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Posts Tagged ‘just’

Weekly Photo Challenge: Just Add Light

09 Oct

The post Weekly Photo Challenge: Just Add Light appeared first on Digital Photography School. It was authored by Sime.

I have been thinking about light a lot recently, adding light to images by using lots of different sources, flash, led panels, torches, bedside lamps etc, but I have to level with you, while I love experimenting with light, I’m not a master of ‘all of the settings’ and I mess up often – and that’s ok, we learn.

We thought it might be a fun idea to do another “more than one image” challenge to see what adding light, however you like, can lift an image.

Share your photo on social media and tag them #dPSWeeklyChallenge and #dPSJustAddLight

So today when I went with my 11yo and my camerabag to an often empty walking path nearby to take a couple of photographs of him hitting his Jigsaw Jump, the goal being to light him and get a dramatic photo in the spot I’d chosen, shaded by trees, almost like a tunnel of darker trees… All was well until I realised I’d forgotten my glasses and couldn’t find all the settings I needed on these new flashes, anyway! Onward!

The idea is that you have a photograph you take, and then you take it again but add a lightsource of some kind to change the image for better or for worse, and when you share them, you share the images together. You can use any lightsource, I’ve used a flash in the photo below.

digital-photography-school-weekly-challenge
Seb fighting against gravity

And in this photo of my grinder I used a torch and a small Aputure LED panel with a piece of red paper as my background.

dpschallenge-bosch-grinder-photos
Grinds You Down

You can either join two images into one image, or you can post two separately, whatever you would prefer! You can post in the comments below, or over in our private Facebook group.

The post Weekly Photo Challenge: Just Add Light appeared first on Digital Photography School. It was authored by Sime.


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Fujifilm Announces the X-E4, With 26 MP and 20 FPS (for Just $850)

01 Feb

The post Fujifilm Announces the X-E4, With 26 MP and 20 FPS (for Just $ 850) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Fujifilm announces the X-E4

Earlier this week, Fujifilm announced a spate of new mirrorless gear, including the Fujifilm X-E4, a compact, rangefinder-style camera designed for enthusiasts, street photographers, and more.

The X-E4 offers no handgrip and none of the standard Canon/Nikon/Sony mode dials. Instead, you get a minimalist, flat profile (though you can buy an attachable handgrip), plus a shutter speed dial and an exposure compensation dial, reminiscent of the film days. This makes for a tactile photographic experience, as you rotate thick dials to change your camera settings – and you even have the option of purchasing Fujifilm lenses with aperture rings, if you’re hoping to take the “old days” experience a step further.

While the lack of a handgrip might annoy some photographers, it compresses and lightens an already-compact camera, making the X-E4 an excellent purchase for street photographers, travel photographers, and other walkaround shooters who don’t want the inconvenience of carrying a huge camera around their neck. 

On the back of the X-E4, you’ll find a decently-specced electronic viewfinder (it offers 2.36M-dot resolution, which is neither especially low nor especially high but should get the job done). If you’ve spent time working with a DSLR’s optical viewfinder or a mirrorless camera’s EVF, you’ll know how important a viewfinder is for any type of action or low-light shooting. There’s also a nice flip-up LCD, perfect for capturing shots at tough angles, and essential for vloggers needing to monitor themselves while filming. 

Then there’s the X-Trans sensor, which offers 26 MP of detail. Fujifilm APS-C images are consistently superb, and the X-E4 will doubtless continue the company’s dominance in this area; I could easily see the X-E4 creating top-notch files for street photography and portrait photography, as well as for more detail-demanding genres such as landscape photography.

Of course, no Fujifilm camera is complete without a handful of Film Simulation modes. Here, the X-E4 is outfitted to include film looks such as Velvia, and if you’re anything like me, you’ll have a blast switching through all the different simulations and watching as the EVF previews the world in vivid color, black and white, and even sepia.

As for action capabilities, the Fujifilm X-E4’s autofocus speed remains to be seen, but the press release claims “fast and accurate autofocus” that can nail subjects in “0.02 seconds.” You also get 8 frames per second when working with the mechanical shutter, and this leaps to 20 fps with the electronic shutter (higher still if you’re willing to accept a 1.25x crop!), which is more than enough for serious sports shooting.

