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Capture One 21 Review: Dehaze, Speed Edit, and More

03 Mar

The post Capture One 21 Review: Dehaze, Speed Edit, and More appeared first on Digital Photography School. It was authored by Carl Spring.

Capture One 21 Review

In this comprehensive Capture One 21 review, I’m going to take you through everything you need to know about Capture One’s latest editing software.

In fact, as a beta tester for the newest release, I’ve spent plenty of time working with Capture One 21 behind the scenes (and I have used Capture One as my main editing software going all the way back to version 12!).

So let’s take a closer look at this software program – and determine whether it’s the perfect editor for you.

Starting with…

What’s new in Capture One 21?

The list of new features is a little lighter than in other major upgrades.

It includes:

  • A new import design
  • Dehaze
  • Speed Edit
  • ProStandard profiles
  • General speed upgrades and bug fixes
  • New tooltips and hints
Editing a portrait in Capture One 21 software
The familiar Capture One layout with a few new additions. Are these enough to make it worth the upgrade?

Dehaze

Capture One’s new Dehaze tool is a welcome addition for landscape photographers. Dehaze has been in Lightroom for some time now, and it’s nice to finally see it in Capture One.

Basically, the Dehaze tool is there to reduce the amount of atmospheric haze in images and improve the saturation in low-contrast photos. 

Dehaze is most commonly associated with removing fog or smog from an image, but you can also increase the haze – an effect that can add atmosphere. The tool can also be applied selectively via layers. To my eye, it seems to work quite well, but I’m a non-landscape shooter and have little to compare it to.

Now, I have seen this tool used to dodge and burn portraits, and it can subtly enhance faces if used sparingly. 

However, while the Dehaze tool is good (and many claim it’s better than Lightroom’s), it’s not really the tool that landscape photographers desperately wanted. And for those of you who are not landscape photographers (like me), it’s a tool you will rarely use.

Testing the Dehaze feature
As a non-landscape photographer, I will rarely use the Dehaze tool. I had to search through my archive for a landscape shot.

Speed Edit

Wow! Just wow! Capture One 21’s new Speed Edit feature is really good. I am a huge Loupedeck fan, but I may be moving away from it for editing in Capture One. The Speed Edit tool really is the next best thing.

In basic terms, Speed Edit is a set of keyboard shortcuts you use with your mouse to edit images. Simply hold down the key associated with the edit, then drag the mouse to make the adjustment.

The process works incredibly well in practice and, within a few minutes, becomes second nature. The ability to edit images in a full-screen layout with no distractions is amazing. The only thing you will see is an unobtrusive slider at the bottom of the screen showing which edit you are carrying out. 

Capture One 21 comes with the most common Speed Edit keys mapped for you, but these can be customized to suit your preferences. You can also adjust the sensitivity of your mouse. This can be changed easily, so if you are looking to get a set of rough edits done, you may want to leave the sensitivity quite low. Then, when you go back to complete final edits, you can fine-tune the sensitivity for precise control of the sliders. 

The speed edit keyboard shortcuts in Capture One 21
The main editing tools come with corresponding keys, but you can easily change these and add other shortcuts.

The adjustments you can make to an image with Speed Edit are:

  • Exposure
  • High Dynamic Range
  • White Balance
  • Dehaze
  • Clarity
  • Levels
  • Vignetting
  • Sharpening
  • Lens Correction

You can also use these shortcuts to quickly and easily alter the size, opacity, and hardness of brushes. I’ve heard some people comparing Speed Edit to PC gaming, and while I’m not a gamer, it feels natural to use the keyboard and mouse in harmony like this while editing.

Speed Edit is a serious timesaver and brilliantly implemented. It will save a lot of people a lot of time when editing – especially if you edit hundreds of files at once. Also, the ability to edit without toolbars allows you to focus solely on the image. 

using the speed edit function
The Speed Edit tool allows you to edit your images with no visual distractions, and it works perfectly in practice.

ProStandard profiles

This feature is currently only available for a selection of the most popular cameras, but Capture One is working on profiles for more cameras, and ProStandard looks like it will be the default profile for new cameras going forward. 

Capture One states that these “ProStandard” profiles have been completely reworked to give much greater color accuracy while protecting hues and color shifts. For people doing work such as product photography or reproduction of artworks, this is a massive improvement. 

But for those who are not in need of such accuracy, do the ProStandard profiles really make a difference?

The answer is yes – but it is subtle.

When I compared some files shot on a Canon 5D Mark IV, the unedited photo simply looked better with the ProStandard profile applied. Colors seemed a little richer and more lifelike, and it felt like a better starting point.

However, the difference is not night and day. So while ProStandard profiles are nice, they’re not an essential feature for most photographers.

A comparison of profiles
One of these is the standard profile, and one is ProStandard. Can you tell which is which?

Import and speed improvements

The Capture One import process had a facelift.

It is now easier to pick and unpick selects before you import images into the system, and while I haven’t run tests, the actual import feels much faster.

Improvements continue under the hood. Capture One feels snappier. It’s hard to quantify this, but it’s something I noticed, and no doubt a lot of long-term Capture One users will, too.

The import window in Capture One Pro 21
The import is improved in Capture One 21. It’s faster overall, though many will not notice or need this.

Enhanced tooltips

When a software company lists new and improved tooltips and tutorials as a key feature, it really does make you question how significant the new version is. 

Yes, the tooltips are improved, but they aren’t really needed past the first few weeks of using the software.

Then again, I am a long-term Capture One user. So I spent some time thinking about those who are coming across from Lightroom or other software, and here’s what I concluded:

The tooltips and tutorials will be useful while you get accustomed to the software. The tutorials are short, meaning you don’t have to wait too long before you can dive back into your edit. And the tutorials are well done. The tooltips, while annoying for longer-term users (you can switch them off!), will help you get to grips with Capture One 21 – so that mastering the software will not take you that long.

tooltips on HDR
As a seasoned user, I forget that tips like this can be really useful when learning software.

