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Canon issues advisory for new super-telephoto lenses, promises firmware fix soon

18 Mar

Canon has issued a product advisory for its new super-telephoto lenses, the EF 400mm F2.8L IS III and the EF 600mm F4L IS III.

Canon says the two lenses might experience a ‘phenomenon where the exposure may flicker slightly if recording a movie with the camera shooting mode set to M or Av in combination with select cameras.’

According to the press release, an upcoming firmware update (version 1.0.8) will fix the issue with the affected cameras. In the meantime, Canon says there are two ways to avoid this problem:

  1. When shooting movies, set the camera’s shooting mode to P or Tv mode.
  2. When using the lens alone or with the EXTENDER EF 2x, set the exposure setting step to 1/2 or 1/1 with the camera’s custom function, even if the camera shooting mode is M or Av.

DPReview will update this article accordingly when the new firmware is released.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix S1R sample galleries updated

18 Mar

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Now that our Panasonic Lumix S1R has final firmware, we’re pressing ahead with our full review – but not before getting in some shooting time. Take a look at how the S1R deals with a variety of situations in our sample gallery, and we have to admit, we’re kind of smitten with the out-of-camera JPEGs (there are some Raw conversions too, of course). Head to the end of the gallery to see some samples of the S1R’s incredible 187MP multi-shot mode.

You can also click below to check out our pre-production sample gallery from the launch event in Barcelona last month.

See our Panasonic Lumix S1R
sample gallery

See our pre-production Panasonic
Lumix S1R sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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NASCAR teams up with DroneShield to bring down unwanted drones at racing events

18 Mar

It’s not just countries and federal agencies getting tough on drones, unruly or otherwise. According to a report from TechCrunch, NASCAR, the sanctioning body of multiple stock-car racing series in the United States and abroad, has struck a deal with anti-drone technology company DroneShield to help shoot down rogue drones at specific venues.

According to the report, DroneShield will be present at NASCAR-sanctioned events held at Texas Motor Speedway in Fort Worth, Texas. This includes events for the Monster Energy NASCAR Cup Series and other feeder stock-car series throughout the 2019 season. Below is a promotional video captured and shared by DroneShield showing off its new DroneGun product:

In an email announcing the news, DroneShield CEO said ‘We are proud to be able to assist a high-profile event like this […] We also believe that this is significant for DroneShield in that this is the first known live operational use of all three of our key products – DroneSentinel, DroneSentry and DroneGun – by U.S. law enforcement.’

DroneShield Sentry (left), DroneShield Sentinel (right).

Despite being the first time its trifecta of products are being used, this isn’t the first time DroneShield has been used at major sporting events. DroneShield technology was used at the 2018 Winter Olympics in PyeongChang, South Korea, as well as at the Commonwealth Games in Brisbane, Australia most recently.

Articles: Digital Photography Review (dpreview.com)

 
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Widen your window: a message to landscape photographers

17 Mar

If there’s one thing landscape photographers obsess over more than gear, it’s light. And often, we fall into the trap of treating light as a zero-sum game – either a sunset is amazing or it’s a complete fizzer. This all-or-nothing mindset is detrimental to our growth as photographers and the work we can produce.

Instead, when we approach our time in the field with a richer appreciation for the subtle, ever-changing interplay between light and landscape, we foster greater opportunities for creative expression.

Expectations create limitations

Early in my landscape photography journey, I would fixate on burning sunrises and sunsets. Almost obsessively, I would track the clouds each day, searching for the signs of a promising explosion of color. While every month or two the heavens would align, more often than not, the sky either fizzled out or failed to produce the color I had hoped for.

By tying our time in the field to ‘great light’, we limit our opportunities

Chasing idealized visions of light, I’d either a) go out anticipating perfect conditions, only to be disheartened when it didn’t materialize, or b) I wouldn’t go out at all if there weren’t signs of a banger on the way. I’m not sure which was worse. Both mindsets have been harmful to my development as a photographer. In hindsight, internalizing the concept of ‘perfect light’ falling across each scene was an unrealistic expectation—one that set me up for disappointment and hampered the images I took.