So for photography enthusiasts looking for a compact camera packed full of high-end specifications and capable of pro-level image quality, I highly recommend checking out the X-E4. While the camera won’t ship until March, you can currently preorder an X-E4 for just $ 850 USD.

Now over to you:

What do you think of the Fujifilm X-E4? Is it a camera you’d be interested in buying? What would you use it for? Share your thoughts in the comments below!

The post Fujifilm Announces the X-E4, With 26 MP and 20 FPS (for Just $ 850) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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DPReview TV: How to start a YouTube channel Part II – should you write a script, an outline or just wing it?

11 Sep

Have you ever dreamed of starting your own YouTube channel? In this video, we show you three different ways to plan and script your show.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Scripting
  • Outlines
  • Riffing
  • The wrap

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: ProRes Raw just got a whole lot better (thanks to a Final Cut Pro update)

05 Sep

An update to Final Cut Pro X promises to unleash the power of ProRes Raw video, a feature available on many new cameras. But, cameras need to supply the right metadata for it to work.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Final Cut Pro X update
  • Previous issues
  • Interface changes
  • White balance corrections
  • ISO adjustments
  • How to find your camera's native ISOs
  • What camera makers must do
  • See you soon!

Articles: Digital Photography Review (dpreview.com)

 
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A New Adobe Lightroom Update Just Deleted Customers’ Photos and Presets

24 Aug

The post A New Adobe Lightroom Update Just Deleted Customers’ Photos and Presets appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

new lightroom update mobile

Last week, Adobe released Lightroom 5.4.0, a routine update meant for the iPad and iPhone Lightroom app.

But it soon became clear that the update was far more than users bargained for when customers who installed Lightroom 5.4.0 found that their photos and presets had disappeared.

Lightroom users immediately reported their situation on forums, explaining the data loss and asking Adobe for help.

One user wrote, “After the automatic update to Lightroom mobile 5.4…my whole library is lost.” Another wrote, “I can’t believe I lost 2+ years of edits due to the Lightroom mobile update.”

Note that presets were also affected; a Redditor explained how, upon launching Lightroom, “Not only were most of my photos gone, but also hundreds of my presets, some of which I worked on for the past couple of years.”

Adobe soon issued Lightroom 5.4.1, as well as an official response:

Some customers who updated to Lightroom 5.4.0 on iPhone and iPad may be missing photos and/or presets. This affected customers using Lightroom mobile without a subscription to the Adobe cloud. It also affected Lightroom cloud customers with photos and presets that had not yet synced to the Adobe cloud.

A new version of Lightroom mobile (5.4.1) for iOS and iPadOS has now been released that prevents this issue from affecting additional customers. 

Installing version 5.4.1 will not restore missing photos or presets for customers affected by the problem introduced in 5.4.0.

We know that some customers have photos and presets that are not recoverable. We know how frustrating and upsetting this will be to people affected and we sincerely apologize.

Some customers affected by this issue might be able to use iPhone and iPad backups to recover photos and presets.

Many users were understandably upset upon learning that their photos and presets were unrecoverable. It seems that much of the data is gone forever, though a few users did manage to regain some or all of their missing data via device backups.

While it’s deeply frustrating that Adobe would make such a mistake, this error hammers home the importance of having multiple backups of your photos at all times. I recommend having at least three, including at least one physical backup (e.g., an external hard drive), as well as a cloud-based backup. And, once you have the backups, you must update them regularly; it’s the only way to ensure that your precious images stay safe!

Now over to you:

Were any of you affected by this Lightroom update? If so, were you able to recover your images? And for those who weren’t affected, do you plan to change your image backup practices? Share your thoughts in the comments!

The post A New Adobe Lightroom Update Just Deleted Customers’ Photos and Presets appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Meike’s first autofocus lens is a new 85mm F1.8 prime that costs just $190

12 Aug

Budget optics manufacturer Meike has announced the release of an ultra-affordable 85mm F1.8 autofocus lens for Canon EF- and Nikon F-mount cameras that costs just $ 190.

The lens, which is the first autofocus lens Meike has produced, is constructed of nine elements in six groups, features an aperture range of F1.8-F22, has a minimum focusing distance of 85cm (33.5”) and uses a nine-blade aperture diaphragm. It also has a built-in microUSB port for updating firmware.

