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MIOPS Capture360 is a modular, pocket-sized motion control box

14 Jun

Meet the newest member of the MIOPS family, the Capture360. Deemed the ‘most versatile motion box ever created’ by its creators, the Capture360 is a pocket-sized motion device currently being funded on Kickstarter that works with any camera or smartphone.

What sets Capture360 apart from the rest of MIOPS’ lineup is that it can be be as simple or robust as your filming needs demand.

Out of the box, a single Capture360 only captures one range of motion—panning. But, when paired with MIOPS’ optional L-bracket, that single unit can also be used for tilting. Combine two units and you get a rig that can both pan and tilt, all without the need for wires—the Capture360 devices will automatically determine which one is for panning and which one is for tilting.

MIOPS is also offering a Capsule Slider accessory that will let you add yet another range of motion to your shots.

Like MIOPS’ other systems, the speed and direction of the motion is controlled using MIOPS smartphone app for iOS and Android. The app, which connects via Bluetooth, is used to program the motion path of the device.

In addition to manual configuration, the app can also work to keep track of a subject with both object tracking and face tracking. The app is also capable of controlling the camera settings to account for bulb ramping, interval ramping, long exposures, and high dynamic range (HDR).

If you purchase an optional turntable accessory, you can also program the app to capture 360-degree product photos.

The Capsule360 features a built-in rechargeable battery that can work for eight hours straight of continuous use or up to one week long in time-lapse mode. There’s also an option to attach a USB battery pack to extend the battery life.

As with all of MIOP’s previous devices, the Capture360 is currently being crowdfunded on Kickstarter with an expected ship date of December 2018. As of publishing this article, it’s already surpassed its $ 75,000 goal with 28 days to go. A single standalone Capsule360 starts at $ 200 and depending on the accessories and add-ons you want, prices go up from there.

Articles: Digital Photography Review (dpreview.com)

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Leica announces SF 60 Flash Unit and SF C1 Remote Control Unit for M and SL cameras

04 Jun

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Leica has announced a new flash and remote control flash unit for its Q, SL/CL and M-series digital cameras. The Leica SF 60 flash offers TTL metering, and high-speed sync up to 1/8000sec. The SF 60 has a guide number of 60 at ISO 100, and also features tilt and zoom, with a built-in diffuser and reflector card.

The Leica SF C1 remote control unit enables wireless control of SF 60 flash units across up to seven channels, in three groups. The SF C1 incorporates a Micro SD card slot for future firmware updates.

The SF 60 flash and SF C1 controller will be available later this month, for $ 595 and $ 350 respectively.

Press Release:

Leica Camera Announces Leica SF 60 Flash Unit and Leica SF C1 Remote Control Unit For On- and Off-Camera Flash Photography

Both compact and versatile, the new flash system allows for
supreme quality light control in any situation

June 4, 2018 – Leica Camera presents the new SF 60 flash unit and the SF C1 remote control unit as perfectly complementary additions to the Leica S, SL and M systems. The two units can also be used in combination with the Leica Q and the Leica CL. While the flash unit provides an extensive range of options for flash-photography in a compact form, the remote control unit enables off-camera flash with the SF 60, providing for endless creative opportunities.

Leica SF 60 Flash Unit

Despite its low weight of 10.8 ounces and a height of only 9.8 cm, the Leica SF 60 offers numerous professional functions. The Leica SF 60 is an extremely powerful and versatile mobile solution for all photographers who appreciate the advantages of excellent light-management in any situation, with impressive features such as TTL-flash, HSS (High-Speed Sync) to 1/8000s, a flash head with tilt and swivel function, a zoom reflector, an integrated diffuser and a reflector card, as well as master-slave capability, as well as an impressive guide number of 60 meters (at ISO 100).

The SF 60 also provides continuous LED light output, adjustable in nine steps, as a source of light for spontaneous video recording of subjects in low light. All settings can be conveniently made via two dials and the color LCD panel of the flash unit. The Leica SF 60 is powered by four AA cells. For longer shooting sessions, the unit can also be connected to a Power Pack as an external power supply, which, in addition to higher capacity, also enables even faster flash recycle times and simultaneous power supply to up to two SF 60 flash units. If required, other devices with USB charging ports, e.g. smartphones or tablets, can also be recharged from the Power Pack.

Leica SF C1 Remote Control Unit

The Leica SF C1 remote control unit adds a multitude of creative options. It is mounted on the hot shoe of the camera and enables wireless remote control of SF 60 flash units in the 2.4-GHz frequency band. The flash units can be organized in up to seven channels, each with three groups, and controlled either together or separately with the same or different settings. Photographers can use all functions of all the flash units, just as if they were mounted on the camera. This opens up countless options for professional lighting set-ups with system flash units.

As is the case with the Leica SF 60 flash unit, all settings can be viewed and easily changed on the clearly laid-out color LCD panel of the Leica SF C1 remote control unit. Alongside reserves sufficient for around 3,000 exposures from its two AAA cells, the future-proof SF C1 remote control unit also features a microSD card slot that allows the latest firmware updates to be uploaded to keep the unit at the cutting edge of technology.

Both units will be available worldwide in Leica Stores, Boutiques and Dealers later this month. The SF 60 Flash will retail for $ 595 and the SF C1 Remote Control will retail for $ 350.

Articles: Digital Photography Review (dpreview.com)

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Ricoh releases SDK for Pentax cameras, opening the door to 3rd party remote control apps

17 May

Ricoh has released a software development kit (SDK) for Pentax cameras that allows third-party developers to create mobile and desktop apps that can control the camera remotely via USB cable or Wi-Fi.

The wireless package is available for Android and iOS. The USB-version can be downloaded for Microsoft .NET Framework and for C++ (Linux, Windows or MacOS). Both variants offer functions for controlling Pentax’s DSLRs and medium format cameras remotely, including photo and video capture, live view and adjustment of camera settings.

The SDK should allow for straightforward development of sophisticated remote control apps and other, more specialized, camera software, without any need for reverse engineering.

Free downloads and comprehensive documentation are available on Ricoh’s dedicated API website.

Articles: Digital Photography Review (dpreview.com)

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How to Control Your Background Tones by Manipulating Light Fall-Off

04 May

In this article, I’ll show you how to control your background by manipulating light fall-off.

