PhotoPlus announced this morning it is canceling its in-person event, opting instead to host its annual photo conference online due to the COVID-19 pandemic.
PhotoPlus 2020 was originally set to take place at the Javits Center in New York City from October 22–24. Despite numerous other photo conferences being canceled, PhotoPlus insisted the in-person event was still taking place, until today. In a press release, event director Joseph Kowalsky said:
‘The difficult decision was made after consulting our community partners and supporters and closely monitoring the ongoing progression of the COVID-19 pandemic in the U.S.’
To replace the in-person event, PhotoPlus announced PhotoPlus+, which will be an ‘online experience and community bringing together visual storytellers with the tools and services they need to create.’ The event is designed to be a broader event, with product showcases, live demos, gear launches, networking events and more taking place starting November 1, 2020.
You can find out more information and register for the online PhotoPlus+ event on the PhotoPlus website.
One of the accessories you can purchase for some of Lomography’s instant cameras is the Splitzer, an add-on component that makes it possible to shoot multiple exposures on the same frame. Unfortunately, the accessory isn’t available for the Fujifilm Instax Mini 90, but photographer Guillermo Hernandez has managed to create his own 3D-printed version for the popular camera.
Like the Splitzer, the 3D-printed component simply attaches to the front of the lens. To capture a double exposure, simply cover the half of the frame you don’t want exposed, take a shot, then rotate the Splitzer 180-degrees before taking another shot.
As you can see in the sample photos below, this allows you to create unique compositions wherein a single subjects can be in two places at once or frame the same object side-by-side.
It’s undoubtedly a novel accessory, but it’s a fun way to get a little more out of a Fujifilm Instax camera. Hernandez is selling his Instax Mini 90 Splitzer in multiple colors for $ 5 on eBay with $ 3 shipping, but if you have access to a 3D printer and know some basic CAD tutorials you could probably whip up one yourself. Hernandez has other 3D-printed photo-related products on his eBay store, too.
Over the past few days, there have been numerous reports Canon is delaying shipments of its EOS R5 camera and that retailers weren’t receiving shipments as expected. While Canon Japan did mention there could be delays due to demand earlier this month, these reports suggested several retailers in the UK and throughout Europe weren’t receiving as many cameras as they had expected.
Until today, only Canon Australia had issued a statement on the matter to Newsshooter, saying the ‘speculations are untrue.’ Now, Canon U.S.A. has issued its first statement on the matter, confirming EOS R5 units were shipped from its warehouses this week and on the way to photographers.
In the statement, shared with DPReview through a Canon spokesperson, Canon U.S.A. writes:
‘Orders of the EOS R5 are scheduled to be delivered as initially stated at launch. The first set of cameras shipped from our warehouses this week. We eagerly await the content that will be produced by talented creatives using this camera to be shared with the world.’
Canon U.S.A. specifically mentions the ‘first set of cameras,’ but doesn’t specify the status of the second installment in its statement(according to a few of the rumors, it’s the second installment that could be delayed).
We have contacted Canon U.S.A. in hopes of receiving further confirmation of future shipments and potential delays involved with its EOS R5 and EOS R6 camera systems. We will update the article accordingly if we receive a response.
In regards to future shipments, a Canon U.S.A. spokesperson has told DPReview ‘shipping is as scheduled right now, with no delays.’
Update (July 31, 2020): We updated the article with a statement from a Canon U.S.A. spokesperson regarding future shipments.
The post This Drone Photography Checklist will Ensure You Never Miss Your Shots appeared first on Digital Photography School. It was authored by Matt Murray.
Capturing stunning images with your drone is incredibly exciting. But with so many things to think about before you take off, there can also be some nervousness wrapped up with that excitement. The first few times I flew my drone, I struggled to remember everything. Did I put a memory card in the drone? How strong would the wind be? Did I charge all the batteries? Did I need permission to launch my drone at the beach? Trying to keep track of all these issues was exhausting, but the one thing that made my life much easier was keeping a drone photography checklist with my backpack.
A drone photography checklist can help you get the most out of every flight.
The process of checking through this list the day before a planned flight – as well as just before I left home – helped me to be calmer and better prepared.
