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Posts Tagged ‘Both’

Fujifilm releases 3.0 firmware for X-T3, brings improved AF for both stills and video

18 Apr

Fujifilm has released firmware version 3.00 for its X-T3 camera system, bringing with it improved face/eye detection, improved autofocus (AF) performance and basic bug fixes.

Firmware version 3.00, preceded by version 2.10, has an improved AF algorithm for both video and stills that detects distant faces more accurately than before. Fujifilm says the feature has been ‘enhanced by approximately 30%’ but doesn’t clarify whether that improvement is in accuracy, speed or some combination of the two. AF tracking is also more accurate, especially when objects come between the camera and the subject, and a new Face Select function has been added to provide priority autofocus on particular subjects when there are multiple faces in the frame.

Fujifilm has also added a new Double Tap Setting and Touch Function that can be turned on within the Touch Screen Setting menu. Other improvements include a new focus frame when the eye detection setting is turned on, improvement of AF/AE are tracking when using the EVF, an update to how the Flicker Reduction mode is labelled and multiple bug fixes.

For more information and to download the firmware, head over to Fujifilm’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Chinese satellite captures image showing both Earth and the Moon’s far side

07 Feb

China’s Longjiang-2 satellite has captured an incredible image featuring both the far side of the Moon and Earth in the background. The data was received by the Netherlands’ Dwingeloo Radio Telescope from an amateur radio transceiver built by a team at China’s Harbin University of Technology.

The satellite first provided the team with partial images of the Moon and Earth back in October, but then was inactive to avoid interfering with China’s Chang’e 4 Lunar mission. The satellite resumed activity on January 19 and captured a time-lapse, including one featuring the Moon’s far side and Earth, on February 3.

According to the team’s initial report, the images have been color corrected by radio amateurs. A team shared an uncorrected version of the image on Twitter, seen above.

Articles: Digital Photography Review (dpreview.com)

 
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The HumanEyes Vuze XR shoots both 360° and 180° (3D) video

20 Jul

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HumanEyes Technology has announced the Vuze XR camera, a product the company describes as a ‘dual camera’ since it can be used for two distinctly different applications.

The Vuze XR captures standard 360° spherical video in 5.7K resolution. Like the Rylo Camera or the GoPro Fusion, it appears to provide editing tools that will allow users to create 16:9 videos from the 360° footage or zoom out to a ‘tiny planet’ view, allowing for a lot of creative choices to be made after video is recorded.

By flipping both of its cameras outward, the Vuze XR transforms into a camera that captures 180° stereoscopic video similar to the Lucid VR or Yi Horizon VR180 camera, providing an immersive 3D experience to viewers when used with VR goggles.

While the Vuze XR doesn’t appear to break significant ground in either area, it presents an interesting option for 360°/VR content creators. Instead of having to purchase and carry two separate cameras, each of which may require different software and workflows, the Vuze XR promises to wrap both capabilities into a single camera.

Additionally, the camera will support live streaming to social media, which may make it an attractive choice for activities such as travel where you want to keep things light but retain the flexibility to share your adventure in different ways.

HumanEyes did not provide a specific release date, but says the Vuze XR will be available in the coming months at a price in the ‘$ 400 range’.

HUMANEYES TECHNOLOGIES DEBUTS THE VUZE XR DUAL CAMERA, GIVING ANYONE THE POWER TO CREATE AND SHARE IMMERSIVE EXPERIENCES IN 360° (2D) OR VR180 (3D)

With the touch of a button, the Vuze XR transforms from a 360° camera to a VR180 camera, enabling content creators to spontaneously tell any story, from every angle.

NEW YORK CITY, July 19, 2018 – Consumers and prosumers alike will be able to capture and share engaging content, life’s adventures and memorable moments in stunning 360° (2D) or stereoscopic VR180 (3D), all from one innovative device.

HumanEyes Technologies today announced its upcoming Vuze XR Camera, designed to capture, create and share both high-resolution photos and full motion video, in either 5.7K 360° or VR180 formats.

Available in the fourth quarter of 2018, the Vuze XR Camera will transform storytelling by providing the visual dynamics of a full 360° camera, and with a single click, convert to an immersive VR180 format. The unique dual-camera design is portable, simple-to-use and seamlessly combines two advanced capture systems into one pocketable device, giving content creators, social media enthusiasts, world travelers, adventure seekers, families and creators of all types the power and convenience to record or share live to mobile phones, computers and VR headsets alike.