Is Capture One 21 worth it?

Capture One marketed their software release with an approach of buy now, discover later. They ran a series of online events showcasing new features, each time promising there was much more to come.

However, there wasn’t much more to come, and many customers who either purchased or upgraded came out en masse to make their voices heard. Feedback was decidedly mixed, and many were not very happy with the new feature set.

And I’ll be honest:

It really doesn’t feel like a full-blown release to me. 

A saving grace for the Capture One team is that they have upgraded Capture One 20 to run on the latest Mac OS X. This is a welcome gesture, one that will make the decision of whether to upgrade easier for many.

Capture One is working on an Apple silicon adaption, but this is not yet ready (though I’m sure it will be here sooner rather than later). Again, this is only useful for some users but worth pointing out, especially if you are tempted by one of the new Macs that Apple has already released or is bringing out in 2021.

I hope there is a large update within a few months that adds ProStandard profiles for many more cameras, and maybe even some more tools that make this version more of a must-have.

The fact that cameras like the Nikon Z7 II will only be supported in version 21 means that some users will have no choice but to upgrade, although I feel some may be headed back to Lightroom. 

There was also a price increase that doesn’t sit well with me. At the time of launch, Capture One for Sony, Nikon, and Fujifilm cost $ 129, but the price was quickly boosted to $ 199 (and the price to upgrade increased, as well). Photographers (especially professionals) have had an awful 12 months, business-wise. While this price increase may bring in some extra cash in the short term, it feels like the Capture One team failing to read the room. The way this release has been so aggressively marketed will, in my opinion, see many moving back to Lightroom.

However, Capture One is still my choice of editing software, so would I recommend you upgrade?

Capture One 21 review editing a full screen image
I love how Capture One makes my images look. For new users, there is an obvious conclusion; for those upgrading, it’s a little different.

For new users

I always tell those who use Lightroom to try Capture One. And when doing a Capture One 21 review, it’s easy to get caught up thinking about upgrades for existing users.

However, Capture One 21 is the best version of this software yet. So for those who are exploring software alternatives, I would strongly suggest taking a look. Especially those of you who have cameras compatible with the ProStandard profiles. 

If you shoot with one camera brand, you can even get a brand-specific version of Capture One 21, which will save you money. 

Here’s the bottom line:

RAW processing is where Capture One excels, and this release proves no different. Capture One images simply look better compared to Lightroom. I still feel Capture One is the best RAW editor out there. 

For existing users

The new tools in Capture One 21 feel aimed at a specific niche of photographers. The Dehaze tool has no real appeal to someone like me who rarely shoots landscapes. Yes, it is fun to experiment with Dehaze on portraits, but I will use this tool infrequently at best. And I’m sure this is true for any non-landscape photographer. 

The ProStandard profiles are nice, but not yet available for many cameras. And the need for incredibly accurate colors caters to a select group of photographers. 

The new tool I love is Speed Edit. It’s beautifully executed and removes the need for a workflow tool such as a Loupedeck for many users. The ability to edit images in full screen without distraction is simply amazing. For those (like myself) who shoot weddings or events, this tool will be a huge timesaver.

Lastly, there is the new importer. It’s nice, but honestly, most won’t notice the difference. And those who need the speed will continue to use Photo Mechanic.

So my Capture One 21 review boils down to this:

Which new tools will you use? And do they justify the price increase? Personally, I am not able to justify the upgrade price just for the Speed Edit tool. Like many other photographers, my work has been drastically affected in the past 12 months, and I cannot justify the price of the upgrade right now. I am sure many other working professionals are in the same boat.

That said, for a small section of photographers, the upgrade is a no-brainer. Capture One 21 is the fastest version of the program, and it has features some will welcome with open arms. If you are yet to try Capture One, you really should test it out and see what all the fuss is about.

However, I will wait for Capture One 22. 

You can download a 30-day trial of Capture One 21 on the Capture One website.

The post Capture One 21 Review: Dehaze, Speed Edit, and More appeared first on Digital Photography School. It was authored by Carl Spring.


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Introduction to Shutter Speed in Digital Photography

01 Dec

The post Introduction to Shutter Speed in Digital Photography appeared first on Digital Photography School. It was authored by Darren Rowse.

Example of Fast Shutter Speed

Previously, I introduced the concept of the exposure triangle as a way of thinking about getting off of Auto Mode and exploring the idea of manually adjusting the exposure of your shots.

The three main settings that you can adjust are ISO, aperture, and shutter speed. As we’ve covered aperture and ISO in other articles, today I want to turn your attention to shutter speed.

What is shutter speed?

As I’ve written elsewhere, defined most basically, shutter speed is “the amount of time that the shutter is open.”

In film photography, shutter speed is the length of time that the film is exposed to the scene you’re photographing. Similarly, in digital photography, shutter speed is the length of time that your image sensor “sees” the scene you’re attempting to capture.

Let me attempt to break down the topic of “shutter speed” into some bite-sized pieces that should help digital camera owners trying to get their head around shutter speed:

