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Posts Tagged ‘Frame’

Full frame mirrorless lens guide 2021

14 Jun
Image of a Nikon lens
The move to mirrorless by some of the industry’s biggest players puts the focus on their new lens lineups.

Updated June 11 2021 | Originally published April 2020

In this article, we’re going to have a look at Canon, Nikon, Sony and Panasonic/Leica/Sigma full-frame mirrorless systems to see what they offer and where they might yet go. After all, In our look at ~$ 2000 full frame mirrorless cameras, we said that choosing between them is as much about buying into a lens system as anything else.

This article isn’t a question of ‘which range is biggest,’ it’s to help show which lineups have the lenses you might need for your photography.

As well as the lenses currently available, we’ll consider the degree of support provided by third-party lens makers and briefly discuss some of the technologies involved.

The lens charts in this article were updated and now reflect the high-end, autofocus lens options for each system as of June 2021.

Sony E-mount

When it comes to full-frame lenses for mirrorless, Sony has the biggest head start. Sony introduced its full-frame ‘FE’ range alongside the original a7, back in late 2013, and already had several years experience of making APS-C E-mount lenses by that point.

Sony has also taken the unusual move of allowing third-party lens makers access to its lens mount specifications and communication protocol. This has allowed companies such as Sigma, Tamron, Tokina and Zeiss to expand the range of available lenses for Sony photographers. In the case of Sigma, these include existing DSLR optical designs as well as new, dedicated optical formulations for mirrorless, denoted ‘DG DN’.

Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.

In addition to covering most of these bases, Sony has had time to add specialist lenses, such as 600mm F4, 400mm F2.8, 100-400mm and 200-600mm telephoto options, equivalents to which aren’t currently available for other systems.

Starting earlier has given Sony time to provide a wider range of lenses, including less obvious options such as the 135mm F1.8 GM

Sony says that the years it’s spent making large lenses for mirrorless camera has allowed it to develop expertise in the types of motors best suited for full-frame mirrorless lenses (the need to drive lenses smoothly for video, as well as quickly means the requirements aren’t the same as for DSLRs). However, while it’s true that Sony’s adoption of technologies such as linear motors and piezoelectric drive provides its more recent lenses with impressively fast, smooth focusing, be aware that some of the company’s earlier lenses don’t always show this same performance.

Canon RF-mount

Canon’s RF lens lineup thus far has shown a distinct focus on the needs of professional users, with many of its first lenses belonging to the premium ‘L’ range.

Canon hasn’t opened up its lens mount to other makers, so there’s limited third-party support available at the moment. If the RF mount gains anything like the popularity that the EF mount did, it’s extremely likely that other companies will find a way to offer autofocus lenses, but widespread third-party support for RF may be some years away.

Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.

In addition to these lenses (and the variable aperture ‘kit’ and travel zooms you might expect), Canon has also introduced two interesting and comparatively affordable F11 telephoto prime lenses covering 600mm and 800mm. These use diffractive optics to keep the size and weight down.

Canon currently uses a variety of motors in its RF lenses: primarily using the company’s fast, smooth ‘Nano USM’ technology or the ring-type USM motors that underpin most of its high-end DSLR lenses. The ring-type motors appear to work pretty well with Canon’s dual pixel AF system but aren’t always the smoothest or fastest, especially given that they tend to be used in the lenses with large, heavy lens elements that need to be moved. We’ve been impressed by the Nano USM lenses, though.

The RF 35mm F1.8, meanwhile, uses a small stepper motor, which makes it noticeably slower and noisier to focus than the best of Canon’s other mirrorless lenses.

Nikon Z-mount

Like Canon, Nikon has not yet opened up the Z-mount to third-parties, which currently limits your autofocus choices to Nikon’s own lenses.

However, Nikon’s initial build-out strategy looks very different from Canon’s: Rather than starting with exotica, Nikon has provided a range of comparatively affordable/portable F1.8 primes, alongside a set of F2.8 and F4 zooms.

Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.