By tying our time in the field to ‘great light’, we limit our opportunities. Opportunities to grow in versatility. Opportunities to better experience landscapes and compose scenes. Opportunities to expand, refine and execute on our photographic vision.

Go out earlier, stay out later

If you’re the kind of person who, like I was, predominantly shoots 20 minutes either side of sunset (or sunrise), then consider widening your capture window. That is, arrive on location an hour earlier, and continue taking images well into twilight.

This enables you to gain a more rounded understanding of the key elements of the scenes unfolding before you. Exploring locations without looming time pressures offers you the freedom to discover compelling compositions. Compositions that may not present themselves to others who simply arrive at the car park 10 minutes before sunset.

Time is a limited resource, particularly so for some more than others

(Note: This emphasis on time is understandably more difficult for people traveling or working another full-time job—people like me. Time is a limited resource, particularly so for some more than others. If that’s you, then reflect on your priorities. Do you want to capture a collection of good images from multiple locations? Or is your preference for a handful of great images—images that you’d be proud to add to your portfolio?)

Additionally, expanding your capture window forces you to experience the landscape under ever-changing lighting conditions. Over a one hour period on sunset, a scene can change from golden side light, to indirect light from colorful clouds overhead, to soft, yet moody, blue light before dusk arrives. Sometimes a burning sky can be too overwhelming, commanding all the attention in an image, while softer light during twilight may better emphasize the mid-ground and foreground elements.

Challenge yourself

By allowing yourself more time, you can still reserve a window for your ideal composition later in the shoot. Having that composition safely scheduled away opens up new opportunities to create images you not only previously overlooked, but may have entirely not thought possible.

Furthermore, this mindset needn’t – and shouldn’t – apply to sunrise/sunset scenes. Challenge yourself to head out during non-ideal conditions. When time allows, explore landscapes in the middle of the day, after (or for those more adventurous, during) rain or even under moonlight.

Without a colorful sky acting as a crutch to make the scene interesting, how else might you compose it make it compelling? For seascapes, try shooting handheld and getting even closer to the action. For forest scenes, consider shooting with a telephoto lens to really focus in on the subject and remove all distractions. While it’s approaching cliche, experiment by adding a human element to your image for an enhanced sense of scale and place. And when all else fails, shoot abstract – capture intimate details that hone in on key elements of the landscape.

Final thoughts

This article shouldn’t be treated as a prescriptive guide – nor would I want it to be. Each of us has our unique way of seeing and capturing the world around us. That’s one of the reasons so many landscape photographers are passionate about their craft. It’s a medium for personal expression.

Rather, I’m sharing this article to encourage you to expand the scope of your photography and of your potential as an artist. To broaden your view of the images you can (and hopefully will want) to create. To open up new possibilities for your creative vision.


Mitch Green is a Melbourne based Travel and Landscape photographer. He can be found via his website, through Instagram, or down by the beach at 5am waiting for sunrise.

Articles: Digital Photography Review (dpreview.com)

 
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Zenit announces ridiculously fast 50mm F0.95 fully-manual lens for Sony full-frame cameras

17 Mar

Zenit has announced a 50mm F0.95 manual lens for Sony full-frame cameras.

The Zenitar 0.95 | 50, as it’s called in Zenit’s branding, is fully manual without any electronics inside. It features a fast aperture and an impressive 14-blade diaphragm that Zenit claims provides perfectly round bokeh.

The lens is constructed of nine elements in eight groups and constructed entirely of glass and metal. Considering the metal construction and massive optical elements, it shouldn’t come as a surprise that the lens weighs quite a bit for its focal length, 1.1kg / 2.43lbs.

Below is a gallery of sample images captured with the lens:

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The lens is set to be released in Russia next week for a price of 50K ruble, which converts to roughly €680 or $ 770 USD. There’s no mention of an international release timeframe for the time being.

