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Atomos Ninja V adds ProRes RAW capture to GFX 100, Sigma fp over HDMI

01 Sep

Atomos has released the latest firmware update for its popular Ninja V monitor/recorder that enables ProRes RAW capture over HDMI with the Fujifilm GFX 100 and Sigma fp camera systems.

Fujifilm GFX 100

On a GFX 100 running firmware version 2.01 or later, the Ninja V can now record 12-bit 4K ProRes RAW video at up to 30p over HDMI. This marks the first time users can capture Raw footage on the large format camera.

If you don’t need the Raw video, the Atomos firmware update also enables 10-bit 422 ProRes and DNx 4K UHD (3840 x 2160) capture up to 30p or 4K DCI (4096?×?2160) at up to 24p. Multiple monitoring modes have also been added for viewing and playing back Raw footage.

Sigma fp

Moving onto the Sigma fp, the Ninja V can now record 12-bit ProRes RAW at 4K DCI up to 24p or 4K UHD up to 30p over HDMI using the full width of the sensor. You can even capture 120p (119.88p) 12-bit ProRes Raw if you knock the resolution down to 1080.

10-bit ProRes 422 and DNx can also be recorded at 30p and 120p (119.88p) at 4K UHD and 1080 resolutions, respectively, if you don’t need Raw footage. Like the GFX 100, multiple monitoring modes have also been included for viewing and playing back Raw footage.

You can download the 10.53 firmware update from the Atomos Ninja V support page.

Press release:

AtomOS 10.53 — Sigma fp and FujiFilm GFX100 HDMI RAW

Important Note:

With the installation of this update if not previously activated users will be required to activate ProRes RAW, as a codec.

Following the Firmware update, when a RAW source is plugged in, or a user selects ProRes RAW Codec, a UI pop-up will ask for activation code to continue.

Visit Atomos website www.atomos.com/activation and follow the online instructions to generate a code.

SIGMA fp

• Video modes available for monitoring and recording in 12 Bit RAW: – 4096x2160p24

– 3840×2160 up to 30p

– 1920x1080p up to 119.88p

• Video modes available for monitoring and recording in 10 Bit ProRes 422 or DNx:

– 3840×2160 up to 30p

– 1920×1080 up to 119.88p

Monitoring of RAW input in:

– Native – Linear to VLog for use with 3D LUTs – can use any existing VLog LOOK LUTs
– Rec709 – to view RAW input in SDR up to 6.7 stops of dynamic range
– HLG – to view RAW in HLG with up 10.5 stops of dynamic range
– PQ – to view RAW in PQ/HDR10 with up to 10.5 stops of dynamic range, for scenes with extended spectral highlights.

• Playback of recorded video in ProRes RAW, ProRes, and DNX

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FujiFilm GFX100

• RAW modes available for monitoring and recording in 12 Bit RAW

– 3840×2160 up to 30p

• Video modes available for monitoring and recording in 10 Bit ProRes 422 or DNx:

– 4096×2160 up to 24p
– 3840×2160 up to 30p
– 1920×1080 up to 60p

• Monitoring of RAW input in:

– Native – Linear to Vlog for use with 3D LUTs – can use any existing Vlog V Gmaut LOOK LUTs.
– Rec709 – to view RAW input in SDR up to 6.7 stops of dynamic range.
– HLG – to view RAW in HLG with up 10.5 stops of dynamic range.
– PQ – to view RAW in PQ/HDR10 with up to 10.5 stops of dynamic range, for scenes with extended spectral highlights.

• Playback of recorded video in ProRes RAW, ProRes 422, and DNx.

Known limitations

SIGMA fp

• In some instances when using LUTs banding artifacts may be observed in some areas of the display on the Ninja V for

4KUHD video modes. (This behaviour is only limited to the display of the Ninja V and not the recordings).

• On occasion if the camera is. powered down whilst connect to the Ninja V and set to RAW mode, the Ninja V may enter a locked state.

– Switch between Record and Play back mode, Unplugging and re-plugging the HDMI, or Power cycling Switching will all resolve this issue.

• ISO metadata reported in Final Cut Pro X may occasionally be incorrect if using 1/3 EV ISO adjustments on the camera. – Incorrect for camera ISO setting 1000, 8000, 16000.

