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Posts Tagged ‘across’

Panasonic firmware shares more features across S1, S1R, S1H and S5

04 Nov

Panasonic has announced an extensive series of feature-enhancing firmware updates for its S1, S1R, S1H and S5 full-frame mirrorless cameras, along with the G100 Micro Four Thirds model. All five updates will become available on November 24, 2020.

The updates vary between models, often adding features and improvements from the other cameras. For example, the boost in AF performance for the S1H, S1R and S1 brings them inline with the performance of the S5. Meanwhile, the S1R, S1 and S5 gain the ability to specify shutter speed and gain (rather than shutter speed and ISO), an option originally reserved for the S1H.

Notable improvements include the S1R gaining 10-bit HLG capture and 4:2:2 10-bit output of 50p and 60p 4K footage over HDMI.

The S5 gains a series of DCI ‘cinema 4K’ (4096 x 2160) shooting modes. The S5 also gains the ability to stream Raw footage, which can be encoded as ProRes RAW using an Atomos external recorder. The S5 also gets Master Pedestal (black level) control and a Vector Scope display mode.

S1 users, in addition to the promise of firmware v1.6 in November, will gain a series of 12-bit Raw video output options, in a v2.0 update promised for 2021. This will also add the ability to explicitly control the Dual ISO behavior, along with a host of 10-bit internal capture modes which were previously only available on the S1H. This will include V-Log options for users who have bought the SFU2 Log upgrade.

Panasonic Announces Firmware Update Programs for the LUMIX S1H, S1R, S1, S5 and LUMIX G100 and Further Upgrades for the LUMIX S1 with a Future Firmware Update

Newark, NJ (November 4, 2020) – Panasonic is proud to announce the release of
firmware update programs for DC-S1H (Ver.2.2), S1R (Ver.1.6), S1 (Ver.1.6) and S5
(Ver.2.0) for the LUMIX S Series full-frame mirrorless cameras and for DC-G100 (Ver.1.1)
LUMIX G Series MFT(Micro Four Thirds) mirrorless camera on November 24, 2020.
Panasonic is also pleased to announce the future firmware update exclusively for
S1(Ver.2.0) to further enhance the functions and performance in the first half of 2021.

  1. Firmware Update Programs to be released on 24 November 2020
    DC-S1H Firmware Version 2.2 DC-S1R Firmware Version 1.6
    DC-S1 Firmware Version 1.6 DC-S5 Firmware Version 2.0

    • Improved AF performance S1H S1R S1
      LUMIX’s state-of-the-art AF technology and performance of the new LUMIX S5 will also be available on the S1R, S1H and S1. The upgraded AF notably excels in detection of human and its movement. In addition to the eye, face, body the head is also separately recognized by real-time detection technology to provide even more precise focusing. The camera keeps tracking the subject person even if he/she moves quickly, turns his/her back to the camera, tilts his/her head or moves far away from the camera. In addition, improvements to the DFD technology has enhanced AFC, which also enables users to keep tracking small or fast-moving subjects to capture them in crisp focus. Users can take these advantages in both still and video recording.
    • Human/Animal recognition can be set ON or OFF when the AF mode is set to [1-Area] or [1-Area+]. S1H S1R S1 S5
    • [AF+MF] can be used during video recording S1H S1R S1 S5
    • Recognition performance during video recording in V-Log has been improved. S1H S1 S5
    • [SS/Gain Operation] function has been added. S1R S1 S5
    • [Red REC Frame Indicator] is available. S1R S1
    • It is possible to play back vertical videos vertically. S1H S1R S1
    • 4K video files can be transferred to a smartphone via Wi-Fi. S1H S1R S1
    • [Horizontal Image Flip(Monitor)] / [Vertical Image Flip(Monitor)] enables to reverse or not to reverse the monitor image when the free-angle monitor is rotated. S1H S5
    • 5K (4992×3744) video recording in MOV is available. S1R
    • C4K (4096×2160) MOV can be recorded. S5

      5K 30p/25p/24p 4:2:0 10-bit LongGOP 200Mbps LPCM
    • [Like 2100(HLG)] has been added in [Photo Style] to support 10-bit HDR video recording. S1R
    • High-Resolution audio recording using an XLR Microphone Adaptor DMW-XLR1 is available and it can be controlled with [XLR Mic Adaptor Setting] menu. *MOV only S1R
    • [Luminance Level] function supports the 10-bit mode. S1R
    • 4K 60P/50P 4:2:2 10-bit video output over HDMI has been supported. S1R