Below is my drone photography checklist to ensure that you don’t forget anything and are flying as safe as possible.
1. Before you leave the house
Planning for your flight should start before you leave the house, preferably the day before the flight. There are three things I typically check: air space, location and the weather conditions.
Make sure you have permission from the landowner to launch your drone.
a. Airspace
This is quite possibly the most important check you’ll need to do: are you legally allowed to fly your drone in the airspace above your launch location? And if so, to what height can you ascend to? Do national limits apply or is there a local restriction?
Making sure you understand the laws that govern airspace where you fly your drone is incredibly important and can potentially save you a lot of trouble.
Even if you are allowed to legally fly in the airspace, it’s important that you keep watch for other aircraft.
If you are able to fly in that airspace, you also need to check who else could be flying there too. Take a look at your proposed launch location using Google Maps – are there any helicopter pads, airports or airfields in the vicinity? Are there any model aircraft clubs or paragliding locations nearby? Is it a popular place that other drone enthusiasts might use? You need to take all these issues into consideration when planning your flight.
b. Location
As well as considering the airspace where you plan to fly, you also need to take into account what local laws govern the flying of drones in the city, state, or region you’re in. Even if you can technically fly in the airspace, local laws or rules may ban drones flying at those locations. For example, many national parks in Australia do not allow drones.
Another factor to consider is if you need the landowner’s permission to take off at your proposed launch location. Many local councils publish information on their websites regarding places you can and can’t launch your drone from. It’s always best to check beforehand well ahead of time, especially if you need to apply or seek permission before your flight.
c. Weather conditions
It’s always a good idea to check the forecasted weather conditions ahead of time. Many weather websites predict wind speeds for the next few days – this is invaluable for drone owners. If the predicted wind speeds are too high, it may be necessary to delay your flight.
Weather websites can predict wind conditions for the next few days, which invaluable for drone owners.
Also, keep an eye on other weather conditions. For example, is there any rain on the radar map? Are thunderstorms predicted? For morning flights, what are the chances of fog limiting visibility?
Also, think about the possibility of bright sunshine impairing your ability to see your drone in the sky or view the device that controls your aircraft.
2. Equipment
A drone photography checklist is also very handy for keeping track of your equipment. A checklist can help you to remember to pack everything you’ll need, as well as making sure your equipment is ready for your flight.
Your drone photography checklist can also include a list of accessories you need to take with you such as launch pads and neutral density filters.
First of all, check that all of your batteries are fully charged the day before the flight. This can take some time, so doing it half an hour before you plan to leave the house is not a good idea.
Next, check your drone over to make sure that it’s in perfect working condition. This includes making sure the propellers are not damaged or have nicks in them.
Next, check that you have all of your accessories packed and ready to go. The accessories I pack include a set of neutral density filters, a launchpad, and, of course, at least one memory card.
Make sure your memory cards have enough space on them to record multiple videos and images during your flight. Also, check that you’ve copied the contents of the memory card to your hard drive if you decide to format it beforehand.
Keep your drone software up-to-date: check for any updates 24 hours before your planned flight.
Finally, check that the device you use to control your drone (smartphone or tablet) is fully charged and that you have the latest drone software updated on it, ready to go.
3. At your launch location
When you arrive at your launch location, it’s important to have a good look around and assess the area where you’ll fly. Even after you’ve done your homework about the airspace, the location and the weather, there still can be significant risks.
Take a look around when you arrive at the location: what risks are present? Are there any power poles? Are there groups of children playing nearby? Check if there are any dogs off leash in the vicinity. Here in Australia, we also have the possibility of birds swooping you or your drone.
Make sure you keep watch around you while flying for other distractions such as children and animals.
If you have a launch pad, set it up somewhere flat away from other people. Some people also carry bright cones to mark out a small area to warn other people that a drone will be taking off and landing in the vicinity.
Start your device and your drone. Make sure you calibrate your compass before the flight and that the drone records the home point at your launch location.
Double-check your memory card is inside the drone – there is nothing more annoying than going to take a photo or a video before realizing it’s in your bag on the ground. Take a look at the lighting conditions: do you need to use an ND (neutral density) filter? If so, which one is best suited to the light today?
