and you’re off. Trying to make sense of their various figures and symbols, however, is another story.

The situation has become more problematic in recent years as more advanced cards have been inscribed with new terminology to indicate certain aspects of their performance. 

More basic cards are thankfully free of many terms, but as cameras get more advanced it becomes even more important to understand whether you’re actually using the right card to do its capabilities justice. Fail to do so and you can end up having your camera's burst depth cut short or your video recording interrupted, and lots of hanging around waiting for images to be recorded.

To help clear everything up, we’re going to run through all the symbols currently used on common SD-type cards and explain what each one means.

1. Brand

This is the easy one: the manufacturer of the card. The most common names you will see here are Sandisk and Lexar, although Kingston, Transcend, Samsung, Toshiba and others are also commonly available. You may even have one from the same manufacturer as your camera.

Most people will have a card from one of the first two brands as these are the most popular, but there are perfectly good cards from the others that are often cheaper. As with hard drives, memory cards are typically only made by a handful of companies and simply rebadged by others.

Some brands are known for providing particularly good warranties or image-recovery software with their cards as standard, so you may want to factor these issues in if choosing between brands. Your best bet is to check the manufacturer's website for full details as to what you get with each.

2. Position in range

This indicates where in a manufacturer's lineup a card sits. Not all manufacturers have these different classes, but those that do give you a quick idea as to what kind of performance you should be able to expect from a card.

Sandisk, for example, currently has Ultra, Ultra Plus, Extreme, Extreme Plus and Extreme Pro classes for its SD-type memory cards, as well as a more basic one that bears no particular designation. As you step up a class you are likely to see improved transfer speeds (more on this later), and more advanced cards may offer things like protection from water and freezing temperatures too. Naturally, this will be reflected in the asking price.

3. Capacity

All memory cards have a capacity that should be clearly indicated on the card itself. This could be as little as 4GB or 8GB (and even less for older SD cards), or as much as 512GB (at the time of writing). Larger 1TB and 2TB cards will at some point be available too, but frankly, even 512GB is way beyond most people's needs. 

The larger the card the more images and videos you can squeeze on it, although quite what you end up in practice depends on a number of factors. Whether you shoot JPEG images or Raw files, for example, together with what level of compression you use, whether you shoot high-resolution videos and how the camera records these among other things. 

Most people tend to go for a card that’s about 16-64GB in size, and these are now very affordable. From the perspective of security it's a good idea to have a number of smaller cards rather than a single large one, but the convenience of being able to fit weeks' worth of shoots or video footage onto a single, high-capacity card makes these tempting.

4. Type

Currently, all SD-type cards fall into one of three camps: SD, SDHC and SDXC. They are all the same shape and size, but the type will be indicated clearly on its front.

SD (Secure Digital) cards are still in existence, but there is not much demand for them anymore as they do not offer the kinds of capacities and transfer speeds to do today’s cameras justice. Even if you do manage to find one, you’ll get considerably better value going for an SDHC or SDXC card, so they're best avoided.

SDHC (Secure Digital High Capacity) cards are those that have a capacity between 4-32GB (inclusive). As they get larger in size they double in capacity: so, you can either go for a 4GB, 8GB, 16GB or 32GB card. If you find an SDHC card with any other capacity – 21GB, for example – you probably need to start shopping elsewhere.

SDXC (Secure Digital Extra Capacity) cards are those that offer anything above this. These are currently 64GB, 128GB, 256GB and 512GB cards, but soon this will increase to even greater capacities. 

Most of today's cameras that take SD media support SD, SDHC and SDXC cards, but older cameras that only support SD cards won't work with SDHC or SDXC cards, and cameras that only support SD and SDHC varieties will not accept SDXC cards. 

5. Speed

This is where things start to get a little confusing.


Most cards have one or more of their transfer speeds written in either MB/s (megabytes per second) or with an 'x' to show this as a factor. This tells you how quickly the card can operate – more on this in a second.

The card below is one of a handful that has both. These figures mean exactly the same thing, but it can become confusing when trying to compare cards that aren't marked with both. This card is a good example of how you do just that; a speed of 150MB/s is equal to 1000x, as a speed of 150kb is equal to 1x. So, a card with a 45MB/s rating is the same as 300x, 90MB/s is the same as 600x and so on.

5. Speed

This is where things start to get a little confusing.

