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Jake Garn Photography
Archive for July, 2020
Gotta Have Faith
29
Jul
Open-source photo management app digiKam gets major update to version 7.0.0
29
Jul
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Open source photo management software digiKam has been updated to version 7.0.0, an update that has been a full year in the making. The updated digiKam adds a number of new features and bug fixes, according to the team behind the software, including an important update to the software’s face-detection capability, which now utilizes deep learning technology to better detect both human and animal faces.
The neural network model now used for digiKam’s face detection feature can detect faces in a variety of states and arrangements, including profile shots, burred faces, faces partially obstructed by other objects like sunglasses and more. The digiKam team says that testing the updated feature with ‘huge collections’ revealed a high level of accuracy resulting in few false positives.
Though the workflow for this updated face recognition function remains the same, the digiKam team notes that users will need to train the neural network to recognize the faces of the people they often photograph by tagging them in multiple images. In cases where the algorithm isn’t trained, detected faces are instead marked as ‘unknown.’
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Other improvements are coming to the face detection tool and related workflow, as well. Users will soon be able to tell digiKam to ignore certain faces using the Reject button. The software will pin Important face tags in the sidebar and automatically assign face tag icons for a faster, more visual workflow. These features, as well as a handful of others, are being worked on over this summer.
Another project underway for digiKam is improvements to the software’s face recognition neural network engine. The algorithm will be updated to implement new face classifiers for faster and more accurate facial recognition, plus it will receive a new face embedding database and more. The code with these changes is expected to arrive sometime this summer, according to the team, which says that’ll likely drop with digiKam version 7.2.0.
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Beyond those face recognition changes and planned changes, digiKam 7.0.0 brings LibRaw 0.20, the new version of this library that enables the software to post-process a variety of raw camera files.
With this update, digiKam has gained support for more than 40 additional raw image formats, including ones from cameras like the Sony A7R4, DJI Mavic Air, Ricoh GR III, PhaseOne IQ4 150MP, GoPro HERO7, and more, including several smartphone models. Users can find the full list of supported formats, including the 0.20 additions, on the LibRaw website.
The changes in digiKam 7.0.0 continue from there, including the addition of improved support for the HEIF image format via the use of the libheif shared library, new support for Microsoft Visual C++ with the goal of an eventual Windows Store release, official support for FlatPak Linux bundle, expanded metadata options, a new ‘HTML5Responsive’ theme for the HTMLGallery plugin, new settings for the SlideShow tool and much more.
Ultimately, the digiKam team explains that over the past year, they reached a new and ‘impressive’ level of development for the software beyond what they have achieved in the past. The update is extensive, adding considerable support and new features to what remains a very powerful open-source alternative to commercial photo management software.
As expected, digiKam 7.0.0 is available to download for free with support for Windows, macOS and Linux.
Articles: Digital Photography Review (dpreview.com)
Sony a7S III initial review
29
Jul
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Sony’s alpha 7S Mark III is the third iteration in the most video-focused of the company’s a7 series of full frame cameras. It’s essentially a native 4K camera with impressive video specs and a revised user interface. It can capture UHD 4K footage at up to 120p in 10-bit 4:2:2 encoding and promises 16-bit Raw video output.
- 12MP BSI CMOS sensor
- Bionz XR processor
- On-sensor phase detection
- ISO 80-102,400 (expandable to 40-409,600)
- 9.44M dot EVF with 0.91x magnification
- 4K video at up to 120p, 60p for ‘at least an hour’
- 16-bit Raw video output at up to 60p
- 10-bit 4:2:2 internal capture (in codecs including H.265 and All-I H.264)
- Fully articulating LCD
- 5-axis in-body stabilization with Steady shot active mode
- Twin card slots that each accept either SD or CFexpress Type A
The Sony a7S III will sell for around $ 3500. This is a $ 500 premium over 2015’s Mark II but still $ 500 lower than the launch price of the Panasonic Lumix DC-S1H, which is arguably its closest competitor.
What’s new and how it compares
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The a7S III offers a series of new features such as 10-bit internal video and Raw video output but the changes go much deeper. Read more |
Body, controls and handling
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Alongside a host of ergonomic improvements, which includes greater use of the touchscreen, Sony has significantly redesigned its menu system. Read more |
Initial impressions
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The a7S III looks to be a workhorse camera for amateur and independent production teams, but it also offers insights into what future alpha cameras will be like. Read more |
Sample gallery
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We’ve prepared a sample gallery of images using a near-final a7S III.