Articles: Digital Photography Review (dpreview.com)

 
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Hasselblad launches new cable release, battery charging hub for X1D

16 Mar

Hasselblad has introduced a cable release for its X1D medium format rangefinder-style camera alongside a new USB double battery charger. The Release Cord X is 90cm/36in long and triggers the shutter in single shot and continuous modes, and controls the camera via its microphone socket.

Dual slots on the Battery Charging Hub allow for two batteries to be charged simultaneously and for the camera to be powered via the USB C connector. The hub can be plugged into the AC power supply to charge batteries and the camera, or it can be fed from a portable power bank. The hub is compatible with both battery varieties the camera takes, but charges the newer 3400mAh models 25% more quickly – in 2 hours 18 minutes for one and 2 hours 48 minutes for two. The older 3200mAh model takes 3 hours.

Batteries can be checked via the LED panel that monitors the charging process as well as providing a quick levels readout for partially charged units.

The Hasselblad Release Cord X will cost €69 / $ 80 / £64 / JPY¥9360 excl. VAT. / CNY¥629 incl. VAT, and the Battery Charging Hub will be €129 / $ 155 / £115 / JPY¥17460 excl. VAT / CNY¥1199 incl. VAT. For more information see the Hasselblad website.

Press release:

{pressrelease}

Hasselblad X system expands with Release Cord X and Battery Charging Hub

Hasselblad proudly expands its photographic tool kit for the X System with the introduction of the new Release Cord X and Battery Charging Hub. With Hasselblad’s full commitment to the development of the X System, these two new accessories alongside the introduction of the newest XCD Lenses greatly expand the creative capabilities of the revolutionary mirrorless medium format X1D-50c.

The Hasselblad Release Cord X allows for remote shutter actuation, an invaluable tool when eliminating shake or vibration is paramount. A durable cloth-wrapped 90cm (36 in.) cable connects to the X1D-50c’s microphone input port and the remote’s simple single button operation allows photographers to keep vibration to a minimum. When autofocus is enabled on the camera, a single action swiftly starts autofocus and then releases the shutter. Holding the button down when in Continuous Capture mode allows for multiple frames to be captured, whilst setting the camera in Manual Focus mode allows for Release Cord X to fire the shutter without delay. Its durable metal construction matches the adventurous endeavours of Hasselblad’s X System users and its slim, ergonomic design fits comfortably in the hand. For seamless functionality, the X1D should be updated to the latest 1.22 firmware available at My Hasselblad.

The Hasselblad Battery Charging Hub makes it possible for a Hasselblad photographer to streamline the battery charging process, allowing X1D photographers to go further with their creative pursuits. Its dual slots support the simultaneous charging of two batteries while an integrated USB Type-C connector supports mains power via an included power supply or from common external USB battery banks (sold separately). Front-facing LEDs indicate status and capacity when charging, or users can use the Battery Charging Hub to check battery levels simply by inserting a battery and pressing a single button. The Battery Charging Hub supports both first-generation 3200mAh X System batteries and current 3400mAh batteries, the latter of which support quick-charging up to 25% faster than the former. This equates to a completely replenished single battery in 2 hours 18 minutes, or dual batteries in 2 hours 48 minutes. First-generation 3200mAh batteries recharge completely in approximately 3 hours and completed charging cycles are indicated by an audible chime in either situation. With a durable metal construction and compact design, the Battery Charging Hub is posed to simplify a critical aspect of photography and ensure that maximum creative vision can be achieved.

The Hasselblad Release Cord X is available to purchase with an MSRP of €69 / $ 80 / £64 / JPY¥9360 excl. VAT. / CNY¥629 incl. VAT.

The Hasselblad Battery Charging Hub is available to purchase with an MSRP of €129 / $ 155 / £115 / JPY¥17460 excl. VAT / CNY¥1199 incl. VAT.

{/pressrelease}

Articles: Digital Photography Review (dpreview.com)

 
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How to safely operate a drone in urban areas

16 Mar
Photo by Kara Murphy

Just a few weeks ago, a drone crashed through a window on the 27th floor of a building in Chicago. Last year, a tourist was apprehended for flying in downtown Manhattan, in the heart of New York City, where UAV operations are strictly prohibited. The month before, a remote pilot avoided disaster when his DJI Phantom 3 drone plummeted 36 stories from where it was inspecting a crack that formed on a window of San Francisco’s Millennium Tower. It crashed on the sidewalk, missing pedestrians by inches.

