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10 mistakes most first-time film shooters make (and how to avoid them)

08 May

Introduction

You’ve bought your first camera. You’ve bought some film. You’re ready to load up and start shooting. What could possibly go wrong? Lots of things! When you make a mistake with your digital camera, you’ll know right away, but with film, it’s not until days or weeks later, when you’re home from your once-in-a-lifetime trip that you discover you’ve screwed up the picture you can never re-create. This is what makes film so awesome.

The good news is that you are not alone – with film, mistakes are part of the process. I can’t stop you from screwing up (and I wouldn’t want to, because misery loves company), but I can give you a heads-up on common mistakes to look out for – and, in some cases, how to fix them.

Photos by: Dan Bracaglia (except where noted)

1. Loading the camera wrong

Nearly every film shooter will at some point get developed negatives back from the lab with nothing but edge writing and numbers on them. There are two possibilities: 1) Your light meter is way, way, way, way, way off, or 2) you didn’t load the film properly.

For 35mm cameras, a good indicator of the latter is that you loaded a 36-exposure roll last week and you’re on your 67th shot. Take-up reels don’t always grab the film properly, so make sure you fire-and-wind at least one shot before you close up the camera in order to verify that the film is moving, and once the back is closed, rotate the rewind lever to (gently) tension the film.

If the winder continues to rotate freely, that means the film sprockets didn’t engage (and commiserations – you just accidentally rewound an unexposed roll of film). If you loaded the camera correctly, once the slack has been taken up, the rewind knob should turn on its own as you advance the film.

For medium-format cameras, a surprisingly common misstep is loading the film backwards so that the backing paper, not the film, faces the lens. You might say, “Well, the backing paper has writing on it. How stupid must I be to get that wrong?” But in the case of cameras that use detachable film magazines, things can get very confusing indeed, because the paper markings will be facing inwards on the magazine. So a better question to ask is, “How stupid must the camera be?” Take it slow, visualize how the magazine fits into the camera and you should be fine. Better yet, read the manual.

2. Trying to load a camera that’s already loaded

Not all cameras have a nifty little film window.

This is another of the classic “oh crap” moments in film photography: You pop open the back of the camera and see there’s already film there. (Alternatively, you drop the camera and the back opens. Happens to all of us.) The very first thing to do – preferably during and not after the obligatory cursing – is to close the camera back right away. (Seems obvious, but we all get paralyzed by disbelief.)

Have you just ruined all your pictures? Probably not. You’ll definitely lose the current exposure, and the two or three previous will likely be spoiled or partially fogged. But most cameras wind the film tightly enough that the rest of the photos will be okay if you get the back closed quickly enough. Film still in the cartridge will be fine; just fire off a couple of “blank” shots to get past the film that was exposed when you opened the back.

Some 35mm auto-wind cameras, like Canon Rebel SLRs, protect against this sort of thing by winding all of the film out of the cartridge when you load them and then rewinding as you shoot. That way, any pictures you’ve already taken are safe, and it’s only possible to ruin the unexposed portion of the film. (Isn’t it nice to know a camera was designed with the assumption you’d screw up?) Chances are in this situation that the rest of the roll is still usable once you’ve shot past the frames which are definitely ruined, but if you’re shooting anything important, it’s best to play it safe – rewind the film and load up a fresh roll.

3. Forgetting if there’s film in the camera

As someone with a bad case of GAS (Gear Acquisition Syndrome), I have a lot of cameras and I can’t always remember which ones I’ve loaded with film. To be fair, I often can’t remember what I had for breakfast or where I left my keys or my children, either. Auto-wind cameras usually have an icon to tell you if they’re loaded, but what about manual-wind cameras that don’t?

Easy solution: Remember earlier how we tested that the film was loaded properly by tensioning the film with the rewind knob? That trick will also tell you if there’s film loaded. Pop out the rewind knob and turn it gently. If there’s film, it should move freely at first then start resisting as you take up the slack. (Don’t turn with too much force or you may rip the sprockets on the film.)

4. Shooting a roll of film at the wrong speed

You rewind your last roll of film, pop in a new one, go to set the ASA/ISO dial, and your heart sinks – you see the dial is set at 100, but the film you just pulled out is 400. Cue the movie guy running in slo-mo and yelling “NOOOOOOOO!!!”