See the images |
Articles: Digital Photography Review (dpreview.com)
Sony a7S III to get 4K/60p ProRes Raw capture over HDMI with Atomos’ Ninja V monitor/recorder
28
Jul
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To coincide with the announcement of Sony’s a7S III, Atomos has announced it will release a firmware update for its Ninja V recorder/monitor that will enable it to record 4K/60p ProRes Raw video over HDMI.
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The 16-bit linear Raw video output of the a7S III is sent via HDMI to the Ninja V recorder, which then compresses and records the video as 12-bit ProRes Raw at up to 4K/60p. The Ninja V will also be able to record the a7S III’s 10-bit 4:2:2 HDMI video output as 10-bit 4:2:2 Log or Rec.709 video at up to 4K/60p in ProRes or DNx codecs.
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Atomos has shared the following video from Phillip Bloom, shot on the Alpha 7S III and Ninja V in ProRes RAW:
Atomos expects the firmware update to be available in September of this year.
Press release:
Atomos to record 4Kp60 ProRes RAW over HDMI from Sony’s Alpha 7S III
Melbourne, Australia – July 28, 2020 – Atomos are today announcing RAW recording at up to 4Kp60 via HDMI from Sony’s new Alpha 7S III (ILCE-7SM3) full-frame mirrorless camera to the Ninja V HDR monitor-recorder.
The Alpha 7S III has a state-of-the-art CMOS image sensor and the Ninja V can record its full dynamic range in Apple ProRes RAW for maximum detail and latitude in post-production. The RAW files are optimal for HDR finishing, or for greater flexibility in SDR (Rec.709), giving stunning results in either. Images are recorded directly to affordable, reliable AtomX SSDmini or other compatible SSD drives for quick transfer to your editing system.
Unrestricted RAW recording
RAW recording with the Ninja V from the Alpha 7S III is only limited by your imagination. The combination will record ProRes RAW video for as long as you have disk space on your SSD and power for the camera and recorder. The active cooling employed means that internal record time limitations can be bypassed making a perfect setup for performances and long interviews. Optionally, RAW video can also be captured on the Ninja V at the same time as compressed video is recorded internally to memory card on the Alpha 7S III, providing several workflow options and a useful backup
Making low light RAW video a reality
Alpha 7S III low light performance is especially impressive, with the data from the camera’s large photosites making recording RAW in dim conditions a practical option. The Alpha 7S III also has 5-axis optical image stabilisation that is available while shooting RAW video, allowing for amazingly stable and detailed handheld RAW shots.
16-bit Linear RAW perfectly captured as 12-bit Log RAW
The data-rich 16-bit linear RAW output of the Alpha 7S III is compressed and recorded in the Ninja V as 12-bit ProRes RAW at up to 4Kp60. The result is a high quality ProRes RAW file that combines the superb visual quality of the Alpha 7S III with the workflow advantages of RAW and the incredible real-time performance of ProRes. One key benefit, especially in low light, is that the ProRes RAW files allow you to take fine control of how noise reduction and sharpening is applied to images, tuning these precisely for each shot.
A defined standard
Atomos believes ProRes RAW is the new standard for RAW video capture, which is supported by an ever growing number of cameras outputting RAW over HDMI to the Ninja V. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Both ProRes RAW, and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is supported in Final Cut Pro X, Adobe Premiere and Grass Valley Edius, along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront and FilmLight Baselight.
10-bit 4kp60 Apple ProRes or Avid DNx for extended recording
For the first time in a mirrorless camera from Sony there is also a 10-bit 422 HDMI video output option available. The Ninja V and other current Atomos monitor-recorders can record this as 10-bit 422 Log or Rec.709 video at up to 4Kp60 into production ready ProRes or DNx codecs. These provide long record times and practical data rates when the additional flexibility of RAW is not required. This is ideal for situations where the camera needs to integrate into an established post workflow, or a fast turnaround is needed.