Most cards have one or more of their transfer speeds written in either MB/s (megabytes per second) or with an 'x' to show this as a factor. This tells you how quickly the card can operate – more on this in a second.

The card below is one of a handful that has both. These figures mean exactly the same thing, but it can become confusing when trying to compare cards that aren't marked with both. This card is a good example of how you do just that; a speed of 150MB/s is equal to 1000x, as a speed of 150kb is equal to 1x. So, a card with a 45MB/s rating is the same as 300x, 90MB/s is the same as 600x and so on.

This is particularly useful to note if you shoot with a modern camera with a high-resolution sensor, especially

This is particularly useful to note if you shoot with a modern camera with a high-resolution sensor, especially if you capture bursts of images in one go. You may find with slower cards that you can't shoot images consecutively for as long a period (known as burst depth) or that you're just having to wait around for your camera to clear these to the card.ively for as long a period (known as burst depth) or that you're just having to wait around for your camera to clear these to the card.

6. Speed Class

For some time now, SDHC and SDXC cards have been marked with a figure inside an almost-complete circle. These figures are either 2, 4, 6, or 10, and they refer to the Speed Class of the card.

What this figure tells you is the minimum sustained write speed of the card in MB/s. In other words, this is how quickly the card guarantees to have information written to it continuously. This is useful for those capturing videos, where data needs to be recorded to the card without any interruption for prolonged periods of time.

A Speed Class 2 card guarantees a minimum sustained write speed of 2MB/s, a Speed Class 4 card guarantees a minimum sustained write speed of 4MB/s, and so on. Bear in mind that this is the minimum guaranteed speed, not the set constant speed.

These figures don't sound very good in comparison with those mentioned earlier, but video is recorded in a different way to still images and the demands are not quite the same. But which do you need? The SD Association reckons that a card with a Class 4 rating is good enough for Full HD video, but that you should ideally opt for a Class 6 or Class 10 card. This does also depends on frame rate, however, with higher frame rates requiring faster cards. When you start to shoot 4K video you need something more capable – more on this in a second.

7. UHS speed class

There are currently two UHS speed classes: UHS Speed Class 1 and UHS Speed Class 3. The way this is written on a card is with the number 1 or 3 inside the letter U.

This one is fairly easy to understand: UHS Speed Class 1 cards have a minimum write speed of 10MB/s, while UHS Speed Class 3 ups this to 30MB/s. Again, this is one for those capturing video, who need to know their footage will be recorded steadily and without issues.

These are only found on SDHC and SDXC cards, rather than older SD types. You can still use these cards in older cameras that don't support the UHS standard, but you won't realise the same speed benefits. 

8. UHS Bus IF product family

Not to be confused with the U1 and U3 markings described above, there are currently three UHS Bus IF categories: UHS-I, UHS-II and UHS-III. On the card, these are simply marked with a Roman numeral. 

This figure relates to the card's 'bus interface', which plays a crucial role in determining transfer speeds. UHS-I cards have a maximum bus speed of 104MB/s, while UHS-II cards have a maximum bus speed of 312MB/s. UHS-III cards, meanwhile, double this to 624MB/s, but they are not available yet.

Why is this important? A faster card will help your camera to have a longer burst depth and will write images in less time. As such, this factor is particularly important for sports, action or wildlife photographers. 

It will also mean you can transfer images and videos from the card to a computer in less time, providing you're using a card reader that supports this technology. Right now, it's a particular concern to those shooting VR and 360degree footage, or for any other data-intensive recording.

HS-II and UHS-III cards are easily recognisable for their two rows of contacts on the rear side, whereas UHS-I cards only have one.

To make sure you will benefit from UHS-I, UHS-II or UHS-III cards, you should check your cameras specification list. Next to the type of memory card your camera supports, it will usually state whether support is provided for one or more of the UHS formats. Bear in mind that cameras designed with two card slots may not support UHS equally in each. As a general rule, the primary slot will be the more capable one, although some are now equally matched.

These cards are backwards compatible, which means that UHS-III and UHS-II cards can be used in devices that only support UHS-I (or don't even support UHS at all). You just won't get the same speed benefits of them in these. 

9. Video Speed Class

Right now, there are five Video Speed Classes: V6, V10, V30, V60 and V90. Much like Speed Class described above, each figure corresponds with a minimum sustained write speed in MB/s. So, the V6 card has a minimum sustained write speed of 6MB/s, the V10 has a 10MB/s speed and so on.