When operated properly, drones are capable of capturing angles and gathering critical data in areas that helicopters and small planes can’t access. Launching a drone in crowded spaces poses two key potential risks: signal loss caused by magnetic field interference, and drifting caused by wind tunnels lurking between high-rise buildings.

In the US*, drones can be flown in cities, where it is legal under 14 CFR Part 107 rules, which allow the operator to fly more than 400 ft. AGL (above ground level) as long as the drone remains within 400 ft. of a building, or with the proper Certificate of Waiver or Authorization (COA) from the FAA. However, doing so requires the remote pilot-in-command to conduct a thorough risk assessment, identify potential hazards, and establish a set of emergency procedures to ensure the safest outcome possible.

Calibrate the compass before heading downtown

The most foolproof way to prevent a fly-away, and ensure location accuracy during flight, is to calibrate your drone’s compass. Locate an open field, roughly 15km (10 miles) away from where a flight in a heavily-congested area is planned; avoid parking structures with metal guardrails and cell phone towers, and remove watches and metal jewelry as even the slightest bit of magnetic interference will disrupt this critical procedure.

Always make sure to calibrate your drone’s compass before flying in congested or urban environments.

Photo by Kara Murphy

Once at the calibration site, follow the procedure for calibrating your drone’s compass. With minimal interference it will account for magnetic declination, which will allow it to operate with a higher degree of accuracy.

Make sure multiple flight modes are enabled

Most consumer-grade drones are equipped with intelligent flight modes and stabilization systems to ensure smooth, steady flights. On DJI drones there are three main flight modes — P-Mode (Position), A-Mode (Attitude), and S-Mode (Sport) — that can be accessed directly using the remote control. Both Position and Sport Mode rely on GPS and Glonass to hold the drone’s position in the air.

While most flights can be conducted in Position Mode, as it allows the drone to hover in place and easily return home, there will be times when signal interference is severe. Attitude, or ATTI Mode, which retains altitude but causes the drone to drift with the wind, is the only option for flying where signals are compromised. And, since part 107 rules allow a pilot to operate up to 400 feet (120 meters) above the topmost part of a structure, encountering strong winds is inevitable.

DJI controllers feature a hardware toggle to quickly switch between Position, Attitude, and Sport modes.

Note: although GPS is disabled in ATTI mode, the GPS module still locates the drone in the background, meaning that someone can’t use ATTI mode to circumvent restricted flight zones.

Switching from P-Mode to A-Mode is as simple as a flip of the switch on the controller. This shortcut can be accessed when Multiple Flight Modes are enabled in the DJI Go App. If the drone can no longer operate in Position or Sport Mode, it will automatically default to ATTI Mode. It’s always preferable to initiate this transition instead of being taken by surprise when the drone activates ATTI Mode on its own.

Practice flying in ATTI mode

As a general rule, you should never fly between tall buildings with GPS enabled. Numerous signals between buildings cause interference and create a substantial margin of error in the compass, setting the drone off course. The worst case scenario a pilot can encounter when flying in a congested area is relying on Position Mode, which stabilizes the drone and makes controlling it practically effortless, only to have the drone default to ATTI mode when the signal is inevitably lost.

Attitude, or ATTI Mode, is the only option for flying where signals are compromised.

Guiding a drone that drifts with the wind is difficult and requires hours of preparation. Practicing in a large, open field with few trees and obstacles is the best method for learning how to maintain control of a drone when it won’t automatically hover in place. The first time ATTI mode is activated, the drone will immediately drift, and it startles even the most seasoned pilots. Don’t be caught off guard, learn how to handle the drone so it can be expertly guided on its intended path.

Identify the Minimum Obstacle Clearance Altitude

When flying near tall structures, a drone may lose its connection or run critically low on battery power earlier than expected. The Return to Home feature will automatically activate and, assuming the compass is calibrated properly, the drone will fly back to the remote pilot.

