Many photographers make use of Adobe Photoshop for all their editing work, and any issues with the program can have a huge impact on productivity. If you are seeing the message “Photoshop could not save because the disk is full”, even when you have sufficient space on your hard disk, it can be due to multiple reasons. I used to Continue Reading
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Posts Tagged ‘could’
Photoshop “Could Not Save Because Disk is Full” but Disk is not Full: Solutions
02
Oct
Rare Zeiss Planar 50mm F0.7 lens designed for NASA could fetch $150,000 at auction
08
Jun
 |
If you think Nikon’s Nikkor Z 58mm F0.95 S Noct lens is impressive, set your sights on a rare Zeiss Planar 50mm F0.7 lens from 1966. The lens was designed for NASA to photograph the moon’s far side during Apollo missions. There were only 10 copies of the lens ever made, six of which went to NASA. One of these lenses is currently up for auction by Leitz Photographica Auction.
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| Carl Zeiss Planar 50mm F0.7 lens. Image courtesy of Leitz Photographica Auction. |
Granted, if you want the super-fast prime, you’ll have to pay a steep cost. At the time of writing, the highest bid is €55,000 (about $ 67,000 USD), which is €5,000 higher than the starting bid, although the auction doesn’t officially kick off until June 12. Organizers estimate that the hammer price could reach up to €120,000 (roughly $ 146,000).
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| Carl Zeiss Planar 50mm F0.7 lens. Image courtesy of Leitz Photographica Auction. |
The copy up for auction has serial number 2594563 and is listed as being in beautiful condition with clean optics. Leitz Photographica Auction rates the lens as A/B condition. The lens is mounted to a modified Nikon F body (serial number 6477895), and the lens includes a removable tripod mount. According to an interview with Insider, Andreas Schwieger of Leitz Photographica Auction believes the lens for sale is one of the half-dozen lenses that were supplied to NASA.
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| Carl Zeiss Planar 50mm F0.7 lens. Image courtesy of Leitz Photographica Auction. |
It’s a fascinating lens. Of the four copies that weren’t sent to NASA for use in space, three were sent to filmmaker Stanley Kubrick for the film ‘Barry Lyndon.’ Some of the film’s scenes were lit only by candlelight, necessitating the use of an F0.7 lens, which was mounted on a modified Michell camera. The film went on to win the 1976 Oscar for its cinematography. Zeiss kept the final lens for its Carl Zeiss factory museum.
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| Carl Zeiss Planar 50mm F0.7 lens. Image courtesy of Leitz Photographica Auction. |
The Zeiss 50mm F0.7 lens up for auction is part of the 38th Leitz Photographica Auction and is lot 329 of 469 total lots. There are many interesting pieces of photographic history in the auction catalog, including some beautiful Leica cameras and lenses.
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| Carl Zeiss Planar 50mm F0.7 lens. Image courtesy of Leitz Photographica Auction. |
Some other unique items up for sale include a ‘Luxus’ model gold-plated Leica wrapped in lizard skin, a Leica MP2 with Electric Motor and a Leica from 1924 that was owned by Ernst Leitz II, the man who manufactured the first Leica cameras. There are some other items owned by important figures in photography, including three Rolleiflex cameras owned by Walker Evans and a couple of Leica cameras used by Italian paparazzo, Felice Quinto.
Articles: Digital Photography Review (dpreview.com)
DPReview TV: The Blackmagic Ursa Mini Pro 12K could teach mirrorless cameras a few things
20
Feb
As its name implies, the Blackmagic Ursa Pro 12K shoots 12K video. But it also includes features that mirrorless camera makers could learn from. Jordan shows us what he likes about Blackmagic’s design – and what it’s like to shoot in 12K.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
- Introduction
- The Ursa Pro's 12K sensor
- Blackmagic Raw (BRaw) recording
- Storage options
- What mirrorless cameras can learn
Articles: Digital Photography Review (dpreview.com)
Report: Japanese camera makers could see supply chain constraints due to supplier factory fire
07
Dec
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| An overview of the aftermath at AKM Semiconductor factory following a three-day fire, captured by Nikogorio and used with permission. |
Australian imaging publication, Inside Imaging, is reporting that some camera manufacturers could see supply chain issues following an October fire at an AKM Semiconductor audio chip factory in Nobeoka, Miyazaki Prefecture, Japan.
According to the report, the fire started on October 20 and burned uncontrolled for three days, effectively destroying the entire factory, which products various audio chip components used by ‘most Japanese camera makers.’ Inside Imaging stops short of stating what components in particular camera manufacturers source from AKM Semiconductor. It does mention AKM produces analog-to-digital converters (ADCs), but there’s no confirmation whether or not these ADCs are used by any camera manufacturers.
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| A close-up of the burned AKM Semiconductor factory, captured by Nikogorio and used with permission. |
Inside Imaging claims to have been told by a source that Canon, Nikon and Sony ‘[had] pulled back support for Black Friday promotions’ due to a shortage of supply, but that is yet to be confirmed elsewhere and we have yet been able to confirm that ourselves. We have contacted representatives from Canon, Nikon and Sony for comment and clarification on the matters and will update this article accordingly when we receive responses.
