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Posts Tagged ‘External’

You will soon be able to import into Lightroom on iOS directly from external storage

14 Nov

Adobe has given the public a new sneak peek at a future update for Lightroom on iOS that will simplify the process of importing images into the app. As demonstrated in the above video, Adobe will enable users to directly import images from card readers into Lightroom on iOS, after which point the content is uploaded to the cloud and added to the app’s photo library.

The ‘seamless importing experience’ will arrive in a future Lightroom update starting with iOS 13.2, according to Adobe’s Tom Hogarty. The company doesn’t provide an exact release date for this update, but says that it will arrive ‘soon.’

Articles: Digital Photography Review (dpreview.com)

 
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LumaFusion 2.1 video editing app adds external drive support, new aspect ratios and more

24 Oct

Mobile video editing app LumaFusion has been updated to version 2.1 to take advantage of new iOS 13 and iPadOS features. With LumaFusion 2.1, users can import and export media from external drives, including SD cards, flash drives, and portable HDDs/SSDs. In addition, the updated app also adds support for the iOS 13 system font selector, 27 new blend modes, aspect ratios and resolutions for the latest iPad and iPhone models, and an improved iOS 13 Dark Mode.

In addition to the new features, LumaFusion 2.1 brings a number of improvements, including dozens of UI ‘refinements,’ the ability play and pause previews with a single tap, rapid clip previewing using two-finger swipes, default ‘recommended’ export settings, improved project package format and exporting process, and the ability to long-press to quickly remove Network Drive servers.

Users can also expect general stability and performance improvements, as well as fixes for the level meters and the addition of text and color markers in library search. LumaFusion is available for iPad and iPhone from the App Store now for $ 29.99.

Articles: Digital Photography Review (dpreview.com)

 
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Report: iOS 13 will be able to import photos directly into apps from external storage

25 Apr

As powerful as iPads have become over the past few years, one of the most limiting factors of the device is its operating system. Apple has incrementally updated iOS, but overall has left much to be desired from the creative world, most notably in the area of storage. That might just change, however, according to the latest reports from 9to5Mac.

At its World Wide Developer’s Conference (WWDC19) in June, Apple is expected to announce iOS 13, which 9to5Mac says will finally include the ability for third-party applications, such as Adobe Lightroom CC and Affinity Photo, to import photos directly from external storage.

Until now, it was only possible to import photos into Lightroom CC and other post-production apps after the photos had been imported to the iOS Camera Roll. This not only effectively doubled the time it took to start processing photos, but also doubled the amount of space the images took up, at least until the photos were entirely imported to Lightroom CC and deleted from the Camera Roll.

According to the reports, which 9to5Mac has had a solid history of getting right on the iOS front, it will now be possible to plug in a memory card via the iPad Pro’s USB-C port and skip the Photos app altogether. Combined with the ability to now add various docks and hubs to the iPad Pro via its USB-C port, it could make for a pretty capable mobile setup.

There’s no definitive word on whether or not external HDDs and SSDs will be supported in terms of storing Lightroom CC libraries and other media elsewhere, but that too is one area that needs to be addressed for many photo professionals and hobbyists alike to make the jump to working off an iPad Pro exclusively.

Articles: Digital Photography Review (dpreview.com)

 
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What You Need to Know About Using Manual Mode on Your External Flash

27 Mar

The post What You Need to Know About Using Manual Mode on Your External Flash appeared first on Digital Photography School. It was authored by Jackie Lamas.

When you’re getting started in flash photography, it can seem like your flash has a mind of its own. You’ll be surprised to know that in a way it does. However, switching to manual mode can give you the control you really want.

1 - Using Manual Mode on Your External Flash

Using flash in manual mode lets you set the amount of light that you want to fire from your flash to light your subject.

What is manual mode?

External flashes are default set to the ETTL setting. This setting lets the flash meter the light and then give what it thinks is the correct output of light. ETTL is rather inconvenient since each photo you take will have a different output because the flash is constantly metering before each frame, causing a lot of inconsistency from photo to photo.

2 - Using Manual Mode on Your External Flash

Refer to your manual to find out how to change your flash from ETTL to Manual. On Canon, you push the MODE button until you cycle through to M which is manual.

Manual mode is where you take control of the power output of the flash and therefore get more consistently lit photos. For example, if you are in one spot photographing a portrait and don’t need to adjust for ambient light changes constantly, then you can set your flash at 1/4 power and leave it there until you move or want something different.

