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Posts Tagged ‘also’

Venus Optics’ 100mm F2.8 Ultra Macro lens is now available with Pentax K mount, new stepless EF mount version also available

14 Nov

Venus Optics has announced its popular Laowa 100mm F2.8 Ultra Macro APO lens is now available for Pentax K mount cameras and is also available in a stepless aperture version for Canon EF mount.

When the Laowa 100mm F2.8 Ultra Macro APO lens was announced back in 2018, it was supposed to be available for Pentax K mount systems alongside Canon EF, Nikon F and Sony FE mounts. However, the K mount version never came to fruition, with Venus Optics even announcing RF and Z mount versions back in April of this year before any news of the K mount version came out.

A macro shot of the aperture coupling on the new Pentax K mount version of the Laowa 100mm F2.8 Ultra Macro APO.

Now, the wait is over. As with the previous versions of the lens, the Pentax K mount version is constructed of 12 elements in 10 groups, features an aperture range of F2.8-F22, uses a seven-blade aperture diaphragm and has a maximum 2x magnification ratio. The lens features an automatic aperture coupling lever, which allows the lens’ aperture to be controlled through the camera, but if you prefer a more hands-on approach, you can adjust the aperture using the manual aperture ring as well.

In addition to the Pentax K mount model, Venus Optics has also released a variation of its EF mount model that features manual stepless aperture control. This video-oriented version of the lens makes it easier to get just the right exposure and the inclusion of a 13 aperture-blade diaphragm over the seven-blade aperture diaphragm in the automatic aperture EF mount version should make for even smoother bokeh.

Below is a sample gallery of images taken with the Laowa 100mm F2.8 Ultra Macro APO lens by photographer Thomas Shahan, provided by Venus Optics:

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Both the Pentax K mount and Canon EF mount stepless manual focus versions of the Laowa 100mm F2.8 Ultra Macro APO are available on the Venus Optics online shop and through authorized retailers for $ 449.

Articles: Digital Photography Review (dpreview.com)

 
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Capture One releases Nikon-specific version, also adds improved clone and healing brushes

18 May

Earlier this month, Capture One teased a variety of new features in an upcoming free update to Capture One 20. Today, this free update has been released to all existing Capture One 20 users. Further, Capture One has released a new dedicated version of their software specifically for Nikon users, Capture One for Nikon.

The new Nikon version of Capture One follows the same pattern as existing Fujifilm and Sony versions, meaning that the software will only work with files from Nikon cameras. Profiles for each supported Nikon camera have been specifically built for Capture One by the software team in Denmark using an exhaustive lab-based process. Further, the Vivid, Neutral, Standard, Landscape and Monochrome profiles in Nikon’s cameras are supported, allowing Capture One for Nikon to match the colors you see on your camera.

The list of supported Nikon cameras is exhaustive and includes the company’s DSLR and mirrorless Z cameras. Many cameras also support tethered capture. You can view the full list of supported cameras and features by clicking here.

Returning to the newly-released update for all versions of Capture One 20, we were previously shown the new heal and clone brushes plus an improved before/after viewer. The revised healing and clone brushes now create dedicated healing and clone layers, respectively, and utilize more intelligent source point technology. You can also now utilize as many source points per layer as you desire with no discernible impact on performance.

With respect to the before/after view, users can now click a button in the toolbar to select from new before/after view modes. This is a much simpler and more streamlined process than in prior versions of Capture One and can be used across multiple images at varying zoom levels.

Capture One has released additional videos showing off these new features, which you can view below:

Another new feature that was not shown off during Capture One’s livestream in early May is an improved Lightroom Catalog Import tool. The tool now allows for importing files located on disconnected drives. Capture One will automatically import the files once the drive has been connected. Further, when importing a Lightroom catalog, some basic image adjustments and catalog structure can be imported into Capture One 20. To see how this works, refer to a new video tutorial from Capture One below.

The update to Capture One 20 is available now at no cost for all existing users. If you don’t own Capture One 20 and would like to try it, there is a free trial available on Capture One’s website.

Capture One 20 is available both as a subscription and as a lifetime license. An annual subscription is $ 180 USD and a lifetime license for new users is $ 299 USD. For a full pricing breakdown and to view additional bundles, click here. Further, there is an ongoing promotion for new purchasers, allowing for 12-month access to SmugMug Portfolio or Power plans, depending on their selected product.

Capture One for Nikon can be purchased for $ 9.99 USD per month, $ 99 per year or as a perpetual license for $ 129.

Articles: Digital Photography Review (dpreview.com)

 
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This designer end table also functions as a Lightbox for product photography

22 Nov

A Red Dot Design Concept Award for 2019 was recently given to Photo Table, a design concept that transforms a lightbox into a piece of furniture that can be used to display decorative items. The table has a simple, modern design with a dome frame and internal light.