Creating a safe flight path requires a pilot to identify the height of the tallest structure in the area, and then add a margin of roughly 3m (10 ft) to ensure the drone clears every last obstacle. The Minimum Obstacle Clearance Altitude (MOCA) can be determined several ways.

Identifying the height of the tallest building is imperative to ensuring you don’t collide during any part of your flight.

Photo by Kara Murphy

I personally looked up the information online for a group of buildings I was photographing in San Francisco. Contacting a building manager is another option. For smaller, lesser-known structures where information isn’t readily available, flying with the gimbal pitch set to level, and elevating to the point where the obstacle crosses the horizon is another method for determining MOCA.

Creating a safe flight path requires a pilot to identify the height of the tallest structure in the area.

Enabling obstacle avoidance sensors is an additional recommended precautionary measure. However, sensors can’t always identify reflections or shiny surfaces. This is why establishing MOCA and setting the Return to Home Altitude accordingly is imperative.

Attach prop guards

Prop guards are an effective tool for preventing a crash should a drone bump into a wall. They aren’t 100 percent foolproof, which is why the above steps need to be taken, but it helps to have them in place. They add weight to the aircraft, which will deplete battery life at a slightly faster rate, and practicing with them attached so you can make necessary adjustments is highly recommended. Depending on the model of the drone, obstacle avoidance systems may be disabled with the use of prop guards.

Keep the drone within close range

A complex job that requires navigating a congested area needs to be supported by a visual observer to help keep watch of the drone and maintain visual line of sight. Typically, flying a maximum distance of 500m (1600 ft) from your location is acceptable, however, in a crowded area, it’s preferable to keep the drone within closer proximity; 150-250m (approx. 500-800 ft) is ideal if you’re flying at an altitude that exceeds 120m (400 ft).

Before heading into an area with tall buildings and narrow corridors, practice flying in ATTI Mode in a wide open, nearby park.

Photo by Dale Baskin

Launch in Position Mode until the drone has cleared the pilot, crew, and any major nearby obstacles, such as a bridge or traffic light, that might impact the flight in its initial stages. Alternate to ATTI mode and continue ascension. When the drone drone returns, and is in close enough range, switch back to Position Mode to facilitate a sturdy landing.

The take away

Drones save time, money, and effort when operated properly, and can be very useful for things like building or tower inspections. Learning how to safely conduct flights in challenging environments is essential if you plan to fly in congested areas like a city center. Taking the time to do so provides an extra layer of safety, and if you’re flying for your business, gives you a potential leg up on the competition.

As pilots, it’s our responsibility to be prepared in order to keep the skies – and our urban areas – safe. And really, you don’t want to be that person who shows up on the news for not doing so.


*Rules and regulations vary by country. Make sure you know, and follow, the regulations for your particular location.

Articles: Digital Photography Review (dpreview.com)

 
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Twitter wants you to tweet more photos, makes its in-camera app easier to access

16 Mar

Twitter has announced a change to its iOS app in an apparent move to encourage the tweeting of photos. The in-app camera has received a redesign and can now be opened by simply swiping left from your Twitter timeline screen.

Once the camera has opened you can tap on the virtual shutter button to capture a still image or hold down to record video. There is also quick access to Twitter’s livestreaming feature. Location information and captions are overlaid onto photos and videos captured within the app and you can choose from a range of overlay colors.

Overall the new feature isn’t a groundbreaking change but it shows that Twitter is aiming to compete more closely with Instagram and other image-focused social media apps, most of which offer equally direct access to the camera app.

Articles: Digital Photography Review (dpreview.com)

 
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Video: 15 actually useful Photoshop shortcuts to help speed up your workflow

16 Mar

Photoshop Training Channel on YouTube has published a video detailing 15 useful, relatively unknown Photoshop keyboard shortcuts for power users. Unlike many similar videos, this channel’s video digs into actually useful shortcuts that many users are unlikely to know, including how to resize and rotate cloned content using keyboard keys, improving Puppet Warp tool control, and more.

