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Posts Tagged ‘Format’

Fujifilm Announces the Affordable X-T30 II and the Medium Format GFX 50S II

03 Sep

The post Fujifilm Announces the Affordable X-T30 II and the Medium Format GFX 50S II appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Fujifilm announces the X-T30 II and the GFX 50S II

Fujifilm has launched two powerful new mirrorless cameras: the X-T30 II, an incremental upgrade to the popular X-T30, and the GFX 50S II, successor to the GFX 50S.

What do these two cameras offer? Let’s look at each option in turn, starting with:

The new Fujifilm X-T30 II

Fujifilm’s original X-T30 is known for its compact size and retro design, plus its capable stills and video performance for all-around and hybrid shooters. As suggested by its name – the X-T30 II rather than the X-T40 – the new model brings several improvements to its predecessor without a major revamp.

Like the X-T30, the X-T30 II features a powerful 26 MP APS-C sensor, promising excellent image quality in a compact package. Fans of the film aesthetic will appreciate the X-T30 II’s new film simulations, Eterna Bleach Bypass and Classic Neg, which add to the X-T30 II’s retro functionality and give photographers improved in-camera flexibility. 

Speaking of improved flexibility, while the X-T30 focuses in low-light environments of -3 EV, the X-T30 II pushes this to -7 EV – perfect for photographers who frequently shoot at night or in lightless indoor scenarios. And while core autofocus capabilities on the two cameras are identical, Fujifilm guarantees upgraded subject tracking on the X-T30 II, useful for street photography, event photography, and more.

Photographers who frequently compose and/or review images via the LCD screen will appreciate a new display – at 1.62M-dots versus the X-T30’s 1.04M-dots – though the electronic viewfinder remains the same 2.36M-dot resolution. Personally, I find the lack of an EVF upgrade disappointing, but the X-T30/X-T30 II viewfinder display is certainly usable even if it comes up short compared to the competition.

Videography capabilities on the X-T30 II mirror that of its predecessor, with one significant exception: You now get an ultra-slow-motion mode, featuring HD quality at a whopping 240 frames per second for what Fujifilm is billing as “cinematic style results.”

Overall, the X-T30 II upgrades are minor, and if you already own the X-T30, grabbing the X-T30 II makes little sense unless you’re entranced by the -7 EV AF capabilities. That said, for consumers choosing between the X-T30 and the X-T30 II, the higher resolution LCD, improved autofocus, and the slow-motion video mode are worthwhile additions to the newer model, plus the X-T30 II is impressively affordable, even compared to the X-T30 – at just $ 999 USD (including a 15-45mm kit lens), it’s only $ 100 USD more than the X-T30. So if you like the sound of the upgrades and can afford to spend a little extra, the X-T30 II is a great choice.

The new Fujifilm GFX 50S II

Fujifilm is the master of relatively compact, relatively affordable medium format cameras for enthusiasts and professionals, and the GFX 50S II further develops this already formidable lineup, promising outstanding 51 MP image quality, a DSLR-like design, plus a handful of improvements for enterprising photographers.

The GFX 50S II offers 6.5 stops of in-body image stabilization for easy handholding (the original GFX 50S lacked IBIS entirely), plus you can expect upgraded autofocus thanks in part to Fujifilm’s “advanced focus algorithms…found in the GFX 100S and the latest X-Series models.” 

And while the GFX 50S II certainly doesn’t come cheap, its $ 3999 USD price tag is eminently reasonable given the image quality, so if you’ve been eyeing medium format but haven’t managed to take the leap, perhaps now is the time.

Fujifilm’s new camera announcements: final words

The X-T30 II and the GFX 50S II may not be groundbreaking new cameras, but minor upgrades matter, as do low prices.

So if you’re after a do-anything camera with a gorgeous retro design, consider the X-T30 II, which is available for preorder and will begin shipping on October 21st.

And if medium format is your thing, take a look at the GFX 50S II, which will also ship on the 21st of October and is currently available for purchase.

Now over to you:

What do you think of these two new cameras from Fujifilm? Do either of them interest you? Do you wish for more significant upgrades? Share your thoughts in the comments below!