The concept comes from designers with South Korean company Zinus Inc, which says about Photo Table:

For this furniture to be used as a side display table, it should blend in beautifully with any living space, while serving as a tool to make pictures more. To express your lifestyle, directly record personal collections and crafts on the Photo Table and share the images via social media in an instance.

The concept involves a design that can be packed flat and assembled using ‘a minimum number of bolts.’ When assembled, the semi-transparent PET panels form the frame ‘walls,’ which are interchangeable using clips; the background is also described as interchangeable. The table was designed to hide outlines and allow light from external lamps to penetrate, ultimately providing a space where items can be rapidly photographed.

The company doesn’t say whether there are any plans to commercialize the design, but it remains a fun concept that could easily inspire photographers who have the right DIY skills for making their own version.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic RAW 1.5 adds Adobe and Avid support, two new Blackmagic Video Assist 12G units also announced

15 Sep

Blackmagic has announced a number of new products and updates at IBC 2019, but two particular announcements stand out: the introduction of Blackmagic RAW 1.5 and the Blackmagic Video Assist 12G.

Blackmagic RAW 1.5 is a new software update that adds support, via plug-ins, for working with Blackmagic RAW video files directly inside Adobe Premiere Pro and Avid Media Composer, negating the need to transcode files and rely on proxies to edit footage. The update also includes a new version of Blackmagic RAW Speed test that’s compatible with Linux and Windows computer; until now, it was only available for macOS.

The Blackmagic RAW 1.5 update is currently available to download from Blackmagic’s website (under the ‘Latest Downloads’ section halfway down on the page)

Blackmagic also announced the Blackmagic Video Assist 12G, an update to its Video Assist 4K monitor-recorder that includes a brighter HDR screen, built-in scopes, 12G-SDI connectivity and support for recording to external disks over USB-C.

The Blackmagic Video Assist 12G is offered in 5in and 7in models, both of which feature 2500 nit touchscreen LCD displays with wide color gamuts to show Rec. 2020 and Rec 709 colorspaces. Both models include 12G-SDI connections, analog inputs for audio, USB-C external disk recording, dual battery slots for Sony L-Series batteries and headphone output for monitoring audio. Other features include four built-in scopes, tally indicators, enhanced focus assist features and 3D LUTS.

The only difference between the units, aside from size, is the 7in model features dual UHS-II SD card slots, compared to the single SD card slot on the 5in model. These SD card slots are hot-swappable, meaning you can remove and add storage even while recording, making it possible to shoot longer videos without the need to stop and start.

Connections on the device include two S12G-SDI ports, two HDMI ports, two Mini XLR inputs, a USB-C port on the base and a locking 12V DC power connection.

The 5in and 7in Blackmagic Video Assist 12G units will be available in September 2019 for $ 495 and $ 795, respectively, from authorized resellers.

Press releases:

Blackmagic Design Announces Blackmagic RAW 1.5

IBC 2019, Amsterdam, Netherlands – September 13, 2019 – Blackmagic Design today announced Blackmagic RAW 1.5 a new software update with support for Adobe Premiere Pro and Avid Media Composer, plus Blackmagic RAW Speed test for Mac, PC and Linux, so customers can work on a wider range of platforms and editing software with their Blackmagic RAW files. Blackmagic RAW 1.5 is available for download now from the Blackmagic Design web site.

Blackmagic RAW 1.5 will be demonstrated on the Blackmagic Design IBC 2019 booth #7.B45.

The new Blackmagic RAW 1.5 update includes Blackmagic RAW Speed Test which is now available on Windows and Linux for the first time. Blackmagic RAW Speed Test is a CPU and GPU benchmarking tool for testing the speed of decoding full resolution Blackmagic RAW frames on their system. Multiple CPU cores and GPUs are automatically detected and used during the test so that customers get accurate and realistic results. Simply select Blackmagic RAW constant bitrate 3:1, 5:1, 8:1 or 12:1 and the desired resolution to perform the test. Results are displayed in an easy to read table that shows how many frames per second the computer can decode for all supported resolutions.

Editors working in Adobe Premiere Pro and Avid Media Composer can now work with Blackmagic RAW files using the free plug-ins found in Blackmagic RAW 1.5. These new plug-ins enable editors to work with Blackmagic RAW directly, so they no longer have to transcode files. That means camera original Blackmagic RAW files can be used throughout the entire workflow. There is no longer a need to create proxy files and conform edits for finishing. These plug-ins bring the quality of RAW in small, modern, GPU and CPU accelerated files that are faster and easier to work with than any other video format.

Best of all, when projects are moved from Premiere Pro or Media Composer into DaVinci Resolve for color correction and finishing, all of the camera RAW metadata and image quality is still there.

“Blackmagic RAW is now available for editors working on all major professional NLEs,” said Grant Petty, Blackmagic Design CEO. “It’s exciting because you can now edit native Blackmagic RAW files in Premiere Pro and Media Composer and then finish them in DaVinci Resolve without needing to create proxy files, all without ever losing quality!”