Before you take off, also make sure your smartphone or device is set to “do not disturb’ mode.
Take into account that bright sunshine during your flight can impair your ability to see your device effectively.
As you fly your drone, keep an eye out for other aircraft in the airspace, the weather conditions, and people or animals on the ground near your location. If it’s safe to do so, try to take a range of different shots with your drone. If you need ideas, check out my article, 7 shots to incorporate for better drone photography.
4. Post-flight
After your flight is completed, ensure everything is turned off correctly in the right order. Inspect your aircraft and propellers for damage.
Have a checklist of the items you brought with you and tick them off as you pack everything away. Drone ND filters are very small – you don’t want to leave one behind at your launch location.
When you get home, have a regular routine of how you pack your kit away. If you plan on flying again soon, put your batteries on charge again.
Copy your images and videos from your micro SD card ready for your next flight. If you have two or three verified copies of the images, at that point, you may wish to format your memory card, ready for your next flight.
Have a shot list of images you’d like to capture during your flight.
Conclusion
A drone photography checklist is a great idea to keep you prepared and to ensure you are taking reasonable steps to fly safely and legally. Instead of worrying that I have forgotten to do something while driving to my location, I now head out confident that I have taken steps to prepare for the flight.
I start working through the checklist 24 hours before any planned drone activities. This gives me plenty of time to get things sorted, as well as providing me with some reassurance that I am a responsible drone flyer. My checklist is also a big help when packing my gear before the flight, and when packing up afterward.
I’d encourage you to create your own list to print out and keep with your drone backpack, ready to check before you take to the skies. What else would you add to your drone photography checklist? Tell us in the comments below.
Drone checklist summary
You can download the PDF drone photography checklist here to keep and print out. That way, you will never miss getting your shots. Alternatively, you can just refer to the list below.
Airspace
Am I legally allowed to fly my drone in the airspace above this location?
What is the maximum height I can fly my drone at this location?
Will other aircraft be in the vicinity? (planes, helicopters, hot air balloons, drones, model aircraft, paragliders).
Location
Do I need the landowner’s permission to launch my drone at this location?
Will there be a lot of people at this location? How will I keep my drone away from other people? Will there be distractions such as dogs, children or birds?
Equipment
Are all of my drone batteries charged?
Does my memory card have enough space for images and videos for my next flight?
Is my smartphone or device fully charged? Does it have the latest version of the drone operating software on?
Is my drone in perfect working order? Are the propellers clean with no issues?
Do I have all the accessories I need? E.g. Cables, launch pad, ND filters.
Weather
What is the estimated wind speed for the time of my flight? Will I need to take any extra precautions due to the wind speed?
Are any storms or extreme weather events expected? Will bright conditions make it difficult to view my device?
Ensure all items (drone, ND filters, propellers) are accounted for.
The post This Drone Photography Checklist will Ensure You Never Miss Your Shots appeared first on Digital Photography School. It was authored by Matt Murray.
Olympus has released a little more detail about its upcoming 150-400mm F4.5 with built-in 1.25x teleconverter. The lens’ development was first announced in January 2019, and Olympus says it will arrive on the market in winter of 2020. A couple of images of the final lens have also been shared.
Additionally, two more M.Zuiko Pro lenses have been added to the roadmap: an ED 8-25mm F4 Pro and an ‘unspecified’ macro lens which appears around the 100mm equiv., focal length on the chart.
OM-D E-M1X owners can also look forward to a firmware update in winter 2020 adding bird detection to the camera’s Intelligent Subject Tracking Autofocus.
Press release:
OLYMPUS UNVEILS UPDATED M.ZUIKO® DIGITAL LENS ROADMAP
Provides Updates on the Development of the M.Zuiko Digital ED 150-400 F4.5 TC1.25x IS PRO Lens and Announces the Development of Firmware to Support Bird Subject Detection Autofocus for the OM-D® E-M1X
Center Valley, PA, July 2, 2020 – Olympus is pleased to announce an updated M.Zuiko Digital lens roadmap, outlining plans to expand the M.Zuiko lens lineup and including an update of anticipated availability of the previously announced M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO super telephoto zoom lens with built-in 1.25x teleconverter.