This relatively recently designation was designed to keep up with the demands of video capture on modern cameras. Again, which one you need depends on exactly how it is you're shooting video, but the SD Association recommends V6, V10 and V30 cards for Full HD video; V30 and V60 for 4K video; and V60 and V90 for 8K video. That's not to say you can't use a V90 card for Full HD video, just that it's not required to do so. Essentially, the rule is that higher-rated cards are designed for higher-resolution video footage.

What about CompactFlash cards?

CompactFlash cards don't have the same UHS and video designations as SDHC and SDXC cards, but things like capacity and speed are typically marked in the same way. They do, however, sometimes have a couple of icons that you won't find on SD-type media.

One of these is UDMA. This stands for Ultra Direct Memory Access, a technology that has been used by CompactFlash cards for some time now. This tends to have a number next to it, and this guides you on the performance of the card. The most recent types offer UDMA mode 7, simply written as UDMA 7, which has a rating of 166MB/s. The older UDMA mode 6 has a rating of 133 MB/s, although it's quite common to just see UDMA with no figure next to it.

The other icon exclusive to CompactFlash cards is the Video Performance Guarantee (VPG) speed, which shows a number inside a small clapper board icon. Although this appears slightly different to the Video Speed Class marking on SDXC cards, the principle is the same: the number simply tells you the minimum sustained write speed in MB/s.

The best thing to do ...

... is to see what your camera's manufacturer recommends you use with your camera, as it knows your specific model better than anyone else. This will be in the manual, often detailed with the exactly same icons that you see on the card itself.


The FujiGuys Guides to Understanding Aperture and Shutter Speed

We thought we'd share these great blog posts from the FujiGuys for your learning pleasure, enjoy!

Understanding apertures

Apertures do so much more than simply let light into your Fujifilm X Series camera. Watch this tutorial to find out how changing the aperture on your XF and XC lenses can affect every photograph you take.
Understanding shutter speeds

Varying the shutter speed on your Fujifilm X Series camera can have a striking effect on how your photographs come out. In this tutorial we explain how changing the shutter speed changes the look of an image and the other factors you need to consider when altering shutter speed settings.

Article credits to:

The Best Mirrorless Camera


After 70 hours of research and testing over two years, we think if you’re looking to buy a mirrorless camera with pro-level performance alongside image quality that bests most DSLRs, the Fujifilm X-T2 is the camera to get.

With a street price approaching $2,000 bundled with a lens, buying the X-T2 is a significant investment in your photography. But what you receive in return is a rugged, weather-sealed camera; best-in-class viewfinder; 4K video capability; and a sensor that delivers impressively clean, detailed, and color-accurate images even at its highest ISO settings. All this in a retro-styled body with a well-designed layout of buttons and dials for fast, intuitive operation.

In addition to the 40 hours we spent poring over reviews and test results for 13 different models in the previous version of this guide, we spent another 30 hours of research, including several days of real-world shooting with the X-T2 alongside our previous pick, the Fujifilm X-T1. As a result, the X-T2 is now our pick for the best mirrorless camera in the $1,000-plus range.

At this price, great image quality below ISO 3,200 is a given in a camera at this level, as is the ability to change camera settings and shooting controls without diving into onscreen menus. And because these high-end models are aimed at working pros as well as serious hobbyists, you can expect durable, metal camera bodies that can stand up to daily abuse from the elements.

What sets the X-T2 apart is its ability to deliver impressively detailed images even at ISO 51,200, a whopping 325-point AF system, 4K video shooting, a clever dual-hinged rear screen that offers the practical benefits of a fold-out articulating screen but with less bulk, and access to a fantastic and ever-growing lineup of XF prime and zoom lenses. On top of all this is Fuji’s impressive track record of improving camera features and functionality via ongoing firmware updates. So there’s a very good chance that your X-T2 will become an even more capable camera over your time of ownership.