Blackmagic RAW 1.5 Features

  • Includes Blackmagic RAW Speed Test for Mac, Windows and Linux.
  • Adds support for Adobe Premiere Pro and Avid Media Composer.
  • Performance improvements and minor bug fixes.

Availability and Price

Blackmagic RAW 1.5 is available now for download from the Blackmagic Design web site.

Blackmagic Design Announces New Blackmagic Video Assist 12G

IBC 2019, Amsterdam, Netherlands – Friday, 13 September 2019 – Blackmagic Design today announced Blackmagic Video Assist 12G which are new models of the company’s popular combined monitoring and recording solutions. These new models feature brighter HDR screens, built-in scopes, upgraded batteries, 12G-SDI and much more. Blackmagic Video Assist 12G will be available in September 2019 from Blackmagic Design resellers worldwide from US$ 795.

The new Blackmagic Video Assist 12G HDR adds professional monitoring and recording to any SDI or HDMI camera in all HD, Ultra HD, 2K and 4K DCI formats. The new improved design includes innovations such as brighter screens for HDR work, tally indicator, 4 built-in scopes, enhanced focus assist features, 3D LUTs and native Blackmagic RAW recording from supported cameras. With 12G-SDI and HDMI 2.0 on both 5″ and 7″ models, customers get support for recording from virtually any device in all formats up to 2160p60. A brighter touch screen ensures a better view of their recording when shooting HDR digital film, or when shooting outdoors in sunlight. The new design also features upgraded batteries and supports two standard Sony L-Series batteries. This means Blackmagic Video Assist 12G is incredibly versatile and is the perfect solution for the next generation of digital cinema shoots, live production mastering, broadcast testing and measurement.

There are two models of Blackmagic Video Assist 12G, with each model including an innovative touch screen user interface with deck controls, as well as a large screen to view recordings. The Blackmagic Video Assist 7″ 12G model also includes 2 media slots, while both the 5″ and 7″ models include 12G-SDI for high frame rate Ultra HD, analog inputs for audio, USB-C external disk recording, plus a front panel speaker and side-mounted headphone jack. Customers also get 2 rear battery slots for mounting Sony L-Series batteries, so customers have enough power for the brighter HDR screens and higher speed Ultra HD electronics. A 12v universal power supply is included for studio or on-location use.

Blackmagic Video Assist 12G HDR is an ideal upgrade for cameras, as it’s super bright 2500nit display is bigger than the tiny displays found on consumer cameras, plus users are also adding professional focus assist features and better quality file formats. Video Assist is also a great solution for professional cameras because customers can use it to upgrade older broadcast cameras to modern file formats used on the latest editing software. No matter what editing software customers use, Video Assist lets customers support them all, as customers can record in Apple ProRes, Avid DNx and Blackmagic RAW. With both HDMI and 12G-SDI inputs customers can connect it to any consumer camera, broadcast camera or even DSLR cameras. Then, on supported cameras, customers can even upgrade to RAW style workflows with Blackmagic RAW.

The innovative touchscreen LCD user interface provides incredible control. On-screen, there are dedicated buttons for play, stop and record, plus a mini timeline for scrolling through their recordings. Customers can even image swipe to jog. The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touch screen as well as focus and exposure assist. Plus customers can load and save 3D LUTs.

Video Assist uses commonly available SD card media, so customers can record to flash memory cards that are easy to obtain. The files are small enough to allow long recordings on standard SD cards or the faster UHS-II cards. The larger Video Assist 12G 7″ model even includes 2 SD card slots so customers can swap out any full cards even during recording, allowing infinite length recording. Standard SD cards or the faster UHS-II cards are perfect for broadcast because they are small, high speed and affordable.

If recording to other media types is required, then the USB-C Expansion port lets customers plug in an external flash disk for recording. Imagine adding a Blackmagic MultiDock 10G for easy SSD compatibility with other recorders such as Blackmagic HyperDeck models. Customers even get on-screen menus for managing external disks using the touch screen.

Video Assist features a wide range of video and audio connections such as multi-rate 12G-SDI for SD, HD, and Ultra HD SDI devices. HDMI is included for HDMI cameras and monitoring to consumer televisions and video projectors. The 7-inch model features Mini XLR inputs which are provided for audio input from microphones and external audio mixers. Video Assist even includes a 12V DC power connection with locking power connector.

Customers will be ready for the latest HDR workflows with support for the latest HDR standards and an extremely bright screen with a wide color gamut. Plus the high brightness screen makes outdoor shooting in bright sunlight possible. The built-in scopes even change to HDR scopes when working in HDR formats. Files are tagged with the correct HDR information then SDI and HDMI inputs will also automatically detect HDR video standards. Static metadata PQ and HLG formats are handled according to the ST2084 standard. The bright LCD has a wider color gamut so it can handle both Rec. 2020 and Rec. 709 colorspaces. The built-in Video Assist LCD color gamut can even handle 100% of the DCI-P3 format.

