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DJI’s rumored $300 Mini SE drone is available now in the US and weighs only 249 grams

10 Aug

Following a leak in June, DJI’s sub-250-gram entry-level drone, the DJI Mini SE, is now available in the United States. At $ 300, the Mini SE is DJI’s most affordable drone.

As noted by Drone DJ, the DJI Mini SE is essentially a cheaper version of DJI’s original Mini. In our review of the Mini in 2019, we called it ‘the perfect drone for beginners.’ In 2020, the DJI Mini 2 came out. In our DJI Mini 2 review, we remarked that the Mini 2 built upon the excellent concept of the original Mini and included significant improvements. The Mini 2 launched at $ 450, $ 150 more expensive than the new Mini SE.

The Mini SE is more a spiritual successor to the original DJI Mini than a replacement for the Mini 2. While the Mini 2 records 4K video, the Mini SE offers the same 2.7K video resolution as the original Mini. That said, the Mini SE uses the same slightly redesigned body as the Mini 2. Speaking of sharing features with the original Mini drone, DJI has delisted it following the release of the Mini SE.

The DJI Mini SE weighs only 249 grams, putting it in the lowest weight class of drones.

At 249 grams (8.8 oz.), the Mini SE is about the same weight as some smartphones. DJI writes, ‘Weighing under 249 grams, DJI Mini SE is almost as light as the average smartphone. This makes it exceptionally portable and places it in the lowest and safest weight class of drones, which may exempt it from certain regulations in many countries.’

When folded, the drone’s dimensions (L x W x H) are 131 x 81 x 58mm. Unfolded with propellers, the drone is 245 x 289 x 56mm. In terms of additional specs, the drone has a maximum ascent speed of 4 meters per second and a max speed (with no wind) of 13 m/s. The Mini SE has a maximum tilt angle of 30° and a maximum angular velocity of 150°/s.

In our coverage of the Mini SE leak in June, we wondered what remote the Mini SE would ship with, the Mini remote or the improved Mini 2’s remote? As it turns out, it’s the former.

As mentioned, the DJI Mini SE shares its imaging pipeline with the original Mini. The Mini SE drone records 12MP aerial photos and up to 2.7K Quad HD videos using its 1/2.3″ CMOS image sensor. The built-in lens has a 35mm-equivalent focal length of 24mm and an F2.8 aperture. The drone’s ISO range for photo and video is 100-3200. The drone includes a 3-axis motorized gimbal. When flying, the remote maintains an HD video feed at up to 4km (2.5mi). The drone is rated for up to 30 minutes of flying with a fully charged battery.

The DJI Mini SE comes with numerous ease-of-use features, including QuickShots. With QuickShots, you can set the drone to automatically perform preset motions, including Dronie, Rocket, Circle and Helix. The drone also includes a CineSmooth mode. This slows down the Mini SE’s flight speed and movements for additional precision and stability. It’s a useful mode when flying in tight spaces, too. The Mini SE comes equipped with a 360° Propeller Guard to protect the drone and people in the area. It also has advanced sensors to hover precisely.

The accompanying DJI Fly app helps users find scenic locations near them. The integrated SkyPixel social media platform lets users share aerial photos and videos with other users.

The DJI Mini SE is available now through DJI and authorized retailers. To learn more about DJI’s new $ 300, 249-gram drone, visit DJI.

Articles: Digital Photography Review (dpreview.com)

 
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There can be only one: why isn’t the EOS R3 an EOS R1?

20 Jun
Something is beginning to make me think Canon intends the EOS R3 to be a full-on pro sports camera.

Time has a habit of eroding certainty like the sea lapping at the foreshore; something like that, anyway. The point being that opinions and predictions have a horrible habit of being rendered outdated, and even downright ridiculous, by events. Which is my roundabout way of saying that I’m having second thoughts about the EOS R3.

When Canon first announced its development, I opined that it was going to be an intermediate model between the EOS R5 and a forthcoming EOS R1, just as the EOS 3 had been, back in the colloidal swamp of the film era. But the latest droplet of attention-sustaining PR from Canon about its forthcoming model has left me wondering: might I have been… how can I say this? Wrong?

