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Moment launches Battery Photo case for iPhone X and XS

14 Sep

Smartphone accessory lens maker Moment has started shipping its new Battery Photo Case for the iPhone X and the new iPhone XS, just in time for the launch of Apple’s new iPhone models.

The case was first announced earlier this year as a Kickstarter campaign and comes with a range of features aimed at iPhone photographers. There is a two-stage shutter button that locks focus on half-press and the case is of course compatible with the Moment lens lineup which comprises of telephoto, wide, super fish and macro lenses, as well as a soon-to-be-released Anamorphic lens.

The battery portion of the case is compatible with the Qi wireless charging standard and offers a 3,100mAh capacity for charging your device on the go. An integrated lightning port and a wrist/neck strap attachment point are on board as well.

The case is available now for $ 99 on the Moment website. Updated versions for the brand new iPhones XS Max and XR are expected in November.

Articles: Digital Photography Review (dpreview.com)

 
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Seagate 14TB IronWolf and IronWolf Pro NAS HDDs are made for creative pros

14 Sep

Seagate has introduced new hard drives for Network Attached Storage (NAS) devices: the 14TB IronWolf and 14TB IronWolf Pro HDDs. The new models offer users access to high-performance hardware alongside management and recovery tools, making it possible to upload and download large amounts of data remotely without stressing about drive failures.

Both the 14TB IronWolf and IronWolf Pro models feature Seagate’s AgileArray technology, which optimizes the HDDs for multi-drive storage systems. Both models also offer up to 256MB cache, but the IronWolf Pro has a longer mean time between failures (MTBF) of 1.2 million hours versus the IronWolf’s 1 million hours.

As well, the 14TB IronWolf comes with a 3-year warranty, whereas the IronWolf Pro has a 5-year warranty. The regular IronWolf model is targeted at small businesses and home use with a 180TB/year workload rating, while the IronWolf Pro is intended for creative professionals, among others, with a 300TB/year workload rating.

The Pro model includes data rescue services, which are an optional addition for the IronWolf model

Both the 14TB IronWolf and IronWolf Pro feature rotational vibration sensors, but differ in support for multi-drive configurations: the IronWolf can be used in devices with up to 8 bays and the IronWolf Pro can be used in devices with up to 24 bays. The Pro model includes data rescue services, which are an optional addition for the IronWolf model.

Seagate’s IronWolf product page doesn’t currently include the 14TB model in its retailer availability search, but Tom’s Hardware reports that the 14TB IronWolf costs $ 530 USD and the 14TB IronWolf Pro costs $ 600 USD.

Via: Seagate

Articles: Digital Photography Review (dpreview.com)

 
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Review: Peak Design Everyday Sling 10L, a solid but pricey pack

13 Sep

Peak Design Everyday Sling 10L
$ 149.95 | PeakDesign.com

Peak Design’s Everyday Sling 10L.

It seems almost impossible to talk about camera carrying options without mentioning Peak Design. I use the brand’s Everyday Backpack to carry all my gear when shooting events like multi-day music festivals. But when carrying everything isn’t necessary, the Peak Design 10L Sling has become one of my favorite bags.

It combines the sensibilities of traditional camera shoulder bag with the stylish and sleek design elements that Peak Design has become known for. The 10L comes in at $ 149.95 and is available in three color options including Ash, Charcoal and Black (we reviewed Black). There’s also a $ 99.95 5L option which I’ll come back to later.

Specifications

  • Interior volume: 10L
  • Exterior dimensions: 16 x 9 x 5.5in / 40 x 23 x 14cm
  • Tablet/laptop sleeve size: 12.5 x 8.65 x 0.75in / 32 x 22 x 2cm
  • Weight: 1.5lbs / 680g

Compared to other bags

It’s worth noting that the price tag – as with other Peak Design products – is on the high side. Ruggard, for instance, sells a similarly-sized bag for about $ 55. In fact, before I got the sling, I was using an older model of this Ruggard bag and it served me extremely well for several years with few issues. That being said, comparatively, Peak Design’s bag offers a much more rugged construction and MUCH more weather resistance. It also looks a lot nicer in my opinion.