The post Fujifilm Announces the Affordable X-T30 II and the Medium Format GFX 50S II appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Square Photography: 6 Reasons the Square Format Is Amazing

28 Jul

The post Square Photography: 6 Reasons the Square Format Is Amazing appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

6 reasons the square format is amazing

What’s so great about the square format in photography? And how can shooting square compositions help your photos?

In this article, I’m going to share 6 important reasons to use the square format. And by the time you’re done, you’ll fully appreciate the value of square photography!

Let’s get started.

Square versus rectangular photography

Every photo aspect ratio – square, 3:2, 4:3, 16:9, and more – features a slightly different view of the world.

And these different views lend themselves to different types of compositions.

Therefore, composition in the square (1:1) format is a different process than composition within a standard 3:2 or 4:3 rectangular frame.

Is the square format always better than a wider format? Absolutely not. There are times when you’ll want to shoot with a 3:2 format, for instance, or a 16:9 format (especially when you’re dealing with wider or longer scenes).

But the square format is very well-liked by photographers, and I highly recommend you keep it at the back of your mind when out shooting.

Let’s take a look at why the square format is so great, starting with:

1. Square compositions feature balance and flow

A square is a perfectly balanced shape. Each side is equal in length. Therefore, neither the vertical nor the horizontal direction is emphasized.

Why does this matter? Well, in a rectangular frame, the viewer’s eye is encouraged to move from side to side (in the landscape format) or up and down (in the portrait format).

But in a square frame, with every side equal in length, the viewer’s eye is encouraged to move, not from side to side or up and down, but in a circle. This creates visual flow, always a good thing in photography.

Of course, there are many factors that influence the way the eye moves around a photo, including the use of line, texture, color, selective focus, and negative space. But the shape of the frame is a major factor.

In the landscape below, composed with the 3:2 aspect ratio of my 35mm camera, the eye is encouraged to move from side to side, thanks to the shape of the frame (as well as the horizontal lines):

landscape horizontal composition

But in this square format photo, the eye is encouraged to move around the frame in a circle:

landscape with circular flow

Useful, right? It’s especially important when you’re dealing with near-far compositions (as in the shot above) and you want to push the viewer from foreground to background and then to the foreground again.

2. The square format gives the perfect amount of negative space

Negative space is the term used to describe any empty space around a subject. For instance, if you photograph a barn surrounded by a snowy field, the field will often constitute negative space.

Now, it’s common knowledge that you can improve your compositions by getting close to your subject – that is, by eliminating negative space. But when used carefully, negative space can create a wonderful sense of atmosphere. And it can also help emphasize the shape of the subject (i.e., the positive space).

Unfortunately, negative space can be somewhat finicky. Including lots of space in a rectangular frame may not turn out so great, as you’ll end up with too much space and not enough focus on your subject. But negative space often works very well in the square format, as I demonstrate below.

Here is a photo of a lizard in the 3:2 aspect ratio:

reptile with lots of negative space

And here is the same photo cropped to a square:

Square format composition reptile

Which do you prefer? The square format offers a more balanced composition – featuring lots of negative space, yes, but also a powerful splash of positive space.

3. A square will force you to simplify your compositions

The square format lends itself to a simple approach. It pushes you to pare down your compositions and make every element count.

Why? Because there is less room in a square frame than in a rectangular one. So before you include another element in the frame, you’re forced to ask yourself: What is really necessary? And what can I do without?

Generally speaking, creating a simple composition is hard – but after a bit of time working with the square format, you’ll find it becoming easier and easier.

Remember: for your photos to have impact, you should eliminate as many distractions as possible. The focus should be on your subject. Other unnecessary elements within the frame will simply pull the viewer’s eye away from the subject and reduce the strength of the image.

This photo is about as simple as you can get:

setting sun in a square

And the square format forced me to keep the strong, simple, in-your-face composition.

4. The square format works great with shapes

Take a look at the images below. How many shapes can you see?

collection of square format images

There are dozens – circles, squares, diamonds, rectangles, and more.

Now, shapes tend to look great in photographic compositions. They help stabilize and balance the frame, plus they can create powerful, eye-catching scenes.

And the square format really lends itself to shape-based compositions.

Why? I’m not completely sure, but I think it’s because the square is such a powerful shape that it emphasizes other shapes within it. This is linked to the ideas of balance and simplicity, as discussed above – simplifying the composition emphasizes shapes, which in turn makes shape-based compositions more powerful.