  • Shutter speed is measured in seconds – or, in most cases, fractions of seconds. The bigger the denominator, the faster the speed (i.e., 1/1000s is much faster than 1/30s).
  • In most cases, you’ll probably need shutter speeds of 1/60th of a second or faster. This is because anything slower than this is very difficult to use without getting camera shake. Camera shake is when your camera is moving while the shutter is open; it causes blur in your photos.
  • If you’re using a slow shutter speed (anything slower than 1/60s), you will need to either use a tripod or some type of image stabilization technology (more and more cameras are coming with this built-in).
  • Shutter speeds available on your camera will often double (approximately) with each setting. As a result, you’ll generally have the option to use the following shutter speeds: 1/500s, 1/250s, 1/125s, 1/60s, 1/30s, 1/15s, 1/8s, etc. This doubling is handy to keep in mind, as aperture settings also double the amount of light that is let in. As a result, increasing the shutter speed by one stop and decreasing the aperture by one stop should give you similar exposure levels.
  • Some cameras also give you the option for very slow shutter speeds that are not fractions of seconds but are measured in seconds (for example, 1 second, 10 seconds, 30 seconds, etc.). These are used in very low light situations when you’re after special effects and/or when you’re trying to capture a lot of movement in a shot. Some cameras also give you the option to shoot in “B” (or “Bulb”) mode. Bulb mode lets you keep the shutter open for as long as you hold the shutter button down.
  • When considering what shutter speed to use in an image, you should always ask yourself whether anything in your scene is moving and how you’d like to capture that movement. If there is movement in your scene, you have the choice of either freezing the movement (so it looks still) or letting the moving object intentionally blur (giving it a sense of movement).
  • To freeze movement in an image (like in the shots of the bird above and the surfer below), you’ll want to choose a faster shutter speed. To let the movement blur, you’ll want to choose a slower shutter speed. The actual speeds you should choose will vary depending upon the speed of the subject in your shot and how much you want it to be blurred.

In the bird image above, the shutter speed was 1/1000th of a second, meaning that despite the bird’s fast-flapping wings, they appear to be frozen in a split second of time. The surfing shot below had a fast shutter speed (around 1/4000th of a second), which captured even the splashing drops of water sharply.

shutter speed surfer
  • Motion is not always bad. I spoke to one digital camera owner last week who told me that he always used fast shutter speeds and couldn’t understand why anyone would want motion in their images. But there are times when motion is good. For example, when you’re taking a photo of a waterfall or a seascape and want to show how fast the water is flowing, or when you’re taking a shot of a racing car and want to give it a feeling of speed, or when you’re taking a shot of a starscape and want to show how the stars move over a longer period of time. In all of these instances, choosing a longer shutter speed will be the way to go. However, in all of these cases, you will need to use a tripod or you’ll run the risk of ruining the shots by adding camera movement (which results in a different type of blur than motion blur).

For example, in the following waterfall photo, the shutter speed was around 1s, so we see the movement in the water:

waterfalls slow shutter speed

In the subway shot below, the shutter speed was around 2s, so the movement of the train is beautifully blurred:

subway moving fast light trails
  • Focal length and shutter speed – Another thing to consider when choosing your shutter speed is the focal length of the lens you’re using. Longer focal lengths will accentuate the amount of camera shake you have, and so you’ll need to choose a faster shutter speed (unless you have image stabilization in your lens or camera). The rule of thumb here (in situations without image stabilization) is to choose a shutter speed with a denominator that is larger than the focal length of the lens. For example, if you have a lens that is 50mm, a shutter speed of 1/60s is probably okay. But if you have a 200mm lens, you’ll probably want to shoot at around 1/250s or higher.

Shutter speed – bringing it together

Remember that thinking about shutter speed in isolation from the other two elements of the exposure triangle (aperture and ISO) is not really a good idea. As you change your shutter speed, you’ll need to change one or both of the other elements to compensate for it.

For example, if you increase your shutter speed by one stop (for example, from 1/125s to 1/250s), you’re effectively letting half as much light into your camera. To compensate for this, you’ll probably need to increase your aperture by one stop (for example, from f/16 to f/11). The other alternative would be to choose a higher ISO (you might want to move from ISO 100 to ISO 200, for example).

I hope you’ve found this introduction to shutter speed useful. I would highly recommend you also put a little time aside today to learn about the other two important elements of the exposure triangle – aperture and ISO.

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The post Introduction to Shutter Speed in Digital Photography appeared first on Digital Photography School. It was authored by Darren Rowse.


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Camera Bits releases Photo Mechanic Plus, a new DAM with an emphasis on speed, efficiency

08 Oct

Camera Bits, the company behind the popular photo ingestion program Photo Mechanic, has released its newest product, Photo Mechanic Plus. This new program features all of the ingestion, code replacement and other features within the standard Photo Mechanic program, but takes it a step further by adding a full-fledged digital asset manager (DAM) for organizing and sorting through your photographs with ease, not unlike Adobe Photoshop Bridge or the ‘Catalog’ module in Lightroom.

The new program includes all of the features of Photo Mechanic 6, but also adds a powerful database option for managing all of your photos on macOS and Windows computers. This includes the ability to create individual catalogs that can be accessed independently or together based on the filters and parameters you’ve applied.

Camera Bits claims you can scroll through a million photos ‘without a pause’ in its new DAM. While this might seem implausible, anyone who’s used Photo Mechanic knows how quickly the program is capable of displaying and sorting through thousands of images without bringing your computer to a halt.

Other features include a powerful search box for finding exactly the images you need as well as saved searches for keywords and parameters you frequently need to access. Filters and Collections can further be used to sub-categorize your images. Below is a fantastic video rundown from Camera Bits showing off the new features inside Photo Mechanic Plus:

Photo Mechanic Plus includes all functionality of Photo Mechanic 6, but is a separate purchase. A perpetual single-user license will set you back $ 229 (as an introductory price, with $ 399 being the eventual retail price), while an upgrade from Photo Mechanic 5 and Photo Mechanic 6 will set you back $ 179 and $ 90, respectively. A 30-day free trial is available as well if you want to take Photo Mechanic Plus for a spin before purchasing a license.

You can find out more information on Camera Bits’ website and view the pricing details on the Photo Mechanic product page.

Articles: Digital Photography Review (dpreview.com)

 
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Zhiyun announces Crane 2S gimbal, promising improved speed and precision

22 Aug

Zhiyun has announced a new handheld gimbal, the Crane 2S. While many modern cameras and lenses offer good stabilization performance, amateurs and professionals alike still flock to gimbals for even more stable handheld video. The Crane 2S includes numerous improvements over the Crane 2.

