360Photography

Category: Uncategorized

  • RGG EDU is giving away a $300, 8+ hour beer photography course for free

    If you’re looking to get into professional beverage photography—and specifically tap into the market for professional beer photography—this course from RGG EDU is definitely worth checking out. Produced by RGG and photographer Rob Grimm, the 8+ hour course covers everything you need to know. And the best part? This course, which usually retails for $ 300, is being given away 100% free.

    As with all free offers like this, you’ll have to put in your personal info at checkout, but you can uncheck the “keep me up to date on news and exclusive offers” checkbox and avoid the marketing emails if you’re not keen on those.

    The process takes just a few clicks—we went through it ourselves to check that it actually works—and once you’re done, you’ll get an email with a bespoke download link that gives you access to all 25 chapters of photography and retouching tutorial content, 27 RAW files, four full photo shoots, and access to a private Facebook group where you can chat with fellow members of the RGG community about the stuff you’re learning.

    Here’s RGG’s description of the course:

    In this tutorial, you will see Rob’s entire process for creating beverage images by breaking the composition down into its parts and obsessing over the details. You will learn the foundations of beverage photography from capturing a bottle on white, photographing cocktails including drink styling, proper use of ice, realistic condensation, creating appetite and appeal, and the use of duratrans to make an image that appears to be shot on-location with all the control of a studio.

    Rob will share with you his method for generating portfolio ideas that will make you rethink your entire approach to creating images. Finally, world-renowned retoucher Earth Oliver, will walk you through the best methods to bring polish to your images that stand out from the crowd.

    To learn more about the course or pick up your free copy, click here.

    Articles: Digital Photography Review (dpreview.com)

  • DJI will set up temporary no-fly zones at the 2018 Olympics

    Photo by Matthew Brodeur

    File this one under “well… obviously.” DJI is creating no-fly zones near Olympics venues in South Korea that will prevent its drones from operating in the regions. The no-fly zones will be implemented at the software level as a precaution to prevent any foolish or negligent DJI users from putting safety or security at risk.

    These no-fly zones will be in place for the duration of the Games in the following cities:

    • Pyeongchang
    • Gangneung
    • Bongpyeong
    • Jeongseon

    Drone security is a big topic for this year’s Games. Earlier this week, South Korean officials confirmed that they’ll have their own anti-drone UAVs in operation. These UAVs—the ones operated by security officials —will launch nets at any uninvited drone to take them out of the sky.

    For its part, though, DJI has confirmed that it will be releasing a software update that creates temporary no-fly zones. This isn’t the first time the Chinese company has created temporary airspace restrictions. In a statement to Tech Crunch, DJI explained:

    Safety is DJI’s top priority, and we’ve always taken proactive steps to educate our customers to operate within the law and where appropriate, implement temporary no-fly zones during major events. We believe this feature will reduce the potential for drone operations that could inadvertently create safety or security concerns.

    Articles: Digital Photography Review (dpreview.com)

  • Leaked: Sigma preparing to release 14-24mm F2.8 DG HSM Art lens

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5721547623″,”galleryId”:”5721547623″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    Earlier today, Sigma sprang a pretty major leak ahead of the CP+ show in Japan. According to leaked images from Nokishita, Sigma is planning to add a 14-24mm F2.8 DG HSM Art lens to its ultra-wide angle lineup very soon. In fact, it looks like Nokishita got their hands on all of Sigma’s standard product shots.

    You can scroll through them above, and see some rumored specifications below:

    • Mount: Canon, Nikon, Sigma
    • Lens construction: 17 elements in 11 groups
    • Number of diaphragm blades: 9 (circular aperture)
    • Maximum photographing magnification: 1: 5.4
    • Size (Sigma mount): ? 96.4mm x 135.1mm
    • Weight (Sigma mount): 1,150g

    Of course, this isn’t the Sigma 70-200mm that’s been rumored (and hoped for) since before the Photo Plus Expo, but it does make for an impressive lineup of ultra-wides in the much-beloved Sigma Art series.

    If previous experience is anything to judge by, Nokishita’s product photo leaks usually come just days (sometimes less than 24 hours) before an official announcement, so we’re expecting this lens to make landfall very soon.