The Fujifilm X-T1 was our top pick in a previous version of this guide. Its follow-up, the X-T2 bests it with a faster and customizable autofocus system, a higher-resolution sensor that excels at the top of its ISO range, dual SD-card slots, and 4K video. If these features aren’t relevant to your style of photography, however, the X-T1 remains a formidable camera. Image quality is still among the best of any APS-C mirrorless camera, its all-metal body can stand up to daily abuse, and paired with one of Fuji’s growing body of weather-sealed lenses, you can take the X-T1 out shooting in any conditions. And with a current price significantly lower than our top pick, the X-T1 saves you enough cash to add an extra lens to your kit.

Using the same highly regarded 24-megapixel sensor seen in Fuji’s X-Pro2, the X-T2 delivers outstanding image quality even at its highest ISO settings. The X-T2 can capture images at up to 8 fps in continuous autofocus mode—faster than most DSLRs—aided by Fuji’s most advanced AF system to date. A new dual-hinged rear screen gives you a wide range of viewing angles when not using the viewfinder, and 4K video along with a mic input make this the first X-series camera with appeal to video shooters. This weather-sealed all-metal camera body performs flawlessly in rough conditions, and the logically arranged dials and buttons make changing camera settings fast and intuitive. Dual SD-card slots give you the choice of either extended shooting capacity or real-time backups. Not to be overlooked is that buying into Fuji’s X-system gives you access to some truly outstanding lenses.

Article Credit to:

How to Choose Binoculars

For All Your Binocular Needs

When shopping for binoculars, you’ll discover wide price ranges on similar-looking styles. Understanding binocular specs, such as magnification, objective lens diameter and exit pupil will help you narrow down which pair works best for your needs.

Binocular Size

Binoculars come in a variety of sizes (defined by the objective lens size) for various outdoor pursuits. Here's a quick comparison.

Full-Size (common specs: 7 x 50 M, 10 x 50, 12 x 60, 20 x 60...)

Best for serious wildlife viewing and for use on boats. Full-size binoculars capture more light and perform better in low-light situations. They usually provide steadier images and a wider field of view, so they're great for bird watching, but they're too big and heavy for backpacking.

Mid-Size (common specs: 7 x 35, 8 x 42, 10 x 42...)

Best all-around choice for wildlife and sports use. While a bit heavy for backpacking, these binoculars balance moderate size and above-average light transmission.

Compact (common specs: 6 x 21, 8 x 25, 10 x 26...)

Best for daytime outdoor activities. These are the lightest, smallest binoculars for backpacking, but they’re less comfortable during extended periods of use.

Binocular Magnification Power

Binoculars are identified by 2 numbers. The numbers on binoculars show magnification power and lens diameter.

Example: 7 x 35 binoculars have a magnification power of 7.

A magnification power of 7 means that an object will appear 7 times closer than it would to your unassisted eye. For example, if you view a deer that stands 200 yards away from you through 7x binoculars, it will appear as though it were 28.6 yards away (200 divided by 7).

Be aware that binoculars with magnification powers greater than 10 amplify the movements of your hands, making steady viewing difficult.

Binocular Objective Lens Diameter

The second number used in binocular identification refers to the diameter (in millimeters) of the objective lenses (those farther from your eyes; those closer to the "object" being viewed).

Example: 7 x 35 binoculars have objective lenses measuring 35mm.

The diameter of the objective lenses largely determines how much light your binoculars can gather. If you have 2 binoculars with exactly the same specifications except for objective lens diameter, those with the larger diameter objective lenses will capture more light. More light means a brighter view, particularly in low-light conditions.

Binocular Exit Pupil

Exit pupil is a number that indicates how bright an object will appear when viewed in low-light situations. A higher number means brighter images. A large exit pupil also makes it easier to maintain a full image of an object if your hands move or shake.

Exit pupil size (measured in millimeters) is calculated by dividing the diameter of the objective lenses by the magnification number.

Example: For 7 x 35 binoculars, 35 divided by 7 equals an exit pupil diameter of 5mm.

In very dim light, our pupils can widen up to 7mm. If your binoculars have an exit pupil size of less than 7, then they are restricting the light available to your eyes. 7 x 50 binoculars offer an exit pupil size of 7.1mm—a good choice for nighttime viewing.

For low-light situations (dawn, dusk, within dense tree cover or while observing the night sky), models with a high exit pupil number (about 5mm or higher) are good options.

For daylight viewing, exit pupil size is less important. In bright light, human pupils narrow to roughly 2mm. All binoculars offer exit pupils that size or larger.

