Category: Uncategorized

  • Storm chaser captures incredible tornado footage with a drone

    You don’t need to watch the classic 1996 film Twister to understand that storm chasing is risky, life-threatening work; but that didn’t prevent WXChasing’s Brandon Clement from honing in on a tornado located near Sulphur, Oklahoma, and capturing some epic 4k footage with a drone.

    ‘I’ve been working on getting that shot for about three years now,’ said Clement to the Washington Post. Clement has been chasing storms since childhood. ‘I’ve probably done a half-million miles chasing across the country by now. But this one is pretty special.’

    According to reports from AccuWeather, at least 25 tornadoes were reported across southern and central United States on Tuesday including Texas, Oklahoma, Kansas, Missouri, and Arkansas. Clement happened to be in the path of the non-destructive occurrence in Oklahoma and expertly maneuvered the drone to capture a perspective that impressed meteorologists.

    FStoppers pointed out that the last time such poignant footage was captured, it came from the perspective of a helicopter over three decades ago. KARE helicopter pilot Max Messmer, along with photographer Tom Empey, stumbled upon a forming tornado and broadcast the entire phenomenon live during the 5 o’clock news.

    While tornadoes have been captured from the perspective of a drone before, this is the first time a remote pilot has created something that transcends the typical, static imagery taken from a distance.

    Articles: Digital Photography Review (dpreview.com)

  • Timelapse+ Studio makes it easier than ever to create timelapses directly in Lightroom

    Timelapse+ has introduced a new plug-in for Adobe Lightroom that promises to make editing and constructing timelapse videos significantly easier. Timelapse+ Studio can identify timelapse sequences in your library and form them into collections. It will then automatically mark what it thinks are key frames in the sequence and allow users to edit those key frames in Lightroom as normal. Users can add more key frames and then have the software blend transitions to balance for adjustments across all the images in the sequence.

    The software also allows users to zoom in to areas of the scene and to pan across the frame to create a sense of camera movement even in situations in which the camera and lens were stationary during recording.

    Exposure differences between frames, or different parts of the sequence, can be ironed out to avoid abrupt changes, and the result can be previewed in a window within Lightroom once the sequence is complete. The company says all the automated tasks the software performs can be undone and redone by those that need manual control of the way the timelapse is created.

    The astro timelapse below was created by Adrien Mauduit using Timelapse+ Studio.

    Timelapse+ Studio is available now and costs $ 49. For more information see the Timelapse+ website.

    Articles: Digital Photography Review (dpreview.com)

  • Video: How to create an ‘anamorfake’ from old, inexpensive lenses

    Shutterstock Tutorials, the YouTube channel of stock image company Shutterstock, has published a new video featuring Todd Blankenship with instructions on how to create ‘anamorfake’ lenses. The DIY anamorphic tutorial features inexpensive lenses sourced from eBay that are taken apart, fully modified, and reassembled.

    The 13-minute tutorial is designed to equip budget filmmakers with the cinematic look of anamorphic lenses at a lower price. According to Blankenship, Shutterstock’s new tutorial was inspired by content found on Tito Ferradans’ YouTube channel, and it primarily revolves around adding the iconic flat line lens flare and oval-shaped aperture to an inexpensive lens.

    The tutorial requires easily acquired components, including sandpaper, metal polish, fishing line, acetone, spray paint, gloves, and cotton pads. As well, DIYers will need oval aperture disks and a lens wrench. In addition to the video, which provides all the steps, Blankenship details a few notable points and a list of the required tools in a related blog post.

    Articles: Digital Photography Review (dpreview.com)

  • Sony a6400 review

    Introduction

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    Gold Award

    85%
    Overall score

    Sony’s a6400 is a compact 24MP mirrorless interchangeable lens camera with an APS-C sensor that will serve plenty of photographers from family documentarians to pro shooters looking for a lightweight second body. The big news is that it has a new processor based on that used in Sony’s sports-shooting flagship a9 which enables ‘Real-Time Tracking’ autofocus, which is one of the most effective autofocus implementations we’ve yet seen. It’s also among the easiest to use, once you’ve gotten it set up.