• Update in future firmware release for camera.
– White balance adjustment is not available in Final Cut Pro X.

FujiFilm GFX100

• Interaction with the EVF eye sensor may cause freeze frame or black frames in the recording. – Not using the EVF or tilting the LCD screen can resolve the issue.
– Removal of the EVF from the camera is advised to avoid issue.

• White balance metadata is not reported in Final Cut Pro X.
– Update in future firmware release for camera and Ninja.
– White balance adjustment is not available in Final Cut Pro X.

General

• RAW to HDR HDMI output – PQ / HDR10 output conversion may appear slightly incorrect.

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces new A-mount to E-mount lens adapter with built-in screw drive support

01 Sep

Sony has announced the impending release of the LA-EA5, its newest A-mount to E-mount lens adapter. In addition to changing mounts, the new adapter provides autofocus support for Sony A-mount SSM (Super Sonic wave Motor) lenses, SAM (Smooth Autofocus Motor) lenses, and even non-motorized screw-drive lenses in still shooting modes.

An illustration showing the internal construction of the LA-EA5 adapter, with emphasis on the screw-drive motor.

Despite the ability to power non-motorized screw-drive lenses (limited to the a7R IV and a6600, at least for the time being), the LA-EA5 features a compact form factor, thanks to clever internal gear and motor positioning. Sony says the adapter provides ‘full support for focal plane phase-detection autofocus (stills only), wide-area focal phased detection autofocus (stills only), Real-time Eye AF for both humans and animals, Real-time Tracking and AF/AE (auto exposure) tracking for SSM/SAM lenses on nine most recently introduced E-mount cameras at up to 11 frames per second depending on the camera model.’ The supported camera models, as of this press release, are as follows:

  • Sony a7 III
  • Sony a7R III
  • Sony a7R IV (up to 10 fps)
  • Sony a6100
  • Sony a6400
  • Sony a6600 (up to 11 fps)
  • Sony a9 (up to 10 fps)
  • Sony a9 II (up to 10 fps)
  • Sony a7S III

Sony says the LA-EA5 will be available in October 2020 for a suggested retail price of $ 250 / $ 330 CAD. You will be able to find a full compatibility list on Sony’s support page (currently shows ‘Coming Soon’ as of posting this article).

Press release:

Sony Electronics Announces New LA-EA5 Lens Adaptor for A-Mount Lenses

New Adaptor Enables Advanced Autofocus Capabilities When Attaching A-mount Lenses to Latest E-mount Bodies

SAN DIEGO – September 1, 2020 – Today, Sony Electronics Inc. announced the new LA-EA5, a 35mm Full-frame A-mount lens adaptor that allows users to easily pair advanced E-mount camera bodiesi with A-mount lensesi.

Using the new LA-EA5 A-mount adaptor, users can now access the acclaimed autofocus and high-speed shooting capabilities found in Sony’s latest E-mount camera bodiesi with A-mount SSM (Super Sonic wave Motor) and SAM (Smooth Autofocus Motor) lensesii, as well as A-mount lenses that do not have internal focus motors.

Full support is provided for focal plane phase-detection AFiii, wide-area focal phase-detection AFiii coverage, Real-time Eye AF for both humans and animals, Real-time Tracking and AF/AEiv (auto exposure) tracking for SSM/SAM lenses on nine most recently introduced E-mount camerasi at up to 11fpsv depending on the camera model. When used with the Alpha 7R IVvi or Alpha 6600vi, for the first time, these capabilities are possible with lenses that do not have internal focus motors, such as the Sonnar T* 135mm F1.8 ZA and Planar T* 85mm F1.4 ZA.

The LA-EA5 combines a compact design, featuring an aperture drive unit and a newly developed compact AF drive unit. To ensure comfortable operation when used on an E-mount camera body, the new adaptor’s diameter matches that of the A-mount, perfectly aligning with the edges of the mount. The LA-EA5 allows easy operation on full-frame E-mount bodies, even when a vertical grip is attached to the camera body.

Pricing and Availability

The LA-EA5 is available in October 2020 for a suggested retail price of $ 249.99 USD and $ 329.99 CAD.