Binocular Eye Relief

This is the distance between each eyepiece and your eyes while the whole field of view is visible. Long eye relief increases comfort by allowing you to hold the binoculars away from your face.

The eye-relief spec is most useful if you wear glasses. Most manufacturers recommend that glasses wearers should roll down the rubber eyepiece collars before viewing; some exceptions do exist.

Tip: If you wear glasses, look for eye relief of 11mm or more.

Binocular Field of View

This spec tells you the width of the area (usually in feet) that you can view at a glance, 1,000 yards from where you stand. A wide field of view is best to find and identify objects such as birds. Usually a higher magnification power results in a narrower field of view.

Binocular Focus

Almost all binoculars feature a central focusing wheel that focuses both barrels on the binoculars at the same time. They also typically include a diopter adjustment ring that focuses one barrel independently of the other. This allows you to compensate for differences in vision between your two eyes.

The diopter ring is usually located on either the left or right barrel near the eyepiece.

Binocular Lens Coatings

Some of the light that passes through the lenses in binoculars is reflected away. This reflection reduces the amount of light passing through the lenses and causes the image to appear dark. To reduce reflection and ensure clear, sharp images, coatings are applied. Fully multicoated lenses reduce the most reflection and increase light transmission.

Waterproof and Weather-Resistant Binoculars

If you’ll be using your binoculars aboard a boat or on land during a rainy day, you’ll want to consider waterproof or weather-resistant binoculars.

Waterproof binoculars typically use O-rings to create a seal to prevent moisture from entering. Waterproof binoculars also prevent dust or small debris from getting in.

Weather-resistant binoculars are not fully waterproof. They are designed to protect against light rain but not submersion.

Fogproof Binoculars

Binoculars can be prone to fogging up when you move them between different temperatures, such as from the cold outdoors to the warmth of your home. Fogging is not only annoying, but can also be potentially damaging if moisture gets trapped inside.

To counter fog, binocular makers have developed methods for replacing the air inside the optical barrels with inert gas that has no moisture content and therefore won’t condense. This protects against fogging up of the internal lens surfaces, not the exterior ones.

Feel free to call or stop by to talk to our knowledgeable staff for all of your binocular needs.

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Summer Holidays are on their way.....

Explore and adventure with a camera that can take the punishment of family fun.

Ideal for every kind of adventure, whether outdoors, indoors or underwater, the FinePix XP120 is a tough, rugged camera that goes along on all your family’s adventures. Waterproof to 65ft/20m, shockproof up to 5.8 ft./1.75m, freezeproof to 14°F -10°C and sealed against dust or sand, this camera takes all the action you can dish out. The XP120 has wireless controls that let you shoot through your smartphone, print on the instax SHARE™ Printer and transfer images to a mobile device easily. New cinemagraph feature adds action to your photos. 10fps high speed shooting and Full HD 1080p video let you capture every moment of fun

Effective Pixels 16.4M BSI-CMOS
Optical Zoom 5x
Wide Angle @ 28mm
LCD Monitor 3 Inches
Sensitivity ISO6400
Optical Image Stabilization

Tough enough to shoot in all situations

Integrates four rugged protection features: waterproof to 65ft/20m, freezeproof to 14°F/-10°C, shockproof to withstand drops from up to 5.8ft/1.75m, and dustproof to keep out sand and other foreign particles. The camera is suitable for a variety of outdoor scenes.

High-performance Fujinon Zoom Lens

The widest setting of 28mm on the high-performance, versatile Fujinon 5x optical zoom lens is perfectly suited to close up action shots and beautiful natural scenes. Clear portraits are easy using the 5x optical zoom and you can get even closer using the 10x Intelligent Digital Zoom.

High-resolution 16.4 megapixel sensor & continuous shooting mode

Thanks to the 16.4 megapixel BSI-CMOS sensor, even dark scenes can be captured in bright clarity. The camera automatically adjusts shooting settings according to the scene, and features 10.0 frames per second high-speed continuous shooting.

Large 3-inch 920K-dot LCD monitor

Despite a larger 3-inch high-definition 920K-dot LCD monitor, the camera manages to maintain its compactness with a weight of approx. 203g***.

New Cinemagraph Mode

The FinePix XP120 offers the all-new Cinemagraph mode, producing still images with moving elements. Moving elements make a stark contrast against the rest of the still image, where it looks as if time has been frozen, accentuating your intended theme effectively to capture people's attention.