The upcoming M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO lens, for which development was announced in January 2019, continues with an estimated scheduled release of winter 2020. This is the first Olympus® interchangeable lens with a built-in 1.25x teleconverter, extending the maximum focal length to 1000mm1 (35mm equivalent). Final images of the lens are now available.
Two new lenses, the M.Zuiko Digital ED 8-25mm F4.0 PRO lens, as well as an unspecified macro lens, will join the M.Zuiko lineup as part of Olympus’ commitment to broaden the field of photographic expression. Olympus will continue enhancing its lens lineup to maximize the unrivaled system portability made possible by the compact, lightweight, high image quality of the Micro Four Thirds® System.
Furthermore, to make super telephoto shooting more convenient and to fulfill the growing needs of birding and wildlife photographers, development is underway to newly add Bird Detection capability to Olympus’ Intelligent Subject Detection Autofocus on the OM-D E-M1X camera. This new feature will be available for the E-M1X via a firmware update that is scheduled for release in Winter 2020.
1 When using the built-in teleconverter. Widest aperture setting is F5.6.
Kenji Tanaka, VP and Senior General Manager of Sony’s Business Unit 1, Digital Imaging Group. Pictured at the 2019 CP+ show in Yokohama, Japan.
With the photo industry still mostly hunkered down, and offices temporarily closed all over the world, ‘business as usual’ is still a distant dream. But we’re not in stasis – cameras and lenses are still being released, and plans are still being put in place for future product development. Recently we spoke to Kenji Tanaka of Sony, on video chat (with a little help from his ZV1) about the impact of COVID-19 on his business, the growing market for video and – yes – the successor to the a7S II.
The following interview has been edited lightly for clarity and flow.
What impact has COVID-19 had on your operations worldwide?
It has definitely had an impact on production, and on procurement of supplies. But we’re working with all of our suppliers to minimize this. We have two manufacturing bases though – China and Thailand, which helps, and most of the supply and logistics issues have now been resolved. Operations at our factories have resumed.
What do you think the effect of the pandemic will be on the photo industry as a whole?
I think there will be very little long-term impact on production and logistics, but demand [for cameras] has been decreasing. The entire world is affected by COVID-19. However there are a lot of positive signs. For example in China, sales at June 18 shopping gala were higher than last year. We experienced strong demand for our premium lines, like the Alpha 7 Mark III and Alpha 7R Mark IV. So China is getting better, but in other areas the situation is different, obviously. Demand in the market is starting to recover in most regions though, and I’m not worried about demand [for our products] in the long-term.
Where do you see Sony’s biggest opportunities in today’s market?
Video is a big opportunity, and full-frame. In China especially, the full-frame mirrorless market is growing. We’re also going to continue to expand our lens lineup to meet the needs of professionals around the world. Those are our biggest opportunities, I think. Full-frame mirrorless and video. Demand for video is now growing in every region of the world.
The Sony ZV-1 (left) is one of a new generation of cameras intended to appeal to vloggers and video content creators, alongside the likes of the Canon PowerShot G7 X (right) and the new Panasonic Lumix G100.
You released the ZV-1 in the middle of the COVID-19 crisis – how important is the vlogging and live-streaming market to Sony?
The content creator market is expanding rapidly, and the ZV1 was purpose-built to meet the needs of video creators at all skill levels. With the impact of COVID-19, a lot of people want to record their experiences with video. Demand for this kind of product is increasing, and with the ZV-1 we had an opportunity to meet this need. A lot of people will also enjoy the ZV-1 as a webcam when connecting it to a PC via USB. We will deliver a new Desktop application in July to enable this.
I can confirm that a successor to the Alpha 7S II will be coming, later this summer
Will the Alpha 7S Mark II be replaced, or has the ‘S’ line been superseded by the a7 III and a7R IV?
We’ve received many requests, especially from professional video content creators, and I can confirm that a successor to the Alpha 7S II will be coming, later this summer. Right now we’re focused on the launch of the new camera, and it will be a complete redesign of the whole system, including the image sensor. Everything is new. We hope it will meet and exceed the expectations and requests of our customers. I’m very confident that our new model will meet their demands.
