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Judge rules DJI infringed patent, recommends ceasing sales and imports of most DJI drones

18 May

On March 2nd, Steptoe, a leading international law firm, secured a major trial victory for Autel Robotics USA at the US International Trade Commission (ITC). The ITC’s chief administrative law judge found that SZ DJI Technology Co. Ltd., the world’s largest manufacturer of consumer drones, and 7 related entities collectively known as ‘DJI,’ violated Section 337 of the Tariff Act of 1930, as amended. DJI has been importing and selling drones that infringe on Autel’s US Patent No. 9, 260,184.

The ITC’s chief administrative law judge recommended barring the following DJI products from importation into the United States: the Mavic Pro, Mavic Pro Platinum, Mavic 2 Pro, Mavic 2 Zoom, Mavic Air, and Spark. The judge also recommended a cease and desist order prohibiting DJI from selling any of these products that are already in the U.S. when the exclusion order issues. If upheld, all of these products could be removed from the U.S. market as early as July.

Autel scored another victory with the ITC. DJI was forced to post a 9.9% bond during the 60-day presidential review period following the exclusion order. Autel also filed a petition to prevent other DJI products from being sold including the Phantom 4 and Inspire series of drones. It is worth noting that DJI’s Inspire 1 and most of its Phantom 4 line has been discontinued, with the exception of the Phantom 4 Pro V2.0. The Spark and original Mavic Pro models are also no longer produced.

Representatives from DJI declined to comment on the matter at this time.

Articles: Digital Photography Review (dpreview.com)

 
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10 mistakes most first-time film shooters make (and how to avoid them)

08 May

Introduction

You’ve bought your first camera. You’ve bought some film. You’re ready to load up and start shooting. What could possibly go wrong? Lots of things! When you make a mistake with your digital camera, you’ll know right away, but with film, it’s not until days or weeks later, when you’re home from your once-in-a-lifetime trip that you discover you’ve screwed up the picture you can never re-create. This is what makes film so awesome.

The good news is that you are not alone – with film, mistakes are part of the process. I can’t stop you from screwing up (and I wouldn’t want to, because misery loves company), but I can give you a heads-up on common mistakes to look out for – and, in some cases, how to fix them.

Photos by: Dan Bracaglia (except where noted)

1. Loading the camera wrong

Nearly every film shooter will at some point get developed negatives back from the lab with nothing but edge writing and numbers on them. There are two possibilities: 1) Your light meter is way, way, way, way, way off, or 2) you didn’t load the film properly.

For 35mm cameras, a good indicator of the latter is that you loaded a 36-exposure roll last week and you’re on your 67th shot. Take-up reels don’t always grab the film properly, so make sure you fire-and-wind at least one shot before you close up the camera in order to verify that the film is moving, and once the back is closed, rotate the rewind lever to (gently) tension the film.

If the winder continues to rotate freely, that means the film sprockets didn’t engage (and commiserations – you just accidentally rewound an unexposed roll of film). If you loaded the camera correctly, once the slack has been taken up, the rewind knob should turn on its own as you advance the film.

For medium-format cameras, a surprisingly common misstep is loading the film backwards so that the backing paper, not the film, faces the lens. You might say, “Well, the backing paper has writing on it. How stupid must I be to get that wrong?” But in the case of cameras that use detachable film magazines, things can get very confusing indeed, because the paper markings will be facing inwards on the magazine. So a better question to ask is, “How stupid must the camera be?” Take it slow, visualize how the magazine fits into the camera and you should be fine. Better yet, read the manual.

2. Trying to load a camera that’s already loaded

Not all cameras have a nifty little film window.

This is another of the classic “oh crap” moments in film photography: You pop open the back of the camera and see there’s already film there. (Alternatively, you drop the camera and the back opens. Happens to all of us.) The very first thing to do – preferably during and not after the obligatory cursing – is to close the camera back right away. (Seems obvious, but we all get paralyzed by disbelief.)

Have you just ruined all your pictures? Probably not. You’ll definitely lose the current exposure, and the two or three previous will likely be spoiled or partially fogged. But most cameras wind the film tightly enough that the rest of the photos will be okay if you get the back closed quickly enough. Film still in the cartridge will be fine; just fire off a couple of “blank” shots to get past the film that was exposed when you opened the back.

Some 35mm auto-wind cameras, like Canon Rebel SLRs, protect against this sort of thing by winding all of the film out of the cartridge when you load them and then rewinding as you shoot. That way, any pictures you’ve already taken are safe, and it’s only possible to ruin the unexposed portion of the film. (Isn’t it nice to know a camera was designed with the assumption you’d screw up?) Chances are in this situation that the rest of the roll is still usable once you’ve shot past the frames which are definitely ruined, but if you’re shooting anything important, it’s best to play it safe – rewind the film and load up a fresh roll.

3. Forgetting if there’s film in the camera

As someone with a bad case of GAS (Gear Acquisition Syndrome), I have a lot of cameras and I can’t always remember which ones I’ve loaded with film. To be fair, I often can’t remember what I had for breakfast or where I left my keys or my children, either. Auto-wind cameras usually have an icon to tell you if they’re loaded, but what about manual-wind cameras that don’t?

Easy solution: Remember earlier how we tested that the film was loaded properly by tensioning the film with the rewind knob? That trick will also tell you if there’s film loaded. Pop out the rewind knob and turn it gently. If there’s film, it should move freely at first then start resisting as you take up the slack. (Don’t turn with too much force or you may rip the sprockets on the film.)

4. Shooting a roll of film at the wrong speed

You rewind your last roll of film, pop in a new one, go to set the ASA/ISO dial, and your heart sinks – you see the dial is set at 100, but the film you just pulled out is 400. Cue the movie guy running in slo-mo and yelling “NOOOOOOOO!!!”

