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Looking to upgrade your camera battery charger? The Hähnel ProCube 2 is worth considering

14 Jun

Hähnel proCUBE2
$ 80 | Hähnel

Intro

The Hanhel ProCube 2 is a twin-battery charger that offers user-swappable plates to accommodate batteries from different camera systems. Several models are available for popular options – Canon, Nikon, Panasonic / Olympus and Sony. The only difference between them is the color of the unit and the set of plates it comes with. It is possible to swap plates between models and purchase additional ones for around $ 12 each, if you change camera systems.

I tested the ProCube 2 with batteries for the Sony A7 III (which does not ship with a charger). At $ 80, it is cheaper than Sony’s own BCQZ-1 charger (which retails for $ 98). Additionally you’re getting the ability to charge two batteries at the same time along with some other handy features not found in the BCQZ-1.

Key features

  • Ability to charge two batteries simultaneously
  • Can accommodate a wide range of batteries via interchangeable plates
  • Includes AA battery charging option
  • 12V Car lead in the box
  • Can act as a 2.4A USB power source

Hähnel claims that the ProCube 2 can charge two Sony NP-FZ100 batteries from empty to full in three hours and a single battery in two hours, something that we’ll be testing later.

The ProCube 2 is by no means the cheapest twin-charger on the market, but it does offer a unique combination of features, from an established brand. Let’s see how it performs.

What’s in the box?

Most of the popular Sony batteries can be charged with the included plates.

The Sony version that we tested includes the plates to charge Sony NP-FZ100, NP-FW50 and NP-BX1 batteries – you can only charge one type of battery at a time. Also included in the box is a plate that accepts four AA batteries which attaches magnetically to the top of the charger, with no requirement to take out the existing plate. You will have to install all four AAs though, due to the way the plate connects – and you can’t charge camera batteries and AAs at the same time.

The box also includes a 12v car adapter for charging on-the-go and various plug adapters for different countries.

Design

A simple pin and pad connection system makes plate swapping easy

As its name implies, the ProCube 2 is a small cube. It’s a solid unit finished in orange anodized aluminum. The internal battery contacts themselves are via spring loaded pins and connecting pads, so there is no need for fiddly cables . The plate ejection procedure is a little awkward as you need to use a supplied tool or other small-tipped device to release the locking mechanism. Some care is also required when changing a plate as there is only one correct orientation.

The front-mounted LCD shows you the current charge status, via a simple 5-segment capacity gauge of each battery. It also shows percentage readout for each and how much energy it has added since the start of the charge in milliamp hours – though it can’t show the actual capacity of the batteries unless you are charging from 0%.

Charging current is stated as up to 1700 mA for a single battery and 850 mA each when charging two.

The plate swap system could be simplified with a small button

When two batteries are installed The ProCube 2 charges both at the same time and it will adjust charging current individually depending on the state of charge of each battery.

The supplied eject tool is easily lost; it would have been a good idea not to have required one at all, a small button on the back would have been ideal

One thing struck me before I started testing, the supplied ejection tool is easily lost; it would have been a good idea to have a way of storing it in the base of the charger. It would have been an even better idea not to have required one at all – a small button on the back would have been ideal.

The LCD panel displays battery charge levels in %

Performance

I tested the charge time of a single battery from completely exhausted to fully charged and did it again with two exhausted batteries. The batteries I used were newish original Sony NP-FZ100s and the figures were averaged over three cycles.

Note: Sometimes, 100% on the charger doesn’t mean 100% in the camera. If the battery is removed immediately that the ProCube 2 indicates 100% charge, I noticed my camera would indicate anywhere from 95-100%. After leaving the battery charging for another five to six minutes, I’ve found that my camera will reliably report 100% charge.

Here are the results…

Time to 100% as indicated on charger

 Time to fully-charge as indicated by the camera Time to fully charge with in-box USB charger
Single Battery 1 hr 49 mins 1 hr 54 mins 4 hrs 3 mins
Dual Batteries 2 hrs 57 mins 3 hrs 3 mins

Hähnel claims that a quick 15 minute charge will provide enough power for 150 shots. This actually seems like a conservative figure from my testing, although it is very dependent on how the camera was being used. I managed to consistently get around 250-260 shots when using the LCD screen and manual focus (1 shot every 10 seconds). By comparison, a 15 minute charge via Sony’s USB charger provided enough juice for 126 -130 shots, given the same conditions.

Even your AA batteries can be accommodated

I also tested the ProCube 2 in a car with the supplied 12v lead. As the charger is designed to use 12 volts from the wall there was no change to charge times or functionality in the vehicle. This is provided the socket can provide 1.5 amps, which is usually well below the fused output on most vehicles.

It doesn’t take any longer to charge batteries in a vehicle with the ProCube 2 than it does connected to a wall socket.

Conclusion

There’s no doubt that when charging batteries this unit is both much more convenient and quicker than charging up the battery in my Sony a7 III in-camera via USB.

If you’re planning a trip it’s small enough not to take up too much space in your camera bag and means that you don’t have to take a separate AA or USB chargers as well. It’s even possible to charge three batteries overnight if you connect your camera to the USB output. It will charge the batteries in the charger first, and then switch on USB power to charge the third.

The ProCube 2 also gives flexibility if you decide to change cameras and hence battery systems or if you have more than one battery type in your gear collection.

If you’re interested in the ProCube 2, are other options out there that are also worth considering. The Watson Duo gives the same sort of functionality at the same price although it’s a bit larger, and the Nitecore USN4 offers dual charging at a lower cost – although it lacks some of the features of the Hähnel.

Overall, the ProCube 2 provides a quick way of charging either single or dual batteries.

What we like

  • Works with multiple battery types
  • Quick charging
  • Sequential charge and USB power option
  • Ability to charge in a vehicle

What we don’t like

  • LCD panel percentage display sometimes disagrees with camera’s estimate
  • Tool or pen tip required for plate swap
  • No sequential AA charging feature

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T4 vs X-H1: should you upgrade or hunt for a bargain?

31 May

Introduction

Fujifilm seems to be hinting that the X-H1 wasn’t a one-off. But in a reality that’s still waiting for an X-H2, and given the X-T4 isn’t conceptually very distant from the original X-H1, it’s reasonable that some X-H1 owners might consider upgrading to Fujifilm’s newest image stabilized stills and video camera.

Alternatively, there do seem to be a few unsold X-H1s still available if you dig around.

So what does two years (and nine days) of progress look like, for Fujifilm’s most video-centric models? Is it worth the upgrade or is now the time to bag yourself a bargain?

Stabilization

Image stabilization is pretty much the defining feature of both cameras. The X-H1 was Fujifilm’s first attempt at in-body stabilization and is built on a larger system than the fully electromagnetic design used in the X-T4.

Initially Fujifilm used the optical stabilization systems to provide pitch and yaw correction when an OIS lens was attached to the X-H1, leaving the in-body system handling translational movements and roll. However, with firmware 2.00, this was changed to use optical and in-body stabilization simultaneously to correct pitch and yaw, which saw a huge increase in the rated correction with some OIS lenses.

The X-T4 builds on this, with the new system typically a roughly 1EV higher rating than the X-H1 can, with either a prime or zoom lens attached. Unless you regularly shoot at extreme shutter speeds, this is most likely to mean that more shots are steady, which is a benefit that’s sometimes difficult to appreciate, since it’s difficult to notice an increased absence of shaken shots.