3 - Using Manual Mode on Your External Flash

When competing with the sun, full power or half power is your best bet.

In manual mode, you override the flash’s metering and have full control. It also allows you to control taking photos at shutter speeds of more than 1/200th of a second, which is the fastest shutter speed in ETTL.

4 - Using Manual Mode on Your External Flash

On this particular flash, hitting the button with the “H” on it will allow you to use a shutter speed faster than 1/200 of a second. Refer to your flash manual to find this option.

You can use manual mode in both outdoor and indoor settings. Practicing using your flash in manual gets easier over time, and eventually, you’ll be able to select the correct output for the ambient light or the effect that you want to achieve.

Manual mode is also really helpful when you ‘slave’ more than one flash. Slaving is when you sync more than one flash so that they go off at the same time. In manual mode, each flash can be set to a different power output so you can choose which is your key light and which is your fill – giving your photos more depth and contrast.

5 - Using Manual Mode on Your External Flash

For these photos, two flashes were used to light the couple and keep the ambient in the background.

Metering output for flash in manual mode

Your camera meters ambient light, however, it does not do the same for flash output. Don’t worry though, with practice and a bit of trial and error, you will get to know your flash and when to use full power or half power, for example.

6 - Using Manual Mode on Your External Flash

Now you’re probably wondering what full power even means. An external flash has power output levels which are read in fractions. Full power output means that the flash is giving everything it has got and this is transcribed as 1/1. From there it can go to 1/64 of its power output.

There is no right way to begin practicing, however, it’s best to meter for the ambient light that you want to achieve in-camera. For example, if you’re photographing a family during sunset, meter for the sunset. Once you have that settled, put your flash in manual mode and begin with a power output of 1/4 power.

7 - Using Manual Mode on Your External Flash

No flash was used for this portrait.

 

8 - Using Manual Mode on Your External Flash

Same family, location, ambient light and used flash at 1/8 power.

From there, adjust the power of the flash until you get the desired result. This way, you’re guaranteed to have the ambient light metered correctly and use the flash to fill in the light where you want it – in this case, on the family.

You can use your flash on your camera or off-camera in manual mode. Using it off-camera will give you a more angled direction of light and may inspire some creative lighting. On camera, be careful of the power output and angle you have your flash. Outdoors, you’ll probably want to point the flash at your subjects. Indoors, however, you might want to bounce the light off of a ceiling or adjacent wall.

9 - Using Manual Mode on Your External Flash

If you’re using a modifier like a flash diffuser, be aware that the light output will be different than using the flash without a diffuser. The power needed to light your subject also depends on the distance at which the flash is from your subject. When your flash is closer to your subject, it requires less power because the light is closer.

10 - Using Manual Mode on Your External Flash

If you are at a distance, then you’ll need to up the power on the flash in order for it to reach your subject at all. This can be especially tricky outdoors so make sure you are checking your photos after taking some test shots.

When to use your flash in manual mode

You should strive at getting comfortable using your flash in manual mode every time you need to use flash. This can really help you to get consistent photos when you’re not moving around or when the ambient light isn’t changing.

11 - Using Manual Mode on Your External Flash

The left photo is with flash and the right is without flash. Note the blue of the ocean and the sky with the flash versus without flash.

The best times to use flash are when you want to pop some light onto your subject when you’re competing with the sun outdoors, or when you want to control and create light in a studio, to fill in shadows, during sunset or low light, and for indoor settings.

For example, when you are photographing family portrait sessions outdoors with the sunset, you may need to use the flash to fill in light so that you can get the beautiful sunset and not have your subjects in the dark.

12 - Using Manual Mode on Your External Flash

Left without flash and right with flash.

Another example is when you are in an indoor setting, like a bride getting ready and you can bounce your flash off the ceiling to add some light into the room.

Using your flash in a studio setting can be a little more tricky since flashes don’t come with modeling lights. If you’re photographing in a dark room, using a flashlight to focus your camera first can be a big help. Some flashes have a fluttering effect to help with focusing, check your manual to turn this function on.

13 - Using Manual Mode on Your External Flash

One flash used for both photos. The left has the flash in front of the couple and the second has the flash behind the couple.

Using more than one flash at different power output levels can also create stunning photos with lots of depth, much like real studio strobe flashes but with more portability and less expensive.