In terms of focus motors, Nikon seems to primarily be relying on the use of small stepper motors for its lenses so far, which offer decent performance but don’t appear to match linear motors or Canon’s Nano USM technologies for either speed or smoothness. Twin focus groups help to give accurate focus even close-up, in some of Nikon’s zoom lenses, which can also improve on the often modest speeds of single-motor designs.

L-mount: Panasonic, Leica and Sigma

Panasonic, along with Sigma, has aligned itself with Leica by adopting the ‘L’ mount for its full-frame mirrorless cameras. This instantly gives it access to an established lens range (though, like Sony’s, one that is built around a mount originally focused on APS-C). Sigma’s inclusion in the alliance should ensure a wide range of third-party L-mount lenses become available: it’s built L-mount versions of many of its designed-for-DSLR primes and is also introducing ‘DG DN’ lenses designed specifically for full-frame mirrorless cameras.

All Panasonic cameras so far have been based around the company’s Depth-from-Defocus (DFD) AF system and Leica uses a system whose description sounds remarkably similar. We’re told all the lenses in the L-mount are compatible with DFD but that they aren’t all necessarily optimized for it, in terms of AF drive or how quickly the lenses communicate with camera bodies. For now we wouldn’t expect the same consistency across native L-mount lenses that we’ve seen from the single-maker systems, but we’d expect the three partners to be working to maximize compatibility.

Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.

Panasonic’s lenses primarily make use of linear focus motors, but use a combination of linear and stepping motors for lenses such as the 50mm F1.4 and its 70-200s that require more glass to be moved around. Sigma’s lenses vary, and we’d expect better performance from its made-for-mirrorless DG DN lenses than from the older DSLR optics.

DSLR lens support

If you already own a selection of DSLR-mount lenses, then you’ll find that with the right accessories, you can mount them on any of these camera bodies. Since the mirrorless mounts are all shallower, this leaves plenty of room to put an adapter between the lens and body. The performance you get will vary, though.

Canon frequently bundles one of its EF-to-RF adaptors with its RF-mount cameras, and it makes three variants (a simple pass-through tube, another with a control ring around it and a third that lets you drop a choice of filter between the lens and the camera). The dual pixel AF system, combined with Canon’s knowledge of its communication protocol means EF lens users will get probably the best adapted lens experience when using Canon RF-mount bodies. In general we’ve had roughly DSLR-level performance from the EF lenses we’ve adapted but it’s not necessarily true for every lens.

Unsurprisingly, you tend to get the best adapted performance if you use DSLR lenses on the same brands’ mirrorless bodies. Don’t assume you’ll always get DSLR levels of performance, though.

Various companies also make EF-to-E adaptors, allowing EF-mount lenses to be used on Sony bodies. And, while not quite as consistent as Canon-on-Canon pairings, we’ve had good experiences with this combination, though generally only with shorter focal lengths. Meanwhile, Sigma makes the MC-21 adapter for using EF lenses with L-mount bodies but, without phase detection AF in most of those cameras, continuous AF is not available.

Nikon also offers kits that include its ‘FTZ’ F-to-Z mount adaptor with some of its camera bodies. This provides a decent level of support for existing lenses but does not contain a focus drive motor, so can only autofocus lenses with their own motors (AF-S, AF-P and AF-I lenses and their third-party equivalents). F-to-E adapters are available, but performance can vary, lens-to-lens, making it more of a gamble.

Sony also makes several adapters for using A-mount lenses on E-mount cameras. The latest, LA-EA5 adapter includes a focus motor to focus older lenses designed to be driven from the camera body, but this function only works with select high-end Sony cameras.

As you’d probably expect, then, older lenses tend to work most reliably with the cameras made by the same brand. However, they can be used on other systems, so depending on how extensive your existing lens collection is, you may find you can make do with lowered performance, rather than having to sell-up and start again, if you don’t want to remain bound to the whims of the maker of your DSLR.