    Articles: Digital Photography Review (dpreview.com)

  • Worth the money? Fully loaded iMac Pro vs fully loaded iMac

    A fully loaded iMac Pro will cost you an eye-watering $ 13,200… but if you’re set on an Apple all-in-one, is it really almost $ 8,000 better than a fully-loaded 5K iMac? Parker Walbeck of Full Time Filmmaker ran some tests to find out, putting both all-in-ones through their paces using RED 8K footage, Canon 1D X Mark II 4K footage, and DJI Phantom 4 Pro 4K footage.

    He also tested the machines using both Adobe Premiere Pro and Final Cut Pro X, to eliminate the CPU-crushing effects of Adobe’s software.

    As you might expect, the iMac Pro outperformed the iMac in nearly every test, playing back full resolution footage flawlessly while the iMac dropped frames, and rendering/exporting at about 2x the speed. However, it didn’t win in every regard. The iMac actually outperformed the iMac Pro by 25% when it came to applying Warp Stabilizer, because this feature is only using an individual core to do the work.

    Playing back 8K RED footage on the iMac Pro was much smoother than the iMac, which had to be dropped to 1/8th resolution to match performance.

    All of this leads Parker to his very reasonable conclusion:

    “I definitely think there is a point of diminishing returns, where you’re paying a premium for slight, incremental improvements,” says Walbeck. “But that’s how it is with most new technology, it’s overpriced and you’re going to pay a premium for the latest and greatest.”

    As for the value, he sums it up pretty well in the video, and it’s probably exactly what you expected coming into this comparison. Is it worth the money?

    For most people? No. For a select few, yeah, it may be a difference maker. Do I personally need a computer this powerful? No. I’m sure I’d be just fine with my iMac or a base model iMac Pro

    […]

    I’ve edited RED 8K footage on my MacBook Pro before, it’s definitely doable, it’s just a lot slower than if I were to use an iMac Pro. So my advice would be to use whatever you’ve got, whatever you can afford, and just start creating content.

    And that, ladies and gentlemen, might be the most practical advice to come out of one of these iMac Pro comparison videos yet. Check out the full breakdown in the video above, where Walbeck offers some great advice for video shooters who are salivating over Apple’s newest machine… and yes, he does touch on why he doesn’t think that, at least for him, it’s worth it to spend less money and build an equally powerful PC.

    Articles: Digital Photography Review (dpreview.com)

  • PyeongChang 2018: Behind the scenes with Nikon Professional Services

    Sixty NPS staff members from 13 countries are gathered to help photographers at this year’s Winter Olympics in PyeongChang, South Korea.

    The PyeongChang Winter Olympics offers a chance for athletes to shine on the world’s most prestigious stage, but it’s equally as important an event for the hundreds of professional photographers covering the proceedings. In order to capture the most critical sporting moments, they need everything – camera position, angle and timing – to come together at once. This is no place for gear trouble, and that’s where Nikon Professional Services (NPS) comes in.

    NPS can be found at most major worldwide sporting events, including the Olympics, as well as international entertainment fixtures such as film and music festivals. NPS also provides camera support services at smaller domestic events like national sporting championships.

    There will be 60 NPS staff members from 13 countries on hand, offering support in around 10 languages.

    As preparations gear up for this year’s PyeongChang Winter Olympics in South Korea, we spoke to a senior NPS technician and veteran of 15 Olympic Games about what’s involved.

    At the PyeongChang Olympics, there will be 60 NPS staff members from 13 countries on hand, offering support in around 10 languages. Planning for the event started two years ago, and as well as D5 and D850 bodies the NPS inventory will include a range of specialized prime and zoom lenses. The exact figure is confidential, but the total value of all the gear is equivalent to ‘several hundred luxury cars’.

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3881092887″,”galleryId”:”3881092887″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    Located in the main press center, the NPS depot will serve all press photographers, regardless of NPS membership. Services offered will include camera check-ups, cleaning and repairs – as well as technical advice and loaner equipment.

    Nikon’s professional DSLRs can keep shooting well below freezing, but the extreme temperature difference between inside and outside shooting environments can still present challenges. Among the services available to photographers will be solving a problem unique to shooting in winter – condensation buildup inside lenses.

    It may look like a studio light at first glance, but it’s actually a Robotic POD ? an MRMC robotic motion control rig incorporating an AF-S NIKKOR 200-500mm f/5.6E ED VR lens and D5 combination.

    The PyeongChang depot is also newly equipped to offer support for robotic remote shooting systems made by Mark Roberts Motion Control (MRMC), a British company that’s now part of the Nikon group.