To do this, you’ll need transmitters or some flashes also come with built-in sync transmitters. This means that when one flash sees another go off, it also goes off.

Other important factors when shooting with flash in manual mode

A few things to keep in mind when you’re photographing subjects with flash in manual mode include the batteries, shutter speed, ambient light metering, and high-speed sync.

14 - Using Manual Mode on Your External Flash

Using flash to fill the couple in and capture the sunset.

When you’re photographing at 1/4 power or more, you’ll go through batteries much quicker. A battery pack especially made for flash and professional cameras can come in handy especially if you’re going to be using flash for a long period of time. It can also make recycling the flash much faster.

What is flash recycling? It’s the amount of time that it takes the flash to recycle and be ready to flash again. The more power you set the flash at, the more time it takes to recycle. For example, a flash at 1/2 power takes longer to get ready to fire again than a flash powered at 1/16.

15 - Using Manual Mode on Your External Flash

Using flash at an angle to light your subject creatively.

The flash also takes much longer to recycle when the batteries begin to drain and lose charge. Have at least three or more sets of batteries at the ready in case this begins to happen.

When you’re using a flash in ETTL, the fastest shutter speed that you can use is 1/200th, on some, it can go up to 1/250th of a second. This isn’t too fast if you’re photographing in outdoor light or competing with the sun. Many flashes have the ability for high sync speeds when you’re using the flash in manual mode.

16 - Using Manual Mode on Your External Flash

Using flash indoors bounced off the ceiling at about 1/16 power.

The distance of the flash to your subject can also affect where to set the power on your flash in manual mode. The further away your flash is from your subject, the more power you’ll need in order for the light to reach your subject. The closer you are, the less power you’ll need. Of course, this depends on where you are photographing your subject and if ambient light is a factor.

Practice makes perfect

Using flash can seem really intimidating. However, controlling your flash by using it in manual mode can be just the right move for you to get comfortable using a flash. Practice makes perfect and the more you practice with your flash, the more you’ll understand how to power it in certain lighting situations.

17 - Using Manual Mode on Your External Flash

Flash used at 1/16 power to fill in light and get catchlights in eyes.

Unfortunately, cameras don’t record flash settings in the metadata of your images. It only records if the flash fired or not. This isn’t helpful when you’re trying to practice flash in manual mode.

Carry around a small notebook and record your settings in your camera for each image that you take. This way, you can remember what your flash settings were in that particular set up and light for future reference.

18 - Using Manual Mode on Your External Flash

Using flash at a 45-degree angle toward the subject off camera helps fill in the light.

As time goes on, you’ll be more comfortable setting, testing, and using your flash in manual mode.

In conclusion

19 - Using Manual Mode on Your External Flash

Using flash at 1/2 power indoors off-camera, on a flash pole high and pointed directly at the subject. This imitates the light of the sun for these indoor photos.

If you feel like using your flash sometimes gives your images an inconsistent look, try using your flash in manual mode. Manual mode lets you be in full control of how much light you want the flash to fire giving you more consistent exposures and taking out the guesswork of the flash itself.

Try it out and let us know if these tips helped you out!

The post What You Need to Know About Using Manual Mode on Your External Flash appeared first on Digital Photography School. It was authored by Jackie Lamas.


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How to Move Your Lightroom Library to an External Drive

19 Feb

The post How to Move Your Lightroom Library to an External Drive appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Many photographers put their pictures on their computer’s internal hard drive. This can be a great solution since even laptops now have fairly generous storage options compared to their counterparts in days gone by. It may take you a while to fill up a 1TB or larger internal drive even if you shoot in RAW, but at some point, you’re going to run out of space, and you’ll have to address this problem. Cloud storage is a good solution but often involves a monthly or yearly fee, and upgrading your internal drive can be expensive and time-consuming. One perfect solution is to migrate your entire Lightroom library to an external drive. While this might sound difficult and intimidating, it’s quite simple and is something that anyone can easily do.

Choosing your storage

Storage space is fairly inexpensive, but not infinite. There are always going to be physical limitations when it comes to how many images you can store on a single piece of media. This is true whether it’s a traditional hard drive, a solid-state drive, or a mix of both such as Apple’s Fusion Drives.

Thankfully, external drives can offer vast amounts of storage space for relatively little money. With the fast transfer speeds of USB-3, which is common on most computers today, you won’t lose anything in terms of editing efficiency by having your pictures stored externally.