HDR monitoring perfection
The accurate 5” 1000nit HDR high brightness display of the Ninja V allows users to view the Alpha 7S III RAW signal in HDR in a choice of HLG and PQ (HDR10) formats or view natively in Sony’s S-Log profile and used with LUTs. The monitor offers touchscreen access to tools like waveform, magnification and peaking so users can check focus and make adjustments to get the perfect HDR or SDR shot.
Launch film from filmmaker Philip Bloom
Renowned filmmaker Philip Bloom has shot a short film titled ‘The Paddleboarder’ to test the ProRes RAW capabilities of the Alpha 7S III with the Ninja V. Shot on the river Thames in just one day it clearly demonstrates just how filmic the RAW images look. In his time with the camera he has also shot ProRes RAW in various lighting conditions including near darkness.
He said: “Sony’s Alpha 7S III is incredibly powerful and does pretty much everything I need from a camera. Having the ability to record RAW over HDMI to the Atomos Ninja V is the icing on the cake. Not only can I record at full quality 10-bit 4K internally to the camera’s memory cards, I can simultaneously record 12-bit ProRes RAW to an SSD which gives me more flexibility to grade and bypass things like the in-camera sharpening and noise reduction. This is especially invaluable when shooting at very high ISO where working with RAW allows me to adjust the noise in post processing with much more precision.”
Atomos and ProRes RAW
Jeromy Young, Atomos CEO, said: “What Sony have done with the Alpha 7S III for RAW recording to the Ninja V is truly amazing. I’m delighted that together we are able to bring this first Sony’s Alpha™ into the Atomos RAW ecosystem. Sony’s engineers have delivered an amazing quality RAW over HDMI output to the Ninja V that will open up countless creative opportunities. The detail, dynamic range and especially low light performance is outstanding in RAW. The stable operation and long RAW record times that the Ninja V brings to the Alpha 7S III make it a brilliant tool for almost any production.”
Ninja V users will receive a free AtomOS update to enable RAW recording over HDMI from the Alpha 7S III. This is set to be available in September 2020.
To learn more about the Ninja V and Sony’s Alpha 7S III visit www.atomos.com
VIEW: See the launch film “The Paddleboarder” shot on the Alpha 7S III and Ninja V in ProRes RAW by DP Philip Bloom here
Articles: Digital Photography Review (dpreview.com)
Understanding Depth of Field for Beginners
28
Jul
The post Understanding Depth of Field for Beginners appeared first on Digital Photography School. It was authored by Bruce Wunderlich.
You may have heard the term depth of field (DoF), but if you are new to photography you may not yet be taking advantage of how DoF can enhance your photos.
A basic definition of depth of field is: the zone of acceptable sharpness within a photo that will appear in focus. In every picture there is a certain area of your image in front of, and behind the subject that will appear in focus.
This zone will vary from photo to photo. Some images may have very small zones of focus which is called shallow depth of field.
Here’s a series of images with very shallow depth of field.
Others may have a very large zone of focus which is called deep depth of field.
Here’s a collection of images with much deeper depths of field.
Three main factors that will affect how you control the depth of field of your images are: aperture (f-stop), distance from the subject to the camera, and focal length of the lens on your camera. Here are some explanations and answers to other common questions concerning depth of field.
How does aperture control depth of field?
Aperture refers to the access given to light from the lens to the camera sensors. The size of your aperture (the diameter of the hole through which light enters the camera) controls the amount of light entering your lens. Using the aperture (f-stop) of your lens is the simplest way to control your depth of field as you set up your shot.
Large aperture = Small f-number = Shallow (small) depth of field
Small aperture = Larger f-number = Deeper (larger) depth of field
It may be easier to remember this simple concept: The lower your f-number, the smaller your depth of field. Likewise, the higher your f-number, the larger your depth of field. For example, using a setting of f/2.8 will produce a very shallow depth of field while f/11 will produce a deeper DoF.
The image on the left was captured at 250th of a second at f/5.0 which resulted in a very shallow depth of field. Because of this the background is out of focus allowing the subject to stand out. The image on the right was captured at 1/5th of a second at f/32 which created a deep depth of field and a sharper background.
How does distance control depth of field?
The closer your subject is to the camera, the shallower your depth of field becomes. Therefore, moving further away from your subject will deepen your depth of field.
How does the focal length of a lens control depth of field?