Exclusive stories and exciting new content shot with the new lens and Sony’s other imaging products can be found at alphauniverse.com, a site created to educate and inspire all fans and customers of Sony’s ? – Alpha brand.

Notes

i. As of Sept. 2020, focal plane phase-detection AF is supported for SSM/SAM lenses on the Alpha 7 III, Alpha 7R III, Alpha 7R IV, Alpha 6100, Alpha 6400, Alpha 6600, Alpha 9, Alpha 9 II, and Alpha 7S III. Focal plane phase-detection is supported for lenses that do not have internal focus motors on the Alpha 7R IV and Alpha 6600.

ii. STF lenses are manual focus only. Teleconverters are not supported.

iii. Autofocus is not available during movie recording.

iv. For AE tracking, the aperture is fixed for the first frame while shutter speed and ISO are used for exposure adjustment.

v. Maximum continuous shooting speed is 10 fps with the Alpha 7R IV, Alpha 9, and Alpha 9 II, and 11 fps with the Alpha 6600. Continuous shooting speed may change depending on the attached lens.

vi. The Alpha 7R IV must be updated to software V1.20 or later, and the Alpha 6600 must be updated to software V1.10 or later.

Update (September 1, 2020 at 10:50am ET): Updated the article to clarify that support for non-motorized screw-drive lenses is limited to a7R IV and a6600 camera systems.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z5 initial review

01 Sep

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The Nikon Z5 is an entry-level full-frame mirrorless camera that looks and handles almost exactly like its higher-end Z-mount siblings, the Z6 and Z7. It’s built around a stabilized non-BSI 24MP CMOS sensor, which is likely more closely related to the generation of chip found in Nikon’s D750 DSLR, rather than the newer BSI sensor in the Z6.

Slightly stripped down and more stills-focused, the Z5 shares the same 273-point hybrid AF system, Expeed 6 processor and 3.69M-dot OLED viewfinder as the Z6. But niceties like a top plate display are absent. Likewise, the Z5’s max burst rate and video capabilities are considerably less than that of the Z6: 4.5 fps vs. 12 fps and heavily cropped 4K vs. un-cropped, oversampled 4K. But from an image quality and handling standpoint, the two cameras are quite similar.

Key Specifications:

  • 24MP full-frame CMOS sensor (not BSI)
  • Hybrid AF system with 273 phase-detect points covering 90% of the frame
  • 4.5 fps continuous shooting with AF
  • 5-axis in-body image stabilization
  • 3.69M-dot OLED viewfinder
  • Dual UHS-II SD cards
  • 4K/30p video capture (with 1.7x crop)
  • 1080/60p video capture (no crop)
  • Headphone and microphone ports
  • Dust and moisture sealed

The Nikon Z5 sells for $ 1399 body-only, $ 1699 kitted with the new 24-50mm F4-6.3 lens and $ 2199 kitted with the 24-200 F4-6.3 VR.

What’s new and how it compares

The Z5 is essentially a stripped down Z6. Here’s what Nikon changed in the camera to keep the price down.

Read more

Body, handling and controls

The Z5 is the same exact size, weight and shape as the Z6. But there are a few small differences between the two bodies.

Read more

First impressions

DPR’s Dan Bracaglia has been busy shooting with the Z5. Here’s why he thinks it’s such a tempting camera – and why he may buy one in 12 months’ time.

Read more

Sample gallery

Pups, mountains and summertime vibes. Check out our initial Z5 sample gallery.

View gallery

Articles: Digital Photography Review (dpreview.com)

 
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Google Images launches ‘Licensable’ badge, making it easier for users to identify creators and license images

01 Sep

In collaboration with Shutterstock, Google has announced the launch of licensable images on Google Images. This feature entered beta testing earlier this year and is now fully launched and integrated into Google Images, hopefully benefiting photographers. With the new ‘Licensable’ badge on Google Image search results, viewers can immediately identify which images can be licensed for varying uses and better understand the usage rights of individual images.