Video Assist features full internal waveform monitoring so customers can ensure compliance to broadcast standards and it also works great as a portable waveform monitoring solution. The waveform display provides a traditional luminance (brightness) levels view of the video inputs or the playback signal. The vectorscope display allows customers to see the intensity of color at 100% SDI reference levels. Customers also get an RGB parade display which is ideal for color correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. The built in scopes can even be overlaid on live video, or as a small picture in picture view at the top right of the scope.

The SDI and HDMI connections are multi-rate, so handle SD, HD, and Ultra HD. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Customers can even do 1080 PsF formats. Ultra HD is supported up to 2160p59.94. Customers can even record 2K and 4K DCI rates up to 25p for digital film work.

Video Assist works with industry-standard 17 and 33 point 3D LUT files, or customers can work with the built-in LUTs such as Extended Video, Film to Video, Film to Rec.2020 and more.

Video Assist records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry-standard 10-bit ProRes or DNx files in all formats and from all HDMI or SDI cameras, as well as 12-bit Blackmagic RAW when connected to supported cameras. Best of all media files work on all operating systems.

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from cameras. Video Assist supports Blackmagic RAW recording from popular cameras such as Panasonic EVA1 and Canon C300 MK II. This eliminates the problems with popular camera formats such as H.264, which are highly compressed resulting in noise and processing artifacts. It also saves camera settings as metadata so customers can set ISO, white balance and exposure, then override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with.

Blackmagic Video Assist 12G includes a built-in professional audio recorder that’s much better quality than the audio quality found in most cameras, eliminating the need to carry around extra audio equipment. When working in SDI formats, customers can record 2, 4, 8 or 16 channels of audio in real-time. For connecting microphones the Video Assist 7″ model has two XLR analog audio inputs with phantom power that support the high definition audio sample rate of 192 kHz at uncompressed 16 and 24 bit per sample. Customers can monitor using on-screen audio meters with user-selectable VU or PPM ballistics.

Multiple languages are fully supported so customers don’t need to learn another language to use it. Support is included for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish.

The files from Blackmagic Video Assist 12G are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so customers can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for use with Video Assist because it features editing, color correction, audio post-production and visual effects all in one software application.

“The original Blackmagic Video Assist monitors and recorders were very popular and a fantastic way to upgrade older cameras, as well as for use in general broadcast areas of the television industry,” said Grant Petty, Blackmagic Design CEO. “These new models are an incredible improvement and incorporate all the lessons we have learnt from our customers in Hollywood. They have brighter LCD screens, 12G-SDI, Blackmagic RAW, better focus assist tools, presets, 3D LUTS and much more! They are so nice and it’s very exciting!”

Blackmagic Video Assist 12G Features

  • Supports live production, digital signage and archive use.
  • Modern design with fast to use touch screen controls.
  • Upgrades cameras to better monitoring and better record codecs.
  • Large LCD screen for digital film style focus assist tools.
  • SD/USH-II card support for commonly available media.
  • Records direct to external USB-C media disks.
  • 12G-SDI and HDMI for recording in SD, HD and Ultra HD.
  • Advanced HDR support with bright 2500nits wide gamut LCD.
  • Built in scopes include waveform, vector, parade and histogram.
  • Latest Multi Rate 12G-SDI technology for SD, HD and Ultra HD.
  • 3D LUTs can be applied for both monitoring and recording.
  • Standard open file formats compatible with popular software.
  • Records Blackmagic RAW from supported third party cameras.
  • Professional multi channel digital and analog audio.
  • Localized for 11 popular international languages.
  • Works with popular NLE software such as DaVinci Resolve.

Availability and Price

Blackmagic Video Assist 12G will be available in September 2019 from US$ 795, excluding duties, from Blackmagic Design resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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Oprema Jena is also resurrecting the Biotar 58mm F2.0 lens, will cost $2,000

24 Aug

In addition to bringing back the legendary Biotar 75mm F1.5 lens via its new Kickstarter campaign, company Oprema has also announced plans to resurrect the Biotar 58mm F2.0 lens originally made by Carl Zeiss. Though the company doesn’t anticipate launching the Biotar 58 lens until late 2018, the company is offering pre-production models of the 58 in bundles with the Biotar 75mm lens via the latter’s Kickstarter campaign.

Originally reported by PhotoRumors, and later confirmed in an official announcement, the special pre-production Biotar 58 lenses will feature serial numbers ranging from 1 to 58. The two-lens bundle will require a pledge of $ 2,000 USD, which is a whopping $ 2,500 USD lower than the planned retail cost of the two lenses combined. Not bad for a Kickstarter discount.

Assuming everything goes according to plan, Oprema plans to launch the Biotar 75 lens next summer at a retail cost of $ 2,500 USD, whereas the Biotar 58 will arrive a few months later at a lower $ 2,000 USD.