When using studio lighting, one of the most frustrating things to deal with can be backgrounds. Sure, if you have space, time and the money, you can just stock up on seamless backgrounds covering white, black and everything in between. But if you are on a budget, or are already taxing the limits of your storage space, that’s often not a viable option.

The good news is that it’s entirely possible to take a white or grey background, whether it’s a wall or a seamless backdrop, and manipulate your light so that the background appears black or any shade of grey you can imagine.

The method discussed in this article is quite easy.

How to Control Your Background by Manipulating Light Fall-Off - portrait with black background

Understanding how the rate of fall-off effects your lighting will grant you great control over how your background appears in your photos.

Move the light

To control your background, all that you have to do is move your light. It’s counterintuitive though. To get a darker background, you will move the light closer to your subject. For a lighter background, you would move the light further away.

This approach has the effect of changing the background; however, it also completely alters the quality of light falling on your subject.

For this demonstration, I used a small softbox (around 3×4′) placed directly in front of and above the subject. In the sequence of images below, you can clearly see that the light source is simply moved backward in increments of two feet. Also, you’ll see that the softbox was angled upwards slightly as it moves back so that it points toward the subject and not the floor.

How to Control Your Background by Manipulating Light Fall-Off

The light source is two feet away from the subject and angled down at forty-five degrees.

At four feet, the light had to be angled upwards slightly so that it remained pointed at the subject.

At six feet, the light on the subject gets noticeably harder, but the background appears as it is in life (its actual shade).

The light source as seen 10 feet from the subject.

In terms of the background, the way this works is through light fall-off. As the light source gets closer to your subject, the rate of light fall-off increases.

In the simplest terms possible, this means that as you move your light closer to your correctly exposed subject (remember to recalculate your exposure everytime you move your light), the light reaching your background loses intensity at a higher rate, making the background appear darker.

In this progression (starting left to right) the light begins two feet away from the subject and is moved back in two-foot increments until it is 10 feet away in the right-hand frame.

For these examples, I used a middle grey background to better illustrate the dramatic changes in tonality as the light is moved.

In the first image on the left, the light is two feet away from the subject, rendering the grey backdrop nearly black. At four feet away, in the second image, the background gets noticeably lighter. By the fifth image, at 10 feet away, the grey tone of the background almost matches the subject’s light grey shirt.

Because the light was moving away from the subject in each frame, the exposure had to be metered for each change. The image on the left was shot at f/11, while the one on the right was shot at f/2.8, which is a total of four stops of difference in exposure.

Left: soft light with the light source two feet away. Right: hard light then it’s 10 feet away. Here you can clearly see the difference in the quality of light. Pay close attention to the tonal transition between the shadow and highlight areas of both images.

It’s important to note that moving the light closer, or further away, will also have a dramatic effect on how the light appears on your subject. As the quality of light is altered on the background, it also changes on your subject. Bringing it in close will change both the softness and intensity of the light on your subject, making it both brighter in terms of exposure and softer (quality of light is directly related to the size of the light source and distance from the subject).

Moving the light away from your subject will result in a lighter backdrop. Aside from that, this will also result in harder light on your subject. Just be aware that a lot of subjects won’t suit being lit with hard light and be careful with how far you go, and you should be fine.

Move the light too far back, however, and you may as well be using a small flash from a closer distance. For example, the softbox used here from 10 feet away is only barely distinguishable from a bare speedlight at a closer distance.

The end

That’s it. This technique is easy to put into practice even if you don’t yet understand the technicalities of the Inverse Square Law that makes it work. It isn’t foolproof, however, and you may want to have other tricks up your sleeve if you’re in a position where you don’t have enough space to work with.

Background lights and flags can both go a long way to helping you solve exposing your background the way you want as well. This method is just one other option to add to your skillset, hopefully bringing you one step closer to getting things right in camera.

The post How to Control Your Background Tones by Manipulating Light Fall-Off appeared first on Digital Photography School.

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DJI’s new Master Wheels and Force Pro offer ultra-precise gimbal control

11 Apr

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Amid the wares DJI introduced at NAB 2018 this week are a pair of professional gimbal control tools designed for “every level of filmmaker and scenario.” Called the Master Wheels and Force Pro, these two DJI products are built to control the company’s Ronin 2 and Ronin-S gimbals, offering high precision control and hoping to simplify the shooting of complex and/or fast-moving scenes.

DJI Master Wheels

Master Wheels is a control device that adjusts gimbal movements using a trio of weighted wheels. These wheels control roll, pan, and tilt in part using ultra-high-res optical encoders capable of detecting “the subtlest” adjustments, DJI explains. Each wheel’s angle can be adjusted, and the wheels can also be detached.

Master Wheels supports both 2.4GHz and 5GHz wireless transmission and has an operating distance of more than 1.9 miles / 3km. Latency is as low as 10ms, and users have the option of detaching the wireless transmitter to remotely mount it with a 5m / 16ft cord, providing a stronger signal.

Other features include dials to control dampening, speed, and smoothness, support for 1/4″ and 3/8″ accessories, and a dedicated Mitchell mount on the main console’s base.

DJI Force Pro

The other product announced at NAB 2018, Force Pro, enables users to remotely control gimbals via a 2.4GHz/5GHz wireless transmission system and DJI’s remote control tech. Force Pro also offers latency as low as 10ms, plus a CANBUS cable physical tether with a 200Hz signal for avoiding interference issues.

The control tool also features a built-in Inertial Measurement Unit (IMU) and compass that work together to prevent gimbal drifting and improve movement precision. Force Pro features up to 5 hours of battery life and supports recharging using the CANBUS port, USB-C, and a DC-in port.

According to DJI, users unfamiliar with more complex systems, such as Master Wheels, can “quickly become proficient” with a product like the Force Pro. To improve efficiency, DJI offers an optional handlebar, which itself can be used to mount accessories including thumb controllers and monitors.

Availability

Both Master Wheels and Force Pro are available to preorder now from DJI flagship stores and authorized pro dealers, though shipping doesn’t start until June. Master Wheels is offered in three variants: a single wheel control module for $ 2,500, a 2-axis model for $ 6,000, and a 3-axis model for $ 8,000. Force Pro costs $ 1,200.