Panic not, my petal, for this is a common mistake with an easy fix. If you’re shooting color print film and you’re only off by a stop (½ or 2x the right ISO) or even two, you probably don’t need to worry. Consumer-level C-41 process film has a lot of latitude; in fact, disposables and other cheapie cameras with limited exposure settings count on this built-in flexibility. (Traditional-process black and white and some “pro” print films are less forgiving, and slide film even less so.) If in doubt, just tell your lab what happened. If necessary, they should be able to compensate with processing (albeit sometimes at extra cost).

5. Changing the ISO (ASA) dial on the fly

Nope, can’t do that with film! On a digital camera, turning the ISO dial changes how the camera records images, but on a film camera all it does is calibrate the meter so that you get correct readings for the film speed you’re using. If you want consistent metering (and you usually do) the whole roll has to be shot at the same ISO. The only exception to this is for exposure compensation. If you’re shooting ISO 200 film on a bright snowy day, setting the ISO to 100, or even 64, will help compensate. Similarly, if you’re shooting a moody portrait of someone wearing dark clothing, setting the ISO dial to 400 or 800 will prevent skintones from coming out too dark.

Many more advanced film cameras offer a dial with +/-2 stops of exposure compensation to make this easier to get your head around, but it’s the exact same thing (with the advantage that it’s quicker to dial in, and you’re less likely to forget to unset the compensation later).

You also have the option of pushing or pull your film. Pushing is when you intentionally under-expose your film, then compensate by over-developing, and pulling is the opposite. The pictures won’t be perfect; they may have more grain, more or less contrast, or color shifts, but they will come out. (Some film stocks respond better to pushing and pulling than others.) Why would anyone do this? Sometimes it can lead to an interesting look, and it’s also a handy way to get more (or less) sensitivity in a pinch.

For example, when shooting indoors under low light, instead of using dedicated high-speed film, I push my 400-speed Ilford HP5 Plus film two stops by setting the meter to 1600, then alter my developing as outlined on the data sheet. There’s more grain and contrast, but I happen to like the look.

6. Letting the light meter lie to you

Modern digital cameras have sophisticated multi-zone meters that can figure out tricky lighting situations. I’m amazed at how even my phone can get pictures that would be impossible for most film camera meters to sort out. Then again, I’m amazed that my phone can make phone calls and that they can fill up soda bottles without the soda fizzing all over the factory. Seriously, how do they do that?

Anyway, multi-zone metering was in its infancy when film gave way to digital, and most film camera meters are center-weighted, meaning they take an average of the scene with more emphasis on what’s in the middle (presumably what you’re pointing the camera at) and a little less on the top part (presumably the sky, which screws things up when you rotate the camera for a vertical shot). As I mentioned earlier, bright or dark backgrounds, deep shadows, snow, nuclear fireballs and other scenes with large light or dark patches can fool the meter and throw off your exposure.

What do to? Serious photographers carry a gray card, but serious photographers tote enough gear to flatten a pack mule. In a pinch, you can take a meter reading off the grass or a patch of medium-toned fabric – just make sure the camera is pointing in the same general direction as your subject. If the readings are different, the scene is probably fooling your camera’s meter and you should adjust accordingly.

If in doubt (and assuming you don’t mind burning through film a little faster) just take a handful of shots at slightly different exposure settings to make sure. At least one of them is likely to turn out.

7. Asking on a forum which film is best

Asking a bunch of photographers which film is best is like asking them which letter of the alphabet is best. As sure as loading 800 ASA film makes the sun come out and 50 ASA makes it rain, you’ll get 85 replies and no consensus. That’s because different films have different characteristics, and “best” is a matter of personal preference (which is why there are so many choices). Everything I’ve ever read on any forum about a given film being good or bad has been wrong – not because the people don’t know what they were talking about (though a couple obviously didn’t), but because the question of film quality is so subjective.