The lens measures in at 79mm long, 75mm diameter and weighs 420g (14.8oz). The 85mm F1.8 lens is currently listed as available on Meike’s online shop for just $ 190 (Canon EF, Nikon F). It comes with the lens, a lens hood, front/rear caps, and a microfiber pouch for transporting it in.

Articles: Digital Photography Review (dpreview.com)

 
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Meike’s new 50mm F1.2 lens for mirrorless (and EF) mounts costs just $350

28 Jul

Are you looking for fast glass on a budget? If so, Meike’s new 50mm F1.2 might satiate your needs without burning a hole in your wallet.

The ultra-fast lens will come in Canon EF, Canon RF, Nikon Z and Sony E mount when it ships mid-August. The lens is constructed of 12 elements in 7 groups, including an undisclosed number of multi-coated elements. It features an aperture range of F1.2-F22, has a minimum focusing distance of 60cm (24”) and uses a 67mm front filter thread.

The manual-focus lens measures in at 72mm (2.83”) long and weighs 620g (1.37lbs). For comparison, Canon’s RF 50mm F1.2 weighs 950g (2.09lbs). Below is a video overview of the lens from Arthur R:

The Meike 50mm F1.2 lens is currently available to pre-order for Canon EF, Canon RF, Nikon Z and Sony E mount camera systems for $ 350. The first units are expected to start shipping on August 15.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon might just have made the best entry-level full-framer

25 Jul

It’s famously such a fine line between stupid and clever. And, for that matter, between a brilliant piece of product planning and a complete head-scratcher. History and sales figures may well prove me wrong, but I personally think that the Nikon Z5 makes perfect sense in a way the Z50 didn’t. And that might make it the most interesting entry-level full frame camera.

I criticized Nikon when it launched the Z50, because I didn’t recognize the Instagram-friendly camera the company claimed to have made. Instead I found a rather good enthusiast-friendly camera in a system with few obvious lens options. The Z5 looks a lot like a full-frame Z50, but the different audience that its higher price implies and the shift in sensor size makes all the difference.

A Z6/Z50 hybrid

Visually the Z5 looks like a Z6/Z50 hybrid, with the conventional mode dial from the Z50 grafted on in place of the Z6’s top-panel LCD. You could describe it as a full-frame Z50 or a slightly simplified Z6 and you’d still be right.

It uses an older, front-side illuminated CMOS sensor, which is likely to mean it doesn’t quite match its big brother in terms of image quality but the differences are likely to be small, except in very low light.

With its collapsible zoom and mode dial, the Z5 feels like a hybrid of the Z50 and Z6.

The Z5’s viewfinder is the same resolution as the Z6’s and its control layout is essentially the same. Its back panel is reinforced plastic, rather than magnesium alloy, but Nikon says the weather sealing is just as extensive and both the dimensions and weight are all-but identical.

Lenses

Whereas an APS-C sensor leaves Z50 owners with the choice of a couple of variable aperture zooms (and the promise of an 18-140mm in the works), the move to full frame and slightly more lofty ambitions of the Z5 are much better fit for the Z-mount lenses currently available.

To make a broad generalization, I suspect the kinds of photographers (and, according to Nikon, non-photographers) willing to spend $ 1400 on a Z5 will be more likely to want and buy the well-priced, though still pricey, F1.8 primes the company has introduced. And, by dint of being full-frame, the focal lengths of those primes are more likely to be useful on this camera than the Z50.

The most complete entry-level

Even with its more modest video spec the Z5 isn’t out-gunned by its entry-level peers. But you don’t need to look through its higher-res viewfinder for the Z5 to look like the most interesting entry-level full-frame mirrorless camera. You get a similar perspective if you look at the other cameras’ backstories.

The Sony a7 II was designed as a mid-range camera, but an aging mid-range camera isn’t necessarily better than a modern entry-level one. The distinction is even more dramatic if you compare the higher-end a7R II (which has dropped to the Z5’s launch price) the a7R II has a very good sensor but a very different shooting experience.

Sony has very much done its product development in the public realm: each model in the a7 series has been significantly better than its predecessor (first by adding stabilization, then by offering a larger battery, better AF and revised ergonomics). This leaves the now six-year-old a7 Mark II looking awkward: it’s a very difficult camera to use as soon as you’ve seen or experienced the improvements introduced with the Mark III, no matter how keenly-priced it is.

