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NASA is asking the public to use their smartphones to help track light pollution caused by satellites

06 Mar

A newly launched NASA project called Satellite Streak Watcher aims to assess the night sky light pollution caused by low-Earth orbit satellites using images captured by the public. On its SciStarter project page, NASA asks anyone interested in participating to ‘Photographically record satellite streaks across the night sky to monitor this form of sky pollution.’

The space agency explains its concerns related to the satellites, stating, ‘As more satellites are placed into orbit, they will become an increasing problem to astronomers on the ground.’ Participants can use the Heavens-Above website to determine when and where satellites will pass over their local sky; images are uploaded and shared on the project’s website.

The new public science project follows announcements from a number of companies that have launched — or plan to launch — large numbers of small satellites into low-Earth orbit.

The most notable example of this comes from SpaceX, which has spent the past few years working on its Starlink mission. The private space company expects to ultimately launch thousands of small satellites into very-low Earth orbit (VLEO) in order to provide Internet access around the world. As of March 1, 2020, the company has delivered 302 of these satellites into space with plans to launch more throughout the year.

Critics have expressed concerns that Starlink and other projects like it will have a negative impact on the night sky, introducing light pollution that will disrupt astronomy. These satellites also impact astrophotography by adding thin, bright streaks of light to long-exposure images, prompting complaints from photographers who increasingly struggle to deal with light pollution.

DPReview reader Guido Forrier shared the below image in our Astrophotography forum, showing a series of fifteen Starlink satellites flying across the sky in one of his night sky photographs. When we asked what his thoughts on the matter, he said ‘I am surprised and incensed that apart from the already high light pollution, those satellites [have] also come to disturb. [There’s] a lot of rubbish is already flying in space and I see it regularly burning in the atmosphere.’

Photograph by Guido Forrier, shared with permission.

Until now, most efforts to combat light pollution have focused on the ground, not the sky. Light produced by street lamps, billboards, parking lot lights and more is reflected in the night sky, making it hard to see and photograph stars, particularly in regions close to big cities. The problem has spurred the creation of a number of Dark Sky Reserves throughout the world; these are regions of public and private land with ample natural darkness and starkly visible stars.

However, experts have expressed concerns over light pollution that results from satellites launched into low-Earth orbit, as well as more ridiculous future concepts like an artificial moon and space billboards. Because this type of light pollution comes from the sky rather than the planet’s surface, traveling to Dark Sky Reserves won’t help photographers avoid the issue.

According to Astronomy.com, the Starlink satellites are particularly disruptive to the night sky due to their shallow orbit, which is necessary for delivering Internet service to people on Earth. More than 40,000 of these small satellites may eventually be launched under the Starlink mission, and though SpaceX is experimenting with anti-reflective coating on the satellites, it is unclear whether that will be sufficient for reducing the disruption caused by the spacecraft.

MIT Technology Review points out that satellites depend on their reflective nature to help keep them cool; the experimental anti-reflective coating may cause thermal issues for the Starlink satellites. SpaceX applied the coating to the bottom of one of the 60 satellites it launched in December 2019 in order to test its potential impact on performance.

Harvard-Smithsonian Center for Astrophysics astronomer Jonathan McDowell had told Technology Review at the time that while the reflective coating is ‘worth a try,’ he fears it ‘will be offset by the fact that they are moving the constellation to a lower orbit.’

NASA anticipates its Satellite Streak Watcher operating as a long-term project in order to gather data on satellite light pollution over time. The project currently has 136 members and 20 images, which include shots ranging from bright dots on the night sky to several long streaks of light bunched together. Though NASA says citizen scientists can use a basic tripod and most newer smartphones to capture the images, astrophotographers who have more capable camera systems are also welcomed to share their images.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X100V full-production sample gallery – with Raws

05 Mar

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The Fujifilm X100V updates the X100 line with a 26MP sensor, redesigned lens and a tilting, touch-sensitive rear screen (among other things). We took delivery of a production-quality X100V recently, and we’ve spent the past few days shooting up and down the coast of the Pacific Northwest.

Our full review is on the way, but in the meantime check out our gallery of sample images, including Raw files for download.