The best way to find the right film for you is to try different kinds and see what you like. I recommend starting with well-known staples like Kodak Gold or Ilford HP5+ to get some sort of a baseline for yourself. (Best not to start with slide film, as it’s really picky about proper exposure.) Then you can ask a different kind of question on the forums: “I’ve been shooting BlastMax 200 and I was thinking about trying a roll of Elbowchrome. What can I expect?” Now that your fellow shooters know your baseline, they can give you a more meaningful answer by comparing the new film to what you know. Better yet, don’t ask – just buy a roll and decide for yourself.

8. Getting obsessed with the Zone System

For those who haven’t heard of it, the Zone System is how famed landscape photographer Ansel Adams made his amazing black-and-white landscape photos. It’s an elaborate method that involves treating exposure, developing and printing as a unified system: you make adjustments in one part of the process that are compensated by adjustments in the others. Incidentally, you can use a form of the Zone System in digital photography, and it’s quite a bit easier since your “processing” is electronic.

The Zone System has understandable appeal to digital photographers who are used to mining the data to draw details out of their exposures. If you’re developing and printing your own black-and-white film, then by all means, dive into the Zone System. But, really, you don’t need to. Bracketing, where you shoot a couple of exposures over and under your metered exposure at ½- or 1-stop increments, as descried earlier, is a better way to give yourself options, and always a good idea with slide film. Better to concentrate on things like composition, because a boring photo is a boring photo no matter how perfectly it’s exposed.

Photo: Ansel Adams / US National Archives and Records Administration

9. Starting with slide film

Someone recently wrote in DPReview’s Film Photography Talk forum, “If you want to hate film photography with a passion, start with slide film.” Truer words have never been typed. This isn’t a mistake all newbies make, but it’s one to be avoided. Here’s the deal: Slide film is exceptionally sensitive to proper exposure. If you (or your camera) is off by even a little, the picture won’t look good. Back In The Day, shooting slide film gave you bragging rights, but that’s when the film and processing didn’t cost much more than print film. You could afford to burn half a roll by bracketing (shooting pictures over and under your camera’s meter reading) to get that perfect shot.

Today, slide film and its processing is more expensive, and with so many photographers using a digital workflow (scanning and printing), many negative films are now optimized for scanning. Slides are still cool, slide film is typically sharper and finer grained than equivalent print emulsions, and slides look great when projected. If you want to shoot slides, I certainly won’t try to stop you. But I suggest waiting until you have some experience with your camera.

10. Not using UV filters

Neglecting to fit a UV filter is a mistake you might not realize you’ve made until it’s too late. Though they do filter UV light (not really a concern with modern films; older film stocks could go a bit blue without one) their real job is to protect your lens in case you drop the camera or hit it against something, which I absolutely guarantee you will do at some point. And yes, this is experience talking – I’ve done it both ways. Most recently, I had a Nikon zoom fall off a shelf and land face-down. The $ 8 filter shattered and the $ 50 lens was unscathed. I could have kissed that filter, except that putting broken glass to your lips is a bad idea.

I’ve heard people argue against protective filters by saying that a shattered filter could scratch the lens surface, but this is rare. I have, however, heard many, many, many stories about photographers bashing their cameras into rocks or walls or furniture or people and having the UV filter save the lens. UV filters cost from $ 5-$ 10 up to $ 100+ (personally I use these Amazon Basics filters) and they’re worth it, protecting you from the consequences of bad spur-of-the-moment decisions.

Photo: Magnus Akselvoll

Articles: Digital Photography Review (dpreview.com)

 
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Duchess of Cambridge launches photo competition to document lockdown life in the UK

08 May

The Duchess of Cambridge has launched a photography competition in partnership with the National Portrait Gallery to document stories of human kindness and suffering during the coronavirus pandemic lockdown in Britain. A keen and very capable amateur photographer herself, the Duchess says that she hopes the competition will showcase life under the lockdown and tell stories of how the inhabitants of the UK were affected.

The contest, called Hold Still, will culminate in an online exhibition of 100 of the best images entered. Though not categories as such, the themes of Helpers and Heroes, Your New Normal and Acts of Kindness have been suggested, and Kate expects to see images depicting harrowing stories, stories of sadness as well as uplifting stories that show how the population has come together to help each other.