To learn more about either of these gimbal controllers, head over to the DJI website.

Press Release

DJI Reveals New Filmmaking Tools at NAB 2018, Providing Professional Gimbal Control Solutions For Every Level of Filmmaker

DJI Reveals New Filmmaking Tools at NAB 2018, Providing Professional Gimbal Control Solutions For Every Level of Filmmaker

DJI Master Wheels And Force Pro Offer Precise And Intuitive Control Over Gimbals

DJI, the world’s leader in creative camera technology, introduced new cinema grade tools at NAB 2018 with DJI Master Wheelsand DJI Force Pro that offer professional gimbal control solutions for every type of filmmaker and scenario. Built to deliver precise gimbal movements, these new products offer filmmakers reliable tools that help capture complex shots with ease while adding a cinematic quality to any scene. Master Wheels and Force Pro control DJI’s Ronin 2 and Ronin-S gimbals, expanding the creative possibilities for cinematographers of varying experience levels.

Master Wheels: A professional level, high-precision gimbal control system that applies a 3-wheeled form to control pan, tilt and roll. Smooth, stable and precise movements create a professional look, while an easy to use and functional design make filming complex footage simpler.
Force Pro: A motion sensing system that uses DJI’s industry-leading remote-control technology to precisely synchronize the movement of Force Pro with the gimbal, helping capture cinematic scenes with ease. Intuitive and easy to learn, Force Pro breaks down the barriers that come with understanding the operation of more complex gimbal control systems.

“Creating these gimbal systems demonstrates our dedication to every level of filmmaker, whether you are an amateur just beginning your journey or a seasoned veteran with decades of experience,” said Paul Pan, Senior Product Manager at DJI. “Force Pro offers simplicity and functionality for filmmakers seeking a more intuitive tool, and Master Wheels brings the highest degree of precision control when working with a gimbal setup.”

Master Wheels – Bring Precise Control To Your Scene

DJI Master Wheels are a high-precision gimbal movement tool that utilizes three weighted wheels to adjust pan, tilt and roll with extreme accuracy. Ultra-high resolution optical encoders detect the subtlest of wheel adjustments while complex algorithms translate that movement to enhance the level of accuracy of the gimbal. Master Wheels employ the latest sensor positioning technology along with dual-band low-latency 2.4/5.8GHz wireless transmission technology to ensure a stable and reliable connection from the main console to the moving rig with a latency as low as 10 milliseconds and an operating distance of over 1.9 miles.

Crafted for efficiency and ease of use, Master Wheels have an intuitive user interface offering quick access to gimbal settings along with the status of equipment. Three user customizable buttons offer the ability to save shortcuts while on-board motion capture storage enables the filmmaker to easily repeat the motion of the rig, allowing filmmakers to dedicate their attention to other aspects of the scene such as the actresses and actors. Built-in three-stop switches are capable of adjusting direction for each axis while dials manipulate speed, smoothness and dampening. Additionally, Master Wheels can change vital camera settings from the main console for a rapid response to any modifications an operator might need to make.

A modular design makes Master Wheels functional and versatile, helping to achieve the shot, no matter the situation. The three stainless steel wheels and the control modules have the ability to be swiftly detached from the main console and connected with a wire for space constrained shooting situations. The wireless transmitter can also be detached and remotely mounted via a 5-meter cord in order to gain a stronger signal when needed.

Filmmakers have the flexibility to attach various accessories using multiple 1/4” and 3/8” threads located on the main console such as external monitors. For added comfort during operation, the angle of one control module can be manually adjusted based on the preference of the user. Master Wheels can be mounted on a variety of platforms including inside vehicles, tripods and more with a dedicated Mitchell mount on the base of the main console.

Compatibility with an ecosystem of DJI products, as well as support for third-party gimbals, broaden the versatility of Master Wheels on set. Operators can direct gimbal movements using DJI’s professional products including the Ronin 2 and Ronin-S, taking full advantage of the latest in gimbal technology. DJI TB50 intelligent batteries, the same model used on the Ronin 2 and Inspire 2, power the system for up to 18 hours. For filmmakers with non-DJI equipment, Master Wheels support various third-party gimbals and can be powered through the DC-IN port to utilize V-Lock batteries from third-party manufacturers.

Force Pro – Natural Movements Through Intuitive Design

Utilizing DJI’s state-of-the-art remote-control technology, Force Pro precisely synchronizes the movement of the operator with the movement the gimbal, helping capture smooth imagery even in complex or fast-moving scenes. An embedded compass and Inertial Measurement Unit (IMU) work in tandem to ensure precise movement and prevent the gimbal from drifting to maintain a consistent frame. Its low-latency dual-band 2.4/5.8GHz wireless transmission system offers near real-time control with a communication latency as low as 10 milliseconds. Force Pro can also be physically tethered to the gimbal using a CANBUS cable touting a 200Hz signal to eliminate any chance of connection interference while on set.

Designed for ease of use, Force Pro is an intuitive tool that filmmakers will quickly become proficient using, even with minimal familiarity operating gimbal control systems. Those lacking experience working with more complex products such as Master Wheels or even joysticks, the operation of Force Pro is quickly understood, breaking down barriers that come with using more advanced equipment on set. An optional lightweight handlebar adds to the efficiency of Force Pro, offering a total solution for handheld operation with the ability to mount various accessories to the handlebar, including monitors, video transmission systems, and thumb controllers. Operators can conveniently set two custom speed profiles and a built-in ultra-bright OLED screen provides equipment status along with the ability to control gimbal and camera settings for fast adjustments to a changing scene.

Force Pro is compatible with DJI Ronin 2 and Ronin-S gimbals along with other third-party systems. Operators can rely on Force Pro during extended film shoots with a battery life of up to 5 hours when fully charged, and recharging can be achieved several ways, via the USB-C, CANBUS port, or the built-in DC-IN port compatible with third-party V-Lock batteries.

Price and Availability

Master Wheels will be available for pre-order on April 10th, 2018 at authorized pro dealers or through DJI flagship stores. The complete 3-Axis Model will retail for $ 8,000 USD, 2-Axis Model for $ 6,000 USD and Single Wheel Control Module for $ 2,500 USD. Master Wheels will begin shipping in June 2018. For more information on all the new features and capabilities of Master Wheels, please visit www.DJI.com/Master-Wheels.