The Biotar 58mm lens will be offered in Nikon, Canon, Leica M, Fuji X, Sony E, and M42 mounts, and represents Oprema’s second foray into the market of remaking classic lenses.

To find out more or put down a pledge, head over to the Biotar Kickstarter campaign. There are still 49 Biotar bundles left as of this writing.

Articles: Digital Photography Review (dpreview.com)

 
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Panono no more: 360-degree camera maker sold after ‘amazing but also exhausting journey’

05 Jul
Jonas Pfeil demonstrates the size and design differences between the working prototype Panono camera (right) and the design model of the final production unit (left). In a letter to backers he has confirmed that the company is to be sold, after only delivering around 400 cameras.

It’s official: Panono, maker of an innovative 360-degree camera, is to be sold after only managing to deliver around 400 cameras to its backers. The company filed for bankrupcy in May, but in a letter to backers, co-founder Jonas Pfeil has confirmed that the sale of Panono’s assets is expected to be finalized very soon.

As he explains, ‘assets’ in this context means ‘inventory, software, the rights to the hardware, almost all employee contracts, IP rights etc., […] but not the obligations towards external parties’. External parties like the Indiegogo backers that funded the Panono camera. In other words: if you backed Panono and you didn’t get your camera yet, you’re officially out of luck.

Thanking backers for their support and understanding, Pfeil called the experience ‘an amazing but also exhausting journey’. He stressed that, as shareholders, ‘the [outgoing] founders will […] not profit from this sale, as the money will be used by the insolvency administrator to pay outstanding invoices and other debt first.’

Meanwhile, there’s some good news for the 400 or so backers that did get their cameras – after some initial uncertainty, it seems that the cloud service supporting the device will continue to be maintained.

We really liked the Panono when we tested it last year, and we’re sorry to see it go. Were you one of the backers? Did you receive a camera? We’d like to hear from you.

Read our review of the Panono 360-degree camera (July 2016)

Articles: Digital Photography Review (dpreview.com)

 
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Craigslist ad wants wedding photographer to also shoot the… uh… consummation

02 Jul

The Craigslist ad headline reads ‘All Day Wedding Photographer Needed,’ followed by a small, but extremely important, parenthetical: (see details). That bit is important because when the couple in question says ‘all day,’ what they actually mean is ‘all night long.’

The ad, posted to Craigslist in Wisconsin and sent to PetaPixel by one of its readers, is seeking a wedding photographer who wouldn’t mind sticking around and photographing the couple’s first time. Their consummation. The… moment of truth, if you will.

“We are hoping someone will document the whole day from beginning to end,” reads the ad, innocently enough. “We are specifically hoping someone will document the end, which we are finding difficult to find someone who will.”

Now you see where this is going.

“We have both saved ourselves for marriage and understand our first time will be awkward,” writes the bride and groom. “But [we] do not think it will be that much more awkward for the photographer to be there and we’d really like it documented (in a beautiful and tasteful way).”

So… any boudoir photographers want to take their work to an extremely awkward new level? We’ve got a job prospect for you.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T2 tethered shooting firmware arrives, also adds button lock

30 Nov

Fujifilm has released its much anticipated new firmware for the X-T2 that enables tethered shooting with the forthcoming Tethered Shooting Plug-in Pro application, but has added a number of other fixes and a new feature.

Fujifilm X-T2 users will now be able to set up a function button to lock all the body buttons of the camera so that they don’t get pressed by accident during shooting. Users can determine which button they want to use for this purpose via the custom settings menu.

As with previous updates for the X-T1 and X-Pro2 this new firmware fixes an AF reliability issue when using the longer end of the XF 18-135mm F3.5-5.6 R LM OIS WR and a problem that meant that Nissin’s i40 flash unit wouldn’t fire.

Further fixes include issues around exposure in very specific conditions, connectivity and the high speed burst mode when used with flash.

For more information see the Fujifilm website.

Manufacturer’s release notes

X-T2 Camera Body Firmware Update Ver.1.10

Detail of the update

The firmware update Ver.1.10 from Ver.1.00 incorporates the following issues:

1.Tether shooting is available by USB connection.

One of the application software below is required to use the tether shooting function.

  • Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom® Ver.1.3 or newer *1
  • Tether Shooting Plug-in for Adobe® Photoshop® Lightroom® Ver.1.3 or newer *2
  • Tethered Shooting Software HS-V5 Ver.1.3 or newer *3

[How to set the PC shooting]
Before connecting your camera to a computer, set the PC SHOOT MODE of the CONNECTION SETTING in the SET UP menu to USB AUTO.
*If the USB AUTO is selected, the camera mode will automatically change to tether shooting mode when the camera is connected to a computer via a USB cable.
*If the USB FIXED is selected, the camera always work as tether shooting mode. Therefore, the camera doesn’t work as normal shooting mode when the USB cable is not connected.