    Key specifications:

    • 24MP APS-C sensor
    • 425-pt phase detection AF system with Real-Time Tracking
    • Tilting screen, 180° up, 90° down
    • 2.36M-dot electronic viewfinder
    • New Bionz X processor
    • ISO range from 100-32000
    • 11fps burst shooting (8fps with silent shutter)
    • Interval shooting option added
    • 4K/30p video capture
    • Mic input, no headphone output
    • 410 shots per battery charge (per CIPA)
    • Wi-Fi with NFC and Bluetooth

    The Sony a6400 officially replaces the older a6300: it uses the same sensor but comes with some subtle enhancements aside from the impressive autofocus capabilities. It arrives in an increasingly crowded field, though, with cameras like the X-T30 from Fujifilm and the EOS M50 from Canon being similarly priced and with similar sized sensors. Do the enhancements make the a6400 the standout in this crowd? Find out its strengths – and weaknesses – in the pages to follow.

    The a6400 is available now for $ 899 (€1049) body-only, $ 999 (€1149) with a 16-50mm F3.5-5.6 Power Zoom kit lens and $ 1299 (€1449) with an 18-135mm F3.5-5.6 zoom.


    What’s new and how it compares

    Sony’s a6400 has an awful lot of refinements on the inside – take a look.

    Read more

    Body, handling and controls

    For better or for worse, the a6400 handles just like the a6300 before it. And the a6000 before that.

    Read more

    Image quality

    The a6400 takes some fantastic photographs, and in particular, has some welcome tweaks to its JPEG engine.

    Read more

    First impressions

    Sony’s new Real-Time Tracking is really impressive, but my goodness, can’t we get a front control dial?

    Read more

    Autofocus and performance

    Let’s dive deep into the a6400’s revamped autofocus system, plus we’ll show you exactly how to set it up.

    Read more

    Video

    The a6400 is pitched as a vlogging camera, but it has some video capture shortcomings.

    Read more

    Is the a6400 right for you?

    We look at common photographic use-cases and see how the a6400 measures up.

    Read more

    Conclusion

    The a6400 is easily one of the most capable cameras at its price point.

    Read more

    Sample gallery

    Check out our extensive samples gallery from the Sony a6400.

    Read more

    Specifications

    Want the full list of specifications for the a6400? We have you covered.

    Read more

    Articles: Digital Photography Review (dpreview.com)

  • Appeals court upholds photographers’ rights on ‘fair use’ online image thefts

    The US Court of Appeal has reversed a controversial decision that allowed a company promoting a film festival to use a copyrighted photograph on its website without having to pay the photographer that took it. In the original ruling the District Judge of the Eastern District of Virginia allowed the fee-free grab of the image under the rules of ‘fair use,’ thus signaling it’s okay to lift pictures from a photographer’s website.

    An exhibit provided in the appeal showing Brammer’s photo as it was seen on his Flickr profile. Note the clear ‘All rights reserved’ icon in the lower-right-hand corner.

    Fortunately, in a new ruling, the Appeals Court has determined that the use of the picture was not acceptable ‘fair use’ and that Violent Hues Productions did indeed infringe the copyright of stock photographer Russell Brammer. In a test using four criteria the court found that Violent Hues Productions’ use of the image failed on all counts to pass as ‘fair use’. The court set out the criteria for fair use as being that the image shouldn’t be used for commercial purposes, whether the image had been transformed by the copier, how much of the image that was used and whether its use had an effect on its market value.

    An exhibit provided in the appeal showing Brammer’s photo as it was seen on the Violent Hues’ website.

    The image, showing a placed called Adams Morgan at night, was downloaded from photographer Brammer’s Flickr site and used by Violent Hues Productions to illustrate a ‘Plan Your Visit’ page on the website of the Northern Virginia International Film and Music Festival. The company initially claimed it didn’t know the image was copyrighted, despite Brammer using the words ‘All rights reserved’ beneath it. Violent Hues Productions also claimed the image was transformed by its cropping of it, and that the use was informational and of benefit to festival goers. The court ruled though that the cropping was done only to make the proportions of the image match others on the same page and that it didn’t constitute a ‘new expression, meaning or message’. The court also found that had the company paid Brammer for the picture its ability to inform festival goers would not have been hindered.

    It was also ruled that ‘if Violent Hues’ behavior became common and acceptable, the licensing market for Brammer’s work specifically, and professional photography more broadly, might well be dampened.’