Making something from the latest morsels

The latest tranche of specs released by Canon makes the EOS R3 look much more like a mirrorless EOS-1D series camera than I’d previously assumed, based on the original announcement. Canon had already revealed that the R3 will exceed the 1D X Mark III’s maximum burst rate, but the model name and talk of eye-directed AF (a feature I wouldn’t assume to be pro-ready in its first iteration) made me conclude that the new camera would be designed for high-end users, but not necessarily ready to become the default choice of the most demanding sideline sports shooters.

The confirmation of 1D X III-style Smart Controllers in the EOS R3 may not have been as eye-catching as the promised Eye Tracking AF system, but it suggests the R3 will try to match the DSLR’s speed of AF point control

But Canon’s announcement that the R3 will have an Ethernet port and a host of wired and wireless means of sending images quickly from the camera makes me question my assumptions. The provision of the smart controllers, previously seen on the 1D X Mark III, but not the more lowly EOS R5 also point towards the R3 being more pro-focused. And, perhaps because I spend far too much of my life thinking about these things, the use of the same LP-E19 battery as used by the 1D series tells me that Canon expects the R3 to sit alongside 1D X cameras: not just because a large battery suggests a high level of endurance or dependability, but also because it will lend the R3 cross-compatibility for people already using LP-E19s.

So why isn’t it called the EOS R1?

If, as it appears, the R3 is going to be a camera that aims to do pretty much everything a 1D X III can do, why isn’t Canon just calling it the EOS R1? To my mind there are three possibilities:

Theory #1: The EOS-1D X III is still too new

The EOS-1D X Mark III hasn’t yet had its chance to shine. Canon has historically released its top-end sports cameras just before the Olympic Games, with the expectation that they’ll be the primary tool of photographers covering the event. But, with the 2020 Tokyo games still yet to take place, the EOS-1D X III is a camera that hasn’t yet had its day in the sun. The R3’s development will have continued, despite the delay to the sporting calendar, and hence it’s arrived before 1D X III buyers have had a chance to make good use of their investments.

This is probably the theory I’m least convinced by, but there’s always been an implicit compact between Canon and the professionals and agencies that buy 1 series cameras: that they can make the investment with some confidence that it won’t be replaced or usurped for several years. Introducing a ‘mirrorless 1 series’ before most 1D X III buyers have run their cameras in would undermine that, leaving buyers to agonize over whether to write-off their 1D investment and switch to a mirrorless equivalent.

I know I’m reading a lot into the choice of battery Canon has made for the R3, but I wonder whether the LP-E19 is being used so that photographers using the new camera side-by-side with EOS 1D X cameras won’t need to mess around with multiple chargers.

The argument against this theory is that Canon doesn’t exist in a bubble. Canon is likely to be keenly aware of what Sony and Nikon are doing, so would it dare risk under-selling its mirrorless capabilities by down-branding a camera, just to protect sales of an older model?

Theory #2: The R3 is the fast camera, the R1 will be high-res

The second possibility is that the R1 will be a high-resolution model, to the R3’s high-speed one. This would fit with Canon’s former approach, in which it offered a full-frame 1Ds model for professionals needing high resolution and a high-speed APS-H 1D model for sports. These appeared to merge with the EOS 1D X, which offered relatively high resolution, high speed and a full-frame sensor, but perhaps Canon has decided a two-camera strategy makes more sense, in an era where the definition of ‘high-res’ is being pushed so much higher than fast cameras can match.

Sony’s a1 offers an unprecedented combination of speed and resolution, but still doesn’t come close to the comparably priced GFX 100S for photographers needing maximum detail

Theory #3: The R3 might look good but an ‘R1’ would need to be perfect

The third possibility, then, is simply that Canon doesn’t want to use its ‘1 series’ designation for a mirrorless camera until it can unarguably out-perform the EOS-1D cameras in every regard. All the specs released so far suggest the R3 should be a match for the EOS-1D X Mark III, but the ultimate test of that will be whether professional 1D X users find they can work with and depend upon the R3 to the same degree. Given Canon’s historical reticence to over-claim what its cameras are capable of, this seems plausible to me (and the no-doubt bruising experience surrounding the R5 and R6’s video capabilities may well have left the company erring on the side of caution).