      C4K 60p/50p 4:2:0 8-bit LongGOP 150Mbps LPCM
      C4K 30p/25p/24p 4:2:2 10-bit LongGOP 150Mbps LPCM
      C4K 30p/25p/24p 4:2:0 8-bit LongGOP 100Mbps LPCM
    • RAW Video Data output over HDMI has been supported. S5
      [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.
      *All functions may not be available depending on the situation.
      *Software that supports Apple ProRes RAW is required to edit RAW video recorded with NINJA V.
      *Apply the LUT(Look up table) available on the following customer supports site to make the same color grading as V-Log/V-Gamut. ???
    • It is possible to display a Vector Scope. S5
    • [Master Pedestal Level] function has been added. S5
    • [L.ClassicNeo] and [L.Monochrome S] have been added to Photo Style. S5

    DC-G100 Firmware Version 1.1

    • The camera will be compatible with LUMIX Webcam Software (Beta).
    • [Horizontal Image Flip(Monitor)] / [Vertical Image Flip(Monitor)] enables to reverse or not to reverse the monitor image when the free-angle monitor is rotated.

  2. Firmware Update Program to be released in the first half of 2021 DC-S1 Firmware Version 2.0
    To meet the demands of users, the LUMIX S1 will continue to evolve. [5.9K] / [4K] /
    [Anamorphic (4:3) 3.5K] 12-bit RAW video data can be output over HDMI, thus, the RAW video data can be recorded on Atomos Ninja V*1 *2 . Also, 5.9K/C4K internal video recording, 4K60p/50p 4:2:0 10bit recording as well as Anamorphic mode and Timecode will also be available*2 . The firmware itself enables manual setting of Dual Native ISO.

*1 5.9K (5888×3312) 29.97p/25p, 4K (4128×2176) 59.94p/50p, Anamorphic 3.5K (3536×2656) /50p.
*2 To activate functions related to MOV and V-Log video recording, a Software Upgrade Key DMW-SFU2 (sold separately) is required. Users who already have DMW-SFU2 do not need to purchase extra DMW-SFU2.

Panasonic further addresses technology development and its achievement shall be applied not only to the new products but also to those already released via firmware update.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe updates logos, branding for easier navigation and consistency across platforms

01 Jun

Software manufacturer Adobe is rolling out new logos and icons for many of its applications in a bid to make them easier to identify and to make their appearance more uniform across all the platforms on which they are used. The changes are slight in the main, and may not be noticeable unless you go looking, but the company hopes they will help users find the applications they are looking for.

The most dramatic change will be the Creative Cloud logo which will switch from its current red and white design to a white emblem on a rainbow background. The two-letter initials on the Photoshop and Lightroom logos will remain, but the pale text will become darker and the borders will be removed. Getting rid of the colored borders and making all the corners rounded will ensure the logos look the same wherever they are used. The forthcoming Photoshop Camera application will use three letters, adding an uppercase C to the Ps of the Photoshop logo.

The Adobe logo will also get a make-over that includes a slight shift in the tone of red used to make it a little warmer and more ‘contemporary,’ according to the company. Adobe dives further into the branding changes on its Adobe Blog.

Articles: Digital Photography Review (dpreview.com)

 
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Across the American west: Fujifilm GF 50mm F3.5 sample gallery

09 Feb

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Fujifilm’s GF 50mm F3.5 pancake prime isn’t exactly tiny, but it is impressively small given the large medium-format sensors it’s designed to work with. We paired it with a GFX 50R and took it out on the open road and to coastal California to see how it handles as a walk-around travel companion.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Taking photos across California to recreate Apple’s macOS wallpapers

17 Sep

YouTuber Andrew Levitt teamed up with friends Jacob Phillips and Taylor Gray to recreate the stock wallpapers Apple includes with its Mac computers by traveling around and snapping them one photo at a time. The project required a trip into the blistering hot Death Valley National Park, as well as Sierra National Forest, Yosemite National Park, Mavericks and more.

The group of guys showed their endeavors in a newly published video detailing the project. Levitt notes that their final images aren’t quite the same as Apple’s due to different seasons, among other things, but that they’re representative of the experience and getting to see each destination in person. The five resulting images have been made available to download as wallpapers here.

