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Posts Tagged ‘Both’

Gudsen’s Moza AirCross gimbal can provide both stabilization and power

13 Jan

Gudsen has launched a new gimbal that’s aimed at mirrorless photographers. With a payload of 3.9lbs/1.8kg, the new Moza AirCross can provide stabilization to a mirrorless body even when it’s fitted with a cinema lens, and a new in-handle option can provide power to Sony and Panasonic cameras while they’re shooting.

The Moza AirCross offers a more lightweight alternative to the Moza Air—which is aimed at compact system cameras and small DSLR users. It also has a number of newer features, including a claimed 12-hour battery life, and the ability to accept power from an external power bank.

The handle holds three 2000mAh batteries that can run the gimbal all day, or be used to power a range of compatible Sony and Panasonic cameras via a dummy battery pack that fits inside the camera. As the gimbal can also take power from a portable power bank, Gudsen claims that users need never run out of juice.

Another new feature is a quick release system that is compatible with both Manfrotto 501PL and Arca type quick release plates. The system allows users to remove a camera from the gimbal head and refit it later without having to rebalance the whole rig. Auto-tuning via the Moza app ensures the gimbal remains balanced for the weight and distribution of the attached equipment, and the gyroscopes are said to offer calibration-free IMU technology.

Gudsen has also added roll-follow to yaw-follow and yaw-pitch-follow to the range of movements on offer, and users can expect to be able to tilt between -175° and +135°, and achieve 360° of yaw and roll.

The gimbal itself weighs 896g and 1/4in threaded ports allow accessories, microphones and monitors to be mounted on the handle. The AirCross can produce move-stop-shoot-move long-exposure timelapse sequences with a fully programmable path via the Gudsen app, and the accessory thumb-controller provides wireless mimic-movements when mounted on the optional handle-bars.

Certain Sony and Panasonic models can have stop/start recording controlled via the main handle, while some Canon DSLR models can have their focus controlled too. Gudsen has promised that firmware updates in the future will add aperture control to the AirCross.

The Gudsen Moza AirCross is on sale now for $ 420 at the Gudsen website.

Compatible cameras:

  • Sony a7SII, a7S, a7RIII, a7RII, a7R, a6500, a6300, a9, RX100
  • Panasonic Lumix GH5, Lumix GH4, Lumix G7, Lumix G85
  • Canon EOS M3, M5, M6, M10, M100
  • Fujifilm: X-T2, X-T20

Articles: Digital Photography Review (dpreview.com)

 
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Ricoh announces new lenses for both APS-C and full-frame Pentax cameras

27 Oct

The two lenses Ricoh has announced today are part of the company’s Star-series line of high-performance lenses, being designed from the ground up for use with higher megapixel DSLR camera bodies.

Let’s start with the HD Pentax-DA* 11-18mm F2.8. Designed for crop-sensor cameras such as the Pentax KP, K70 and K-3 II, it offers an equivalent focal range of 17-27.5mm with a constant F2.8 aperture. Pricing has yet to be disclosed, and you have a bit of a wait if you’re interested in this lens; availability is scheduled for the summer of 2018.

Up next will be of particular interest to Pentax K-1 users. The HD Pentax-D FA* 50mm F1.4 SDM AW is designed for full-frame image sensors, and is the first new prime lens Ricoh’s announced for the K-1 since that camera was released. To go with the K-1’s rugged design, the FA* 50mm F1.4 comes with all-weather construction, and also a newly developed supersonic direct-drive autofocus motor for both faster and quieter AF operation. The FA* 50mm F1.4’s pricing is also unavailable, though it’s scheduled to be released a little sooner in the spring of 2018.

Press Release

RICOH ANNOUNCES NEXT-GENERATION, HIGH-PERFORMANCE PENTAX STAR-SERIES LENS LINE

Optimized for super-high-resolution photography with high-megapixel digital SLRs, new Star-series lenses on display at Photo Plus Expo 2017 and Salon de la PHOTO 2017

NEW YORK (Photo Plus Expo 2017, Booth #845), October 26, 2017 — Ricoh Imaging Americas Corporation today announced a new generation of high-performance Star-series lenses optimized for super high-resolution photography and high megapixel digital single-lens reflex (D-SLR) cameras. The first two lenses developed for the new-generation of Star-series quality—the HD PENTAX-D FA? 50mm F1.4 SDM AW and the HD PENTAX-DA? 11-18mm F2.8—will be on display as reference products at Photo Plus Expo 2017 at the Javits Convention Center in New York (October 26-28) and SALON de la PHOTO 2017 in Paris (November 9-13).