According to other reports, there were no casualties from the fire and all 400 employees were safely evacuated before the fire spread. Repairing the factory will take at least six months, according to SemiMedia, who also notes the audio industry is panic buying to ensure manufacturers’ supply chain isn’t affect in the near future.
Articles: Digital Photography Review (dpreview.com)
How Joe Biden’s drone light show came together — and what it could mean for the industry
12
Nov
 |
| A composite of two of the formations seen in the drone show Saturday, following the announcement that Joe Biden was projected to become the next president of the United States. |
This past Saturday, major news outlets announced former Vice President Joe Biden and his running mate and senator Kamala Harris as the projected winners of the 2020 presidential election. Biden and Harris addressed the world later that evening with speeches that concluded with a drone and fireworks light show.
The drone show especially excited many in the rapidly-growing industry, after years of negative media coverage and concerns about overregulation. Numerous unconfirmed sightings of drones near airports and aircraft, in addition to rulemaking proposed for Remote ID, reportedly set to be decided by year’s end, are a clear indicator that drones continue to be controversial.
Drones in a national security TFR isn’t a small deal. Someone slogged through a ton of paperwork. Kudos. https://t.co/pwSQUUtHkF
— Brendan Schulman (@dronelaws) November 8, 2020
That’s why it’s such a big deal that a formation of drones was used on Saturday night, so close to two people about to become among the most powerful (and most closely-guarded) in the world. After a bit of sleuthing, we were able to confirm that the company responsible for the light show was Verge Aero, based in Pennsylvania.
‘This event is certainly a first on many fronts,’ Nils Thorjussen, Verge Aero’s CEO, tells DPReview. ‘While I’m unable discuss the event in detail, there were many unique challenges we’ve never faced before, as you can imagine.’
Drone light shows have been around for several years, but they don’t come cheap. It takes anywhere from fifty to tens of thousands of drones to form illuminated shapes in the sky, and when the cost of setup, plus travel and accommodation for a staff of trained professionals is factored in, they’re typically very expensive.
And it raises awareness. Drones are becoming less and less seen as this really bad thing in the sky but are now seen as a tool; a tool to improve entertainment, science and research, public safety, agriculture, inspection and STEAM education. #UAVsForGood https://t.co/TD61rtIffP
— Romeo Durscher (@romeoch) November 8, 2020
Mass light shows with hundreds of drones might be beyond the means of most of us, but, says Thorjussen, ‘we’re developing the tools to make drone light shows more accessible.’
He predicts that ‘soon enough, as with other technologies in the past, they’ll become more affordable and mainstream.’ Good news for an industry that all too often is on the wrong side of the headlines.
To learn more about all the components that go into a drone light show, head over to Verge Aero’s blog.
Articles: Digital Photography Review (dpreview.com)
Canon Japan warns R5, R6 and accessories could ship later than expected due to demand
14
Jul
 |
Canon Japan has warned consumers that pre-orders for its R5 and R6 mirrorless cameras — as well as some accessories — might ship later than expected due to pre-orders ‘exceed[ing] expectations.
The machine-translated statement reads:
Information About Product Supply Status
We have received orders for the following products announced on July 9, 2020 that exceeded expectations, and it may take some time before the products are delivered.
[Applicable Products] EOS R5 / EOS R6 / Battery Grip BG-R10 / Extender RF 1.4x / Extender RF 2x
We would like to thank you for all the orders we have received, and we apologize for any inconvenience caused to our customers waiting for the release. Thank you kindly look forward for your understanding.
This isn’t the first time we’ve seen this kind of announcement following the launch of new and exciting camera gear: Nikon, Panasonic, Sony and others have done it in the past.
While there’s reasonable suspicion in these instances whether it’s purely a PR move to further drum up interest or a genuine warning that units might ship later than expected, it’s worth noting Canon specifically suggests shipments could be delayed. So, it’s worth keeping tabs on your order progress if you’ve pre-ordered one of the affected cameras or accessories.
You can find a full run-down of our Canon EOS R5 and EOS R6 coverage here.
Articles: Digital Photography Review (dpreview.com)
How Fujifilm could make its next X-H series camera the class leader for video
11
Jun
Introduction
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The X-H1 appeared to be the start of a more video-centric line of cameras from Fujifilm. However, we’ve subsequently seen the release the X-T3 and X-T4, both of which provide similar or better levels of video performance.
Does the X-H series still have a future? In a recent interview with DPReview, Toshihisa Iida, General Manager of Fujifilm’s Optical Device and Electronic Imaging Products Division, confirmed that the company plans to keep the X-H line, stating only that ‘the concept will be very different to the X-T series.’
Assuming Fujifilm intends to keep the series video-focused, we decided to contemplate what features would be required to make the X-H2 the undisputed class-leading camera for video. The APS-C/Super35 format remains very popular among videographers for a variety of reasons: fast readout rates, less rolling shutter and relatively compact lenses among them.