Articles: Digital Photography Review (dpreview.com)

 
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5 Tips for Capturing Nature Across Different Seasons

23 Nov

Taking photographs of nature can be an incredibly rewarding experience. During the year the change in seasons provides you with wonderful photo opportunities to capture the variety of nature subjects on offer. Here are some tips for capturing nature across the different seasons.

Lavendar, Provence, France

1) Shoot The Same Location in Different Seasons

You may have a favorite location that you like to visit. For example, it could be a local woodland, a landscape or a place of interest you enjoy visiting during a holiday. When visiting there, you may find the scenery looks unique at different times of the year. The changing seasons mean the conditions may vary dramatically from one period to the next. Snowfall in winter makes way for spring flowers and lush green vegetation in the summer, which can have a significant effect on the look and feel of your image.

Frosty sunrise, Kings Sutton, Oxfordshire, England

Frosty sunrise, Kings Sutton, Oxfordshire, England

A blanket of snow or frost transforms the landscape, giving the most mundane subjects, such as your favorite tree, some magical appeal. While winter provides a striking and crisp scene, spring’s greens and blues can give a more vibrant and colorful image. I recommend you return to your favorite place, observe the scene during a few different seasons and capture the seasonal changes.

2) Shoot More Sunrises and Sunsets in Winter

One significant advantage of photographing nature during winter is that sunrise and sunset times are more favorable than in summer. Many people prefer to spend the colder months of the winter season indoors. However, this is a great time to head outdoors while the days are shorter and timings are better than the rest of the year. Later sunrises allow you more sleeping time, and earlier sunsets mean you do not have to wait around for hours to capture it.

3) Capture the Season of Changing Colours

Autumn is a magical season to be out with the camera and is the favored time of year for many landscape photographers. The season brings a fantastic variety of warm and vivid colors. You can capture a variety of subjects during the fall from woodlands to foliage and wildlife.

Consider the light and decide what you want to capture. You could zoom in on the leaves, or find a striking scene that is well lit. You can also shoot into the sun and work with backlight to create a dynamic image.

4) Capture the Changing Light

The Black Mountains, Brecon Beacons

Dramatic lighting and changes in weather occur at any time of the year. Striking storm clouds replace sunny spells in an instant providing fantastic subjects for your nature photography. I find that during the summer months, storms can be very dramatic and give great moments of fleeting light. Passing rains can give way to radiant glows and if you are lucky – beautiful rainbows. I captured this scene in June while out walking. The change in light that occurred as the sun re-emerged after a considerable downpour was wonderfully atmospheric.

I recommend capturing the change in light during autumn and winter seasons too, as the sun stays lower in the sky compared to the summer. Thus, providing longer shadows with which to play. The height of the sun can make an image look very different in the winter compared to the summer. In winter the sun strikes the scene from a lower angle making the overall composition and lighting unique.

5) Capture the Seasons in All Weather

Come rain or shine you should go out with your camera to capture the various seasons during all weather conditions. Don’t be discouraged from venturing out with your camera if it’s raining outside or the skies are grey and leaden. There may be breaks in the weather, and the rain eventually stops. Mist can often form after periods of rain making an attractive scene to photograph.

Misty landscape, Northern Ireland

If the rain is persistent, think of other ways to photograph the adverse weather. Photographing abstract scenes, water droplets, and close-ups of flowers or fresh water on lush landscapes can work. Waterfalls look good with overcast skies, and additional rainfall adds beauty with more water.

Conclusion

In summary, capturing nature in different seasons can be very enjoyable at any time of the year. Photograph your favorite place in changing seasons, take advantage of early winter sunsets and capture the changing light in all weathers.

Whatever Mother Nature serves you next, get out there and capture the fantastic changes in our beautiful world in all its seasons. Once you do, please share your images with us below.

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Nikon centralizes optical engineering departments from across the business

04 Apr

Nikon Corporation has announced that it is to bring all of its optical engineering facilities under one roof with the establishment of a single division to service the needs of the whole organization. The plan aims to centralize the company’s optical skills from each of its business units so information, technology and knowledge can be shared to make the whole company more effective. The Optical Engineering Division will be under the control of the main Nikon company, Tochigi Nikon Corporation.