Focal Length refers to the capability of a lens to magnify the image of a distant subject. This can get complicated, but the simple answer is that the longer you set your focal length the shallower the depth of field. Example: Your subject is 10 meters (33 feet) away, using a focal length of 50mm at f/4; your depth of field range would be from 7.5 -14.7 meters (24.6-48 feet) for a total DOF of 7.2 meters (23.6 feet). If you zoom into 100mm from the same spot, the depth of field changes to 9.2-10.9m (30.1-35.8′) for a total of 1.7m (5.7′) of depth of field. But if you move to 20m (66′) away from your subject using the 100mm lens, your depth of field is almost the same as it would be at 10 meters using a 50mm lens.
This image of a swan hiding in the tall foliage was captured from about 5m (16′) with a 300mm focal length lens. This combination of focal length and distance created a depth of field of approximately 5cm (2″).
What if I just have a point and shoot camera, or don’t know how to change those settings?
Even with a point and shoot camera, there are ways to control your depth of field. In the Scene Modes menu, look for a symbol of a human head, which is the setting for portraits. This will give you a narrow depth of field. In the same menu there is also a mountain symbol, which is a setting for landscapes, which will give you a deeper depth of field.
If you are a beginner with a DSLR there are some simple ways you can control depth of field and still use and automatic shooting mode. By choosing Aperture Priority mode you can set your aperture to get the depth of field that you want, and the camera will automatically set the shutter speed.
Can I set the depth of field exactly for each situation?
Yes, but because changing your aperture affects your shutter speed, the result may not meet the needs of your image. For instance, if you are trying to increase your depth of field by reducing aperture size you will also need to increase (slow down) your shutter speed which could make your image blurry. Understanding how all these settings work together can increase your control over depth of field.
Is depth of field equally distributed in front and back of my focus point?
No, it’s usually about one third in front and two thirds behind your focal point, but as your focal length increases it becomes more equal.
How will understanding depth of field improve my images?
Managing depth of field is one of the most important tools at your disposal, because having tack sharp images is one of the most important factors to getting that great shot. Knowing how to make the parts of your image you want sharp and the parts you want to be out of focus, is a great artistic tool to create great images.
Getting the right depth of field for your shot can make all the difference.
When should I use a shallow depth of field?
Using a shallow depth of field is a good way to make your subject stand out from its background and is great for portrait photography. Shallow DoF can also be useful in wildlife photography, where you want the subject to stand out from its surroundings. This is also useful because many wildlife photo opportunities are low light situations, and increasing your aperture size will give you more light. Shallow depth of field is also effective for sports photography where many times you want to separate the athlete from the background to bring attention to them. The result of this should also help give you a fast enough shutter speed to freeze the action.
This image captured at 300mm focal length and f/5.6 produced a very shallow depth of field. Because of this, it is important to set your focal point on the subject’s eye. Notice how the bird pops out from the background.
When should I use deeper depth of field?
In landscape photography it is important to get as much of your scene in focus as possible. By using a wide angle lens and a small aperture you will be able maximize your depth of field to get your scene in focus.
This landscape was captured with a 50mm focal length at f/16. The focus point was set at 8 meters, which made everything from 4 meters to infinity in focus.
How can you determine depth of field?
There are several on-line sites that will provide depth of field charts for your camera and lenses. Also, there are a number of apps available for smart phone users that can calculate it for you while you’re in the field. Most cameras have a DoF preview button which will give you a preview as you look through the eye piece. (This is probably the easiest and most under-utilized method.) Using this button may cause your image to appear darker as you view it through the eye piece, but not to worry. Your image will be properly exposed as long as you have the correct exposure settings.
Can depth of field be adjusted to get everything in focus?
Yes, using what is called the hyperfocal distance. When you are focused at the hyperfocal distance, your depth of field will extend from half the distance to your focal point to infinity. Use a DOF calculator to find your hyperfocal distance. If you don’t have a DoF calculator, a good rule of thumb is to focus a third of the way into the scene. Using an aperture of about f/11 or higher with a wide angle lens will maximize your depth of field.
What about depth of field in macro photography?