Video scopes
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Recent Fujifilm cameras delivered great video quality, but lacked important exposure tools designed for videographers. Histograms are great, but we’d like to see waveforms and vectorscopes.
Waveforms help visualize exposure across the entire frame. They tell you how many pixels have a given brightness value as well as where those pixels exist in the image, useful for judging exposure in a specific area of the frame, such as on a subject’s face. Vectorscopes can be used to assess hue and saturation, particularly important given that most video isn’t recorded in Raw format.
To really impress, Fujifilm could even add false-color overlays, which make it easy to quickly judge exposure anywhere in the frame at a glance. Equally important is a workflow that makes video scopes easy to use – accessible at the tap of a button for evaluating exposure.
Video-centric exposure settings
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Exposure settings used for photography work fine for video, but they don’t always represent the best workflow for videographers.
We’d like to see an option to set shutter angle as an alternative to shutter speed. Of course, you can always set your shutter speed to replicate a 180° shutter, but each time you switch frame rates you’ll have to update the shutter speed as well. In contrast, a constant shutter angle means you’ll always get the appropriate shutter speed for the frame rate at which you’re shooting. (The ability to lock shutter angle to prevent accidental changes would also be welcome.)
A bonus would be explicit dual gain states, similar to what’s found on the Panasonic GH5S and S1H. This would allow users to expressly determine whether they want to prioritize the widest dynamic range or use the higher-gain step to reduce shadow noise at the expense of some dynamic range. It might also clear up confusion around ISO values that may appear to change when using different modes (e.g. Standard vs Log gamma) even when the underlying amplification remains the same.
A full suite of ports
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Video work often requires cameras to be rigged with external accessories, so connection points are crucial.
We don’t expect the X-H2 to embrace the SDI connectors commonly found on pro video cameras, but do hope for a full size HDMI port. Standard HDMI cables are easy to find, and a full size port is going to hold up better over time than the small micro HDMI ports found on other Fujifilm bodies.
We’d also like to see dedicated 3.5mm microphone and headphone jacks. Recent Fujifilm models have relied on a 3.5mm-to-USB-C adapter for headphones, but on a video-centric camera we’d prefer a standard headphone port. Not only does it eliminate a potential point of failure, but we have some other high hopes for that USB-C port.
XLR microphone adapter
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In many cases, a simple hot shoe mic with a 3.5mm connector to the camera is just what you need, but what if you want to record high quality audio, possibly from a couple different sources such as lavalier mics, straight into camera? For that, we may want XLR connections.
Panasonic provides a solution to this in the form of its XLR1 adapter (pictured above), which sits in the camera’s hot shoe and provides two XLR inputs with independent controls. Similarly, Sony has its XLR-KTM adapter for mirrorless cameras. It would be a strong statement to videographers if Fujifilm were to introduce a similar product alongside a future X-H2.
Improved video codec
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When introduced, the X-H1 set a new bar for video on a Fujifilm camera, but its maximum resolution of 4K/30p, along with 4:2:0 8-bit color and reliance on the H.264 codec, is dated by today’s standards. In contrast, the newer X-T4 shoots internally up to 4K/30p All-I at 400 Mbps, with 4:2:0 10-bit color, using the H.265 codec. (And even goes to 4K/60p, albeit at a lower 200 Mbps.)
At a minimum, we’re hoping to see the X-H2 capture both 4K/60p and 6K/30p internally, with 4:2:2 10-bit color, a high bit rate, and using the H.265 codec.
There have even been suggestions that Fujiflm might use a rumored 8K-capable, 43MP Sony sensor in the X-H2 that’s capable of capturing video at high bit rates. Is it a stretch? It might be, but if true it would be a major differentiator between the X-H2 and Fujifilm’s other models, not to mention the rest of the APS-C mirrorless camera market.
Raw video options
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Thanks to recent firmware updates, some mirrorless cameras support ProRes Raw recording when paired with a Atomos recorder. We would expect to see that on the X-H2 as well, but for truly class leading performance we’d like to see Fujifilm go further.
The often overlooked implication of Raw video is that output resolution should match sensor resolution, otherwise it’s necessary to line or column skip to capture a Bayer-like array of data (as occurs on the Nikon Z6). Raw video with an approximate resolution of 6K would closely match the 24MP or 26MP sensors used on recent Fujifilm bodies. If the rumors of a higher resolution, 43MP sensor turn out to be true, such an approach might be required.
Also, remember the USB-C port we didn’t want to use for headphones? How about using it to write Raw video directly to an attached SSD, similar to the Blackmagic Pocket Cinema Camera or Sigma fp? Design the body with a means to attach it securely and it would fit on a gimbal without fussy rigging.
If Fujifilm wanted to go all-in on video, it could even offer internal Raw recording with selectable compression, similar to the Blackmagic camera. It also raises an interesting question: whether it would make sense to use Apple ProRes Raw or BlackmagicRaw. A popular camera with internal Raw recording could tip the industry in one direction or another.