Premium-quality Star-series lenses deliver the highest performance among the PENTAX K-mount interchangeable lens series, and have been highly regarded by PENTAX K-Mount users since the days of film. In addition to the initial design concepts of optimum image quality and large apertures for maximum light transmission, the series has embraced the additional concepts of exceptional toughness and outstanding operability, achieved through the development of a dustproof, weather-resistant construction. The resulting lenses provide superior dependability in a wide range of shooting conditions, and are the perfect companion to PENTAX SLR camera bodies.

Although final names, specs and pricing will not be released until 2018, here are preliminary key features of the two lenses:

  • HD PENTAX-D FA? 50mm F1.4 SDM AW
    • PENTAX K-mount covering the image circle of a 35mm-format full-frame image sensor
    • Newly developed ring-shaped SDM (Supersonic Direct-drive Motor) for faster, quieter AF operation
    • AW (All-Weather) construction to prevent intrusion of dust and rain and ideal for use in demanding shooting conditions
    • Minimum shooting distance of 0.4 meters
    • Note: this is an updated version of the reference product shown at CP+ 2017
    • Availability: Scheduled for the spring of 2018
  • HD PENTAX-DA? 11-18mm F2.8
    • PENTAX K-mount covering the image circle of an APS-C-format image sensor
    • High-performance Star-series model providing excellent resolution even at open aperture
    • Large-aperture, ultra-wide-angle zoom lens with a maximum aperture of F2.8 (fixed) and an angle of view between 17mm and 27.5mm (in the 35mm format)
    • Availability: Scheduled for the summer of 2018

| About Ricoh Imaging Americas Corporation|

Ricoh Imaging Americas Corporation is a subsidiary of Ricoh Company Ltd., a global technology company specializing in office imaging equipment, production print solutions, document management systems and IT services. Headquartered in Tokyo, Ricoh Group operates in about 200 countries and regions.

The company now known as Ricoh Imaging Americas Corporation was originally founded in 1919, under the name Asahi Optical Joint Stock Co. and launched its first SLR camera in the 1950s under the PENTAX name. Today, Ricoh Imaging Americas Corporation continues to produce the heritage-rich, award-winning line of PENTAX DSLR cameras, lenses and sport optics equipment as well as Ricoh’s offering of stylish and compact digital cameras, known for their wide-ranging, rich set of features.

For further information, please visit www.us.ricoh-imaging.com

Articles: Digital Photography Review (dpreview.com)

 
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Is Shooting RAW+JPEG the Best of Both Worlds?

06 Sep

For a long time in photography, there has been somewhat of a debate between shooting in RAW versus JPEG. Well, maybe debate is the wrong word. Usually, it is a matter of experienced photographers encouraging beginners to start shooting in RAW and stop shooting JPEG. There isn’t much question that RAW files are superior. Those who don’t edit their files probably don’t really see the point of RAW files though. Therefore, there are plenty of people who shoot both RAW+JPEG

RAW+JPG - The Best of Both Worlds?

Usually, this question gets presented as an either/or proposition. In other words, you have to make a decision, looking at the pros and cons of shooting RAW files and JPEGs. But if you could have the advantages of both, however, wouldn’t that be the way to go? You can, actually!

Take a look at your camera’s Quality or Image Quality setting in the menu. Most cameras will allow you to set you to put that setting on both RAW and JPEG. By doing so, aren’t you getting the best of both worlds?

Let’s take a look. But first, let’s review the advantages of RAW files versus JPEGs.

RAW+JPG - The Best of Both Worlds?

RAW+JPEG settings on Canon system.

JPEGs

When you take a picture, your camera is actually taking the data that it receives from the image sensor and creating a file. In the early days of digital, a group of experts got together and agreed on a file format everyone could use. It is called JPEG and stands for Joint Photographic Experts Group. The idea is that everyone would use the same format and thus it would be easily shareable. And you know what? That has worked out pretty well. JPEGs are more or less ubiquitous. If you just pick up your camera and start shooting, you are creating JPEGs. It is the default of virtually every camera. It is also the format of virtually every picture you see online.

But when your camera creates a JPEG, a few things happen. The first is that the camera compresses the picture data so that the file size is smaller. A JPEG will only use about a quarter of the data that your camera captures. That means that a large chunk of data is actually discarded. Some of that is color data, which is done by reducing the number of available colors (there are still a lot of colors available in JPEGs though). Where you’ll see the biggest impact is in the highlights and shadows, where some detail may be lost.