The Zhiyun Crane 2S is stronger than its predecessor and can hold video rigs such as the Black Magic BMPCC 6K, Panasonic S1H, Sony A9, Nikon D850 or Canon EOS 1DX Mark II. You can view a full list of compatible cameras and lenses by clicking here. Further, the latest version of the Crane 2S’s Instune Algorithm has been refined to deliver quick and smooth gimbal performance.

In terms of setup speed, the Crane 2S features a brand new FlexMount System. This system simplifies the setup process while also ensuring that your gear is secure. The system incorporates a double safety mechanism and has a user-adjustable safety lock. If you want to record vertical video, such as for social media needs, the Crane 2S comes with a vertical quick release mount and safety knob.

Additional features of the gimbal’s design include an upgraded axis locking mechanism, dubbed Axis Locking Mechanism 2.0, guaranteeing ‘zero swinging of the gimbal during traveling or storage.’ To keep the Crane 2S light and strong, the handle is constructed of carbon fiber. The Crane 2S uses 3 removable Li-ion batteries, delivering a total run time of 12 hours.

The Crane 2S includes six gimbal modes: Pan Following, Locking, Following, Full-Range POV, Vortex and Go mode. The gimbal also includes special modes for aiding in the creation of panoramas, timelapse, motionlapse and long exposure timelapse.

The Crane 2S supports digital and manual focus control via a built-in focus wheel on the gimbal itself. Zhiyun states that the focus control ability offers improved speed and precision as well, allowing for easier focus pulls when shooting. You can refer to the compatibility sheet linked above to see which cameras and lenses are compatible with the Crane 2S’s focus wheel.

The gimbal includes a new 0.96″ OLED display, allowing easy control of important settings and simple menu navigation. If you’d like to use a bigger display, the Crane 2S includes a dedicated slot for installing an image transmitter and with Zhiyun’s TransMount Image Transmission System, you can attach a monitor for live monitoring. The TransMount system also allows for the use of various accessories, such as quick setup kits, a monopod, servo zoom and focus motors and more.

Zhiyun Crane 2S. Shown with Panasonic S1H. Image credit: Zhiyun

The Zhiyun Crane 2S is available now with the standard package retailing for $ 599 USD. For additional information on the Crane 2S and finding a retailer, click here. Zhiyun streamed a full presentation earlier today for the debut of the Crane 2S. You can view a replay of the stream below.

Articles: Digital Photography Review (dpreview.com)

 
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Review: The Tourbox controller – can it speed up your editing?

19 May

Tourbox
$ 169 | Tourbox Tech

Tourbox’s tactile controls are meant to be used by the non-dominant hand to help speed up workflow.

The Tourbox is a plug-in editing console intended to be used with editing (sound, photo and video) software, to speed up a professional’s workflow. Tourbox can be customized to work with just about any type of software (as long as there are keyboard shortcuts) and for this review, we tested it with Adobe Photoshop and DaVinci Resolve.

Key features:

  • 3 assignable dials, one with a clicking function
  • 11 buttons in 7 different sizes, all user-assignable
  • Support for any software with existing shortcuts
  • USB pass-through

Compared to its peers

At less than $ 200, Tourbox comes in at a unique price-point. Competitive options like the Loupedeck CT ($ 550) and Monogram ($ 330) offer similar functionality but at a price level that some might find difficult to justify. There are cheaper options like Streamdeck from Elgato ($ 92), but these don’t offer quite the same tactile interface as Tourbox. Initially offered via Kickstarter and after a successful campaign, Tourbox now retails for $ 170.

The first non-linear controller I ever used was the often praised Lightroom console some 25+ years ago. Since then I’ve been on the lookout for something as effective and tactile – is the Tourbox going to be the one?

Design and handling

After opening the box, what first struck me about Tourbox is how dense the product is. It weighs in at 13.6oz / 385g, more than its small 4.6 x 4 x 2in / 11.7 x 10.2 x 5cm size might suggest. This is likely because it’s designed not to move around on your desk. Included in the box is the unit itself, a user manual, quick start guide and a 5ft braided USB-C to USB-A cable.

The body is finished in a soft-to-touch rubber which initially rang alarm bells with me: I’ve had other products featuring a similar finish that turned into sticky messes over time due to chemical decomposition. I hope that this is not going to become a problem with Tourbox a few years down the road. Even if it doesn’t, keeping the unit free from fingerprints and smudges is a full-time occupation.

As a tactile interface Tourbox generally succeeds

As a tactile interface, Tourbox generally succeeds: The main 4 large buttons (3 on the main surface, 1 on the left side) are easy-to-use and have a mouse-like click with minimal travel. The main central knob feels a little loose and could do with a bit more friction. The scroll wheel (top left) is just about right in terms of resistance and can be clicked inward, providing additional functionality. The dial (bottom left) could benefit from a sensitivity adjustment; it’s a little too responsive for me and tends to slip around a bit.

The 4 D-pad buttons are a little on the small side for me and the placement it slightly too close the the central dial. They also sit a little too flush as well, especially the top one. The round C1 and C2 buttons (upper right) are also on the small side.

Setup and installation

Tourbox has two ports: USB-C for connection to your machine and USB 3.0 for pass-through.

To get things working you first need to download and install the Tourbox Console app which is available for Mac and PC – there’s no support for Andriod, iOS or Linux at the moment. The installation of the software is a little more complicated than usual as you have to install the drivers separately. I’ve been using it on a self-built Ryzen PC (1700X) running Windows 10 and I would have liked the installation process to be a little more streamlined.

At the moment the Tourbox Console also does not auto load with Windows or MacOS

At the moment the Tourbox Console also does not auto load with Windows or MacOS. It needs to first be started up before you run your selected editing software (although a fix for this is planned for a future software version). One way around this is to manually create a shortcut in your startup items folder.

The Tourbox connects to your computer via the included cable, and there’s also the handy ability to pass-through another USB device using the USB A 3.0 socket.

Using Tourbox

Each control point on Tourbox has a unique name.