Whatever the reason, just know that geometry looks great in square photos. So if your plan is to shoot (or crop) square, the more shapes, the better!

5. You can create beautiful square centered compositions

Photographers tend to avoid positioning the main subject in the center of the frame. And in most cases, this is a good idea. As the rule of thirds points out, off-center compositions are the way to go.

But did you know that centered compositions actually work well with the square format?

It’s true! With square photography, you can often place the subject in the center of the frame for an effective composition. You can ignore the rule of thirds. And you can get some very unique photos.

Centered compositions work especially well when the image is simple. The fewer distractions present in the frame, the more effective a central composition becomes. If the subject has a strong shape, the balanced empty space around it emphasizes that shape. And the square format provides the perfect frame:

Square format composition Ford logo

6. The square format works beautifully with black and white

Take away color and what do you get? An image that relies on tonal contrast for impact and that emphasizes visual elements such as lines, textures, and shapes.

In other words:

A composition that looks amazing in a square format.

two rocks side by side

Honestly, the square format and black and white seem made for each other, which perhaps explains the square format’s popularity with fine art photographers.

So the next time you’re shooting in a square format, consider switching to your camera’s monochrome mode. You’re bound to capture some stunning photos! Alternatively, you can shoot in color and convert to black and white in post-processing (it can be helpful to switch back and forth between color and black and white to see what works best for your shot).

Square photography: final words

Now you know all about the power of the square format – and why you should definitely try using the 1:1 aspect ratio in your photography.

It doesn’t matter whether you shoot with the intention of cropping to a square, or you go back over your old images with the aim of making some square compositions; the important thing is that you have fun with the process, and that you appreciate the usefulness of square photography!

Now over to you:

What do you think about the square aspect ratio? Do you use it frequently? When does it look best? Share your thoughts in the comments below!

The post Square Photography: 6 Reasons the Square Format Is Amazing appeared first on Digital Photography School. It was authored by Andrew S. Gibson.


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Video: Hasselblad shows how it produces, tests its X System medium format cameras

21 Jul

Hasselblad has released the third video in its ongoing ‘Hasselblad Home’ series, showcasing how the Swedish company produces and tests its X System medium format cameras inside its Gothenburg headquarters.

Throguhout the four-minute video, Hasselblad shows the five-step production and testing process it uses to ensure all X System cameras are properly constructed and programmed to get the best image quality possible. The first step in the process is a cosmetic check to ensure the camera body itself is undamaged from the manufacturing process. If it clears the cosmetic check, that camera is assigned a serial number, which will follow it until it reaches the hands of the customer.

With the serial number assigned, it’s onto installing the software of the camera and completing more assembly of the main camera unit. Hasselblad says it tests each sensor independently — by capturing over 700 test shots — and uses that data to create a calibration profile that is then installed on the camera that specific sensor unit is installed in. The camera will apply that specific calibration profile to each image before data is saved to the recording media.

From there, it’s onto the digital unit test, wherein Hasselblad workers adjust focus, remove dust and apply other quality control measures before moving onto the final photo quality test. Using both studio scenes and color charts, Hasselblad tests the image quality of each camera using both automated and manual verification to ensure no anomalies are seen in the resulting photographs.

The video is yet another unique look into a process usually hidden within the factory walls. Regardless of whether or not you own — or have even shot with — a Hasselblad, it’s hard not to respect the level of precision and attention to detail that goes into each camera unit before it’s packaged up and shipped off.

Articles: Digital Photography Review (dpreview.com)

 
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JPEG XL image format promises smaller files, backwards compatibility and more

14 Jul

JPEG, the lossy compression standard for images used on the Internet and digital cameras, might receive a much-needed upgrade by year’s end. The creators of JPEG XL claim their free open-source format offers up improvements that will result in a significant reduction in global bandwidth and storage costs.

The JPEG image format was first developed by researchers at the International Organization for Standardization (ISO) in the 1980s. Over the years, due to its many advantages over other formats of the time, it became the go-to format for photos on digital cameras and the World Wide Web. At the time, it was revolutionary, cutting down on the time it took for images to load (think 5 seconds compared to minutes) and could store up to 50 images, rather than 1, on a memory card.