DJI Force Pro will be available for pre-order on April 10th, 2018 at authorized pro dealers or through DJI flagship stores. Retail cost will be $ 1,200 USD and will start shipping in June 2018. For more information on all the new features and capabilities of Force Pro, please visit www.DJI.com/Force-Pro.

Articles: Digital Photography Review (dpreview.com)

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Simplifying Manual Mode to Help You Take Control of Your Images

05 Feb

As the owner of a DSLR camera, you may have heard the pros encouraging you to graduate to Manual Mode or M on your camera’s dial. While there are different schools of thought on which mode to use, Manual Mode allows you the greatest control over your settings.

Simplifying Manual Mode to Help You Take Control of Your Images

So why are so many people still daunted by it and how do you take next step to start working with Manual Mode? In this article, I’ll try to simplify it for you so you can understand how to use it and take better images.

Why Manual Mode?

If you use the other modes, the camera helps you figure out some or all of the settings. For example, if you choose Aperture Priority mode, the camera works out the shutter speed and vice versa if you choose Shutter Priority. So if it already does all this, why bother with manual?

Sometimes these automated or semi-automated settings are not always in line with your vision. They may even be incorrect or tricked by unique lighting situations. This is where you take back control by using Manual Mode. You tell the camera how you want your output and your photos to look.

Simplifying Manual Mode to Help You Take Control of Your Images

Understanding the Big Three

As stated before, with Manual Mode you have control over “everything”- but what exactly does this mean? Well simply put, there are three variables that determine the exposure of your photograph and Manual Mode puts you in control all of them. These variables are the aperture, shutter speed, and ISO, which together make up what is known as the Exposure Triangle. The balance of these three points of the exposure triangle is what Manual Mode is all about.

Aperture

Also known as f-number or f-stop, aperture refers to the size of the hole in your lens that lets in light. With a larger aperture (smaller f-number like f/2.8), more light hits your camera sensor. The reverse is also true (a larger f-number like f/16 lets in less light).

NOTE: It is often confusing for beginners because the smaller the number, the larger the hole. Just remember that the aperture is a ratio or fraction so f/2 is like 1/2 and f/20 is like 1/22. So remember that one half of anything is larger than 1/20th.

Your control of aperture determines the depth of field in your photo – or how much of your image is sharp. A wider aperture (like f/2.8) results in a shallow depth of field. This means that only a part of your image is sharp, leaving the rest blurred or out of focus. Portraits are a good scenario to use wider apertures.

Simplifying Manual Mode to Help You Take Control of Your Images

Here a shallow depth of field has been combined with a fast shutter speed to get this shot.

If you want most of your image to be sharp, use a smaller aperture. Smaller apertures (higher f-numbers like f/16) are commonly used when shooting outdoor or landscape scenery.

Shutter Speed

Shutter speed refers to the length of time that the shutter inside your camera is opened and light is allowed to hit the sensor. So to double the amount of light, you can double the length of your exposure.

If you want to freeze motion, use faster shutter speeds to limit the amount of time that light hits the sensor. Conversely, if you want to blur motion in your scene, use slower shutter speeds (or long exposure photography).

Taking control of your shutter speed can change your usual day shots. Here a long exposure was used to add a motion blur to the moving water.

ISO

To keep the definition of ISO simple, it is the way your camera controls its sensitivity to light. Increasing your ISO value allows you to shoot in lower light conditions without a tripod. Note that higher ISO values add digital noise to your image which affects image quality. Fortunately, most cameras now handle digital noise better that those of times gone by, so experiment with it as it can be quite useful.

Higher ISO values can add noise (grain) to your image but it is sometimes necessary to do this.

How to use Manual Mode

Now that you are familiar with what Manual Mode controls, how do you start working with it? Well, after you decide what you want to shoot, pick one the points of the exposure triangle as your starting point.

To shoot a landscape, for example, decide how much you want in sharp focus. Let’s say you choose an aperture of f/16. After your aperture is set, turn your shutter speed dial until the exposure is balanced. You can use the camera marker on your exposure chart as a guide. Theoretically, you have just balanced your aperture and shutter speed.

Start with your ISO at 100 and take a shot. Is your photo too bright or too dark? Based on the results, adjust your settings and retry. When working with the exposure triangle, most times when you adjust one setting, you usually have to adjust one of the other two (in the opposite direction) to get a balanced result and a proper exposure.

Simplifying Manual Mode to Help You Take Control of Your Images

Conclusion

Manual Mode may seem daunting, but as you learn more about controlling light, it becomes easier with time. While nothing is wrong with using the other available modes of your camera, the ability to control the final output of your vision is a great skill to develop.

If you have any tips or tricks that worked for you when you were learning Manual Mode, please share with us in the comments below.

The post Simplifying Manual Mode to Help You Take Control of Your Images by Nisha Ramroop appeared first on Digital Photography School.

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How to Take Control of Color in Lightroom

27 Jan

Back when everybody used film cameras, photographers had to match the film type to their subject. For example, landscape photographers liked Fuji Velvia 50 because it produced deeply saturated slides. But portrait photographers liked films like Fuji Reala which rendered good skin tones. Today, as long as you use the Raw format, you can take the same approach in Lightroom.

It doesn’t matter what camera you have, Lightroom gives you a great deal of power when it comes to adjusting the colors of your photos. To give you an idea of Lightroom’s potential, take a look at the different versions of the photo below. The first is more or less straight out of the camera. I developed the others with customized Lightroom Develop Presets.

Color in Lightroom

Now let’s look at some of the tools Lightroom has for altering color.

Vibrance and Saturation

The Vibrance and Saturation sliders are located at the bottom of the Basic panel. They alter the intensity of the colors in the photo in different ways.

The Saturation slider changes the intensity level of all colors in the photo equally.
The Vibrance slider affects the most deeply saturated colors in the photo the most. It evens out the saturation levels and is a more subtle adjustment than Saturation.

I prefer to reduce Saturation and Vibrance rather than increase them as desaturated colors are more subtle and atmospheric than saturated ones. These photos illustrate the difference between Vibrance and Saturation.