As mentioned, the Tourbox offers a number of different buttons and dials of varying sizes, shapes and feel that can be used on their own or in combination with one another. At time of publication it can be set up to have 38 user-defined functions, correlating to software keyboard shortcuts. These functions can be set up differently for each piece of software you’d like to use Tourbox with.

The software comes pre-loaded with shortcuts for Lightroom and Photoshop, but it’s easy to change these and to set up new ones

The software itself is very responsive and easy-to-use – I had no stability problems – and it only takes a couple of seconds to run and recognize a connected Tourbox.

However more than once I accidentally typed into the key assignment field when I meant to enter a description. This is because you actually have to select the edit icon before adding a description, you can’t type directly into the field.

The main console interface gives you the ability to create multiple presets.

The software comes preloaded with shortcuts for Adobe’s Lightroom and Photoshop, and it’s easy to change these and to set up new ones. I’ve primarily been using it with DaVinci Resolve and Photoshop. It definitely takes some time and several iterations to find out exactly which control is best for assigning to a function.

It definitely takes some time to find out which control is best for which function

I’ve found the main dial most useful for scrubbing though a timeline one frame at a time in Resolve, or changing the size of a brush in Photoshop. The mouse-like wheel at the top left I’ve assigned in both programs to zoom in and out of the image. The large buttons can be assigned to the usual modifiers like CTRL or ALT but equally they can be used for other functions.

This is just a small example of the way these controls can be used.

With my right hand on my mouse, the Tourbox can easily be used with my left, which is the way it was designed. However there’s really no reason why you can’t use this with your right hand, in fact I think some of the controls are better placed this way, mainly the side button and the dials.

Possible limitations

The rotary controls would benefit from adjustable sensitivity

It’s worth noting that black/grey controls on a black/grey body may prove difficult to see in low-light environments like an editing or grading suite. However, with time and experience, you should be able to use the Tourbox without actually looking at it.

Size is also always going to be an issue for some people – for me to comfortably use Tourbox, it would ideally need to be about 20% larger overall (and I do not have big hands). However the distributor, Ikan, has assured me that a lot of the physical issues are being looked at for a future version of this product (and the current version will soon be available in white).

Will it work for you?

Any editing console like this can be a difficult sell, as first of all the physical dimensions and design may not suit all users. And while it should ultimately speed of your workflow, there is an initial learning curve as you get it set up.

It took me about eight days of semi-regular use to get a grip with the Tourbox, and some of this time was down to reassigning buttons and dials to better suit the way I work. Setting up the main controls is quick, but it’s getting button combinations that work well together that takes quite a bit longer.

After initial setup this has sped up my workflow, which means that my hands spend less time on the keyboard. Admittedly, it can be easy to lapse back into old ways of working. The biggest change is that there’s a certain satisfaction in using wheels to adjust things like brush sizes and navigating through video timelines – it’s a more tactile way of fine controlling a virtual tool.

The Tourbox’s unique combination of different controls sets itself apart from much of the competition, as does its price. However the product could benefit from some more development work both in the hardware and software departments. And who knows, maybe a Pro version won’t be far down the line?

What we like

  • Nice variety of different tactile controls
  • Dense, stays put on desk
  • USB pass-though
  • Detachable Cable
  • Compatibility with tons of software

What we don’t like

  • Somewhat small in size (very subjective)
  • Lack of friction on the central dial
  • Software needs some improvements
  • There’s a learning curve to working it successfully into one’s workflow

Star Rating

Articles: Digital Photography Review (dpreview.com)

 
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Metabones’ new EF-RF Speed Booster reduces Canon EOS R 4K crop factor

27 Mar

Metabones has released a new Speed Booster that reduces the significant 4K video crop factor found on the Canon EOS R full-frame camera systems. With this adapter, photographers can use Canon EF full-frame lenses with the Canon RF mount, significantly reducing the 4K crop on the EOS R from 1.75x to 1.24x and the crop on the EOS RP from 1.63x to 1.15x.

As with the company’s existing Speed Boosters, it works by condensing the main lens’s field of view down into a smaller region: reducing the net focal length by 1.4x and hence lowering the F-number by one stop, compared with the adapted lens’s setting. A 50mm F2.0 combined with the adapter would become a 35mm F1.4.

The Metabones EF-RF Speed Booster ULTRA 0.71x is constructed of 5 elements in 4 groups and features an ultra-high index tantalum-based optics, magnification of 0.71x and a max output aperture of F0.9. The Speed Booster supports dual-pixel autofocus, video AF, plus it has IS lens support, a built-in Control Wheel for accessing various functions like shutter speed and ISO, an LED indicator and automatic adjustment of the autofocus speed.

As far as construction is concerned, Metabones used a rubber gasket to help protect against moisture and dust, as well as flocking to cut down on internal reflections. The Speed Booster is made from brass and aluminum alloy with chromium plating and a satin finish. The tripod head is detachable and can be used with popular ball heads from Photo Clam, Arca Swiss and Markins.

The new ULTRA model wasn’t designed for still photography, Metabones explains, but it can be used as such if the camera is in APS-C mode. Lens compatibility is fairly extensive and includes:

  • Canon EF lenses
  • Canon EF extender
  • Carl Zeiss EF lenses
  • Sigma EF lenses
  • Tamron EF lenses
  • Tokina EF lenses
  • Contax N lenses modified to Canon EF by Conurus

The Speed Booster can also be used with the Contax 645 NAM-1 adapter that has been modified for Canon EF, but it can’t be used with Canon EF-S lenses nor with APS-C lenses. Metabones stresses that those latter lenses ‘DO NOT WORK AT ALL.’