Because most macro images are produced in low light and with a longer focal length, the depth of field is often very shallow. Adjust your lens to the smallest aperture that the light will allow. It may also be necessary to increase your ISO to allow you to properly expose the image and to maximize your depth of field. Still, in many macro images your DoF may be very minute. With this very narrow focus it becomes necessary to use a tripod, because even the slightest movement of the camera will move your macro subject outside your depth of field.
This 120 mm macro even at f/8 still has a very shallow depth of field.
What is bokeh?
Bokeh (boh-ke) comes from the Japanese word meaning blur. This effect is produced by the out-of-focus areas in your image that are beyond the depth of field. Bokeh commonly refers to the pleasing circle shapes caused by the shape of the lens aperture. Usually created when shooting with your aperture wide open, such as f/2.8, bokeh can also be created with smaller apertures if the background is distant enough.
Learn more about how to get beautiful bokeh in your images here.
Bokeh in this image was created by the distance of the subject to the background, which fell well beyond the depth of field.
To summarize controlling depth of field:
Increase depth of field
- Narrow your aperture (larger f-number)
- Move farther from the subject
- Shorten focal length
Decrease depth of field
- Widen your aperture (smaller f-number)
- Move closer to the subject
- Lengthen your focal length
Take control of your depth of field. Understanding how these adjustments control your it will greatly improve your photography. What questions do you have about depth of field? Please share your photos and comments.
Recommended Reading for Beginner to Intermediate Photographers
If you enjoyed reading this tutorial we’ve put together a series of comprehensive advice for photographers:
- Ultimate Guide to Photography for Beginners
- Ultimate Guide to Landscape Photography
- Ultimate Guide to Taking Portraits and Photographing People
- Ultimate Guide to Nature and Outdoor Photography
- Ultimate Guide to Street Photography
- Ultimate Guide to Getting Started in Lightroom for Beginners
- Ultimate Guide to Fine Art Photography
- Ultimate Guide to Photography Terms and Common Words
The post Understanding Depth of Field for Beginners appeared first on Digital Photography School. It was authored by Bruce Wunderlich.
Raw video output for Panasonic Lumix DC-S1H now available
28
Jul
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Panasonic has announced firmware version 2.1 for the Lumix DC-S1H. Originally slated for a May launch, this firmware adds support for Raw video output to Atomos Ninja V external recorders, which in turn can save the footage as ProRes Raw. The maximum output resolutions are 5.9K/29.97p from the full sensor region and 4K/59.94p from a Super 35 crop. A LUT will be made available for the Ninja V to match V-Log and V-Gamut on the S1H and other Panasonic video cameras.
In addition to Raw export, the firmware update also gives the S1H the ability to capture 3.5K anamorphic from a Super 35 4:3 region.
The update is available free of charge and can be downloaded from Panasonic’s website.
Panasonic Releases Firmware Version 2.1 for LUMIX S1H Supporting RAW Video Data Output
Newark, NJ (July 28, 2020) – Panasonic is pleased to announce the LUMIX S1H firmware update program Version 2.1 that supports RAW video data output. Working together with Atomos, a global company that creates video equipment for professional film creators, the new firmware enables the output of maximum 5.9K/29.97p and 59.94p 4K* RAW video data over HDMI to save it as Apple ProRes RAW on the Atomos Ninja V 4K HDR monitor-recorder. In addition, it further complies with 3.5K Anamorphic 4:3. Panasonic commits to provide innovative solutions for professional film creation by enabling all S1H users to receive this firmware free of charge.
The program will be available at LUMIX Global Customer Support website https://av.jpn.support.panasonic.com/support/global/cs/dsc/ at 2:00 A.M.EDT on July 28, 2020.
* 4128×2176(17:9), announced as “C4K” at IBC2019. Corresponding to C4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).
LUMIX S1H Firmware Version 2.1
RAW video data output over HDMI
- [5.9K] / [4K] / [Anamorphic (4:3) 3.5K] 12-bit RAW video data can be output over HDMI.
The Apple ProRes RAW can be recorded on Atomos Ninja V.[1]
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Area |
Resolution |
Frame Rate |
Aspect |
HDMI Output |
|---|---|---|---|---|
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Full-Frame |
5.9K (5888×3312) |
29.97p/25p/23.98p |
16:9 |
12-bit |
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Super 35mm |
4K (4128×2176) |
59.94p/50p/29.97p/25p/23.98p |
17:9 |
12-bit |
|
Super 35mm Anamorphic |
3.5K (3536×2656) |
50p/29.97p/25p/23.98p |
4:3 |
12-bit |
- V-Log or Rec.709 is selectable on Live View monitor during RAW output.