The competition will be judged by the Duchess herself along with the Director of the UK’s National Portrait Gallery, Dr Nicholas Cullinan as well as members of the gallery team. Entry to the competition is free and you can one images along with a short explanation of what the picture is about. The Gallery says ‘Images must involve people, and can be captured on phones or cameras. Each image will be assessed on the emotion and experience it conveys rather than its photographic quality or technical expertise.’ The images must also have been taken in the UK.

The Duchess of Cambridge is a patron of the National Portrait Gallery as well as being patron of the Royal Photographic Society. She has become recognised for her touching pictures of her children, and is known to be a Canon DSLR and Powershot user, and has taken lessons from a well-known UK press photographer. She recently released images taken as part of a project to commemorate the 75th anniversary of the end of the Holocaust.

The competition is open now, and closes on 18th June 2020. You can find more information and submit your entry on the National Portrait Gallery website.

Press information

Why is the project called ‘Hold Still’?

Today our society had been told to isolate, to stay inside, not to travel unnecessarily or go out unless vital –to hold still to protect our helpers and heroes.And while many people’s lives are on hold, there are some that work harder than ever, and others that endure the upheaval of hardship and loss.

Through this project we hope to record these experiences, holding still to capture moments in time.

So for both those whose lives have been forced to slowdown and those working at a hectic pace, we hope this project will provide an opportunity to record our personal experience through one still image. And that by bringing together these individual moments we can create a collective portrait of lockdown reflecting resilience and bravery, humour and sadness, creativity and kindness and tragedy and hope.

‘Hold Still’ is a portrait of our nation as we pause for the good of others, and a celebration of those who have continued so we can stay safe.

What are the three themes?

  • Helpers and Heroes
  • Acts of Kindness
  • Your New Normal

These have been suggested to help entrants think about what they may like to photograph.

Please note these themes are not categories that entrants will specifically enter but are intended as inspiration for the content and will be in the minds of the panel when they are selecting the final 100.

What are the entry dates?

Entry opens on 7 May 2020 and the closing date 17.00 on 18 June 2020

Are there any restrictions on who can enter?

The project is about recording the experience of people in the United Kingdom so we would like the photograph to have been taken in the United Kingdom.

There is no age restriction, and the project is open to adults and children alike. However, when submitting an image, entrants will need to confirm that the image is their own work and is not defamatory and does not infringe any UK laws (see Terms & Conditions for full details) and that anyone under the age of 18 has the consent of a parent/guardian to enter. Consent will also be needed for any sitter who is identifiable in the photograph (for those under 18 from a parent/guardian).

We will ask entrants to follow current social distancing rules when taking part.

How do I enter my photograph?

Visit www.npg.org.uk/holdstill, complete the entry form and upload your image, along with a short title telling the story of the photograph.

How many images can I upload?

You can upload one digital image.

Any format restrictions on entries?

What are the requirements for the image that I upload?

Each image must be saved as a JPG/JPEG and be smaller than 3 MB.

How many photos will end up in the final selection?

The final selection will be 100 photographs.

What other requirements will be needed?

If your image is part of the 100 selected, you will be required to complete a form to provide information about yourself and the image.

Will there be a cap to the total number of entries to the project?

There will be no cap on the total number of entries to the project.

Who will be making the selection?

The selection will be made by a panel including members of the National Portrait Gallery team, The Duchess of Cambridge and Director of the National Portrait Gallery, Dr Nicholas Cullinan.

When will the selection be on view?

The selection will be available to view as a ‘virtual’ exhibition on the Gallery’s website in August 2020. Following this ‘virtual exhibition’ we hope to show the images across the country later in the year although we are unable to confirm details at this point due to the current restrictions.

Can I send in my application by post?

All submissions must be made online via the website.

I would like to take a picture via an app of someone I miss who is based in another country, is this allowed?

Yes, this allowed as the picture is taken in the United Kingdom.

What will you do with my personal information?