Panic not, my petal, for this is a common mistake with an easy fix. If you’re shooting color print film and you’re only off by a stop (½ or 2x the right ISO) or even two, you probably don’t need to worry. Consumer-level C-41 process film has a lot of latitude; in fact, disposables and other cheapie cameras with limited exposure settings count on this built-in flexibility. (Traditional-process black and white and some “pro” print films are less forgiving, and slide film even less so.) If in doubt, just tell your lab what happened. If necessary, they should be able to compensate with processing (albeit sometimes at extra cost).

5. Changing the ISO (ASA) dial on the fly

Nope, can’t do that with film! On a digital camera, turning the ISO dial changes how the camera records images, but on a film camera all it does is calibrate the meter so that you get correct readings for the film speed you’re using. If you want consistent metering (and you usually do) the whole roll has to be shot at the same ISO. The only exception to this is for exposure compensation. If you’re shooting ISO 200 film on a bright snowy day, setting the ISO to 100, or even 64, will help compensate. Similarly, if you’re shooting a moody portrait of someone wearing dark clothing, setting the ISO dial to 400 or 800 will prevent skintones from coming out too dark.

Many more advanced film cameras offer a dial with +/-2 stops of exposure compensation to make this easier to get your head around, but it’s the exact same thing (with the advantage that it’s quicker to dial in, and you’re less likely to forget to unset the compensation later).

You also have the option of pushing or pull your film. Pushing is when you intentionally under-expose your film, then compensate by over-developing, and pulling is the opposite. The pictures won’t be perfect; they may have more grain, more or less contrast, or color shifts, but they will come out. (Some film stocks respond better to pushing and pulling than others.) Why would anyone do this? Sometimes it can lead to an interesting look, and it’s also a handy way to get more (or less) sensitivity in a pinch.

For example, when shooting indoors under low light, instead of using dedicated high-speed film, I push my 400-speed Ilford HP5 Plus film two stops by setting the meter to 1600, then alter my developing as outlined on the data sheet. There’s more grain and contrast, but I happen to like the look.

6. Letting the light meter lie to you

Modern digital cameras have sophisticated multi-zone meters that can figure out tricky lighting situations. I’m amazed at how even my phone can get pictures that would be impossible for most film camera meters to sort out. Then again, I’m amazed that my phone can make phone calls and that they can fill up soda bottles without the soda fizzing all over the factory. Seriously, how do they do that?

Anyway, multi-zone metering was in its infancy when film gave way to digital, and most film camera meters are center-weighted, meaning they take an average of the scene with more emphasis on what’s in the middle (presumably what you’re pointing the camera at) and a little less on the top part (presumably the sky, which screws things up when you rotate the camera for a vertical shot). As I mentioned earlier, bright or dark backgrounds, deep shadows, snow, nuclear fireballs and other scenes with large light or dark patches can fool the meter and throw off your exposure.

What do to? Serious photographers carry a gray card, but serious photographers tote enough gear to flatten a pack mule. In a pinch, you can take a meter reading off the grass or a patch of medium-toned fabric – just make sure the camera is pointing in the same general direction as your subject. If the readings are different, the scene is probably fooling your camera’s meter and you should adjust accordingly.

If in doubt (and assuming you don’t mind burning through film a little faster) just take a handful of shots at slightly different exposure settings to make sure. At least one of them is likely to turn out.

7. Asking on a forum which film is best

Asking a bunch of photographers which film is best is like asking them which letter of the alphabet is best. As sure as loading 800 ASA film makes the sun come out and 50 ASA makes it rain, you’ll get 85 replies and no consensus. That’s because different films have different characteristics, and “best” is a matter of personal preference (which is why there are so many choices). Everything I’ve ever read on any forum about a given film being good or bad has been wrong – not because the people don’t know what they were talking about (though a couple obviously didn’t), but because the question of film quality is so subjective.

The best way to find the right film for you is to try different kinds and see what you like. I recommend starting with well-known staples like Kodak Gold or Ilford HP5+ to get some sort of a baseline for yourself. (Best not to start with slide film, as it’s really picky about proper exposure.) Then you can ask a different kind of question on the forums: “I’ve been shooting BlastMax 200 and I was thinking about trying a roll of Elbowchrome. What can I expect?” Now that your fellow shooters know your baseline, they can give you a more meaningful answer by comparing the new film to what you know. Better yet, don’t ask – just buy a roll and decide for yourself.

8. Getting obsessed with the Zone System

For those who haven’t heard of it, the Zone System is how famed landscape photographer Ansel Adams made his amazing black-and-white landscape photos. It’s an elaborate method that involves treating exposure, developing and printing as a unified system: you make adjustments in one part of the process that are compensated by adjustments in the others. Incidentally, you can use a form of the Zone System in digital photography, and it’s quite a bit easier since your “processing” is electronic.

The Zone System has understandable appeal to digital photographers who are used to mining the data to draw details out of their exposures. If you’re developing and printing your own black-and-white film, then by all means, dive into the Zone System. But, really, you don’t need to. Bracketing, where you shoot a couple of exposures over and under your metered exposure at ½- or 1-stop increments, as descried earlier, is a better way to give yourself options, and always a good idea with slide film. Better to concentrate on things like composition, because a boring photo is a boring photo no matter how perfectly it’s exposed.

Photo: Ansel Adams / US National Archives and Records Administration

9. Starting with slide film

Someone recently wrote in DPReview’s Film Photography Talk forum, “If you want to hate film photography with a passion, start with slide film.” Truer words have never been typed. This isn’t a mistake all newbies make, but it’s one to be avoided. Here’s the deal: Slide film is exceptionally sensitive to proper exposure. If you (or your camera) is off by even a little, the picture won’t look good. Back In The Day, shooting slide film gave you bragging rights, but that’s when the film and processing didn’t cost much more than print film. You could afford to burn half a roll by bracketing (shooting pictures over and under your camera’s meter reading) to get that perfect shot.