The Vuze XR Camera allows users to:

  • Capture and share full 360° or immersive VR180 video or photos.
  • “Click” between standard 360° mode (when the camera is closed) and 3D VR180 mode (when the camera is open).
  • Enjoy industry leading, high-resolution, 5.7K video.
  • Live stream to popular social media channels.

“The Vuze XR Camera is a must have for anyone with a story or special moment to share, from consumers to prosumers. With powerful 360° and VR180 5.7K camera technology built in, along with instant sharing and a live streaming mode, anyone can enjoy the freedom of shooting their story, the way they want,” said Shahar Bin-Nun, CEO of HumanEyes Technologies. “One camera can now live stream in 360° from a concert, take immersive VR180 pictures of the band, and record your friends singing along to edit and share the full experience later. We’re giving users the freedom to spontaneously shoot content from all angles, or only a few, and we can’t wait to see what’s created with it.”

The Vuze XR Camera is the latest innovation from the company’s award-winning VR camera line, which includes the Vuze and Vuze+ VR cameras, the first cost effective 3D-360° VR camera solutions has made content creation accessible to anyone.

The Vuze XR Camera will be available for purchase in the $ 400 price range. Additional camera details, specifications and pricing will be available in the coming months. To see the Vuze XR Camera in action and register to be the first to hear more, visit VuzeXR.com.

Articles: Digital Photography Review (dpreview.com)

 
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Why You Need to Manage Expectations – Both Yours and Your Client’s

11 Jun

As you prepare for a photo session with clients you probably run through a checklist to make sure you don’t forget anything. Cameras? Check. Lenses? Check. Lighting modifiers? Good to go. Props, stepstools, spare batteries? Got ’em.

But one thing that often gets left behind, so to speak, is a set of expectations that you and your client might have for the photo session. You might have something in mind for the session based on your experience, your work with previous clients, or the particular set of gear you are bringing along. But if your clients have a different set of expectations it can spell big trouble and will require a lot more than a few batteries and extra memory cards to fix.

 Why You Need to Manage Expectations - Both Yours and Your Client's - maternity photo

These clients hired me for a maternity session and it went smoothly thanks to a very clear set of expectations that we discussed beforehand.

Expectations are important

Think of the many ways in which your expectations influence your perception of the services and products you buy. When you go out to eat you will expect a certain level of service based on previous visits. If you go on vacation you will probably look for reviews online and base your satisfaction of the accommodations on how well those expectations were met.

If you hire a contractor to remodel your kitchen you will make sure to have lengthy discussions with them to make sure the work they perform is precisely what you want. It’s fair to say that as a consumer you probably base many of your buying decisions on expectations that have been set for you.

And yet, as a photographer, how often have you worked to set expectations for potential clients? Your website might proudly proclaim that you do weddings and formal events, but there are probably two dozen other photographers in your area who offer similar services. The same goes for most types of photography: families, youth sports, products, high school seniors, or even aerial drone images.

You’re good at what you do but what makes you stand out from the rest, and what can your clients expect when you show up to take pictures?

 Why You Need to Manage Expectations - Both Yours and Your Client's - baby in a basket

What can clients expect from you?

One of the first things I learned when I started doing portraits for clients was that the things which I thought were the most important were not at the top of my clients’ priority lists. I spent so much time thinking about pricing and choosing a template for my website that I neglected to properly craft a message letting clients know what they could really expect out of me.

A few dozen sample images of portraits in parks along with a testimonial or two are a great way to market yourself. But these don’t really tell clients much about your approach to a photo session or what you will do to get the shots they are looking for.

Set expectations early

Think about the many ways in which you can set expectations in advance to let clients know how things will go. This goes well beyond simply telling your clients how much you charge, how many prints or images you will deliver, and whether you take checks or credit cards.