Compared to the similarly-priced MindShift Exposure bags, Peak Design’s sling looks distinctly less like a camera pack and more just like a cool bag. Options like ThinkTank’s Retrospective series feel a bit flimsier and less protective than the Peak Design Sling, while their style-focused Signature series cost quite a bit more for the same size. And both of those options weigh nearly twice as much as the Peak Design.

Design and construction

A look inside the Pea Design Sling.

Like every Peak Design product, this bag feels very sturdy. The weatherproof 400D nylon canvas exterior is protective and easy to clean. The two outer zippers have weather sealing and all the exterior hardware is made of anodized aluminum offering strength while maintaining a light weight. The interior ‘poly-spun mixed twill’ material is soft to the touch. And the high density EVA foam Flex-Fold dividers we’ve come to know and love continue to feel protective and secure, while offering versatility.

These Flex-Fold dividers are similar to those included in other Peak Design packs. The bag ships with 2 dividers which open up like origami, allowing for multilevel storage.

In use

When it comes to usability Peak Design has made their reputation around listening to the needs of those photographers buying and using their gear. This bag exemplifies the company’s approach. It can fit many varieties of camera and lens combinations comfortably and ultimately that’s what you’re buying here: a sling that you can mold and adapt to whatever system makes sense for you.

It can fit many varieties of camera and lens combinations comfortably… and can mold and adapt to whatever system makes sense for you

For me, I usually carry a full-frame DSLR body with 2-3 lenses. I can pack the Everyday Sling 10L with a Nikon D750, 28-70mm zoom, 35mm F2 prime and 50mm F1.4 prime and still have some room left over for additional pieces. The Peak Design website shows the bag with a full-frame body and 70-200mm zoom, but in my experience a lens that large on a body doesn’t fit very well.

The bag also includes two anchor points for Peak Design’s Capture Clip system, though that system makes a lot more sense attached to the shoulder strap of a backpack than it does on the side of a sling.

Here’s a look at one of my setups (Clockwise from top left): 20mm prime lens, Nikon D750 w/ 28-70 2.8 attached, Nikkormat FTN with 24mm Prime, memory card case, Moleskine notebook.

Accessory-space-wise, you’ve got an interior zipper pocket on the inside of the “lid” that can fit cards, hard drives, filters or spare batteries. While this pocket is spacious, it’s still limited mainly by the fact that you need to be able to zip close the lid, so you can’t really pack it with a ton of stuff.

…getting the zipper around the corners of the lid flap can be a little tough/awkward

Speaking of the zipper, one of my few complaints with this bag is that getting the zipper around the corners of the lid flap can be a little tough/awkward. This might be due to the way I’m wearing the pack at my side – it also might loosen up and be easier to close over time.

For more accessory space, there is a front zipper pocket (see below). According to Peak Design’s website this pocket “holds jackets, snacks, and other everyday carry.” I think jackets is a bit of a stretch but I’m sure if you had the right jacket and the elbow grease you could get it in there, but you’d suddenly have a much bulkier bag. Still, this pocket is really useful to separate your non-camera oriented things such as wallets, passports, pens, chapstick, snacks, etc.

One of my favorite parts of this bag is that it can fit very snugly on my back. I’m fairly skinny but tightening the strap allows me to wear it flush against my body regardless of how much weight I have in it. That being said I can also loosen the strap quite a bit and wear it more like a messenger bag at my side.

A ‘quick adjuster handle’ (see below) allows you to make the transition between these two modes – it works really well but does feel a bit flimsy. It doesn’t really “hard” lock the strap and though I haven’t had any issues with it yet, if there was something that was going to break on this bag, I’d expect it to be this piece. For more permanent strap adjustments you simply adjust the strap tail where it meets the bag.

The ‘quick adjuster handle’ makes it very easy to change the length of the strap, but we worry about its longevity.