Shutterstock worked closely with Google to ensure the licensable images feature works effectively. Of the new features, Shutterstock’s VP of Content Operations, Paul Brennan, says:

‘Google Images’ new features help both image creators and image consumers by bringing visibility to how creators’ content can be licensed properly. We are pleased to have worked closely with Google on this feature, by advocating for protections that result in fair compensation for our global community of over 1 million contributors. In developing this feature, Google has clearly demonstrated its commitment to supporting the content creation ecosystem.’

When an image has specified license information on a website, the image can be displayed with the Licensable badge on image thumbnails in Google Images. This badge indicates to viewers that license information is available for the image and then provides a link directly to the license in the image viewer. From here, someone can learn how the image can be licensed and used.

Here you can see the ‘Licensable’ badge on the bottom left corner of images. When clicking on an image and accessing the image viewer, Google Images displays the creator, where the image can be licensed and also license details for the selected image. Image credit: Google

For Google to be able to discover and index images on a website, the images must be accessible without an account or by logging in. You must also follow Google’s Webmaster Guidelines and Google Images Best Practices. In addition to these existing steps, the new Licensable badge requires structured data or IPTC photo metadata to follow Google’s new guidelines. You can learn more about these requirements here.

Close-up image of the new image viewer in Google Images. Click to view larger. Image credit: Google

With the introduction of the Licensable badge, search results in Google Images can now be filtered to only display images that include licensing. Further, the dropdown Usage Rights filter has been streamlined, such that it now includes only options for ‘All’, ‘Creative Commons licenses’ and ‘Commercial & other licenses’.

It has long been far too easy for people to search for images on Google and use them without a license or permissions. Today’s changes to Google Images will hopefully reduce image misuse. At the very least, assuming a photographer has taken the steps to ensure their images are properly badged and filtered on Google Images, it will now be much easier for Google Images users to view creator information and licensing requirements.

Articles: Digital Photography Review (dpreview.com)

 
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Photoshop ‘Infinite Jokes’ plugin keeps creators amused while they’re working

01 Sep

A free new Photoshop plugin from Infinite Tools adds an endless stream of jokes and puns to your workflow. Called ‘Infinite Jokes,’ the plugin was inspired by a recent request for jokes from viewers made by image retoucher Pratik Naik of Infinite Tools, he explained in his unveiling of the new plugin. The tool is a bit more sophisticated than merely showing jokes; it also enables users to rate the quality of the puns and to submit their own.

Infinite Jokes is, according to Infinite Tools, ‘A sassy panel that tells you the best PS jokes and openly judges you as you work!’ One example of a joke presented by the panel is:

Plastic surgery is like retouching. When it’s bad, it’s really bad. When it’s good, you won’t even know.

The jokes were submitted by the photo-editing community, which can continue to contribute jokes for inclusion in the plugin. Infinite Tools says users are able to choose whether the jokes are presented in the voice of a man or woman, as well as the accent used.

Every joke is presented alongside credit to the person who submitted it. In addition to rating the joke, users are also able to view the top jokes rated by users from around the world via the Infinite Tools website.

Because everyone has their own limitations and sensibilities, the company has also enabled plugin users to decide what type of jokes they want to hear — whether they want the jokes to be restricted only to ones that are funny, or to skew more toward the ‘mean’ end of the mood spectrum.

Users can also choose how often new jokes are spoken by the Infinite Jokes panel, with options ranging from every 15 seconds to twice an hour.

The plugin only works in Photoshop CC 2019 or newer and it requires an online connection to work. The Infinite Jokes plugin is free to download from the Infinite Tools website here.

Via: PetaPixel

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down a $10K Fujifilm GFX 100 corroded by saltwater

01 Sep

What happens when even a splash of saltwater makes its way inside a $ 10K Fujifilm GFX 100? Just ask Roger Cicala, Founder of Lensrentals.

For their latest teardown, Roger and his trusty teardown assistant Aaron took apart one of Fujifilm’s medium format cameras that had been damaged during a rental, wherein it was used inside a dive housing. Fuji Service told Roger a ‘repair [was] not possible,’ and the insurance claims were already paid out, so the dynamic duo took it upon themselves to salvage what components they could.

That is not how a PCB should look.

The general rule of water damage, according to Roger, is ‘it’s always worse on the inside.’ And, unfortunately, in the case of this GFX 100, that tidbit proved to be true once again. While the outside looked mostly unscathed, the inside was riddled with corroded screws, flex ribbon cables and solder points.