Please see terms and conditions. All personal data given will be held securely by the Gallery and only be used to administer your entry. It may be used for internal research/statistical purposes. It will not be passed to any third parties apart from the project partners for administration of the project.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon confirms first D6 units will ship out by end of May, after a brief delay

08 May

At the time of its announcement on February 12 this year, Nikon said its flagship D6 DSLR was expected to ship in April 2020, with pre-orders starting the day of its announcement. However, due to component supply issues caused by the COVID-19 pandemic, Nikon was forced to issue a ‘notice of delay’ on March 9 stating the first units wouldn’t be shipping until May.

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Nikon has held true on that promise, confirming in a press release today that the first D6 units will start shipping to customers on May 21. In addition to the new shipping date, Nikon also shared a few images captured with the new DSLR as a teaser of sorts to tide over customers (and pixel-peepers alike):

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You can read more about the Nikon D6 in our initial coverage linked above, as well as in our hands-on coverage from our time with it at WPPI. Pre-orders are still live at retailers acros the globe, with the D6 DSLR body-only going for $ 6,500 (Adorama, B&H).

Press release:

Nikon Inc. Announces Retail Availability of the Flagship Nikon D6 DSLR

MELVILLE, NY (May 7, 2020) – Today, Nikon Inc. announced the retail availability of the new Nikon D6 DSLR, which was unveiled in February of this year. The D6 will be available in the U.S. starting on Thursday, May 21 for the suggested retail price (SRP) of $ 6,499.95* for the body-only configuration.

Whether on an assignment or in the studio, Nikon’s flagship D6 DSLR always delivers. The D6 incorporates Nikon’s most powerful AF to date, featuring a high-density system with 105 selectable cross-type AF points to help capture pivotal moments again and again, even in the most challenging conditions and environments. Since every second counts, the uncompromising D6 incorporates important upgrades to enhance photographers’ workflow and accelerate file transfer capabilities, offering time-saving and customizable options during and after capture. Additionally, the D6 offers robust reliability, unrivaled low-light capability, amazing versatility, 4K UHD multimedia capabilities and a mechanical shutter frame rate that can capture at a blazing fast 14 frames-per-second (fps).

Articles: Digital Photography Review (dpreview.com)

 
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Blackjet’s CFexpress Type B and XQD card reader, 4-bay Cinema Dock offer Thunderbolt 3 performance

08 May

Blackjet has two relatively new storage peripherals: the new TX-4DS four-bay Cinema Dock with Thunderbolt 3 and the TX-1CXQ reader for CFexpress Type B and XQD cards. Both products offer rapid data transfer speeds up to 40Gb/s due to the inclusion of Thunderbolt 3, making them suitable for users who often shoot Ultra HD footage, manage data-heavy projects or who need to rapidly transfer large batches of images between drives.

The Blackjet TX-1CXQ Thunderbolt 3 hub features support for CFexpress Type B cards and Sony XQD / XQD 2.0 cards with ingest speeds up to 1600MB/s and 500MB/s, respectively. The hub is powered by the Thunderbolt 3 cable that connects the device to the user’s computer. The TX-1CXQ works with Windows 10 and macOS 10.12 and higher.

The model is priced at $ 199 but is listed on multiple online retailer websites as on backorder without clear availability or shipping dates at this time.

Joining the card reader is the Blackjet TX-4DS Thunderbolt 3 Cinema dock, which features four M.2 NVMe SSD enclosures, dual Thunderbolt 3 ports for daisy-chaining up to five Thunderbolt devices (displays, external drives, etc.), and optional reader modules for directly turning the inputs into CFast 2.0, XQD, SDXC, SSD, SxS and CFexpress card readers.

The TX-4DS features a built-in cooling fan and can be configured with RAID 0, RAID 1 and JBOD using the included software. The unit measures 120 x 145 x 155mm (4.7 x 5.7 x 6.1in); it is compatible with Windows 10 and macOS 10.12 or higher.

The enclosure is available from numerous retailers, including Amazon and Adorama, for $ 499.99—the price doesn’t include SSD drives, which are sold separately. You can find out more information on Blackjet’s website.

Articles: Digital Photography Review (dpreview.com)

 
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DJI unveils the Matrice 300 RTK drone platform and Zenmuse H20 series camera systems

07 May

DJI has lifted the veil on its latest commercial drone platform and its first hybrid camera series, the Matrice 300 RTK (M300 RTK) and the Zenmuse H20.