Summary

As you’d expect, Sony’s nearly five-year head start and openness towards third-party makers has let it build up a significant advantage over its rivals, but all four mounts are already starting to see key holes in their respective lineups being filled.

In the long run, it’s likely that all four systems will be extended to offer a range of mid-range, as well as high-end primes and zooms, but it’s pretty clear that initially, Nikon and Canon are focusing on different sets of users.

Third-party support provides more options in young lens systems. There’s even more to be gained when makers of cameras and lenses become partners in a system, as has happened with the L-mount.

Nikon and Canon’s decisions to keep their mounts closed to competitors means they can control the consistency of experience for their users (with less risk of a third-party lens offering sub-standard AF speed or smoothness, for instance), but with the downside that you’re entirely dependent on that company’s development priorities and pricing, unless you’re happy to take your chances with simple manual focus or reverse-engineered options.

It’s the third-party makers and their ability and willingness to produce fully-compatible lenses that will be interesting to watch. The adoption rate of Sony E-mount cameras and the availability of the lens protocols is likely to mean most future third-party lenses will be designed around this mount. But with Sigma already joining the L-mount Alliance, other systems are starting to benefit from extra input.

Articles: Digital Photography Review (dpreview.com)

 
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When To Use APS-C Lenses Over Full Frame Lenses

15 May

There is an ongoing discussion within the photography world on the pros, cons and when exactly it is best to use APS-C lenses rather than full frame lenses. When you come to choose a new lens for your camera, deciding between an APS-C or full frame lens can have a significant effect on the images you produce. Understanding the differences Continue Reading
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Is it Time to go Full Frame? Weigh These Pros and Cons Before You Decide

08 Feb

The post Is it Time to go Full Frame? Weigh These Pros and Cons Before You Decide appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

Is it time to go full frame?

Has anyone ever said to you, “That’s a nice photo; you must have an expensive camera”?

According to photography legend Ansel Adams, “The single most important component of a camera is the twelve inches behind it!”

Your camera is simply a tool, one that you use to create your vision of the scene in front of you. A camera can only do what you tell it to, so it’s not going to capture that “nice photo” all by itself.

But what if a camera doesn’t perform up to your expectations? Then it may be time for an upgrade – from APS-C to full frame.

Full frame photo of a forest at sunset
Captured at ISO 6400 on a full-frame Nikon D750, this image shows great tonal range with acceptable noise levels.

I recently made the jump from a crop sensor camera to a full-frame body (a Nikon D750, used in all the images below). For this article, I am not going to get into a technical discussion about the differences between a crop sensor camera and a full-frame camera.

Instead, I want to talk about if and when upgrading to a full-frame camera is desirable, especially if you’re on the fence about purchasing a full-frame body.

Now let’s discuss some important full-frame pros and cons:

Advantages of full frame

  • Enhanced low-light performance: The larger sensor of a full-frame camera has bigger pixels, which create less digital noise at higher ISOs. In most cases, you will get a one- or two-stop improvement in high-ISO noise over crop sensor cameras, which allows you to shoot with faster shutter speeds in low light.
  • More control over depth of field: This is a commonly misunderstood benefit of full-frame cameras, because the larger sensor does not really affect the depth of field of an image. However, with the larger sensor of a full-frame camera, you can move closer to the subject while using an equivalent focal length, and this causes the depth of field to become narrower. Ultimately, you get smoother background bokeh.
  • Improved dynamic range and color depth: A full-frame sensor can record more tonal range within shadows and highlights. Detail and color are much improved at both ends of the spectrum.

Disadvantages of full frame

Great Blue Heron in flight
This heron in flight was captured at a high ISO to achieve the fast shutter speed needed to get a sharp wildlife image.
  • Expense: Not only is the cost of a full-frame DSLR or mirrorless camera higher than crop sensor alternatives, but you may also need to invest in full-frame lenses.
  • Size and weight: The overall size and weight of full-frame cameras is greater than their crop sensor counterparts. Full-frame lenses are also larger and heavier. This may not matter to many photographers, but if you frequently carry gear for long distances, it could be a factor to consider.
  • No crop factor: The telephoto reach of a full-frame camera is lessened by not having a crop sensor. A 200mm lens on a full-frame camera reaches to 200mm; a 200mm lens on a 1.5x crop sensor camera reaches to 300mm.