A literal hands-on look at the massive sensor inside the GFX 100.

Roger and Aaron salvaged what they could — namely the LCD panel, hot shoe and a few other pieces — but as much as the teardown was about getting any functional pieces, it was also about being able to take apart a $ 10K camera without the risk of damaging it.

In the words of Roger, ‘The IBIS unit looks like it could stabilize a small child, and certainly is strong enough to support this big sensor.’

In that vein, Aaron and Roger came across plenty of interesting engineering decisions and components inside the camera. From the robust IBIS assembly to the spring-mounted shutter mechanism, the GFX 100 proved to be as well-engineered as Roger had hoped for a camera of its size (and price). That said, the weathersealing wasn’t quite as impressive as is suggested, so whether it’s freshwater or saltwater, don’t press your luck too much when out in the rain or near the sea.

You can read and view the full teardown on the Lensrentals blog.

Articles: Digital Photography Review (dpreview.com)

 
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Phase One announces $13K 90mm F5.6 lens for its XT Camera System

31 Aug

Phase One has announced the release of the Rodenstock 90mm F5.6 lens, the latest in its growing collection of glass for its XT Camera Systems.

One of the stand-out features of the XT-HR Digaron-W 90mm F5.6 is its 120mm image circle, which is large enough to account for the 24mm of shift the XT Camera System offers on both the X- and Y-axes for correcting perspective distortion.

The lens, which Phase One suggests is designed with landscape and architectural photography in mind, features an aperture range of F5.6-F22, uses an electro-magnetical shutter (1/1000th-60 min) rated for over 500,000 actuations, has a 72mm front filter thread and uses a five-blade aperture diaphragm. It measures in at 160mm (6.3”) long, 107mm (4.2”) wide and 90mm (3.5”) in diameter, with a weight of 1,200g (2.65lbs).

The MSRP of the Rodenstock XT-HR Digaron-W 90mm F5.6 is $ 12,990. It’s available now through authorized Phase One Partners.

Phase One is also teasing another Rodenstock lens, which it says will be over 100mm (<40-degree angle of view) and will be announced by the end of the year. Phase One says ‘several [optical designs] are under investigation, exploring the best balance of image circle, lens speed, size, weight, and complexity.’

Press release:

Phase One Adds 90mm Lens to XT 150MP Camera Offering

Brings Large Format Feel to Full Frame Medium Format Field Camera

COPENHAGEN, Aug. 31, 2020 – Phase One today announced a remarkable new lens for its breakthrough XT Camera System: the Rodenstock 90mm. Embodying characteristics and workflow elements familiar to those shooting large format, the focal length of this lens offers outstanding sharpness and unbeatable image quality: with minute depth of field, uniform bokeh, and precise focus.

In concert with the powerful and highly integrated Phase One IQ4 Infinity Platform – a camera platform flexible enough to support evolving technology – this newest of Phase One’s Rodenstock lenses puts the XT camera in a class by itself.

Designed for landscape photography, the XT Camera System’s ability to shift 24mm on both the X- and Y-axes allows photographers to correct all perspective distortion and also to create panoramic/stitched images at tremendous scale/resolution. Since the 90mm’s 120mm image circle far exceeds the XT’s movements, this lens uniquely delivers perfect uniformity throughout all camera movements or flawless uniformity throughout camera perspectives. The combination of f/5.6 and a 67° angle of view uniquely focuses the subject.

All five available Rodenstock lenses are fitted with the Phase One designed and digitally integrated X-Shutter — an intelligently controlled electromagnetic shutter born from Phase One’s experience with industrial applications. It ensures robust handling for the long term.

The XT – Rodenstock HR Digaron-S 23mm f/5.6 is the highest quality wide-angle lens available.

The XT – Rodenstock HR Digaron-W 32mm f/4 is an exceptional quality wide-angle lens with a large image circle and almost no distortion.

The XT – Rodenstock XT – HR Digaron-W 50mm f/4 is an ideal balance of a “normal” focal length perspective and wide-angle aesthetic, a close equivalent to human vision.