For almost 30 years, this standard, which uses data compression to keep files small, has remained largely unchanged and unchallenged, even after several unsuccessful attempts. That, however, could change. Several formats introduced in the past to replace JPEG, including JPEG 2000, JPEG XR, Google’s WebP, and even HEIC have fallen short of widespread adoption. JPEG XL is hoping to rewrite that script.

JPEG XL can take existing JPEG files and transcode them, losslessly, to reduce their size without compromising their quality. A single JPEG XL file can be stored on a server and serve both JPEG and JPEG XL clients. A JPEG XL file can also be restored to the initial JPEG through backwards compatibility without compromising the file.

The format will benefit photographers by including a wide color gamut, HDR (high dynamic range), and high bit depth images.

The format will benefit photographers by including a wide color gamut, HDR (high dynamic range), and high bit depth images. Support for printing, large panoramas, 360-degree imagery, and image bursts is also available. Optimized for responsive web environments, it’s also addressing current Internet user needs on a wide range of devices such as tablets and smartphones.

‘JPEG XL further includes features such as animation, alpha channels, layers, thumbnails, lossless and progressive coding to support a wide range of use cases including but not limited to photo galleries, e-commerce, social media, user interfaces and cloud storage,’ reads the official overview. What the creators promise is superior image quality, a codec ratio smaller than the typical 20:1 to 50:1, and encoding plus decoding without hardware acceleration on mobile devices.

The standard has four specifications which will be combined to make JPEG XL the standard, going forward, by the end of 2021, so long as the project doesn’t encounter any setbacks. Even if it gets set in stone before the end of the year, it may take time for it to be compatible on all the applications and platforms available. To find out if your browser supports JPEG XL, you can check here. Those interested in the coding system can check out the white paper.

Articles: Digital Photography Review (dpreview.com)

 
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Halide developers break down the technology powering Apple’s new ProRAW image format

16 Dec

Apple’s new ProRAW format is now available to iPhone 12 Pro and 12 Pro Max users running iOS 14.3. The new format promises the power of Apple’s image processing capabilities with the flexibility of a Raw image. But what exactly is a ProRAW image, how useful is the format and what sort of results can we expect from it?

Ben Sandofsky, one of the developers behind the iOS camera app Halide, has answered all of those questions and more in a thorough overview of the ProRAW technology, with illustrations and example photos from Halide designer, Sebastiaan de With.

Sandofsky’s overview is effectively broken down into three parts. That first part explains how a digital camera ‘develops’ an image using the data from the sensor. The second part explains the pros and cons of traditional Raw files. And the third part is where we learn what’s unique about Apple’s ProRAW technology and why it ‘changes the game’ despite ‘its few remaining drawbacks.’

We suggest taking Sandofky’s advice and grabbing a coffee if you plan on reading the entire post, but we’ll summarize a few of the standout details here on DPReview as well in the case you’re in a rush or are out of coffee.

Since most DPReview readers are familiar with how a camera processes data from the sensor, as well as the pros and cons of Raw files, we’re going to skip right to Sandofky’s rundown of the new ProRAW technology from Apple.

Sandofsky gets straight to the point, answering a question we’ve seen a few people ask in the comments of previous articles on Apple’s new ProRAW technology — ‘Technically, there’s no such thing as a ProRAW file.’ ProRAW image files, as he explains, are simply regular DNG files that use little known features in the DNG file format specifications, as well as a few new features Apple worked with Adobe to implement in the new 1.6 specification.

Specifically, Adobe and Apple worked together to add a new set of tags for the open Raw format that enable much of what Apple is doing with its ProRAW-branded DNG files. In fact, the new DNG 1.6 specification went live the day Apple released the iOS 14.3 public beta, showing just how closely the two worked together on the new specification.

As Sandofsky points out, Apple opting to use the DNG format means, despite their attempt at rebranding the technology as its own Raw format, nothing about the resulting files is proprietary. The photos should, in theory, be able to work with any other device or program that chooses to make the most of the new DNG 1.6 standard.

Sandofsky goes on to state that ProRAW images store pixel values after the demosaic step. These demosaiced color values still contain all of the original colors and dynamic range of the scene, he says, they just cut out the step of choosing what demosaic algorithm will be used on that data—something usually done in post-processing based on the editing software you’re using.