Color in Lightroom

Camera profiles

Most digital cameras come with a set of color profiles. Every manufacturer gives their color profiles a different name. For instance, Canon uses Picture Style and Fujifilm uses Film Simulation. Check your camera’s user manual if you’re unsure. Regardless of your camera maker’s terminology, the color profiles all appear in the Camera Calibration panel in Lightroom.

Color profiles are the digital equivalent of the idea of using different films for different subjects. Most cameras have profile names like Landscape, Portrait, and Monochrome. The exception to this is Fujifilm, which names its profiles after real Fuji films, such as Velvia, Provia, and Astia. You’ll find most of these in Lightroom as well, ready for you to use.

The color profile setting is important as it sets both the color and contrast. You need to select the best profile before adjusting other Develop module sliders. For example, if you apply a preset intended for landscapes to a portrait then it’s unlikely you will get good skin tones.

This photo shows three different color profiles. I made the photo with a Fujifilm camera and the color profiles are specific to that model.

Color in Lightroom

HSL / Color / B&W panel

The HSL / Color / B&W panel contains a set of powerful tools for adjusting colors in Lightroom. The HSL and Color tabs both contain the same sliders, just arranged in a different order.

I prefer to use the HSL tab, so let’s look at that. It lets you adjust Hue, Saturation, and Luminance individually.

Color in Lightroom

Hue

The Hue sliders let you change the colors in your photos. The colors on the sliders (see above) tell you how they work. For example, if you move the Red slider to the left you will turn anything that is colored red in your photo to magenta. If you move the slider right then red colored objects become orange.

In the example below, you can see that I moved the Red, Aqua, and Blue sliders to change some of the hues (colors) in the photo.

Color in Lightroom

Saturation

The Saturation sliders let you change the intensity levels of the colors in your photo individually. This is different from the Saturation and Vibrance sliders, which change the color saturation levels across the entire frame.

The photo below shows how it works.

Color in Lightroom

Luminance

The Luminance sliders let you adjust the brightness levels of individual colors in your photos. In turn, this affects the apparent saturation. If you make a color darker (by moving the corresponding slider left) the color appears to be more deeply saturated. If you make it lighter (by moving the slider right) the color appears to be less saturated.

The example below shows it in action.

Color in Lightroom

Putting it all together

Now it’s time to look at how you can put these techniques into action. We’ll do that by looking at the portrait I showed you at the beginning of the article.

Here is the before version and one of the after versions.

Color in Lightroom

These are some of the settings I adjusted that affected the colors.

Camera profile

I set the Camera Profile to Adobe Standard. This is a standardized setting created by Adobe specifically for your camera. The idea is that if you take a photo of the same scene with two different cameras, then apply the Adobe Standard Profile to each one, the colors will look the same in each.

The benefit of using Adobe Standard is that it lets you create a Develop Preset that you can apply to photos made with any camera with consistent results. If you don’t want to do this, then you can use one of Lightroom’s camera specific profiles instead.

Color in Lightroom

Saturation

Next, I reduced the overall Saturation using the Vibrance slider.

Color in Lightroom

I reduced the Saturation of specific colors using the sliders in the HSL tab.

Color in Lightroom

Luminance

Then, I increased the brightness of some of the colors using the Luminance sliders.

Color in Lightroom

Tone Curve

Next, this isn’t related to the color, I made a Tone Curve adjustment to create the faded effect. The result of this Tone Curve Adjustment is that there are no true blacks in the photo.

Color in Lightroom

The techniques in this article don’t cover all the color adjustment tools in Lightroom as there are too many for one article. But these are the main ones and they will get you started. Let us know in the comments if you have any questions about any of them.

Faded Glory Presets for Lightroom

Want to get a head start with creative colors in Lightroom? Take a look at my Faded Glory Presets for Lightroom, created to help photographers like you apply powerful creative color fade effects to your photos.

The post How to Take Control of Color in Lightroom by Andrew S. Gibson appeared first on Digital Photography School.

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Sony announces Camera Control Box CCB-WD1 for wired RX0 control

09 Jan

The wired control accessory that Sony promised for the RX0 has arrived, as well as PlayMemories Mobile app update to enable more wireless control options. The CCB-WD1 Camera Control Box allows for more precise synchronization of multi-camera setups ideal for VR capture, and can be used to create effects like ‘bullet time.’

The Camera Control Box offers Video Sync for frame-by-frame synchronization between cameras, as well as Time Code sync. Computers running Windows 7/8.1/10 and Macs running OS X 10.11/10.12-10.13 can connect to the Control Box via a web browser where cameras can be named and monitored, and settings can be adjusted. Filenames can be modified to include the camera name which should help streamline post-processing workflow and avoid overwritten files. Multiple pairs of RX0 cameras and Camera Control Boxes allow for up to 100 units in total.

The PlayMemories Mobile v6.2 update allows ‘up to 50’ RX0 units to be controlled wirelessly by way of a router. The new app version also provides a list view of all connected cameras, the ability to simultaneously turn all cameras on and off via Bluetooth, and the ability to control cameras by group.

PlayMemories Mobile 6.2 will be released on January 30th. Camera Control Box pre-sales start January 9th at 11am PT, and it will sell for $ 700.

Press Release

Sony Announces New Expanded Multi-View Shooting Capabilities for the Compact RX0 Camera

New Wired and Wireless Multi-Camera Solutions Enable More Flexibility and Creativity

LAS VEGAS, Jan 8, 2018 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today announced new wired and wireless multi-camera solutions for the versatile RX0 that enable more flexibility, creativity and operability for today’s creators.

The RX0, introduced late this past fall, brings the advanced imaging quality of Sony’s acclaimed RX camera lineup to a robust, waterproof¹, ultra-compact body measuring approximately 2 3/8 in. x 1.5/8 in x 1 3/16 in (WxHxD)² and weighing just 3.9 oz³. The miniature dimensions and all-around versatility of the new camera make it a powerful tool when used either as a single unit or when combined together with additional RX0 cameras in multi-angle, multi-view shooting situations. For flexible mounting options in tight spaces, the camera features a complete symmetrical lens position and an image flip function, adding to its wide range of creative potential.