If you’ve made it this far and you still like the sound of a full-frame camera, it’s time to ask yourself a few key questions:

How much will it cost?

As mentioned above, the cost of buying a full-frame camera is significantly more expensive than a crop sensor one, plus you’ll likely need to purchase new lenses. There isn’t much use in changing to full frame if you are not going to use high-quality lenses designed for full-frame cameras. So if you plan to make the jump to full frame, you may want to begin by upgrading your lenses to those compatible with full-frame cameras.

What type of photography do you enjoy shooting?

Boys sitting by a waterfall
Choosing a smaller aperture of f/22 produced enough depth of field to keep both the boys and the waterfalls in focus when using my full-frame Nikon D750.

Full-frame sensors offer advantages and disadvantages for different types of photography.

  • Landscape: Enhanced low-light performance and more detail are both key advantages of full-frame cameras for landscape photography. The only possible drawback here is the effectively shallower depth of field, but this can be compensated for by using a smaller f-stop.
  • Portraits: The larger size of a full-frame sensor will result in a shallower depth of field. For portraiture, this means the backgrounds can feature more blur and make the subjects stand out better.
  • Wildlife: A full-frame camera loses the telephoto reach that a crop sensor camera offers. Nevertheless, a lot of wildlife photography is shot in low-light situations, where a full-frame sensor gives a significant advantage.
  • Sports: As with wildlife photography, high-ISO capabilities are helpful for sports photography. However, the loss of increased reach may be a problem.

To summarize:

If you are a portrait or landscape shooter, there are many reasons to switch to full frame. But if you’re a sports or wildlife shooter, you’ll need to consider more carefully.

Architecture at sunset
This scene was captured at 24mm on a full-frame Nikon D750. The white line shows how much of this image would be captured on a crop sensor camera from the same shooting location.
Bald Eagles in a nest
This image was captured at 600mm with a full-frame camera. The white line shows the reach advantage that a crop sensor camera would provide. Still, capturing this image in low-light conditions with an ISO of 2000 is possible thanks to my full-frame sensor.

Is your current camera holding you back?

Every camera has a limited number of shutter releases, so if your camera is nearing the end of its life cycle, it might be time to consider an upgrade. If your older crop sensor model is limiting your results in low light, and you are constantly frustrated by high levels of noise, you might benefit from an upgrade to full frame.

However, keep in mind that it’s convenient to blame a camera for taking poor images, but it may not be the camera that’s holding you back.

Many times, photographers don’t get the results they expect from high-end equipment simply because they struggle with more fundamental techniques. No matter what type of camera you shoot with, get to know it and how all of its features work before moving on to a different one.

Cityscape at sunset
This cityscape was captured with a full-frame camera in low light by increasing the ISO.

What is your level of photography experience?

A full-frame camera is probably not the best option for beginners.

So if you are a beginner, I’d recommend starting with an entry-level camera and working up to a full-frame model. In fact, if you are looking for a camera to take photos of family and friends, a crop-sensor model is a great choice.

Having a good handle on the exposure triangle (aperture, shutter speed, and ISO) and how its key components work together is essential if you’re going to take advantage of a full-frame sensor. You must also be comfortable shooting in Manual mode.

Do you make large prints?

A full-frame sensor has larger pixels, which will capture more light – and this results in high-quality large prints. If you never make any prints larger than 8×10″, then a full-frame model won’t help you much here.

Bare trees at sunrise
Captured with a full-frame Nikon D750, this sunrise image reveals a nice range of tones, without any of the digital noise in the shadows that is likely to be present with some crop-sensor cameras.

Will purchasing a full-frame camera make you a better photographer?

You may have heard this quote, “Skill in photography is acquired by practice, not by purchase.”