While the M300 RTK and Zenmuse H20 are both packed with features designed specifically for commercial use-cases, the systems feature a number of groundbreaking technologies and features that will inevitably make their way into more consumer-centric drones.

M300 RTK

The M300 RTK features a unique design with a top-mounted body and bottom-mounted blades, opposite of its 210 predecessors. This unique design allows advanced AI-powered technologies to get a more expansive overview of the environment for less obstructed viewing. The chunky array atop the drone features a six directional sensing and positioning system that offers a maximum object-detection range of up to 40m (130ft) horizontally, as well as an Anti-Collision Beacon for making the drone more visible in low-light environments. DJI has also included its AirSense (ADS-B) technology that will alert pilots if other aircraft or drones are nearby.

DJI has also improved its OcuSync Enterprise technology to enable triple-channel 1080p video transmission up to 15km (9.32m) thanks to its 2.4GHz and 5.8GHz connections, which will switch in real-time based on what offers the clearest connection.

Together these systems work together to power the Primary Flight Display (PFD) that ‘merges real-time flight and navigation data into one integrated display.’ Aside from the usual flight telemetry, the pilot will also see obstacle data and other details to ensure a proper flight path in tricky conditions.

The M300 RTK also features DJI’s new Advanced Dual Operator Mode, which gives two separate pilots equal access to flight controls, telemetry and other data. ‘Now, if one pilot becomes compromised or their controller loses battery or connection, the other pilot gains full control over the M300 RTK and its payloads,’ says DJI. This feature can also be used for training new pilots, where the teacher can take over control of the drone if need be.

When paired with the new Zenmuse H20 camera system, the M300 RTK will also offer two new means of syncing the drone’s location with objects of interest for more precise location tracking in coordinated missions, such as search-and-rescue operations and critical infrastructure repairs. The first is PinPoint, ‘a function that allows users to mark the subject of interest and instantly share the precise location data to a second operator or if necessary to ground teams via DJI FlightHub.’ The second method is Smart Track, ‘which allows users to automatically detect and track a moving object, even at extreme distances, while synchronizing the subject’s dynamic location in real time.’

The M300 RTK is capable of carrying up to three payloads—two on the bottom of the drone and one on the top. Below are a few product photos, including a trio of images showing one-, two- and three-camera setups.

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Additional data collection tools include Live Mission Recording, AI-Spot Check and Waypoints 2.0. Below is a description of each of the three systems from DJI:

‘Live Mission Recording [is] for recording sample automated missions in real time; AI-Spot Check which enables data collection from exactly the same location every time, greatly improving the accuracy of automated missions. After photos from a sample waypoint inspection mission have been recorded, operators are able to mark the subject of interest. During subsequent automated flight missions, AI algorithms perform a comparison between the marked subject and current live view, thus correcting the camera orientation accordingly to deliver accurate and consistent results; and Waypoints 2.0 [is] an improved mission planning system offering up to 65,535 waypoints, while supporting an array of consecutive actions, 3rd party payloads, and more.’

DJI says the M300 RTK offers up to 55-minutes of flight time on a single battery, offers AES-256 Encryption of its data between the drone and its connected controllers, has IP45 Protection with an operating temperature window of -20 to 50° C (-4 to 120° F) and a self-heating battery when running in the lower temperatures.

Zenmuse H20

While the M300 RTK can be used with other payloads, including previous camera systems from DJI, the Zenmuse H20 series is designed to make the most of the new technologies inside DJI’s latest drone. The H20 series comes in two versions: the H20 and the H20T.

The H20 is a triple-sensor unit with a 20MP, 23x Hybrid Optical Zoom Camera, a 12MP Wide Camera and a Laser Range Finder that covers distances from 3–1200 meters (3–1312 yards). The H20T, on the other hand, adds an additional Radiometric Thermal Camera (640 x 512 pixels), that ‘allows operators to see what is invisible to the human eye thanks to high thermal sensitivity.’

DJI has also updated its Pilot app to make it easier to switch between the various sensors onboard the H20 series payloads and added a few new modes to make the most of the multi-camera array. One-Click Capture will capture photos or video from all three cameras simultaneously without having to switch between cameras mid-flight, as well as a Night Scene mode that will capture better low-light images when lighting conditions are less than ideal.

