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Posts Tagged ‘into’

Video: A BTS look at what went into Hasselblad’s X System’s ergonomics, materials and user interface

26 May

Hasselblad is back with another video in its ongoing behind-the-scenes series, ‘Hasselblad’s Home.’ In the inaugural video, titled ‘The Design Philosophy Behind Creating the X System,’ Hasselblad shared an inside look at what went into developing the company’s mirrorless medium format camera. Now, in episode two, Hasselblad shares what’s gone into developing the ergonomics, materials and user interface of the Hasselblad X System.

Hasselblad’s factory in Gothenburg, Sweden.

The five-minute video, titled ‘The X System’s Ergonomics, Materials and Hasselblad User Interface’ shares an inside perspective of the decision-making process that went into making some of the most important components of Hasselblad’s X System. In Hasselblad’s own words:

This episode takes a deeper look into what went into creating the X System’s deep grip and the different materials tested for it before choosing the final one, the materials used for the camera itself, button choice and placement, as well as the thoughts behind building the Hasselblad User Interface (HUI).

Regardless of whether or not you’ve ever used a Hasselblad camera, it’s a fascinating video that explains the rationale for the design decisions that are typically confined to within the walls of Hasselblad’s Gothenburg, Sweden operation.

Articles: Digital Photography Review (dpreview.com)

 
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Google shares a deep dive into its new HDR+ with Bracketing technology found in its latest Pixel devices

26 Apr

Google has shared an article on its AI Blog that dives into the intricacies of the HDR capabilities of its most recent Pixel devices. In it, Google explains how its HDR+ with Bracketing technology works to capture the best image quality possible through clever capture and computational editing techniques.

To kick off the article, Google explains how its new ‘under the hood’ HDR+ with Bracketing technology — first launched on the Pixel 4a 5G and Pixel 5 back in October — ‘works by merging images taken with different exposure times to improve image quality (especially in shadows), resulting in more natural colors, improved details and texture, and reduced noise.’

Using bursts to improve image quality. HDR+ starts from a burst of full-resolution raw images (left). Depending on conditions, between 2 and 15 images are aligned and merged into a computational raw image (middle). The merged image has reduced noise and increased dynamic range, leading to a higher quality final result (right). Caption and image via Google.

Before diving into how the behind-the-scenes work is done to capture the HDR+ with Bracketing images, Google explains why high dynamic range (HDR) scenes are difficult to capture, particularly on mobile devices. ‘Because of the physical constraints of image sensors combined with limited signal in the shadows […] We can correctly expose either the shadows or the highlights, but not both at the same time.’

Left: The result of merging 12 short-exposure frames in Night Sight mode. Right: A single frame whose exposure time is 12 times longer than an individual short exposure. The longer exposure has significantly less noise in the shadows but sacrifices the highlights. Caption and image via Google.

Google says one way to combat this is to capture two different exposures and combine them — something ‘Photographers sometimes [do to] work around these limitations.’ While this works fairly well with cameras with larger sensors and more capable processors inside tablets and laptops to merge the images, Google says it’s a challenge to do on mobile devices because it requires ‘Capturing additional long exposure frames while maintaining the fast, predictable capture experience of the Pixel camera’ and ‘Taking advantage of long exposure frames while avoiding ghosting artifacts caused by motion between frames.’

Google was able to mitigate these issues with its original HDR+ technology through prioritizing the highlights in an image and using burst photography to reduce noise in the shadows. Google explains the HDR+ method ‘works well for scenes with moderate dynamic range, but breaks down for HDR scenes.’ As for why, Google breaks down the two different types of noise that get into an image when capturing bursts of photos: shot noise and read noise.

Google explains the differences in detail:

One important type of noise is called shot noise, which depends only on the total amount of light captured — the sum of N frames, each with E seconds of exposure time has the same amount of shot noise as a single frame exposed for N × E seconds. If this were the only type of noise present in captured images, burst photography would be as efficient as taking longer exposures. Unfortunately, a second type of noise, read noise, is introduced by the sensor every time a frame is captured. Read noise doesn’t depend on the amount of light captured but instead depends on the number of frames taken — that is, with each frame taken, an additional fixed amount of read noise is added.’

Left: The result of merging 12 short-exposure frames in Night Sight mode. Right: A single frame whose exposure time is 12 times longer than an individual short exposure. The longer exposure has significantly less noise in the shadows but sacrifices the highlights. Caption and image via Google.

As visible in the above image, Google highlights ‘why using burst photography to reduce total noise isn’t as efficient as simply taking longer exposures: taking multiple frames can reduce the effect of shot noise, but will also increase read noise.’