Ultimately, it’s impossible to be sure, based on what Canon has publicly said. We’re hoping the EOS R3 is released soon, so we can find out for ourselves, but with the rescheduled 2020 2021 Tokyo Olympics just over a month away, it seems likely that the camera will be put to the test soon enough. Maybe then we’ll begin to see what, if anything, separates it from a 1-series camera.

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photo Challenge – Phones Only

24 Apr

The post Weekly Photo Challenge – Phones Only appeared first on Digital Photography School. It was authored by Sime.

Controversial, Simon! But you have to admit that, at some point, you’ve made a photograph with a phone – or you haven’t and that’s OK, too.

Weekly Photo Challenge - Phones Only

Use the hashtag #dPSPhonesOnly when you post on social media to help us see your photos! You can post here in the comments, (instructions down the bottom) or you can join and post over in our Facebook group if you like!

For this challenge, we’d like to see the BEST photo you’ve ever taken on your phone! It can be one you’ve taken at any time in the last year, or it can be a new one you make specifically for this challenge!

Remember, photography doesn’t need to be only ever with the highest resolution camera or the most expensive lens, learning comes in all shapes and sizes!

Weekly Photo Challenge - Phones Only
Point Lonsdale – Australia

Sometimes we use them for documentation, sometimes just because we don’t have a camera-camera with us, whatever the reason, as opposed to what a few muttered when phones started seeing better resolution cameras, I think they’re here to stay!

Weekly Photo Challenge - Phones Only
Swan Bay – Queenscliff

Right then! Some admin, first things first! If you’ve missed any of our previous challenges, you’re welcome to go back and do them all, brush up on your skills or just find some inspiration in the comments that others have posted with their photographs – find them here

And here is a mini-tutorial on how to post your images in the comments below.

How do I upload my photo to the comments?

Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them.

Weekly Photography Challenge – Looking Up

The post Weekly Photo Challenge – Phones Only appeared first on Digital Photography School. It was authored by Sime.


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Meike’s 25mm F1.8 manual lens for Nikon Z-mount costs only $75

14 Aug

It’s only been a few days since Meike introduced it’s 85mm F1.8 autofocus prime, but it’s already back with the announcement of another lens, a 25mm F1.8 manual focus prime for Nikon Z-mount cameras.

The lens is constructed of seven elements in five groups, has an aperture range of F1.8 through F16, features a minimum focusing distance of 25cm (9.8”) and uses a nine-blade aperture diaphragm.

The lens measures in at 61mm (2.4”) in diameter, 41mm (1.6”) long and weighs approximately 170g (6oz). Meike notes that the lens is entirely manual to the point that you’ll need to set your camera to release the shutter without a lens, as it won’t recognize a lens is attached.

Meike’s website makes mention of APS-C throughout the entire product page, but also shows the lens attached to the Nikon Z7 we have contacted Meike to confirm whether this lens is exclusively for APS-C or also full-frame

The lens is available now for just $ 75 on Meike’s website. It comes with the lens, front/rear caps, a carry pouch and a microfiber cleaning cloth.

Articles: Digital Photography Review (dpreview.com)

 
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Is Being Shy a Good Reason to Only Take Candid Photos?

16 Mar

The post Is Being Shy a Good Reason to Only Take Candid Photos? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Standing back with a long lens on your camera and snapping candid photos is an easy option for many people. The alternative is to use a shorter lens and get in close and connect with your subjects. This is challenging for most photographers.

Flaming Wallet illustration Is Being Shy a Good Reason to Take Candid Photos
© Kevin Landwer-Johan Nikon D700, lens 20mm, f/4, 1/125, ISO400

A candid photo is one where your presence and your camera are not affecting the outcome of the photos you take. There is no pose. There is no distraction from you or your camera at all.

When you are shy, using a long lens for candid pictures might be less taxing on your emotions. But it does not often result in the most engaging photographs. If you are capturing candid photos only because you are shy, this is a cop-out. Only using this technique will limit your potential as a photographer.