The Metabones EF-RF Speed Booster ULTRA 0.71x is available now for $ 479.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon F 60th anniversary sale includes a special wristwatch with shutter speed dial

10 Dec

Nikon is celebrating the 60th anniversary of its first SLR camera, the Nikon F introduced in 1959, with a commemorative items sale through the Nikon Museum. The sale is offering several unique Nikon F-themed products, including a wristwatch, coffee mug, an acrylic plate featuring a hand-drawn and written illustration of the Nikon F camera’s components, as well as a revised 2019 Edition of the Nikon Camera History poster.

The Nikon F represents an important part of the company’s history; the model was in production for years before the eventual launch of the Nikon F2 model in 1973. It’s not surprising that Nikon would commemorate the iconic model with a special anniversary sale, one involving limited-production items at very reasonable prices for collectibles.

Though the Nikon F coffee mug is already listed as ‘sold out,’ the Nikon Museum is still offering the acrylic plate camera diagram for 2,240¥ (approx. $ 22), the revised Nikon Camera History poster for 1,220¥ (approx. $ 11), and the Nikon F wristwatch for 19,900¥ (approx. $ 183). The watch is the most notable of the items, featuring an ‘F’ shutter speed dial, the words ‘Nikon Museum,’ and the letter ‘F’ in the watch face.

Nikon Museum advises that each product is offered in limited quantities and that it may prevent buyers from purchasing too many units. Unfortunately, you’ll have to physically visit the Nikon Museum shop in Japan to purchase the items; shipping is not available.

Articles: Digital Photography Review (dpreview.com)

 
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Back to Basics: Deciphering Shutter Speed and Motion

27 Nov

The post Back to Basics: Deciphering Shutter Speed and Motion appeared first on Digital Photography School. It was authored by Adam Welch.

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One of the things I love about photography is its simplicity. Now, I know that might be a contested statement in today’s seemingly endless world of digital photography. There are hundreds of cameras, likely thousands of lenses and virtually limitless combinations of the two. Not only that, but there are so many ways we can use our cameras. Landscapes, portraiture, street photography, architectural, abstract, wildlife, nature…the list continues. And yet, for all it’s technological and creative facets, the basics of photography remain alarmingly simple even today.

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The principles of aperture, shutter speed, and ISO constitute something called the “Exposure Triangle” and yes, I know, you’ve probably heard of it before today. The thing is, it is often these most fundamental nuances of photography that present themselves with the most difficulties, especially for beginners (and some pro) in photography.

It’s shutter speed and motion that we will be discussing today in this edition of “Back to Basics”. To be more precise, we’re going to be talking about the ways shutter speed relates to motion so that you will gain a more concrete understanding of how shutter speed affects your photos.

Shutter speed or shutter time?

Many years have passed since then, but I still remember how confused I was the first time I understood that shutter speed had absolutely nothing to do with how fast the shutter of my camera opened and closed.

Up until then, I had intuitively assumed that some cameras were simply made with faster shutters than others. I mean, come on, give me a break! I was new.

Anyway, I finally realized that shutter speed refers to the amount of time the shutter remains open…and not how fast it mechanically opens or shuts. So many concepts about shutter speed seemed to click (pun intended) in my mind.

shutter-speed-and-motion-beginner-tutorial

One of the greatest epiphanies brought about by this sudden revelation was the direct relationship between the time the shutter is open and how apparent subject motion became within my images. In reality, Einstein was right when he put forth that everything is indeed relative.

So, in a way, there are no slow or fast shutter speeds. There are only longer or shorter shutter times relative to the inherent motion of your camera and subject.

Let’s drill down a little deeper on this.

Shutter speed and the effects of motion

For just a moment, let’s pretend you are the fastest runner in the world – absolutely no other human can beat you in a race. That’s great.

But now I want you to picture yourself running next to a cheetah.

Suddenly, your speed doesn’t seem quite so fast, but let’s not stop there. Let’s say that cheetah decides to race the world’s fastest jet plane, and the jet wins every time. Then put that furiously fast jet up against the speed of light, and, well, you get the idea.

The point is, your camera’s shutter speed interacts with motion in the exact same fashion.

Back to Basics: Deciphering Shutter Speed and Motion

A shutter speed (or think shutter time) of 1 second is no problem at all when your camera is mounted securely on a tripod. Take the camera off the tripod and shoot handheld at the same shutter speed, and it becomes difficult not to introduce camera shake into the image.

The same is true for subject movement; we can blur or freeze motion depending on our selected shutter speed.

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Perceivable subject motion is due to the relationship between the amount of time the shutter is open and the speed of the subject itself.

Practical examples

Let’s pick a shutter speed randomly; we’ll say it’s 1/60th of a second. If you’re shooting a still object which has absolutely no motion in relation to your camera, like this switched off ceiling fan, then everything appears calm and still.

Back to Basics: Deciphering Shutter Speed and Motion

For the time being, we’re just going to pretend that you love shooting photos of ceiling fans. So you decide to snap another image with the fan now switched on, and the situation changes.

The blades of the fan are now moving through space much faster than 1/60th of a second shutter speed can capture with the result being perceived blurring of the blades.

Image: At 1/60th of a second, the blades have blurred

At 1/60th of a second, the blades have blurred

This is where Einstein sweeps in to save us. All we have to do to take control of the motion of the blades is to make our shutter speed faster than the speed of those ceiling fan blades. Let’s dial it in.

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At 1/125th of a second, the motion begins to become less pronounced…

Image: …and 1/500th of a second all but completely freezes the motion of the blades. Another s...

…and 1/500th of a second all but completely freezes the motion of the blades. Another stop faster (1/1000th) and the motion would be completed arrested.

The implications of this are absolutely profound for you and your photography. Once you understand that shutter speed is the deciding factor in controlling the amount of perceived subject motion in your images, you can then control how apparent that motion appears in your photo.

How does shutter speed relate to ISO and aperture?

So how exactly does the shutter speed play into the whole Exposure Triangle thing? I’m glad you asked.