The first step in migrating your pictures to an external drive is to buy an external drive, and you have several options:

• Traditional hard drive made with spinning platters. If you take this route, I recommend one with a transfer rate of 150mb/sec (megabytes per second) and an RPM speed of 7200. As I write this in early 2019, a four-terabyte drive, which can hold around 200,000 RAW files or half a million JPG files without breaking a sweat, can be found for US$ 100 to US$ 150.

Storage is inexpensive and prices are falling all the time. This 4 terabyte hard drive was only $ 90 when I bought it in the spring of 2019. (Guitar pick shown for scale.)

• Solid-state drive with no moving parts. These aren’t as cheap as traditional drives, and they don’t hold quite as much data. However, with prices falling all the time, it won’t be long until solid-state drives are the norm and traditional spinning platters become redundant. Transfer rates on these drives are going to be plenty fast enough for any photo editing.

• RAID array or Drobo. These are much more expensive than traditional storage options but offer redundancy in case of data failures, but they might be overkill for non-professional photographers. Besides, no matter what external storage solution you use, you should always have at least one off-site backup even if you do use a RAID array.

For most people, I recommend a simple USB-3 external drive, as it’s the most cost-effective solution and easy to backup onto another drive as well.

Once you have an external drive, there are two methods for getting your photos in Lightroom copied over to it. I’ll walk you through each of these methods as well as the positive and negative aspects of each so you can decide which is right for you.

Method 1: Use Lightroom

This process works well if you don’t have a large photo library. It doesn’t involve a lot of heavy lifting on your part because you can do everything within Lightroom. If you have a lot of images (a few thousand or more), I’d recommend against this because I’ve read reports that it can become a little unreliable when working with that many files. Your mileage may vary though, but know that you ought to proceed with a bit of caution when using this method.

First, locate your Folders pane on the left side of the Library module of Lightroom. Then click the + button in the top-right corner and choose “Add Folder…” This is going to let you create a new folder for storing your images. In this case, navigate to your external drive and create a new folder at that location.

Navigate to your external drive and create a folder on it that you can use to store your pictures. In the screenshot below my external drive is called “Untitled” and my folder is called “Lightroom Pictures.”

Once done, you should see the new folder show up in Lightroom, but it will be empty. This action also creates a new folder on your external drive, which you can see if you navigate to the external drive using Finder or Windows Explorer.

The final step in moving your images from the internal drive to an external drive is to drag-and-drop them from Lightroom. From the Folders panel, click on a folder that you want to put on the external drive and drag it from your internal drive to the new folder you just created.

Click the Move button and Lightroom transfers everything over to the external drive, with no extra effort required on your part. If you have thousands of pictures, this could take a while. So be patient. In the end, your images will be on the external drive and also removed from your internal drive.

Method 2: Copy files manually

If you don’t mind doing a little bit of work yourself using Windows File Explorer or the Macintosh Finder, this is the option I generally recommend. That’s because it not only gives you the most control over the copying operation but helps you understand exactly where to locate your pictures. This method also lets you decide when to delete the original images on your internal drive because you copy them to your external drive instead of moving them. The first thing you need to do is navigate to your Library module within Lightroom and look for the Folders pane. This module tells you where to locate your image files on your computer.

I’ve got images in Lightroom going back to 2013, and each year’s pictures are stored in a separate folder on my hard drive.

Right-click, or control-click on a Mac, on the name of one of the folders in your Folders pane and choose the option that says “Show in Finder.” If you are using Windows, this says “Show in Explorer.” This takes you to the location on your computer where your images are stored.

If you have multiple folders with images in them, do this operation one at a time for each folder. In this example, I started with the 2013 folder in Lightroom, and selected “Show in Finder.” Then it brought up the actual folder on my computer labeled 2013 that contains my images from that year.

When you get to this step, right-click (or control-click) the folder and choose Copy. Then navigate to your external drive and choose Paste. This makes an exact duplicate of the folder on your external drive which might seem redundant, but this is only temporary. A bit later in the process, you can delete the original folder on your internal hard drive once you are sure that everything worked with the copy operation.

Repeat this copy/paste process for every folder listed in your Lightroom Folders pane. After you are finished copying everything to your external drive, rename the original folders by giving them a suffix such as “2013-Original” or “2013-Old.” Again, this is only temporary, and you end up just deleting these folders entirely. But for now, you don’t want to get ahead of yourself and start deleting folders before you are confident that everything has worked properly.