In addition, the camera will add some processing to the picture. The camera manufacturers know that you want your pictures coming out of the camera looking sharp and colorful. Therefore, they will add some effects, like sharpness, contrast, and saturation to them at the same time that the JPEG file is being created. That is nice in that the pictures generally do look at little better, but the downside is that you aren’t in control of the process.

And that brings us to RAW files.

RAW+JPG - The Best of Both Worlds?

The RAW advantage

In most cameras, you can go into the menu and change the file format to something called RAW. No, there isn’t really some sort of universal file format called RAW. Rather, each camera has its own way of bundling the data that it receives from the image sensor when you take the picture and creating its own proprietary file (NEF for Nikon, CRW or CR2 for Canon, RAF for Fuji, etc.), which is called a RAW file. Right away, you can see an issue with this, in that these files are not easily shareable. In addition, these files are huge, typically 3-4 times the size of JPEGs.

So why does nearly everyone recommend shooting RAW then? Because they are simply superior files. Whereas JPEGs discard data in order to create a smaller file size, RAW files preserve all of that data. That means you keep all the color data, and you preserve everything you can in the way of highlight and shadow detail.

In addition, whereas the camera adds processing when it creates JPEGs, that doesn’t happen when you create RAW files. That means you are in control of the process. You can add whatever level of sharpness, contrast, and saturation (and other controls) you want. The camera isn’t making those decisions for you.

Sure, these files are bigger, but they are way better. Further, you can always create a JPEG from your RAW file later, which you can use to share online while still preserving all the underlying data of the RAW file.

RAW+JPG - The Best of Both Worlds?

RAW+JPEG in the Sony system.

Shooting both RAW files and JPEGs

So RAW files are the way to go, right? I mean, you are preserving all that color data and highlight and shadow detail. And you are in full control of the processing of your picture. But what about if you are not going to process your photos at all? Wouldn’t it make sense to then shoot JPEG since it is the file that looks best coming out of the camera? Or what if you need to send the photo from your camera right away?

Why not take both? Your camera will likely have a setting allowing you to do both so that every time you take a picture the camera is creating a RAW file and a JPEG. That would allow you to have all the advantages of both file types. How might that benefit you? Here are a few ways I see:

  • You can use a JPEG immediately: First of all, you can use JPEGs immediately.  Let’s say you have Wifi in your camera or want to otherwise share the photo immediately. JPEGs make sense for this. RAW files don’t. They aren’t easily shareable and they don’t look the best coming out of the camera anyway.
  • Future-proofs the photo: What if you are creating RAW files with your Canon camera and in 10 years Canon goes out of business? Will your RAW files lose support over time? This seems unlikely, but it is enough of an issue that Adobe has been pushing its own cross-platform solution called DNG (digital negative). However, if you have a JPEG, this will never be an issue. Everyone is shooting JPEGs and they aren’t going anywhere.
  • You can see how the camera processes: If you have a JPEG sitting next to your RAW file on your computer, you can see how your camera decided to process your photo. In other words, you can see how much sharpening, contrast, and saturation was added and, if you like it, mimic that effect when you do your own processing. This can be helpful when you are just starting out and trying to decide how much processing to add to your photos.
  • LCD preview: When you look at a photo on your LCD, you are seeing the JPEG version of your photo. You can add different processing via the Pictures Styles. That includes things like Black and White. So if you want to see effects while maintaining the integrity of the RAW file, then taking both can be beneficial.

Why not shoot only RAW?

But wait a second, you might think. Surely these are really minor advantages. Why bother with all that? Why not just use the RAW file?

Yes, these are really minor advantages, but at the same time, what is the cost? Virtually nothing. Over time, data has gotten cheaper and cheaper. Adding a JPEG costs virtually nothing. Memory cards these days hold hundreds or even thousands of pictures, and they are now pretty cheap. You can now get a 64GB card for about $ 35. You can get hard drives that store terabytes of data for under $ 100. These prices continue to come down as well. Compared to the RAW files you are shooting, the JPEG just takes up a tiny bit of data. So while I agree that adding the JPEG doesn’t add a lot, it also doesn’t cost a lot.

There is one other aspect I haven’t mentioned though and that is speed. Remember that your camera has to write all this data to your card. If you are just taking a few pictures at a time (or one at a time), this will not be a factor. But if you are someone shooting sports or wildlife with a serious need for the maximum frames per second, then there will be an additional cost. The time to write the additional file will slow you down a little bit. In that context, I could definitely see foregoing the extra file. But for most of us, this won’t apply.