So it’s not the automatic bargain that getting a formerly $ 1700 for $ 1000 might appear to be. The areas in which it once excelled are at least matched by its entry-level peers and it hasn’t gained any of the ergonomic or interface improvements that have subsequently been developed. So it’s the only camera here without a touchscreen and it hasn’t got the usability improvements of the Mark III. By contrast, the Z5 includes all the AF improvements that the Z6 has gained in firmware over the past two years.

The Canon EOS RP is a really likable camera and the least-expensive full-frame digital camera yet launched, but Nikon has provided a lot of camera for a launch price just $ 100 higher.

Canon approached things from the other direction with the EOS RP: building what software developers might describe as a minimum viable product: the bare basic specs to deliver a credible camera. The result is actually rather likable: it’s not very fast at shooting, the video’s not great and it uses a sensor that’s never been considered particularly good, but the dials are in the right place, it’s easy to use and it produces attractive images. Only the battery life really detracts from the day-to-day experience.

With the Z5 Nikon has clearly started with the Z6 (originally a $ 2000 camera) and found a way to to offer it with a launch price 1/3rd lower. You even get the twin card slots that internet commenters suddenly decided were essential when Canon and Nikon didn’t include them on their mid-priced models (an argument that feels more convincing when it comes to the higher-end Z7).

So it’s not the full-frame Digital Rebel that Canon made, nor is it the tired-looking ex-middleweight champ that Sony offers. It’s not even comparable to the Z50, with its odd mixture of enthusiast-friendly experience and mass-market zooms. Instead the Z5 is a more affordable way to get most of a Z6, and it includes a great many of the improvements that Nikon has made on its Z-mount journey so far.

Now I just really hope it tests and shoots as well as it handles.

Articles: Digital Photography Review (dpreview.com)

 
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How to Remove a Fence From Your Photo in Just 3 Steps in Photoshop (video)

18 Jan

The post How to Remove a Fence From Your Photo in Just 3 Steps in Photoshop (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this Photoshop video tutorial from Piximperfect, you’ll learn how you can remove a fence from your photo in Photoshop – you know, those annoying fences in front of your subject.

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How to remove a fence from your photo in just 3 steps in Photoshop

Use the following steps to remove your fence:

Step one: Painting out the fence on a layer mask

  1. Make a layer mask.
  2. Zoom in close to your fence, then choose a hard-edged brush that is just slightly larger than the edge of your fence (be sure your paintbrush color is black).
  3. To paint the fence, simply click at the beginning of the fence, then hold the shift key, move the brush to the next section of fence and click. This will create a straight line.
  4. Continue this process over every section of the fence. While this can take some time, duplicating the pattern generally won’t work as no two sections will be the same).
  5. While zoomed in, to move around the image, press the space bar to bring up the Hand and then move the image to where you need it. Then continue painting in the fence lines.
  6. Be sure to paint over all the discrepancies in the fence. If some sections of the fence aren’t straight, simply paint in two or three points.
  7. Once you have painted in all the fence lines, you can move onto the next step.

Step two: Apply the Content-Aware fill

  1. Select the background layer and turn off the fence mask layer using the eye icon next to the layer.
  2. Now hold Ctrl (PC) or Cmd (Mac) and click on the thumbnail of the fence mask layer. This will select the fence layer.
  3. Go to Edit->Content-Aware Fill (If you are using an older version of Photoshop, for to Edit->Fill and then choose Content-Aware from the dropdown section).
  4. This will open up the Content-Aware Fill settings. Leave them at the default settings. Just change the Output To: setting to New Layer. Click OK.
  5. Press Ctrl+D (PC) or Cmd+D (Mac) to deselect the fence.
  6. To see how the Content-Aware Fill tool has worked, turn off your background layer momentarily. Then turn it back on.