Do you need a full-frame camera to capture great images? No, of course not! Most new crop sensor cameras on the market today are engineered to take beautiful images!

But if you’re an experienced photographer, you may benefit from switching to full frame.

The bottom line

If you are thinking of upgrading from a crop sensor camera, be sure to consider the price, lens compatibility, and type of photography you do before you make the change to full frame. Jumping to a larger sensor can be intense – but if you’re ready for that big step, the results are often rewarding.

Now tell me:

Are you ready to go full frame? Please leave your answer in the comments below!

The post Is it Time to go Full Frame? Weigh These Pros and Cons Before You Decide appeared first on Digital Photography School. It was authored by Bruce Wunderlich.


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Frame Within a Frame Photography: A Guide

04 Feb

The post Frame Within a Frame Photography: A Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

frame within a frame photography

Frame within a frame photography is a creative technique that works in many genres of photography. But what is it, and how can you use it for amazing photos?

In this article, we’re going to take a look at this composition “rule” – which you can apply very obviously or even very subtly in your photographs.

So if you’re ready to create some unique images…

…then let’s get started!

woman framed by bus window
© Kevin Landwer-Johan

What is frame within a frame photography?

Frame within a frame photography is all about positioning your main subject so it’s framed by something else within the scene. 

You can use anything you like for this. For instance, you might use a full rectangular frame, like a door or a window. You could even use an actual picture frame.

But frame within a frame photography is not limited to structures that completely surround your subject. 

You can incorporate body parts and tree limbs as frames. Using rocks, plastic bags, or mannequins can be an effective way to add a frame within a frame. These things may occur naturally, or you can bring them in as props to include in your compositions.

Two mannequins and a girl for frame within a frame photography
© Kevin Landwer-Johan

Frames in front and behind

Typically, we think of a frame that surrounds a subject as being in front of it.

But it doesn’t need to be.

Because you can often effectively frame your subject with something that’s behind them.

Here are three examples to illustrate what I mean:

welder working in a round frame
© Kevin Landwer-Johan

In this first photo of the welder (above), I’ve used a hole cut in the steel to encircle the worker. There are also more holes in the panels behind him, though it’s the front hole that acts as the main frame.

Monks walking through a gate in Thailand
© Kevin Landwer-Johan

In this second shot, however, while the gate pillars do frame the young monks, the contrast of the shadow on the wall also helps to frame the main subject.

woman leaning on a window frame in a train for frame within a frame photography
© Kevin Landwer-Johan

Here’s a third example where I have used frames both in front of and behind my subject. By lining up the front and rear windows in the train carriage, I have managed to carefully frame the young woman.

Depth in frame within a frame photography

The woman on the train (above) is also an example of how using frames within a frame can help create an enhanced sense of depth in your compositions.

This becomes even more exaggerated when you use a shallow depth of field. Blurring the frame shows that the frame and the subject are at different distances from the camera (and it also helps draw the viewer’s eye to your subject!).

For instance, look at the photo below. The white pillars on either side of the dancer and the circular shape behind her head frame her well. And the shallow depth of field helps create actual depth in the image.

Thai dancer for frame within a frame photography
© Kevin Landwer-Johan

Note, however, that you can use frame within a frame photography in circumstances where you convey no sense of depth.

Sunset frames
© Kevin Landwer-Johan

Take a look at the photo above. Are the people walking in front of or behind the large palm trees? The trees create a nice frame, but because the key elements are silhouetted, there’s no visual information to reference depth.

Composing with existing and created frames

Some frames are more obvious than others. Unfortunately, more obvious frames tend to be a bit too common in photographic compositions – to the point that they become clichéd.

So instead of using obvious frames, access your imagination. Look for unusual elements you can incorporate into your compositions. These can sometimes create interesting frames around your subjects.

Frames don’t have to be physical; you can always use light and shadow as a frame. Look for areas of contrast that surround what you’re focusing on. Carefully position yourself and your subject to maximize the effect.