Locating your missing folders

After you rename the original folders, Lightroom may have a bit of a fit because it suddenly won’t be able to locate all your images! With the folder names changed, it won’t know where to look for your pictures even though they are all still intact. The next step is to tell Lightroom where to find your images on the external hard drive instead of looking on your original internal hard drive. As soon as you rename the original folder, the icon in Lightroom changes to a question mark since it no longer knows where to locate your pictures.

Right-click on the folder with a question mark and choose “Find Missing Folder” to rectify the situation.

In the screen that pops up next, navigate to the folder on your external hard drive where your pictures are. This is the folder you copied over at the start of this whole process, and its name should be unchanged. Select it, to make it show up in Lightroom. All your photos should be fully intact.

Repeat this process with all your folders. When finished, your images will have successfully migrated to the external drive. You can verify this by scrolling through your Lightroom library and looking for any images with a question mark. If you don’t see any, then everything is fine. If you do, then Lightroom is having trouble locating the original image, and you might need to double check that all your pictures have copied to the external drive successfully.

When you are satisfied that you have completed the operation without error, you are free to delete the original images on your internal drive. However, I’d recommend keeping a backup of them just in case. When it comes to photos, you can never have too many backups!

Catalog vs. Photos

It’s important to know that your Lightroom pictures are not the same as your Lightroom Catalog. The latter is a reference file which keeps track of all your edits to your pictures, leaving the originals fully intact and unchanged. I recommend keeping your Catalog on your internal hard drive since Lightroom uses this for all your editing operations and internal drives are likely to be faster than external drives. However, it’s up to you. If you’re not sure what to do, just don’t even think about it, since moving your Catalog to an external drive is an entirely separate operation altogether.

The Catalog stores all the changes to your images and only takes up a few gigabytes of space. Your actual images can take up hundreds or even thousands of gigabytes.

Remember to Backup

A final step in moving your pictures to an external drive is to make sure you have a good backup plan in place. If you are on a Mac and have your computer backed up via Time Machine, it will not automatically back up your external hard drives, and you might also find yourself quickly running out of space on your Time Machine backup drive. I recommend keeping a separate backup of your external hard drive and using a program like Carbon Copy Cloner to make sure you sync everything correctly.

Windows has options available as well, but the bottom line here is that you can never be too safe when it comes to backing up your images. Hopefully, this tutorial helps you understand how to go about reclaiming some of the space on your internal drive and setting yourself up for success in the long run when it comes to external storage options. However, all will be for naught if your images aren’t properly backed up and your computer fails.

Once you have all these pieces in place, it’s time to get off your computer, start shooting photos, and know that you’ve got plenty of storage space for years to come!

The post How to Move Your Lightroom Library to an External Drive appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Drone owners in the US will soon need external registration numbers on their UAVs

14 Feb

The FAA will require drone operators in the United States to display their registration numbers on the outside of their small UAVs starting on February 25, 2019. The new regulation revises an existing policy that allows drone owners to put a UAV’s registration number inside of the device’s battery compartment.

Drone operators in the US must register their aerial vehicle with the FAA, at which time they’re given a registration number. Since launching the registration requirement, the FAA has permitted drone owners to conceal their identifier within an enclosed compartment on the drone, assuming the compartment could be opened without using tools.

This permission aimed to ‘grant flexibility to the diverse types of small unmanned aircraft commercially available.’ However, an interim final rule published on the Federal Register today notes that the FAA has revised that permission and, starting on February 25, will require the registration number to be located on the drone’s exterior.

According to the FAA, it has revised its rule due to government security agency and law enforcement concerns that explosive devices could be hidden within small drones. In a situation like this, first responders who are required to open a drone’s battery compartment in search of the registration number are at risk of injury.

The new interim rule states:

Requiring small unmanned aircraft owners to place the registration number on an external surface of the aircraft helps to mitigate this risk because a first responder can view the number without handling the aircraft, or by using other technologies that allow for remote viewing of the aircraft’s external surface.

The rule change goes into effect on February 25, but the public is able to submit comments on the new requirement until March 15. Comments can be submitted using the Regulations.gov website or by mail and hand delivery to the West Building Ground Floor at 1200 New Jersey Avenue SE, Washington, DC.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon, Atomos team up to offer 4K Raw capture over HDMI to the Ninja V external recorder

11 Jan

Atomos has announced it’s working alongside Nikon to develop PreRes Raw recording with Nikon’s Z6 and Z7 mirrorless cameras. This marks the first time any mirrorless camera will be able to output 4K Raw video over HDMI to an external recorder, in this case the Atomos Ninja V.