RAW+JPG - The Best of Both Worlds?

Why not shoot just JPEG?

At the same time, there are some photographers who will think to themselves, “Well, I don’t process my pictures, so I might as well just shoot JPEGs to get the best looking file I can straight out of the camera.” To those that don’t process their pictures, I would first say, “You should be.” You don’t need to make dramatic changes or make them look surreal, but you can do wonders with some tweaks.

In any case, just because you don’t do any processing of your pictures now doesn’t mean you won’t ever process your pictures. In a year or two, you might change your mind. When that happens, you don’t want to be kicking yourself for not having obtained the best files possible.

Best of both worlds

I have been shooting RAW+JPEG for several years now. Do I actually use the JPEGs? Admittedly, almost never. I always edit the RAW files and usually don’t touch the JPEGs. As mentioned, however, the JPEGs don’t cost me anything so I am sticking with this setting. In addition, there were few times when I was on the road and wanted to send photos straight from my camera so having the JPEG turned out to be useful.

So that’s how it works for me. But ultimately the decision on what type of files you want to create is up to you. What do you think? Is shooting RAW+JPEG the best of both worlds of a waste of space?

The post Is Shooting RAW+JPEG the Best of Both Worlds? by Jim Hamel appeared first on Digital Photography School.


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Nikon and Canon both announce delays for upcoming DSLRs

01 Aug

Both Nikon and Canon have warned users that forthcoming DSLRs will be hit by delays: The 100th anniversary edition of the Nikon D5 and the Canon 6D Mark II kit with the EF 24-70mm F4L lens are both going to arrive at your door later than expected.

According to a statement on Nikon’s website, the 100th anniversary edition of Nikon’s D5 has been put back by a couple of weeks from July 28th to ‘early August’ while final adjustments are made. The company promises to inform users of the new release date once it is determined.

More seriously perhaps, Canon has issued a statement letting hopeful shoppers know that demand for the EOS 6D Mark ll kit with the Canon EF 24-70mm F4L IS USM lens has exceeded expectations, and that orders will take some time to fulfill. The kits were supposed to ship on August 4th, but Canon has not revealed when it will be able to satisfy the initial demand.

The EOS 6D ll is also offered body only and as a kit with the 24-105mm F3.5-5.6 IS STM lens, so those desperate to buy the camera do have other options.

Articles: Digital Photography Review (dpreview.com)

 
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This video from an action cam strapped to a dog will make you laugh or make you sick, possibly both

14 May

Few things are as unshakable as the bond between humanity and our canine companions, except, perhaps, the bond between those canine companions and some good old tennis balls. Of course, the Sony X3000 action camera has optical stabilization, so it should be pretty unshakable too, but you’ll just have to watch the video to find out how it does. 

The video is part of an action camera roundup The Wirecutter did earlier this year, which includes the GoPro Hero5 Black, the Sony FDR-X3000 that’s used above, and the Yi 4K Action Camera, which was actually one of our favorites.

For the full scoop, head on over to the The Wirecutter, or catch the highlights on Engadget.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon’s 100 year anniversary video is both amazing and ridiculous

11 Jan

Nikon has been around for 100 years, which is pretty cool, and to celebrate the anniversary it has launched a dedicated anniversary site alongside a pretty amazing movie that traces Nikon’s history.

The video features an epic intro from outer space and a catchy song with the lyrics ‘I can see the light, oh yes I can see the light,’ repeated. It’s the kind of song where if I lived in say, Berlin and enjoyed underground dance parties, I wouldn’t bat an eyelash if it came on in the club. There’s also cameos by famous photographers, recreations of historic moments, famous magazine and newspaper covers and a narrator with a Hollywood blockbuster-style voice.

In all seriousness it’s a very cool, albeit over the top, video. And Nikon is certainly a company with a rich and important history worth celebrating. The anniversary site also features a really cool timeline of the company’s achievements. Here’s hoping they’ll be around for another 100 years.

Articles: Digital Photography Review (dpreview.com)

 
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Best of both worlds? Canon patent for DSLR hybrid viewfinder design published

01 Apr

Canon has applied for a patent for a viewfinder design that combines both optical and electronic displays in a DSLR style system. Via a system of mirrored prism the design allows users to benefit from all the advantages of both EVF and TTL optical systems through the same eye piece. Menus can be overlaid on a normal optical view, or a live view function can be used through the viewfinder – which would be of great benefit to video shooters.