    It was also ruled that ‘if Violent Hues’ behavior became common and acceptable, the licensing market for Brammer’s work specifically, and professional photography more broadly, might well be dampened’ and the court went on to state ‘If the ordinary commercial use of stock photography constituted fair use, professional photographers would have little financial incentive to produce their work’.

    In its conclusion the court said ‘What Violent Hues did was publish a tourism guide for a commercial event and include the photo to make the end product more visually interesting. Such a use would not constitute fair use when done in print, and it does not constitute fair use on the Internet. Violent Hues’ affirmative defense thus fails as a matter of law. For the foregoing reasons, we reverse the judgment of the district court and remand the case for further proceedings consistent with this opinion.’

    The ruling is especially important as it underlines that commercial bodies do not have the right to lift images from the Internet to use for their own ends without paying the photographer, and that photographers do have protection from those that seek to behave in this way. The court specifically acknowledged that ‘the Internet has made copying as easy as a few clicks of a button’.

    Articles: Digital Photography Review (dpreview.com)

  • RIP: Apple Aperture will no longer work after macOS Mojave

    Apple ceased support for its professional photo organization and editing application Aperture back in June 2014 and removed it from the Mac App Store in April 2015. Despite the lack of updates, the app still exists and continues to operate as it did at the time development ceased, but it appears that won’t be the case for much longer.

    MacRumors has discovered, hidden away on a new Apple support page, that Aperture will no longer operate on macOS after Apple’s latest operating system, macOS 10.4 Mojave.

    The support page shares how users can move their Aperture libraries to Apple’s Photo app, which Apple pitched as a replacement back in 2015, as well as Adobe Lightroom Classic. For those still clinging on to Aperture, it’ll either be a matter of not updating past macOS 10.4 Mojave or getting everything transitioned over to another app by September 2019, when Apple is expected to release the next version of macOS.

    Articles: Digital Photography Review (dpreview.com)

  • Think Tank launches MindShift BackLight Elite 45L backpack for outdoor photographers

    Think Tank Photo has launched the new MindShift BackLight Elite 45L backpack for outdoor photographers. As its name suggests, the new BackLight bag features a 45-liter capacity; there’s space for both camera gear and a 17″ laptop and 10″ tablet. The backpack’s exterior includes attachment points for additional gear, including axes, skis or a snowboard, tripod, and ropes.

    The BackLight Elite 45L is constructed from 420D rip-stop nylon (external) and 200D polyester (internal), as well as high-performance Sailcloth, 350G and honeycomb airmesh, nylon webbing, YKK AquaGuard zippers, and more. Think Tank describes the backpack as ‘storm-resistant.’

    Features include an internal aluminum frame, lumbar padding, waist belt, foam ventilation ridges, and a quick-dry back panel. The BackLight Elite likewise sports a waterproof heavy-duty tarpaulin base, space for a hydration reservoir, back and top panel access, two water bottle pockets, and front pockets offering a total of 17 liters of space.

    The company provides the following examples of possible gear packs that the backpack can accommodate:

    • Nikon D3S attached to 70–200mm f/2.8, SB-910 Speedlight, 105mm f/2.8 Macro, Sigma 35mm f/1.4 ART, 50 f/1.4, Filter Nest Mini, 24–70mm f/2.8, 14–24mm f/2.8
    • Canon 1DX attached to 70–200mm f/2.8, GoPro Hero 5, DJI Mavic Pro, Mavic Controller, 24–70mm f/2.8, 16–35mm f/2.8, 90mm f/2.8 TS-E
    • Sony A7R II attached to 24–70mm f/2.8 GM, GoPro Hero 5, DJI Mavic Pro, Mavic Controller, Filter Nest Mini, A7R II attached to 16–35mm f/4
    • Holds a gripped Nikon DSLR and a 600mm f/4 FL ED VR 70–200mm f/2.8 GM, 90mm f/2.8 Macro
    • Canon 1DX attached to 24–70mm f/2.8, GoPro Hero 5, 85mm f/1.8, 90mm f/2.8 TS-E, 1DX attached to 16–35mm f/2.8, 70–200mm f/2.8, 2x Teleconverter
    • Nikon D3S attached to Sigma 150–600mm f/5-6.3 Sport, SB-910 Speedlight

    The BackLight Elite 45L backpack is available from Think Tank Photo now for $ 399.99 USD.