French Horn - Is Being Shy a Good Reason to Take Candid Photos
© Kevin Landwer-Johan Nikon D800, Lens 35mm, f/1.4, 1/5000, ISO 400

When a candid approach to photography is better

At times, a candid approach to photography will result in more interesting photos.

You will not always be in a position to engage with your subject. Sometimes doing so will disrupt a natural flow of events.

Finding yourself in situations where you think you or your camera will alter the scene, it’s good to remain candid.

If your subject sees your camera, it may distract them. Sometimes when people are aware there’s a photographer present, they will alter their behavior.

This will not always be to your benefit.

Fruit vendor at a market in Chiang Mai, Thailand
© Kevin Landwer-Johan Nikon D800, Lens 35mm, f/4.5, 1/250, ISO 400

Other times, you might be wanting to photograph a whole group of people. There’s no way you’ll be capable of approaching them all for even a short conversation.

Alms Giving in Chiang Mai - Is Being Shy a Good Reason to Take Candid Photos
© Kevin Landwer-Johan Nikon D700, Lens 180mm, f4, 1/200, ISO 400

Is your subject highly focused on what they’re doing?

If your subject is absorbed in what they’re doing, you might not want to interrupt them. They might be:

  • Having an animated conversation
  • Playing sport
  • Creating art
  • Working
  • Or even sleeping

These are all times when asking permission or otherwise engaging a person will break their concentration (or slumber). This will affect the potential photo opportunity.

In ideal situations, you’ll be able to catch a person’s eye. They will see your camera and might give you an approving nod without breaking the flow of what they are doing. Then you can take photos in a relaxed manner because you know your subject is comfortable with you doing so.

Street Drummer - Is Being Shy a Good Reason to Take Candid Photos
© Kevin Landwer-Johan Nikon D800, Lens 105mm, f/2.8, 1/1000, ISO 400

You can’t always engage with your subject

Many times it’s not practical to engage with your subject. Candid photos are the only practical option when you are photographing:

  • Crowds
  • Street scenes
  • Where your subject is inaccessible

At times like this the only other option to taking candid photos is to not take photos.

When you can’t engage, it pays to be patient and observant. Wait for the decisive moment when the action is at its peak. When as many of the elements of a good photograph align, this is when you can capture the best candid photographs.

Poi Sang Long Festival - Is Being Shy a Good Reason to Take Candid Photos
© Kevin Landwer-Johan Nikon D800, Lens 35mm, f/5, 1/20, ISO 100

You don’t need to be an extrovert to photograph people

Being shy is a strength. Shy photographers can make the best portraits. This is because they show empathy toward the people they photograph. Learn to overcome the fear of imposing and you will take portraits with more depth.

To simply take candid photos because you are shy is not a good reason. Yes, as I have pointed out, candid photography is valid at times. But to avoid connecting with people because you don’t want to impose will often not result in the best photos.

When you want to photograph someone you see at the market, or a friend or your barista, talk to them first. Engage with them and build a rapport.

If you’re photographing a wedding or portrait, work on building a comfortable relationship with them. In many circumstances, the degree with which you connect with your subject will directly influence how good your photos are.

Portrait of a couple
© Kevin Landwer-Johan Nikon D800

Approach with care, not fear

Don’t worry. If you are fearful of someone’s response, this will show. They will know and respond accordingly. Approaching someone with confidence, you are more likely to receive a positive response.

You don’t need to get in their face with a false boldness, just be yourself. Know what you want and communicate this to your subject. Take your time as it will pay off with better photos.

Spending time with anyone you want to photograph will usually result in a more interesting portrait. Learn to connect, even if you don’t have much time.

If you’re in a street market or a coffee shop, take a few moments to show people why you are interested in taking their photo.

With a friend, share with them what’s on your mind. Talk with them about why you want to take their picture.

When you’re photographing a model, compliment them.

There are many ways to communicate positively that will enhance your photographic opportunities. Staying quiet will often inhibit your creative potential.

Portrait of a Kayaw woman
© Kevin Landwer-Johan Nikon D800, Lens 85mm, f/1.4, 1/400, ISO 1250

Overcome your shyness

As a young man, I was painfully shy. I loved photography, but could not bring myself to photograph people. Now, the main subjects in my photographs are people. I learned to use my camera as a bridge to connect with the people I want to photograph.