For a session to go smoothly think about the more esoteric expectations and do your best to manage them before a single click of your camera shutter. Some items to ponder would be…

  • Your shooting style: Are you easygoing, flexible, and open to improvisation or do you have a more strict and pre-planned approach to photo sessions?
  • Accepting input: Do you incorporate input from clients in terms of poses, locations, or picture ideas?
  • Who can attend the session: Will you let clients bring friends, family, or even pets to a photo session? (Not to get their pictures taken, but just for help, encouragement, or comfort.)
  • Where you draw the line: Are you willing to engage in illegal or semi-legal activity to get photos? Some clients might want to shoot in areas that prohibit trespassing or are otherwise off-limits which might be beyond the scope of your services. “But my friend got photos taken at this abandoned warehouse last year.” they might say, in which case you might advise your client to solicit the help of another photographer.
  • What types of pictures are off limits? Your clients might want to do pictures on train tracks or recreate some risqué images they saw on Instagram. If that’s not your cup of tea, your clients need to know about it. And in the case of train tracks, the answer should always be NO!
 Why You Need to Manage Expectations - Both Yours and Your Client's - family photo of hands

This picture was not my idea; my clients suggested it on the day of the shoot, and we made it happen. I told them that I was open to their ideas so they offered some, and the results were great.

More expectation examples

  • Posing: Are you the type of photographer who likes to use specific formal poses or do you take a more casual hands-off approach? This is especially important if you are doing wedding and other types of events that are not easy to replicate.
  • What’s your approach to social media? Will you share pictures of the session online, talk about the session before or afterward, or snap behind-the-scenes photos to ingratiate yourself to other potential clients? Some people might be fine with this but other clients may prefer more privacy. If so you would need to adjust your approach for those clients, or let them know so they can make an informed decision about whether or not to use your services.
  • Photography locations: Do your clients want to shoot in locations that just won’t work (or the wrong time of day), or you simply can’t get to with your gear? Discuss what your clients expect beforehand so you won’t be caught off guard during the session if they ask you to shoot in a dimly-lit alley, behind a waterfall, or in the middle of a crowded mall.
  • Photography assistant: Do you use a second shooter and if so, what will his or her role be during the session?
  • Turn-around times: How long will your clients have to wait to get prints or digital files after the session?
 Why You Need to Manage Expectations - Both Yours and Your Client's - cards from a funeral

I was asked by some friends to take pictures at a funeral for their loved one. The key to the whole experience was a crystal-clear understanding of what the clients wanted and what my role was as the photographer.

This is just a starting point. You are going to have other things that are unique to yourself and your photography. And even though some of these might be clearly spelled out in your contract, it’s a good idea to set and manage expectations clearly and without room for misinterpretation. A contract may cover you in legal terms, but don’t assume your clients have meticulously read and understand every single word.

 Why You Need to Manage Expectations - Both Yours and Your Client's - graduation photo PhD

Open communication is key

In my experience, one of the best ways to set these expectations is to have some kind of real-time back-and-forth dialog with your clients. Exchanging information over email and social media is fine, but when it comes to hashing out the details of a photo session nothing beats a phone call or in-person meeting.

If the latter isn’t all that practical, then, by all means, talk with your clients on the phone or via video chat. This can help you set a positive tone for the session, ease their minds about any concerns they might have, and give you a chance to explain what they can expect. Reassure them that you have their best interests in mind.

What do you expect from your clients?

There’s a flip side to setting expectations and it’s one that sometimes gets overlooked when planning or executing a photo session. You might have bent over backward to let your clients know what to expect from you, but what have you done to let your clients know what you expect from them?

Just as every photographer is different, each client is also unique. They have an attitude and approach that separates them from everyone else. In order to make sure things run smoothly, think about ways to communicate your expectations of them with your clients. Otherwise you, and they could end up knee-deep in frustration with no easy way out.

  • Punctuality: Do you value punctuality and expect your clients to be on time for a photo shoot? This might seem obvious but not all clients take the same disciplined approach as you might when it comes to arriving when they are supposed to.
  • Cell phone usage during a session: Will you ask your clients to put their phones away during the session? For some photographers, this isn’t an issue, but others get irked if clients are constantly snapping, tweeting, and texting during a photo session. If you expect them to be focused and attentive, let them know in advance.
 Why You Need to Manage Expectations - Both Yours and Your Client's - family photo of people walking

When this family arrived I spent a few minutes explaining how I was going to conduct the session and listened to their ideas as well. It set a positive tone that resulted in some images that they really liked.

