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The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?

12 Nov

The post The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion? appeared first on Digital Photography School. It was authored by Mat Coker.

olympus-tough-tg-6-review

The Olympus Tough TG-6 is the perfect camera for the adventurous soul.

Like a wilderness travel guide, the TG-6 pulls you into the micro world, under the water, and down deeper trails than you would ever take your clunky DSLR down. You can trust the Olympus Tough TG-6 out in the wild because it’s built strong and made for adventure. It’s even tough enough to let your kids use it.

Moreover, it’s really small, so it doesn’t hinder your adventure for even a moment. And it’s so capable it will inspire adventures you hadn’t planned.

This review is about what the Olympus Tough TG-6 will let you do as a photographer and how the pictures look.

TG-6 small size

An evening adventure used to mean hauling a heavy bag filled with gear. I never knew which gear I would need for sure, so I always brought too much. Eventually, I just stopped going on spontaneous adventures because it became too much of a chore. The Olympus Tough TG-6 replaces all that stuff I used to haul around. Gear is no longer the hindrance it used to be.

The technical specs

The reason why so many people are excited about the Olympus Tough TG-6 is the impressive list of technical specs.

  • F2.0 wide-angle lens (the aperture narrows as you zoom)
  • 20 frames per second
  • Underwater modes
  • Microscope mode
  • In-camera focus stacking
  • Scene selection
  • Aperture mode
  • RAW capture
  • 4K video
  • Waterproof
  • Shockproof
  • Dustproof
  • Crushproof
  • Freezeproof

Of course, the reason this list of specs is so exciting is because of what they’ll let you do with this camera as a photographer.

“No photographer is as good as the simplest camera.” – Edward Steichen

When you read camera reviews, you want to know what a camera is capable of and how great the picture quality will be.

Don’t forget that a camera only has to be so good and then the rest is up to you. The world’s greatest camera isn’t much good in the hands of a person that knows nothing about light, moment, or composition. Look for a camera that meets your general needs, then up your game as a photographer.

The most famous photographs were made with cameras that we would consider inferior by today’s standards. A beautiful photograph transcends the technology it was made with.

In the end, it’s not about the technical specs of a camera, but what those technical specs let us do as creative people and photographers.

The TG-6 has an impressive resume. Let’s see what it can help us do.

Adventure photography olympus tg-6

Aperture: f/2.0, Shutter Speed: 1/250 sec, ISO: 3200

When my first child was born I was just becoming the photographer I had always wanted to be. I couldn’t wait to take him on adventures with me as he grew. Ironically, it was a bag filled with too much gear and too many options that held me back from adventures with my kids. The TG-6 is everything I always wanted and fits in my pocket. It practically pushes us out the door and into the world.

“My life is shaped by the urgent need to wander and observe, and my camera is my passport.” – Steve McCurry

What if you could shrink yourself?

It is captivating to suddenly see the world through a magnifying glass or microscope – to see tiny details blown up big. You may not be able to shrink yourself, but you can enter the micro world with the Olympus Tough TG-6.

Microscope mode

With the TG-6, you can get insanely close and discover the mystery and beauty in the fine details of everyday objects. You’ll be exploring the world in a way you haven’t done since science class.

The micro world offers you an infinite number of things to photograph. Look around you right now. There are so many things that you would never photograph on their own, but you can dive in microscopically to a new world and become enamored with the beauty of fine details.

insect macro photography

If you’ve got the courage, the TG-6 will bring you up close and personal with insects.

 

The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?

 

The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?

 

macro mode fine detail

The TG-6 can capture incredibly fine detail that the human eye overlooks.

 

The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?
The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?
The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?

 

Berry macro photography

F/3.6, 1/100 sec, ISO 800

The problem with close-up photography

One of the biggest problems you’re going to run into with close-up photography is a shallow depth of field. You may take a photo of a flower, and nothing more than the edge of a petal is in focus. This is frustrating when you want more of that tiny object to be in focus.

How “focus bracketing” solves the problem

One way to deal with this is to take a series of photos at different focus points (focus bracketing), and later combine them in Photoshop in a process called focus stacking. The end result is an image with more depth of field than is possible in a single photo. If you’re a serious macro photographer, this is an amazing option. But it’s a labor-intensive process and you’re not likely going to do it on a whim while on a nature hike.

But the amazing thing about the Olympus Tough TG-6 is that it can actually do both the focus bracketing and focus stacking for you – all in-camera!

Let the Olympus Tough TG-6 do the Photoshop work for you

The photos below illustrate the frustration of such a shallow depth of field in close-up or macro photography. But they also illustrate the power of the TG-6’s in-camera focus stacking.

Olympus TG-6 focus stacking feature

The photo on the left is a single exposure with a shallow depth of field, while the photo on the right is the result of several photos with varying focus points stacked together into one image.