Improved autofocus
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Though videographers often prefer to use manual focus, autofocus is becoming increasingly important. Recent Fujifilm models have demonstrated impressive autofocus capabilities, though important gaps still exist.
In particular, as improved as Fujifilm’s subject tracking is, there’s still no subject tracking in video. To achieve class-leading status, that’s a pretty important feature we’d want to see added. Additionally, the AF interface could use a revamp; the addition of a tap-to-track feature, similar to the the one found on many Canon cameras, would make the system even more useful.
Displays
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It’s probably a no-brainer that we’d like to see a fully articulating screen on a video-focused camera. Fortunately, Fujifilm is already doing this on models like the X-T4 and X-A7, so it shouldn’t be a heavy lift to do it on the X-H2. What we’d really like to see is an even more innovative design, maybe along the lines of the one found on the Panasonic S1H, which puts the screen’s articulating hinge on a tilting platform. This allows it to tilt out and avoid interfering with the ports on the side of the camera.
Another upgrade we’d vote for is a move from the 3.69M dot panel found on the X-T4’s EVF to the newer 5.76M dot panel used by several other cameras. The extra resolution would be especially helpful when using tools like video scopes with the camera to your eye.
Improved 5-axis IBIS
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Fujifilm introduced in-body image stabilization on the X-H1. While effective for stills, it had some quirks when shooting video. The system had a tendency to overcorrect for intentional movement, and when it hit the limit of its travel would reset in a clumsy way. Fortunately, Fujifilm was able to improve it through firmware.
The 5-axis system in the X-T4 can stabilize video effectively, particularly using its ‘Boost IS’ mode, which provides the maximum correction possible to compensate against any camera movements when taking a static a shot; it works well and can be tripod-like. However, the system still has difficulty distinguishing between intentional and unintentional camera movement, such as pans, resulting in hesitation or jerky video. It’s also noticeably less effective than the sub-full frame video leader, the Panasonic GH5.
We’d like to see a more refined image stabilization algorithm in a future X-H2 for best-in-class handheld video shooting.
Separate menus and settings for stills and video
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Separate menus and settings for stills and video is another one of those problems that’s mostly been solved on the X-T4. It even has separate ‘My Menu’ tabs for stills and video. Fujifilm, just port this to the X-H2 and videographers will thank you.
Oh, and throw in a hardware switch between video and stills modes, like the X-T4, while you’re at it. Because it just makes sense.
Unlimited recording time
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Wouldn’t it be great if the X-H2 had unlimited recording time?
It would be even greater if you could record continuously while powering the camera via the USB-C port.
Eterna in-camera LUT display
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When shooting Log video, Fujifilm’s F-Log View Assist function lets users apply an in-camera F-Log to Rec.709 LUT, which displays an approximation of graded footage while recording in Log.
It would be great to see Fujifilm extend this functionality to include its Eterna film profile. Eterna has proved to be popular among videographers, and Fujifilm has a lovely F-Log to Eterna LUT. Making it available in the View Assist function would be a great addition to the camera.
Anamorphic lens support
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Admittedly, we’re getting into niche stuff here. Most people probably won’t be shooting anamorphic lenses, so this is probably a nice-to-have rather than an essential feature. However, if Fujifilm wants to establish itself as a class leader in video, it’s an opportunity.
What does anamorphic support entail? Primarily, the ability to display a desqueezed image in the viewfinder while continuing to record a squeezed anamorphic image in-camera. Anamorphic support would ideally include full-sensor desqueeze, allowing one to use the entire surface area of the sensor when shooting video.
If the camera’s image stabilization could take anamorphic squeeze into account, it would join the Panasonic GH5 and S1H as the only stabilized platforms for anamorphic shooting. As most anamorphics are built for Super35 coverage, this would be a standout feature.
Conclusion
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We don’t expect to see all these features on a new X-H2: it’s a pretty big list, and even we’ll admit that some of the items are a bit of a stretch. However, if Fujifilm is serious about putting a stake in the ground with video enthusiasts, this would be a heck of a way to do it.
Of course, it’s entirely possible that Fujifilm has a completely different vision for the X-H series in mind. As we mentioned, there are rumors that a future X-H2 might use a higher resolution (43MP?) sensor. This would allow Fujifilm to significantly differentiate the X-H2 from the rest of its product line for still photography as well, similar to the Nikon Z6/Z7 or Panasonic S1/S1R models. That it might also allow for 8K video would be a significant upside for video enthusiasts.
Anything’s possible, but since the X-H1 had a video bent our gut tells us that, whatever form the camera takes, video will be a significant focus. We’re holding our breath as we wait to find out.
Articles: Digital Photography Review (dpreview.com)
Loupedeck CT Review – Could This Be The Best Editing Tool?
28
May
The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.
If you’ve read my previous review of the Loupedeck+, you’ll know I am a massive fan and it is now a firm part of my editing routine. As I said in that review, it was something that I was honestly wary of before trying it, but something I do edit without now. So when I got the chance to do the new Loupedeck CT review, I jumped at it.