Prime lenses* OIS zooms
X-H1 5.5 EV 5.0-5.5EV
X-T4 6.5 EV 5.5-6.5EV**

* Excluding the 80mm F2.8 Macro, 90mm F2 and 200mm F2, which are rated around 0.5EV lower
** Zooms rated as 5.0EV on the X-H1 are rated at 5.5 or 6.0EV on the X-T4. Zooms rated 5.5 on the X-H1 are all measured at 6.5EV on the X-T4.

Video stabilization

In video, both cameras are somewhat prone to slightly ‘grabby’ motion if you try to pan slowly, as they aren’t always good at distinguishing between shake and intentional movement. This issue was partially addressed on the X-H1’s with firmware 2.00 and is now very similar to that of the X-T4 in this regard.

The difference that is likely to be noticeable is that the X-T4’s IS system is quieter than that of the X-H1, which can sometimes make its presence felt if you capture audio internally.

The X-T4 also has a ‘Boost IS’ mode, which attempts to correct all movement, helping to give more steady results for hand-holding what are supposed to be ‘locked-off’ shots.

Headline video specs

The X-H1 boasted a strong video spec relative to the time it was released, but the X-T4 significantly exceeds it.

The biggest change is that the X-T4 can capture 10-bit footage internally, whereas all the X-H1’s modes are 8-bit. This difference is most noticeable when shooting Log footage. Log gamma distributes the available data values relatively evenly between the brightness levels you’ve captured, to retain as much flexibility as possible when you color grade the footage. Having 1024 values (that’s the ’10-bit’ part) to encode your capture, rather than 256, gives you scope for more adjustment before posterization starts to appear.

The other obvious spec change is that the X-T4 can shoot 60p 4K footage, whereas the X-H1 tops-out at 30p. 60p can convey fast motion more effectively than slower frame rates, and can be slowed-down to give a 1/2 or 2/5ths speed slow-motion effect.

The X-T4 also gains an All-I compression option, which saves full data about each frame, rather than just the differences, maintaining better quality, especially in scenes with lots of movement. This includes a 400 Mbps H.265 option that’s just one of the higher bitrate modes offered by the X-T4, above and beyond the 200 Mbps H.264 capture of the X-H1.

Finally, the X-T4 has a means of monitoring audio, which the X-H1 body lacks. The newer camera comes supplied with a USB adaptor dongle for attaching headphones, whereas X-H1 owners need to buy a battery grip to gain this function.

Uncropped video

One of the biggest changes in video capability might not be obvious from the spec sheet. The X-H1 uses a 1.17x cropped region to shoot its 4K footage, while the X-T4 uses the full width (there’s a similar crop to the X-T4’s 60p mode, but the X-H1 can’t shoot 60p).

This may not sound like a big deal, but it means that a 16mm lens on an X-H1 ends up behaving more like a 29mm equivalent lens than a 24mm equivalent. It makes it more difficult to find genuinely wide-angle options.

By contrast, the X-T4’s 4K uses an angle of view that’s much closer to the one in stills mode (the shift from 3:2 to video aspect ratio narrows things a little), meaning that the lenses designed to be wide for stills remain wide for video. In turn, this means less lens swapping and less need to buy wider lenses just for video shooting.

Better video interface

Fujifilm has been progressively improving its video interface since the introduction of the X-H1. Both cameras have an onscreen interface that can be controlled with the touchscreen, joystick or rear command dial, but the X-T4’s variant is larger, to make touchscreen operation easier. The X-T4 also lets use use the camera’s command dials to set exposure while in Movie Optimized Control mode. That may not sound like a big change, but it makes everything that bit quicker to use.

The X-T4 also lets you resize the AF point in video, allowing you to be more precise about which object you’re tapping to pull focus to.

In addition, the X-T4 gains a view assist mode that gives a Rec709-like preview when you’re shooting Log footage, making it much easier to visualize what the final result will look like.

But perhaps the biggest productivity benefit of the X-T4 over the X-H1 for anyone shooting both stills and video is the provision of a dedicated switch for jumping between the two modes. In part because it’s easier to operate quickly, without accidentally selecting the wrong drive mode, but also because it allows the complete separation of the stills and video menus, so that you only encounter stills-related settings in stills mode, and vice versa. This frees up space in both, allowing separate tabs for timecode and mic setup, rather than everything being bundled into a solitary video tab.

Battery life

Another big difference that will be pertinent to both stills and video shooters is battery life. The X-H1 uses the older NP-W126S battery, which has a capacity of 8.7Wh. The X-T4 has a larger NP-W235 battery which offers 15.8Wh.

As those numbers imply, this makes a big difference. The X-H1 is rated for 310 shots per charge if shot using its rear LCD and 300 through its viewfinder. The X-T3, meanwhile, is rated at 500 shots per charge, despite having a higher-resolution rear screen. And, while it’s common to get many, many more shots than this, depending on your usage, we’d generally expect this roughly 5:3 ratio to indicate better endurance from the X-T4 for most people’s usage.

Another notable difference is that, while the X-H1 can be charged over its (Micro B Superspeed) USB port, the X-T4 can be charged or operated using power to its Type C USB socket.

Battery grip

The other power-related difference between the two cameras is the role played by the accessory battery grip.

On the X-T4, the grip provides room for two additional batteries, adds some portrait orientation controls and beefs-up the front grip of the camera. This extends battery life and provides a more solid foundation for portrait-orientation shooting, but isn’t needed to expand the camera’s core capability.

It’s a different story with the X-H1. In addition to those other benefits an add-on grip usually provides, the VPB-XH1 adds a headphone socket as the only way of gaining audio monitoring on the X-H1, and boosts the shooting rate of the camera from 8 fps to 11 fps when using its mechanical shutter.

Stills shooting

On the stills shooting side of things, the X-T4 gains two generations of improvement in AF speed, eye-AF and focus tracking performance. This may not sound like a lot, in the light of our recent X-T4 review, but much of what counted against the X-T4 was that some of its peers have got so good. Side-by-side with its forebear, the X-T4 is significantly improved.

Beyond the improved algorithms, the X-T4 also benefits from having phase detection AF elements spread across its entire sensor, allowing depth-aware focus almost anywhere in the scene. By contrast (hah!) the X-H1’s phase detection is restricted to a central square covering just over a third of the width of the sensor.

The X-T4 also shoots faster than the X-H1: 15 fps with its mechanical shutter and 20 in e-shutter mode, as opposed to 8 fps and 14 fps for the older model. The X-H1 could up its game to 11 fps, mechanical, if used with the battery grip, but it won’t match the hit rate of the X-T4.

Handling/design

The one area in which the X-H1 isn’t outdone is in terms of handling, mostly because there are distinct differences in their outward design.

The older X-H1 has a more pronounced grip, making it more comfortable to hold with larger lenses. It also has a top-plate settings LCD, which some photographers really love. This comes at the expense of the X-T4’s dedicated exposure compensation dial, instead demanding you press a button or assign the feature to a command dial.

The X-H1 has an extremely sensitive shutter button that, again, some users love (and which can be adjusted, for a fee, if you don’t), mounted on a downward sloping platform, whereas the X-T4 has a vertically-facing shutter button with threading for a cable release.

Both cameras have AF-On buttons on the back, for those that like to ‘back-button focus’ but the X-T4’s is more prominent, whereas the X-H1’s sits next to a raised AEL button (the functions of these two buttons can be swapped, though, so it’s mainly the risk of accidentally pressing the wrong button that differentiates the two approaches).