 

Focus Stacking with the Olympus TG-6

On the left, only a small portion of the leaf is in focus. But using the focus stacking option on the TG-6, the photo on the right is almost entirely in focus.

Normally, you need a dedicated macro lens if you want to take close-up, macro, or microscopic photos. That means a financial investment and another lens in your bag. But the TG-6 has this capability built-in. The close-up function is worth the cost of the camera.

Get in, the water’s nice!

You’re missing so much fun if you can’t take your camera into, or at least near, the water.

Generally, an underwater housing is expensive and might limit your access to camera settings. Best case scenario, you invest a lot of money to get your camera into the water. But this is a lot to invest and most people won’t do it on a whim. You’ve got to be sure you want to be in the water a lot to make it worth the investment.

With the Olympus Tough TG-6, you don’t need to think twice; just get in!

Having a camera that can get wet means you can get into the splash zone. Don’t photograph puddle-jumping-kids from a distance; get close and get wet!

Get underwater and explore fish from their world.

Don’t stand on the shore with dry feet to photograph the sunset; hit the waves.

The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?
The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?
The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?
The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?

 

Olympus TG-6 underwater mode

My kids and I discovered a stream filled with salmon. I knew it was the perfect chance to try out the TG-6 underwater.

A couple of years ago, I stepped into a river with one camera in my hand and one around my neck. I was photographing people back on the shore and kept crouching a little to go for a lower angle. Every time that I crouched down for a great low angle, I was unknowingly dunking the camera around my neck into the water. Goodbye, Fuji x100s.

The irony is that I had an underwater case for my x100s. But it’s so clumsy to use in the case that it hinders my photography.

You no longer need to be nervous around the water with your camera – the TG-6 is completely waterproof and pulls you right in.

A good motivator

If it hasn’t happened yet, the day will come when you lose your drive and inspiration as a photographer.

At first, the thought of packing up all your gear and lugging it around will overwhelm you. Especially because you know you won’t even be happy with the pictures you take.

Then, even just the thought of picking up your camera will depress you.

You lose your drive, your inspiration, and eventually your will as a photographer.

You’ve already learned that new gear is not the answer to this depressing dry period you’re going through. But that’s because most gear is the wrong gear for you.

The TG-6 isn’t just a new camera, it’s a passport to new lands. It’s like slinging on a backpack and heading out to discover the world. It sits there looking at you, hoping you will take it out to play. Photography doesn’t have to feel like a burden anymore.

TG-6 photography inspiration

“It’s a dangerous business, going out your door. You step onto the road, and if you don’t keep your feet, there’s no knowing where you might be swept off to.” ~ Bilbo Baggins

Leave the Olympus TG-6 laying around

When my camera is in the bag, it never gets used. I prefer to leave it out with the lens cap off and the power button left on so that I’m ready to make a photograph at a moment’s notice.

But when I leave my cameras lying around, my wife doesn’t like the clutter (even though she loves the photos that result from the clutter).
Not to mention that leaving expensive cameras around is a hazard with a house full of kids and their rowdy friends.

The TG-6 has become our dedicated “leave it laying around the house” camera. It’s so small that it doesn’t bother my wife. It’s there when we need it. And, it’s so tough we don’t mind the kids using it.

I’m capturing many more moments now that I’ve got a dedicated “everyday life camera.”

Olympus TG-6 capturing candid moments

 

Window light candid moments with the Olympus TG-6

 

Black and white photography wit hthe Olympus TG-6

So tough I let the kids use it

One of the things that first attracted me to the Olympus Tough cameras is that I can let my kids use them. The TG-6 is waterproof, shockproof, dustproof, crushproof and freezeproof. Which means it’s also kid-proof.

TG-6 great for kids

I love to look at the photos my kids have taken. It’s inspiring to see what captures their attention enough to take a picture.

 

Olympus TG-6 dustproof

When my kids ask to use the camera while they explore sand dunes and lakes, I have no problem handing them the TG-6 to use.

Essential modes

After using the Olympus Tough TG-6 for about a month, I’ve figured out my favorite combination of settings for everyday use; P mode.

I want a certain amount of control over ISO, aperture and shutter speed because I understand how they affect my photo. But I don’t want to overthink these settings and miss the beauty of the moment.

In P mode, the camera will choose the shutter speed and aperture for you. All you have to think about is ISO (but you can select auto ISO if you wish).

With a few minor adjustments in P mode, I can make the TG-6 do exactly what I want it to.

In the menu, I set the minimum shutter speed to 1/125th. I want the camera to set the shutter speed for me, but I don’t want it to go any slower than this.

I select auto ISO, but I set the maximum ISO to 1600. I don’t want the ISO to go any higher than that because of the noise issues.

While it’s balancing the settings out, the TG-6 will always favor a lower ISO and only raise it if it needs to. Eventually, if it’s dark enough, it will go below your minimum shutter speed in order to achieve a good exposure.