The compact RX0 camera offers two different types of solutions for multiple camera shooting and control, including a wired solution for precisely accurate camera synchronization and control, and a wireless solution for added convenience and flexibility.

New RX0 Wired Multi-View Shooting with Camera Control Box

Sony has announced a new accessory Camera Control Box (model CCB-WD1) that connects to the RX0⁴ and enables PC control with web browser⁵ via wired IP (internet protocol) connection. By converting control signal to IP, camera settings can be reliably controlled⁶ from a single PC from any location. A wired connection also allows for much seamless control and synchronization of multiple pairs of RX0 cameras and Camera Control Boxes – up to 100 units⁷ in total – enabling creators to produce high quality movie effects like “bullet-time” or virtual reality, or to shoot high profile events from unique angles.

When using multiple pairs of RX0 cameras and camera control boxes, settings of all connected cameras can be changed simultaneously, and can be triggered to all start/stop recording at the same time. Additionally, a video sync function is also available, allowing frame timing to be synchronized between all connected cameras. This reduces any time gaps between cameras and supports the process of stitching multiple images together to create special effects.

Files can also be transferred directly to the connected PC⁸, with the ability to assign and change file names to avoid any confusion when dealing with multiple cameras. In total, up to 100⁷ separate RX0 cameras and CCB-WD1 Camera Control Boxes can be linked together for a live-view multi-camera feed. Additionally, via Camera Control Box, shooting settings and modes for all connected cameras can be easily programmed by the user.

The new CCB-WD1 Camera Control Box will ship next month for about $ 700 US or $ 900 CA.

Improved Wireless Multi-View Shooting with New PlayMemories™ Mobile Application

Sony’s latest version 6.2 of its PlayMemories Mobile application expands the multi-camera control capabilities when paired with the RX0⁴. With the new version of the mobile application, users will be able to link their smartphone or tablet to up to 50 RX0 cameras via an access point⁹ to control them simultaneously¹⁰. In addition to the current ability to change key camera settings, all connected cameras can be turned ON/OFF together¹¹, and users have the ability to control and shoot by separately assigned camera ‘groups’.

The new PlayMemories Mobile application version 6.2 will be available this month.

1. Compliant with JIS/IEC protection levels (based on Sony tests). Shooting in depths of up to 10 meters (33 ft) is possible for up to 60 minutes (JIS: Japan Industrial Standards; IEC: International Electrotechnical Commission). Depending on usage conditions and circumstances, no guarantee is made regarding damage to, malfunction of, or waterproof performance of this camera

2. Approximate dimensions

3. Approximate weight with battery and media included

4. System software update for RX0 (scheduled in January 2018) is required

5. Recommended computer environment
OS: Windows 7/Windows 8.1/Windows 10, Mac OS X 10.11/macOS 10.12-10.13
Web browser: Google Chrome, Internet Explorer, Safari

6. Use only in a network environment with security measures

7. Depending on the specifications of the equipment to be used, the number of devices that can be connected will change. Up to 100 units connection have been tested (based on Sony tests)

8. Up to 4 GB per file can be transferred

9. Depending on the specifications of the access point, smartphone, tablet to be used, the radio wave environment of the installation location, the number of devices that can be connected will change. Up to 50 units connection have been tested (based on Sony tests)

10. Use only on Wi-Fi connection with security measures

11. Bluetooth connection required. Depending on the specifications of smartphone, tablet to be used, the number of devices that can be controlled will change.

Articles: Digital Photography Review (dpreview.com)

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Nikon’s redesigned SnapBridge app adds full manual camera control and ‘intuitive’ UI

30 Nov

Nikon just released a new version of its camera connectivity app SnapBridge. The new SnapBridge Version 2.0—which is available for both iOS and Android devices starting today—has been redesigned with an easier-to-use interface and a bunch of new features like the ability to register up to five devices, and full-manual control of select cameras.

On the UI side, both the screen design and the menu structure have been updated to be ‘more intuitive’ and offer direct access to Help functions. The app has also now been equipped with a ‘power saving mode’ that keeps SnapBridge from draining your smartphone or tablet’s battery when you’re not connected to a camera (i.e. when it’s not in use).

On the feature side, the major addition is full manual control. If you have a compatible camera—according to Nikon, these include the Nikon D850, D500, D7500, and D5600—you’ll now be able to control exposure modes (P/S/A/M), shutter speed, aperture, exposure comp, ISO, and white balance.

You can learn more about the new SnapBridge app by reading the full press release below, or downloading it yourself off of the iTunes App Store or Google Play.

Press Release

Nikon Announces Updated Version of SnapBridge Camera Connectivity App for Seamless Image Transfer and Sharing

Easier to Use, More Intuitive and Simpler Connection with SnapBridge Version 2.0*

MELVILLE, NY (November 29, 2017 at 11:00 P.M. EST) – Today, Nikon is pleased to announce the release of version 2.0 of Nikon SnapBridge, which offers enhanced functionality, stability and ease of use. SnapBridge is the Nikon app that enables users to easily and seamlessly share images and control select Nikon digital camera via Bluetooth** and Wi-Fi® connection with a compatible smart device such as a phone or tablet.

Enhanced Interface and Connectivity

SnapBridge version 2.0 reflects feedback from users of earlier versions of the app and represents a significant update of the user interface (GUI). Screen design and menu structure have been significantly revised in several ways, including the adoption of progress displays to provide visual confirmation of the status of an operation (e.g. when a smart device is paired with a camera or connection is changed to a Wi-Fi connection). Direct access to help functions from the app menu are also now available. The app also offers different instructions for each category of camera to ensure easier setup, navigation and usage.

Additionally, up to five cameras can now be registered with the device running the app. This makes switching between cameras much easier for those who own multiple Nikon cameras.

The app is also equipped with a new power-saving mode that controls the amount of smart device power consumed by the app when it is not connected to a camera for an extended period of time. SnapBridge Version 2.0 also features a location data accuracy setting that allows users to choose between lower power consumption and greater location data accuracy by selecting how often the smart device updates location data.