Step three: Making minor adjustments

  1. The image may look great while zoomed out on the full image, but when zoomed in close, some areas may not look right. This is where the minor adjustments come into play.
  2. Create a new layer.
  3. You can use the Spot Healing Brush Tool. Paint over areas that need fixing with a soft brush. Be sure that the “Sample All Layers” box is checked too. That way, it samples all the layers below the layer you are working on.
  4. For trickier sections, like eyes, select the Clone Stamp Tool.
  5. Take a sample of a similar section by clicking the Alt Key and selecting. If you need to rotate your clone (for example, around an eye). Hold down Shift+Alt+Right or Left Arrows or > (Win) and Shift+Opt+Right or Left Arrows (Mac)
  6. You can also do that by going to Window->Clone Source and then manually entering in the angle of rotation.
  7. Then use the regular Healing Brush Tool. Click the Alt (Win) or Option Key (Mac) to take your sample then paint in the areas that need fixing.
  8. If you are having difficulty fixing areas such as the eyes, consider duplicating the other eye.
  9. To do this, make a new layer. Then use the Clone Tool and make your selection from the same eye. Then repaint it onto the new layer.
  10. Then press Ctrl or Cmd+D to select it and right-click and select Flip Vertical. This then brings up the corner anchors, and you can rotate the eye as you please.
  11. Next, move the rotated eye section over the top of the original eye.
  12. Click on the Mask icon on the Layers panel to create a mask. Select your brush tool. Remember, a black fill will hide your layer (paint it out).
  13. Start painting out the sections you don’t want. You can lower the opacity of your layer so that you can get it’s positioning just right too.
  14. Next, merge your clone layers (not the background or Content-Aware Fill layers). To do this, select the first layer, then press Ctrl or Cmd and click on the next layer. Then press Ctrl or Cmd+E to merge them.
  15. Continue to look for discrepancies and fix those using the same process.

Step Four: Further adjustments

  1. Now, you can make further adjustments to your image, including selective focus.
  2. Next, create a stamp visible layer.
  3. To do this, first, create a new layer and call it “Selective Focus.” Then select Ctl+Alt+Shift+E (win) or Cmd+Opt+Shift+E (Mac). This will bring your image into the layer.
  4. Then convert the layer to a smart object. Go to Filter->Convert for Smart Filters. Click OK.
  5. Then go to Filters->Blur Gallery and choose Tilt Blur. Next, rotate it. Keep in mind that the areas in the middles are focused – they have zero blur.
  6. Adjust the blur level to whatever you like. You can also adjust the width of the blur area by pulling the lines outward.
  7. Always have your eyes in focus.
  8. You can also add other blur types if you like.
  9. You can also add some sharpness to the eyes. Create another Stamp layer as above. Then desaturate it by clicking Ctrl+Shift+U (Win) or Cmd+Shift+U (Mac). Then go to Filter->Convert for Smart Filter. Click OK.
  10. Next, go to Filter->Other->High Pass. Zoom in so you can see the detail. Decrease the radius slowly and gradually increase it. Just when you begin to see the halos, stop.
  11. Change your layer blend mode to Overlay.
  12. You will see the sharpness on the overall image, but you really only want it on the face. So, hold down the Alt Key (win) or Opt Key (Mac) and then click on the mask. This will create a negative (black) Mask.
  13. First, name it “Sharpen.” Then click the mask, select your Brush Tool, then choose a soft brush and paint on the areas you want to sharpen (Be sure your white paint palette is selected).

And that’s it!

Share your before and after results with us in the comments section!

 

The post How to Remove a Fence From Your Photo in Just 3 Steps in Photoshop (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Why Leica’s M10 Monochrom is more than just a gimmick

17 Jan
The M10 Monochrom is Leica’s third mono-only digital rangefinder, but the lower base ISO of the latest camera extends its flexibility.

The Leica M10 Monochrom is the company’s third mono-only rangefinder. It uses an entirely new 40MP sensor, rather than borrowing the 24MP chip from the other M10 models.

We think the Bayer filter array is an amazing creation, producing results that massively outweigh its drawbacks, but there are a few reasons why going without color filters is more than just a gimmick.

Higher detail capture

The obvious benefit of a monochrome sensor is that you don’t need to demosaic: each pixel you capture becomes one pixel in your final image. You don’t need to interpolate missing color values for each pixel, so you don’t need to call on neighboring pixels, so don’t experience the slight blurring effect that this has.

The final image will be inherently sharper than most color cameras can achieve (Foveon sensors being the key exception to this).