Here’s the best part; in P mode, you have direct access to exposure compensation with the camera dial. Your camera will hardly ever get the exposure just as you want it. So use the exposure compensation feature to brighten or darken the photo before you take the picture.

There is no full-manual mode on this camera. But if you know what you’re doing, you can still take full control.

TG-6 exposure compensation feature

Processing RAW files

Using Lightroom 6, I am unable to edit the RAW files from the TG-6. However, Olympus provides free editing software called, Olympus Workspace.

Because of this camera’s smaller sensor size (and difficulty capturing extreme dynamic range), I am not putting much hope in the RAW files. RAW + JPG capture is a great option. Get the best exposure you can in order to have the highest quality JPG file, and keep the RAW file in case of an emergency.

Even heroes have a weakness

There are three main weaknesses that I have discovered with the Olympus Tough TG-6.

Lens Flare

I love playing with lens flare and I quickly discovered that is almost impossible to do with the TG-6. This is the strangest lens flare that I have ever seen. It’s discouraging, but I’ll have to learn to make compelling photographers without lens flare.

Oympus TG-6 lens flare

Noise

The Olympus Tough TG-6 produces a lot of noise in high ISO, low light photos.

The following photos are lit with a small-screen TV and/or a lamp.

High ISO

This photo was lit with a lamp. you can see the grainy discoloration in the white blanket. The ISO is 3200.

High ISO noise

This is a close-up of the white blanket in the previous photo.

 

High ISO noise

This photo is lit with the light from a TV and a small light in the next room over. The ISO was 3200.

High ISO noise

Close up of high ISO noise

You can see the grain and discoloration in his skin.

The following photos are backlit with dim light from a living room window.

Bright light high ISO noise

Again, the ISO was set at 3200. Because the light is brighter, there isn’t as much noise and discoloration. But there is a lack of crispness to the photo.

 

High ISO and window light

But I was shocked to capture this photo with lots of movement at ISO 3200 because it looks so crisp.

Sharp in bright light

You’ll have to get used to keeping your ISO at 1600 or lower (you’ll need a steady hand for the slow shutter speed that results).

But in bright light, with a low ISO, the TG-6 is nice and sharp.

A sharp photo with low ISO

So the Olympus Tough TG-6 is weak under extreme lighting conditions, but so are many other cameras. For many of us, high ISO with low noise is the last frontier on the technological side of photography.

We can strengthen the TG-6 by post-processing the photo with a program such as Lightroom. Keep your ISO to 1600 or lower when possible, and convert to black and white when suitable.

No control over shutter speed

At first, I thought it was a problem that there was no shutter speed mode on the TG-6. But then I realized that it wasn’t really necessary. You just have to know how to work around it.

If you want a quick shutter speed to freeze the action, use sports mode.

If you want a slow shutter speed to capture motion blur then you need to understand how to force the camera to produce a slow shutter speed.

Suppose you want to capture a silky waterfall photo. Normally, you need control over your shutter speed to make it go slow enough to capture the motion. But with the TG-6 you don’t have control over the shutter speed.

Or, do you?

When you understand ISO and aperture then you do have control over the shutter speed.

Olympus TG-6 slow shutte speed silky waterfall

In order to get silky waterfalls, you need a slow shutter speed. You can force your camera to choose a slow shutter speed by lowering your ISO and closing your aperture.

Choose an ISO of 100. Choose an aperture of f18. This will effectively choke out the light and force the TG-6 to slow down the shutter speed to let more light in. The slow shutter speed will produce a silky waterfall.

So the lack of control over shutter speed isn’t a big problem.

Olympus TOUGH TG-6

The greatest weakness

As photographers, we can find moments so powerful that lens flare isn’t necessary. And, we can look for moments so strong that the viewer will overlook high ISO noise in the photo. Whatever the shortcomings of our cameras, we as photographers always fall shorter. Whatever their weaknesses, our cameras are just fine. We need to increase our skills and know that, even if there was a perfect camera, it could only be used by an imperfect photographer.

The power of the Olympus Tough TG-6 is not merely in its technology. The power is in what that technology allows us to do. This is a camera that will nudge you every time you walk by. It’s like a kid who wants to be played with or a dog that wants to be taken out for a run. Come on, just a quick adventure?

A countless number of moments pass us every day. They become almost infinite in size when we consider their range from wide-angle to microscopic. When you’ve got a camera like the TG-6 in your pocket, it’s not so hard to make those moments hold still.

Have you used the Olympus Tough TG-6 camera? Would a camera like this make you take more photos? Share your thoughts with us in the comments!

The post The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion? appeared first on Digital Photography School. It was authored by Mat Coker.


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Video: Sony Tough SD cards torture tested with blender, washer, freezer and more

08 Aug

Photographer Steve Huff has published a new video in which he subjects Sony’s Tough SD cards to a variety of durability tests involving everything from a washing machine to a blender. According to Sony, it engineered this SD card model ‘for toughness,’ stating on its website that the Tough cards are ‘dust, dirt, water, mud, and grime-proof.’