To address this shortcoming, Google explains how it’s managed to use a ‘concentrated effort’ to make the most of recent ‘incremental improvements’ in exposure bracketing to combined the burst photography component of HDR+ with the more traditional HDR method of exposure bracketing to get the best result possible in extreme high dynamic range scenes:

‘To start, adding bracketing to HDR+ required redesigning the capture strategy. Capturing is complicated by zero shutter lag (ZSL), which underpins the fast capture experience on Pixel. With ZSL, the frames displayed in the viewfinder before the shutter press are the frames we use for HDR+ burst merging. For bracketing, we capture an additional long exposure frame after the shutter press, which is not shown in the viewfinder. Note that holding the camera still for half a second after the shutter press to accommodate the long exposure can help improve image quality, even with a typical amount of handshake.’

Google explains how its Night Sight technology has also been improved through the use of its advanced bracketing technology. As visible in the illustration below, the original Night Sight mode captured 15 short exposure frames, which it merged to create the final image. Now, Night Sight with bracketing will capture 12 short and 3 long exposures before merging them, resulting in greater detail in the shadows.

Capture strategy for Night Sight. Top: The original Night Sight captured 15 short exposure frames. Bottom: Night Sight with bracketing captures 12 short and 3 long exposures. Caption and image via Google.

As for the merging process, Google says its technology chooses ‘one of the short frames as the reference frame to avoid potentially clipped highlights and motion blur.’ The remaining frames are then aligned with the reference frame before being merged.

To reduce ghosting artifacts caused by motion, Google says it’s designed a new spatial merge algorithm, similar to that used in its Super Res Zoom technology, ‘that decides per pixel whether image content should be merged or not.’ Unlike Super Res Zoom though, this new algorithm faces additional challenges due to the long exposure shots, which are more difficult to align with the reference frame due to blown out highlights, motion blur and different noise characteristics.

Left: Ghosting artifacts are visible around the silhouette of a moving person, when deghosting is disabled. Right: Robust merging produces a clean image. Caption and image via Google.

Google is confident it’s been able to overcome those challenges though, all while merging images even faster than before:

Despite those challenges, our algorithm is as robust to these issues as the original HDR+ and Super Res Zoom and doesn’t produce ghosting artifacts. At the same time, it merges images 40% faster than its predecessors. Because it merges RAW images early in the photographic pipeline, we were able to achieve all of those benefits while keeping the rest of processing and the signature HDR+ look unchanged. Furthermore, users who prefer to use computational RAW images can take advantage of those image quality and performance improvements.’

All of this is done behind the scenes without any need for the user to change settings. Google notes ‘depending on the dynamic range of the scene, and the presence of motion, HDR+ with bracketing chooses the best exposures to maximize image quality.’

Google’s HDR+ with Bracketing technology is found on its Pixel 4a 5G and Pixel 5 devices with the default camera app, Night Sight and Portrait modes. Pixel 4 and 4a devices also have it, but it’s limited to Night Sight mode. It’s also safe to assume this and further improvements will be available on Pixel devices going forward.

You can read Google’s entire blog post in detail on its AI blog at the link below:

HDR+ with Bracketing on Pixel Phones

Articles: Digital Photography Review (dpreview.com)

 
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How to Photograph Into the Light for Stunning Results

23 Mar

The post How to Photograph Into the Light for Stunning Results appeared first on Digital Photography School. It was authored by Simon Bond.

photographing into the light

In this article, I’ll explain how to photograph into the light.

This technique is sometimes called contre-jour, a French term that literally translates to “against the light.”

Now, there are various ways you can approach this style of photography. You can choose to photograph stunning silhouettes, or you can attempt to mitigate dark areas in your photo through post-processing.

To discover the best ways of photographing into the light, read on!

Why should you photograph into the light?

Photographing into the light is a great way to add drama to your photos.

(Note that photographing into the light is also known as backlit photography.)

person filling bucket

But to get nice images, you’ll need to have a good understanding of how the light will interact with your camera.

Now, almost everyone will have shot against the light at some point (e.g., when photographing a sunrise or sunset).

But if you can understand how to control the light across your frame, you can create especially incredible results.

For instance, one of the most obvious effects you’ll see when doing backlit photography is a silhouette, which I discuss in the next section.

How to create stunning silhouettes

Silhouettes are shapes formed by objects in front of a brighter background.

They’re very appealing to photographers because you can produce powerful shapes, which will give your images a very graphic feel.

woman dancing silhouette photographing into the light
Shapes and patterns are important when silhouetting an image.