Sandofsky argues that, aside from saving time and taking another step out of the equation, it’s ‘quite possible that iOS can do a better job demosaicing your images than any third-party RAW editor’ considering Apple’s strength of its vertical integration of hardware and softrware. That is, Apple ‘know[s] exactly the sensor you’re using, and how it behaves with different ISO settings.’ Sandofsky even points out that with Apple’s image recognition technology, iOS could apply a specific demosaic algorithm depending on the scene to achieve an optimal result.

One example he uses is a set of starscape images from photographer Austin Mann, who has also shared a detailed breakdown of the new ProRAW technology on his website alongside a beautiful collection of images.

A ProRAW file before and after editing.

Another benefit of this approach is Apple could, in theory, start to develop its own sensors, eschewing the current bayer sensors they use. By doing so, they could tailor-make the best sensor possible for their smartphones and as long as the resulting image is saved as a ProRAW file, ‘it would work from day one in every pro photography process and app like Lightroom without having to wait for Adobe to write a new demosaic algorithm’ for the new sensor.

Next, Sandofsky explains how Apple is baking in the ‘local tone mapping and other computational photography goodies’ right inside the DNG using the new tags found in the DNG 1.6 standard. By using the new tags, Apple is able to apply its Smart HDR and Deep Fusion technology to the ProRAW images. While Halide is opting to not use all of this technology — Sandofsky explains why in detail within his post — it’s still there to leverage in the image editor of your choice or use with another third-party camera app should the developers choose to. ProRAW images also store semantic maps — the depth data used in Portrait mode — which gives developers yet another piece of information to work with.

A comparison image showing the semantic maps of an image next to the original photo.

Sandofsky goes on to explain the file size flexibility of ProRAW files. A standard ProRAW file, captured with the default 12-bit data, is roughly 25MB. But it’s possible for developers to drop that to 10-bit, which roughly halves the file size while still getting ‘most of the ProRAW benefits.’ If that’s not small enough, it’s also possible for developers to use lossy compression on ProRAW files, which drops the files down to as little as 1MB, but as Sandofsky notes, this results in a ProRAW file that isn’t much more versatile than a standard 8-bit JPEG.

A list of Raw and ProRAW shooting options the Halide team has implemented into its camera app.

Another neat trick is that it’s possible to store a fully-processed JPEG version of an image directly inside the DNG file. Apple doesn’t do this by default in its iOS Camera app, third party developers can choose to do this, which would ensure apps that don’t support DNG files, such as Instagram, can still use the processed JPEG image. Halide says it’s added this option in its app, but do note it will add an extra 4MB or so to the file size, due to the extra baggage.

In conclusion, Sandofsky notes that ProRAW ‘is a leap forward for everyone, but it will be especially impactful for beginning photographers.’ With Apple supporting Raw editing directly in its iOS Photos app, even casual photographers will be able to have the flexibility of editing a ‘Raw’ file format — even if they’re not using more advanced editing apps such as Affinity Photo, Adobe Lightroom, Capture One, etc.

Sandofsky wraps up his post talking about how the Halide team is further pushing the boundaries of ProRAW with its app, but we’ll let you read that over on the full post, linked below. You can download the Halide camera app in the iOS App Store.

Understanding ProRAW

Image credits: All images and illustrations by Halide, used with permission.

Articles: Digital Photography Review (dpreview.com)

 
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Chroma Cameras’ 679 camera system turns medium format modular

20 Nov

Chroma Cameras has unveiled a modular medium format camera for shooting 120 film. The new 679 camera system allows customers to custom build a camera for their specific needs.

Speaking to Kosmo Foto, Chroma Cameras founder Steve Lloyd says, ‘The Chroma 679 is a brand new, modular, medium format camera system. Like my other Chroma cameras, it’s been designed around the idea of flexibility and ‘uniqueness’, along with being an affordable, and enjoyable, way to combine existing lenses and film holders.’

The Chroma 679 system comprises four standard components. All 679 cameras use a laser cut acrylic front plate with integrated metal helicoid. The next item is a custom threaded lens board constructed using anodized aluminum. This screws into the front of the 679 helicoid to create a secure mount. There are two styles of lens board available, a standard Copal and a 0.4mm brass pinhole.