Greater Remote Photography Functions

For even more creative control with select Nikon cameras, important digital SLR camera settings can now be controlled from the SnapBridge app through remote photography*. The live view display on the smart device can be used to confirm and adjust camera settings, allowing users to enjoy more full-scale shooting. Users also now have access to exposure modes (P/S/A/M), shutter speed, aperture value, exposure compensation, ISO sensitivity, and white balance. Controls will vary among various camera models.

Nikon Image Space Integration

Nikon SnapBridge Version 2.0 has a dedicated tab that makes it easier than ever to use NIKON IMAGE SPACE. With SnapBridge 2.0 and a NIKON IMAGE SPACE account a user can automatically upload an unlimited number 2MB images ideal for sharing on the go. In addition, photos taken using remote photography can now be uploaded to NIKON IMAGE SPACE automatically.

Nikon will continue to enhance the app’s usability and strengthen its functions to provide users with ever increasingly rich imaging experiences well into the future.

For more information about Nikon SnapBridge and the latest Nikon cameras and other products, please visit www.nikonusa.com.

*Functions available with the SnapBridge and SnapBridge 360/170 apps differ.

iPhone®, iPad®, iPod touch®, and Android™ devices to which the SnapBridge app has been installed can be used. The SnapBridge app can be downloaded free of charge from the App Store® and Google Play™. See Nikon’s website for further information.
Operation of this app is not guaranteed with all devices.
Nikon SnapBridge 2.0 Compatible Cameras:
- Nikon D850, D500, D7500, D5600, D3400,COOLPIX A900, A300, B700, B500, W100, W300, KeyMission 80

**The Wi-Fi® and Bluetooth® functions built into cameras are effective only when connected to a smart device on which the SnapBridge app has been installed.

Articles: Digital Photography Review (dpreview.com)

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Leica CL brings built-in viewfinder, conventional control layout to L lineup

22 Nov

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Leica has just released the CL, the forth in its series of APS-C L-mount cameras. While it shares a name with a camera released in the mid-70s, the new CL is a thoroughly modern ILC, with a 24MP sensor, 10 fps continuous shooting and 4K/30p video capture.

Compared to the TL2, the CL offer more conventional handling, including twin exposure dials, physical buttons for menu and playback, and a 4-way controller. It also features a high-resolution 2.36 million-dot EVF built in. Despite the more traditional ergonomics, the CL’s rear LCD is touch-sensitive, and supports swipe gestures for image navigation and mode switching.

The CL is being launched alongside a new Elmarit-TL 18mm F2.8. At just 20.5mm/0.8in in length, Leica calls the “smallest wide-angle APS-C pancake lens currently available in the market.”

Pricing for the CL and the new 18mm follows below:

Body only, black anodized finish : $ 2,795.00
Leica CL Prime Kit with 18 mm : $ 3,795.00
Leica CL Vario Kit with 18-56 mm : $ 3,995.00
Elmarit-TL 18 F2.8 ASPH, black / silver anodized : $ 1,295.00

Press release

Leica Camera Unveils Expansion of its APS-C System with the New Leica CL and Smallest Wide-Angle APS-C Lens

The new mirrorless camera and lens unite innovation, ease of use and compact design for exceptional visual storytelling

November 21, 2017- Leica Camera unveils the latest addition to its APS-C system with the Leica CL, a new camera that boasts an exceptional balance of state-of-the-art technology, mechanical precision and intuitive, classic design to make it the ideal everyday companion, a perfect fit for all types of photography. With stunning image quality – even in low-light scenarios – new electronic viewfinder technology and superb video capabilities, the Leica CL is the ultimate tool to capture everyday moments, all customizable to the photographer’s style. Available on its own or in two new camera-and-lens kit options, the Leica CL makes it simple to incorporate the art of photography into one’s daily life.

Alongside the Leica CL, the iconic photography brand is further diversifying the APS-C system’s portfolio of lenses by introducing the Elmarit-TL 18 mm f/2.8 ASPH., the smallest-in-class wide-angle lens with supreme imaging performance.

Evolution of the Leica APS-C system portfolio
With the launch of the Leica CL, the Leica APS-C System now encompasses two remarkable camera models, the Leica CL and the Leica TL2. In technical terms, the two cameras are equals, but retain stark differences in regards to their design and handling. The Leica CL reflects the traditions of Leica with its iconic industrial design, classic physical button controls and dials, while the Leica TL2 embodies a futuristic look, featuring a touchscreen and full-body aluminium. Coupled with the extensive portfolio of lenses, the Leica CL and Leica TL2 make for a formidable system portfolio offering an array of specialized and distinct photographic experiences.

Introducing the Leica CL
The Leica CL is rooted in Leica’s legacy, calling upon the brand’s heritage look with modern technical features. The instinctual and convenient design of the camera features a user-friendly handling concept, providing for an exceptionally intuitive tool whose compact size and light weight allow for maximum mobility. All essential controls are located on its top plate with just two dials for setting the aperture, shutter speed, ISO value, exposure compensation and shooting mode, for quick and intuitive handling. Keeping convenience at the forefront, all relevant shooting information is viewable on the small LCD screen atop the camera, instantly providing settings and exposure parameters at a glance.

Another outstanding feature of the Leica CL is its built-in electronic viewfinder. With EyeRes® technology developed by Leica specifically for this camera, the viewfinder enables a top-tier viewing experience. Most notable among a number of advantages of the built-in EVF, is the ability to preview the brightness and color of the final image before the shutter release is fully depressed, allowing photographers to always be in control over the composition and exposure.

Alongside an impeccable view of your subjects, the Leica CL offers best-in-class image quality. In combination with the high-resolution, 24 MP, APS-C format sensor of the Leica CL, a Maestro II series processor and fast autofocus system with 49 AF points guarantee brilliant photographs in all situations, including low-light scenes. In addition to being an impressive still-picture camera, the Leica CL also captures striking video at a resolution of up to 4K at 30 frames per second.

Keeping connectivity as a top priority, the Leica CL is equipped with an integrated Wi-Fi module allowing photographers to quickly and easily share their stunning photos and videos by email or on social networks with the Leica CL App for iOS or Android. The remote function of the app also provides the capability for mobile devices to be used as an off-camera remote viewfinder, allowing control of exposure parameters, including when shooting with the self-timer function or from unusual angles.