The ‘S’ originally stood for ‘sensitivity’ but now I think it should stand for ‘supreme’ in terms of image quality, and expression. It comes from having really big pixels. I think that many professionals and high-end users will enjoy the new camera.
What were the major requests from a7S II users?
Mainly things like 4K/60p, 10-bit 4:2:2… really what you’d expect.
We’re seeing Raw video being added to more and more consumer cameras – do you think there’s a need for it?
We’re aware that there is a certain amount of demand for Raw video. As you know, our customers include a lot of professionals, so we’re working hard to be able to deliver Raw data capture to these people.
Mr. Tanaka confirms that the long wait for an a7S II successor is almost over – just don’t call it a Mark III (yet).
What can Sony offer professionals right now that your competitors can’t?
Technology and innovation. These are our strengths, and that’s what we want to deliver. We have strong in-house technologies. We have very advanced technology for both stills and movies. I am proud of the speed, the performance and the richness of the images [from our products] in various conditions. And also portability of the system.
We’re continuing to evolve, to bring the performance of our products to a new level. We’re really not developing products in an attempt to compete with other manufacturers. We want to satisfy consumers, and surprise them – and create a ‘wow!’ reaction.
Can we expect to see Stacked CMOS sensor technology make its way into more Sony cameras in future?
Of course, it’s a unique, cutting-edge technology, and we want to make maximum use of these kinds of technologies.
How will your autofocus technologies evolve in future?
Increased detection speed and accuracy are what’s being demanded by our users, including professionals. And with demand for video booming, autofocus in movie shooting is very important. Right now we’re dedicated to developing autofocus technology further and further.
How will AI influence future products?
Right now we’re further developing Eye-AF, and we’ve added other detection technologies, like Animal Eye-detection. Object recognition using AI is very, very important for the future.
What do you think will be the next major technological leap, in the camera industry?
We’re very invested in AI technology, as I mentioned, but photography and videography need lenses, and the autofocus actuator in lenses is very important. For video, for example, if the actuator doesn’t work, doesn’t move quickly enough, that’s a problem, and if it makes noise, that affects the quality of the footage. So this is something we’re also investing in a lot, as we’re planning for the future.
In ten, twenty, fifty years I expect that computational photography will be doing a lot of things that traditional lenses do now
With computational photography technologies becoming more advanced, do you think that lenses of the future will look like the lenses of today?
I’m very positive about computational photography technologies, but glass has a lot of advantages. In ten, twenty, fifty years I expect that computational photography will be doing a lot of things that traditional lenses do now. But in the near future – five years, say – glass will still be superior.
In some devices, like smartphones or cameras designed to be easy to use, computational photography could be very useful. But if you want to create a masterpiece, or commercial work, real glass is better. And glass can evolve, a lot. For example with our lenses, some of them are very small but the quality is high. There’s a lot of technology inside our lenses. We’ll continue to innovate with our lens technologies.
Do you think in the future that smartphones will start to work more like cameras, or cameras will start to work more like smartphones?
Nobody knows that! But I think it’s good to have options, and choices.
Editors’ Note: Barnaby Britton
It’s always nice to speak to an optimist, especially these days. With predictions of doom and gloom from almost all corners, Mr. Tanaka strikes a rare note of positivity. The situation is improving, sales are recovering and demand looks solid in the medium term. For Sony, at least.
The wider long-term impact of the global pandemic remains to be seen, but despite the challenging environment, Mr. Tanaka is confident that Sony has what it takes to thrive as a camera and lens manufacturer. The reasons for his confidence are simple: Sony has a lot of very advanced technology, and has shown a proven willingness to innovate with it.
The biggest news to come out of this interview is confirmation (following some heavy hints) that after a long wait, an Alpha 7S Mark II successor is coming – and coming quite soon. Mr. Tanaka didn’t give away many details (it remains to be seen even if it will be called a ‘Mark III’) but reading between the lines, we’re excited.