The Sony Tough SD card has an IP68 dustproof and waterproof rating, as well as a rib-less and switchless design, which Sony says eliminates ‘risks of breakage.’ Ultimately, the company claims its Tough cards at shock- and crush-proof.

Of course, this doesn’t mean the cards are indestructible, as demonstrated by Huff. The SD cards were no match for the blender, which immediately rendered them into small bits of plastic and metal. The Sony Tough cards were able to withstand the other tests, however, including cycles through a washer and dryer, being frozen in water, submerged in a pool and left out in sunlight.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus Tough TG-6 sample gallery

25 May

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We’ve long held Olympus’s Tough cameras in high regard – they tend to be the most capable of the cameras in their class and also offer the best features, like Raw support. And even though the TG-6 is a modest update over the TG-5, it’s easily one of the best water/dust/crush-proof cameras you can get for under $ 500.

See our Olympus Tough TG-6 sample gallery

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The SeaLife DC2000 is the best tough camera you’ve never heard of

13 Jun

Introduction

The SeaLife DC2000 in all its 1″-type sensor glory, and near its natural habitat.

I have an addiction to small cameras with big sensors. I’ve owned a Ricoh GR, original Fujifilm X100 and still have a Nikon Coolpix A knocking around. The EOS M100 and 22mm F2 combo also fits the bill.

But with just how good 1″-type sensors have gotten lately and how well they can balance the compactness and speed of their lenses, I’ve been left wondering: Where are all the fixed lens, 1″-sensor compacts? The Canon G7 X II and G9 X II, Sony RX100-series and Panasonic LX10 all have short zooms in front of their sensors, and most manage to have pretty wide maximum apertures. Just think about how fast and yet compact a (possibly collapsible) prime lens could be on one of these.

I deliberately underexposed this image to protect the highlights and brighten up the Raw file in post. With smaller-sensor rugged cameras, this would result in way more noise than you see here, even at base ISO.
ISO 125 | 1/800 sec | F1.8

Which brings us to the SeaLife DC2000, a compact camera with a 1″-type 20MP sensor and a 31mm-equivalent F1.8 prime lens in a waterproof, shockproof body. Despite being, on paper, pretty close to the ideal pocket point-and-shoot for me, it is most definitely not marketed toward me. It’s really targeted at the diving community, not land-based photography enthusiasts. It’s also not manufactured by one of the more ‘traditional’ camera companies, and as such, doesn’t benefit from the years of refinements and iterations that the likes of Canon and Nikon can take advantage of.

Key features

  • 20MP 1″-type BSI-CMOS sensor
  • 31mm-equivalent F1.8 lens
  • Without housing, waterproof to 18m/60ft and shockproof to 1.5m/5ft
  • Full manual and aperture controls
  • 80MB internal storage, microSD slot
  • 1080/60p video recording
  • 3.5in / 9cm close focus
  • Assortment of underwater and above-water scene modes
  • Battery rated to 200 shots (CIPA)

I’ve been carrying the SeaLife DC2000 around with me over the past couple of weeks and attempting to use it as I use my Nikon Coolpix A – a fun snapshot camera to have on me that takes better quality images than my smartphone. Here’s what I found.

Image quality

The sensor / lens combo on the SeaLife DC2000 is plenty sharp, with moiré apparent on the building in the distance.
Processed in Adobe Camera Raw | ISO 125 | 1/320 sec | F4

First of all, the DC2000’s image quality is pretty darn good. With what is likely the same sensor as a Sony RX100 III, you can expect good dynamic range and low light performance, particularly if you shoot Raw. The JPEGs out of the camera are solidly above-average with pleasing color most of the time, but sharpening and noise reduction are a little aggressive (no real surprise there). White balance strays a bit to the cool side, but whether you like that or not is really a matter of personal taste.

The lens is a great performer at all apertures

One criticism I have is that the tone curve applied to JPEGs can result in highlights that are a little abruptly clipped; it doesn’t happen all the time, but I was happy to have Raw files to play with to smooth the highlights out when this happened. Though there are an abundance of scene modes (I almost exclusively shot with it in Program Auto or Aperture Priority), it’d be nice to see some JPEG fine-tuning adjustments on future models.

I don’t mind some intentional lens flare, but those sensitive to it will wish for a hood as the DC2000 can lose contrast with bright light sources near the edges of the frame. That said, despite having a flat glass protective element in front of the lens, flare is reasonably well-controlled.
Processed in Adobe Camara Raw | ISO 125 | 1/1000 sec | F5.6

I have to say I’m impressed with the lens on the DC2000. It’s a good performer at all apertures, is more than sharp enough edge-to-edge and even makes some decent sunstars. I just didn’t expect this sort of quality from such a compact lens in a small waterproof body, and it’s nice to be pleasantly surprised here. That said, there can be some green and purple fringing (lateral chromatic aberration) on high-contrast edges (see the image of the backlit trees earlier on), particularly if you’re shooting backlit subjects and brightening in post. There’s no profiles to correct this automatically in Adobe Camera Raw, but it’s easily taken care of manually with a few sliders.