Rear screens

One of the most divisive differences between the two cameras is the arrangement of their rear screens. The X-H1 (right, in the picture above) has a 1.04M dot (720 x 640) display mounted on a two-axis cradle, while the X-T4 has a 1.62M dot (900 x 600) panel on a fully articulating hinge.

The X-H1’s arrangement is excellent for photography, and can be tilted up towards the user both in the landscape and portrait orientation, while remaining on-axis with the lens. This is great for composing oddly-angled images with the camera positioned above or below your usual shooting position.

The X-T4’s fully articulated screen tends to be the preferred option for videographers or vloggers. Its position away from the axis of the lens demands better spatial awareness when aligning off-angle shots, but it also has the benefit that the screen can be folded in towards the camera for protection.

Overall

It’s impressive is how far Fujifilm has progressed in two years. And I don’t, personally, think that’s because of any shortcoming on the part of the X-H1.

There’s a sense in some quarters that the X-H1 was prematurely abandoned by Fujifilm when, as the last model of its generation, it didn’t get all the features introduced with the X-T3. But comparing its v2.00 IS behavior and performance to its original state, you could almost argue it got a taste of X-T4 tech, over a year early.

Overall, the X-T4 pushes things forwards in almost every respect, even if it’s not necessarily meant as a like-for-like replacement. And it does so with a list price $ 200 lower than the X-H1 at launch.

If you can find an X-H1, it’s still a fine camera, especially if it’s at an appropriately good price. But the X-T4 is more capable in almost every respect and to a degree that will be an appreciable improvement across a wide range of photographic and videographic situations.

Articles: Digital Photography Review (dpreview.com)

 
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The Nikon D750 vs D780: Should you upgrade?

19 Jan

The Nikon D750 vs D780: Should you upgrade?

The Nikon D750 was one of the best enthusiast-and-up DSLRs on the market at the time it was announced and is still a popular workhorse for many photographers today. Its 24MP sensor is still very competitive but its video specs in particular are looking very outdated.

If I were a D750 shooter today, ‘should I upgrade?’ would be a question on my mind. Our own Dan Bracaglia had some thoughts of his own on this, but let’s take a slightly deeper dive into just what Nikon’s updated, and whether those updates are worth it.

Autofocus

Probably the first thing most D750 owners will start to notice if they move across to the D780 is the improved autofocus. The D750 is certainly a capable camera in this regard but the D780 gains a couple of updates that should boost its performance.

In conventional DSLR mode, the D780 uses the same 51-point AF module as its predecessor but the AF system is informed by information from a 180,000 pixel metering sensor, rather than the 91,000 pixel sensor in the D750. This, combined with algorithms derived from those of the D5 professional sports camera, should significantly improve the D780’s AF performance, particularly in terms of subject tracking.

Even more significant will be the autofocus improvements in live view mode, which we’ll come to in a bit.

Newer sensor and JPEG engine

Although both cameras have sensors that come with 24MP, the unit in the D780 is a newer design, either identical or closely related to the one in Nikon’s existing Z6 mirrorless camera. This means it has a BSI (backside-illuminated) design and, more significantly, dual-gain architecture. In essence, this allows the camera to have maximum dynamic range at base ISO with improved noise characteristics at higher ISO values where absolute DR isn’t as crucial a consideration.

We would expect the D780 to produce better JPEGs compared to the D750

We’d expect the D780 to offer a slight upgrade over the D750 for Raw shooters, but one that’s only really visible in comparison and that won’t come close to justifying upgrading.

On the other hand, Nikon’s JPEG engine has improved by leaps and bounds over the past five years. We’ll have to do some more testing to be sure, but we’d expect the D780 to produce JPEGs with better sharpening, more pleasing color and more sophisticated noise reduction compared to those from the D750. And that also makes those JPEGs that much better for sharing over the updated Snapbridge wireless system that the D780 supports.

But that 24MP sensor isn’t all about BSI and dual-gain architecture. It also comes with…

On-sensor phase detection

The D780 has on-sensor phase detection, which provides the kind of distance information needed to quickly drive DSLR lenses. It also gains the AF tracking system from the Z-series cameras, including Face and Eye detection modes. The Face and Eye detection will be a distinct improvement for portraits and people pictures, compared with the D750.

The D780’s live view interface is directly borrowed from the Z-series cameras. This means it works slightly differently that the through-the-viewfinder system: AF tracking needs to be actively cancelled, and always resets to the central position, rather than a pre-selected one, and the Face / Eye detection modes feels like it’s been glued on top of the interface rather than designed to be part of it.

But if you’ve only shot with a DSLR before, you’re likely to be immediately impressed by how well the live view AF performs. Particularly for taking pictures of people, it can be fast, simple and dependable, in a way that even Nikon’s 3D Tracking system isn’t.

Video

Along with live view autofocus, one of the clearest enhancements on the D780 is its video performance. This is immediately apparent from the fact it can shoot up to 4K/30p or 1080/120p, rather than the 1080/60p of the D750, but it runs a lot deeper than that.

For a start, the vastly improved AF and tracking of its live view mode extend to its video shooting, meaning the autofocus is faster, smoother and more reliable (the difference between being usable and unusable, basically). In addition, the D780 gains Nikon’s latest approach to video settings, which lets you configure different settings, including different button customization, if you wish. You can have the video mode mimic your stills settings if you like, but you can also set it to use a different color mode, or white balance setting if you prefer, meaning it’s easy to jump back and forth between stills and video shooting.

Overall, the D780 is a very capable video camera. It’ll even output 10-bit Log footage to an external recorder, if you’re taking things really seriously. Panasonic’s S1 and S1H are some of the only full-frame cameras to offer significantly better video specs. That’s a huge step forward from the D750.

What’s similar?

Many of the rest of the D780’s specs are broadly similar: it’ll shoot at 7fps rather than the D750’s 6.5fps, but that’s unlikely to make much of a difference. Switch to live view and electronic shutter mode and the D780 will deliver 8fps or 12fps if you’re willing to take the slight dynamic range penalty of dropping to 12-bit mode. However, electronic shutter risks movement being distorted by the rolling shutter and increases the range of situations in which you’ll see banding from the flicker of artificial lights, so it’s not useful for all applications.

The optical viewfinders are the same, too: pentamirror finders with 100% coverage and 0.7x magnification.

Also, the D780 still has an in-body (screw drive) focus motor and AI tab, to allow its use with a broad range of older F-mount lenses. The D750 had both features, but notably the FTZ mount adapter for the Z-mount cameras doesn’t.

What’s different

The D780’s rear screen still tilts up and down on a rugged-feeling cradle like the D750’s did, but the dot-count has doubled and it’s now touch-sensitive, making the camera much more usable in live view mode.

The other big difference is that the D780 uses Nikon’s Snapbridge communications system, rather than the more conventional Wi-Fi system on the D750. Snapbridge maintains a constant Bluetooth connection between a smart device and the camera, which makes it quicker to establish a Wi-Fi connection.

We weren’t impressed with the early implementations of Snapbridge but it’s gained a lot in the way of features and stability since then. There’s an option to auto-send 2MP versions of every image you shoot, you can set the camera to transfer images you’ve marked in playback mode (these transfers will happen even when the camera is off), or you can browse the images on the camera from your phone. It now supports Raw and video transfer over Wi-Fi, along with geotagging of images based on phone location and extensive remote control of the camera.