Higher base ISO

The color filters used on most sensors absorb around 1EV of the light, since each filter has to absorb the two colors it’s not allowing to pass through to the sensor (the green filter absorbs the red and blue light, for instance).

The M10 Monochrom’s base ISO of 160 is lower than previous mono cameras but higher than a camera with a color filter array would be.

This means that the silicon of a monochrome sensor receives around one stop more light at any given exposure. The consequence is that it becomes saturated and clips highlights around one stop earlier, at its lowest amplification setting. The result is that its base ISO tends to be rated one stop higher than a chip with a CFA would be. On the M10 Monochrom, the base ISO is given as 160 (rather than 320 on previous models).

This can be challenging, since it means having to use exposures that are 1EV lower than you’d expect on a color camera. In bright light, this is likely to mean stopping down when you hit the M10’s 1/4000th sec maximum shutter speed. But it’s worth noting that there isn’t any image quality cost to this.

Better tonal quality, ISO for ISO

Usually, reducing exposure by 1EV results in photon shot noise being one stop more visible (this reduction in light capture is the main cause of high ISO images looking noisier).

But, although the M10 Monochrom’s base ISO of 160 means using an exposure that’s half as bright as the ISO 80 exposure you’d expect to need on a color version, the Monochrom’s sensor still experiences the same amount of light: there’s no filter stealing half of it.

The tonal quality of this ISO 12500 shot is likely to be more comparable to that of an ISO 6400 shots on a color camera, since the sensor will be seeing the same amount of light, despite a darker exposure. The dynamic range is likely to be similar, too, since less amplification will have been applied.

In other words, you’ll get the same tonal quality as a color camera shot at 1EV lower ISO. And, while the higher base ISO presents an exposure challenge in bright light, it means you get tonal quality that’s a stop better in low-light situations.

And that’s before you consider the fact that all noise will present as luminance noise, rather than the chroma noise that most people find more objectionable. So you get a one stop improvement in noise in low light and the noise that is present is less visually distracting, which means less need to apply detail-degrading noise reduction.

New sensor

The big unknown with the M10 Monochrom is the specific sensor performance. We’ve not seen a 40MP full-frame sensor before, so can’t yet be sure what its performance will be like. The 24MP sensor used in the existing M10 models is pretty good, but slightly underperforms the standard set by the 24MP sensor in cameras such as the Nikon D750, meaning it’s even further behind the newer chip used by the likes of Nikon, Panasonic, Sigma and Sony.

We can’t yet be sure how Leica has managed to reduce the base ISO, compared to the previous model. An ISO of 160 is very low for a Mono camera, since it would equate to around ISO 80 if a color filter array was applied. So it’ll be interesting to assess the dynamic range, when the camera becomes available.

We won’t know how well the M10 Monochrom’s sensor performs until we get a chance to go out and shoot with it. Probably out in one of the classic sports cars Leica seems to expect us to have.

All Leica has said is that the chip in the M10 Monochrom has been ‘designed from the ground up with Mono in mind,’ which we’re a little skeptical about. It’s true that we’ve not seen this 40MP chip elsewhere, but it’s hard to imagine that (even at Leica prices), the M10 Monochrom will ever generate enough money to cover the cost of the development of a dedicated chip.

What is true, though, is that the smaller pixels of a 40MP sensor will make it less prone to aliasing than a 24MP sensor would be, since higher resolution sensors can accurately portray higher frequency detail, before getting overwhelmed and rendering an alias, rather than a correct representation. That said, simply being a monochrome sensor massively reduces the risk of aliasing (Bayer sensors sample red and blue at 1/4 their full pixel count, so can produce color aliasing with relatively low frequency detail).

Beyond the technical

It feels a bit strange writing about the technical advantages of a Leica rangefinder, since that’s not historically been an area in which they’ve excelled, and probably isn’t high on the list of why anyone buys one.

Of course, we’re DPReview, so we’re always going to consider the technical aspects of camera performance. But we recognize that a monochrome camera is about more than this. If you go out knowing that every photo has to be black and white, you look at the world in a different way: you start to concentrate on compositions of light and shade, not just compelling color or the warmth of the light. It’s a different way of thinking.

Which is to say: we’re really looking forward to getting a chance to go shooting with the M10 Monochrom.

Articles: Digital Photography Review (dpreview.com)

 
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