The Loupedeck CT is a completely new editing station. Loupedeck has marked this as their professional tool, designed to deliver a premium editing experience. Along with the dials and buttons familiar to those who have used the Loupedeck+, the Loupedeck CT features a touchscreen interface system of virtual buttons, that you can fully customize to your editing needs.
Compatibility
The CT is compatible with a wide range of software right out of the box. And it has the ability to add even more software via an ever-growing library of custom profiles.
Here is a list of compatible software out of the box (takes deep breath):
- Abelton live
- After Effects
- Audition
- Capture One
- Final Cut Pro
- Adobe Illustrator
- Adobe Lightroom Classic
- Adobe Photoshop
- Premiere Pro
- System (Windows & Mac)
Profiles exist for many more programs, including Davinci Resolve, Photomechanic, and Logic Pro X, amongst others. This is a serious list of professional software, and the ability to customize the Loupedeck CT means that there is an almost limitless opportunity to create your very own tailored workspace.
Design and build quality
The Loupedeck CT is very different from the Loupdeck+. It is much more compact in its footprint. The size is about the same as two mobile phones placed side by side. This smaller footprint not only makes having the CT on a smaller desk much easier, but it also means it is simple to add to your bag when editing on the road or on location.
The packaging looks and feels premium. It reminded me of an Apple device in the way that the quality oozes out before you even see the product.
Jet black packaging with an embossed and foiled logo on the side really does make this product feel luxurious. It may sound silly, but when packaging is this good, I feel that it shows the importance of attention to detail to the company.
Once the Loupedeck CT is removed from the packaging and those, oh so satisfying, clear plastic covers get removed, the quality of the Loupedeck CT shines through.
The build quality on this device is excellent, with the device itself comprised of an aluminum top plate (save the virtual buttons workspace) with a solid plastic underside. All buttons and dials are all reassuringly firm, with the dials having a tactile click when turning, whilst the virtual buttons have haptic feedback, which you turn on or off.
The center dial is used as a touch screen interface for some adjustments, and again, it works perfectly. It is responsive and has worked flawlessly during my time with the unit.
This is a very well-made piece of equipment that is another step forward in quality from the already well-made Loupedeck+.
The Loupedeck CT also has a Bluetooth chip, which will eventually, via an update, make the unit connect wirelessly.
It also comes with 8GB of storage, which mounts as an external drive when you connect the Loupedeck CT. This storage allows you to save all settings and preferences within the device. So, when you transport the product, all your settings travel with you. This is great for those that travel regularly or use different computers for different projects.
Ergonomically, the unit is made for one-handed operation. This is not to underestimate the amount of editing this thing can do on its own. Whilst the Loupedeck+ feels like something that is aimed to replace your keyboard, the CT feels like an addition to your keyboard and mouse. It is an incredibly powerful enhancement to your workflow.
Buttons on the Loupedeck CT are backlit in a way that aids your use of the device. The buttons’ color shows how it is mapped at a glance. The three colors are green, purple, and blue.
Green buttons are assigned to workspaces (of which you can have multiple per application). The purple buttons are assigned to actions (such as applying a preset or creating a copy of the image, etc.). Finally, the blue buttons are there to take you into page-based layouts. This allows you to create sub-menus within a workspace, such as a page dedicated to your image presets, without the need to change the entire workspace.
Installing the Loupedeck CT
Installing the Loupedeck CT is a simple affair. You just download and install the software from the Loupedeck website, then connect the Loupedeck.
The Loupedeck itself is USB-C, which helps future-proof the product. However, it comes packaged with a USB-C to USB-A braided cable, which will be welcomed by a lot of people. The cable itself is of high quality, reinforcing the attention to detail that Loupedeck has put into this product.
Learning curve
The learning curve is the part of Loupedeck CT that is the thing that you will find hardest. It’s not that the CT is hard to use, in fact, it is the total opposite of that. It is more about remembering which button is where, how you have your dials set, and moving your hands away from existing workflows.
With the Loupedeck+ everything is set and you quickly become accustomed to where everything is. However, whilst the flexibility of the Loupedeck CT is its strongest feature, it does mean you have a larger learning curve. As an example, when moving from Lightroom to Photoshop, the button layout changes, so it takes more time to become a power user across multiple software.
The initial setting up of custom workspaces will take time and effort from the user. However, this is the step that is essential for those looking to get the most out of this device.
The software makes it simple to set up, but you need to customize the layout of the deck for your specific editing style. You will then need to do this on a software-by-software basis. This process may take a few hours, but it is so worth it. The profiles supplied by Loupedeck are great and get you started instantly, but every editing workflow is different and the Loupedeck profiles are unlikely to match your specific workflow.