    Major international events like the Olympics are the front lines of technological development

    Major international events like the Olympics are the front lines of technological development, and several press agencies will be using MRMC’s Robotic POD (pictured above) at the Winter Games. The latest remote head, it incorporates a D5 body and boasts a less complicated system than conventional models to allow for easier control. With accurate zooming, focusing and rotating, the Robotic POD enables remote shooting in a much wider range of scenarios.

    But the depot isn’t just there to help when a photographer has gear trouble – NPS hopes it will serve as an ‘oasis’ amid the high-pressure environment of the games, providing a valuable opportunity for photographers and technicians to talk and share ideas.

    This is sponsored content. What does this mean?

    Articles: Digital Photography Review (dpreview.com)

  • Reckless drone video under investigation for flying directly above passenger jet

    A drone pilot has enraged the entire UAV community after sharing a video in which he flew his drone directly above a passenger jet flying out of Las Vegas’ McCarran International Airport. The stunt was captured in a video by the camera drone, which shows it facing the jet before turning to fly in the same direction and quickly dropping altitude to get closer to the aircraft. The drone then chases after the plane but quickly falls behind.

    The video was first shared privately on the Facebook group 1% FPV by someone posting under the name “James Jayo Older.” Some concerned members took a screen capture of the video and shared it outside of the Facebook group to bring attention to the dangerous stunt.

    The FAA has since confirmed that it is investigating the flight, which has been heavily condemned by drone enthusiasts and the general public alike. Federal regulations prohibit drones from being operated above 400ft, near airports, and around aircraft—this pilot seems to have blatantly violated all three rules. Operating a UAV at such a close distance to an aircraft could put the entire flight at risk.

    According to the FAA’s website, recreational drone pilots are required to alert air traffic control towers (when present) and airport operators ahead of time about flights happening within a 5 mile radius of an airport. “However,” the FAA notes, “recreational operations are not permitted in Class B airspace around most major airports without specific air traffic permission and coordination.”

    The FAA has an online system where anyone can report a drone violation.

    Articles: Digital Photography Review (dpreview.com)

  • DxOMark report reveals just how far smartphone cameras have come in the last 5 years

    DxOMark chart shows that overall scores for smartphone cameras have steadily improved over the last 5 years.

    If you’re looking for the most drastic and impressive improvements in the world of imaging, the (sad?) fact is, you’ll want to look at smartphone manufacturers. And this is what DxOMark highlights in a fascinating retrospective titled “Disruptive technologies in mobile imaging” that looks back on 5 years of testing smartphone cameras.

    Not that the Sonys and Nikons and Canons of the world haven’t made improvements—and who knows when the next generational leap in image sensor technology will take place—but as the saying goes: necessity is the mother of invention. Given the size limitations of our ever-thinner and lighter smartphones, its phone manufacturers who have had to be most creative when it comes to improving image quality.

    That, in a nutshell, is what DxOMark breaks down in its retrospective, taking a close look at everything from how smartphones have improved their ability to eliminate noise without losing texture, to exposure improvements, autofocus, video stabilization, zoom, and the recent advancements in bokeh simulation.

    Exposure is one of the areas that has seen drastic improvements. These images were captured at just 1 Lux, showing how the 808 PureView falls far short of the iPhone 5s, which in turn falls significantly short of the Galaxy S7 “thanks to better tuning and noise reduction.”

    The area where smartphone cameras seem to have improved most is in their ability to toe the line between decreasing noise and maintaining texture. Without simply increasing the size of the image sensor, this is a difficult balance to strike if you’re using just image processing, so newer phones take care of this in three ways:

    1. Optical image stabilization to allow for longer hand-held exposures
    2. Temporal noise reduction (TNR) that combines image data from multiple frames
    3. Multiple camera modules (currently dual, maybe soon triple)

    These techniques have helped manufacturers make huge leaps forward in the past 5 years:

    This side-by-side comparison shows just how much better the iPhone X is at avoiding and cleaning up noise than the iPhone 5s. But even the iPhone6, which used the same camera module as the 5s, benefitted greatly from improved software.
    But the iPhone X isn’t even the best at this trick. Here it is compared to the Samsung Galaxy Note 8, Google Pixel 2, and Huawei Mate 10 Pro.

    DxOMark’s conclusion after sharing all of this data is unsurprising, and one of the reasons why we’re keeping such a close eye on the newest smartphone camera tech:

    We can see that camera hardware and image processing have been evolving alongside each during the past 5 years, and at a much faster pace than in the “traditional” camera sector.