Today, slide film and its processing is more expensive, and with so many photographers using a digital workflow (scanning and printing), many negative films are now optimized for scanning. Slides are still cool, slide film is typically sharper and finer grained than equivalent print emulsions, and slides look great when projected. If you want to shoot slides, I certainly won’t try to stop you. But I suggest waiting until you have some experience with your camera.

10. Not using UV filters

Neglecting to fit a UV filter is a mistake you might not realize you’ve made until it’s too late. Though they do filter UV light (not really a concern with modern films; older film stocks could go a bit blue without one) their real job is to protect your lens in case you drop the camera or hit it against something, which I absolutely guarantee you will do at some point. And yes, this is experience talking – I’ve done it both ways. Most recently, I had a Nikon zoom fall off a shelf and land face-down. The $ 8 filter shattered and the $ 50 lens was unscathed. I could have kissed that filter, except that putting broken glass to your lips is a bad idea.

I’ve heard people argue against protective filters by saying that a shattered filter could scratch the lens surface, but this is rare. I have, however, heard many, many, many stories about photographers bashing their cameras into rocks or walls or furniture or people and having the UV filter save the lens. UV filters cost from $ 5-$ 10 up to $ 100+ (personally I use these Amazon Basics filters) and they’re worth it, protecting you from the consequences of bad spur-of-the-moment decisions.

Photo: Magnus Akselvoll

Articles: Digital Photography Review (dpreview.com)

 
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Review: The DJI Mavic Air 2 is the best all-around drone for most people

01 May

DJI Mavic Air 2
$ 799 ($ 998 with ‘Fly More’ kit) | dji.com

DJI just released the Mavic Air 2, the successor to the original Mavic Air that arrived in 2018. Notably, it’s the first Mavic drone to offer 48MP stills, 8K HyperLapse and 4K/60p video at 120 Mbps. It’s also the first consumer drone equipped with AirSense, DJI’s alert system that receives automatic dependent surveillance-broadcast (ADS-B) signals from nearby manned aircraft and displays their location on the remote control’s screen

Whereas the original Mavic Air comes in a variety of colors and resembles the DJI Spark, the Mavic Air 2 falls between the Mavic Mini and Mavic 2 Pro with regards to appearance, size, performance, and weight. DJI told us it did a lot of testing to determine the best balance between size, portability, and features, and determined that 570g (1.25 lbs.)—the weight of the Mavic Air 2—overwhelmingly felt right.

Arriving at an ideal weight and size apparently wasn’t the only priority for DJI when crafting the Mavic Air 2. Adding features found in more sophisticated drones, including the Inspire 2, to a model 337 grams lighter than the Mavic 2 series, DJI also aimed to make this its smartest drone to date. Did they pull it off? Let’s take a look and find out if the Mavic Air 2 is the right drone for you.

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Key features

  • 570g (1.25 lbs.) total weight
  • 1/2″ 48MP CMOS image sensor
  • 24mm equivalent lens (84º FOV), fixed F2.8 aperture
  • 12MP and 48MP photos
  • 4K/60p and HD/240p video at 120Mbps
  • H.264 and H.265 codecs
  • HDR video and panorama
  • 8K HyperLapse
  • Spotlight 2.0 subject tracking
  • Advanced Pilot Assistance System (APAS) 3.0
  • 34-minute max flight time
  • 68 kph (42 mph) max speed

The compact, feature-packed Mavic Air 2

When folded down, the Mavic Air 2 is 180x97x84 mm and fits in the palm of your hand. This is slightly larger than the original Mavic Air, but it’s still quite a bit smaller than the Mavic 2 Pro and Mavic 2 Zoom models in the line above it.

The Mavic Air 2 is larger than the minuscule Mavic Air, but it still fits in the palm of your hand (mostly).

A more dramatic change is found in the design of the controller; it’s larger and boxier than other remotes in the Mavic series, and is designed to mount a smartphone on top rather than on the bottom, like past Mavic models. The phone is secured with a clamp similar to DJI Phantom series remotes, though it doesn’t extend far enough to hold a tablet. The clamp on the controller is quite difficult to adjust and securing the smartphone is a struggle at times.

Remote pilots can easily toggle between Tripod, Normal, and Sport flight modes as the mode switch is featured front-and-center on the controller. Similar to other Mavic remotes, Return to Home and Power buttons are on the front. The upper-right button allows you to alternate between still photos and video.

The Mavic Air 2’s controller is larger than others in the Mavic series and mounts the smartphone to the top, rather than the bottom, for better visibility. It also works with a case on your phone, unlike previous Mavic controllers.

The upper-left button features a ‘Fn’ button that activates the auxiliary light and additional sensors that assist with several functions, including smoother landing in low-light conditions. There’s also a controller wheel on the top left that tilts the camera up and down. Two joysticks are stored at the bottom and can be screwed on for flying or removed for storage.

When first unboxing the Mavic Air 2, you’ll notice stickers labeled ‘A’ and ‘B’ on the top and bottom arms of the foldable drone. The legs unfold in the same manner as the Mavic 2 and Mini, and the labels are affixed with a beginner pilot in mind. Two bags labeled ‘A’ and ‘B’ contain 3 propellers, 1 extra for each type if a replacement is necessary.

The Mavic Air 2’s controller is designed to mount a smartphone on top rather than the bottom.