You won’t get good silhouettes by just pointing the camera into the light, however. Some planning is needed to get the best result.

Specifically, you’ll want:

  • A low angle: Silhouettes are best when the entire silhouetted shape sits against the bright background. Since the background is usually the sky, getting down to a low angle to photograph upward is best.
  • A clear horizon line: Other than the objects you want to silhouette, try to avoid placing other elements on the horizon line. This often means a clear horizon line is best. Also, avoid having objects overlap with the main subject you’re silhouetting.
  • To expose for the sky: Expose for the bright background; this will lead to dark, beautifully silhouetted foreground objects.
  • Other elements: Include other elements such as framing, lines, and repetition that draw the eye toward your silhouette.
low angle photographing into the light
Here, I got down on the ground for a nice low angle. That way, I was able to capture the entire silhouette.

Drama in the sky

The sky is an important part of your photos, especially if you’re a landscape photographer. And photographing into the light can lead to some of the best results.

What you’re looking for are beautiful sunset colors, rays of light coming through clouds, and perhaps a starburst effect from the sun.

You’ll need to choose the correct time of day to improve your results – often sunrise or sunset. The hour before sunset and the hour after sunrise are also optimal.

The final key element is often about 30% cloud coverage.

Here are a few quick tips for photographing backlit landscapes:

  • Pay attention to the weather forecast: Check ahead for the forecast and use satellite images of the clouds in your area. That way, you can know with greater certainty if the sky will look good.
  • Arrive early: Arriving an hour ahead of the ideal light will help you plan your photo, and you’ll be ready if you get unexpected rays of sunshine breaking through the clouds ahead of when you want to photograph.
  • Compose with leading lines: If possible, use leading lines to guide the eye toward the sun or to an interesting area of the sky.
steel wool
You can also photograph against artificial light sources. Here, the background is wire wool.

Balancing the light

When photographing silhouettes, an underexposed foreground is what you want – but what if you’re after a detailed background and a detailed foreground?

For the best result, you’ll need to balance the light throughout your photo. Otherwise, you’ll produce an overexposed sky or an underexposed foreground.

There are two approaches you can use; one is in-camera, and the other uses post-processing.

  • Filters: Graduated neutral density filters are a great way to balance the light across your photo. These come in different strengths, so you can adapt your setup to the scene in front of you.
  • Digital blending: Combine a series of bracketed photos in post-processing. This approach uses luminosity masks and layers in Photoshop.
  • Combination: The best approach is to combine the above methods. Get the exposure as correct as possible in-camera, then use post-processing to enhance your results further.

How to handle flare

Photographing into the light can lead to flare in your photos.

While flare can be used artistically, you’ll at least want to control it. And you’ll sometimes need to prevent the flare entirely.

Use the following tips to control flare in your photos:

  • Choose your lens carefully: A lens with a smaller number of elements will cause less flare. So use a prime lens when possible.
  • Add a lens hood: Use your lens hood to block stray light.
  • Use a narrow aperture: When the sun is partially obscured by clouds, tree leaves, or the horizon line, use a small aperture such as f/11; you can give the sun a starburst effect.
  • Block the sun: Stick your hand in the image and cover the sun. Then take a second photo, this time without your hand. You can combine these two images in post-processing using layer masking. The final image won’t have your hand or flare.
flower landscape
The sun in this photo looks like a star due to a small aperture.

Natural or artificial?

Photographing into the light usually means photographing toward the sun, or photographing from a dark location (e.g., under a bridge) toward the light.

In such cases, the light source is natural and can’t be controlled. However, if you use off-camera flash, you can control the direction of the light.

So try using strobes to produce silhouettes or to backlight your subject. And at night, try light painting, and make sure the light source is behind your main subject.

Photographing into the light is right!

sunset photo photographing into the light
Photos of a sunset are always taken into the light. I merged a series of bracketed photos to balance light across the frame.

Successfully photographing into the light can be a bit of a challenge.

But with the right approach and the correct camera settings, you’ll get great results!

Now over to you:

Do you enjoy photographing into the light? What are your favorite situations for producing backlit images? Share your thoughts and photos in the comments below!

The post How to Photograph Into the Light for Stunning Results appeared first on Digital Photography School. It was authored by Simon Bond.


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7 Tips – How to Add Depth and Dimension into Your Photos

16 Feb

The post 7 Tips – How to Add Depth and Dimension into Your Photos appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

tips to add depth in your photography

How can you add depth in photography? And how can you make your photos look stunningly three-dimensional?

Depth helps create a sense of place, and it draws the viewer into your images. Plus, it’s a great way to take your compositions to the next level, fast.