In my book, Photographing People – A Guide For Shy Photographers, I share my experience and teach you how to overcome your shyness.

My journey to becoming a people photographer has been challenging. Camera skills are only a part of what you need to create great portraits, no matter what gear you use.

Learn when it’s best to connect. Learn how to connect. You will create more interesting, more engaging photos of people when you do.

Please Click Here to purchase my book on Amazon.

The post Is Being Shy a Good Reason to Only Take Candid Photos? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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A recent survey reveals wedding photographers spend only 4% of their time taking photos

22 Feb
A recent survey revealed wedding photographers spend roughly 4% of their time actually taking photos.

UK-based company Your Perfect Wedding Photographer recently conducted its fourth annual industry survey. Although more than 300 full-time wedding photographers participated in the survey, it’s important to remember that the findings reflect a small segment of local wedding photographers and the results may be more typical for a specific region rather than the industry as a whole. That said, there are a few interesting tidbits from the data.

Here are some key takeaways:

  • The average number of weddings captured a year is 28, down by 1 from 29 in 2018.
  • The average cost of a full day starting package is £1,590 ($ 2,063 USD), up by £30 from £1,560 ($ 2,023 USD) in 2018.
  • The average yearly marketing cost is £1,253 ($ 1,625 USD), down by £21 from £1,274 ($ 1,652 USD) in 2018.
  • 40% of Photographers use a Canon Camera, 31% Nikon, 22% Sony, 7% Fuji.
  • The average age of those surveyed is 39 years old, up 1 year from 38 in 2018.
  • 44% of respondents were women and 56% are men.
According to the survey, Instagram has become the leading social source for bookings – surpassing Facebook from last year.

Note that the above info only represents a fraction of the information revealed in the survey. Statistics on important items such as biggest expenses, average editing time, and percentage of wedding photographers that partake in online awards is also included.

Participants also shared their thoughts on this industry. ‘It’s getting more competitive with more people charging less. I would love for photographers to charge properly so the average moves from £1500. It has been this for so many years and hasn’t moved with inflation or other external costs increasing. My rate reflects my experience and the level of service but at a glance, it can be harder when someone is comparing primarily on price,’ laments one commenter.

On a more positive note, others elaborated on what they love about being a wedding photographer. ‘The wedding photography industry is more exciting than ever at the moment with amazing new talents shining through all the time. There is also a growing movement away from the staged, fake “traditional” wedding photography towards the documentary style, real and genuine moments that weddings are really all about. Artistic storytelling is becoming more mainstream and expected at last and not just a slogan on photographers’ websites,’ exclaimed another participant.

You can find the entire survey here.

Articles: Digital Photography Review (dpreview.com)

 
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The One and Only Thing That Will Make Your Photography Better

29 Nov

The post The One and Only Thing That Will Make Your Photography Better appeared first on Digital Photography School. It was authored by John McIntire.

make-your-photography-better

This is a fantastic time to be getting into photography.

Even if you don’t take into account the wonderful array of options you have for equipment and the like, there is an enormous amount of information available at the click of a button to anyone who wants to learn any kind of photography. There are millions (I’m sure) of written and video tutorials that you can access at a moment’s notice with a device that you keep in your pocket. There is also a huge number of courses, books and real-life photographers offering tuition and workshops all over the world. I do feel this abundance is a great thing for photography as a whole.

However, this abundance comes with a subtle trap. When fallen into, it can hinder your progress and growth as a photographer.

make-your-photography-better

With a wide array of techniques, equipment and possibilities available, now might just be the best time to start learning photography.

The trap

It’s easy to spend time consuming content and learning new things. Some outlets, like Youtube, are designed to keep you consuming for as long as possible – and long after you watched what you intended to in the first place.

The problem is, when you go from tutorial to tutorial consuming information indiscriminately, you are only part-learning it. Sure, the theory is important, but knowing something isn’t the same thing as being able to do it.

It’s also easy to sit and think about photography and what you can do with all of the information that you have accumulated.

Image: You can read about black and white conversions all you want, but until you actually put that...