There are also two adjustable straps on the front of the bag that can be loosened too to cradle a tripod/other items or cinched to compress the outer accessory pocket. I wouldn’t recommend using the straps to carry a tripod though as it really limits the comfort of the bag.

What’s the bottom line

The rugged exterior of this bag is durable and weather resistant.

This bag does have two things missing that I’d love to see in future iterations. First, a quick releasing option for the lid. Most Peak Design bags offer a MagLatch for easy and fast access to your gear, a nice alternative to constant unzipping and re-zipping. Secondly, I’d love to see some kind of metal carabiner attachment options on the sides of the bag (near the Capture Clip anchor points). The main reason for this is that there isn’t really a good place on this bag to carry any sort of water bottle and something as simple as a carabiner-ready loop would make solving that problem very easy.

This bag really does a great job at filling the needs of everyday shooters and travelers while maintaining style and comfort

This bag really does a great job at fulfilling the needs of everyday shooters and travelers while maintaining style and comfort. I find that when I’m going out with the intentions of shooting, this bag is my first choice. The only time I choose the Everyday Backpack instead is on days that I need to bring a wider range of options to a shoot (such as a full day wedding shoot requiring multiple lenses, flash, etc.).

If you shoot mirrorless the 5L Everyday Sling may be a good option as well though, I wouldn’t recommend it as a primary shooting bag if you’re using any full-frame DSLR or similar sized camera (My Hasselblad fits great in the 10L!)

What we like

  • Comfortable
  • Lightweight
  • Compact
  • Customizable and expandable
  • Stylish

What we don’t:

  • A little pricey
  • Zippers can be tough to close
  • Quick adjuster handle a little flimsy

Articles: Digital Photography Review (dpreview.com)

 
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LumaPod is an ultra-compact tripod that uses tension to keep your shots steady

13 Sep

Tripods are one of the few pieces of camera equipment that haven’t seen a lot of innovation over the years. LumaPod is hoping to change that though, with its all new tripod that’s currently available to back on Kickstarter.

Deemed the ‘world’s fastest tripod,’ the LumaPod is a compact tripod that uses patented tension technology to stabilize your shots without weighing a ton. It comes in two models — the Go85 and Go120 — for varying camera sizes and can also be used as a monopod and selfie stick.

Unlike traditional tripods, which rely on three legs attached to a centralized column and mounting point, the LumaPod is essentially two tripods in one that folds down into a single tube that looks something like the handle of a lightsaber. The base of the LumaPod is similar to a standard tripod in that it uses three rigid aluminum legs to keep the thing upright and steady. These low-profile legs serve as the attachment point for a telescoping column and three kevlar cables that hold the central column in place using tension.

The Go85 LumaPod weighs just 400g/0.88lbs, measures in at 85cm/33.5in and can hold 1kg/2.2lbs of camera equipment. The larger Go120 weighs 690g/1.65lbs, measures in at 120cm/47.3in when closed, and can hold 2kg/4.4lbs of camera equipment.

The Go85 includes a collection of accessories designed to make the most of shooting with smartphones and GoPro cameras, while the Go120 includes a compact Z-plate for more versatile mounting of mirrorless and DSLR cameras. Other accessories are available as add-ons through the Kickstarter. These include a Bluetooth remote, quick release plate, travel sling, compact ball head, and more.

The lower legs of both LumaPods are modular and adaptable to fit your shooting needs. They can be hot swapped with rubber feet, terrain levelers, dolly wheels, and other accessories by simply swapping them out. LumaPod claims it takes just four seconds to set up the tripod.

It remains to be seen just how stable this setup is, but it’s an interesting design that may very well work for smaller camera setups.

The Go85 starts for a pledge of €69 (approximately $ 80), while the Go120 starts at €85 (approximately $ 99). Both models are expected to ship in May 2019. To find out more and secure your pledge, head on over to the Kickstarter campaign.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma adds three new lenses to cinema range and promises LPL mount compatibility

13 Sep

Lens manufacturer Sigma has announced a trio of fast cinema lenses for full frame camera systems that will also be available in the ‘Large Positive Lock’ (LPL) mount for Arri’s large format camera system. The new models share the same T1.5 maximum aperture of the majority of the Sigma FF High Speed Prime cine lens range and will come in 28mm, 40mm and 105mm focal lengths.