In this article, you’ll find seven techniques and tips, all designed to help you convey a stronger sense of depth in your photos.

Let’s get started!

1. Use leading lines

Here’s one of the easiest ways to convey depth in photography:

Use a wide-angle lens and include leading lines that move from the bottom of the frame to the top.

This technique is mainly used in landscape and architectural photos, but you can also incorporate leading lines into portraits, street shots, and more.

The lines don’t have to be obvious. For instance, take a look at this photo:

how to add depth and dimension in photography seascape long exposure

The rocks form natural lines that lead the eye from the foreground to the island on the horizon.

how to add depth and dimension in photography leading lines

This photo has a similarly subtle set of leading lines:

plains with mountains

The waterways in the middle distance lead the eye to the mountains. But the lines are meandering, rather than straight, which helps give the image a more organic feel – one that fits well with the theme of the landscape.

2. Use perspective

This photo demonstrates how lines can add depth in a different way:

how to add depth and dimension in photography with perspective

The buildings form converging lines that disappear towards the horizon, creating an effective sense of depth.

Note that this technique is similar to an artist’s use of perspective. I’ve added an overlay so you can see how it works:

how to add depth and dimension in composition with perspective

3. Think foreground, middle ground, and background

Most photographers are familiar with the rule of thirds, but when it comes to conveying a sense of depth, it is helpful to break the photo up into a different set of thirds:

The foreground, middle ground, and background.

What you’re looking for is a way of connecting each portion of the photo while pulling the viewer’s eye from foreground to background. Having three zones in the image – zones that are distinct but linked – will help create a sense of depth and three-dimensionality.

Leading lines are one way of linking the three zones, but lines are not always present in a scene. So when there are no lines to be found, you’ll need to work with some other compositional element.

Often, this simply means including something interesting in the foreground.

For example, in the photo below, there are some buildings in the background, a concrete jetty in the middle ground, and the edge of another jetty in the foreground. I included the foreground jetty to help create a sense of depth.

how to add depth and dimension in composition long exposure seascape

Here’s another example:

seascape with a clear foreground for depth

Do you see how adding the rocks to the foreground creates a composition with three distinct zones (foreground, middle ground, and background)?

And once the zones are present, you get a sense of depth, with the viewer’s eye moving through the shot.

It helps that the wide-angle lens makes the rocks seem quite large in comparison to the distant cliffs.

4. Use aerial perspective

Another technique that helps convey a sense of depth in photography is aerial (or atmospheric) perspective.

This is where the atmospheric conditions make objects in the distance appear hazy.

Of course, you’re often limited by the environmental conditions – but as soon as you see haze in the distance, I highly recommend you try to find a way to include it in your composition.

In the photo below, you can see that the trees in the distance on the left side are obscured by atmospheric haze, which adds depth:

an aerial perspective on a building

And the depth is further enhanced by the converging lines formed by the walls. So the two techniques actually work together to give increased depth to the final shot:

how to add depth and dimension in composition - aerial perspective and lines

5. Shoot through a foreground object

The techniques I’ve shared above work well with wide-angle lenses, but are less helpful if you’re using telephoto lenses.

You see, telephoto lenses put distance between you and your subject, which leads to a flatter perspective overall (i.e., a perspective with less depth).

That said, there are still some techniques you can use with telephoto lenses to create a sense of depth.

One method is to shoot through something that is between you and the subject (such as grass, twigs, or windows).

In the photo below, the subject is the setting sun. I shot through the grass (and I actually focused on the grass, throwing the sun slightly out of focus) to add a sense of depth to what otherwise would have been a very flat image.

shooting through grasses at sunset

You can also use this technique with portraits. I created the portrait below by shooting through the branches of a tree:

shooting through a tree for a portrait

So the next time you’re shooting a subject with a telephoto lens, look around for objects to shoot through. I guarantee you’ll find an object or two – which you can then use to create depth!

6. Use selective focus

Selective focus is a technique where you deliberately set a wide aperture and focus on the subject (and create a blurry background in the process).

It’s especially effective with portraits, as the blur helps separate the model from the background – and ultimately creates a sense of depth.

The following portrait was taken at f/2.0 with the lens focused on the model’s eyes:

how to add depth and dimension in photography with selective focus

Do you see how the blurry background and the sharp subject creates a three-dimensional image?

That’s the power of selective focus!

7. Convey depth through color

Here’s a question to ask yourself:

What happens to colors in the background when you use a selective focus technique (as discussed in the previous tip)?

You see, when the background is out of focus, colors merge into each other.