You can read about black and white conversions all you want, but until you actually put that information into practice, it’s just that: information. It’s not yet a skill.

What isn’t so easy is the most important step. Reading about and thinking about photography is great, but neither one is actually photography. Putting all of that information to use is the difficult part. It’s the one thing I see people struggle with consistently (myself included at times). Boiled down, it’s basically the same thing as lusting after and buying that fancy, expensive lens, but then never using it.

Break the cycle

The cycle goes like this:

Read/watch a tutorial — think about it a bit — read/watch another tutorial — think about it a bit — rinse, lather, and repeat.

When you get stuck in a loop like this, you’re only doing half the job of learning something new. Unless we’re talking about something really easy like where the shutter release is on your camera and how to use it, most things require actual practical experience to learn properly.

Take something like Rembrandt lighting.

Sure, you can read a tutorial and know that your light source should be at a 45-degree angle to the side of your subjects and 45 degrees above and pointed down. However, if you get something like that right on the first try, there’s more luck involved then anything else.

Techniques like this have a lot of nuances that are not very easy to infer without practical experience. Many factors can interfere with getting them right that you might not be able to read about, meaning you have to figure it out for yourself.

make-your-photography-better

In this example, I had a new modifier to figure out. To do so, it was a matter of trying it at various angles and positions to see what it did and didn’t do.

The new cycle I would propose looks a bit like this:

Read/watch a tutorial — think on it — act on it — evaluate — alter — evaluate.

Keep going like this until you feel that you have a complete understanding of whatever it is you are trying to learn.

Going back to the Rembrandt example, if you’ve read a tutorial and took some time to figure out how to implement it, you could then set up a practice session and put what you’ve learned to the test.

Once you’ve tried it, you can evaluate the results.

Let’s say that the triangular highlight that appears on the shadow side of the face with Rembrandt lighting isn’t quite right.

Here you would identify that problem and then try to figure out why it has happened that way. Then you would try the technique again and again until you’ve sorted that out, and you have images with perfect Rembrandt lighting.

Image: Once you’ve figured out one technique, you can now try to break it. Add things flags an...

Once you’ve figured out one technique, you can now try to break it. Add things flags and reflectors and fill lights one step at a time as I did with the same modifier in the previous example.

You shouldn’t stop here though. Continuing with Rembrandt: now you can start to experiment and add to it.

What does the setup look like if you add a reflector?

How does it look if you add a fill light or a hair light?

What does it look like when you have your subject move into a different position?

make-your-photography-better

Taking incremental steps like these will help ensure you learn everything you want to more thoroughly.

Going through questions like these with practical, incremental experience will not only help you to learn faster but will help you to learn more thoroughly. Also, because you have intentionally tried a variety of things that probably don’t work, once those scenarios come up in the real-world application of your new skills, you will be able to identify and fix those problems immediately.

Every aspect of photography

Image: This concept encompasses every aspect of photography. From basic camera craft to lighting and...

This concept encompasses every aspect of photography. From basic camera craft to lighting and to post-processing. Focusing on one skill at a time is the fastest way to learn.

It doesn’t matter if the technique in question is a lighting pattern, using different metering modes, manual focus, or post-processing techniques. The process is the same.

Learn it. Use it. Master it.

One thing at a time

If you want to learn as much as possible in photography, there is no set order in which you do things. I do suggest, however, that you only do one thing at a time.

Early on, things will be easy (like learning where the basic controls of your camera are, how to focus, and using manual mode) and won’t take much time. If you focus on each of these basic skills in isolation, you’ll probably find that they all mesh together a lot easier. Then, before you know it, you will be tackling much more complicated skill-sets and techniques.

That said, the most important thing of all is that you need to do your best to get out and practice.

The post The One and Only Thing That Will Make Your Photography Better appeared first on Digital Photography School. It was authored by John McIntire.


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Netflix certifies the Panasonic S1H for productions, making it the smallest (and only stills/video) camera on the list

26 Oct

Panasonic’s full-frame S1H full-frame mirrorless camera has been certified as a Netflix primary camera and is now part of the Netflix Post Technology Alliance. This recognition means productions are now able to use the relatively affordable S1H as a main camera, so long as the footage is captured within a range of formats and settings.