This news brings the number of lenses in the company’s high speed full frame cinema lens system to 10, all of which share a T1.5 maximum aperture other than the 14mm T2. The new models will all have a 9-bladed iris and the 28mm and 40mm models will have a 82mm filter thread – the 105mm doesn’t have a thread at all. They will all be available in Canon EF, Sony E and PL mounts, and we should expect models in Arri’s LPL mount in ‘2019 or later’.

The first lens to arrive will be the 105mm T1.5, which will be available in October 2018 for £4749, or £5649 for the luminous version. Between then and the end of the year the 40mm will begin shipping, and those after the 28mm will have to wait until the early part of next year. No pricing has been released for the later two lenses. For more information see the Sigma Imaging website.

Press release

SIGMA CINE LENS New Product Update

The SIGMA Corporation is pleased to announce the development of three new SIGMA CINE lenses in the FF High Speed Prime Line: 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF. With these additions, the FF High Speed Prime Line will comprise of ten lenses covering 14mm to 135mm and T1.5 to T2, empowering cinematic expression to an even higher degree.

These new SIGMA CINE LENS models will be available for test shooting at the 2018 IBC Show to be held in Amsterdam between 14th to 18th September. For further details about the new FF High Speed Prime Line lenses and updates about previously released SIGMA CINE LENSES, please refer to the sections below.

Overview

1. FF High Speed Prime Line to welcome new 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF models
2. Development of LPL mount

1. FF High Speed Prime Line to welcome new 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF models

The FF High Speed Prime Line will grow with the addition of three new lenses. Compatible with a full-frame image circle and optimized for ultra-high-resolution 6K-8K shooting, the lineup exceeds even high-end prime sets. Combining all the main specifications that exist in other lenses in the lineup, this addition further expands the potential of movie production in the current digital era.

28mm T1.5 FF
Delivery: Early 2019
Price: TBD
Lens support foot and lens cap included
Mounts: PL, EF and E-mount.
Note: For further details, please refer to the specification chart.

40mm T1.5 FF
Delivery: End of 2018
Price: TBD
Lens support foot and lens cap included
Mounts: PL, EF and E-mount.
Note: For further details, please refer to the specification chart.

105mm T1.5 FF
Delivery: October, 2018
Price: £4749.00 (Inc. VAT) (Standard Version)
£5649.00 (Inc VAT) (Fully Luminous Version)
Lens support foot and lens cap included
Mounts: PL, EF and E-mount.

2. Development of LPL mount
The SIGMA CINE LENS series will soon include LPL mount, the new lens mount optimized for the large format sensor released by ARRI in 2018. The planned release date for SIGMA CINE LENSES in LPL mount is 2019 or later.

Articles: Digital Photography Review (dpreview.com)

 
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CamRanger Mini is half the size, two thirds of the price and has over twice the range

13 Sep

Ahead of the launch of the CamRanger II the company has announced a mini version of its wireless remote control system that it says has a longer range than the original in a body half the size. The CamRanger Mini does much the same things as the original model did, but now has a reach of 400 feet and will cost 2/3rd of the price.

Designed to work with Canon and Nikon DSLR systems the device acts as a go-between to connect a camera with a tablet or phone. It allows users to preview what the camera is seeing and to take control of basic, and in some cases more advanced, settings before triggering the shutter.

As was announced, the company has produced a new app to run the CamRanger II, and it appears to have made it available to use first with the CamRanger Mini. The Mini is said to be slightly faster than the original model, and now the app offers equal support for iOS and Android products, as well as 200% live view magnification and a level, pinch zoom functions and a more automated focus stacking process.