The Loupdeck CT in use
The first thing I noticed about the Loupedeck CT was its software awareness. Switching over to Photoshop from Lightroom, the Loupedeck instantly changed to its Photoshop workspace. There was no lag or waiting. It was ready to go. This smoothness is the same for every software. You can even set it up to control your Spotify, so you can keep your hands on the Loupedeck whilst you decide what music you want to listen to whilst you edit.
This key feature makes the Loupedeck CT amazing for those who work in several different pieces of software. It really does make this device a huge step up from the Loupedeck+.
I know when I reviewed the Loupedeck+, I said that video editing wasn’t great. With the CT, it really performs.
Moving to Premiere Pro, you get the tools you use the most right at your fingertips. As someone who isn’t a huge video editor, it makes editing easier for me. I have also been experimenting with Final Cut Pro, and again, the Loupedeck saves me having to search through menus when I am looking for a tool.
I am sure that in the hands of a more capable editor, this tool will be huge in speeding up workflow. For an amateur like me, it makes things easier and encourages me to dig deeper.
This is also true of Adobe Illustrator and Adobe Audition, which I profess to be completely lacking in in-depth knowledge. However, I can see how this, in the right hands, will be incredibly useful.
Moving on to photography (the reason I am sure most of you are reading this), to sum it up, it is amazing. If the Loupedeck+ is a high-quality, off-the-peg suit, the CT is a custom-tailored suit from Saville Row; every button and dial customized to fit your editing needs.
In Lightroom Classic, it performs beautifully. Editing is effortless and the Loupedeck makes the whole process quicker, easier, and more tactile. The ability to customize a setup to be exactly how you want is something that gives this an advantage over the Loupedeck+ for those who use more advanced features regularly. This is shown in the ease of adding your own presets to buttons. Simply create the preset, then ask Lightroom Classic to update, and instantly, it is available to add to your layout.
It is when you move to Photoshop that the Loupedeck CT really shines. The ability to customize your button layout combined with size means using this with a mouse or graphics tablet is a joy. Also, the ability to use the touchscreen center button makes working in color an amazing experience. The Loupedeck CT is a much more enhanced experience than the Loupdeck+ when it comes to Photoshop.
The integration with Adobe products is still deeper than with other software, though. Switching to Capture One Pro, the experience is simply not quite as fluid. Capture One is in Beta mode even though it comes pre-installed. In use, it lacks the level of integration found in Lightroom and can’t offer the same functionality.
This is due to Loupedeck relying on keyboard shortcuts rather than the software API. Loupedeck has released an enhanced plugin profile, which allows greater integration for Capture One users. This does help, but it relies on you having to set your keyboard to the US setting, which as a UK user, is an annoyance.
I know discussions have taken place with Phase One on fully integrating the Loupedeck CT, and for many professionals who use Capture One, this would be a game-changer. Until that happens, the best way to describe the Capture One experience is good, but not as good as Lightroom.
What I love
There is a lot to love about this product. The main things for me are:
- Size
- Look and build quality
- Unlimited customization options
- Multi-software usage
What could be better
- Integration with non-Adobe products
- No wireless option (although this may be coming)
Is it worth it?
This is the big question. This Loupedeck CT is not cheap. It currently retails at £469.
It warrants that money to those who spend a lot of time editing and those who use a variety of software daily. It is much more suitable for a wider variety of programs than the Loupedeck+. If you use Adobe products, it is pretty much flawless.
However, if you mainly edit in Lightroom, you will possibly be better served with the Loupedeck+. It has all the features you need and comes at a lesser cost.
The other question is whether it is better to invest in the Loupedeck CT or a graphics tablet. Again, this depends on your usage and editing style. Personally, I would make more use of the Loupedeck CT. However, you may not.
The Loupedeck CT is aimed at a certain group of people. To those that will get the most out of this product, the £469 price tag is easily justified in the time saving and workflow enhancements the CT will give them. The Loupedeck CT is no mere editing gadget – it is a tool that takes your editing workflow to another level.
I really suggest you try a Loupedeck before dismissing it out of hand. Be warned though, you will probably fall in love.
The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.
Could your Canon camera transform video calls? We test EOS Webcam Utility
15
May
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| Looming. Yes, of course a Canon EOS-1D X Mark III will offer better image quality than the junk camera that’s built-in on my laptop. But for your sake, I hope you have a smaller compatible EOS camera laying around. |
Canon recently announced the EOS Webcam Utility beta: software that will convert several of its recent cameras into webcams. All you need is a USB cable and a PC running Microsoft Windows 10. Since we’re all stuck inside right now, and our laptops all have horrible built-in webcams (and no, not even a shiny new Apple Macbook Pro includes anything at all decent), we figured we’d take a quick look at the software to see if it’s any good.
I happened to have Canon’s EOS-1D X Mark III handy, although I’ll be the first to admit it’s not the most practical camera for this type of use (my personal M100 isn’t supported, and as expected, didn’t work when I tried it). Still, in the end, I’m pleased to say the 1D worked pretty darn well.