New instax SHARE for Easy Prints and Instant Sharing

The camera supports direct Wireless transfer of images to the instax SHARE printer for instant printout and sharing on the spot. Enjoy instax prints at parties or on vacations, and share them with your family and friends instantly.

Yet Another Post About My Issues With UV Filters

Yes, I’m sick of filter articles, too. But I come today not to educate you, but to mock others. Because yes, people continue to try to save a few bucks by putting a cheap filter in front of their $1,000 lens. And also because they buy what they think are good filters off of Fleabay or some used place and these filters aren’t what they think. This can particularly happen when you purchase a brand that makes different filters of differing quality.

How bad can it be, you ask? Well, today we’ll show you. Because someone had a 70-200mm f/2.8 lens that had been nice and sharp and then returned it because it suddenly got soft. They were kind enough to return it with their protective filter in place.

So the first thing we did, as we always do, was put the lens on OLAF, which is simply an array of collimated 5-micron pinholes. A good lens should show and an array of small dots or circles. But this lens showed an array of glaring star flare thingies.

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Best In Glass


Head down to Camera Craft to find the latest deals that Canon is offering in it's Best In Glass sales event.  

Amazing pricing on DSLR, point and shoot, and the Selphy products.

ESO 80D 18-135Kit
was: $2,399.99/ now: $1699.00
Save $700.00

ESO 7D Mark II 18-135Kit
was: $2,749.99/ now: $2,299.99
Save $450.00

ESO T6s 18-135mm
was: $1549.99/ now: $1099.99
Save $450.00

ESO T6 18-55 IS Kit
was: 699.99/ now: $499.99
Save $200

and many more.....

It's time for Spring Cleaning!

Camera Craft is ready to help you out will all your Camera Spring Cleaning needs.

From Cleaning kits to paper, screen cleaners, sensors, air dusters, start your season off right and ensure that all your gear is ready to go.



Air duster, also known as canned air or compressed air, is a product used for cleaning or dusting electronic equipment and other sensitive devices that cannot be cleaned using water. ... Despite the name "canned air", the cans actually contain gases that are compressable into liquids.


Apply a few drops of lens cleaning solution to a lens tissue or cleaning cloth. Using a circular motion, gently remove oil, fingerprints, and grime from the lens surface, working from the center outward.


A lens pen is a great additions to your bag for quickly and safely removing smudges from your lens.  Lens pens also have a retractable brush perfect for removing dust.


Sensor cleaning tends to be a little bit more of a delicate process and we have all of the supplies available at camera craft for those that wish to ensure there are not dust spots on their sensors that can impact on image quality.


This products are specifically designed for crop frame camera 1.6x  as well as for full frame 1.0x



Sensor cleaning supplies for full frame cameras.


Stop in and see us for all your camera cleaning needs.


We also even carry lights make specifically for the job of sensor cleaning to ensure you can see any small dust aspects on your sensor.


Micro finger cloths are also a must for every camera bag for quick cleaning jobs and ensuring that your LCD stays free of dust and fingerprints and the occasional nose print.

Get Those Prints....

Photos from your cell phone and low resolution photos may look great on your monitor at “screen resolution”(72 ppi or pixels per inch), put printing these images is likely to pose an issue.

The small file sizemake forfast downloads and is easy to share online and you can get a lot of images on a memory card, but photos taken on a camera’s ‘basic’ or ‘low’ quality settings don’t cut it when you want professional quality images for print publication. 

A resolution of 300 ppi is considered the minimum quality standard for printing photos.

If you are shooting for print output, capture your images at the highest quality setting your camera offers: High, Best, Fine.

This captures the shot using the lowest compression ratio or no compression at all.

Compression is how much of the potential information in an image file is discarded to keep file size down. 

You can always re-sample down (from more resolution to less) but if you interpolate up, you lose information and lose image quality.

Saving a photo in .jpg format allows you to choose a compression level, depending on whether better quality image or smaller file size is more important for your purposes.

Shooting at high resolution may also give you the option of cropping and enlarging a portion of your image later, retaining enough data for a quality print, even after tossing some pixels to the cutting room floor. 

You won’t get as many images on your camera’s memory card shooting at high-res but you can keep your creative options open by archiving your ‘keepers’ on CD or a back-up drive.