There is no mention of Fujifilm and Sony support, as there will be with the CamRanger II, but there’s a good chance the firmware will be updated at some stage to allow this.

The CamRanger Mini is available now for £229.99/$ 200. For more information see the CamRanger website.

Press release

Smaller price, Smaller size…

Introducing the NEW CamRanger MINI

New CamRanger MINI enables remote live view and firing of a Canon or Nikon DSLR camera from up to 120m (400ft) away, via a tablet or smartphone, with the ability to modify exposures and settings completely wirelessly.

The CamRanger MINI hardware and free app work together to create their own Wi-Fi network, even in remote locations, without relying on another network or router. This offers the ability to change the camera’s shutter, aperture, ISO and white balance, along with many other settings. The powerful app even has the ability to run more advanced functions such as focus-stacking, time-lapse and HDR photography.

This new device is ideal for any application where remote view and capture are useful or even essential, such as nature and macro photography, wildlife and birdwatching plus commercial applications where having a camera in a high, tight or remote location is necessary. Controlling a Nikon or Canon DSLR camera with a smartphone or tablet has just become easier.

The built-in Lithium-ion battery lasts about 3-4 hours and is charged through the micro-USB port. Wi- Fi range is over 120m (400ft), though the range depends greatly on the exact location and scenario. The CamRanger MINI works with most Nikon and Canon DSLRs and the included case can be used for carrying, storage and attaching to the camera or tripod.
The CamRanger Mini app is available for iOS and Android and is free download from the Apple App Store or Google Play Store. Both the Android and iOS apps have been completely revamped from the original CamRanger app.

  • Wirelessly stream live view from the camera to your tablet or phone
  • Wirelessly capture images or trigger from the camera
  • Thumbnails automatically appear on the top of the screen after taking a picture
  • Images are always saved to the camera card and can optionally be saved to your device
  • Pinch zoom or double tap to view the image at up to 200%
  • Double tap to increase magnification, Single tap to focus on an area or fine tune
  • Can be configured to take a series of pictures automatically varying Shutter Speed, Aperture, ISO
  • Can be configured as an intervalometer to take time lapse sequences
  • View and change camera settings remotely
  • Use a variety of overlays: grid lines, file name, EXIF data, histogram

Articles: Digital Photography Review (dpreview.com)

 
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Apple introduces iPhone XS, XS Max, and XR with better Portrait Mode and Smart HDR

13 Sep
iPhone XS and XS Max

Apple has unveiled the next generation of its iPhone X in the form of three variants: the 5.8″ iPhone XS and 6.5″ iPhone XS Max with OLED displays, and an iPhone XR with 6.1″ LCD “Liquid Retina” screen. iPhone XS and XS Max offer dual-camera modules like the X, while the XR uses a single 12MP wide-angle camera.

The iPhone XS and XS Max’s dual-camera module includes a new, larger 12MP sensor behind the wide-angle lens, with 1.4 µm pixels (up from 1.22 µm). The telephoto camera is still 12MP, and both lenses offer optical stabilization as they do on the iPhone X. The rear camera’s True Tone flash as been improved, and the front-facing camera has been updated with a faster 7MP sensor.

The iPhone XR uses the same updated 12MP sensor as the XS and XS Max, and is still able to produce Portrait Mode effects without a secondary rear camera – Apple says it uses the sensor’s focus pixels to produce a depth map.

On the software side, Apple has put some effort into improving the bokeh effect in Portrait Mode and now allows for post-capture adjustment of depth-of-field for stills in the native camera app, which is available on all three new phones.

…the camera will buffer four frames pre-capture for a “zero shutter lag” effect

A new Smart HDR mode is also available in all three devices, and leans even further into computational photography. When a moving subject is detected, the camera will buffer four frames pre-capture for a “zero shutter lag” effect. An image signal processor works with the device’s CPU to analyze scenes and do a better job of isolating Portrait Mode subjects. Apple says the camera captures secondary interframes at different exposures to capture highlight and shadow detail, analyzes the information and merges it into one image.