In Canon’s new hybrid viewfinder design light passes through the lens as usual and is reflected through a ground glass screen into the pentaprism. As it exits the pentaprism is can be supplemented with light from a LCD panel (labelled ‘9’) that is projected through a series of lenses and bounced from a half-mirror (6b) and on to a reflective surface (6). The two sources of light combine and pass to the photographer’s eye via the eye piece (8). When the mirror is in the up position the image recorded by the sensor (12) can be sent directly to the LCD panel (9) so the photographer can get a live view of what the sensor is recording. Thus the system combines the best elements of electronic and optical viewfinders.

Through a clever use of optics and a mirrored prism, the new design allows a ‘full screen’ display across the whole viewfinder. The significance of the system is that DSLRs will be able to gain some of the advantages of mirrorless systems, such as full menus and playback in the viewfinder, and shooting information could be shown across the larger screen instead of just the bottom or sides of the screen. This would also make possible video shooting through the viewfinder, which could become important if technologies like Dual Pixel AF start to replace secondary-sensor PDAF systems. This would eliminate the need to switch between viewfinder and rear screen shooting to change from stills to video mode, creating a more consistent experience.

The system allows menus to be viewed and accessed as they are overlaid on the image produced by the optical finder

The patent description explains that one of the challenges has been to ensure that the image projected from the electronic screen matches that of the optical system, which is why the screen has been placed close to the viewfinder instead of before the prism, where there might have been more room. Being on the viewing side of the prism means less magnification is needed to create an image big enough to coincide with that of the optical view.

The projection system uses a complex set of lenses to reduce the size of the construction so that the manufacturer shouldn’t have to make physically larger cameras to accommodate it. Canon also indicated that it has taken steps to reduce the impact of the half mirror that has been placed in the optical path. It says that the angle of the mirror is optimized to allow as much light to pass as possible.

The heads-up display type viewing system is nothing new, and although it has been discussed in camera circles before we have yet to see a good example of technology combining optical and electronic views. The closest we have come is the hybrid viewfinders used by Fujifilm in the X-Pro and X100 series of cameras, but Canon’s method is the first to combine an EVF with a TLL viewfinder, rather than a more rangefinder-style arrangement.

Canon’s patent was applied for in 2014 and the information only just published, so the company may be in a position to introduce the system quite soon. However, as with any patent there’s a chance nothing will come of it, no matter how good an idea it is. We will just have to wait and see what, if anything, comes of it.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung releases NX1 firmware update, with improvements for both photo and video

19 May

Samsung has announced yet another firmware update for its flagship NX1 mirrorless camera. The company has been good about providing useful updates for the NX1, and firmware version 1.30 continues this trend. It includes numerous enhancements for still photos, video, and even Wi-Fi connectivity. Read more

Articles: Digital Photography Review (dpreview.com)

 
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Altopias: Speculative Art Explores Both Dark & Light Futures

17 Mar

[ By WebUrbanist in Art & Drawing & Digital. ]

iceberg on a beach

The world of future-focused artwork tends to examine extreme outcomes, but this artist’s visions represent a compelling range of possibilities from catastrophic to optimistic, Dystopian to Utopian with other shades of gray in between.

dust storm in barcelona

no snow in alps

First consider the range of negative outcomes and what they would do to villages, towns and cities around the world (as illustrated in this first round of images above and below) – built environments afflicted by surprising climatic changes like heat waves, ice storms and droughts.

venice run dry

desert meets water

On the one hand, Evgeny Kazantsev considers these disaster scenarios, from dust storms in Barcelona and villages in the Alps without snow to Venice gone dry and oceans overrunning desert cities. But this is only half of the story.

Next Page – Click Below to Read More:
Altopias Speculative Art Explores Both Dark Light Futures

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Best of both worlds: Sony Cyber-shot DSC-RX10 review

20 Mar

rx10.jpg

The Sony Cyber-shot DSC-RX10 looks at first glance a bit like a high-end superzoom with its 24-200mm equivalent F2.8 lens. That’s a fairly modest range by modern standards, but then the camera’s 1″ sensor is very large compared to conventional superzooms. Sony has put a lot of effort into the camera’s video capabilities and tools, making it more than just a stills shooter, but are the sum of these parts enough to make the whole worth $ 1300? Find out in our review

News: Digital Photography Review (dpreview.com)

 
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