And if you arrange your colors carefully, you can achieve a nice contrast between the colors in the background and those on the subject.

What does this do?

It conveys depth!

For example, check out the colors in this portrait:

Depth and composition portrait with subtle colors

The background is nearly white, whereas the man’s sweater and hair is a darker red; this separates him from the background.

In fact, you can take this idea to its extreme by using an off-camera flash fitted with an orange gel. When you do this, the model will be lit by orange light (from the gelled flash), but the background will be lit by colder ambient light.

(This technique works well at dusk when the ambient light has a natural blue color.)

Ultimately, you’ll get a nice contrast between the warmer model and the cooler background. For the example below, the model was lit by a single speedlight fitted with a 60 cm softbox and an orange gel.

Depth and composition portrait with lots of color

How to add dimension and depth in photography: Conclusion

Now that you’ve finished this article, you should be well-prepared to create photos with plenty of depth and dimension!

So go out and practice some of the techniques I’ve discussed.

Now over to you:

What other ideas do you have for creating and adding depth in photography? Please let us know in the comments below!

The post 7 Tips – How to Add Depth and Dimension into Your Photos appeared first on Digital Photography School. It was authored by Andrew S. Gibson.


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Video: One man’s quest to watercool a Canon R5 into an 8K video powerhouse

04 Dec

This July, Canon released a media advisory clarifying the overheating concerns of early Canon EOS R5 and R6 users. After Lensrentals took apart the R5, we better understood the thermal constraints of the design. The camera is very tightly sealed, which is great when you want to keep water out, but not so great when you want heat to escape.

In its media release, Canon stated the approximate recording time for 8K 30p video with the R5 before the camera overheated is about 20 minutes. After letting the camera cool for 10 minutes, users can expect to record another 3 minutes of 8K footage before the camera overheats again. It’s a better, albeit similar, situation when recording 4K 60p and 4K 30p (8.2K oversampling) video. The feature set of the R5 and its performance is impressive, but in many settings, overheating is problematic.

Matt from the YouTube channel DIY Perks wanted to prevent his own Canon R5 from overheating, so he dismantled it and modified the camera’s internals. Should you feel inspired, it is worth pointing out the obvious. Dismantling your camera and modifying it will void your warranty and comes with significant risks. However, for the adventurous among you, you can see how Matt modified his camera in the video below.

Matt used some standard liquid cooling components you might find in a performance-oriented PC. He also installed thermal paste, which he believes is much better than the thermal pads that the R5 has between the main processors and a metal plate. To try to remove heat from the main processing area, he also installed copper, as it’s a good conductor of heat.

Matt used PC liquid cooling components to water cool his Canon R5. As you can see, it’s not a compact solution. However, it is remarkably effective, allowing for unlimited 8K recording times.

After making these mods, would the R5 record 8K video for longer than 20 minutes? No. Even though the camera was staying much cooler than it did before it was modified, it still shut down after 20 minutes of recording due to a timer-based heat management solution baked into the camera’s firmware.

Matt updated to a recent firmware version, which changes how the camera manages overheating, and tried the test again. This time, with firmware version 1.1.1 installed on the R5, the water-cooled R5 breezed past the 20 minute mark and Matt speculates that the camera should theoretically be able to record indefinitely. It’s worth noting that in certain situations, such as Matt’s testing area, the firmware update alone can increase 8K recording time limit. In this case, it added about six minutes of 8K recording time before overheating.

With custom-fabricated copper, the R5 becomes a much better high-end video camera.

Of course, the liquid cooling solution is not very practical or elegant. It requires tubing, a water reservoir, a pump, radiator and you must have the back of the R5 remain detached. Matt wanted to devise an improved heatsink solution and reassemble the camera completely.

Using copper, improved thermal paste, and thermal padding, he was able to get nearly 40 minutes of uninterrupted 8K recording, a significant improvement over the production camera. A five minute break allowed an additional half an hour of recording. This is a very impressive passive cooling solution and a big step up over an unmodified R5.

Combining modified internal components with copper heatsinks and an external heatsink results in unlimited recording time. It adds bulk to the camera, but the rear heatsink is removable, allowing the camera to retain its original form factor.

If you require even longer record times, coupling the passive cooling modification with a copper heatsink mounted to the back of the camera does the trick. While a heatsink adds bulk, it is also easily removed when not needed, quickly returning the camera to its original form factor. Matt also designed a 3D-printable base for the camera that includes room for a fan and batteries. The base works in tandem with the internal copper plate modification. The files for the base have not been uploaded yet, but the link will be added to the video’s description when available. To view more videos from DIY Perks, click here.