All of the pieces of the Triangle: ISO, aperture, and shutter speed; all of them determine the amount and duration of light that enters your camera. Each of these factors complements each other in that you can achieve similar exposure outcomes by adjusting the variables in relation to one another. In our case, since we’re dealing with shutter speed, we’ll be needing to adjust our aperture and/or ISO to compensate for our shutter speed selection.

shutter-speed-and-motion-beginner-tutorial

Entire articles (and books) here at Digital Photography School have been written on each of these subjects, so I’ll be brief. But be sure to check out this cool cheat sheet on the Exposure Triangle for more info.

Simply put, for every full stop of adjustment in shutter speed you make, you are either doubling or halving the amount of light which enters your camera. This means a shutter speed of 1/250th of a second is twice as fast and lets in half the amount of light as 1/125th of a second.

Alternatively, a shutter speed of 1/60th of a second is approximately twice as slow as 1/125th, and therefore lets in double the amount of light. So, 1/250th of a second is one stop faster than 1/125th of a second with 1/60th of a second being one stop slower.

You still might be saying, “but what does this have to do with aperture and ISO?” We’re about to find out, I promise.

The connection comes into play when you realize that ISO and aperture are also measured in stops, albeit in slightly different ways, but in stops nonetheless. This means that we can directly relate shutter speed to our ISO and aperture by thinking in terms of stops.

shutter-speed-and-motion-beginner-tutorial

Let’s say we are shooting a moving subject at 1/60th of a second at F/5.6 and ISO 100. The image is exposed correctly, but the subject is blurred. We find that a shutter speed of 1/250th of a second (two stops faster) will freeze the motion, but it also leaves our scene underexposed by two stops since we have effectively decreased the amount of light by a factor of four.

To maintain our exposure, we must somehow compensate for the reduced amount of light from the faster shutter speed by either increasing the ISO by two stops or shoot an aperture that is two stops wider than F/5.6. So to maintain the same exposure, our new exposure settings would be either 1/250th of a second at F/2.8 and ISO 100 or 1/250th of a second at F/5.6 and ISO 400.

Some considerations for shutter speed

Here are a few helpful tips that you should keep in mind when it comes to shutter speed. Some of these are simply good everyday practices, and others might be new to you.

  • The longer the focal length of your lens (higher zoom), the more apparent subject motion and camera shake will become. So plan accordingly if you are intending to employ longer shutter speeds by making sure you have a sturdy tripod and even a remote shutter release for your camera.
  • At times there will be situations when you can’t equalize your exposure using your camera settings alone and still achieve the level of motion you want for your final photos. This is where a good quality neutral density filter will truly be worth its weight in gold. I recommend keeping at least one in your bag no matter what sort of photography you shoot.
  • When shooting long exposures of the night sky, make use of the “600 Rule” to approximate the longest shutter time possible before stars begin to streak based upon your lenses’ focal length. The 600 Rule states that 600 dived by your focal length will give you an approximate maximum shutter speed from which you can base your other exposure factors.
  • Reduce camera shake when shooting handheld by implementing what’s known as the “Reciprocity Rule”. Simply put, this guideline states that you should not shoot a shutter speed which is slower than 1 over your focal length. This means that with a full-frame sensor and an 85mm lens, you should never shoot slower than 1/85th of a second. If you’re using a crop sensor camera, then the formula would be 1 over (focal length x sensor crop factor). You can find the crop factors for virtually all digital camera sensors with a quick web search.
  • Use mirror-lockup (if your camera has this feature) when making long exposures. In DSLR/SLR cameras, the mirror mechanism flips out of the way during exposure. This can cause camera shake, especially when using a lightweight camera and lens setup. Mirror-lockup moves the mirror out of the way prior to exposure so that the camera remains as steady as possible.
  • Cover your viewfinder during extremely long exposures. Much like mirror-lockup, DLSR/SLR cameras make use of an optical viewfinder which means light can creep in through the viewfinder during long exposures. It’s a good idea to cover the viewfinder with tape, a lens cloth, or the dedicated viewfinder cover that comes attached to some camera straps should you be shooting ultra-long exposures (upwards of a minute or more) to ensure stray light doesn’t ruin your exposure. Some older film DSLR cameras actually have a build-in viewfinder cover for this exact reason.

Summing up shutter speed

If you’re just getting into photography, I hope this article on deciphering shutter speed and motion helps to demystify some of the enigma surrounding shutter speed (time) and aids you in becoming a more confident photo maker.

If you’re a seasoned photographer, then hopefully the information here will serve as a gentle refresher course on just how simple it is to control your photos using only the most basic of photographic principles.

Shutter speed is directly related to motion and therefore becomes a relative construct based on the inherent motion in our scene (or camera). Depending on the desired outcome, we can control the perception of this motion using our shutter speed.

Shutter speeds that are relatively slower than the motion in the scene will cause blurring. Shutter speeds relatively faster than the motion within the scene will freeze that motion. That is truly priceless knowledge, and once you learn how shutter speed interacts with aperture and ISO, you will be able to have virtually complete control over your photography. Once you understand the basic fundamentals of photo making, everything else becomes almost secondary.

 

Do you have any other tips on shutter speed and motion that you would like to share? Please do so in the comments!

The post Back to Basics: Deciphering Shutter Speed and Motion appeared first on Digital Photography School. It was authored by Adam Welch.


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Metabones announces new Hasselblad V to Fujifilm GFX x0.71 Speed Booster

20 Aug

Metabones has announced its new Hasselblad V to Fuji G mount (GFX) x0.71 Speed Booster, the latest in its extensive Speed Booster Ultra 0.71x lineup.

The new Speed Booster uses a six-element design capable of ‘[achieving] excellent optical performance at apertures up to F1.4 when paired with the Hasselblad 110mm F2 lens.’ Metabones says it was able to achieve this performance by analyzing the exit pupil size and location of all Hasselblad V lenses and using the resulting data to develop its new Speed Booster Ultra.