Attachment points for the props are color-coded, with a silver ring where the ‘A’ props attach and plain black for the ‘B’ props. It’s a subtle touch to help ensure that all components are properly affixed, and if a propeller is incorrectly placed the drone will not take off. This might confuse consumers new to flying a drone, but it’s a good safety feature. The props have an aerodynamic design that allows for quieter flight, and the Mavic Air 2 is quieter than the Mavic Mini – which is less than half its weight.

The camera sits snugly on a 3-axis gimbal. The sensors at top are part of the obstacle avoidance system.

Photos and video

The camera, which uses a 1/2″ CMOS Quad Bayer sensor, is mounted on a 3-axis stabilized gimbal. It can capture Raw images, JPEG images (at either 12MP or 48MP resolution), as well as Raw + JPEG. In addition to standard movements, the gimbal can tilt upward up to 24º.

The Air 2’s camera boasts a 24mm (equiv.) fixed-aperture F2.8 lens with an 84º FOV. DJI’s Fly More combo includes 3 neutral density filters that appear to twist and snap on and off like those for the Mavic 2 Pro. (Our review unit didn’t include filters so we were unable to test them).

DJI has also added SmartPhoto modes, similar to computational photography techniques used by many smartphones, to improve photo quality. These include:

  • HDR photos: the camera automatically captures 7 different exposures and combines them for greater dynamic image.
  • Hyperlight: images taken in low-light conditions, especially on DJI drones, tend to be grainy and contain noise. Hyperlight takes multiple photos and merges them for a clearer image.
  • Scene recognition: this mode allows the drone to recognize 5 major components of a photo – sunsets, blue skies, grass, snow, and trees. It will analyze these objects and maximize tone, clarity, and colors.

SmartPhotos are captured at a resolution of 12MP

One thing I noticed is that 48MP images are a bit darker relative to Single or SmartPhotos. The latter feature worked quite well when capturing a sunset, and the HDR photos I was able to capture are quite good for a 1/2″ sensor and could be passed off in professional situations.

In Single and 48MP mode, the sky and sun were blown out while the foreground was practically pitch black. SmartPhoto recognized these components. Both photos are unedited.

I was surprised at how well Hyperlight and Scene Recognition worked, as evidenced in the photo above. Panoramas could be improved, as stitching doesn’t always match up, though the app I’m using is still technically in beta and some of these bugs will likely be ironed out with subsequent firmware updates.

The Air 2 is the first drone in the Mavic series that can capture 4K/60p video at 120 Mbps using the H.265 codec. This is impressive for a drone that retails under $ 1,000. Additionally, there’s 4K/30p HDR video, and HD/120p and HD/240p will deliver some serious slow-motion footage — up to 10x on a 24p timeline.

The Mavic Air 2 shoots impressive 4K/60p video, thanks to its support for the H.265 coded at bit rates up to 120 Mbps.

I was quite impressed with the quality of the 4K/60p and even 4K/30p video. However, objects in my slow-motion clips were a bit more blurry than I expected, even at a 240p frame rate. Does the 120 Mbps bit rate make a difference here? Yes, for this particular camera. The quality of video footage I was able to gather in various lighting scenarios is exceptional.

DJI’s normal color profile has been optimized for the ideal amount of saturation and detail, but its D-Cinelike profile is also included for more advanced shooters. 8K HyperLapse video will be available when the Air 2 ships in mid-May, 2020.

These video clips, captured at HD/120p and HD/240p are slowed down 4x and 8x on a 30 fps timeline. At 8x slow motion, movement of the tennis players in the second clip is barely noticeable.

Odds and ends

The Mavic Air 2 comes equipped with obstacle avoidance sensors on the front, rear and bottom of the aircraft. There aren’t any sensors on top. An auxiliary light with additional sensors, which can be activated from the controller, is located on the bottom to assist with landing in challenging conditions such as low-light environments.

DJI claims a maximum 34 minutes of flight time for the Mavic Air 2, a significant increase from the 21-minute life expectancy of the original Air model, though this figure is derived from flying in ideal conditions; DJI states that 33 minutes is more likely when performing a typical flight. I flew in moderate winds and found the figure to be closer to 30 – 31 minutes, on par with the Mavic 2 series.

The bottom of the drone includes obstacle avoidance sensors and an auxiliary light.

A microSD card slot, which supports up to 256GB, is located below the battery portal. 8GB of internal storage is provided as backup should the memory card become full (or if you forget to bring a card along). Photos or video captured internally can be accessed through the micro USB portal on the opposite side of the card slot. Two cables that connect to a laptop are included with the Mavic Air 2.

This model is also equipped with DJI’s Geo system, which prevents drones from entering prohibited areas including airports. For those unfamiliar with drone laws, this feature will come in handy. Geo zones, as well as ADS-B, can be deactivated in the Fly app.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X100V review: The most capable prime-lens compact camera, ever

09 Apr

Introduction

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All product photography by Dan Bracaglia

Gold Award

86%
Overall score
Jump to conclusion

The X100V is Fujifilm’s fifth X100-series camera since the original model debuted almost a full decade ago. Through each successive iteration, Fujifilm has made its large-sensor, prime-lens compact camera more and more capable, and this latest model (officially pronounced Ex One Hundred Vee) takes the core bits of Fujifilm’s high-end interchangeable-lens X-Pro3 and slips them into a much smaller package.

This means you get the company’s latest 26MP X-Trans APS-C sensor and processor combo, the promise of much-improved autofocus and the best video feature set we’ve seen on a prime-lens compact camera. But it doesn’t stop there: the lens has been redesigned, the ergonomics refined, the viewfinder revisited, and a whole lot more.