In use

The 1″-type sensor really makes a difference when the ISO value climbs.
Processed in Adobe Camera Raw | ISO 1600 | 1/125 sec | F1.8

Alright, so the images out of the DC2000 are pretty darn good. But what’s it like to use?

It’s a mixed bag. As you’d expect from a rugged waterproof camera, build quality is exceptional. The camera feels dense and solid, and though most buttons feel a bit mushy (a side-effect of the sealing no doubt), the shutter button has great feedback and an easy-to-feel distinction between the focus half-press and a full press to capture an image. The mode dial is likewise better-feeling than I expected.

The controls, though, are downright strange if you’ve ever used a digital camera from one of the more established manufacturers.

While the actual controls take some getting used-to, the layout is at least familiar.

When browsing your captured images in playback, you go back by hitting ‘up’ on the four way controller, and forward by hitting ‘down.’* You will forget this, even after shooting with the camera for several weeks, and you will occasionally hit ‘left’ to go back. This will rotate your image 90 degrees counter-clockwise. You will then curse under your breath as you prepare yourself to hit that same mushy button three more times to turn the photo the right way around, with each press being followed by a pronounced delay if you’ve been shooting Raw files. There’s also no way that I can find to view your shooting settings in playback.

However, once you enable the ‘delete’ function for eliminating single or multiple images, ‘left’ and ‘right’ on the directional pad become the method for browsing images.

The controls are downright strange

As far as the Raw files go, they’re great to process but frustrating to capture. With around five full seconds required for the camera to write the huge 40MB files to the microSD card, this is not your next ‘caught moment’ burst camera. My old Coolpix A positively smokes the DC2000 in terms of interface and shooting responsiveness, regardless of whether I’m shooting JPEGs or Raws.

A macro mode helps you get up-close-and-personal with your subjects.
Out-of-camera JPEG | ISO 125 | 1/1000 sec | F4.5

There’s also a wireless button that does absolutely nothing most of the time. Only after you’ve established a connection to your smart device with the ‘Link 123 Plus’ app does the wireless button bring up a menu option to automatically send each image to your phone. You can’t reassign it. I just downloaded my files from the card at the end of the day.

Lastly, when you go to change exposure parameters, you must press the ‘OK’ button before you can then adjust them by pressing up/down on the four way controller. Curiously, they work the opposite way I would expect, though, with ‘up’ lengthening the shutter speed and widening the aperture. You get used to it, but there’s still a bit of a disconnect there.

Some of this should be qualified, though, that simply putting the camera into ‘P’ or Auto modes gives generally good results for casual shooting (much of the gallery was shot this way). Unfortunately, if you’re hoping to fire off a quick shot or two to check settings (or if you’re underwater, check framing), this does little to mitigate the lag if you’re capturing Raw files.

Should you buy one?

This is a tough one. I’m absolutely in love with the idea of this camera, but am having a hard time rationalizing purchasing one.

Out-of-camera JPEG | ISO 125 | 1/800 sec | F5

If you’re in the market for a tough camera, like the Olympus TG-5 (a perennial staff favorite), the SeaLife DC2000 will absolutely reward you with higher-quality images if you can live without the zoom. It’s a great beach or vacation camera that can stand up to a fair amount of abuse. Power-on is quick, and you can also take an image quickly after startup. And then you’ll have to wait five seconds before the next image if you’re shooting Raw.

I can’t help but wonder how wide an aperture they could give this sort of prime lens if it were retractable and could forego the environmental sealing. That said, the SeaLife files stand up pretty well to those from my Nikon, and because of that sealing, I’ll never get dust on the sensor (this is an ongoing battle I have with retractable-lens cameras that I always seem to be on the losing side of).

I’m going to keep hoping and praying for one of the established manufacturers to make something that can approach the philosophy of the DC2000, but with greater responsiveness and more modern controls (though it’s possible SeaLife could address some of my qualms with a firmware update). If you can live with the operational quirks, it’s easy to recommend the DC2000 on the merits of its image and build quality. And of course there’s something to be said for the camera that’s always with you to also be able to take a knock or two.

Sample gallery

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*Our Senior Editor Barney Britton was kind enough to educate me on early Nikon digital bodies, such as the D1, which also have this control philosophy. Without going into detail, I’ll say that was before my time as a photographer.

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Gear of the Year 2017 – Jeff’s choice: Olympus Tough TG-5

09 Dec

I try to make it to the Hawaiian Islands every year and I have a pretty good success rate. When I go, usually to Maui, I make it a point to spend most of my mornings snorkeling. In the afternoons I’ll hop in an air conditioned car and explore the island which, even after many (many) trips, is still exciting.