The D780 has a new shutter mechanism, capable of 1/8000 sec exposures. The downside is that its shutter shock at moderate exposures is more pronounced than on the D750. You can work around this by selecting ‘Electronic front-curtain shutter’ in the menus and always shooting in Quiet mode (apply the minimum 0.2 sec exposure delay when resolution is really critical), but it’s worth being aware of.

What’s missing?

Not all of the D780’s specs are an improvement on the older model, though. The D780 repeats some of Nikon’s recent product planning decisions that omit some features that were included in the D750.

The most immediately apparent difference is the lack of internal flash. Nikon says the camera can be better weather-sealed if you don’t include a pop-up flash, but anyone looking to use the D780 with off-camera flashes will have to consider the significance of that trade-off for their shooing. You can mount a variety of flash commanders to the hot shoe or push a WR-R10 radio transceiver into the Remote socket on the left of the camera, if you have the latest radio-controlled Nikon Speedlights.

The other obvious omission on the D780 are the connectors to allow duplicate controls on an accessory grip. There’s nothing on the base of the camera and nothing in the battery compartment meaning that, if Nikon does decide to offer a battery grip, it’ll be like the one for the Z6 and Z7, that just adds room for a second battery.

We suspect a lot of users will find the D780’s rating of 2260 shots per charge more than sufficient (especially considering it’s common to get more than twice the rated number, depending on your usage). However, there will be some users that liked the extra reassurance or improved portrait-orientation ergonomics that an accessory grip offers.

Batteries and memory cards

The D780 uses the latest EN-EL15b battery. It looks like a slightly more angular version of the existing EN-EL15 batteries, the distinction being that the ‘b’ variant can be charged over the camera’s USB socket. The D780 can still use the older 15a and 15 batteries but without USB charging, and with significantly reduced battery life if used with the original EN-EL15 batteries not marked Li-Ion20.

Interestingly, like the D750, the D780 continues to use twin SD card slots, now compatible with the newer UHS-II cards. This may seem odd, given the closely-related Z6 uses the more exotic XQD card format. But there’s not much that the D780 does that would demand higher throughput that the 90MB/s rates maintained by the latest v90 SD cards.

Equally, if we see the D780 as an F-mount alternative to the Z6, then it makes sense that it should maximize its backwards compatibility in terms of cards as well as lenses and (to an extent) batteries.

Should I buy a D780?

Considered in isolation, the D780 is a tremendously well-rounded, capable camera, much as the D750 was, but with that capability now extending to video as well as stills shooting. However, it’s also worth considering the question ‘why would you buy this instead of a Z6?’

The Z6 was launched for $ 300 less than the D780 and that was over a year ago, so the current price difference is even greater. The Z6 uses Nikon’s latest lenses, and clearly represents the direction the company and its development efforts are going in, so what would prompt people to still buy a DSLR?

The most compelling reasons would be either because you have a significant investment in F-mount lenses, your style of shooting demands an optical viewfinder, or simply that you prefer using an optical viewfinder. In which case, the D780 looks like a great do-everything option, and one that has been appreciably improved, compared with the D750.

We suspect this is a trend we’ll see from Canon and Nikon for at least a generation or two of camera releases: a variant of their latest mirrorless cameras, built into (perhaps modestly updated) versions of their DSLR bodies, since both companies have die-hard DSLR users. The breadth of the model range might contract, over time, making it less likely that there’ll be a model at the price you want to pay, but there are enough Nikon lenses out there that there’ll be an audience for Nikon DSLRs for a while yet.

Should I upgrade from my D750?

Whether it’s worth upgrading from a D750 is a more difficult question. If you primarily shoot stills, it might not be. There are certainly improvements in terms of image quality particularly on the JPEG side of things, but these alone are unlikely to justify the cost of upgrading. If you only shoot stills through the viewfinder, and haven’t found yourself hankering for improved AF tracking, then it probably makes sense to stick with the D750.

If you only shoot stills through the viewfinder then it probably makes sense to stick with the D750

However, if you would like a camera with the simplicity and accuracy that eye-detect AF brings, it’s well worth a look. It’s also certainly an easier camera to shoot at high and low angles, thanks to its much more usable live view. Most of all, if you have even the slightest interest in video, the D780 is a significantly better camera. If nothing else, it’s a great way to get that familiar DSLR feel with the option of experiencing what Nikon’s Z-series cameras are like to use.

But then, if it’s the video and mirrorless features of the D780 that make you want to upgrade, maybe you’d be better off with a Z6.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z6/Z7 Raw video upgrade available starting today for $200; new firmware adds CFexpress support

17 Dec

Nikon has some much-anticipated news for Z-series videographers: starting today, Z6 and Z7 owners can send their cameras to a Nikon Service Center for a paid upgrade to add Raw video output. The company has also released firmware v.2.20 for the Z6/Z7 today, adding support for CFexpress memory cards.

First announced earlier this year, the paid upgrade brings 12-bit 4K or Full HD ProRes Raw video recording with the Atomos Ninja V recorder to both the Z6 and Z7, which were previously limited to 10-bit Log over HDMI. While 12 months is a fairly long time to wait, it’s probably no coincidence that this announcement comes after the recent settling of a long-running dispute between Apple and RED over the patent to Raw video. This may also explain why the update is paid, rather than available for free.

However, those who purchased the Z6 as part of the Filmmaker’s kit can receive the update at no charge; all other Z6 and Z7 owners must pay $ 200 for the service. Nikon USA has published a dedicated Raw video page explaining the requirements and instructions for obtaining the upgrade.

Nikon Z6 Filmmaker kit

Additionally, firmware v.2.20 for the Z6 and Z7 arrives today, enabling use of more robust (and more costly) CFexpress memory cards. Since the cards are physically the same dimensions as XQD, there’s no need to physically modify the cameras to make them compatible with the new format. The company also says it will add CFexpress support to the Nikon D5 (XQD-type), D850 and D500 at a later date.

Nikon Z6 and Z7 firmware version 2.20 is available starting today free of charge – visit Nikon’s firmware page to learn more.

NIKON Z SERIES EVOLVES TO BECOME EVEN MORE POWERFUL: FIRMWARE VER. 2.20 RELEASED, ADDS SUPPORT FOR CFexpress MEMORY CARDS;
PAID SERVICE TO INSTALL RAW VIDEO OUTPUT FUNCTION ALSO BEGINS

MELVILLE, NY (December 16, 2019 at 11:00 P.M. EST) – Nikon Inc. is pleased to announce the release of firmware Ver. 2.20 for the Nikon Z 7 and Z 6 full-frame mirrorless cameras. This firmware update offers several improvements that make these cameras even more powerful, including the addition of support for the next generation memory card, CFexpress. Additionally, Nikon has announced that beginning today, service to install RAW video output functionality will be available for those wishing to add enhanced professional video capabilities.

Support for CFexpress, the New Standard for Speed and Durability
Updating Z 7 and Z 6 firmware to Ver. 2.20 enables the use*1 of CFexpress*2 cards. CFexpress cards are robust and reliable, and support even faster data transfer than XQD cards for a smoother and more efficient photographic workflow.

CFexpress cards use a similar form factor to XQD, eliminating the need to physically modify the camera’s memory card slot. After upgrading, users will be able to use CFexpress as well as XQD cards in their camera interchangeably. In addition to the Z 7 and Z 6, CFexpress memory card support will be added to the Nikon D5 (XQD-Type), Nikon D850 and Nikon D500 digital SLR cameras in the future.