View sample images from
the Fujifilm X100V

Articles: Digital Photography Review (dpreview.com)

 
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iFixit tears down a Galaxy S20 Ultra to show off the ridiculous camera array

05 Mar

Repair site iFixit has published its in-depth teardown of Samsung’s new flagship smartphone, the Galaxy S20 Ultra. In addition to the video above, iFixit also shared a detailed account of the autopsy, including close-up shots of the impressive camera array Samsung has packed inside this monster.

The motherboard assembly, which includes the camera array, is carefully removed from the Galaxy S20 Ultra unit.

As a quick refresher, the Galaxy S20 Ultra features a camera array consisting of three individual modules: a 12-megapixel F2.2 ultra-wide camera module, a 108-megapixel F1.8 wide-angle camera module and a 48-megapixel F3.5 telephoto camera module, the last of which offers up to 100x zoom through a combination of optical and digital zoom with a little AI and software trickery for good measure. On the front of the S20 Ultra is a ridiculous 40-megapixel front-facing camera as well.

The 108-megapixel sensor inside the Galaxy S20 Ultra (top) shown alongside the 12-megapixel primary sensor inside Apple’s iPhone 11 Pro.

First up on the docket was the 108-megapixel (9.5mm x 7.3mm) wide-angle camera, powered by Samsung’s ISOCELL Bright HM1 ‘Nonacell’ image sensor. As iFixit points out, this massive sensor features roughly double the surface area compared to the iPhone 11 Pro’s 12-megapixel primary sensor and uses Samsung’s Nonacell pixel-binning technology to bring the final image down to approximately 12-megapixels.The 12-megapixel F2.2 ultra-wide camera module was glossed over in the teardown, but given a nod in the video as it’s removed from the main camera assembly.

From there, iFixit took a closer look at the 48-megapixel F3.5 telephoto camera module, which is responsible for the 100x ‘Space Zoom’ advertised on the outside of the camera bump. Similar to other periscope-style zoom lenses seen in past smartphones, Samsung uses an array of zoom lenses behind an optically-stablized prism (which is used to redirect the light 90-degrees) to get up to 4x zoom capability. As noted above, the 100x ‘Space Zoom’ is achieved through a combination of sensor cropping, digital zoom and software.

The prism (top) redirects the light 90-degrees through the lenses housed within the assembly (black box, above where the tweezers are positioned), which slides back and forth within the guides to offer up to 4x optical zoom.

Other components onboard the Galaxy S20 Ultra include the 6.9-inch Quad HD+ Dynamic AMOLED Infinity-O Display (3200 x 1440 pixel, 511ppi, up to 120Hz refresh), a Snapdragon 865 processor, up to 16GB of LPDDR5 RAM and a 5,000mAh battery. As you might expect for a smartphone that manages to pack that much tech inside its frame, the device doesn’t score too well on iFixit’s repairability chart. When all was said and done, iFixit gave the Galaxy S20 Ultra a three out of ten.

You can find more images and read peruse through the entire teardown over on iFixit’s website.


Image credits: Photos via iFixit, used with permission

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: Apple reveals the winners of the Shot on iPhone Night mode challenge

05 Mar

Apple reveals the winners of the Shot on iPhone Night mode challenge

At the beginning of the year, Apple invited iPhone 11, iPhone 11 Pro, and iPhone 11 Pro Max users to share their best photos taken in Night mode. All 3 iPhone 11 models feature a Wide sensor with 100 percent Focus Pixels. As a result, Night mode automatically activates in low-light environments.

Thousands of photos were submitted from around the world. The winning photographers, selected from a panel of 10 judges, hail from China, India, Russia, and Spain. The judges, including Malin Fezehai, Tyler Mitchell, Sarah Lee, Alexvi Li, and Darren Soh shared their thoughts on what made the winning photos stand out.

Winning photos will be featured on apple.com, Apple’s official Instagram account which boasts 22.5 million followers, at select stores, on billboards around the world, and other third-party photo exhibitions.