‘Capturing Apple ProRes RAW video with the Ninja V unlocks complete control of the video image at the highest quality possible,’ says Atomos in the press release. ‘The maximum dynamic range, color accuracy and detail is preserved, while at the same time every aspect of the video image can be controlled with precision for maximum creativity.’

Atomos explains the Raw video capture works by streaming Raw data across an HDMI cable to the Ninja V external recorder. That footage is then repacked into the ProRes Raw format and stored to a removable SSD drive inside the Ninja V.

When the SSD drive is full or shooting is completed, the drive is then removed and connected to a computer for post-processing. The resulting footage is decoded (debayered) on the computer, as it’s quite a processor-intensive process, and ready to be edited accordingly.

As previously noted, this is the first time 4K Raw video over HDMI has been seen in a mirrorless camera. The Blackmagic Pocket Cinema Camera 4K offers Raw output both internally and over USB Type-C, but not over HDMI.

Atomos and Nikon are currently showing off the new 4K Raw recording feature at CES 2019 (Booth #14006), but there’s no official timeframe on when we’ll see this new capability publicly.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon’s new Z6 Filmmaker’s Kit saves you $650 on external recorder, mic, gimbal and more

08 Jan

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Nikon has introduced its Z6 Filmmaker’s Kit, which includes just about everything the budding videographer needs for more advanced movie-making. In the box with the Z6 and Nikkor S 24-70mm F4 S lens you’ll find:

  • FTZ Adapter
  • Atomos Ninja V 4K external recorder
  • Rode VideoMic Pro+
  • MOZA Air 2 3-axis hand-held gimbal
  • Extra EN-EL15b battery
  • Coiled HDMI cable
  • 12 month Vimeo Pro membership
  • Online course for making music videos, featuring Nikon Ambassador Chris Hershman

One thing not included is an XQD card, so that’s an additional expense.

The Filmmaker’s Kit will be priced at $ 3999 and will be available in late January. We did the math on what all of this would cost separately and came up with $ 4650, so you’re definitely saving some money if you need all of that gear.

Press Release

NIKON UNVEILS THE NEW NIKKOR Z 14-30MM F/4 S ULTRA-WIDE-ANGLE ZOOM LENS, THE WORLD’S FIRST1 FULL-FRAME 14MM FILTER-ATTACHABLE LENS

Nikon Also Debuts Z 6 Filmmaker’s Kit: An Immersive Toolkit for the Modern Multimedia Creative

LAS VEGAS – CES BOOTH #14006 (January 7, 2019 at 9:01 P.M. EST/6:01 P.M. PST) – Today, Nikon Inc. announced two new products, including the NIKKOR Z 14-30mm f/4 S, the first ultra-wide zoom lens to take advantage of the amazing capabilities of the next generation Nikon Z Mount. This newest S-Line NIKKOR lens is a popular focal length for landscape, travel, event and architecture photographers, offering a combination of performance and portability that’s only possible with Nikon’s revolutionary new Z Mount.

Featuring a new optical design, the compact and lightweight NIKKOR Z 14-30mm f/4 S delivers the high level of optical performance that still and video creators expect from the NIKKOR name. By utilizing the larger diameter and technological benefits of the Z Mount, Nikon was able to design an ultra-wide-angle lens that delivers superior optical performance and maximizes the potential of high pixel-count digital cameras such as the 45.7-megapixel Nikon Z 7. Additionally, the design features a nearly flat front lens element, making the NIKKOR Z 14-30mm the world’s first filter-attachable ultra-wide-angle zoom lens covering a focal length from 14mm.

Nikon Inc. has also announced the Nikon Z 6 Filmmaker’s Kit. Featuring a selection of popular video equipment for the Z 6, the kit allows video creators to take full advantage of the Z 6’s industry-leading video features. Included accessories such as the Atomos Ninja V 4K HDR 5” Monitor Recorder and MOZA Air 2 3-Axis Hand-Held Gimbal Stabilizer make the new Filmmaker’s Kit an enticing value for those ready to explore the Nikon Z 6’s stellar video capture and multimedia potential.