Initially, only limited CFexpress card types are fully supported and the number of supported cards will continue to expand as additional cards are tested and certified (Type B CFexpress cards manufactured only by Sony Corp. Availability date for the cards may vary by market).

RAW video output function (4K UHD and Full HD)
Developed in conjunction with Atomos, this capability enables recording of RAW video, which has greater flexibility for color grading compared to other video formats.

With this upgrade, 12-bit 4K UHD or full-HD RAW video can be recorded*3 to select models of Atomos video recorders*4 connected to a Z 7 or Z 6 camera via a HDMI connector. As RAW video is not subjected to in-camera processing, all information that is outputted from the image sensor is preserved. This abundance of information can later be used in post-production.

The RAW video output capability upgrade can be installed at a Nikon service center and will incur a fee but will be included free of charge as part of Nikon Z 6 Filmmaker’s kit bundles. Those customers in the United States who have already purchased a Nikon Z 6 Filmmaker’s kit (Product #13545) will be eligible to have the fee waived (proof of purchase required). For more details about the Nikon Z 6 Filmmaker’s kit, please visit here.

For additional technical information, equipment requirements and instructions on requesting the RAW video output upgrade, please visit: www.nikonusa.com/RAWvideo.

Price and Availability
The firmware update Ver. 2.20 which enables CFexpress functionality is available now, free of charge. Please visit The Nikon Z series Firmware update page to download and find more information.

The RAW video output upgrade is available starting today and will require installation by a Nikon Service Center. A $ 199.95* fee will apply.

For more information on the latest Nikon products, including the Nikon Z mount system, please visit www.nikonusa.com.?

*1 Type B CFexpress cards manufactured by Sony Corp. only. Operation is not guaranteed with cards from other manufacturers (as of December 2019).
*2 CFexpress is a trademark of the CompactFlash Association.
*3 With the Z 7, full-HD RAW video can be recorded using the FX-based movie format, and 4K UHD RAW video can be recorded using the DX-based movie format.
When the Z 6 is used, recording of either 4K UHD or full-HD RAW video is possible with both FX- and DX-based movie formats.
See the cameras’ Technical Guide, available from the Download Center, for details on differences between Z 7 and Z 6 specifications.
Nikon Download Center (https://downloadcenter.nikonimglib.com/en/index.html)
*4 The Atomos Ninja V supports Nikon RAW video output, and records videos in ProRes RAW format. Operation is not guaranteed with recorders other than the Ninja V (as of December 2019). RAW video output from a Nikon camera is supported by Ninja V firmware Ver. 10.2 and later.
See the Ninja V firmware download site (https://www.atomos.com/firmware/ninja-v).
*5 See our website for instructions on requesting the RAW output options activation service (www.nikonusa.com/RAWvideo).
*Pricing and availability of the service will vary by region

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PocketWizard ‘E Release’ $10 firmware upgrade boosts range, features and reliability

16 Sep

PocketWizard customers who own the company’s Plus III and/or Plus IV wireless triggers now have the option of upgrading to its new ‘E Release’ firmware. The software update brings a number of notable improvements, including increased range, improved reliability when sending and receiving signals, a Quad Zone Channels increase from 16 to 32, and 80 new Channels for use with Long Range Mode.

The range for both supported PocketWizard models running E Release firmware is doubled for triggering remote cameras and flashes; it is increased to up to 5 miles when used with radios in Long Range Mode.

Though the firmware is only available for the Plus III and Plus IV (FCC frequency) models at this time, PocketWizard says it plans to release the software update for its MultiMAX II, FlexTT5 for Nikon, FlexTT6 for Canon, and PowerMC2 models in the future. The E Release is available for units purchased in North America and South America; it cannot be used with CE frequency units.

Below is a video shared by PocketWizard showing how photographer Michael Heeney was able to capture a rock climber from four diffrent perspectives thanks in part to the upgraded firmware:

PocketWizard warns on its website that the firmware can only work with other radios that have also been upgraded with the E Release firmware. Upgraded PocketWizards can be downgraded back to the company’s legacy firmware for use with radios that aren’t running the new software.

Customers who want to upgrade will need to purchase a $ 9.99 USD E Release firmware license for each radio. PocketWizard customers who purchased one of the supported models from an authorized dealer in the US or Canada after September 1, 2019, can download the E Release firmware for free.

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Four Signs it’s NOT Time to Upgrade Your Camera

09 Jul

The post Four Signs it’s NOT Time to Upgrade Your Camera appeared first on Digital Photography School. It was authored by Adam Welch.

I’m reminded about a conversation between Ansel Adams and Ernest Hemingway that went something like this:

Hemingway: You take the most amazing photographs I’ve ever seen! What sort of camera do you use?

Adams: You write the most amazing stories. What sort of typewriter do you use?

Even though I know this chance encounter between two of my favorite Masters never actually occurred (though I secretly hope it did), the weighty implications of this fictional exchange are obvious.

4-signs-its-not-time-to-upgrade-your-camera-3.jpg

The power of a photograph is no more coupled to the superiority of one’s camera than are the words of a good story which move us to emotion. While it’s true that cameras are indeed the tools of our trade, and those tools vary in terms of capability, there seems today to be a sort of “cart before the horse” mentality. It looms heavy over the majority of the photographic community; a mentality which implies that if your photographs aren’t up to your expectations, the quickest remedy is to buy a better camera.

Upgrade, upgrade, UPGRADE! That’s the song often heard. Upgrading your camera is a natural facet of the evolution of any photographer. I’m not in disagreement with that notion. However, what if I told you that getting a new (or new to you) camera should be more of a last resort than a first idea?

Today, we’re going to talk about four signs that it’s NOT time to upgrade your camera.

You’re still “figuring out” what you want to do with your photography

About 300 years ago (it seems), when digital cameras were becoming relatively cost-effective for the average shooter, I began thinking about switching from my film SLR to a DSLR. I searched around and was advised on a camera that would be “magic” for the work I was trying to do. The problem was that I had no real idea of what that work actually would be.

4-signs-its-not-time-to-upgrade-your-camera-4

Much like a certain popular character from a certain popular TV show…”I knew nothing.” I went with the camera others told me I should have and went after the sort of photography jobs (wedding, portraits, events) that were available in my area. I had upgraded my camera – not for any true physical or technical need – but rather because I thought that a new camera was necessary for the task at hand.

In fact, I hadn’t stopped to think about what I wanted to do and how I should go about doing it before I took the plunge. It was like buying brushes before knowing how to paint.

If you’re still wondering what kind of photography is “right” for you, a good starting point would be to continue working with whatever camera you have right now. Shoot everything and anything with it: people, events, landscapes, nature, street, and still life.

Only after you see yourself leaning to one side should you begin thinking about upgrading the tools you need to accomplish a better outcome.

You’re stilling using the “kit lens” that came with your camera

Your brain is an amazingly complex, incredibly capable bio-computer which we’ve only begun to understand. Yet without input and feedback from our senses, the brain is just – well – a brain. It only knows it’s environment based on the information allowed to pass along to its consciousness.

The same is true for our cameras.

A digital camera can sport the most beautifully huge sensor that somehow produces no noise even at 4 billion ISO. Or, has enough megapixels to make enlargements larger than the Earth and still it would be reliant on the information passed to it by its lens. In the end, it is the lens that dictates the quality of the raw informational light the camera will use to build an image.

So why do so many of us put more emphasis on the camera instead of the lens?