Both the M300 RTK and Zenmuse H20 series payloads are available to pre-order from authorized DJI Enterprise dealers. the first units are expected to ship in the second quarter of 2020.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Laowa 12mm T2.9 Zero-D Cine review – Do you need an ultra-wide for video?

07 May

Ultra-wide lenses pose special challenges when shooting video, but can create dramatic effects. We review the Laowa 12mm T2.9 Zero-D Cine lens, which shares the same optical formula as the company’s 12mm F2.8 lens for full frame cameras.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Using ultra-wide lenses for video
  • How the Cine version differs from the standard Laowa 12mm F2.8 Zero-D
  • Lens breathing
  • Distortion
  • Sharpness
  • Sunstars and flare
  • Do you need an ultra-wide for video?
  • Which version should you get: Stills or Cine?
  • See you next time!

Articles: Digital Photography Review (dpreview.com)

 
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The Flashpoint XPLOR 300 Pro is a Profoto B10 competitor for 1/3rd the price

07 May

Adorama’s house brand Flashpoint has formally announced the much-anticipated XPLOR 300 Pro. The 300W/s battery-powered monolight, which is a rebranded version of the Godox AD 300 Pro, is available starting today for $ 499.

As its name alludes to, the CPLOR 300 Pro offers 300W/s of power with nine stops of control, a minimum flash duration between 1/220 and 1/11490, a recycle time between 0.01 and 1.5 seconds depending on the power level and a 2,600Ah battery that can fire off up to 320 max-power flashes on a single charge. The light also features a bi-color 12W LED modeling light, TTL metering, high-speed sync up to 1/8000th of a second and a 328-foot range when used with Flashpoint’s R2 Pro Mark II trigger.

The XPLOR 300 Pro measures in at 19cm (7.48”) long, and 10cm (3.94”) in diameter, and weighs just 1.25kg (2.76lbs). It comes with a Bowens S-Type bracket, but Flashpoint also offers a number of adapters for mounting lighting modifiers from Broncolor, Elinchrom and Profoto.

Below is an overview video of the Flashpoint XPLOR 300 Pro from Adorama:

As is the case for many of Flashpoint and Godox products, the XPLOR 300 Pro is meant to be a direct competitor to Profoto’s more expensive 250W/s B10 monolight, which retails for $ 1,695—more than three times the price. You won’t get all of the extra controls or fine-tuning the B10 offers, but for less than 1/3rd the price, Flashpoint drives a hard bargain.

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The Flashpoint XPLOR 300 Pro is currently available to purchase at Adorama for $ 499 and comes with the monolight, a single rechargeable Li-Ion battery, the flashtube, a charger with a power adapter, a basic reflector, a protective cap and a case to carry it all in. While the light is also sold as the Godox AD 300 Pro, the Flashpoint unit carries a two-year warranty when purchased in the United States through Adorama.

Articles: Digital Photography Review (dpreview.com)

 
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Filmmaker uses COVID-19 work lull to make and sell $10 3D-printed camera battery cases

07 May

A documentary film maker from Utah has designed and built a series of battery holder magazines that he says help to solve the problem of knowing which batteries are fresh and which are depleted. The 3D printed magazines hold three or four batteries from common cameras and allow the batteries to be inserted contacts up for dead batteries and down for fresh ones.

Tim Irwin, who is printing the magazines in his basement, had been meaning to come up with a solution to this problem for a while, and had tried downloaded plans for 3D printed magazines in the past, but found they always broke. ‘I originally found files on Thingiverse that worked for a bit. But all the designs I tried from there ended up breaking because of a weak point in the print’ he explains. ‘When the travel restrictions around Covid 19 hit every one of my gigs was cancelled or postponed, so it seemed like prefect time to dive into this side mission. I designed my own from scratch and refined it over a long period of time until I was happy with the product. I’m always looking for ways to make my kit more efficient, quick, and organized. The Battery Mag was born out of that.’