As laid out in Netflix’s camera production guide, the S1H needs to be shot in at least 4K (3840 x 2160 pixels or 4096 x 2160 pixels) in V-Log with 4:2:2 10-bit All-I (400Mbps) encoding and pixel-for-pixel readout in either full-frame or Super 35 modes.

The capture settings Netflix is requiring of the S1H, according to the camera production guide linked above.

Other specific requirements within the production guide include Noise Reduction be set to zero and sharpening be set to zero, while less-strict recommendations include turning off diffraction compensation and vignetting compensation. Additional suggestions include using the S1H’s Pixel Refresh setting at least yearly, using the sensor cleaning feature and making sure the firmware is always up to date.

Currently, there are no current Netflix Original productions using the S1H, ‘to the best of [Panasonic’s] knowledge,’ but having the full-frame mirrorless camera available as an approved camera should draw massive appeal for smaller operations where budget is more a factor. Yes, $ 4000 for a single camera body isn’t cheap, but it’s easily the most affordable camera on Netflix’s approved list, which includes the like of ARRI’s Alexa LF, Canon C700, RED Weapon Dragon 8K And Sony F55 camera systems.

Articles: Digital Photography Review (dpreview.com)

 
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Report: Nikon is only producing 1,000 units of its 500mm F5.6 lens each month

23 Aug

Since its release in August 2018, the Nikon AF-S Nikkor 500mm F5.6 PF ED VR lens has been perpetually out of stock. In past apologies, Nikon has said demand for the 500mm F5.6 lens has exceeded supply, but now we know just how limited supply is.

Almost immediately after launching the 500mm F5.6 PF lens, Nikon Japan issued an apology [Japanese], stating it wouldn’t be able to deliver all 500mm F5.6 pre-orders in September, as it had hoped to do. Six months later, it issued another apology, stating orders had exceeded expectations and they were working to deliver units as soon as possible.

Screenshot used with permission from Nikon Rumors.

Now, Nikon Rumors has shared a screenshot of the German Nikon Professional Service website noting only 1,000 units are able to be produced each month. The text in the screenshot, seen above, translates (via DeepL) to:

‘Delivery currently uncertain, since only about 1,000 copies are produced per month. We apologize for any inconvenience and will accept any pre-order.’

A screenshot from the current product page on Adorama showing the Nikon AF-S Nikkor 500mm F5.6 PF ED VR lens is ‘On Backorder.’

We contacted Nikon USA to check in on the current pre-order status and clarify whether or not production is at 1,000 units per month and received the following response:

‘Orders of the AF-S NIKKOR 500mm f/5.6E PF ED VR lens have exceeded our expectations. We appreciate our customers’ patience as we work to fulfill orders as quickly as possible.’

In other words, Nikon isn’t confirming the 1,000 unit per month limit, but it isn’t denying it either. Whatever the case is, it doesn’t look like the backorders are slowing down anytime soon, so don’t get your hopes up that you’ll have Nikon’s compact telephoto lens anytime soon.

Articles: Digital Photography Review (dpreview.com)

 
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5 Creative Portrait Lighting Tricks Using Only Phone Light

21 Dec

The post 5 Creative Portrait Lighting Tricks Using Only Phone Light appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video by Derrick Freske, you’ll learn 5 creative portrait lighting tricks using only phone light!

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Using only a phone light and some handy reflective props, you can achieve some of the great portrait photography looks in Derrick’s video.

Derrick’s tricks include using:

  1. A disco ball
  2. Scrapbooking paper
  3. Sequinned fabric
  4. Lace fabric
  5. Prism

Try these out and we’d love to see some in the comments section below.

Follow Derrick Freske on Instagram.

 

You may also find the following articles helpful:

How to use Colored Gels to Create Unique and Creative Portraits

How to Make a Dramatic Portrait with Light Painting Using Items Found in Your Home

Tips for Planning and Capturing a Creative Portrait

How to Make Unique Portraits Using Light Painting

One Speedlight Portrait Lighting Tutorial

The post 5 Creative Portrait Lighting Tricks Using Only Phone Light appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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