Konstantin Chalabov (Moscow, Russia), iPhone 11 Pro

Location: Sakha Republic
Phil Schiller says: ‘Konstantin’s photo is a super-dramatic image shot with Night mode. It could be the opening shot of a great Cold War spy movie. It challenges us with intriguing questions — ‘Where is the driver? Where are they going? Why stop out here?’ A cool mist permeates the blue Russian hillside and snow-covered ground, framing the lonely vehicle with bright red lights that hint at an unknown danger.’
Brooks Kraft says: ‘A movie-like scene that leaves you curious about what happened in this snowy remote setting. Night mode captures the blue light exterior hue beautifully as well as the incandescent lighting inside the cab of the truck and the truck lighting — a wide variety of lighting.’

Andrei Manuilov (Moscow, Russia), iPhone 11 Pro Max

Mitsun Soni (Mumbai, Maharashtra, India), iPhone 11 Pro

Location: Quartiere San Lorenzo

Darren Soh says: ‘An amazingly well-balanced composition that throws so many questions back at the viewer — ‘Where is this? Who lives here?’ — and perhaps the most important — ‘Why is laundry hanging out to dry at night?’ As an architectural photographer, I am drawn by the image’s one point perspective that leads the viewer into the frame, right smack into the hanging pieces of clothing.’
Sarah Lee says: ‘I love this and feel it could only have been shot on Night mode. It is beautifully composed, uses symmetry very well, and without cliché to communicate a fascinating story about densely populated urban spaces and the way many people live. This work reminds me of Michael Wolf’s ‘Architecture of Density’ in its theme, but compositionally the photographer has their own take, which is really interesting.’
Location: Dubai, United Arab Emirates
Tyler Mitchell says: ‘This one blows my mind. I have no idea where that deep rich red light is coming from on the tree. It almost feels like a UFO sitting above the tree, just out of frame. Absolutely beautiful composition as well.’
Arem Duplessis says: ‘The rich red color of the tree and ground gives this picture an otherworldly quality. Paired with the night sky, it feels like a still from a sci-fi film.’

Rubén P. Bescós (Pamplona, Navarra, Spain), iPhone 11 Pro Max

Location: Sierra del Perdón

Phil Schiller says: ‘Photography is the art of light, and Rubén’s photo magically uses light to bring this art installation in Spain to life. The color in this Night mode image is a captivating orange, beautifully framing the band of pilgrims in sharp silhouette. The crackly details on the foreground rocks add to the story of the long and difficult journey ahead for these pilgrims before they reach their holy site.’

Alexvi Li says: ‘Taking great advantage of Night mode with exposure setting, the photographer captured the silhouette of a group of people in the city light backdrop. The ground in the photo reveals beautiful texture when shooting against the light. The simple composition quickly draws viewers into a story, while delivering good image quality.’

Rustam Shagimordanov (Moscow, Russia), iPhone 11

Location: Hamnøy I Lofoten, Nordland, Norway

Kaiann Drance says: ‘A captivating shot of a winter village by the sea, which must feel cold, yet looks warm with the glow against the rocks and lights inside the red cabins, inviting a story about the people inside.’

Malin Fezehai says: ‘I love how the lights in the red cabins give a sense of warmth in the cold. The layers in the image create depth and give me a sense of cold and warmth at the same time. It’s a beautifully captured landscape image of a winter evening.’

Yu “Eric” Zhang (Beijing, China), iPhone 11 Pro Max

Jon McCormack says: ‘This image represents iPhone at its best. Capturing life as it happens, no matter what the light is! The sense of moment, intimacy and place in this image is very good. It really transports the viewer to being right there.’

Arem Duplessis says: ‘This picture has a very real quality to it. The rising steam, the silhouetted figures backlit from the lamp all align perfectly in this magical caught moment.’

Articles: Digital Photography Review (dpreview.com)

 
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Sample gallery: Sigma 24-70mm F2.8 DG DN for Sony E-mount

05 Mar

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Sigma’s 24-70mm F2.8 DG DN is a fast and versatile zoom for Sony full-frame E-mount (as well as Leica/Sigma/Panasonic L-mount). It’s well-constructed, with extensive weather-sealing, and reasonably fast to focus. Output appears nice and sharp, corner-to-corner, and aberrations/ghosting are fairly well-controlled. Take a look for yourself.

See our Sigma 24-70mm F2.8 DG DN
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Scan film negatives with the Nikon ES-2

04 Mar

Nikon’s ES-2 film digitizing adapter promises to be an easy way of scanning slides and negatives. We tested it with a bunch of different film stocks and discovered that it works pretty well!