“The NIKKOR Z 14-30mm lens demonstrates the optical superiority of the Z system, taking advantage of the newest high-performance lens technologies while maximizing compactness and portability,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The Nikon Z series is a powerfully capable camera system for all types of video production, and with the Z 6 Filmmaker’s Kit, we’re giving videographers and content creators the gear they need to begin capturing high-quality videos with the most compelling hybrid camera on the market.”

The NIKKOR Z 14-30mm f/4 S: An Exceptional Combination of Portability and Performance

The new 14-30mm lens was designed for photo and video shooters looking for a sharp ultra-wide zoom lens with which to seek out gorgeous landscapes or cityscapes on their next travel adventure, and is an excellent choice for capturing interiors, architecture or events. It’s a lens for those who need to pack light without sacrificing image quality – an ultra-wide-angle lens that delivers portability and performance that pushes the boundaries of what is optically possible in a lens of its size.

  • Lightweight and Ultra-Portable: At just 3.5-inches long when retracted, and weighing only 485g/1.07lbs, the NIKKOR Z 14-30mm f/4 S is approximately 28.6% lighter and 32% shorter than the popular AF-S NIKKOR 16-35mm f/4G ED VR, and approximately 51.5% lighter and 35% shorter than the tried-and-true AF-S NIKKOR 14-24mm f/2.8G ED for the F mount.
  • Uncompromising Optics: Featuring a new optical formula that utilizes four Extra-Low Dispersion (ED) elements and four aspherical elements, the 14-30mm f/4 offers unparalleled control of distortion and chromatic aberration. Additionally, the use of Nikon’s anti-reflective Nano Crystal Coat effectively reduces ghosting and flare, delivering clearer images that maintain contrast in challenging lighting situations.
  • Filter Attachable: For the first time on a 14mm FX-format (full-frame) lens1, photographers will be able to attach various types of screw-on filters (82mm) to the front of this ultra-wide-angle lens, infinitely expanding the creative possibilities of the NIKKOR Z 14-30mm f/4 S for landscape and cityscape photographers, videographers and more.
  • Stepping Motor Technology: Featuring the latest Nikon Stepping Motor (STM) technology, the new lens provides smooth, fast and quiet AF performance—ideal for photographers shooting in sensitive environments, as well as videographers who must avoid focus noise in productions.
  • Control Ring: As with the rest of the S-Line of NIKKOR Z lenses, the 14-30mm f/4 includes a customizable control ring that can be assigned to manual focusing, exposure compensation or aperture control depending on personal preference or shooting situation, maintaining different custom settings when in photo and video mode.
  • Fully Compatible with In-Camera 5-Axis VR: To help ensure the sharpest possible images and most stable video, the new NIKKOR Z 14-30mm f/4 S is fully compatible with the in-body 5-axis VR found in the Nikon Z 6 and Z 7, providing up to 5 stops2 of image stabilization without adding to the size or weight of the lens itself.
  • Optimized Video Performance: In addition to the speedy and near-silent stepping motor technology and customizable control ring, the lens reduces focus breathing, preventing the angle of view from changing unintentionally when adjusting focus.
  • Reliability: The NIKKOR Z 14-30mm f/4 S is designed with consideration to dust and drip resistance, and features a fluorine coat that effectively repels dust, water droplets, grease and dirt.

The New Nikon Z 6 Filmmaker’s Kit

For users who are looking to take full advantage of the Nikon Z 6’s industry-leading video capabilities, this powerfully cinematic camera is now available as part of a new Filmmaker’s Kit. The bundle includes a range of equipment that helps users unlock the Z 6’s advanced video features and powerful potential.

The kit includes: a Nikon Z 6 camera, NIKKOR Z 24-70mm f/4 S lens, Mount Adapter FTZ, Atomos Ninja V 4K HDR 5” Monitor Recorder3, Rode VideoMic Pro+, MOZA Air 2 3-Axis Hand-Held Gimbal Stabilizer, an additional EN-EL15b battery, a coiled HDMI cable, 12-month Vimeo Pro membership, and The Art of Making Music Videos Nikon School online course featuring Nikon Ambassador Chris Hershman.

The Z 6 ushers in a new era in high-quality video capture for Nikon shooters. The camera’s fast and accurate autofocus, full-frame 4K/30p recording with full-pixel readout, zebra stripes, timecode and focus peaking offer users a professional-grade shooting experience. With the Z 6 Filmmaker’s Kit, users can access the advanced video features, like 10-bit HDMI output and N-Log video recording, while capturing gimbal-smooth video and crystal-clear audio. The kit provides filmmakers, vloggers and YouTubers with all the equipment they need to begin capturing high-quality 4K footage right away.