Everything from Mr. Tanaka’s description of features like 4K/60p, and 10-bit 4:2:2 recording as merely “what you’d expect” to his mention of wanting to create a “wow!” reaction suggests that Sony intends to pull out all of the stops. Whether or not the camera will offer Raw video capture is uncertain, but given Mr. Tanaka’s remark that Sony is “working hard to be able to deliver Raw data capture to [professionals]” I wouldn’t bet against it.
Assuming that the a7S Mark II’s successor will represent the company’s best efforts, I’m sure that a lot of video pros will consider that it was worth the wait.
According to Mr. Tanaka, Sony sees video as a crucial opportunity for growth in the future, alongside the development of artificial intelligence and computational imaging technologies. Assuming (as seems reasonable) that the a7S Mark II’s successor will represent the company’s best efforts in all three areas, I’m sure that a lot of video pros will consider that it was worth the wait. Meanwhile, with demand for video products increasing globally, products like the new ZV1 are aimed at entry-level videographers and content creators who just want a small, simple and effective tool for personal expression. Or for Zoom calls.
Other exciting hints included the possibility of further optical development – both in terms of traditional lenses and computational approaches. Interesting times ahead, then – certainly worthy of some cautious optimism, I think!
The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.
If you’ve read my previous review of the Loupedeck+, you’ll know I am a massive fan and it is now a firm part of my editing routine. As I said in that review, it was something that I was honestly wary of before trying it, but something I do edit without now. So when I got the chance to do the new Loupedeck CT review, I jumped at it.
The Loupedeck CT is a completely new editing station. Loupedeck has marked this as their professional tool, designed to deliver a premium editing experience. Along with the dials and buttons familiar to those who have used the Loupedeck+, the Loupedeck CT features a touchscreen interface system of virtual buttons, that you can fully customize to your editing needs.
Compatibility
The CT is compatible with a wide range of software right out of the box. And it has the ability to add even more software via an ever-growing library of custom profiles.
Here is a list of compatible software out of the box (takes deep breath):
Abelton live
After Effects
Audition
Capture One
Final Cut Pro
Adobe Illustrator
Adobe Lightroom Classic
Adobe Photoshop
Premiere Pro
System (Windows & Mac)
Profiles exist for many more programs, including Davinci Resolve, Photomechanic, and Logic Pro X, amongst others. This is a serious list of professional software, and the ability to customize the Loupedeck CT means that there is an almost limitless opportunity to create your very own tailored workspace.
Design and build quality
The Loupedeck CT is very different from the Loupdeck+. It is much more compact in its footprint. The size is about the same as two mobile phones placed side by side. This smaller footprint not only makes having the CT on a smaller desk much easier, but it also means it is simple to add to your bag when editing on the road or on location.
The packaging looks and feels premium. It reminded me of an Apple device in the way that the quality oozes out before you even see the product.
Jet black packaging with an embossed and foiled logo on the side really does make this product feel luxurious. It may sound silly, but when packaging is this good, I feel that it shows the importance of attention to detail to the company.
Once the Loupedeck CT is removed from the packaging and those, oh so satisfying, clear plastic covers get removed, the quality of the Loupedeck CT shines through.
The build quality on this device is excellent, with the device itself comprised of an aluminum top plate (save the virtual buttons workspace) with a solid plastic underside. All buttons and dials are all reassuringly firm, with the dials having a tactile click when turning, whilst the virtual buttons have haptic feedback, which you turn on or off.
The center dial is used as a touch screen interface for some adjustments, and again, it works perfectly. It is responsive and has worked flawlessly during my time with the unit.
This is a very well-made piece of equipment that is another step forward in quality from the already well-made Loupedeck+.
The Loupedeck CT also has a Bluetooth chip, which will eventually, via an update, make the unit connect wirelessly.
It also comes with 8GB of storage, which mounts as an external drive when you connect the Loupedeck CT. This storage allows you to save all settings and preferences within the device. So, when you transport the product, all your settings travel with you. This is great for those that travel regularly or use different computers for different projects.
Ergonomically, the unit is made for one-handed operation. This is not to underestimate the amount of editing this thing can do on its own. Whilst the Loupedeck+ feels like something that is aimed to replace your keyboard, the CT feels like an addition to your keyboard and mouse. It is an incredibly powerful enhancement to your workflow.