The software installation went smoothly. After you run the installer, you just restart your computer, power on your camera, set your desired exposure, white balance and autofocus settings (you can’t control them from the computer), and then plug it in via USB. I expected to have to open a dedicated Canon app to check compatibility, but you only need to open your videoconferencing app of choice, go to video settings and select ‘EOS Webcam Utility Beta’ from a dropdown list where your existing webcam lives.
You may find, as I did, that the difference in image quality is pretty striking.
I think the fact that the internal webcam makes it look like I’ve shaved much more recently than I actually have is a mark in its favor. I guess I could slather some Vaseline onto the front element of the Canon lens for a similar effect, though then you wouldn’t be able to see my cat-themed mousepad in all its glory. 1D X III photo captured using a 24mm F2.8 lens at F2.8.
My test computer is my well-specced HP Envy 13 ultrabook with an 8th gen Intel i7 and a dedicated graphics processor, and so it’s clear that good core specs don’t mean you automatically get a good webcam. (And yes, I wiped off the lens before giving this a go.) For more flattering results I could definitely raise my laptop a fair bit and make sure that the lighting is better, but I’ll admit that I’m still impressed at the difference a ‘real’ camera makes.
In my testing, I was able to get the EOS-1D X III working with Zoom as well as Skype, though for some reason, I had to uninstall and reinstall Skype (downloaded from the actual Skype site) to get the camera to show up as an option. It still doesn’t work with our work videoconferencing service (Amazon Chime – full disclosure, DPReview is an editorially independent subsidiary of Amazon), and I haven’t been able to test Microsoft Teams yet.
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After re-installing Skype on my computer, it worked great; Chime, not so much.
Canon’s software is still in beta, and I fully expect compatibility and reliability to improve in the coming weeks and months. I think the bigger question is, if you are so fortunate to be able to work remotely during the pandemic, how good do you really need your webcam to be?
As I mentioned in an image caption earlier, the level of detail the EOS-1D X III captures relative to my built-in webcam means I’ll need to shave a bit more regularly (this is probably a positive thing overall, I’ll admit). I’m also in the midst of moving house, so my workspace is messy and I don’t want that to be visible, though a different lens would help somewhat. Plus, some software (like Microsoft’s Teams) can blur backgrounds already, and Zoom lets you insert in a virtual background of your choosing.
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| If it’s important to you or you have a smaller-sensor Canon camera that won’t convincingly blur backgrounds, you can continue use your camera with Zoom’s ‘virtual background’ feature. Depending on your workplace, I recommend you use this feature with either caution or reckless abandon. |
I will say that Canon’s Dual Pixel AF kept my face in perfect focus throughout my testing, so if you are into real bokeh more than the computational alternatives, using something like a 35mm F1.4 lens doesn’t mean your face will be a blur; just your surroundings. But the biggest barrier is likely to be just making sure you can work around the camera. In my case, that proved difficult.
For my current setup, I would have to move my desk away from the wall quite a bit or get a different mounting mechanism for the 1D X III to be a viable permanent webcam. Admittedly, I could get a compatible compact option like the Canon PowerShot G5 X II and a tiny Gorillapod and still get way better results than my laptop’s built-in camera (or I could even use a Sigma fp, which has a similar webcam feature). But at the end of the day, it’s all extra stuff to have on or around your desk. If your office area is anything like mine, it’s already pretty crowded.
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Lastly, during a real-world test, a roughly 50-minute Zoom call drained more than 50% of the battery on the 1D X III I was using. Dedicated webcams that draw their power from your computer won’t have this issue, and other Canon cameras that charge over USB will presumably present less of a problem.
In the end, I have to applaud Canon for making the effort to create this software quickly enough to allow locked-down workers to take advantage of it. It’s free, it’s valuable, and it could really benefit a ton of people out there with minimal effort. It may not be the best solution for everyone, but for at-home workers that still need to keep up professional appearances, this is a fantastic option.
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Editor’s note: An earlier version of this article mentioned that the EOS Webcam Utility beta was incompatible with Skype. Further experimentation showed this not to be true. The article has been updated and we regret the error.
Articles: Digital Photography Review (dpreview.com)
How HDR TVs could change your photography forever
07
Apr
Not the HDR you love to hate
You probably already have some understanding of what HDR images are, and equally probably, a moderate-to-strong opinion about their artistic merit. But you’re likely to hear a lot about HDR in the coming years that has nothing to do with the eye-popping candy-colored processing you’re thinking of.
A standard DR impression of the HDR difference
This is a necessarily limited representation of the difference between SDR and HDR images, constrained by your SDR display.
On an HDR monitor, capable of brighter whites and darker blacks, the shadow region would be brighter and able to express more contrast, while the sky would be brighter still and more distinct from the foreground, just as it would be in the real world. However, it’s impossible to convey the capabilities in a JPEG image, viewed on an SDR display, so all we can do is try to maintain the distinction between the sky and foreground.
The technologies that make this possible are displays that can achieve a wider color gamut, a greater maximum and minimum brightness than conventional displays, and that can show more subtle gradations of tones from this brightest point down to black. This means they can show a more convincing representation of the real world, but requires content that makes use of this possibility.