Out-of-focus elements can also be used to create frames. When you have an object in the foreground that doesn’t form a complete frame around your subject, simply choose a wide aperture setting and make sure the foreground object is close enough to your camera. You’ll get a rather abstract form that can frame the subject and help lead the viewer’s eye into your picture.

Take a look at the image below. Do you see how the blurred vegetation creates a frame around my subject?

Thai dancer framed
© Kevin Landwer-Johan

Making use of what’s around you to create a frame can be very effective. Here, I have used the model herself to make a frame within a frame:

woman making a frame with her fingers
© Kevin Landwer-Johan

Look for frames and you’ll find them

Practice looking for frames, and you’ll begin to see them everywhere. Study the work of other photographers and see how they work with frames. Do a quick image search online for examples, and you’ll soon see how imaginative some photographers are with frames!

Then go out with a camera. Like anything, the more you do frame within a frame photography, the easier it becomes. Set yourself the task of creating a frame within a frame every time you head out to shoot.

That way, you’ll begin to train yourself to see situations where you can incorporate this compositional technique into your work.

Frame within a frame photography: Final words

Frame within a frame compositions are a great way to focus the viewer’s eye on your subject – and a great way to add depth to your photos.

So make sure you get out and practice! As I explained, the more you practice, the sooner you’ll be creating stunning frame within a frame photos.

Now over to you:

Have you ever tried frame within a frame photography? Do you have any framing tips? What are your favorite frames? Share your thoughts in the comments below!

The post Frame Within a Frame Photography: A Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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DPReview TV: Best enthusiast full frame mirrorless camera

28 Nov

Planning to treat yourself to a new full-frame camera this holiday season? We compare the Canon EOS R6, Nikon Z6 II, Panasonic S5 and Sony a7 III.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • The cameras
  • Handling
  • Displays
  • Video
  • Image quality
  • Autofocus
  • Final rankings

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Best entry-level full frame mirrorless – Nikon Z5 vs. Canon EOS RP

24 Oct

What’s the best entry-level full frame mirrorless camera? We compare the Nikon Z5 to the Canon EOS RP to find out.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Best handling
  • Best displays
  • Best image quality
  • Best lens lineup
  • Best autofocus
  • Our subscriber challenge!
  • Best video
  • Best price
  • Best overall

Articles: Digital Photography Review (dpreview.com)

 
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Netgear launches Meural WiFi Photo Frame with automatic wireless photo album syncing

26 Aug

Netgear has announced the Meural WiFi Photo Frame. The frame is designed to conveniently display your photographs using an accompanying smartphone application.

The Meural is a 13.5″ x 7.5″ frame with a 15.6″ diagonal display offering a 1920 x 1080 resolution and anti-glare coating. The display promises a wide viewing angle and ambient light sensor to ensure it looks good in any setting and from a large variety of angles. Including its bezel, the Meural Photo Frame is 16″ (408mm) wide, 10″ (259mm) tall and has a depth of 1.68″ (42.4mm). The frame weighs 2.9 lb. (1.3kg).

Like Netgear’s Meural Canvas before it, the smaller WiFi Photo Frame also utilizes touchless gestures for photo control, allowing you to scroll through images with a wave of your hand. The frame can also quickly be rotated between portrait and landscape orientation.

On the inside of the Meural is 1GB of DDR3 RAM, 8GB of storage (of which 4GB are utilized for storing photos), a Quad-core ARM processor and WiFi 802.11a/b/g/n/ac (2.4GHz and 5GHz). The frame includes gesture sensors for both portrait and landscape orientation, an orientation sensor itself and an ambient light sensor to automatically adjust brightness. The frame utilizes a DC power port for power and Netgear states that it uses approximately 20W during typical usage. The included power cord is 6′ long.

Image credit: Netgear

Using an app on your smartphone, you can link existing photo albums to automatically upload and display on the Meural WiFi Photo Frame. The frame can also display location and data information so you will always know when and where images were captured by simply gesturing upward. You can also use the app to invite family and friends to upload their own photo albums to a specific Meural. This means that distant family and friends can upload new photos to your own Meural, allowing you to quickly share memories with one another via personalized photo playlists.