Especially today, the lenses which come with bundled camera kits are generally much sharper and faster than previous packages offered ten or fifteen years ago. This is likely due to the higher expectations of the “average photographer” – if there is such a thing.

Still, if the reason you’re considering upgrading your camera is wholly due to a lack of sharpness or low-light performance, then I urge you to first invest in a higher quality lens. Please note that higher-quality does not translate into high prices. Many prime (non-zoom) lenses with maximum apertures of f/2.8 and larger offer excellent optics for under $ 300 with slightly used models going for even less.

Always remember that an inferior camera with a superior lens will almost always perform better than a superior camera with an inferior lens. To that end, consider upgrading your lens before the camera body.

You’ve never gone fully manual

The functional operations of producing a photograph are surprisingly simple. In terms of image-making settings for our camera/lens, there are only three things we can directly control, which determine the overall outcome of our exposures; shutter speed, aperture, and ISO. These are essentially all we have to select to produce a digital image.

However, choosing those three parameters can instantly fill us with terror. Instead of taking full control of our photographs, we often choose to rely on aperture or shutter priority modes (which are usually quite good these days). Alternatively, we release the reigns entirely and allow our cameras to make the big decisions for our exposures by choosing Auto Mode.

4-signs-its-not-time-to-upgrade-your-camera-2

I’ll admit this subject is a slippery slope. I’ve said many modern cameras perform beautifully when operating in these semi-automated shooting modes. Still, without the conscious and deliberate control of the user, a camera is, well, just a camera.

For whatever reason, if you find yourself never determining the “big three” settings of your camera and notice your photos lacking in their technical or creative merits, I urge you to begin shooting in manual mode.  Entirely new doors will open up to you when you begin to understand the relationships between motion and shutter speed, or depth of field and aperture. Not to mention the brilliant nuances of working with ISO settings. Once you’ve discovered these possibilities, it will likely become clear that it doesn’t make sense to upgrade your camera in the hopes for a better automatic shooting experience.

First, try to assume a more dynamic role in determining the technical aspects of your photographic experience. Then decide if it truly is time to upgrade your camera.

You think your photography isn’t as good as someone else

This is the big one. It is the number one reason why you shouldn’t run out and upgrade your camera without first doing some serious self-inventory. You’ve seen someone else’s body of work, and instantly it registers in your mind “if only I had the camera they use,” or “no wonder their pictures are so good, look at that camera!”

In this situation, I default back to that epic fictional meeting between Ansel and Ernest. The obviously secondary nature of the tool of choice becomes readily apparent next to the prowess of its owner. I doubt few of us could pen another “The Old Man and the Sea” if supplied with the stationary and typewriter of Hemingway. It’s unlikely we might reproduce “Moon over Hernandez” if gifted the same camera and film as Ansel Adams used on that fateful evening in New Mexico.

The point is that it’s not the camera that makes the photograph. A camera is merely a conduit for the expression of skill and emotion of the user.

If you find yourself in pure envy of a certain photograph, an easy misstep is to wonder what type of camera or lens they used. The more difficult aspect to understand is that a person made the image; a person who was feeling a certain way at the time of capture – someone who was empowered by their knowledge and skill to produce a photograph.

The camera may have been the method to transform light into a photograph, but the power and the emotion conveyed through that photograph was born elsewhere.

I can assure you, upgrading your camera will not instantly make you a better photographer; only learning can do that. A camera doesn’t make a photograph; only a person can do that.

Some final words on cameras…

We’ve dipped into some heavy ideas in this article when it comes to all the reasons you should think twice before upgrading your camera. However, with anything that involves “art” and self-expression, these ideas are far from being absolutes.

In the end, only you can decide whether or not a new or different camera will nudge you along the path to fulfilling your potential as a photographer. It’s not a process you should enter into lightly or without solid reasoning.

4-signs-its-not-time-to-upgrade-your-camera-2

Socrates said, “Know thyself.” That’s good wisdom.

If you find yourself looking at your current camera with a growing sense of disgust, ask yourself whether the performance you find lacking stems from the tool or the craftsman? In both cases, you can remedy the problem easily. You can obtain new cameras and acquire new knowledge. The trick is knowing which one you need more.

 

4 signs its not time to upgrade your camera

The post Four Signs it’s NOT Time to Upgrade Your Camera appeared first on Digital Photography School. It was authored by Adam Welch.


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Firmware upgrade brings features from Olympus’s E-M1X to the E-M1 Mark II

19 Jun

Olympus has released a major firmware update for its nearly three-year-old OM-D E-M1 Mark II. Many of the additions come straight from the company’s flagship E-M1X, so now you can have a camera that shares many of the same features but in a much smaller package.

The most significant features include:

  • Autofocus
    • Autofocus algorithms from the E-M1X improves performance tracking moving subjects and makes S-AF more accurate
    • Group 25-point AF mode added; Center priority mode sticks to center focus point and will use surrounding points if subject moves ‘vigorously’
    • ‘Active use’ of PDAF improves performance when shooting video
    • Camera can now focus down to -6EV when using an F1.2 lens
  • Image quality
    • A new ‘Detail Priority’ mode reduces noise (at the expense of burst speed) at low ISOs in JPEGs
    • High ISO performance has been improved by 1/3-stop, according to Olympus
    • ISO 100 (Low) added
    • Anti-flicker mode added
  • Other
    • OM-Log400 added for more flexibility for color grading in video
    • Menus/playback mode can be entered while camera is writing to a memory card
    • Focus Stacking now offers choice of 3-15 shots
    • New Instant Film Art Filter
    • Support for USB Raw Data Edit with Olympus Workspace (see below)
    • Support for new MC-20 teleconverter

You can see the full list of changes in the press release further down this page.

The E-M1X has also received a firmware bump to v1.1, with the only new features being support for the MC-20 teleconverter and USB Raw Data Edit.

Finally, Olympus has updated its Workspace software to version 1.1. The big new feature is the ability to edit Raw images over USB, with the camera doing the processing. Other updates include Focus Stacking from images taken in Focus Bracketing mode and the ability to create Live Composite images.

Press Release

OLYMPUS ANNOUNCES FIRMWARE UPGRADES ENHANCING AUTOFOCUS PERFORMANCE AND IMAGE QUALITY

Version 3.0 for the OM-D® E-M1 Mark II, Version 1.1 for the OM-D E-M1X and Version 1.1 for Olympus® Workspace

CENTER VALLEY, Pa., June 19, 2019 – Olympus is pleased to announce availability of the latest firmware upgrade for two interchangeable lens cameras, Version 3.0 for the Olympus OM-D E-M1 Mark II and Version 1.1 for the Olympus OM-D E-M1X. Additionally, Firmware Version 1.1 is now available for Olympus Workspace. OM-D E-M1 Mark II firmware Version 3.0 adds high-precision autofocus (AF) performance and the high image quality currently available on Olympus’ newest OM-D, the E-M1X. Specifically designed for the professional models in the OM-D series, the OM-D E-M1 Mark II and OM-D E-M1X, this new firmware provides feature enhancements for photographers who require portability and smooth operation of the camera when shooting.

OM-D E-M1 Mark II Firmware Version 3.0: Main Features

Advanced AF Performance

This upgrade utilizes the OM-D E-M1X algorithm, which was developed based on the shooting needs of the professional photographer. With the goal of achieving performance that responds to demanding shooting conditions, such as fast movement in sports, etc., C-AF Center Priority delivers high-precision tracking of moving subjects and sudden subject movement. AF precision for still subjects when using S-AF is improved for various subjects compared to OM-D E-M1 Mark II firmware Version 2.3. Active use of information from the On-chip Phase Detection AF sensor also improves AF performance while shooting video.