*1: “FUJIFILM Tether Shooting Plug-in PRO” will be available from Adobe Add-ons website.
The launch of the Mac version is scheduled for release around the end of November 2016, and the Windows version is scheduled for release around the beginning of December 2016.
*Separately, you need to purchase Adobe® Photoshop® Lightroom® 6 / CC.

*2:”FUJIFILM Tether Shooting Plug-in” is available from Adobe Add-ons website. X-T2 will be supported with Ver.1.3 upgrade.
For Mac
For Windows
*Separately, you need to purchase Adobe® Photoshop® Lightroom® 6 / CC.

*3: You need to purchase the HS-V5 and download the latest version from the site below to upgrade it.

  • Tethered Shooting Software HS-V5 for Windows® Updater
  • Tether shooting function of X-T2 will be supported with HS-V5 Ver.1.3 or later.
  • Tethered Capture Plug-in for Adobe® Photoshop® Lightroom® Ver.1.3, which will enable the tether shooting function of X-T2, will be available for free download to those customers who purchased HS-V5.
  • Tethered Capture Plug-in for Adobe® Photoshop® Lightroom® Ver.1.3

2. Lock function during shooting mode is added. The update will let users prevent from the unexpected dial/button operation.

[How to set]
First, select the function you wish to lock in BUTTON/DIAL SETTING>LOCK>FUNCTION SELECTION” in the Setup Menu. And then, select the function in BUTTON/DIAL SETTING>LOCK>LOCK SETTING>SELECTED FUNCTION” in the Setup Menu.

*Select “ALL FUNCTION” to lock all the buttons and dials. This lock function can be allocated to a function button.

3. The shutter speed will be displayed in a preview image with the setting of SHUTTER AE OFF, ISO AUTO and Aperture-Priority.

4. The phenomenon is fixed that overexposure could happen with the setting of AF-C mode, AF-C PRIORITY SELECTION and FACE DETECTION ON.

5. The phenomenon is fixed that AF function doesn’t work well in the tele-photo area with XF18-135mmF3.5-5.6 R LM OIS WR.

6. The phenomenon is fixed that hung-up could happen when carrying out SELECT FROM NETWORK LIST of MANUAL SETUP in PC AUTO SAVE SETTING.

7. The phenomena is fixed that CH HIGH SPEED BURST (continuous high speed) doesn’t work well with fixed exposure and fixed amount of flash luminescence (TTL-L or flash M mode) while used with FUJIFILM Shoe Mount Flash (excluding EF-X8)

8. The phenomenon is fixed that Flash i40 made by Nissin for FUJIFILM doesn’t fire.

Articles: Digital Photography Review (dpreview.com)

 
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The Story of Photographing my First Wedding also Likely my Last

20 Mar

There’s really no question that wedding photography is one of the most common forms of professional photography and if you’ve recently become the owner of a DSLR odds are sooner or later someone you know might ask you to photograph their wedding. Though this might be a tempting offer, I want you to think long and hard before saying yes, because photographing a wedding is a lot more than pointing a camera and capturing the moments. To help drive home this point I’m telling a bit of a story today.

weddingalt

My story is about why, even though photographing this wedding was the best experience of my photography life, I more than likely won’t be photographing another wedding anytime soon.

I don’t want you to think that I’m here to tell you that it’s a bad idea to get into wedding photography, or even that my first (and last) time as a wedding photographer was a bad experience. Neither of these are the case – in fact I quite enjoyed photographing this wedding, but there are some things that I learned about myself which would make me hesitate if I were asked to do it again.

SneakPeak1

First some background

Like most new photographers these days I created a website, set up a Facebook page, and started sharing my photos on a daily basis. Over time I noticed that my page was growing with not only my immediate friends, but friends of friends, and even people I didn’t know – I guess you could say I started attracting a following.

After a couple of years of sharing landscape and wildlife shots from around the New England area, one of my sister’s friends reached out to me and asked if I’d photograph her wedding.

My first instinct was to say “I’m not a wedding photographer – why are you asking me?”. So I sort of brushed it off as a random thing, but she insisted that she liked my style and wanted to work with someone she knew and trusted. If there’s anything to my credit – I’ve always been a hard worker. So, as this post requires that I photograph a wedding, you probably won’t be surprised to hear that I eventually did commit to the job.

Months of preparation

And I mean months!

The bride-to-be was extremely organized and prepared, having everything booked months in advance – in fact – the photographer was one of her last jobs to tackle. After accepting the job I had nearly a full year to learn as much as I could about photographing weddings and that’s exactly what I did. This three part series here on dPS: Wedding Photography 101 (Part 1), Wedding Photography 101 (Part 2), Wedding Photography 101 (Part 3) should be on every prospective wedding photographer’s reading list. But a quick search for “wedding photography” on dPS will yield dozens of other great reads.