Hungry hungry honu, Kaanapali, Maui. Cropped out-of-camera JPEG.
ISO 100 | F3.5 | 1/250 sec | 33mm equiv | Photo by Jeff Keller

Since I want to memorialize any encounters with sea turtles or dolphins that may occur while I’m snorkeling, that really narrows down my camera choices. I’m not hardcore enough to bring a large camera in a big housing; rather, I want something I can slip into the pocket of my swimsuit while I’m struggling to put on my fins. I also need a camera that can capture the beautiful rainbows and sunsets that are almost a daily occurrence. The camera that covers both bases for me is the Olympus Tough TG-5.

The TG-5 has a great macro mode, with a 1cm minimum focusing distance. It captures plenty of detail, as you can see from this photo of my lunch.
ISO 100 | F2.8 | 1/160 sec | 24mm equiv | Photo by Jeff Keller

To be honest, 2015’s TG-4 didn’t need a lot of improvements. It had solid image quality for a compact, a lens that’s fast at its wide end, Raw support, a GPS, manometer, thermometer, and compass, along with respectable battery life. It could take a beating and, unlike some underwater compacts I’ve tested, didn’t leak at all when it went diving. The main things that irked me about the TG-4 were its awkward zoom controller, limited aperture choices and too much noise reduction in JPEGs.

I love having Raw on the TG-5, as it lets me get rid of the overly blue color cast that sometimes appears in underwater photos, even when using the u/w white balance setting. You can also customize the noise reduction, though don’t expect miracles from this 1/2.3″ sensor. The in-camera converter is clunky so I just used ACR in Photoshop.
ISO 200 | F5 | 1/250 sec | 67mm equiv | Photo by Jeff Keller

The TG-5 was exciting because of the drop in resolution (from 16MP to 12MP), which I hoped would improve pixel-level image quality, plus the addition of more tracking functions, 4K video and (yes!) an improved zoom controller. Olympus also finally switched to an actual micro-USB port instead of using the same proprietary connector that’s been used for 15 years. The burst rate has jumped to 20 fps, so you can just mash the button down and hope to get a decent shot of a fast-moving sea turtle or surfer. Unfortunately there are still just three apertures to choose from at any time (the camera uses an ND filter to “stop down” the lens,) but that rarely held me back.

A select from a 20 fps burst taken while floating next to Black Rock. Unfortunately, some water droplets didn’t roll off the lens like they’re supposed to. Cropped out-of-camera JPEG.
ISO 100 | F2.8 | 1/800 sec | 24mm equiv | Photo by Jeff Keller

As mentioned above, the main reason I brought the TG-5 to Maui was for underwater photos, and it rarely disappointed, as long as you remember that it’s a compact camera. It literally takes no effort to transition from ‘regular’ to underwater shooting, as there’s a dedicated spot on the mode dial for that purpose. Generally I left it at the default setting: Underwater Snapshot, since it uses natural light and the flash is fired only when necessary. There’s an a multi-shot underwater HDR mode, though given the motion of myself, the camera and the fish, the chance of getting a sharp photo is near zero.

The TG-5 isn’t just waterproof to 50 feet / 15 meters (and more if you buy the optional housing). It’s also shockproof from 7ft/2.1m, freezeproof to -10°C/+14°F and crushproof to 220lbs/100kg. On this trip I dropped and nearly crushed my glasses on the slopes of Haleakal?, heavily scratching the lenses on rough lava sand. I’m pretty sure the TG-5 would’ve fared better.

The addition of 4K (UHD) support is a welcome one, though for some reason you have to enter the dedicated movie mode to use it, rather than just selecting it like any other resolution. If you’re underwater that means that you have to re-select underwater white balance if you want things to look good. While not mind-blowing, video quality is good for the sensor size. Something worth pointing out is that if you zoom the lens, the microphone will pick up the sound, especially underwater.

I’m a big fan of the colors in Olympus’ JPEGs. Black Rock, Kaanapali, Maui.
ISO 100 | F8 | 1/250 sec | 24mm equiv | Photo by Jeff Keller.

Pictures I took ‘on land’ were very nice, though keep your expectations in check on this compact camera: there is a lot of noise reduction and the lens is somewhat soft. Maui is a colorful place and the TG-5 does a great job of capturing it.

Something that Olympus brought over from its TG-Tracker is the ability to compile all of the data the GPS, manometer and compass are capturing and display it in a graph in the OI.Track app. (This is a separate app that OI.Share, which is used to download photos and remotely control the camera.)

My route from the summit of Haleakala (around 10,000 feet) back to sea level in Kaanapali. Here’s the change in elevation during my drive, with the dots illustrating where I took photos, which you can view in the app.