Buttons on the Loupedeck CT are backlit in a way that aids your use of the device. The buttons’ color shows how it is mapped at a glance. The three colors are green, purple, and blue.
Green buttons are assigned to workspaces (of which you can have multiple per application). The purple buttons are assigned to actions (such as applying a preset or creating a copy of the image, etc.). Finally, the blue buttons are there to take you into page-based layouts. This allows you to create sub-menus within a workspace, such as a page dedicated to your image presets, without the need to change the entire workspace.
Installing the Loupedeck CT
Installing the Loupedeck CT is a simple affair. You just download and install the software from the Loupedeck website, then connect the Loupedeck.
The Loupedeck itself is USB-C, which helps future-proof the product. However, it comes packaged with a USB-C to USB-A braided cable, which will be welcomed by a lot of people. The cable itself is of high quality, reinforcing the attention to detail that Loupedeck has put into this product.
The installation and setup is easy. But you will need to spend some time with the software to set the Loupedeck CT to your preferences.
Learning curve
The learning curve is the part of Loupedeck CT that is the thing that you will find hardest. It’s not that the CT is hard to use, in fact, it is the total opposite of that. It is more about remembering which button is where, how you have your dials set, and moving your hands away from existing workflows.
With the Loupedeck+ everything is set and you quickly become accustomed to where everything is. However, whilst the flexibility of the Loupedeck CT is its strongest feature, it does mean you have a larger learning curve. As an example, when moving from Lightroom to Photoshop, the button layout changes, so it takes more time to become a power user across multiple software.
The initial setting up of custom workspaces will take time and effort from the user. However, this is the step that is essential for those looking to get the most out of this device.
The software makes it simple to set up, but you need to customize the layout of the deck for your specific editing style. You will then need to do this on a software-by-software basis. This process may take a few hours, but it is so worth it. The profiles supplied by Loupedeck are great and get you started instantly, but every editing workflow is different and the Loupedeck profiles are unlikely to match your specific workflow.
As with the Loupdeck+, the CT makes using software easier. It does have a learning curve though, one for each software you use it with.
The Loupdeck CT in use
The first thing I noticed about the Loupedeck CT was its software awareness. Switching over to Photoshop from Lightroom, the Loupedeck instantly changed to its Photoshop workspace. There was no lag or waiting. It was ready to go. This smoothness is the same for every software. You can even set it up to control your Spotify, so you can keep your hands on the Loupedeck whilst you decide what music you want to listen to whilst you edit.
This key feature makes the Loupedeck CT amazing for those who work in several different pieces of software. It really does make this device a huge step up from the Loupedeck+.
I know when I reviewed the Loupedeck+, I said that video editing wasn’t great. With the CT, it really performs.
Moving to Premiere Pro, you get the tools you use the most right at your fingertips. As someone who isn’t a huge video editor, it makes editing easier for me. I have also been experimenting with Final Cut Pro, and again, the Loupedeck saves me having to search through menus when I am looking for a tool.
I am sure that in the hands of a more capable editor, this tool will be huge in speeding up workflow. For an amateur like me, it makes things easier and encourages me to dig deeper.
This is also true of Adobe Illustrator and Adobe Audition, which I profess to be completely lacking in in-depth knowledge. However, I can see how this, in the right hands, will be incredibly useful.
The centre wheel is one of the highlights of the CT. Being able to use it for things such as colour grading is so intuitive.
Moving on to photography (the reason I am sure most of you are reading this), to sum it up, it is amazing. If the Loupedeck+ is a high-quality, off-the-peg suit, the CT is a custom-tailored suit from Saville Row; every button and dial customized to fit your editing needs.
In Lightroom Classic, it performs beautifully. Editing is effortless and the Loupedeck makes the whole process quicker, easier, and more tactile. The ability to customize a setup to be exactly how you want is something that gives this an advantage over the Loupedeck+ for those who use more advanced features regularly. This is shown in the ease of adding your own presets to buttons. Simply create the preset, then ask Lightroom Classic to update, and instantly, it is available to add to your layout.