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
  • Introduction
  • What's included?
  • The scanning process
  • Sample images
  • Who's it for?

Sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Opinion: Film photography has found its feet again

04 Mar
Photo: Hamish Gill

Film photography is not what it used to be. It’s changed – or more, it’s evolved. For the better, too. But I bet there are a lot of people who haven’t even noticed!

Photography just seems to be one of those pastimes that has the potential to get under people’s skin. There are so many ways to take part that it’s no wonder we find ourselves in camps, adopting one or a couple of methodologies, approaches, processes or even brands, and taking ownership of them as if they belong to us.

In doing so though, it’s all too easy to fall into the trap of forgetting that our approaches and whims are just a product of our own choices, and therefore simply right for us. Instead, it appears to me that a large majority of photographers get into the habit of thinking they have made the ‘best’ choices and that everyone else who doesn’t follow suit is somehow wrong, deficient or missing out.

Film photography in 2020 is what it is – not because of a battle with digital, but because of how it has integrated with and into it

Unfortunately, in our world of social media and websites and forums and blogs and YouTube and ‘influencers’, it feels a little bit like the views and opinions held by the majority can leave little room for the views and opinions held by everyone else.

So what’s all this got to do with my opening gambit?

Well, it’s my view that because of all this, many photographers who have committed wholly to digital photography might not have noticed a real change in the film photography landscape.

The pixl-latr is a product I launched on Kickstarter as a low cost and effective solution for digitizing negatives.
Photo: Joe Handley

Now, please don’t think I’m about to start waffling on about growth in film sales and increased interest in more traditional photography mediums as a whole. It is true that there has been quite significant growth, but to my mind, the growth is at least in part a byproduct of a change in attitudes toward film photography. Attitudes that I have seen perpetuated through some of the hundreds of thousands of words I’ve published by the many photographers who have written for my website, 35mmc.

It’s true that I still see the occasional ‘film vs. digital – which is better?’ YouTube video pop up, but it has long been my view that these conversations are behind the curve. It actually strikes me that this argument is dead, and this seems to be an opinion shared by an increasing amount of people. Not because one side won or lost, but because the sides have joined forces.

Film photography in 2020 is what it is – not because of a battle with digital, but because of how it has integrated with and into it. Digital has changed film photography for the better, and I feel quite strongly that the opposite is true too.

The FIlmomat is an updated automatic film processor, launching soon!
Photo: Lukas Fritz

To begin with, the simple way people are using digital cameras and the advancements in both software and hardware for the digitization of film are examples of how the technology has advanced in favor or supporting film photography. But digital has also helped democratize film photography. The barriers to entry are less, and not just when it comes to amateur-level kit.

Film photography has influenced digital technology too. As most readers here will be aware, some of the bigger brands have taken inspiration from film cameras. Fujifilm is probably the most notable with their retro-aesthetic digital cameras and built-in film simulations. The way film looks, or at least the way people think film looks has – for better or worse – influenced digital photographic styles.

The ways photographers approach image creation seems to have been cross-fertilized between the worlds of film and digital

And that’s all even before we consider people’s workflows and attitudes toward creating images. The creative ways photographers approach image creation as a whole seems to have been cross-fertilized between the worlds of film and digital. So for example, in the last few years, we’ve seen a huge increase in the use of ‘vintage’ lenses – something that I’m pretty certain is attributable to an increase in photographers seeking something of a more film-era-like ‘feel’ to their work. And then there’s how digital workflows such as the use of Lightroom has for some people sped up or aided in the process of using film and other traditional mediums as a starting point to a final image.

The Cameradactyl OG is an affordable 3D-printed 4×5 camera.
by John Whitmore

In short, film and digital workflows, technologies and creative approaches have merged. The narratives around which is ‘better’ have – for many at least – fallen by the wayside. The questions of how they can be combined for the benefit of an increased range of possibility and potential have come to the surface instead.

But, while all this is true, there’s no drama in a draw – neither side won the battle, so the story has had few attention-grabbing headlines. There’s less of an angle to hang opinion off in the gray area. Nuanced opinions, fence-sitting and happy mediums don’t get clicks, views, upvotes, likes or shares so readily.