The industry standard resolution for quality photo output is 300 ppi. However, you may be able to get away with a ppi as low as 200 if the image is not too finely detailed, if it will be printed on low quality paper such as newsprint, or if it will be viewed from a distance.



The following formula can help you calculate:


    1    How large a print you can make from a digital image with a given set of pixel dimensions and a given resolution (ppi)

    2    What resolution a digital print will have printed at given output dimensions from a file with given pixel dimensions

    3    What dimensions–in pixels–your digital image will have captured at given dimensions in inches and at a given resolution




Divide each dimension of your digital image (in pixels) by the print resolution desired (in pixels per inch). This will give you the largest print size (in inches) you can generate at that resolution.


Example: (1500 pixels / 300 ppi) x (2100 pixels / 300 ppi) = 5″ x 7″.


To capture an image of this physical size at this resolution, you would need a 3 megapixel (MP) camera:

1500 pixels x 2100 pixels = 3,150,000 pixels or approximately 3 megapixels


A 1 megapixel camera will yield a 3 x 5″ print at 300 pixels per inch (ppi)

(3″ x 300 pixels) x (5″ x 300 pixels) = 900 x 1500 pixels = 1,350,000 pixels or approximately 1 megapixels


A 2 MP camera will give you a ‘print quality’ 4 x 6″, a 3 MP camera, a 5 x 7″… and it would take a 7 MP camera to shoot an 8 x 10″ print quality image.


Show your sweetheart that you love them by giving a gift that keeps on giving...

What better way to let your sweetheart know what you love and support them then by feeding their passion for photography this Valentines Day.

We carry a extensive selection of Nikon, Canon and Fuji and all the gear and gadgets to go with them.

The perfect zero calorie treats for the love of your life, from film and developing supplies to the newest technology in digital photography.

Stop in an pull up a chair, let us know what your love one likes to photograph, what gear they already own and we can help you pick out the perfect gift to add to their arsenal.


Looking for the gift of learning, we offer both private or group seminars that can be tailored to what your interested in.

Lighting, stands, tripods, filters, bags, reflectors, flashes and a wide selections of lenses.

Can't decide what to get, we also offer gift certificates.

At Camera Craft we offer the knowledge and support to get the most out of your purchase and support our customers even after the purchase.

Show your loved one how much you care by getting them a gift you know they will love!



Canada's Planning a Party

This year Canada Celebrates 150 Years and and the City of Sault Ste. Marie has some big plans.

At Camera Craft we are ready to help you with all of your photographic needs to ensure that you capture all the moments.

Bon Soo will be here before we know it with with bum slides and frozen snot, fire works, Snow Madness, dances and a oodls of family fun.

Here are Camera Craft we are ready to support you in all your photographic endeavours.

Whether you need a new tripod to capture fireworks or a rain cover to protect your precious gear.  We are ready not only with the right product but also the know now to help you use them.

Water proof, shock proof, camera for those us us who like to live on the extreme side.

Not sure how to capture the images your looking for, give us a call and schedule an individualized lesson to learn the skills that you are craving.  We are ready to help you overcoming obstacles like  photographing white one white, which is a great skill to have in our northern climate.  Let us know what you are interested in learning and we can tailor lessons to meet your needs.









Psst.... Less then two weeks till Christmas!

Just wanted to remind you that we are local and here to help last minute shoppers!

Here at Camera Craft we pride ourselves in not only having the products you are looking for but also the answers to go along with them.

Come on in a pull up a chair.

Great customer support not only at the time of purchase but also after.

We have lots in stock to grab all those great last minute treat for the most discerning photographer on your list.  From stocking stuffer like cleaning kits all the way to professional DSLR Bodies like the Canon 5D mark IV, Nikons D810 and the Fuji's X-t2, and extensive stock of lenses and accessories.

Does the photographer in your life want something a little more hands on.

We offer private lessons to meet each users individual needs for learning and growth tailored to meet the photographers interests.

Not sure what you need, we also offer Gift Certificates that are always a favourite.

Happy Holidays to all, wishing you all the best!





The Safari Action Camera!

It looks almost exactly like a GoPro. More importantly it works a lot like a GoPro.

It records full (1080p) HD video at 30 fps and slow motion video (60 fps) at 720p.