Newest AutoFocus Features

Group 25-point has been added to AF Target, and is effective for photographing birds and other small subjects. C-AF Center Priority is now available, and repeatedly autofocuses with priority on the center point in Group 5-point, Group 9-point, and Group 25-point. If AF is not possible in the center point, the peripheral points in the group area assists, which is effective for subjects that move around quickly. In addition, C-AF+MF1 is included which allows users to instantly switch to MF by turning the focus ring while in C-AF for fine tuning the focus.

Low Light Limit Update

The AF low light limit when an f/1.2 lens is attached is -6.0 EV (ISO 100 equivalent for S-AF), enabling high precision focusing in both dark scenes and for low-contrast subjects.

Improved Image Quality

Low ISO Processing (Detail Priority) has been added for higher resolution when shooting at low ISO sensitivity[1], making it possible to reduce noise while shooting with low ISO settings. Compared with OM-D E-M1 Mark II firmware Version 2.3, noise that occurs when shooting at high ISO sensitivity is improved approximately 1/3 of a step.

Support for New Functions in Olympus Workspace

USB RAW Data Edit[2] is now supported for much faster RAW processing in Olympus Workspace by connecting the camera to a computer to use the power of the OM-D E-M1 Mark II TruePic™ VIII image processor.

Enhanced Operability

  • Anti-flicker shooting added to prevent unstable exposure, particularly when sequential shooting indoors.
  • OM-Log400 movie-exclusive picture mode added, allowing the user to shoot movies without loss of details in shadows or highlight blowouts, delivery greater freedom over video creativity through color grading.
  • Frame Rate Priority added to Live View Boost/On2 display, displaying images at a comfortable brightness, even in especially dark locations, such as under a starlit sky without lowering the frame rate.
  • From 3 to 15 shots can be selected in Focus Stacking and guide lines have been added to the shooting area
  • Quick image selection added
  • Setting changes and playback display while writing to card now possible, facilitating quick operation.
  • Instant Film added to Art Filter
  • ISO L100 (ISO 100 equivalent) added

OM-D E-M1X Firmware Version 1.1? Main Features

Support for New Functions in Olympus Workspace

USB RAW Data Edit is now supported for much faster RAW processing in Olympus Workspace by connecting the camera to a computer to use the power of the OM-D E-M1X TruePic VIII image processor.

Olympus Workspace Image Editing Software Version 1.1: Main Features

Focus Stacking added for compositing images shot in Focus Bracketing[3]

Previously, when using Focus Stacking on a computer, it was necessary to use commercially available third party software to composite images. Now, t is possible to composite up to 999 images in Olympus Workspace.

Lighten Composite added

Lighten Composite is now supported by Olympus Workspace, making it possible to create images similar to Live Composite on the camera. Darken Composite has also been added.

Support for New Functions in Olympus Workspace

USB RAW Data Edit has been added for much faster RAW processing in Olympus Workspace by connecting the camera to a computer, using the power of the OM-D E-M1 Mark II and OM-D E-M1X TruePic VIII image processor.

Function Support Chart

? reflects the functions that have been upgraded with the firmware.

Feature

E-M1X Ver. 1.1

E-M1 mark II Ver. 3.0

AF Group Target 25-point

Already available

?

Custom AF Target

Already available

–

C-AF Center Priority

Already available

?

C-AF Center Start

Already available

?

C-AF+MF

Already available

?

Intelligent Subject Detection AF

Already available

–

Anti-flicker shooting

Already available

?

OM-Log 400

Already available

?

ISO L100 (ISO 100 equivalent)

Already available

?

Frame Rate Priority on Live View Boost/On2

Already available

?

Focus Stacking: Select from 3 to 15 images

Already available

?

Focus Stacking: Guide line display

Already available

?

Art Filter: Instant Film

Already available

?

Low ISO Processing (Detail Priority)

Already available

?

Setting changes and playback display while writing to card

Already available

?

Quick image selection

Already available

?

USB RAW Data Edit

?

?

Live ND shooting

Already available

–

Handheld High Res Shot

Already available

–

High-speed shooting: 120 fps (1920×1080/ MOV)

Already available

–

Bluetooth® connection

Already available

–

UHS-II compatible dual card slots

Already available

–

GPS® / Field Sensor System

Already available

–

USB power supply/battery charging

Already available

–

Multi Selector

Already available

–

Please visit the following URL for access to Olympus software and Digital Camera Updater: https://www.getolympus.com/us/en/software

Pricing and Availability

Firmware Version 3.0 for the Olympus OM-D E-M1 Mark II, Firmware Version 1.1 for the Olympus OM-D E-M1X and Firmware Version 1.1 for Olympus Workspace are available at no charge as an ongoing value demonstrating Olympus’ commitment to continuous product improvements.

[1] May affect the number of sequential shots in normal sequential shooting priority modes.

[2] This new function makes RAW processing much faster by using the TruePic VIII image processor on the camera via USB connection. Olympus Workspace and the supported camera must both be updated with required firmware. The available editing options from Olympus Workspace are limited to RAW editing options that can be handled internally in the camera. Compatible models are OM-D E-M1X and OM-D E-M1 Mark II, and images are saved in JPEG format.

[3] Images must be shot with a lens that supports Focus Stacking.

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FixIts biodegradable plastic sticks can be used to fix, upgrade your camera gear

04 Apr

Last summer, a Kickstarter campaign raised funds for moldable, eco-friendly plastic sticks called FixIts. The product is billed as a DIY tool that enables anyone to easily mold durable plastic into whatever little gizmo or component they need, similar to Sugru, but more eco-friendly. The FixIts sticks are now available to order in orange, black, and white colors.

FixIts sticks can be used creatively for a number of projects, and that includes potentially being used to create small custom camera gear mounts and accessories. In addition, the biodegradable plastics can be used to fix broken gear, such as creating a replacement tripod foot, repairing a bit of missing plastic or reinforcing a weak cable.

The product is similar to other moldable plastics; users only need to put the stick into a cup of hot water, wait for the plastic to soften, then mold it into whatever shape is desired and let it cool down. These created components can be heated and used again to create different objects.

FixIts are available now in three-stick packs $ 8.53 / £6.50 / €7.62.

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Panasonic S1 10-bit and V-Log paid upgrade coming in July

28 Mar

Back when Panasonic announced its DC-S1 full-frame mirrorless camera the company said that a paid upgrade that would add some significant new video features was coming in the future. Today, the company said that videophiles will be able to purchase the upgrade this July, at a price to be determined later.

The features that the update brings are:

  • 4:2:2 10-bit 4K 24p/30p internal video recording
  • 4:2:2 10-bit 4K 60p HDMI output
  • Full V-Log recording

Prior to this upgrade, V-Log was only available on professional Panasonic video cameras, such as the EVA1. V-Log provides an extra 2-stops of dynamic range compared to V-Log L found on the GH5/GH5S, which should result in improved highlight retention in high dynamic range scenes.

As mentioned above, pricing has yet to be determined, though Panasonic says that it will be announced sooner than July.

Press Release

Panasonic Releases the Software Upgrade Program for LUMIX S1 in July 2019 to Expand Its Video Performance

Newark, NJ (March 28, 2019) – Panasonic has announced that the company will release a software upgrade key for the full-frame mirrorless camera LUMIX S1 in July 2019. As scheduled, this paid firmware upgrade is to further expand the video performance of the LUMIX S1 for advanced video recording. The optional Software Update Key will be available for purchase from authorized Panasonic dealers.