    Articles: Digital Photography Review (dpreview.com)

  • DJI partners with RMUS to expand its UTC training program to North America

    Drone operations, when implemented properly, save time, money and effort across numerous industries. The drone industry has grown exponentially in the past few years. In 2015, there were only a few hundred remote pilots available for hire. Thanks to the affordable and accessible Part 107 ruling, that was implemented by the Federal Aviation Administration (FAA) in August 2016, there are now well over 100,000 remote pilots with certification to fly commercially across the U.S.

    As enterprises and governments start incorporating drones into their daily workflow, the need for streamlined and efficient training programs has never been greater. DJI, the world’s top drone manufacturer, recently partnered with Rocky Mountain Unmanned Systems (RMUS) to expand its Unmanned Aerial Systems Training Center (UTC) program to North America.

    The program will utilize RMUS’ eight training centers located in Utah, Washington, California, Hawaii, Delaware, Ohio, Texas, and Illinois. Each location will start off using Commercial UAS Training – Level 1, a new curriculum that provides a foundation for developing the knowledge and skills to pilot an unmanned aircraft. Training will be conducted both online and on-site. Compact, lightweight Tello drones from Ryze Robotics will be used for basic flight training.

    Once on sight training and the successful passing of an administered exam is completed, individuals will receive UTC certification. The program will be available this June at all eight centers. Learn more and reserve a spot here.

    The UTC team will be at the DJI booth (#811) at AUVSI Xponential from April 30th – May 2nd. Attendees are invited to visit and learn more about UTC and the new North American curriculum.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon Z 14-30mm F4 S sample gallery

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    Nikon’s 14-30mm F4 is a compact ultra-wide zoom for the company’s Z-series mirrorless system. By offering an F4 constant aperture rather than F2.8, the 14-30mm is lighter in weight (it’s just 485g / 17oz) and is able to accept screw-in 82mm filters. We’ve been itching to shoot with it ever since we got a glimpse of it at the CP+ show last month in Japan – click through our gallery to see how it performs.

    See our Nikkor Z 14-30mm F4 S
    sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • ZTE Nubia Red Magic 3 comes with 8K video recording and cooling fan

    Just like their computer-counterparts, gaming smartphones are more powerful than your average device in order to smoothly run the latest hardware-hungry games and applications.

    With the new Nubia Red Magic 3 Chinese manufacturer ZTE is taking things to a new extreme, however, by building a cooling fan into the handset, in addition to a copper heatsink. The company says the fan can spin up to 14,000 rpm but still runs quietly. Overall the phone’s heat transfer performance is a claimed five times better than conventional passive cooling. So, if you’ve ever found your phone to run hot, or even crash, while playing the latest mobile blockbuster, this might be just the device for you.

    The Red Magic 3 comes with some other features that are typically limited to gaming devices, such as customizable capacitive shoulder triggers and an RGB LED strip on the back, but otherwise offers pretty conventional flagship smartphone specifications. This includes a Qualcomm Snapdragon 855 chipset with up to 12GB of RAM and 256GB of storage and a very beefy 5,000mAh battery. Gameplay (or photos) are viewed on a 6.65-inch FHD+ AMOLED HDR display.

    Despite clearly being targeted at gamers, the Nubia has something quite unique to offer in the camera department as well; it is the first smartphone to come with 8K video recording. Additionally, the camera can record slow-motion video at a whopping 1,920 frames per second although no resolution has been specified yet for this ultra-slow-motion mode. In terms of camera hardware the Nubia comes with a single-camera that uses a 48MP Sony IMX586 sensor and an F1.7 aperture, but lacks optical image stabilization.

    So, while other camera specs aren’t anything out of the extraordinary the 8K option should make the Nubia interesting to anyone who is creating high-resolution video. It will launch in China on May 3rd and start from approximately $ 430 for the version with 6GB RAM and 64GB storage. The top-of-the-line model with 12GB RAM and 256GB storage will set you back $ 640. A launch in other regions, including the US, Canada and Europe is scheduled for the end of May but no pricing information is available yet.

    Articles: Digital Photography Review (dpreview.com)