Film and digital workflows, technologies and creative approaches have merged

I had to pose a combative opening gambit just to get a lot of you to read this article, I’m sure. But really, I didn’t want to… well, if I’m honest, I sort of did, because I quite enjoy the argument. But my argument is not one of trying to convince people to think one way or another about how to create or take part in photography. I prefer instead to try and highlight the fact that the arguments themselves are often quite pointless.

In short, there is no one true path! In fact, one of the most beautiful things about photography is in the wealth of choices it provides us with.

Which is ultimately why film photography has found its feet again. Not as I say because it’s won any battles, but instead, that for all the objective differences and subjective reasons why people might choose to shoot it; despite what the majority might think and say about it, it’s still an option that’s available to people. And moreover, in 2020 it’s an option that quite readily fits into our modern digital world if and when required or desired.


Hamish Gill is the publisher of 35mmc.com and a moderator in our Film Photography forum.

Articles: Digital Photography Review (dpreview.com)

 
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Tiffen is now shipping their DJI Mavic Mini ND filter kits

04 Mar

At the end of 2019, Tiffen, a leading manufacturer of imaging accessories, announced 2 neutral density (ND) Filter Kits for the DJI Mavic Mini drone. Originally forecast for January 2020, the company revealed that their 3 filter and 6 filter kits of ND and ND polarizers are now shipping.

The Mavic Mini Filter Kits, which include a compact carrying case, are:

3 Filter Kit – $ 59.99

ND4/PL, ND8/PL, ND16/PL

6 Filter Kit – $ 89.99

ND4, ND8, ND16, ND4/PL, ND8/PL, ND16/PL

Each filter features multilayer and hydrophobic coating. Surfaces are waterproof and boast scratch prevention technology, according to Tiffen. The company states that beginners and professionals, alike, will be able to capture higher-quality in-flight content.

The 3 Filter and 6 Filter Kits are now available on tiffen.com and through their network of authorized retailers. Tiffen filter kits are also available for the DJI Mavic 2 Pro, Mavic 2 Zoom, Inspire 2, and Phantom 4 Pro.

Articles: Digital Photography Review (dpreview.com)

 
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Capture One Pro 20 update adds support for 7 new camera bodies, 6 new lenses

04 Mar

Capture One has announced an update that adds support for seven new camera bodies from Fujifilm, Nikon, Canon and Olympus as well as six new lenses from Sony, Nikon and Pentax. A handful of bugs have also been squashed along the way.

As for new camera body support, Capture One version 20.0.3 now supports the Fujifilm X-T4, Fujifilm X100V, Nikon D780, Nikon D3500, Canon EOS M100, Canon EOS M200 and the Olympus TG-6. Capture One emphasizes in its press release (embedded below) the new support for the Fujfilm X-T4, saying it is the first company to offer ‘official support’ for Fujifilm’s newest APS-C camera system.

Below is a list of the lenses the update adds support for:

  • Sony FE 24mm F1.4 GM (SEL24F14GM)
  • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 1.4X Teleconverter (SEL14TC)
  • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 2X Teleconverter (SEL20TC)
  • Nikon AF NIKKOR 24mm f/2.8D
  • Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G
  • Pentax D FA 150–450mm F4.5–5.6 ED DC AW

In addition to new camera and lens support, Capture Pro One 20 also addresses a number of smaller bug fixes across both the macOS and WIndows versions. You can find a full list of the fixes within Capture One’s release notes.

Capture One version 20.0.3 for macOS and Windows is now available in multiple versions. Capture One Pro 20 can be purchased with a perpetual license for $ 299 or as a subscription starting at $ 20.99 per month. Capture One Pro (for Sony) and Capture One Pro Fujifilm are available to purchase with a perpetual license for $ 129 or as a subscription starting at $ 9.99 per month.

Capture One has a complete list of supported cameras and lenses on its website. You can download a free 30-day trial of any version of Capture One Pro if you want to take it for a spin before buying or subscribing.