The video is applicable to North American keyboards and includes both Windows and macOS shortcuts. Most tips build upon commonly known tools and shortcuts, offering ways for professionals to reduce the amount of time they spend clicking and sliding. Adobe maintains a large list of Photoshop shortcuts for Windows and Mac users here.

Articles: Digital Photography Review (dpreview.com)

 
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No, Flickr didn’t hand your photos over to corporations for machine learning

16 Mar
A screenshot of illustrated portraits shared on IBM’s Diversity in Faces dataset website.

Earlier this week, Flickr started taking heat across the web after it was specifically mentioned in a report from NBC News that took a deep dive into the ‘dirty little secret’ of using Creative Commons images to help train facial recognition algorithms.

The report mentioned multiple datasets used to help companies train machine learning algorithms to better comprehend diversity in facial recognition programs, but one dataset in particular was emphasized and elaborated on: IBM’s ‘Diversity in Faces’ set that was derived and iterated upon from more than 100 million Creative Common images gathered by Yahoo and released for research purposes back in 2014.

Almost immediately, users around the web started raining down critical comments. Others, such as Flickr’s own Don MacAskill, chimed in as well to help clarify the situation.

The issue isn’t that Flickr is handing over your photos for free to corporations looking to train their artificial intelligence algorithms. It’s that users are sharing their photos under various Creative Commons licenses without fully comprehending what those licenses entail

After the dust settled from the initial publishing of the report and the subsequent commentary across social media, one thing became clear: the issue isn’t that Flickr is handing over your photos for free to corporations looking to train their artificial intelligence algorithms. It’s that users are sharing their photos under various Creative Commons licenses without fully comprehending what all those licenses entail, a concern Flickr specifically referenced just recently in their announcement to save all Creative Commons photos on its servers.

After all, IBM didn’t sneakily pull private photos off of Flickr to use and Flickr didn’t just hand over millions of protected photos, despite the overtone NBC News’ article might give off. The photos IBM used to build up its database were the same photos any one of us can find when searching for public, Creative Commons photos on Flickr.

Don MacAskill, SmugMug Chief Executive and head of Flickr, shared his take on the situation in a conversation with Olivia Solon, the author of the NBC News article, explaining that no ‘scraping’ of Flickr images was done, as the photos were opt-in Creative Commons licensed photos. Below was MacAskill’s first response, but the entire thread is worth the read.

Ryan Merkley, CEO of Creative Commons, even chimed in on the conversation with an official response on Creative Common’s blog. In it, Merkley addresses the concerns of Flickr users and went so far as to contact IBM ‘to understand their use of the images, and to share the concerns of our community.’

In it, Merkley writes (emphasis ours):

While we do not have all the facts regarding the IBM dataset, we are aware that fair use allows all types of content to be used freely, and that all types of content are collected and used every day to train and develop AI. CC licenses were designed to address a specific constraint, which they do very well: unlocking restrictive copyright. But copyright is not a good tool to protect individual privacy, to address research ethics in AI development, or to regulate the use of surveillance tools employed online. Those issues rightly belong in the public policy space, and good solutions will consider both the law and the community norms of CC licenses and content shared online in general.

The overarching theme that stands out amongst this ongoing debate is that it’s not always clear to users, especially those who aren’t as engrained in the online world of photography, what Creative Commons licenses cover and fair use actually is. Flickr doesn’t shy away from explanations and links out at various stages throughout the upload process and in its FAQ, but even the Creative Commons website lacks clear definition — something it’s already addressing with new FAQ pages that it will continue to update.

“Copyright is not a good tool to protect individual privacy, to address research ethics in AI development, or to regulate the use of surveillance tools employed online.”

Ultimately, the current copyright system that’s intended to prevent other people profiting from creative works, wasn’t necessarily designed to protect your images from this type of use. Those images don’t end up in devices, nor is anyone directly profiting from your creations, so existing rules don’t necessarily offer any protection, whatever rights you assert. The cost of your camera or smartphone getting that bit smarter might just be that your photos are the ones being used to train it.

Articles: Digital Photography Review (dpreview.com)

 
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