Even if it’s sort of a novelty, I still think it’s cool being able to see where in your journey you took photos, and what the conditions were. One more thing that I appreciate is the ability to check all of that sensor data at any time, even when the camera is off, by pressing the Info button. You also turn on the camera’s very bright LED illuminator by holding the same button down for several seconds.

Yet another sunset photo.
ISO 100 | F5.6 | 1/200 sec | 72mm equiv | Photo by Jeff Keller.

While I wouldn’t bring it on a once-in-a-lifetime trip where I want top-notch photo quality, for cruises, tropical vacations, hiking or climbing, the TG-5 would be the camera I pack in my bag due to its compactness, feature set and ruggedness.

Articles: Digital Photography Review (dpreview.com)

 
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Top 10 sample galleries of the year #7: the Olympus Tough TG-5

18 Nov

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We’re counting down our top 10 most popular sample galleries of 2017. At #7 we have the Olympus Tough TG-5. And here we thought the compact camera market was dead!

All joking aside, this is a lovely little camera. Read why we called it ‘best rugged compact you can buy right now.’ It features a 25-100mm equiv zoom lens and has a hermetically sealed body making it waterproof down to 15m/50ft, drop proof from 2.1m/7ft, crush proof up to 100kg/220lb and freezeproof to -10C/+14F.

And for more on the TG-5 here’s another full gallery we shot with it on a trip to the Washington Coast:

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Top 10 most popular sample galleries of 2017:

#10: Sigma 14mm F1.8 Art
#9: Fujifilm GFX 50S
#8: Nikon D7500
#7: Olympus Tough TG-5
#6: To be revealed on 11/19
#5: To be revealed on 11/20
#4: To be revealed on 11/21
#3: To be revealed on 11/22
#2: To be revealed on 11/23
#1: To be revealed on 11/24

Articles: Digital Photography Review (dpreview.com)

 
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Olympus Tough TG-5 Waterproof Paddling Camera – First Impressions

23 Aug

A few weeks ago I upgraded my paddling camera to waterproof and rugged Olympus Stylus TG-5 . It’s the follow-up to the Olympus STYLUS Tough TG-4 and features a new sensor and processor (but reduced resolution), advanced tracking capabilities, 4K […]
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Lexar JumpDrive Tough is an ultra-rugged USB flash drive

25 Mar

Lexar has launched its new JumpDrive Tough, an ultra-durable version of its USB 3.1 flash drive product lineup. This model is designed to ‘withstand life’s challenges,’ according to Lexar, and to likewise protect data stored on the dongle via included EncryptStick security software with 256-bit AES encryption.

The Lexar JumpDrive Tough is resistant to temperatures ranging from -13°F to 300°F / -25°C to 149°C, water down to depths of 98 ft, and pressure/impacts up to 750psi. This durability is complemented with read speeds up to 150MB/s and write speeds up to 60MB/s. With those speeds, a 3GB video can be transferred in less than 1 minute. JumpDrive Tough is compatible with both Mac and PC, and is backward compatible with USB 2.0 and 3.0.

The new flash drive is available to purchase from Lexar now in three capacities: 32GB ($ 19.99), 64GB ($ 34.99), and 128GB ($ 59.99).

Via: GlobalNewswire

Articles: Digital Photography Review (dpreview.com)

 
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3 Tough Photography Client Questions and How to Answer Them

29 Aug

Ah yes, the priceless questions photographers get from their clients. If your work involves human subjects, you may occasionally feel that you’re locked in the eternal struggle of staying true to your vision, while still making your clients happy. Any of these photography client questions sound familiar:

  • Can we have all the RAW files?
  • Wouldn’t a jumping shot near this cliché tourist destination be awesome?
  • Can’t you just fix this in Photoshop?

DPS 3

While it may feel like you can only have either one or the other, I’m convinced you can have it both ways: happy, well-served clients, and a strong standard for how you shoot and share your own work. Here’s how we tackle the three tough client questions we get most often:

1 – Can you to deliver all the RAW files in the final package?

I KNOW, I KNOW, when you get this question your first instinct may be to delete their email and never respond again (or am I the only dramatic one?). But this one is an easy one to tease apart. The goal here is to get to the bottom of what the client really wants. So, before you launch into your response, ask them leading questions to find out real the root of the issue.

DPS 1

The first possibility is one of sheer numbers: Do they fear that they won’t get enough images? Are they hoping to go through them to make sure that you really did select the best ones for them? This is the time to gently explain your process to them. Explain ow you carefully cull, deliver only the best image, and spare them the misery of pawing through all the shots of their double chin or half-closed eyes.

Client education is key

Conversely, they might not even know what a RAW file actually is. Some clients think that RAW is a synonym for unedited, and want to try out their own iPhoto tricks on their images later. Now’s the time to lay down some education about the advanced programs that can open RAW files, including the fact that they require quite a bit of training to use them correctly. Normally that’s more information than the average client has ever gotten about photo editing, and they are able to reframe their question to express their needs more specifically.