The XS and XS Max include an IP68 water resistance rating, while the XR offers an IP67 rating consistent with the iPhone X’s.

Both XS and XS Max offer a Super Retina OLED HDR screen, and Apple claims the displays offer a 60% improvement in dynamic range compared to the iPhone X. We considered the OLED display on the X to already be class-leading in its dynamic range and wide P3 color gamut, so this is an impressive accomplishment. The XS screen is (not surprisingly) spec’d identically to the iPhone X’s with 2.7 million pixels and 458 ppi, though the XS Max’s display is the largest to appear in an iPhone to date with 3.3 million pixels at 458 ppi. Both screens will render HDR photos and HDR streaming content from the likes of Netflix with high contrast and a wide color gamut.

iPhone XR

The XR stands on its own with an LCD, a 1792 x 828, 326ppi display Apple designates as “Liquid Retina.” It’s not designated an ‘HDR’ display like the XS models, and there’s no 3D touch present, but the display provides haptic feedback. The device uses the same updated front-facing camera as the XS and XS Max (yep, there’s a notch on this one too) enabling Face ID and front-facing Portrait Mode.

iPhone XS and XS Max will arrive first, shipping September 21st in 64GB, 256GB and 512GB configurations. The XS starts at $ 999; the XS Max starts at $ 1099. The iPhone XR will ship October 26th starting at $ 749 with 64GB, 128GB and 256GB configurations.

Articles: Digital Photography Review (dpreview.com)

 
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Skylum software launches Aurora HDR 2019

13 Sep
A screen shot of Aurora HDR 2019.

In May Skylum Software set up the ‘Skylum AI’ artificial intelligence lab. Now we are seeing the first product results coming out of the new lab. Today Skylum has announced the latest version of its high dynamic range editing software, Aurora HDR 2019, which comes with a new AI-powered Quantum HDR Engine.

The new HDR engine is the core element of this new update and provides AI-powered tone mapping technology that analyzes your images for optimized merging. The Quantum engine was fine-tuned by testing it against thousands of images in order to ensure natural-looking results. Skylum says the new software can be used to reduce highlight and channel clipping, loss of contrast, noise and ghosting artifacts and works with both single images and bracketed shots.

Before and after processing in Aurora HDR 2019.

Other new features include Smart Structure technology, which Skylum says can bring out detail without creating artifacts. There’s also a new LUT mapping tool with instant preview for color-grading your images. Aurora ‘HDR Looks’ replaces what was called ‘Presets’. And the company has also commissioned a number of professional photographers to develop their own Aurora HDR Looks.

Aurora HDR 2019 is available for pre-order from today and costs $ 89 for a new purchase and $ 49 for an upgrade. When released on October 4th, prices will increase to $ 99 and $ 59 respectively. More information is available on the Skylum website.

Press Release:

Aurora HDR 2019 introduces AI-powered Quantum HDR Engine

Aurora HDR 2019 has Skylum’s new AI-powered Quantum HDR Engine with new tone mapping technology to create the most realistic, immersive high dynamic range photographs possible. Pre-orders for the Aurora HDR 2019 start September 12th.

Bellevue, WA – September 12, 2018 — Skylum Software is excited to open pre-orders for the fourth major version of its award-winning HDR program Aurora HDR — the most sophisticated version since being released in 2015. New users can purchase the new version for $ 89 and current users of Aurora HDR may upgrade for a limited time at a special price of $ 49 at skylum.com/aurorahdr.

Skylum’s ultimate goal is to give photographers an easy-to-use yet powerful tool to create vivid, captivating, and incredibly dynamic images. The company is to deliver on that goal with the all-new Aurora HDR — an impressive HDR photo editing tool that blends power and intelligent technology with intuition and a seamless workflow.

With a press of the button, you get amazing images that look as natural as they did when you pressed the shutter. To achieve your own creative vision, Aurora HDR’s many powerful filters, tools, and Aurora HDR Looks are also on hand for you to utilize. It’s a capable HDR editing software designed not only for professional, experienced and beginner photographers, but also as a solution for real estate marketing.