Image credit: Netgear

The Meural Photo Frame is compatible with Apple and Android devices. For iPhone and iPad users, you must have iOS 11 or later. On Android, the frame is compatible with Android 5.0 or later. For iOS users, the Meural Photo Frame supports Live Photos. When using either compatible device, you can also display short videos up to 15 seconds in duration.

In addition to the power cord, the Meural WiFi Photo Frame also comes with a cleaning cloth, wall mount, wall anchor and screws (for drywall), pre-loaded sample art images from the Meural art library and a quick start guide. Speaking of the Meural art library, the library contains more than 30,000 images and artworks in total. You can schedule the display of your favorite art from the library.

Image credit: Netgear

Of the Meural WiFi Photo Frame, Netgear’s David Henry, senior vice president for Connected Home Products, says, ‘So many photos are captured on smartphones every day, yet many are not seen on screens that showcase them in their fullest, richest detail, With our new Meural WiFi Photo Frame we’ve created a new way to enjoy and relive those special memories.’ Henry continues, ‘[with the included connectivity features] this new premium photo frame will also help to keep people close in a time when we all need to stay connected.’

The Meural Photo Frame is available to order now for $ 299.95 USD. The frame is available in one colorway: charcoal gray bezel with a wood-grain inlay. The full Meural art library membership is $ 8.95 USD per month or $ 69.95 per year. The membership is not required. However, membership does add 16GB to your Meural Cloud storage and allow you to send artwork to multiple frames using a single account. A subscription also includes 24/7 customer support, which is otherwise limited to the first 90 days with your Meural Photo Frame. You can learn more about the membership by clicking here.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: A call for slow, professional full frame lenses

01 Jul

Professional full frame lenses are usually large and have fast apertures. In this episode of DPReview TV, Chris and Jordan argue that there’s a need for slow professional lenses – inspired by some of their favorite Micro Four Thirds lenses.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Superzooms
  • Video lenses
  • Telephotos
  • Autofocus on slower lenses
  • Would anybody buy them?

Articles: Digital Photography Review (dpreview.com)

 
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Are Full Frame Cameras Better in Low Light?

01 Jul

If you’ve been involved in photography for any time, you know there is a huge debate around full-frame cameras vs other sensor size cameras. Much like the Mac vs PC debate, or the iOS vs Android debate, this debate has shutterbugs riled up everywhere. Today, I am going to answer an important question from the debate, which is, are full-frame Continue Reading

The post Are Full Frame Cameras Better in Low Light? appeared first on Photodoto.


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Lenovo unveils 21.5″ Smart Frame wall screen for displaying digital images and artwork

08 Jan

Lenovo has introduced a new product for displaying albums of digital images as art in one’s home or office. Called the Smart Frame, this new connected 21.5-inch display is designed to look like a large picture frame, blending in with one’s existing decor to showcase the user’s own images or a selection of licensed artwork stored in the cloud.

The Lenovo Smart Frame is designed for use with the company’s snap-on mounting system, which enables the user to rotate the image from portrait to landscape modes for displaying different types of images and artwork. Buyers are given the option of choosing different frame materials and colors to match their existing decor.

A built-in color tone sensor monitors the ambient lighting in the room where the Smart Frame is mounted and automatically adjusts the screen’s brightness for what Lenovo claims is ‘a more natural and aesthetic viewing experience.’ The display has an anti-glare matte finish for a realistic, viewable experience during daylight hours.

According to Lenovo, the Smart Frame uses an AI to curate the user’s own photo album, selecting the highest quality images to create digital collages that show multiple photos at once. As well, the device comes with a companion app that offers access to hundreds of pieces of artwork.

Lenovo plans to launch the Smart Frame in North America in August with a starting price of $ 400.

Articles: Digital Photography Review (dpreview.com)

 
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