DPS 5

This is also a good time to throw out the old “It’s industry standard to not provide RAW files, so that we photographers can provide you with the exact final product that is worthy of your time.” They wouldn’t walk into a chef’s kitchen and judge their work based on the raw meat in the fridge, the same holds true for their photographer.

Once you hear their concerns, and educate them through your process in a professional and kind way, most sane clients realize that asking for the RAW files just isn’t realistic.

2 – Wouldn’t this jumping shot in front of the Space Needle be awesome?

DPS 6

Okay, the late 90s jumping shots aren’t our bag either (if it is yours though, I hope the clients who ask for this are finding you!). However, we make it a firm policy to never say no to a client’s idea. Not only does it throw off the energy of the shoot, it makes the client feel that they are separated from the process of creating images; that their ideas aren’t as good as the professionals. In short, it makes them feel bad, and a subject who feels bad will never create the bomb images you want.

Always say yes client ideas

We always say yes if a client has an idea for an image that we aren’t particularly into. It lets them know they’re an integral part of the process, and encourages everyone to get creative with the shoot. Not only that, but sometimes we think a particular pose or scene isn’t going to look good, and it ends up being an awesome idea that we never would have come up with ourselves. That kind of discovery is golden. Never think that your style is so entrenched that you can’t hear new ideas, and always be ready to learn and experiment when you have clients who are in it with you.

DPS 7

All that being said, sometimes you do end up with shots that are just not you, not your look, and not something you necessarily want to represent you. Guess what? You get to choose what you share, how you blog, what your social media will show off, and how you want your portfolio to look. Deliver the client’s images with a smile, make the client happy, and share the ones you love on your own pages. There’s no rule that you have to share every image from a shoot. Select your favorites and move along.

3 – Can’t you just fix this in Photoshop?

I will be the first to admit that I’m abnormally flattered when people assume that I’m a Photoshop wizard, just because I’m the photographer. Thanks for the vote of confidence, guys.

DPS 4

However, the reality is that I am fairly abysmal at it. I would rather spend my time out shooting, than inside glued to my computer, making people look ten pounds thinner, or removing the billboard from behind the venue. Just no thank you.

So when the Photoshop question comes up, I try to manage of expectations ahead of time, as much as possible. When the parent at a wedding asks very seriously if you’ll make them look thinner, I respond with something like, “There’s absolutely no need for Photoshop on a perfect day like today. Everyone here loves you and wants to keep you just as you are. Also, no.”

If there’s an object that could easily be moved from a scene (garbage cans, a sign, trash) then I make a point to move them before shooting, so the client is aware that not everything is post-production magic.

Follow this general rule of thumb

DPS 2

Our general policy for retouching in Lightroom is that if something will not be there in two weeks (e.g. a bruise, zit, etc.) we’ll do a light erase, no problem. If there are larger things that the client requests be handled in Photshop, like the mother of the groom who insisted that I edit all the photos of her scowling in the background (you can’t make this stuff up) we let them know individually that we do have a per-image rate for Photoshopping. If they want to go ahead with it, fine by me, but it’s a friendly reminder to clients that Photoshop isn’t a magic button that photographers press behind the scenes to turn every Furbie into a Victoria’s Secret model.

Plan moving forward

The moral of the story is to be kind, ask questions, and get to the bottom of what your clients really want when they ask you these dreaded things.

Then let me know in the comments below. What questions do you dread? How do you respond to them? I’d love to hear how you tackle the tough ones.

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How tough can it be? LensRentals looks at why it’s so hard to make lenses

11 Feb
Just check it and fix it, it can’t be that hard. Can it?

Why can’t you just make them better? It sounds like a reasonable question until you start unpacking exactly what it entails. This is exactly what Roger Cicala and company do in the latest LensRentals blog post. As usual with Cicala’s posts, the closer he looks, the more complicated the question becomes. So why can’t everyone just (repeatably and affordably) make lenses, you know… better?

With his usual critical (and somewhat wry) eye, Cicala looks at the importance and challenges of quality assurance (the processes to ensure you build things to standard) as well as quality control (checking that you’ve done so). This includes a look at the impacts of design tolerances, manufacturing tolerances, repeatability and the need to make products affordably-enough that people will be willing to buy them. And just what can you do with the ones that aren’t quite right?

It’s a long article but if you’ve ever wondered why they don’t just check and fix every lens as the last step of the production line, or you’ve found yourself using the phrase ‘you get what you pay for’ and you’d like to understand why it’s often true, it’s well worth a read.

And, if you get a chance to read it all, we’d love to know whether you end up more impressed by Leica’s ability to make expensive, mechanically simple, manual focus single-focal-length lenses really well or by the ability of the big brands to build collapsable, image stabilized kit zooms for next-to-nothing and have them work at all. Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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