Capture One update brings first Fujifilm X-T4 support

Fujifilm’s newest flagship APS-C camera is now officially supported by Capture One 20 in a release that also brings further fixes & hardware support

COPENHAGEN, March 3rd, 2020: Capture One, the leading name in photo editing software, celebrates the release of Capture One version 20.0.3 which sees the company offer the first official support to the Fujifilm X-T4 – plus support for additional new cameras and lenses from other brands. Since 2018, Capture One and Fujifilm have enjoyed a unique collaborative relationship; working together to further develop the software, and to enable Fujifilm users to get the most out of the X-Trans sensors. This service release also includes bug fixes for Capture One 20.

Capture One offers Fujifilm photographers a suite of tools unmatched by other photo editing software, including the ability to utilize Fujifilm’s critically acclaimed and globally beloved Film Simulations such as Acros, Provia, and Classic Chrome. With Capture One, these Film Simulations are not restricted to JPEGs, but can be used with RAW files, allowing for the most powerful and flexible image processing ability, and one that is distinctly Fujifilm.

The collaboration also allows Capture One and Fujifilm to support the photographic community by providing full tailored support to Fujifilm’s newest cameras upon launch. From the moment it is released, X-T4 owners can rely on Capture One 20’s industry-leading image quality, tethering, and precise lens correction.

Unlike other RAW processors, Capture One’s camera profiles are individually measured, a process that requires the use of the camera in and out of the controlled lab in Copenhagen, where a team of specialists engage the camera in numerous different scenarios. The team then evaluates performance parameters such as color, sharpness, and noise across hundreds of images and uses that data and experience to provide a truly tailored profile, ultimately providing the best post-processing experience possible, and one that is distinctly Fujifilm.

New camera and lens support

New camera support:

      • Fujifilm X-T4
      • Fujifilm X100V
      • Nikon D780
      • Nikon D3500
      • Canon EOS M100
      • Canon EOS M200
      • Olympus TG-6

New lens support:

      • Sony FE 24mm F1.4 GM (SEL24F14GM)
      • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 1.4X Teleconverter (SEL14TC)
      • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 2X Teleconverter (SEL20TC)
      • Nikon AF NIKKOR 24mm f/2.8D
      • Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G
      • Pentax D FA 150-450mm F4.5-5.6 ED DC AW

For a complete list supported cameras, please go to: www.captureone.com/features/supported-cameras

Pricing and Availability

Capture One 20.0.3 for Mac and Windows is now available in several versions and free to current Capture One Pro 20 customers.

For new customers Capture One is committed to providing customers a choice when it comes to how they acquire their software, so Capture One Pro 20 is available for purchase, or via subscription. The perpetual license for Capture One Pro 20 is available for $ 299, with upgrade pricing from previous versions starting at [add correct price]. Capture One Pro (for Sony) and Capture One Pro Fujifilm are available for $ 129.

For those who prefer subscription models, Capture One Pro 20 is available for plans as low as $ 20.99 per month, and Capture One Pro (for Sony) and Capture One Pro Fujifilm subscription plans start at $ 9.99 a month.

For a complete list of all products and licensing options, please visit: www.captureone.com/store to learn more.

A 30-day fully-featured free trial of Capture One 20 is available. Download the trial here: www.captureone.com/download

Articles: Digital Photography Review (dpreview.com)

 
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The Sigma fp will get new features, functionality in major 2.0 firmware update due out ‘Summer 2020’

03 Mar

Sigma has announced it will be publishing a major firmware update for the Sigma fp in ‘Summer 2020’ that will bring along a number of new features and functionality.

According to the announcement, the update will add CinemaDNG 120/100 fps (FHD 8-bit) shooting, cinemagraph functionality, still capture during live view and movie shooting in Cine mode, HDR shooting, a Director’s Viewfinder recording function and Sigma’s software development kit (SDK), which should open up a realm of possibilities for developers to access certain functions of the camera.

In the meantime, Sigma says it’s also developing firmware version 1.02 (the latest firmware currently available for the Sigma fp is version 1.01), which will correct card errors when using specific SD cards and adds in-camera lens aberration correction processing. Firmware version 1.02 will be released on March 18, 2020, according to Sigma.

The current version 1.01 firmware and future firmware releases can be downloaded from the Sigma fp support page.

Articles: Digital Photography Review (dpreview.com)

 
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