Thanks to the L-Bayonet mount shared by the Leica TL- and SL-Systems, SL-Lenses can also be used without an adapter on the CL and the TL2. Appropriate adapters are also available for using Leica M- and R-Lenses on the cameras, offering unparalleled creative flexibility and making the Leica CL one of the most versatile cameras in the Leica portfolio.

New Leica Elmarit-TL 18 mm f/2.8 ASPH.
To complement the Leica APS-C system, Leica is expanding the impressive TL lens portfolio with a ground-breaking new lens. Compact and lightweight, the new Elmarit-TL 18 mm f/2.8 ASPH. holds the title as the smallest wide-angle APS-C pancake lens currently available in the market. When mounted to the Leica CL, the camera and prime lens are small enough to fit into a coat pocket or small handbag – providing incredible images everywhere you go. Despite being just 20.5mm (less than one inch) in total length, the lens sacrifices nothing, providing the unrivalled imaging performance all Leica lenses are known for. Travel photography is easy with this light and dynamic lens, especially when paired with the Leica CL.

As a whole, the Leica APS-C System portfolio of lenses offer exceptionally high picture quality and infinite opportunities for creative photography. In addition to the Elmarit-TL 18 mm f/2.8 ASPH., the selection of lenses currently includes three zoom lenses (Super-Vario-Elmar-TL 11-23 mm f/3.5-4.5 ASPH., Vario-Elmar-TL 18-56 mm f/3.5-5.6 ASPH. and the APO-Vario-Elmar-TL 55-135 mm f/3.5-4.5 ASPH.) as well as three prime lenses (Summicron-TL 23 mm f/2 ASPH., Summilux-TL 35 mm f/1.4 ASPH. and the APO-Macro-Elmarit-TL 60 mm f/2.8 ASPH.).

All bundled up
To make the stunning new Leica CL more easily accessible to both new and current Leica fans looking to make their first step into the APS-C system, the Leica CL will be offered in two bundle options alongside an accompanying lens. The “Prime Kit” will include the new Elmarit-TL 18 mm f/2.8 ASPH lens, while the “Vario Kit” option includes the Vario-Elmar-TL 18-56 mm f/3.5-5.6 lens, allowing photographers to get into this new camera and growing system with a lens that best suits their photography style in an easy-to-grab kit.

Availability
The Leica CL and Leica Elmarit-TL 18 mm f/2.8 ASPH will both be available from Leica stores, boutiques and dealers at the end of November. The Leica CL body, in black anodized finish, will be $ 2,795.00 while the Prime and Vario Kits will be $ 3,795.00 and $ 3,995.00 respectively. The new Leica Elmarit-TL 18 mm f/2.8 ASPH, in black or silver anodized finish, will be $ 1,295.00.

Leica CL specifications

Price
MSRP	$ 2795 (body only), $ 3795 (w/18mm lens), $ 3995 (w/18-56mm lens)
Body type
Body type	Rangefinder-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	6014 x 4014
Image ratio w:h	3:2
Effective pixels	24 megapixels
Sensor photo detectors	25 megapixels
Sensor size	APS-C (23.6 x 15.7 mm)
Sensor type	CMOS
Processor	Maestro II
Color space	sRGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-50000
White balance presets	5
Custom white balance	Yes (2 slots)
Image stabilization	No
Uncompressed format	RAW
File format	JPEG Raw (DNG)
Optics & Focus
Autofocus	Contrast Detect (sensor) Multi-area Center Selective single-point Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Number of focus points	49
Lens mount	Leica L
Focal length multiplier	1.5×
Screen / viewfinder
Articulated LCD	Fixed
Screen size	3″
Screen dots	1,040,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	0.74× (0.49× 35mm equiv.)
Viewfinder resolution	2,360,000
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/8000 sec
Maximum shutter speed (electronic)	1/25000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Scene modes	sport portrait landscape night portrait snow/beach fireworks candlelight sunset digiscoping miniature panorama HDR
Built-in flash	No
External flash	Yes (via hot shoe)
Flash X sync speed	1/180 sec
Drive modes	Single Continuous low/med/high Interval Exposure bracketing
Continuous drive	10.0 fps
Self-timer	Yes (2 or 12 secs)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±3 (at 1/3 EV steps)
AE Bracketing	±3 (3 frames at 1/3 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	3840 x 2160 @ 30p, MP4, H.264, Linear PCM 1920 x 1080 @ 60p, MP4, H.264, Linear PCM 1920 x 1080 @ 30p, MP4, H.264, Linear PCM 1280 x 720 @ 30p, MP4, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC card (UHS-II supported)
Connectivity
HDMI	No
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	BP-DC12 lithium ion battery & charger
Battery Life (CIPA)	220
Weight (inc. batteries)	403 g (0.89 lb / 14.22 oz)
Dimensions	131 x 78 x 45 mm (5.16 x 3.07 x 1.77″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Posts Tagged ‘Control’

Leica Camera Announces Leica SF 60 Flash Unit and Leica SF C1 Remote Control Unit For On- and Off-Camera Flash Photography

Both compact and versatile, the new flash system allows forsupreme quality light control in any situation

Move the light

The end

DJI Master Wheels

DJI Force Pro

Availability

DJI Reveals New Filmmaking Tools at NAB 2018, Providing Professional Gimbal Control Solutions For Every Level of Filmmaker

Master Wheels – Bring Precise Control To Your Scene

Force Pro – Natural Movements Through Intuitive Design

Price and Availability

Why Manual Mode?

Understanding the Big Three

Aperture

Shutter Speed

ISO

How to use Manual Mode

Conclusion

Vibrance and Saturation

Camera profiles

HSL / Color / B&W panel

Hue

Saturation

Luminance

Putting it all together

Camera profile

Saturation

Luminance

Tone Curve

Sony Announces New Expanded Multi-View Shooting Capabilities for the Compact RX0 Camera

Nikon Announces Updated Version of SnapBridge Camera Connectivity App for Seamless Image Transfer and Sharing

Leica Camera Unveils Expansion of its APS-C System with the New Leica CL and Smallest Wide-Angle APS-C Lens

Leica CL specifications

Both compact and versatile, the new flash system allows for
supreme quality light control in any situation