At the core of this update is Skylum’s revolutionary Quantum HDR EngineTM, an AI-powered tone mapping technology that’s been three years in the making within Skylum’s AI lab. Now, when creating an HDR image using multiple bracketed shots, Quantum HDR Engine meticulously analyzes the photos and intelligently merges them. Not only does it minimize the major issues that other HDR merging tools have, but it also generates stunning results, producing images that are dynamic yet natural-looking.

Specifically, whether you’re working with bracketed shots or a single image, the Quantum HDR Engine reduces burned colors, loss of contrast, and noise, as well as mitigates unnatural lighting caused by halos and unstable deghosting. To do this, Skylum developers tested thousands of bracketed shots through a neural network and took those findings to develop the technology needed to create incredible HDR photographs. The result is an editing software with a solid performance for even the highest end architecture and real estate photography projects.

“We are incredibly excited to get Aurora HDR 2019 into the hands of photographers from around the world. The results are so accurate and natural that the final images appear as though you’re looking at the scene with your own two eyes. Simply put, it’s HDR finally done right.” — Dima Sytnyk, CTO and co-founder of Skylum.

A new HDR Smart Structure technology gives you the precise amount of details, structure, and sharpness in an image without creating excess artifacts that can make an HDR image look over-the-top. This allows Aurora HDR to produce images with the incredible details and realism favored by architecture and real estate photographers.

To deliver creative color toning, perfect black and white conversions, and digital film looks in seconds, Aurora HDR 2019 also boasts new LUT mapping integration with instant preview. Utilizing the same tools used in motion pictures, you can now stylize your images through color grading, giving your images the perfect look and toning to bring out the awe in each and every one of your photos.

To give that perfect finishing touch to an image, or to create a signature look you’re going for, the new Aurora HDR 2019 introduces Aurora HDR Looks to replace Presets as well as offer more selective aesthetic choices and more refined toning. Aurora HDR Looks can also include textures and masks, making for an almost infinite number of HDR editing possibilities.

World renowned photographers have created their signature Aurora HDR Look packs exclusively for Aurora HDR 2019, among which are Aurora HDR Looks for Real Estate by Randy Van Duinen, and signature Aurora HDR Looks from Trey Ratcliff, co-developer of Aurora HDR 2019, and Serge Ramelli.

All in all, Aurora HDR 2019 is designed to create the natural-looking HDR images without the need for a complicated workflow. Whether you’re working with a single exposure or twelve bracketed shots, Aurora HDR 2019 gets it done.

Aurora HDR 2019 is available for pre-order starting September 12th. Pre-orders include bonus downloadable content and costs $ 89 for a new purchase and $ 49 for an upgrade. When released on October 4st, the price will jump to $ 99 new and $ 59 for an upgrade.

The bonus pack includes:

  • Video tutorial “Getting the Most from Aurora HDR 2019” by Trey Ratcliff
  • The Landscape Photography Handbook by David Johnston
  • Exclusive interior Aurora Looks by Richard Harrington
  • Burning Mood LUTs by Richard Harrington
  • 3-month 500px Pro membership
  • $ 300 OFF a multi-day Iceland Photo Tour

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with new Fujifilm XF 200mm F2 and XF 8-16mm F2.8

12 Sep

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

Fujifilm is having a busy summer (we’re not ready to start calling early September ‘autumn’ yet), announcing two lenses and the brand new X-T3. The XF 8-16mm F2.8 R LM WR and XF 200mm F2 R LM OIS WR are aimed at enthusiasts and professionals, and add considerable versatility to Fujifilm’s growing XF lens lineup.

With the 200mm F2, the company is making its first serious play for the sports and action crowd, and we don’t use the word ‘serious’ lightly…

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

The new XF 200mm F2 R LM OIS WR looks like it will be a seriously impressive lens (the sample we’ve had our hands on is a pre-production model, which was not cleared for testing). Cosmetically, this weather-sealed prime appears to be built as well as anything from the ‘big’ DSLR manufacturers, and despite weighing 2.2 kilos (roughly 5 pounds) it balances well on an X-T3 with accessory grip.