Key specifications:

  • 26MP X-Trans sensor
  • Redesigned lens (still a 23mm F2 pancake, compatible with previous converters)
  • Built-in 4-stop ND filter
  • Tilting 1.62M-dot touchscreen LCD panel
  • Updated 3.69M-dot OLED EVF, redesigned OVF optics
  • Up to 4K/30p with Eterna film sim and F-Log internal capture (8-bit only)
  • 2.5mm mic port, headphones through USB-C with adapter
  • Weather-sealed, when filter adapter and filter are used
  • Single SD card slot
  • CIPA rated to 350 shots using the EVF, 420 using the OVF
Processed from Raw.
ISO 320 | 1/320 sec | F5.6
Photo by Barney Britton

The X100-series has always been a favorite among the DPReview staff, and for some good reasons; these cameras produce wonderful images, they’re beautifully designed and are engaging to use. For those that have been eyeing some or other version of X100 over the years but never taken the plunge, this latest model is arguably the one to get. But for owners of previous X100 models, should the V tempt you to upgrade? Let’s find out.

The X100V is expected to be available in late February 2020 at a suggested retail price of $ 1399, £1299 (inc VAT), €1500 (inc VAT) or $ 1799 CAD.

What’s new and how it compares

The X100V comes with some significant changes, but still follows the basic formula its predecessors have followed for the last decade.

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Body, controls and handling

Out with the 4-way controller, in with the touchscreen. This and more have the potential to change the way you take control over the X100V.

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First impressions

If Reviews Editor Carey Rose had the previous X100F, he’s not sure he’d upgrade – but he’s not sure he’d not upgrade, either.

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Image and lens quality

The X100V has a familiar sensor with good performance and we take a close look at the new Color Chrome feature and the redesigned lens.

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Autofocus

The X100V gets pretty much all of the same autofocus features as the X-Pro3, making it very capable for a camera of its type.

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Video

In terms of video, there’s really no better-specced fixed-lens, large-sensor option on the market today.

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Conclusion

The X100V is (predictably) the best X100 yet, and frankly, leads its market segment in terms of overall capability.

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Sample galleries

Our pre-production camera gallery started out with a dark, gray January, and our full-production gallery ends with quarantine. But we did get some nice photos here and there.

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Articles: Digital Photography Review (dpreview.com)

 
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CamFi update adds wireless tethering support to Fujifilm’s most popular cameras

09 Apr

CamFi has announced the latest version of its application now supports wireless tethering for some of Fujifilm’s most popular camera systems.

The app update supports the following Fujifilm cameras: X-T2, X-T3, X-H1, GFX 50R, GFX 50S and GFX 100, and will work with the CamFi’s CF 101, CF 102, CamFi Pro and CamFi Pro Plus units. In addition to nearly instantaneous image transfers to laptops or mobile devices over Wi-Fi, the update also supports live view mode, remote capture, time-lapse, HDR and focus stacking modes.

CamFi has also added the ability to save a Raw image to the camera’s SD card while remotely transferring over the JPEG to the connected device, allowing for quicker transfers while still getting an image preview. A new USB connector for Fujifilm cameras has also been released, which CamFi says will extend the battery life of the CamFi unit’s battery from one hour to three hours.

The CamFi mobile app update is available to download in the Google Play Store and iOS App Store, where it’s rated 3.4 stars and 2.9 stars, respectively. The macOS and Windows desktop apps are available to download on CamFi’s website.

CamFi app update adds wireless tethering support for popular Fujifilm cameras

Guangdong, CHINA—April 8, 2020—CamFi, maker of wireless camera controllers, today announced that the new version of its app adds wireless tethering support for Fujifilm cameras. This feature allows the photographer to transmit photos from a Fujifilm camera to a laptop or a mobile phone via Wi-Fi automatically during a photo shoot.

“It is not very convenient to review the photos on a mobile device or a Mac while shooting by Fujifilm camera,” explained Mark Ma, CEO of CamFi. “The built-in Wi-Fi is too slow. Our new feature changes all that. Now, our device and app will speed up the workflow of photographers who use Fujifilm cameras.”

The new version of the app delivers a great deal of convenience to Fujifilm photographers. It supports the most popular Fujifilm cameras that are available after this update, including X-T2, X-T3, X-H1, GFX 50R, GFX 50S and GFX 100. The new version of the app also supports live view, remote capture, time lapse, HDR and focus stacking. Furthermore, this version allows photographers to save an image’s RAW file on the camera’s SD card and transfer the JPG file to the client device only. This capability can shorten the time required to review the photo.

All existing users of CamFi CF 101, CF 102, CamFi Pro and CamFi Pro Plus can upgrade their firmware with this version. Windows, Mac, iOS and Android platforms are all supported.

To prevent draining the battery of the CamFi device, CamFi also released a new USB connector for Fujifilm cameras. It will extend the work time of CamFi’s battery from 1 hour to 3 hours.

Articles: Digital Photography Review (dpreview.com)

 
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Photography deals, discounts and freebies for making the most of being stuck inside

28 Mar

As the number of newly-diagnosed Coronavirus cases continues to increase, so do the strict orders to stay home. For some, this means an increase in free time along with a decline in disposable income. Across the photography community, multiple retailers, software manufacturers, teachers and more are offering discounts, extended trials or freebies to help pass the time and (hopefully) make your dollars go a little further in this time of economic downturn.

We’ve rounded up just a few of the offerings from around the photography world and are sharing some of our favorites below. Keep in mind not all of these specials are specifically made in response to the COVID-19 outbreak, but we’ve included them below, unaffiliated, to ensure as little goes unseen as possible.

This will be a living list, so as we come across more deals and freebies, we will be adding them to the collection, which is split into two categories: ‘Deals and discounts’ and ‘Classes, courses and webinars.’ If you know of any we’ve missed, please share them in the comments below and we’ll be sure to add them to the list.