Articles: Digital Photography Review (dpreview.com)

 
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iPhone mount converts an Apple Watch into a live viewfinder for selfies and vlogging

27 Nov

Apple’s iPhones have a front-facing camera for selfies and FaceTime, but the front camera’s performance and image quality pales in comparison to the rear cameras. For those wanting a high-quality selfie or to record video content of themselves, your options have long been to use the front-facing camera so you can see your phone’s display or to try your luck with the rear-facing camera and hope everything is framed properly. Ulanzi has a new product, the ST-09 Phone Tripod Mount for Apple Watch, designed to solve this exact problem.

By using a paired Apple Watch and the ST-09, you can mount your smartwatch to the ST-09 and clamp it onto your iPhone. With the accompanying Apple Watch app, your Watch’s face becomes a live viewfinder mounted to the back of your iPhone.

As Gizmodo says, it may ‘seem like a foolish use for the $ 200+ smartwatch strapped to your wrist. But as you think about it more, you realize the mount solves a problem that many amateur vloggers who rely on their smartphones for all of their productions needs run into: using the back camera to film yourself is all but impossible.’ The target audience is somewhat niche, perhaps, but the ST-09 is an inexpensive, simple solution. Provided you already have an Apple Watch, of course.

On the bottom of the mount is a tripod a 1/4″ hole for mounting a tripod. On the top of the mount is a cold shoe, which can be used for attaching a fill light, microphone or other accessories.

Ulanzi ST-09 product details. Image courtesy of Ulanzi. Click to enlarge.

If you’re worried about scratching your devices, Ulanzi states that the product features an anti-scratch silicone pad design for the Watch mount and the clamps which adjust to your phone. Speaking of which, the tension distance is 58-89mm, meaning it will fit most iPhones, including the latest iPhone 12 models. With respect to Apple Watch model compatibility, Ulanzi only mentions the Series 5, so Gizmodo observes that the ST-09 may only be compatible with the Series 5 and Series 6 Apple Watches.

The Ulanzi ST-09 can adjust from 58mm to 89mm in order to fit a variety of iPhones. Image courtesy of Ulanzi.

The problem Ulanzi is trying to solve has been tackled by different manufacturers over the years. Gizmodo recalls the DJI Osmo Action, an action camera with a front-facing camera. (You can check out our hands-on with the Osmo Action right here). GoPro followed suit shortly thereafter with the Hero9 action camera. Smartphone manufacturers, on the other hand, have not gone this route. Smartphone displays drain battery and a second display on the rear presents power, engineering and cost concerns.

The Ulanzi ST-09 can be ordered directly from Ulanzi for $ 19.95 USD. The accessory is current on sale from its regular price of $ 29.99.

(Via Gizmodo)

Articles: Digital Photography Review (dpreview.com)

 
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Halide’s deep dive into why the iPhone 12 Pro Max is made for ‘Real Pro Photography’

20 Nov

Sebastiaan de With, Co-founder and Designer of the professional iOS camera app Halide, has shared a deep dive blog post into the photographic capabilities of Apple’s iPhone 12 Pro Max, showing a technical breakdown of all three cameras packed inside the flagship device.

In many of the articles we gathered in our iPhone 12 Pro Max review roundup, reviewers said they didn’t actually notice that big of a difference in image quality between the iPhone 12 and iPhone 12 Pro Max. This came as somewhat a surprise considering how promising the technology in the iPhone 12 Pro Max looked, but without having further information to work with — or a review unit in our hands — it’s all we could go off of.

As it turns out though, the cursory first-looks and reviews didn’t paint the entire picture for what the iPhone 12 Pro Max is capable of. Thankfully, Sebastiaan took matters into his own hands and has provided an incredibly detailed look into why initial reviewers didn’t notice nearly as big a difference as expected and provides a number of examples to showcase what’s actually capable with the new iPhone 12 Pro Max when you use it in a more advanced capacity.

Sebastiaan starts by revisiting the specs that set the iPhone 12 Pro Max apart from all the other iPhone 12 models: a 47% larger sensor, a faster F1.6 lens, improved image stabilization, 87% high ISO sensitivity and a new 65mm (full-frame equivalent) telephoto lens. As impressive as those specs are for a smartphone camera, they don’t mean much without context and examples to back them up.