The creation of the new division is part of Nikon’s restructuring plan that has seen concerted efforts to streamline the business after its previous restructure didn’t produce the results it needed. Nikon says that optics are its principle strength and this reorganization will help it to make the most of its resources. There is also a suggestion that having all the optical engineering in one place will help the company respond to variances in demand for certain products, which may help to elevate shortages of new releases.

Press release

Establishment of the Optical Engineering Division, aggregating all optical engineering functions to create new value

Nikon Corporation (Kazuo Ushida, President, Tokyo) announced today that the establishment of the Optical Engineering Division on April 1, 2017. Aggregating all the optical engineering functions distributed in each division is intended to create a synergistic effect and enhance multifunctionality, as well as enabling flexible deployment of resources to the area as necessary so as not to miss any business opportunity.

This new Optical Engineering Division is an organization that aggregates lens, mechanical and system engineering functions related to optical equipment and optical solutions. Superior technology and knowledge with respect to optical engineering maintained in each division will now be accumulated and evolved in the Optical Engineering Division to develop optical products that create new value.

In our restructuring plan, announced in November 2016, we decided to restructure our group companies to enhance manufacturing technology of optical components that are our core competence and a differentiator from our competitors. All the functions related to the manufacturing technology of optical components, which were previously owned by Nikon Corporation and our group companies, have now been brought together at Tochigi Nikon Corporation, our consolidated subsidiary, which started operation on February 1, 2017.

In addition to these advances for manufacturing technology of optical components, the newly established Optical Engineering Division will further improve our greatest strength, optical technology, by aggregating optical engineering functions, thereby helping to maximize our products’ competitiveness.

Articles: Digital Photography Review (dpreview.com)

 
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Droneport: New UAV Hub to Ship Medical Supplies Across Rwanda

25 Sep

[ By WebUrbanist in Architecture & Public & Institutional. ]

drone airport emergency medical

This architect-designed drone airport will be the first of its kind, created to facilitate an unmanned aerial vehicle supply chain servicing remote areas of Africa, addressing urgent medical and other ongoing needs. Just as much of the continent skipped landlines and went straight to mobile phones, this strategy could jump steps in the development of infrastructure for delivering for physical goods.

drone airport vaulted brick

Developed by Afrotech in collaboration with Foster + Partners, work is set to begin next year with a pilot program completed by 2020. The vaulted brick structure will have spaces for drone building and repair as well as packaging, shipping and storage of goods both medical and otherwise. The architecture is intentionally open, simple and able to be constructed with local materials and labor.

drone airport side view

Two systems will function simultaneously to provide emergency and ongoing supplies, respectively. The Redline will include small situation-specific drones that can serve targeted emergency needs, carrying over 20 pounds. Larger 200-pound-capacity Blueline drones will manage more sizable shipments of less urgent supplies.

drone airport rwanda

“The Droneport offers a new typology for a building which we hope will grow into a ubiquitous presence, much like petrol stations have become dispersed infrastructure for road traffic,” acting as a network of stopping, refueling and repair stations.

drone alternative shipping routes

Currently, only a small percentage of the African population lives within a mile of year-round accessible roads, while UAVs from the Droneport will be able to more quickly, easily, safely and reliably access nearly half of Rwanda’s citizens.

drone airport commerce

“We require immediate bold, radical solutions to address this issue. The Droneport project is about doing ‘more with less’, capitalising on the recent advancements in drone technology – something that is usually associated with war and hostilities – to make an immediate life-saving impact in Africa.”

drone airport hillside

“It is inevitable on a crowded planet, with limited resources, that we will make more intensive use of our sky using flying robots to move goods faster, cheaper, and more accurately than ever before. But it is not inevitable that these craft or their landing sites will be engineered to be tough and cheap enough to serve poorer communities who can make most use of them. Droneport is an attempt to make that happen, and to improve health and economic outcomes in Africa – and beyond.”