SneakPeak5

However, all the reading that I was doing, really couldn’t prepare me for the real thing. Emotions, stress, time crunch, uncontrollable problems, and anything else that you can pack into the ten hour day – you simply can’t read that, so I enlisted the help of a professional. I reached out to a local photographer, who worked closely with a friend of mine, and he was kind enough to allow me to shadow him, and even second shoot for him on a couple of occasions.

This experience gave me a huge boost of confidence going into the event, and I highly recommend reaching out to your own local wedding photographers prior to photographing a wedding on your own for the first time. The experience is priceless.

The final bit of preparation was gear related – I was being paid for this shoot and as a landscape/wildlife photographer my ultra-wide angle and telephoto zooms were not ideal for the task at hand. So I spent a little of the money that I was paid for the wedding to rent a second camera (you can never be too prepared) and a 24-70mm f/2.8 lens which would be my workhorse for the night.

The wedding was a success

Due to my preparation and my commitment to wanting to provide the best possible photographs that my ability would allow, I’d say the wedding was a success. The bride and groom got photos that they will enjoy for the rest of their lives and I learned more than I could ever have imagined in a very short amount of time.

SneakPeak4

The day of the wedding I was at my wits end, running on pretty much pure adrenaline at that point. I had a list of ‘must have shots’ which I was able to check off throughout the day and night. It’s hard to imagine that the event lasted as long as it did, as it all went by so quickly, with barely a break for food or drink. All said and done, I left the reception after the last dance feeling confident that I had done the best that I could. So why never again?

Why I won’t photograph another wedding

There’s no question that this was a valuable experience. I learned more about myself as a photographer photographing this wedding than I had in the nearly 3 years of photographing landscapes, but I’d also learned that it wasn’t for me. I enjoy the peace and quite of nature and the ability to go back to the same location to fine tune the shot over a period of time and lighting conditions. Weddings are a one shot deal – you get the light you get – you get the weather you get, and you get one shot to make it happen.

You have to be a people person – something I am not. Going around to get various people that I didn’t know together for photographs was hard enough when there were actually a handful of people that I did know at this wedding (sister’s friend remember?). I don’t think that I could do this on my own, without help, and without a lot more practice. So I urge anyone who’s thinking about photographing a wedding to not take it lightly. It’s an important day for a lot of people – not just the bride and groom – but their parents, extended family, and friends will want to remember this day as well so you MUST get it right.

The moral of this story is that wedding photography can be a very rewarding experience, but you have got to put the work into it. If you are thinking to yourself that it will be an easy job – think again. Oh and please – don’t ever do this for free – being paid to shoot this wedding was what motivated me to find help, rent gear, drive to their location and process hundreds of photos – the experience was a bonus.

Some stats from the wedding

  • hours shot from start to finish on the day – 10 hours
  • number of images shot total – 1500
  • number of images given to the couple – 500
  • how long it took to edit it – approximately 5-6 hours
  • number of hours estimated spent preparing: time with other photographer, etc –  Dozens and dozens of hours of prep time between reading articles and spending time with this mentor photographer I would say easily 50 hours or more went into the prep.

Equipment used to shoot the wedding

  • camera bodies:  rental D600 and my own D7000 as backup
  • lenses:  rented the 24-70 f/2.8 (pretty much used for the entire event) also had my 55-300mm Nikon & 11-16mm Tokina, and a 50mm prime on my D7000 for odds and ends shots
  • flash:  Nikon SB700
  • light modifiers like umbrellas or reflectors – none
  • tripod:  had my Manfrotto 190XBPRO with me but rarely used it
  • other:  nothing else, But Jim (my mentor of sorts) told me that if I were to get into this that it’s a good idea to stock up on things like needles, various threads, safety pins, tape, Advil, Aspirin, Tylenol, scissors, and so much other stuff – not really for you, but you’ll be the hero of the wedding if you pull something the bride needs out of your magic bag of tricks

Editors note: 

Having done somewhere in the neighbourhood of 250 weddings in my time, I can concur that everything John has said is absolutely true, and some of the same advice I give people considering doing one for the first time. Being prepared is the number one thing I can say also. I remember wanting to throw up the entire first year I did weddings, the pressure is THAT intense. These are people’s memories and not something to take lightly. I too, like John’s mentor did carry such an emergency kit and can tell you I’ve used deodorant, men’s black socks, nylons, clear nail polish to stop runs in nylons, safety pins, After Bite for bug bites, Visine, allergy meds, Stain remover (get the stick, takes grease right out of a wedding gown), nail glue, bug spray, sunscreen,  and more. John gives great advice from his experience – heed it well.

The post The Story of Photographing my First Wedding also Likely my Last by John Davenport appeared first on Digital Photography School.


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A Travel Tripod that can Also Act as a Light Stand

01 Sep

by Sarah Hipwell.

The above shot at 1/20sec at f22

The above shot at 1/20sec at f22

I brought two cameras on a recent vacation to France. My trusty DSLR and my new fab Sony RX100.