As with Metabones’ other Speed Booster adapters, the Hasselblad V to GFX Speed Booster Ultra accounts for the camera’s filter stack atop the sensor, a key element, especially when using faster lenses with larger apertures.

The adapter features ‘an extremely robust cine-style’ positive locking mechanism to prevent lens movement when focusing as well as a 360-degree rotation collar and Arca Swiss style tripod mounting plate.

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The 0.71x Speed Booster Ultra for adapting Hasselblad V lenses to Fuji GFX camera systems will be available starting August 16th, 2019 from Metabones’ website and authorized retailers for $ 899. The non-Speed Booster version will ship at the same time for $ 399.

Articles: Digital Photography Review (dpreview.com)

 
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How to Use Lightroom Mobile to Speed Up Your Workflow

14 Aug

The post How to Use Lightroom Mobile to Speed Up Your Workflow appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

One of the common complaints about Lightroom Classic is that it’s just not as fast as some photographers expect. When I get back from a session with hundreds of RAW files to process, the thought of going through each of them one-by-one is enough to give me a headache. The few seconds it takes Lightroom to load each photo for flagging or cropping can be enough to make you want to quit photography altogether! Fortunately, if you subscribe to Creative Cloud you have options. In this article, you’ll learn how to use Lightroom Mobile to dramatically increase the speed of your workflow.

How to Use Lightroom Mobile to Speed Up Your Workflow

One of my favorite aspects of the Adobe Creative Cloud subscription is how you can take advantage of many of the features of Lightroom Mobile even if you don’t store your primary images in the cloud. You can store bite-size previews of your images from Lightroom Classic in your Creative Cloud account, which you can then load on a mobile device for editing.

After you finish editing on your mobile device, all the changes will be automatically synced back to Lightroom Classic on your computer. I use this technique all the time now, especially for culling and cropping after a long photoshoot. I think you might find it incredibly useful as well.

Sync with Lightroom

The first thing you need to do is enable syncing between Lightroom Classic and your Creative Cloud account. Click on your name in the top-left of the Lightroom Library module and choose “Start” under “Sync with Lightroom.”

How-to-Use-Lightroom-Mobile-to-speed-up-your-workflow

This will then enable you to start syncing your edits. One thing to note is that if you have a basic 20GB Photography plan, the photos you sync will not count against your storage quota. That is only for images you upload directly to Lightroom Mobile or Lightroom CC, as well as any documents you have stored in your Creative Cloud Files.

After Sync is enabled, you can selectively sync any individual collection by clicking the arrow icon just to the left of its name.

How to Use Lightroom Mobile to Speed Up Your Workflow

This will start uploading previews of each image to your Creative Cloud account. While this is happening you can see the upload status by looking above your name in the top-left corner.

How to Use Lightroom Mobile to Speed Up Your Workflow

Completing the initial synchronization will take a few minutes or more depending on the speed of your internet connection. The individual preview files being uploaded are quite small, but if you sync an album with a few thousand images it might take longer than you expect.

One thing to note is that you can only sync collections that have been created manually by you. Smart albums, which are created dynamically according to rules you specify, are not possible to sync with Lightroom Mobile.

Edit on Lightroom Mobile

When the sync operation is complete, load Lightroom Mobile on a phone or tablet and the collections you synced will show up in your Albums list.

How-to-Use-Lightroom-Mobile-to-speed-up-your-workflow

If you have never used Lightroom Mobile before you’re going to be amazed at how quickly you can perform operations like moving from one photo to the next, flagging/rejecting, cropping, or pretty much anything else you might do in Lightroom Classic.

How-to-Use-Lightroom-Mobile-to-speed-up-your-workflow

Upon loading your images into Lightroom Mobile, you can quickly swipe between them to check for focus and composition. Simple gestures like swipe up on the left to assign a star rating and swipe up/down on the right to mark a picture as Pick or Rejected make the editing process much faster than Lightroom Classic. A few taps will let you quickly crop, rotate, and make basic exposure adjustments.

As far as individual features go, the two programs are almost the same. However, the mobile version has an interface designed around touch instead of a mouse/keyboard combo. This means some things don’t behave quite how you might expect, but once you get the hang of things, it’s not bad at all.

Image: Lightroom on an iPad, even a basic version and not an iPad Pro, is extremely fast, fluid, and...

Lightroom on an iPad, even a basic version and not an iPad Pro, is extremely fast, fluid, and easy.

Since the images synced between Lightroom Classic and Lightroom Mobile are small previews and not full-resolution originals I would recommend against using the latter to check for accurate focus or do highly detailed adjustments. I find Lightroom Mobile most useful for just the basics like flagging and cropping, but your own usage might vary.

How-to-Use-Lightroom-Mobile-to-speed-up-your-workflow

Lightroom on a mobile device lets you access almost all of the editing options on the desktop version, but I prefer to use it for just a few basics.

Sync back to Lightroom Classic

The beauty of this entire process is that as soon as your edits are applied to a photo, you don’t have to manually re-sync anything. Any edits you make automatically copy back to your original Lightroom files on your desktop. All you have to do is load up that program, wait for automatic sync to finish, and your pictures are ready for further edits.

Ever since I started using this Desktop->Mobile->Desktop workflow for my initial culling and cropping, I have found myself enjoying the whole process. I’ll sit back on my sofa or relax with a drink at the kitchen table while rapidly flipping through pictures on my iPad for the first round of edits. I’ll then return to my desktop, and the rest of the editing is much less stressful.

Image: Finding the best photos out of a batch of 600 is much, much faster when using Lightroom Mobil...

Finding the best photos out of a batch of 600 is much, much faster when using Lightroom Mobile.

This may seem a bit overwhelming at first. However, once you try this process, you will be surprised at how easy it is.

What about you? Do you have any other tips for speeding up your Lightroom workflow? Share them in the comments below!

 

How-to-Use-Lightroom-Mobile-to-speed-up-your-workflow

The post How to Use Lightroom Mobile to Speed Up Your Workflow appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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