- Shooting assist functions including WFM (Wave Form Monitor), Vector Scope, Luminance Spot Meter, Zebra Pattern can be used during RAW output.
- A LUT (Lookup table) exclusively designed for RAW video recorded on NINJA V is available on the following customer support website to make the same color grading as V-Log/V-Gamut[2]. It is easy to match colors between the footages recorded with Panasonic Varicam, EVA1 and GH5 series cameras to combine them. https://panasonic.jp/support/global/cs/dsc/download/lut/s1h_raw_lut/index.html
[1] Selectable recording mode depends on the version of ATOMOS NINJA V.
All functions may not be available depending on the situation.
[2] Software that supports Apple ProRes RAW is required to edit RAW video recorded with NINJA V.
Articles: Digital Photography Review (dpreview.com)
Meike’s new 50mm F1.2 lens for mirrorless (and EF) mounts costs just $350
28
Jul
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Are you looking for fast glass on a budget? If so, Meike’s new 50mm F1.2 might satiate your needs without burning a hole in your wallet.
The ultra-fast lens will come in Canon EF, Canon RF, Nikon Z and Sony E mount when it ships mid-August. The lens is constructed of 12 elements in 7 groups, including an undisclosed number of multi-coated elements. It features an aperture range of F1.2-F22, has a minimum focusing distance of 60cm (24”) and uses a 67mm front filter thread.
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The manual-focus lens measures in at 72mm (2.83”) long and weighs 620g (1.37lbs). For comparison, Canon’s RF 50mm F1.2 weighs 950g (2.09lbs). Below is a video overview of the lens from Arthur R:
The Meike 50mm F1.2 lens is currently available to pre-order for Canon EF, Canon RF, Nikon Z and Sony E mount camera systems for $ 350. The first units are expected to start shipping on August 15.
Articles: Digital Photography Review (dpreview.com)
10,000 Headshots initiative saw 200 photographers give free headshots to unemployed workers
28
Jul
Photographers from across the United States joined together on July 22 to participate in the ‘10,000 Headshots’ initiative, a group effort that involved offering free professional headshots to unemployed workers with the goal of helping them secure new jobs. The initiative was coordinated by Headshot Booker, which explains on its website that these sessions were offered to anyone who was unemployed as of July 22 when the sessions took place.
The initiative was a success, according to Headshot Booker. Participants interested in getting headshots were required to pre-register for a 10-minute session and each location was limited to 50 total appointments. More than 200 photographers participated across 50 states and used Brookfield Properties retail locations with pop-ups as their studios.
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The agency notes that every location used proper social distancing and safety measures to keep everyone safe, including contactless delivery of images and having photographers wear masks.
Headshots are an important aspect of finding work, the agency points out. Career-centric social platform LinkedIn claims that profiles featuring professional headshots are nine times as likely as other accounts to receive connection requests. Paying for a headshot while unemployed is particularly difficult, however, making it harder for those in need of a job to find one.
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Professional photographer and Headshot Booker co-founder Peter Hurley explained:
Unfortunately, many job seekers underestimate the value of a professional headshot, instead opting for a snapshot taken by a friend or even worse a selfie. The headshot has become the cornerstone of one’s digital brand identity and we want to empower people as they go through the process of procuring a new job and getting back into the workforce.
The initiative was launched in partnership with Canon, MySpotPhotos and several other companies. Ultimately, every registered participant left the pop-up studios with a professional headshot for their resumes. Headshot Booker says this was the ‘largest, single-day photo initiative’ of its kind, one that comes amid widespread unemployment caused by the pandemic.
Articles: Digital Photography Review (dpreview.com)
Adobe updates Photoshop for iPad with Refine Edge Brush, Rotate Canvas feature
27
Jul
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Adobe has announced an update to Photoshop for iPad that adds the popular Refine Edge Brush and Rotate Canvas feature.
The new Refine Edge Brush in Photoshop for iPad makes it easier to precisely select parts of an image, particularly those involving fine fabrics, hair or fur. Underneath, the technology is the same as used in its Desktop feature, but Adobe tweaked the interface a bit to make it more intuitive for the iPad’s touch-first design.