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Photography in public places across Europe threatened by harmonization proposal

04 Jul

The right to use pictures taken in a public place is under threat by a European Parliament proposal for the harmonization of copyright laws across the region. Buried in a complex set of amendments is the idea that the automatic Freedom of Panorama be removed from those countries that maintain it, so that copyright holders of permanent artworks and buildings will need to authorize commercial use of pictures that include their works. Read more

Articles: Digital Photography Review (dpreview.com)

 
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Across the Country in 12 Images: 6,000 Wild Miles of America

17 Oct

[ By WebUrbanist in Global & Travel & Places. ]

cross country new mexico

It can be hard to explain to someone from Europe or elsewhere just how vast and variegated the United States really is, but this short epic photo series is a great start. It depicts a series of surreal landscapes, carefully chosen to show the amazing range of environments found across the American West.

cross country grand canyon

cross country indiana dunes

cross country devils peak

cross country nevada

Photographer Reuben Wu came originally from the United Kingdom and was awed by what he found traveling cross-country in America. On his latest trip from his home in Chicago, he looped through the northern and southern Midwest on his way to the West Coast and back, taking incredible images along the way, dubbing the series Cross Country.

travel photography map spots

cross country south dakota badlands

cross country badlands

cross country yellowstone

He traveled this route with a plan: capture scenes at night when natural marvels were devoid of human activity and using technology to calculate when peak moonlight would allow for stunning visibility. The result is this set of vivid images that make familiar places seem alien, and speak both to beautiful variety and carefully found settings.

cross country smith mansion

cross country lake michigan

cross country giant prismatic spring

cross country death valley

Subjects of the series span from Illinois and Indiana through North Dakota and Nevada, California, New Mexico and Kansas, and featured sites (or sights) include: Yellowstone, Badlands, Death Valley, the Grand Canyon and the Grand Prismatic Spring, the Devil’s Tower and the Smith Mansion.

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Views Across the Landscape [Book Review]

06 Oct

NewImageAgain, another large format book, sized precisely to best show off the subject matter.

As befits this subject, the pictures get priority and so they should … text takes the back seat but not to a demeaning degree.

Author Peter Watson is a self-taught photographer and has authored five other books, all to do with landscape photography. In his view ‘recent developments in digital technology have simplified landscape photography.’ Perhaps this could have been better said as the arrival of digital photography has simplified landscape photography.

How so? Well, for one thing the burden of establishing, equipping and operating a darkroom has gone, along with the bane of keeping chemicals fresh, enlargers clean and dust free and the pain of long hours of operation, mostly at night. In nearly all forms of photography today, software is king!

Photographers now have total control over the process, right from concept through to the tap on the shutter and on to the final print. Never before has the photographer had complete control.

While we can now enjoy enormous control post exposure there are still limits to what can be achieved and many a trap may lay in waiting for the unwary. What may emerge after software processing can only be as good as the original material: RIRO or Rubbish In Rubbish Out!

Landscapes are a demanding subject. You have no control over the subject, none over the lighting of it, its placement or orientation. Watson’s attitude is that it is sanguine to adopt techniques that require minimal post exposure adjustment; as he says ‘post processing should be considered the icing on the cake, not the main recipe.’

The book begins by suggesting research methods for prospective subjects, location hunting, the ‘right equipment’ and accessories such as tripods and pan heads, filters … even down to the right clothing for the location.

The chapter headings show the way:

  • Equipment
  • Technique
  • Light in the Landscape
  • Composition and Design
  • Taking a Closer Look
  • Landscape Locations

In terms of equipment the book is realistic: beware of buying and using a digital camera with a ‘kit lens’ included in the purchase price; they are all built with a smaller maximum aperture and mostly offer lower resolution than fixed focal length primes lenses.

There is some basic info on lens apertures and shutter speeds, understanding histograms, the use of filters, etc.

Then, to my mind, some of the most important elements in successful and satisfying landscape photography are outlined: finding the best viewpoints and using light.

With the former, location recces using Google Earth lets you ‘fly’ to anywhere in the world, check out sample photos of the area in question and even scout a shooting position. The message is search for a shooting spot by discovering one with a useful foreground.

With the latter, light can impart mood, atmosphere, tranquility, harmony etc. Visit the location at different times of the day and year. Notice its angle, colour, strength and distribution.

In scanning the book I was struck at how the author/photographer used light to lift the quality of his landscape images. If the same images had been shot at different times of the day or at times when the light was a less powerful element those pictures would not have ‘worked’.

There are four pages of pictures and text on how to use mist in photographing the landscape: a fine balance is essential; too much landscape will diminish it; too little will leave you wondering what you’re looking at. Balance is crucial.

IMHO the book’s purchase is worth it for the value of the pictures alone!

Author: P Watson.
Publisher: Ammonite Press.
Length: 192 pages.
Size: 25x25x12mm.
ISBN 978 1 90770 884 8. Price: Get a price on Views Across the Landscape

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Views Across the Landscape [Book Review]

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