Image credit: Chroma Cameras

The third component is the mid-body. This is the primary body section of a constructed 679 camera. It creates a spacer to mount the lens the correct distance from the film for obtaining infinity focus and it includes a pair of cold shoes. You can use cold shoes for accessories such as a light meter or a viewfinder. The mid-body is also the mounting point for optional accessories such as a tripod mount or full grip. The mid-body is available in any depth from 10mm up to 120mm. If you need help determining which mid-body depth you require, refer to this page.

Chroma Cameras 679 system mid-body component. Image credit: Chroma Cameras

The final component is the film back. There are four mounts available: Kiev88, Mamiya Press, Mamiya RB Pro S and Hasselblad V Series (early version only, which allows manual winding of film without a Hasselblad body). There is also an available plain ground glass film back.

These standard components connect using a physical interlock and four ‘very strong neodymium rare-earth magnets’ in each section. Additional accessories can also be attached using integrated mounting points on each side of the mid-body. Photographers can purchase an additional cold shoe plate and a basic tripod mount to add to their 679 camera system. Further, there’s an available full grip with an integrated tripod thread, internal storage for a roll of 120 film, and a passthrough mount for a cable release. The grip is available in black and wooden printed materials for either left- or right-handed photographers.

679 camera system with Kiev88 film back and optional full grip (wood). Image credit: Chroma Cameras

Lloyd says that ‘Whilst it’s not the first modular medium format camera system, [the 679 system] is the first system that allows the photographer to combine large format lenses with rollfilm backs from three different manufacturers in the same camera! At the same time, the lens board used for the 679 system are the same as those used on the SnapShot, allowing the photographer to seamlessly move lenses between both systems.’ Lloyd continues to say that the 679 system is lighter than ‘even the lightest large format systems’.

The 679 system and its components can be ordered here. The front plate costs £45, the lens board is £25 (pinhole is £30), the mid-body component is £40, and the film back is £40. A ground-glass back is also available for £30. Optional components range in price from £15 to £45. The most expensive add-on is the full grip with a wood finish.

Lloyd says, ‘I designed the 679 system for photographers who want to shoot a range of formats, without having to carry large heavy systems.’ It looks to be a well-designed product and it fills a unique niche. You can check out additional Chroma Cameras at the following links: Snapshot Handheld Multi-Format System and Carbon Adventurer – Ultrawide Field Camera.

Articles: Digital Photography Review (dpreview.com)

 
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Apple’s new ProRAW image format will capture 12-bit Raw DNG files

14 Nov

Apple has released the iOS 14.3 developer beta which, amongst other improvements, includes the new ProRAW photo feature Apple showed off at its virtual iPhone event last month.

Until now, not much was known about the ProRAW workflow and what type of file the latest iPhone 12 Pro devices would output. We now know, thanks to the iOS 14.3 developer beta, that a ProRaw file will be a 12-bit Raw image captured as a linear digital negative (Linear DNG) file. The file will offer up to 14 stops of dynamic range, according to a report from PetaPixel, and offers the usual post-production adjustments we’ve come to expect from Raw files: white balance adjustment, better exposure refinement and more.

Turning on ProRAW in iOS on the new iPhone 12 Pro devices is done by toggling it on in the Settings app. As with HDR and Live Photos, images captured as a ProRAW file will have a ‘RAW’ badge displayed alongside it to distinguish it from other images. It’s worth noting though that the image shown in the Photos app is simply a JPEG conversion of the Raw photo, akin to how Raw photos you view on your camera’s displays is actually a JPEG preview. You will only see the Raw image when it’s imported into a compatible post-production app for editing.

Speaking of editing, the DNG file should be compatible with any app that accepts DNG files, but it might take some time for all apps to integrate specific profiles for getting the most from the ProRAW format. The DNG files stored to the iOS Camera Roll can either be edited directly on your mobile device and exported as a JPEG from there or be saved and exported to your computer for editing in apps like Lightroom, Affinity Photo, Capture One and others.

Co-founder and designer for pro camera app Halide, Sebastiaan de With, points out that ProRAW works on the wide, telephoto and ultrawide camera modules and is also compatible with Night Mode shots (no luck with Portrait mode shots or Live Photos). He’s also discovered ProRAW images come in at roughly 24–28MB, which is quite large considering that’s the size of most DSLR and mirrorless Raw files.

No API is available at this time for ProRAW capture, so even if it does become available in the future, it might take some time to see ProRAW capture enabled in third-party apps.