To that point, Sebastiaan shares the above graphic to show just how much larger the new sensor is compared to the one found in the other iPhone 12 models. While the larger sensor should help with noise, Sebastiaan notes the difference is far less noticable during the day, compared to when the sun starts to set. He uses the below comparison shot to show just how well the iPhone 12 Pro Max (bottom image) handles noise compared to its smaller iPhone 12 Pro (top image) companion. As you can see when viewing the full-size image, it’s clear the photo captured with the iPhone 12 Pro Max (bottom image) holds much better detail in the shadows and doesn’t show nearly as much noise.

Click to enlarge.

Sebastiaan posits that the reason most reviewers didn’t notice the difference in image quality as much is twofold. First, many photos taken by reviewers were done during the day, when high-ISO and larger photosites don’t make nearly as big a difference. Second — and arguably even more importantly — most reviewers were using the stock iOS camera app, which uses various intelligent image processing technology to create the final image, which can soften parts of the image with noise reduction and other artifacts. To see how good the iPhone 12 Pro Max camera was without all of the image processing, Sebastiaan used Halide to capture Raw (DNG) images, which ‘omits steps like multi-exposure combination and noise reduction.’

Click to enlarge.

If you’re wondering just how much of a difference it makes when using the stock iOS Camera app versus a camera app that can capture a Raw image, such as Halide, take a look at the above comparison shot Sebastiaan captured in San Francisco at sunset. Notice the lack of detail in the distant buildings, the muddiness of the windows on nearby apartments and the overall ‘watercolor’ effect that happens when too much noise reduction is applied. Sebastiaan shows multiple other examples that highlight just how much of a difference it can make to use third-party apps capable of capturing Raw images compared to those captured with the stock camera app.

Also tackled in the deep dive is the improvement in image stabilization, which is now sensor-based rather than lens-based, as well as the new 65mm telephoto camera, which offers a slightly longer reach (65mm, full-frame equivalent vs the 52mm full-frame equivalent of other iPhone 12 models)

All in all, Sebastiaan concludes his breakdown by saying the ‘results [are] mind-blowing’ as the developer of a camera app. He summarizes it all saying:

It achieves images previously only seen in dedicated cameras, with sensors four times its size. It allows photographers to get steady and well exposed shots in conditions that weren’t imaginable a year ago. It captures low-light shots beyond anything we’ve seen on an iPhone. By a lot.’

That’s high praise compared to previous reviews, but the data doesn’t lie. To read the in-depth dive (which you absolutely should), head on over to the Halide blog using the link below:

The iPhone 12 Pro Max: Real Pro Photography

You can keep up with the Lux team — Sebastiaan De With, Ben Sandovsky and Rebecca Sloane — on Twitter and download Halide Mark II in the iOS App Store.


Image credits: Photographs/images provided by Halide, used with permission.

Articles: Digital Photography Review (dpreview.com)

 
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Documenting humanity’s journey into space: Over 2,400 iconic space images are up for auction

13 Nov
Lead image: ‘The ‘Blue Marble’, the first human-taken photograph of the Earth fully illuminated, December 7-19, 1972, Harrison Schmitt [Apollo 17]. Estimate: £15,000-31,500. Offered in Voyage to Another World: The Victor Martin-Malburet Photograph Collection, November 6-19, 2020, Online’ Caption and image courtesy of CHRISTIE’S IMAGES LTD. 2020

Christie’s has placed up for auction a massive collection of images, many of which document the American space program from the 1940s through the 1970s. The collection, ‘Voyage to Another World: The Victor-Martin Malburet Photograph Collection,’ includes 700 lots comprising more than 2,400 separate items.

Bidding began on November 6 and continues until November 19 for lots 1-325 and November 20 for the remaining lots. Christie’s states that the collection traces ‘the artistic heritage of the Apollo Missions and Golden Age of space exploration.’

‘The first photograph of man in space [Large Format], Ed White’s first American EVA over Hawaii, June 3-7, 1965, James McDivitt [Gemini IV]. Estimate: £6,000-8,000. Offered in Voyage to Another World: The Victor Martin-Malburet Photograph Collection, November 6-19, 2020, Online’ Caption and image courtesy of CHRISTIE’S IMAGES LTD. 2020

Martin-Malburet has built this collection over the last 15 years. He has been interested in images captured in space since he accompanied his father to an auction. ‘It was a sale of astronautical artifacts,’ says Martin-Malburet, ‘We bought various things, including an autograph of Yuri Gagarin. But the item that impressed me most was a photograph, the famous shot of Buzz Aldrin on the moon with the lunar module reflected in his visor. It is such a powerful image: one lonely figure in another world. And since Aldrin is anonymous inside his spacesuit, he seems to represent all humanity.’