Functions available with the upgrade program are as follows.

– 4:2:2 10-bit 4K 24p/30p internal video recording

– 4:2:2 10-bit 4K 60p HDMI output

– Full V-Log recording

?Design and specifications are subject to change without notice.

To learn more about Panasonic’s line of LUMIX Digital Cameras and other consumer electronic products, please visit www.shop.panasonic.com and www.lumixlounge.com. You can also follow Panasonic on Twitter (@mypanasonicNA) and Facebook.

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When and How Often Should You Upgrade Your Photography Equipment?

13 Mar

The post When and How Often Should You Upgrade Your Photography Equipment? appeared first on Digital Photography School. It was authored by Lily Sawyer.

We have all heard of the shiny object syndrome have we not? Perhaps you have even fallen victim to it? It’s an easy trap; especially when we are newbies. I have certainly been a victim of it when I first started and was always thinking that my photography would improve if only I had better gear. Right? Wrong! However, your photography will be better if you have the CORRECT gear.

dps-when-to-upgrade-photography-equipment

From my experience of photographing professionally over a decade, I have realized a few things. One of which is that YOU control your gear – your gear does not control you. In other words, you can definitely produce mind-blowing images with the gear you currently have if you know how to use them correctly. Add a hint of creativity into it, and you are taking your images to the next level.

If you are a photographer, the very fundamental things you need to master would be understanding the exposure triangle, lighting (whether that be natural or artificial) and shooting in Manual mode. The first one underpins the last one. Without a solid understanding of the exposure triangle, you may struggle to shoot in Manual mode.

There is nothing wrong with shooting in semi-automatic modes like Aperture Priority or Speed Priority, but you get yourself in tricky scenarios if you rely entirely on shooting on Automatic mode. Your images will be inconsistent, and you will encounter problems in post-processing. Shooting in semi-manual mode still requires an understanding of what those modes do, so why not go the full haul and take the time to understand the exposure triangle.

With that preamble out of the way, I’d like to address the question “When and how often should you upgrade your equipment?” I offer my thoughts below which could greatly differ from other people’s opinions. That is all fine. It’s a free country, and we can exercise free speech.

Things to consider when buying equipment for the first time

dps-when-to-upgrade-photography-equipment

1. Your budget

Sit down and think about how much you can afford without getting into debt. If you are buying gear to learn on, I would not suggest getting into debt to buy your first equipment. It is true that professional, full-frame cameras are better, but do you need them to learn how to shoot? Absolutely, not! Can you only produce good pictures with these top-of-the-range cameras and not with old second-hand models? Of course not.

2. Your subject

Think about what you want to shoot. Your lens choice depends on what subject you want to learn to shoot. For example, if you want to shoot landscapes, don’t buy a zoom lens. If you want to shoot portraits, don’t buy a super-wide-angle lens. If you want to learn both, explore your zoom options. This brings me to the issue of whether to buy the camera body and lens separately or buy a kit.

Brands often offer a kit bundle to save you money on them and have a variety of options to choose from. This isn’t necessarily a bad choice, but it could also be a big waste of money.

A bundle often has a camera, a wide to medium zoom and a longer zoom. These are fine if you want to shoot outdoors in ample light. However, you will quickly realize that if you want to do indoor portraits, these lenses perform below par. These kit lenses are generally the cheaper range with a variable aperture starting from f/3.5 going up to f/5.6 maximum aperture as you go longer on the focal length. These would be inadequate for very dim lighting or indoor ambient light without flash. Ideally, you would need apertures of f/2.8 and wider.

If you opt for buying a camera body separately, then you have more options, both new and second-hand. Just make sure you check the shutter count of the second-hand ones to ensure they have not exhausted the upper range of shutter click guaranteed by the manufacturer before the shutter mechanism starts deteriorating. Most second-hand sellers provide this information; if not, you must ask.

Buying the correct lens for your photography purpose will put you in good stead right off the bat. Why? Because if say you want to photograph portraits, buying the right lens will help you achieve beautiful portraits. Portraits I’m sure you have seen done by other people compared to if you were to shoot them with the wrong lens. You’d forever be wondering why you could not quite achieve the look you want.

3. Accessories

Don’t go all-out buying every accessory on the market. These can be quite tempting but will burn a hole in your pocket and use money up earmarked for your main equipment. You would be better off buying the best main camera and lens your budget can afford and one or two essential accessories than spreading out your budget and making compromises on everything.

If you want to be a landscape photographer, for instance, buying a tripod and a remote shutter is a must otherwise there is little point in even trying. If your interest lies in still life, get a reflector. You don’t always need a tripod for still life photography, but a reflector always comes in handy. If you want to photograph people indoors, I’d say get a flash gun, even if you only want to use natural light. There will come a time when you realize that relying solely on natural light gets you into a pickle eventually and is no longer enough.

However, you mustn’t forget to buy absolute essential accessories – no matter what you are shooting:

a. Memory cards – don’t skimp on these. You want decent ones that you would be able to entrust your images!

b. A padded bag – there’s no point in shelling out good money for equipment and not have the proper protective bag for them!

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When should you upgrade your equipment?

1. Initial investment

This question kind of depends on your initial investment decisions. You see, brands often come out with new camera models every year or more to entice people to keep upgrading. However, while it is true that some of these new models have improved features, nowadays, things are being invented and improved at an alarmingly fast rate. So if you follow the trends, you’ll soon be out of pocket.

My advice would be to buy the best lens you can afford with your money and buy a camera with the remainder of the budget. New cameras keep coming out every year, but lenses stay the same for many many years! They hold their value more compared to camera bodies too. Not all good lenses are expensive. You can buy the 35mm f/1.8 (DX only) and the 50mm f/1.8, and they are excellent lenses for the money.

I have written an in-depth article on lenses which may help you decide when purchasing either as a first-time buy or an upgrade. See them here and here.

2. Upgrading

Upgrading is a good mentality to have but not to do often. Do have a plan for upgrading (which you may have to do eventually), but do not upgrade every time a new model is churned out.

Consider the following when upgrading:

  1. Have you used your camera for the purpose that you have bought it for?
  2. Is it now inadequate for your needs? Are you finding that you need better features now that you have mastered it? For example, you may want a camera with better noise-handling ability, silent mode or a swivel LCD to enable you to take high-up shots, or perhaps one with dual slots?
  3. Are you at a point when you require another camera so you can use your first one as a back-up?
  4. Is your current camera now broken or have broken parts? Then yes, now would be a good time to upgrade! However, if you really love it, you may want to opt for repair.

My first full-frame professional range camera is the Nikon D700. I have bought newer models since, but you know what? I still use the D700 for my own family photos; especially outdoors. I love the colors the sensor produces, and in my opinion, they have never been able to replicate it in the newer brands. The RAW images I get from that camera are the closest to that film-look that I love and the edits required are minimal. However, it’s poor in handling noise, it’s big and brick-heavy and only has one card slot. However, I won’t ever part with it and am happy to use it for personal shots until it breaks.

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Conclusion

I hope these considerations help you in your purchasing and upgrading decisions! Comments and suggestions of more factors to consider are welcome below!

The post When and How Often Should You Upgrade Your Photography Equipment? appeared first on Digital Photography School. It was authored by Lily Sawyer.


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