    DSLRs and mirrorless system cameras are still clearly ahead in some areas, but in terms of image processing, Canon, Nikon, Pentax, and the other players in the DSC market are behind what Apple, Samsung, Google, and Huawei can do. Thanks to their hardware advantages, the larger cameras don’t actually need the same level of pixel processing as smartphones to produce great images, but there is no denying that the performance gap between smartphones and DSLRs is narrowing.

    That’s a good summary, but if you want to dive into all of the comparisons—between phones of the past and today, and between the best phones on the market right now—head over to DxOMark and read their full retrospective.

    Articles: Digital Photography Review (dpreview.com)

  • Scammers are peddling fake ‘KODAKCoin’ to unsuspecting victims

    Kodak is warning potential investors that “KODAKCoin” offerings found online aren’t the real thing. According to an email sent to potential investors, and shared by AdAge, scammers have started listing KODAKCoin for sale despite its lack of official availability. Buyers aren’t getting the new cryptocurrency, they’re simply losing real-world cash.

    In January, Kodak announced plans to launch a blockchain-based image rights management platform called KODAKOne and its own cryptocurrency called KODAKCoin. In a status update published on January 31st, Kodak said it has received interest in its digital currency from more than 40,000 potential investors. The company is now entering an “accredited investors” phase during which time it will verify the status of interested potential investors.

    Now, scammers are taking advantage of the hype around cryptocurrency in general and the confusion around KODAKCoin specifically to try and steal some money.

    Scams involving initial coin offerings (ICOs) and cryptocurrencies are huge at the moment thanks to bitcoin’s recent record value and growing public awareness of the digital currency market. Facebook recently blacklisted advertisements involving cryptocurrencies and ICOs from its platform due to the number of scams, and SEC Chairman Jay Clayton testified before Congress about the topic yesterday.

    Editor’s Note: If you’re confused as to why exactly Kodak decided to get into cryptocurrency and bitcoin mining, give the op-ed below a read. Not everything with the Kodak name on it is connected to the company many of us know and love (or loved).

    Kodak didn’t get into cryptocurrency and bitcoin mining, “Kodak” did

    Articles: Digital Photography Review (dpreview.com)

  • Samsung’s new ISOCELL Dual module will bring dual-cameras to budget smartphones

    Dual-camera setups that allow for better zooming and a background-blurring fake bokeh effect have become pretty much a standard feature on flagship smartphones; however, they are still far less common on cheaper ‘budget’ devices. That’s all about to change. The image sensor division of device maker Samsung just launched the new ISOCELL Dual camera module, which was specifically designed for use in budget devices.

    The new module comes with a built-in set of algorithms and functions and can be configured two ways: either for low-light performance by combining image data from two sensor, or to provide a bokeh effect feature. For the low-light setup, Samsung couples two 8MP sensors; for the bokeh effect, the module is assembled with a 13MP and 5MP image sensor combination.

    Samsung will likely use the module in its own entry-level devices but, like it does with its sensors, RAM modules and other components, the company is also offering the technology to other OEMs. This will allow smaller companies to integrate dual-cam technology into their products without the need for large R&D budgets and software optimization.

    We should see the first production smartphones using the ISOCELL Dual module sometime later this year.

    Articles: Digital Photography Review (dpreview.com)

  • Meike teases three new lenses: 50mm F1.7, 25mm F2.0 and 25mm T2.2

    Chinese accessory and optical manufacturer Meike has posted a picture on its website of three lenses it intends to launch in the coming months. Two stills lenses are promised, a 50mm and a 25mm, as well as a 25mm designed for movie shooters.

    It is reported that the first will be a 50mm F1.7 for mirrorless systems—including the Canon EOS M mount—which is due in the middle of next month. A 25mm F2 shown in the same graphic is quite a different design to the 50mm, and different also from Meike’s existing mirrorless and APS-C range of lenses, so it isn’t easy to guess what systems this model will be aimed at. The third lens is a 25mm T2.2 Cinema lens, which appears to be the company’s first foray into this video market.

    Finally, as for how much these lenses might cost, it’s worth noting that the company’s current 50mm F2 retails for about $ 80… so they tend to be pretty affordable.

    For more information, visit the Meike website.

    Articles: Digital Photography Review (dpreview.com)