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Below are a few of the examples Adobe has shared in its announcement blog post. Keep in mind these are specifically-chosen images, so your results may vary.
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Adobe has an entire user guide on how to use the new Refine Edge Brush in Photoshop for iPad to help get you up and running if you aren’t familiar with the feature.
Another much-requested feature Adobe has added is the Rotate Canvas tool. Now, using a two-finger gesture, you can rotate the canvas you’re working on, making it easier to precisely edit and make changes to your work.
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The feature works in conjunction with the zoom gesture, so you can quickly pinch in and out while also rotating the canvas. Rotation can snap at 0, 90, 180 and 270 degrees, and resetting the rotation and zoom is as simple as quickly pinching out on the canvas.
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Adobe has created a user guide for the Rotate Canvas function as well.
The update should be live in the App Store to download today. If it isn’t, turn off and turn on your iPad before revisiting the App Store.
Articles: Digital Photography Review (dpreview.com)
Olympus OM-D E-M1 Mark III review
27
Jul
Introduction
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The Olympus OM-D E-M1 Mark III is the third iteration of the company’s sports and action-oriented Micro Four Thirds model. It uses a 20MP Four Thirds sensor and inherits many of the capabilities of the larger E-M1X, including its multi-shot handheld High Res mode.
Olympus says the Mark III is designed with portability and agile shooting prioritized over the better handling and operability of the larger ‘X’ model. And, while it doesn’t offer the E-M1X’s plane / train / motor vehicle-recognition AF modes, the E-M1 III has the latest TruePic IX processor, which brings a couple of features of its own.
Key Specifications
- 20MP Four Thirds sensor
- 121-point autofocus system with deep learning-based subject recognition
- Handheld high-res shot mode
- Up to 60 fps Raw + JPEG capture (up to 18 fps with autofocus)
- Pro Capture mode records frames before you hit the shutter
- Image stabilization rated at 7.0 (CIPA standard), up to 7.5EV with ‘Sync IS’ lenses
- ‘Live ND’ multi-shot mode simulates ND filters
- Large 2.36M-dot LCD viewfinder able to work at up to 120 fps
- 420 shots per charge (CIPA) battery life rating
- Dual SD card slots (1x UHS-I, 1x UHS-II)
- Extensive direct control, AF joystick, articulating touchscreen
- UHD 4K/30p video and DCI 24p at up to 237Mbps
- Extensive, IPX1-rated weather sealing
- USB charging (using USB PD standard)
The Olympus OM-D E-M1 Mark III is available now for a body-only MSRP of $ 1800 ($ 2400 CAD). It’s also sold with the 12-40mm F2.8 Pro lens for $ 2500 ($ 3300 CAD) or the 12-100mm F4.0 IS Pro for $ 2900 ($ 3800 CAD).
What’s new and how it compares
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The E-M1 Mark III gains a series of features from the E-M1X as well as improved eye-detection AF. We look at what’s been updated. Read more |
Body and controls
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There’s an AF joystick and some interface updates on the Mark III, but we were most stuck by the flexible way the camera’s Custom modes now work. Read more |
Initial impressions
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The E-M1 Mark III sits more comfortably alongside the E-M5 III than its predecessor did. And we think the balance of features and capabilities remains competitive. Read more |
Image quality
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The E-M1 III’s 20MP sensor is familiar from previous models. Expect lovely JPEG colors and and good dynamic range considering its format. Also check out the 80MP High-res mode! Read more |
Autofocus
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Autofocus performance is good when used in a traditional manner, but subject tracking lags behind the competition. Still, face and eye-detect work well. Read more |
Video
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The EM1 III is capable of good-looking 4K footage and offers some of the best in-body video stabilization you’ll find anywhere. Read more |
Conclusion
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This is a well-rounded camera and easily our favorite Micro Four Thirds body for stills-oriented shooters. Still, there are more capable cameras for the cash. Read more |
Sample gallery
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The DPR editorial staff and the DPRTV team have been shooting with the E-M1 III for a while and we’ve created a gallery that gives you a taste of what it can do. View the gallery |
Articles: Digital Photography Review (dpreview.com)
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