Victor ultimately studied mathematics and physics at university, and he says he wanted to blur the boundary between art and science. Martin-Malburet says of the moon landing photos in particular, ‘Between 1968 and 1972, 24 privileged humans traveled a quarter of a million miles to a place that was not Earth and a record of it all exists. But the complete story has not been told. At the time, only a tiny fraction of the material was released to the media. The rest remained in Houston, unpublished.’

‘First human-taken photograph from space; orbital sunset, February 20, 1962, John Glenn [Mercury Atlas 6]. Estimate: £3,000-5,000. Offered in Voyage to Another World: The Victor Martin-Malburet Photograph Collection, November 6-19, 2020, Online’ Caption and image courtesy of CHRISTIE’S IMAGES LTD. 2020

Many of the images in the collection have not been seen by people outside of NASA and various research institutions. Many images didn’t include accompanying information, leaving Martin-Malburet to dig through NASA’s transcripts of space missions to determine when each photograph in the collection was captured, such as whether it was on the way into space or on the way back to Earth, information NASA didn’t record. Martin-Malburet also often had to determine who the photographer of each image was, as ‘crediting the author’ is very important to him. By collating the available information and filling in the gaps, we now, for the first time, have a more complete story of many important moments in our history of space exploration.

There are many great images in the collection, including a photograph of Neil Armstrong on the moon, seen below. For decades, even NASA didn’t know this image existed. Martin-Malburet determined that Buzz Aldrin picked up the camera only once and it was to record this photograph of the first man on the moon. Otherwise, Armstrong himself was the photographer for the duration of the mission.

‘The only photograph of Neil Armstrong on the Moon, July 16-24, 1969, Buzz Aldrin [Apollo 11]. Estimate: £30,000-50,000. Offered in Voyage to Another World: The Victor Martin-Malburet Photograph Collection, November 6-19, 2020, Online’ Caption and image courtesy of CHRISTIE’S IMAGES LTD. 2020

Further ‘firsts’ in the collection include the first image of the earth rising over the moon’s horizon. Ed White’s first spacewalk, seen is recorded as well, and is the first full-face portrait of the Earth itself captured during the very last Apollo mission.

Christie’s writes that ‘Anyone looking at such photographs is bound to feel awestruck.’ It continues, ‘So are they genuine art objects?’ To that question, Martin-Malburet answers, ‘They are absolutely works of art. Artists strive for new ways to express themselves, a visual vocabulary. The astronauts had the blank vistas of space as their subject and their canvas. And the fact that you have humans behind the camera is really important. They saw themselves as scientists, but somehow they embraced the sublime. Through them, art broke free of gravity.’

It’s a wonderful collection. To view the entire collection, visit Christie’s. While the images themselves certainly hold a lot of value, Martin-Malburet’s work in contextualizing each photograph and determining the photographer adds a lot. As mentioned earlier, bidding is ongoing and ends on November 19 or 20, depending on the lot in question. Each lot includes an estimated value, and the estimates range from around $ 1,000 USD to over $ 60,000.

Articles: Digital Photography Review (dpreview.com)

 
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This $95 lens attachment turns the world around you into a globe using a little glass marble

11 Nov

We’ve come across a number of weird lenses and lens accessories over the years, but the Soratama from Zenjix certainly stands out from the crowd, for better or worse.

The lens attachment features a 72mm filter thread and is designed to go in front of nearly any lens you can find step down/up rings for. It uses a single sheet of glass with what is effectively a clear marble to turn the world around you into a little globe of sorts.

These globe-style shots aren’t new, per se, but unlike photos that use larger glass orbs, this attachment is smaller and means your hand won’t be in the image. We can’t attest to image quality, but the above video shows what kind of shots are possible with the Soratama. There are multiple versions of the Soratama being sold on eBay, starting around $ 95 with shipping.

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces it’s getting into the drone game with its new ‘Airpeak’ brand

10 Nov

Watch out, DJI. Sony Corporation announced today it is getting into the drone market under the brand name ‘Airpeak.’

I a short press release, accompanied by the above teaser video, Sony says the Airpeak brand will ‘reflect its aspiration to contribute to the further evolvement and the creation of the unprecedented value through its imaging and sensing technology.’

While Sony does hint at industrial purposes for its drones, the company specifically says the Airpeak brand ‘will support the creativity of video creators to the fullest extent possible.’

An illustration from a patent application Sony was granted back in January 2020.

Sony says the project will launch in spring of 2021. In the meantime, it will share information along the way and work on partnerships to test their products and get feedback from drone users. You can keep up with the latest updates on Sony’s new Airpeak website.

Articles: Digital Photography Review (dpreview.com)

 
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