Apple’s new ProRAW format is limited to its new iPhone 12 Pro and iPhone 12 Pro Max devices, so unless you’re planning on upgrading to the new flagship iOS devices, you won’t be seeing this new capture mode. For those of you who already have a compatible iPhone, there’s no information on when iOS 14.3 will be publicly available, so you’ll still need a little more patience.

Articles: Digital Photography Review (dpreview.com)

 
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The LomoGraflok 4×5 Instant Back lets you capture Instax Wide images with large format cameras

02 Sep

Lomography is back with the announcement of its latest, well, back. The LomoGraflok 4×5 Instant Back is the world’s first Instant Back for 4×5 cameras designed for Fujifilm Instax Wide film.

Developed in collaboration with large format photography professionals as a substitute for the peel-apart Polaroid film discontinued back in 2016, the LomoGraflok 4×5 Instant Back works with all Graflok-equipped 4×5 cameras and uses a light-tightened film ejection unit to push out the Instax Wide film shots after capture.

Below are a few sample photos, shared by Lomography:

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The device is constructed of plastic, is powered by four ‘AA’ batteries (LR6) and features an automated frame counter so you know how many shots are left. It measures in at 181mm (7.13”) tall, 120mm (4.72”) wide and 50mm (1.97”) deep, and weighs roughly 500g (1.1lbs).

Below is a guide on how to use the LomoGraflok 4×5 Instant Back:

The LomoGraflok is currently available to pre-order on the Lomography website for $ 134 (MSRP will be $ 149 once launched). The first units are expected to ship in April 2021.

Articles: Digital Photography Review (dpreview.com)

 
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Photographer turned his front door into a large format camera to capture portraits during the pandemic

15 Aug
The ongoing COVID-19 pandemic has made social distancing critically important. While creating distance is good for our physical health, it is difficult for photographers, especially portrait photographers. To overcome this challenge, Kyle Roper, the producer behind The Skyscraper Camera Project, transformed the front door of his home into a large-format analog camera. This has allowed him to safely capture portraits and launch a new photo series, Door Frames.
A look at the makeshift front door camera form inside Roper’s living room.

Given ample time at home and the desire to continue creating images while observing social distancing restrictions, Roper converted his front door into a camera obscura using magnetic dry erase board, gaffer’s tape, cardboard boxes, a dark cloth, c-stand, clamps and sandbags. For photo paper and film, Roper uses Ilford RC IV Multigrade Photo Paper, Ilford Direct Positive Paper and Ilford Ortho 80 Plus. His lens of choice is a Nikkor-W 300mm F5.6 lens in a Copal shutter.

An overview of all the elements of the front door camera.

Roper states that he was inspired by his friend, Brendan Barry, an artist and camera builder we’ve featured many times before. Roper was also inspirited by the work of Dorothea Lange and Francesca Woodman. The former is a particularly interesting inspiration given Lange’s famous documentary and photojournalism work for the Farm Security Administration during the Great Depression.

The conveniently-located window in Roper’s front door.

Of Door Frames, Roper says, ‘When you have nothing but an abundance of time, you take the time and slow things down. You find that these antiquated processes can reveal and create such beauty.’ Below is a collection of portraits Roper captured with his front door camera:

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In order to communicate with his subjects outside, Roper speaks to them from inside his home using a speakerphone. Roper then affixes his photographic paper on the image box using the magnetic dry erase board and captures an image with his Nikkor lens wide open because his photo paper is ISO 3 or 6. Once an image is captured, Roper develops it in his bathroom, which he has converted into a darkroom.

Prints in the process of being made in Roper’s makeshift darkroom.

To view more Kyle Roper’s work, visit his website and follow him on Instagram.

Image credits: All photos used with permission from Kyle Roper

Articles: Digital Photography Review (dpreview.com)

 
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SLC-2L-11: The “Magic” of Medium Format

07 May

There's something about shooting medium format — especially in black and white. The look is unmistakeable: creamy highlights supported by lush, detailed shadows.

So it's perfectly understandable why many photographers shell out big bucks for pricey medium format gear. In fact, it's possible that some of you are at this very moment casually thinking about how cool it would be to shoot with a MF camera system.

And why not? I mean, don't you deserve it?

Except for, a) the photo above was shot with a small-chip Fuji, and b) those shadow gradients were made with a second, $ 69 speedlight.
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Strobist

 
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