Price and Availability

The NIKKOR Z 14-30mm f/4 S lens will be available in the spring for a suggested retail price (SRP) of $ 1,299.954.

The Nikon Z 6 Filmmaker’s Kit will available in late January for a suggested retail price (SRP) of $ 3,999.954.

  1. Among FX-format (full-frame) compatible interchangeable lenses for digital cameras, available as of January 8, 2019. Based on Nikon research.
  2. Based on CIPA Standard. This value is achieved when FX-format compatible lenses are attached to a FX-format digital SLR camera and zoom lenses are set at the maximum telephoto position.
  3. Batteries and SSD sold separately.
  4. SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

– Specifications, equipment and release dates are subject to change without any notice or obligation on the part of the manufacturer.

– MOZA is a trademark of Gudsen Technology Co., Ltd, registered in the U.S. and other countries

– Other trademarks and trade names are those of their respective owners.

Articles: Digital Photography Review (dpreview.com)

 
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Canon Speedlite EL-100 external flash is compact yet powerful

07 Sep

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Buried among its new full-frame mirrorless system and new lenses, Canon also snuck out a new external flash: the Speedlite EL-100. This compact flash, which weighs just 190g (6.7oz) has plenty of power, with a guide number of 26m (85ft) at ISO 100. The EL-100 runs on two AA batteries and has a minimum recycling time of 5.8 seconds.

The flash can be tilted both horizontally and vertically for bounce capability, and it also has a manual zoom head. In addition to a ‘set it and forget it’ Auto mode, stroboscopic and 2nd-curtain options are also available. Despite its $ 199 price tag, the EL-100 is able to serve as both an optical transmitter and receiver, supporting 3 groups and 4 channels.

As mentioned above, Canon’s latest Speedlite will cost $ 199 when it ships in October.

Press Release:

New Speedlite Series

Canon is also introducing a new compact and lightweight Speedlite, the EL-100. Designed for photographers who are just beginning to use an external flash or are in need of a secondary unit, the new Speedlite delivers both soft and natural lighting reproduction. In addition, the EL-100 can rotate upwards and to the left and right enabling photographers to bounce the flash off of nearby ceilings, walls or surfaces.

Additional Features of the Canon Speedlite EL-100 include:

  • Maximum Guide Number of Approx. 85 ft./26m at ISO 100
  • 24mm Wide-angle Coverage
  • Optical Wireless Flash Function (Sender and Receiver)
  • Flash Exposure Control Including Support for Stroboscopic Flash and Continuous Shooting Camera-linked Functions Including Interlocked External Flash Power On/Off
  • Mode Dial with AUTO Position

The Canon Speedlite EL-100 will be available for purchase in October 2018 for an estimated retail price of $ 199.99.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic external GPU for MacBook Pro now available from Apple

14 Jul

Australian digital cinema company Blackmagic recently worked with Apple to develop Blackmagic eGPU, an external GPU that brings “desktop-class graphics performance” to the new MacBook Pro laptops with Thunderbolt 3 ports.

The Blackmagic eGPU features an AMD Radeon Pro 580 graphics processor with 8GB of GDDR5 memory, one HDMI 2.0 port, four USB 3 ports, two Thunderbolt 3 ports, and an 85W power supply. Thunderbolt 3 provides a 40Gb/s connection over a single cable, enabling rapid data transfers between the external graphics processor and MacBook Pro.

Graphics performance speed improvements depend on the laptop model; The Verge reports that the 13-inch MacBook Pro experiences an 8x boost, while the 15-inch model experiences a 2.8x increase.

As a first for external GPUs, the eGPU’s second Thunderbolt 3 port provides optional connectivity with the LG UltraFine 5K Display, the model Apple offers directly, and other Thunderbolt 3 displays. A second monitor can be connected via the HDMI port; peripherals, such as a mouse and keyboard, can be plugged into the eGPU’s USB hub.

Users must be running macOS 10.13.6 High Sierra or later to use the Blackmagic eGPU. Apple is exclusively offering the device through some of its retail stores and online for $ 699 USD.

Via: The Verge

Articles: Digital Photography Review (dpreview.com)

 
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