I don’t normally bring a tripod on holidays but this time I wanted to get some decent video footage. I also wanted to experiment with a variety of (still) exposures for HDR work and to get a nice sunset (low light shot).

With such an array of tripods on offer, how do you decide which one to buy?

I narrowed my search to 5 key features:

  1. Low cost
  2. Size – folded & extended
  3. Portability
  4. Lightweight
  5. Sturdy enough to hold a DSLR with a 18-200mm lens

The cost of a tripod varies enormously and with so many brands, it can take a bit of time to find which model suits your requirements. Cost was a main issue for me for two reasons:

  1. I had to pack my tripod in one of the luggage bags that was going into the plane’s hold! See NOTE & TIP 1 below.
  2. As I wasn’t taking the tripod in my carry-on bag, I didn’t need to buy an expensive one and run the risk of it getting lost or damaged in transit.

This ruled out purchasing a carbon fibre model as they are quite costly and it wasn’t justifiable for my means (I don’t travel extensively). So I decided on an aluminium tripod.

The more compact the tripod the better when travelling. But I need the height when it is extended (I’m 5’ 9”).

Portability is a prerequisite for any travel tripod.

Last but not least, the tripod had to be able to hold my D300 plus a 18-200mm lens, which both have a combined weight of 1.463kg or 3.23lbs. See TIP 2 below.

After a considerable research online between brands and so forth, I was beginning to think my criteria was a tall order. Then I hit jackpot. I found a Manfrotto Compact MKC3-H01 on offer for 49 euros! This particular tripod isn’t their current model but it seemed to tick all my boxes. Plus, I have a Manfrotto 055XB so I’m already familiar with the brand.

Tripod when closed measures 18”(46cm) and when it is extended, can reach 64”(163cm) with centre column fully extended

Tripod when closed measures 18”(46cm) and when it is extended, can reach 64”(163cm) with centre column fully extended

This tripod comes with a pistol type grip head which has two settings for photo(still) and video on the side. I found it is easy to use and a pleasant change from my usual ball-head socket type. My only gripe is that when I had it in the video position and tried to pan, it was quite jerky. I just loosened the locking wheel to make it more fluid, this wasn’t perfect but it worked.

Pistol type movie/photo head showing the locking wheel

Pistol type movie/photo head showing the locking wheel

To sum up, the cost of this tripod was only 49 euros. Therefore, it wasn’t a big deal putting it into the plane hold. When folded, it measures a mere 18” and can extend to 60”. It is very lightweight, compact and easy to set up. The actual weight of this tripod is 1.15kg. An added bonus for me is this travel tripod can be used as a light stand! I can pop on my SB700 speedlight and shoot remotely. I had a wonderful two weeks with my family, I swam, read books (oh such a treat) and took over 32gb worth of images with the support of my new neat travel tripod.

NOTE

Check with each airline company in each country that you are flying to and from. Last year, I flew to Bordeaux from Dublin. I had a Manfrotto 5001B Nano Black Light Stand in my carry-on bag. However, en route home from Bordeaux the custom officials would not allow me to take on board the light stand as they deemed it a lethal weapon! I was quite fortunate, that a lovely desk clerk retrieved my already checked-in bag, so that I could put in my light stand without incurring any extra charges. She’s was a star!

TIP 1

When I was packing my travel tripod into one of the luggage bags, I thought of wrapping it in bubble wrap to protect it. I used a beach towel instead which I needed to bring with me. The towel provided adequate protection.

Using a large or beach towel to wrap around the tripod for added protection in luggage bag

Using a large or beach towel to wrap around the tripod for added protection in luggage bag

TIP 2

The maximum weight that this tripod holds is 1.5kg (3.3lbs). I was thrilled when I weighed my DSLR camera plus the lens which has a combined weight of 1.463kg (3.23lbs). However, this is pushing it to the max. Fortunately, I didn’t experience any inclement weather while on holidays, i.e. wind/gusts. Otherwise, I would have been nervous using my DSLR body and lens on the tripod for fear of toppling over. For added stability in this case, I recommend adding a sandbag(s). Sandbags are not practical to bring away with you on vacation. Here’s my tip, there is a rubber end at the bottom of the centre column. Ease this off and you will see two holes. Place a cable tie through the holes to create a plastic ring. With another cable tie, secure this to a Ziploc bag filled with dried beans, rice or soup mix (Cable ties & Ziploc bags should be in your camera bag). Dried beans/rice can be purchased at the local supermarket very cheaply. See below.

A Ziploc bag filled with 1kg of rice suspended from tripod using cable ties

A Ziploc bag filled with 1kg of rice suspended from tripod using cable ties

My SB700 speedlight on the Manfrotto Compact MKC3-H01

My SB700 speedlight on the Manfrotto Compact MKC3-H01

Check out more of Sarah’s work at her website – SarahHipwell.com.

Post originally from: Digital Photography Tips.

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

A Travel Tripod that can Also Act as a Light Stand


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