More examples of your potential expectations:

  • Transportation on-site: Do you expect your clients to be able to walk around or transport themselves to different locations? If you are doing high school senior photos do you plan on taking them to different locations in your vehicle? If so, do the seniors and their parents know that this might be a possibility? Iron out these details beforehand or you could find yourself in an uncomfortable situation the day of the shoot.
  • Other photographers at the session: If you are doing a wedding, will you be the only photographer or will the groom’s uncle (who just got a new DSLR for his birthday) be hanging out taking photos also? Some photographers don’t mind this sort of thing, but most would rather the clients tell Uncle Bob to leave his camera at home and let you do your job. Communicate your expectations well in advance to avoid hurt feelings the day of the ceremony.
 Why You Need to Manage Expectations - Both Yours and Your Client's - 2 kids

When working with kids, especially infants, things are never going to go how you expect! But discussing things with the parents beforehand is a good way to help deal with issues as they crop up.

As before, these are only some of the things to consider when setting client expectations and the best way to go about doing that is with a phone call or other type of back-and-forth conversation. This information might be on your website, but it’s incumbent on you as the photographer to do everything you can to make sure your clients know what you expect of them. Don’t simply just assume they have read through every page of your site.

 Why You Need to Manage Expectations - Both Yours and Your Client's - family photo

This family was a joy to work with, largely because of clear expectations from both parties (the family and myself).

Conclusion

Finally, one tip that might be useful to you is to make a checklist of these items so you have it handy during conversations with the client. This way you can update it over time as new issues come to light, and you can make sure to properly address all the most pressing expectation issues that could come into play before, during, and after a session.

The goal here is to make every session a positive experience for your clients as well as yourself, and the more work you do to manage expectations for all parties involved, the happier everyone will be.

The post Why You Need to Manage Expectations – Both Yours and Your Client’s appeared first on Digital Photography School.


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Rumor debunked: Canon and Profoto will both attend Photokina 2018

19 Apr
One of the Canon displays at a previous Photokina. Credit: Photokina

Flash maker Elinchrom recently revealed that it would skip Photokina 2018, with company CEO Simon Whittle explaining, “…we feel this is a transitional year for photokina and this break will help Elinchrom to analyze and refocus on what is really important for our customers in the coming years.” Starting next year, the event will take place in May instead of September.

On the same day as Elinchrom’s announcement, DIY Photography said it had been hearing rumors that “big brands,” among them Canon and Profoto, may also be skipping Photokina 2018.

As DPR stated last week, claims that Canon would skip the event seemed far-fetched from the beginning. A day later, DIY Photography said it had received word from Photokina director Christoph Menke denouncing the rumors, and today Photokina responded more broadly by publishing a list of brands that will officially be attending—among them Canon and Profoto.

According to the press release, Photokina is “expecting every single exhibitor space in the halls in Cologne to be filled,” and the following brands have “secured their stands” for the event, which starts September 26th:

  • Arri
  • Canon
  • Cewe
  • DJI
  • Epson
  • Fujifilm
  • Kodak Alaris
  • Leica
  • Manfrotto
  • Nikon
  • Olympus
  • Panasonic
  • Profoto
  • Sigma
  • Sony
  • Tamron
  • Zeiss

Articles: Digital Photography Review (dpreview.com)

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

13 Jan

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

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

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

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

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

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

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

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

Compatible cameras:

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

Articles: Digital Photography Review (dpreview.com)

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

27 Oct

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

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

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

Press Release

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

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

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

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

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

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

| About Ricoh Imaging Americas Corporation|

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

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

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

Articles: Digital Photography Review (dpreview.com)

 
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Is Shooting RAW+JPEG the Best of Both Worlds?

06 Sep

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

RAW+JPG - The Best of Both Worlds?

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

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

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

RAW+JPG - The Best of Both Worlds?

RAW+JPEG settings on Canon system.

JPEGs

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

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

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

And that brings us to RAW files.

RAW+JPG - The Best of Both Worlds?

The RAW advantage

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

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

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

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

RAW+JPG - The Best of Both Worlds?

RAW+JPEG in the Sony system.

Shooting both RAW files and JPEGs

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

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

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

Why not shoot only RAW?

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

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

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

RAW+JPG - The Best of Both Worlds?

Why not shoot just JPEG?

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

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

Best of both worlds

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

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

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


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Nikon and Canon both announce delays for upcoming DSLRs

01 Aug

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

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

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

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

Articles: Digital Photography Review (dpreview.com)

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

14 May

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

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

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

Articles: Digital Photography Review (dpreview.com)

 
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