It is when you move to Photoshop that the Loupedeck CT really shines. The ability to customize your button layout combined with size means using this with a mouse or graphics tablet is a joy. Also, the ability to use the touchscreen center button makes working in color an amazing experience. The Loupedeck CT is a much more enhanced experience than the Loupdeck+ when it comes to Photoshop.
The integration with Adobe products is still deeper than with other software, though. Switching to Capture One Pro, the experience is simply not quite as fluid. Capture One is in Beta mode even though it comes pre-installed. In use, it lacks the level of integration found in Lightroom and can’t offer the same functionality.
This is due to Loupedeck relying on keyboard shortcuts rather than the software API. Loupedeck has released an enhanced plugin profile, which allows greater integration for Capture One users. This does help, but it relies on you having to set your keyboard to the US setting, which as a UK user, is an annoyance.
I know discussions have taken place with Phase One on fully integrating the Loupedeck CT, and for many professionals who use Capture One, this would be a game-changer. Until that happens, the best way to describe the Capture One experience is good, but not as good as Lightroom.
What I love
There is a lot to love about this product. The main things for me are:
Size
Look and build quality
Unlimited customization options
Multi-software usage
What could be better
Integration with non-Adobe products
No wireless option (although this may be coming)
Is it worth it?
This is the big question. This Loupedeck CT is not cheap. It currently retails at £469.
It warrants that money to those who spend a lot of time editing and those who use a variety of software daily. It is much more suitable for a wider variety of programs than the Loupedeck+. If you use Adobe products, it is pretty much flawless.
However, if you mainly edit in Lightroom, you will possibly be better served with the Loupedeck+. It has all the features you need and comes at a lesser cost.
The other question is whether it is better to invest in the Loupedeck CT or a graphics tablet. Again, this depends on your usage and editing style. Personally, I would make more use of the Loupedeck CT. However, you may not.
The Loupedeck CT is aimed at a certain group of people. To those that will get the most out of this product, the £469 price tag is easily justified in the time saving and workflow enhancements the CT will give them. The Loupedeck CT is no mere editing gadget – it is a tool that takes your editing workflow to another level.
I really suggest you try a Loupedeck before dismissing it out of hand. Be warned though, you will probably fall in love.
The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.
Just a week after announcing its 99U conference will be online-only this year, Adobe has announced it’s annual MAX conference, originally planned to take place in Los Angeles, California in late October, will be a free online-only event this year due to the ongoing COVID-19 pandemic.
In an announcement on the Adobe MAX website, Adobe writes the following under the headline ‘ADOBE MAX 2020 — The Creativity Conference goes online:’
‘The health and safety of Adobe customers, partners, and employees is and always has been our top priority. To that end, we’ve made the difficult decision to cancel the in-person MAX event and make MAX 2020 a digital experience. And while we won’t be seeing you in person, we’re planning an immersive event that stays true to the MAX spirit of mind-blowing creativity and inspiration.’
MAX 2020 is going digital. We’re planning an immersive event that stays true to the MAX spirit and this year the magic of MAX will be open to everyone.? Stay in the loop here:https://t.co/WmBJ15ooGf pic.twitter.com/l0zFaanZGm
— Adobe MAX (@adobemax) May 11, 2020
The online version of Adobe MAX 2020 will take place from October 19–21 and registrations will open ‘later this summer,’ according to Adobe’s FAQ section. Adobe says it’s ‘pleased to offer all MAX 2020 keynote and breakout sessions for free.’
You can keep up with the latest Adobe MAX 2020 developments by following MAX on Facebook and Twitter, as well as signing up for the Adobe MAX 2020 newsletter.
Adobe has announced its 12th Annual 99U Creative Conference, which is usually a paid, in-person event, will be hosted on Adobe Live for free as a virtual event this year amidst the ongoing COVID-19 pandemic.
Tickets for the annual event normally cost around $ 1,000, so being able to take in the event for free, in the comfort of your own home, is quite the discount. This year’s event will take place on Wednesday June 17 and will feature a mix of keynotes, creative workshops and masterclasses throughout the day. The presentations will be available stream via Adobe Live or available on-demand shortly after completion of each event.
A few of the individuals who will be presenting at this year’s virtual conference.
You can find out more information and register to ‘attend’ the event for free on Adobe’s Behance website.
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