Deals and discounts

Adobe

In addition to granting free access to its Creative Cloud suite for qualifying students and educators alike, Adobe is also giving everyone two months of free Creative Cloud to help creatives affected by the ongoing pandemic. PetaPixel has shared a thorough guide on how to get your two free months.

Affinity

Serif has increased the length of its free trial to 90 days (from 30 days) for its entire Affinity suite and is offering all of its apps, both desktop and mobile, for 50% off. This includes Affinity Designer, Affinity Photo and Affinity Publisher. Additionally, Serif has pledged to ‘engage more than 100 freelance creatives for work, spending the equivalent of our annual commissioning budget in the next three months.’ Serif says more details on that initiative will be announced soon and has in the meantime shared a letter regarding this news.

Adorama

As always, Adorama has a number of special offers and discounts across various photo gear, as well as a ‘Deal of the Day’ that kicks off with a new product at 10am EST everyday.

B&H

B&H too has its own ‘Deal Zone’ that features ‘unbeatable specials.’ Not everything is photo-specific, but you can count on at least two or three photography-specific deals going on every day.

DaVinci Resolve

While not exclusive to the COVID-19 pandemic, DaVinci Resolve 16, an inline video editor akin to Adobe Premiere Pro, is free to download for Linux, macOS and Windows computers. Whether you’re looking to cut your Adobe subscription to bring down your monthly bills or simply want to try something new, it’s hard to beat the price of nothing and the app itself is a treat to use, as we’ve been over before.

DxO

DxO is slashing prices by up to 30% off through March 31st, including the recently-released DxO PhotoLab 3.2 update as well as its Nik Collection. With the discount, PhotoLab 3.2 and the Nik Collection cost $ 99.99 each, compared to the usual $ 129.99. You can also try out both programs for 30-days with free trials.

ON1

ON1 is currently offering 50% off Photo RAW 2020.1, bringing the normal $ 99.99 price down to just $ 49.99. ON1 is also offering 50% off its ‘Gold Package’ version of Photo RAW 2020.1, which includes the program, 50 fine art texture overlays, the ON1 Foundations video course, a one-year SmugMug Portfolio membership (normally a $ 180 value), as well as a pack of presets, LUTs and ‘styles.’ You can find both the standard download and the ‘Gold Package’ download at ON1’s online store. The deals end March 31, so you only have a few days left to snag this deal.

Skylum

Skylum is currently offering Luminar 4.2 and Aurora HDR as a bundle for $ 149, a $ 39 savings over the usual price. In order to see the deal, visit the Aurora HDR product page, click ‘Buy Now’ and scroll down to see the bundle with Luminar 4.

Classes, courses and webinars

Professional Photographers of America

As we covered earlier this week, Professional Photographers of America is currently offering its library of more than 1,100 courses for free. Usually these classes are limited to paying PPA members, but to help photographers and creatives affected by the COVID-19 pandemic, PPA has temporarily opened them up for all.

Advanced Aerial Photography with Vic Moss

In a webinar scheduled for this Thursday, March 26th, at 4:00 PM MST (6:00 PM EST), Drone U’s Vic Moss shares important lessons learned through his 30-plus years of experience as a photographer and 6-plus years operating drones.

‘Drone U has decided to offer some free courses and webinars during this time to give people an outlet. Many of us are cooped up and still need a creative outlet. Now is a good time to hone our skillsets, so Drone U thought we’d do this. We’re all in this together, so let’s get through it together,’ Moss tells DPReview.

Here are a few concepts that will be covered:

  • The exposure triangle and how the three parts work together (ISO, f-stop, shutter speed)
  • Megapixel vs. resolution: how are they different? Or are they?
  • The basics of composition
  • How to use the histogram to enhance your images
  • HDR and some basic editing concepts

While the webinar will be available for replay after it’s recorded, the live session offers attendees the opportunity to ask questions. Register here.

Introduction to Aerial Videography: Creative Direction for Drone Filming

This course is offered for free through Skillshare. All you need to do is create a free account to access a 2-month trial that can be canceled (it would be wise to set a reminder if you’re not interested in becoming a full-time member). Drew Roberts and Nathan Labruzza of Los Angeles-based Wild Rabbit Aerials, have created footage for major car companies including GMC, Ford, and Toyota, a Super Bowl ad for SodaStream, and footage for numerous feature film productions.

The duo walks through the basics of aerial cinematography including how to get started from the ground up. They share some hard-learned lessons from their years of experience, how they conduct the simplest to most complex shoots and run through the post-production process. Register for this course through a free Skillshare account here.

Various Beginner + Intermediate Photography Courses

Brit + Co, a lifestyle and DIY-based site, is offering all of their courses, which usually range from $ 27 – $ 107 each, for free through March 31st. Simply use the all-caps promo code ‘SELFCARE’ without the quotes at checkout. Click on ‘Have a Coupon?’ and you’ll automatically be registered without having to use your credit card or PayPal account.

Relevant courses include ‘How to Become a Wedding Photographer,’Phone Photography: Capturing Your Travels,’Family Photography: Capturing Your Little Ones, and their ‘Wanderlust Photography Bundle’ which gives an introduction to travel photography and walks you through using photo editing apps. ‘Some of us can’t work and are catching a serious case of cabin fever. All of us want to stay inspired, creative, and take care of ourselves,’ reads the official blog post introducing the initiative.

Adobe Premiere Pro, Lightroom, Photoshop, and After Effects Tutorials

YouTube hosts millions of free tutorials from creators around the globe. As with any major platform that goes largely unmoderated, save for removing objectionable content, the quality of information offered can vary. Justin Odisho has consistently created high-caliber content around showing creatives how to use Adobe products.