  • HD Action Camera
  • Ultra-Wide 170 degrees field of view lens
  • 12 megapixel still camera
  • On Board LCD Screen
  • Underwater Housing
  • Easily View and Transfer Content
  • Rechargeable Battery with 70 minutes of battery life
  • Records to a Micro SD Card

The ultra-wide 170° “fisheye” lens helps ensure the camera captures everything happening in front of it ensuring nothing is left out of the frame. Compose your shots and review what you’ve already recorded with the 1.5 on-board LCD display. 30m underwater waterproof housing included. View and transfer content via a micro sd card, USB or HDMI connected to a computer or TV.

One of the biggest drawbacks of most GoPro competitors is that they don’t have the wide range of attachments that GoPro provides. The Optex Safari HD is compatible with most attachments and accessories. Despite working with a lot of GoPro mounts, it comes with:

  • Handlebar mount
  • Multi-function clip
  • Camera clip
  • Helmet mount
  • Tripod adapter

You can get your own Optex Safari HD Action Camera for only $129.99. They will make a great Christmas gift for you or your loved one.

Credit to Jordon Cooper.

Christmas is just around the corner, do you know what the photographer in you life want or needs?

Picking the perfect gift for the photographer in your life can be tricky.

Need someone who can help you deciphering their wish list.

At camera craft we pride ourselves in being up to date on all the new fangled gadgets and fun photographic do-hickies.

We have what you need stuff the stocking of the photo buff on your list.  From Cleaning kits to SD cards we have you covered.  

Gloves for winter shooting or specialized straps to keep them ergonomically lugging all of their gear are only a few suggestions that we have.

We are also here to help you to fill the big boxes under the tree, we carry a full line of Canon, Fuji and Nikon Cameras.

If you looking for the fun and whimsical gift, Fuji's Instax camera and instant film are sure to charm the most difficult to buy for of all ages.

Let us know what they have and we can give you some suggestions of what they need next in their photographic journey.

No idea what to get?

Come on in and let us show you what we have to offer for the photographer in your life this Christmas.







Why Camera Craft you ask?

For those of you who regularly visit camera craft, you are aware that we offer more then the typical big box store.  As one of the last independent camera stores left in Canada we are able to offer one of a kind service.  

The difference is evident the moment when you walk into the store, not only do we carry  a great selections of DSLR camera and point and shoots but we also have all the gear and gadgets to go along with them.  

Couple this with the knowledge and experience to teach you how to use them and you get a winning experience.

When you purchase a camera at Camera Craft, you get an overview of how to use the functions, and you walk out the door with your camera set up and ready to use.

Pull up a chair and get all the latest details on the new products that are available, bring your camera and try the lens that your interested in to ensure it’s what you are looking for.  

Bring in your gear and make sure that you get the perfect camera bag to fit all your toys and keep them safe.

For those of you that haven’t yet had the opportunity to stop in for a visit, we encourage you to do so.

We do business differently.  We are currently the only location in the Sault that offers photofinishing service as well as the supplies for home development and film.

In addition to these services Camera Craft is also able to provide its customers with custom printing, restoration and editing services, your precious memories can be restored right here on site to ensure their safety.

Not only do we offer continued learning in the form of group seminars but we are also able to provide photo enthusiasts with private photography lessons tailored to their specific needs.

Camera Crafts Education Centre and Gallery also offers the Sault only photo dedicated gallery space in the region and provides local artist the opportunity to join in group shows but also rents for solo exhibitions on a monthly basis.

Active in the community, because we are a proud member of the community.

Canon EOS 5D Mark IV

Canon EOS 5D Mark IV is here!

Now in stock!  Stop in the store and check it out.

Canon 5D Mark IV Key Specifications

New 30.4MP CMOS full-frame sensor with Dual Pixel AF
DCI 4K 30/24p video using Motion JPEG + 4K Frame Grab
61-point AF system with 41 cross-type sensors (center point sensitive to -3 EV)
Dual Pixel AF (sensitive to -4EV) for continuous Servo AF in stills (first for a full-frame Canon camera) and video
ISO 100-32000 (expandable to 102400)
7 fps continuous shooting
Dual Pixel Raw (image microadjustment, bokeh shift, ghosting reduction)
150,000-pixel RGB+IR metering sensor
1.62M-dot 3.2" full-time touchscreen
Wi-Fi w/ NFC + GPS
Built-in bulb timer interval timers
Improved weather-sealing