Tim has designed the magazine so that when fresh batteries are loaded with their contacts down they are isolated from each other and from anything else the magazine might come into contact with, so the risk of shorting is avoided. And with deads loaded with the contacts facing up it is easy to see at a glance which battery to reach for next in fast moving situations.

Tim, who owns Functional Films, makes commercial video documentaries and says he is usually on the road shooting about 140 days a year. That has all stopped due to the coronavirus out-break, so this is how he is filling his time.

The Battery Mags are available for Panasonic DMW-BLF19, Canon LP-E6/N, Pentax DLI90, Sony NP-FZ100, Sony NP-FW50 batteries and he says a unit for Panasonic S cameras is also in production. The magazines are $ 9, $ 10 and $ 14 each, respectively, and can be ordered via the Battery Mag website.

For examples of Tim’s work see his Instagram page.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe’s 12th Annual 99U Creative Conference will be free and virtual this year

07 May

Adobe has announced its 12th Annual 99U Creative Conference, which is usually a paid, in-person event, will be hosted on Adobe Live for free as a virtual event this year amidst the ongoing COVID-19 pandemic.

Tickets for the annual event normally cost around $ 1,000, so being able to take in the event for free, in the comfort of your own home, is quite the discount. This year’s event will take place on Wednesday June 17 and will feature a mix of keynotes, creative workshops and masterclasses throughout the day. The presentations will be available stream via Adobe Live or available on-demand shortly after completion of each event.

A few of the individuals who will be presenting at this year’s virtual conference.

You can find out more information and register to ‘attend’ the event for free on Adobe’s Behance website.

Articles: Digital Photography Review (dpreview.com)

 
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Capture One teases upcoming Capture One 20 update, including new heal and clone brushes

06 May

Earlier today, Capture One showed off a trio of major new features coming via a free update to Capture One 20 later this month. The announcement came in a live stream, which you can watch the replay of below, hosted by Product Manager Alexander Flemming and Business Development Manager David Grover.

In the live demo below, the first major new feature coming to Capture One 20 later this month is a revised healing brush for retouching images and removing unwanted spots. In the current version of Capture One 20, the healing workflow comprises creating a new heal layer, select your brush and pick a source point. Further, you can only select a single source point per layer.

In the upcoming update, the software will be able to quickly and intelligently select a source point for each instance of using the heal brush on a single ‘Heal Layer’. Per Flemming, there will be no limit to how many different heal points you can have on a single layer nor has the team found any performance issues when utilizing many heal points.

In the livestream, Flemming and Grover shared a few interesting tidbits about how the new healing brush operates. The first time you use the brush on an image, the software caches the entire image, so that all subsequent uses of the heal brush are much faster. Further, the new healing technology is adept at adjusting the luminosity of your source point to match the area you wish to heal or touch up. For example, if an area in the image with the best match for texture is brighter or darker than the area you are trying to heal, the software can match the source area by brightening or darkening it.

In addition to the new healing brush, there’s also a new clone brush. The clone brush works similarly to the new heal brush, but it creates a ‘Clone Layer’ rather than a ‘Heal Layer’. The clone brush creates a pixel-for-pixel clone, rather than replacing a healing area via a source selection. Basically, the clone brush allows you to copy a selected set of pixels from one area of your image to another area.

In this screenshot from Capture One’s presentation, the new clone brush is being used. Image credit: Capture One

Another addition is the new before and after button, which can be found on the toolbar. In prior versions, seeing a before and after comparison was done via a convoluted process whereby you reset the image and then undid the reset. Now you will be able to simply press the before/after button, which creates a sliding before/after split view, showing before on the left and after on the right. This works at all zoom levels and can be used across multiple images. Users will even be able to edit in this view if they so desire. There’s also a secondary before/after mode where you can view the entire image in its before and after state, rather than using a slider.

The upcoming free update to Capture One 20 includes a new before/after view. You can use this view across multiple images at once as well, as can be seen here. Image credit: Capture One

As mentioned, the update is scheduled to arrive by the end of the month. The update will be free for all existing Capture One 20 users, including those who use Capture One Fujifilm and Capture One (for Sony). For more information on Capture One 20, including pricing information for both subscriptions and perpetual licenses, click here.

Articles: Digital Photography Review (dpreview.com)

 
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