Adobe Premiere Pro is inarguably an industry standard when it comes to video editing software. In a series of 187 videos, Odisho walks you through everything from color correction to creating effects. Lightroom, Photoshop, and After Effects users will also find a wealth of information to master their respective crafts.

Kelby One

Scott Kelby’s Kelby One program is also offering free weekly webinars and memberships to some of its most popular classes. In a notification on the Kelby One website, it reads ‘We hope these resources help during this trying time as you work from home or self-quarantine for safety.’

Articles: Digital Photography Review (dpreview.com)

 
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Sigma CEO confirms ‘most new products’ will be ‘exclusively for mirrorless cameras’

16 Mar

In a tweet published on March 10, Sigma CEO Kazuto Yamaki shared a bit of information that hints at what products we should most be expecting to see from Sigma in the foreseeable future.

In response to a question from Twitter user Terri Ikoma, username @uplink_boss, Yamaki-san said Sigma will put a priority on developing its ‘DN’ lens lineup for mirrorless camera systems, including full-frame, APS-C and Micro Four Thirds (MFT) systems. Below is the screenshot with the machine-translated text:

Since much can get lost in translation (particularly machine translation), we contacted Yamaki-san to independently confirm the statement and see if he would be willing to divulge any further information. Yamaki-san both confirmed the statement and elaborated that while APS-C and MFT lenses aren’t out of the question, ‘most of [the lenses] will be DG DN series (designed for full-frame mirrorless cameras).’

Considering the direction the rest of the photography world is moving, this news shouldn’t necessarily come as a surprise, but to get confirmation from Sigma’s CEO that the third-party lens manufacturer will be focusing exclusively on mirrorless systems is a significant detail. Canon also confirmed earlier this year that its focus will be on full-frame mirrorless lenses (RF-mount) over DSLR lenses (EF-mount), so Sigma isn’t the only one who’s looking at DSLRs through the rearview mirror.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X100V initial review: The most capable fixed-lens compact camera, ever

05 Feb

Introduction

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The X100V is Fujifilm’s fifth X100-series camera since the original model debuted almost a full decade ago. Through each successive iteration, Fujifilm has made its large-sensor, prime-lens compact camera more and more capable, and this latest model (officially pronounced Ex One Hundred Vee) takes the core bits of Fujifilm’s high-end interchangeable-lens X-Pro3 and slips them into a much smaller package.

This means you get the company’s latest 26MP X-Trans APS-C sensor and processor combo, the promise of much-improved autofocus and the best video feature set we’ve seen on a prime-lens compact camera. But they didn’t stop there: the lens has been redesigned, the ergonomics refined, the viewfinder revisited, and a whole lot more.

Key specifications:

  • 26MP X-Trans sensor
  • Redesigned lens (but still a 23mm F2 pancake)
  • Built-in 4-stop ND filter, compatible with previous lens converters
  • Tilting 1.62M-dot touchscreen LCD panel
  • Updated 3.69M-dot OLED EVF, redesigned OVF optics
  • Up to 4K/30p with Eterna film sim and F-Log internal capture (8-bit only)
  • 2.5mm mic port, headphones through USB-C with adapter
  • Weather-sealed, when filter adapter and filter are used
  • Single SD card slot
  • CIPA rated to 350 shots using the EVF, 420 using the OVF

The X100-series has always been a favorite among the DPReview staff, and for some good reasons; these cameras produce wonderful images, are beautifully designed and are engaging to use. For those that have been eyeing some or other version of X100 over the years but never taken the plunge, this latest model is arguably the one to get. But for owners of previous X100 models, should the V tempt you to upgrade? Let’s find out.

The X100V is expected to be available in late February 2020 at a suggested retail price of $ 1399, £1299 (inc VAT) or $ 1799 CAD.

What’s new and how it compares

The X100V comes with some significant changes, but still follows the basic formula its predecessors have followed for the last decade.

Read more

Body, controls and handling

Out with the 4-way controller, in with the touchscreen. This and more have the potential to change the way you take control over the X100V.

Read more

First impressions

If Reviews Editor Carey Rose had the previous X100F, he’s not sure he’d upgrade – but he’s not sure he’d not upgrade, either.

Read more

Sample gallery

It’s a dark, gray, wet January in Seattle, but we did try to take advantage of a couple of sunny days to see what our pre-production X100V can do.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: The most important Pentax cameras of all time

18 Jan

Pentax week continues! In this video, Chris takes us for a ride on the wayback machine to look at the most important Pentax cameras in history.

Have your own favorite Pentax model? Tell us in the comments.

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

  • Introduction
  • Pentax K1000
  • Asahi Pentax 6X7
  • Pentax LX
  • Pentax Auto 110
  • Pentax K10D
  • Pentax 645Z
  • Conclusion

Articles: Digital Photography Review (dpreview.com)

 
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Answers to Your Most Common Lightroom Questions

08 Jan

The post Answers to Your Most Common Lightroom Questions appeared first on Digital Photography School. It was authored by Darina Kopcok.

common-lightroom-questions

Adobe Lightroom offers ease of use as well as high functionality for novice users and professionals alike. Although many photographers use Photoshop for retouching, they continue to use Lightroom, not only as a global editor but also for its robust organizational capabilities.

Even if you’ve been using Lightroom for a while, you still may be confused about how to get the most out of the software.

Certain questions crop up again and again with Lightroom users. Here are some answers to your most common Lightroom questions.

Answers to Your Most Common Lightroom Questions

Should I use Lightroom CC or Lightroom Classic?

Pardon the pun, but this is the “classic” question when it comes to Lightroom, especially with the changes and updates over the last couple of years.

The current “Lightroom” app was formerly known as Lightroom CC. This is a version that is heavily marketed by Adobe but is not necessarily the best version for the serious photographer.