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

As we’d expect from a professional-grade telephoto prime lens, the 200mm F2 offers a focus limiter, to prevent hunting within two ranges: full (1.8m – infinity) and 5m – infinity. It also offers a focus preset function allowing focus to be set instantly to a preset position. In common with other XF ‘R’ lenses, the 200mm features a large, clicked dial for electro-manual aperture control, if desired (or ‘A’ if you prefer to set aperture from the camera).

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

The 200mm F2 is sealed at 17 points, including around the lens throat, to prevent dirt and moisture from making its way into either the lens or a attached camera. As well as being weather and dust-resistant, the new lens is rated at operational temperatures as low as -10°C (14 degrees Fahrenheit)

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

This shot shows the lens with its dedicated hood attached. Optical construction consists of 19 elements in 14 groups, including one large-diameter super ED lens element and two large-diameter ED lens elements. Fujifilm claims that high-precision polishing technology developed for its broadcast lenses was employed in the manufacturer of these large elements.

The XF 200mmF2 R LM OIS WR will be bundled with a XF 1.4X TC F2 WR teleconverter, which turns the 200mm into an equivalent 420mm F4.2 optic on Fujifilm’s APS-C format X-series bodies.

The Fujinon XF 200mmF2 R LM OIS WR Lens and XF 1.4X TC F2 WR Teleconverter Kit will be available in late October 2018 for $ 5,999.95.

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

At the other end of Fujifilm’s focal length coverage range is the new XF 8-16mm F2.8 R LM WR – another fast, weather-sealed lens aimed at enthusiast and professional users of Fujifilm’s X-series ILCs.

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

Offering an equivalent focal length range of 12-24mm, the 8-16mm is a fairly heavy lens for its size, weighing in at 805g (1.8 lb), packing in 20 elements in 13 groups, including four aspherical elements, three ED (extra low dispersion) and three super ED elements. We haven’t been able to test it yet (the sample we handled, like the 200mm, was pre-production) but we’re excited to see what all that glass can do.

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

Ergonomically, the 8-16mm has a lot in common with other high-end XF-series lenses, including broad, well-damped focus and (electro-mechanical) focus rings plus a lockable aperture ring.

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

The ‘WR’ in its model name denotes weather-resistance, and Fujifilm claims that this new wide-angle zoom is sealed at 11 points against dust and moisture incursion. The Fujinon XF 8-16mmF2.8 R LM WR Lens will be available in late November for $ 1,999.95.

Articles: Digital Photography Review (dpreview.com)

 
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X-Rite launches the ColorChecker Video XL

12 Sep

X-Rite has announced the ColorChecker Video XL, an oversized color target designed for those shooting situations in which smaller variants won’t quite cut it.

The Video XL uses the same gray and color patches as well as skin tones as the standard ColorChecker Video but is simply twice as large. Features include two rows of six chromatic color chips, both saturated and de-saturated, skin tones ranging from light to dark, patches for even gray balance, including white, 40IRE gray, deep gray and high gloss black, six color chips for linear gray balance, and illumination check chips in the corners.

“The X-Rite ColorChecker Video XL is designed for those longer and wider shots when the space between your camera and subject is too great to capture a smaller target,” X-Rite says. “With ColorChecker Video XL, users can increase capture resolution for post, maintain the same lighting conditions falling on their subject, eliminate the need to move the camera closer or adjust focal length, and minimize color casting from surrounding light.”

X-Rite says the new tool can help video shooters and photographers set exposure, check highlights, shadows and mid-tones, achieve accurate color balance, match multiple cameras and edit for mixed lighting.

The ColorChecker Video XL is available now for $ 399. With a sleeve it is $ 429 and the bundle with a carrying case will set you back $ 495. More information is available on the X-Rite website.

Articles: Digital Photography Review (dpreview.com)

 
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