What we currently think of as HDR images are usually high dynamic range scenes tone-mapped to fit into the constraints of standard dynamic range (SDR) displays and print. But a new generation of displays: OLED and other high-end TVs and many mobile devices, are able to display a wider range of tones than before. And, crucially, this isn’t about eye-catching effects, it’s about representing the world more realistically.
HDR in video
This capability has already been exploited in cinema. Directors and DoPs are increasingly shooting and grading their movies to utilize the wider dynamic range offered by modern cameras and displays. The latest HDR TVs allow us to gain this same experience in the home.
The push toward HDR TV has spawned a series of standards, from the sophisticated Dolby Vision to the less ambitious HDR10, via HDR10+, which sits somewhere in between. There’s also the more simplistic Hybrid Log Gamma, which is the one you’re most likely to have already heard of.
HLG was developed by broadcasters to look good on an SDR display, but better on HDR screens
Dolby Vision, HDR10 and HDR10+ are being used to various degrees by content streaming services, where it’s possible to deliver different streams to users whose systems can report that they’re HDR compatible and those that aren’t. This means they don’t have to be cross-compatible with older, SDR screens. Hybrid Log Gamma was developed by broadcasters and is designed so that it looks good on an SDR display, but looks better on HDR screens. This was necessary since broadcasters have to deliver the same signal to everyone.
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| Ultra HD Blu Ray discs get round the problem of how to accommodate SDR viewers by providing a standard Blu Ray disc alongside the HDR 4K version (HDR 10 in this instance) |
There’s scope for cynicism here: we’ve just watched a wave of enthusiasm for 3D movies and TVs surge and ebb, so it’s no surprise that there’s another technology rushing towards us, in the hope it drives us to all upgrade our TVs to the latest spec. But this one has a more direct benefit for photographers.
HDR in stills
At present, the JPEGs produced by cameras are designed with the expectation they’ll be viewed on standard definition displays. This limits how much of the dynamic range of the real world can be shown before everything begins to looking flat and washed-out, or tips over into the hyper-real look of aggressively tone-mapped HDR images.
So far we’ve seen two camera manufacturers go further and try to take any advantage of the arrival of more capable displays. Panasonic’s S-series cameras have a mode that can output images based around the HLG standard. These files can be viewed on the majority of HDR TVs if you connect the camera using HDMI. Images shot using HLG Photo mode are output as .hsp files (defined in the HLG standard), whose wider user and acceptance is currently unclear. The cameras can also output .hsp files using in-camera Raw conversion.
Not all the elements necessary for exploiting HDR’s photographic potential are in place yet
The first sign of Canon exploiting HDRTVs’ capabilities is that you get a higher DR preview of Raw files from its recent cameras, if you connect them to a 10-bit display over HDMI.
But the big news being that the EOS-1D X Mark III will output 10-bit files designed for HDR displays in the HEIF image format.
HEIF is already in use for HDR imagery on Apple’s phones (though not, yet, its Mac computers, which can open HEIF files but don’t display the HDR version of the image). HEIF/HEIC is a broad standard, and the files from Canon and Apple are not cross-compatible with one another, but its use by two such large players in the imaging industry significantly increases the likelihood of third-party software offering support.
We may start to see HDR displays become a leading way to exhibit photography
Canon’s HEIF files use the response curve used in both the Dolby Vision and HDR10 standard. This should aid compatibility across HDR systems, but it is not backwards compatible with SDR systems.
It’s worth noting that the HEIF standard includes the option to include multiple image files: so it could potentially offer a way of delivering both an HDR and SDR version of an image, without any compromises to maintain cross-compatibility.
So what does this mean?
For now, there’s no standard workflow for producing HDR images, so it’s not something you can easily start doing today. But it’s worth being aware that the possibility is coming and it could change what you can do with your photos.
For instance, since the latest HDR screens can show a much more convincing version of the world than bright lights reflected off good quality prints, we may start to see HDR displays become a leading way to exhibit photography. If that’s your target, you wouldn’t need to worry about also producing a more restrictive version for SDR display, so you could process your images on an HDR display with HDR output in mind.
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| Apple’s Photos software, running on latest Mac Pro and combined with the rather pricey Apple XDR display, is one of the few combinations to currently let you edit photos for HDR displays. |
Alternatively, embracing a Hybrid Log Gamma workflow would mean that nearly everybody could view your photos but that those with SDR monitors wouldn’t miss out on the subtlety in the brighter parts of the image. Or perhaps there’ll be a need to prepare two versions of your best images: one optimized for HDR and a second that still looks good to everyone else.
If you haven’t already drawn this conclusion: it’s early days for HDR photography and not all the elements necessary for exploiting its photographic potential are in place, yet. But it is coming. And your next TV could be a chance to expand your photography beyond a set of limitations you might not even have realized were confining you.
SDR/HDR demonstration by Rishi Sanyal with help from Dan Bracaglia
Articles: Digital Photography Review (dpreview.com)
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