Lightroom Classic is what used to be known as Lightroom CC.

Are you confused yet?

No worries, because this is the most common Lightroom question!

The current Lightroom CC stores your photos on their servers and charges you $ 10 per terabyte. If you shoot a lot, this can really add up quickly.

It also doesn’t offer you full functionality, like the ability to print from Lightroom or export files in any format other than DNG or JPG.

Lightroom CC also doesn’t contain the Map, Book, Print, Slideshow or Web modules. Essentially, it’s suitable for the entry photographer. Beyond that, you’ll find it won’t give you the full suite of tools you need.

Lightroom Classic, on the other hand, is the subscription-based model that you get with your photography plan.

Not only does this version give you great value, but it also provides you with the complete functionality you expect from a post-processing program.

To find out which version you currently have, just go up to –>Help in the top toolbar and select –>System Info from the dropdown menu.

Answers to Your Most Common Lightroom Questions

What color space should I use?

The conversation about color space is a lot more lengthy than what can take place here, but you should be aware of the differences and those most optimal for what you’re trying to accomplish with your photography.

The most common color spaces are sRGB and Adobe RGB.

camera-color-spaces-explained

sRGB is the defining color space of the digital world. Anything involving digital graphics, whether it be video games or photographs, is built on sRGB.

If your photos will appear online, you’ll need to use sRGB. If you upload an image in AdobeRGB, it will look desaturated and dull because the browser will convert it to sRGB and do a poor job of it.

However, if you anticipate your work being professionally printed at all, you’ll most likely need AdobeRGB files. This is a color space developed by Adobe Systems and HP to be compatible with CMYK printers.

Stock agencies often request files to be upload in AdobeRGB because they can be converted to sRGB. Just note that the reverse isn’t true.

Both sRGB and AdobeRGB have the same number of colors but the range is narrower in sRGB. AdobeRGB has a 35% wider color gamut, which means prints will be more vibrant and saturated.

ProPhotoRGB encompasses the largest color space available and is ideal when using Lightroom with other programs like Photoshop to process 16-bit photos. 8-bit cannot use the whole available color range. Prophoto is also ideal if you are printing your photos with a professional printery that uses a printer that can print between 7-10 colors.

Image: sRGB vs AdobeRGB on a computer screen

sRGB vs AdobeRGB on a computer screen

How can I speed up Lightroom’s performance?

An important factor in keeping Lightroom running smoothly is to set it up for optimal performance.

One common Lightroom question is how to speed up Lightroom’s performance.

To start with, as with any software program, you should always make sure it’s updated and that you have enough hard drive space. You need at least 20% free space for Lightroom to run optimally.

Also, make sure your catalog is optimized. Lightroom continually updates the catalog file, but eventually, the data structure becomes less optimal over time. It has an “optimize catalog” option you can enable to improve performance.

To access this option, go to Lightroom -> Preferences and click on -> Performance.

Then click on -> Optimize Performance.

lightroom common questions-optimize catalog

common questions-lightroom performance

Set up Lightroom to back up on a regular schedule, and set it to optimize the catalog following the backup.

Another tip for improving performance is to import your files as DNG files.

DNG is short for Digital Negative. It’s a RAW file format created by Adobe.

When you convert a file into DNG, Lightroom adds Fast Load Data to the file. This results in a partially processed preview that allows Lightroom to render faster previews in the Develop module.

Adobe claims that a DNG file with Fast Load Data can load up to eight times faster.

Another benefit of converting to DNG files is that they are smaller files than other RAW formats and take up 20% less space on your hard drive.

To enable this Fast Load Data under your Lightroom Preferences tab go to -> File Handling and check off Embed Fast Load Data. Make sure you have DNG selected as the file extension.

Answers to Your Most Common Lightroom Questions

Should I use one or multiple catalogs?

Another of the common Lightroom questions is how many catalogs users should use, and often garners much debate.

Some photographers vehemently proclaim that you should only use one catalog, while others insist one catalog is an accident waiting to happen.

When you use one catalog, you risk it becoming corrupt from, for example, constant opening and closing the catalog. It’s actually a rare thing, but it has happened to me a couple of times.

The antidote to this is backing up every day and keeping only the last couple of backups so they don’t clog up your computer.

Catalogs can be a nice way to organize your images. You can, at the very least, have one for your personal photos and another for professional photos.

But you can also have one catalog by utilizing Collections. To me, the whole point of Lightroom is to keep you more organized, so this is a large part of the functionality of the program.

When you have several catalogs, you have to make sure each is properly backed up, which is tedious and adds to your workflow. Also, you cannot have more than one catalog open at a time.

So, in my opinion, it’s easier to back up and manage one master catalog and that you make the most use out of the Collections feature.

Where should I save my files?

The key to success with Lightroom is to keep things as streamlined as possible. It functions as a powerful photo database, but a few missteps can result in a mess.

One of the most common Lightroom questions is where should I save my files?

I recommend that you have a hierarchical folder structure where you have a top-level folder, and in that folder, you have a folder for the year, month, and shoot name – in that order. 

This folder structure will make it easy makes it easy to locate certain photos quickly.

It will also allow you to easily back up your photos or copy them to an external hard drive by copying the top-level folder

For example, if you want to back up your entire photo collection to another hard drive, it’s as simple as copying the top-level folder.

folder-stucture-common-lightroom-questions

Conclusion

Despite how user-friendly Lightroom is, it contains a fair amount of complexity. Knowing all the ins-and-outs will help you get the most out of the software program. Hopefully, this article has clarified some of your most common Lightroom questions.

 

 

The post Answers to Your Most Common Lightroom Questions appeared first on Digital Photography School. It was authored by Darina Kopcok.


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