The XT – Rodenstock HR Digaron-W 70mm f/5.6 is a normal focal length lens with impeccable image quality and a large image circle.

XT – Rodenstock HR Digaron – W/SW 90mm f/5.6 is the longest focal length lens and largest image circle with exceptional image resolution for getting closer to your subject.

“The 90mm focal length defines the ‘feel’ of large format photography,” said Drew Altdoerffer, Product Manager at Phase One. “When it comes to Large Format aesthetic, this is the focal length artists have in mind and a longer focal length is a welcome addition to the XT.”

To hear more about this newest lens and how it fits into the existing family of lenses, please see: https://www.youtube.com/watch?v=c0mmKVd_LT8&feature=youtu.be

Availability and Pricing

The XT Camera System is available now through Phase One Partners worldwide: www.phaseone.com/partners.

The Manufacturer Suggested Retail Price for the XT – Rodenstock HR Digaron – W/SW 90mm lens is $ 12,990.

The Manufacturer Suggested Retail Price for the XT IQ4 150MP Camera System, including a lens is $ 58,990.

All camera systems are sold with a 5-year limited warranty, including an uptime guarantee of the IQ4 Digital Back and unlimited lens actuations for the warranty period.

For more information, please go to: www.phaseone.com/XT or book a demo on: www.phaseone.com/xt-demo

Articles: Digital Photography Review (dpreview.com)

 
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Understanding Olympus OM-D E-M1 Mark III and E-M1X High Res Shot modes

31 Aug

Olympus has introduced several groundbreaking technologies in its cameras over the years, including high-performance multi-axis stabilization, and high-resolution shot modes, which combined multiple exposures to create a single, much larger final image.

The technology is complex, but the idea behind the classic tripod high res shot mode (introduced in the OM-D E-M5 Mark II) is simple: the camera’s sensor is shifted in minute increments across multiple exposures, so that the scene is ‘covered’ by more pixels. Those images are then combined in-camera to create a single, higher resolution photograph.

The Olympus E-M1 Mark III and E-M1X offer two high-res shot modes, ‘Tripod’ and ‘Handheld’

Today’s flagship OM-D E-M1X and E-M1 Mark III include the latest iteration of this feature, alongside a new mode: ‘Handheld high Res Shot’. Handheld High Res Shot mode enables ultra high-resolution images to be captured without the need for a tripod.

In Handheld High Res Shot mode, blur from camera shake is avoided thanks to a powerful in-camera stabilization system, which compensates for any accidental camera movement during this process.

The Olympus OM-D E-M1 Mark III and E-M1X feature a powerful inbuilt stabilization system. This system is also used in the cameras High Res Shot modes.

Choosing the right High Res Shot mode

The E-M1 Mark III’s high-res shot modes are available for those times when you want more than the camera’s normal resolution of 20MP. Which of the two modes you choose will depend on the kind of subject you want to capture.

With both the OM-D E-M1 Mark III and E-M1X, the maximum output resolution of 80MP is available in ‘Tripod’ mode, while in ‘Handheld’ it is possible to capture images of up to 50MP.

Tripod mode (max 80MP)
  • Download Tripod High res shot mode (80MP) sample
  • Download conventional (20MP) sample

This is a great mode for architecture, interiors and still life or reproduction work – basically, any scene where nothing in your subject is moving. With your camera steady on a tripod, and a stationary scene, you’ll be able to get the maximum resolution out of the system.

In ‘Tripod’ High Res Shot mode, the E-M1 Mark III and E-M1X’s sensor is shifted in tiny increments across multiple exposures. These exposures are automatically combined in-camera to create an 80MP file.

In this mode, your camera shifts the sensor eight times, in increments of one micron, capturing one exposure per adjustment. These images are then combined automatically to create a single 80MP photograph in either JPEG and / or Raw file format.

Use for:

  • Architecture
  • Landscape (on a still day)
  • Interiors
  • Still life
  • Macro
  • Night sky

Handheld mode (max 50MP)
  • Download Handheld High res shot mode (50MP) sample
  • Download conventional (20MP) sample

Handheld mode is great for situations where you want more resolution, but you either don’t have a tripod handy, or you want to shoot something where slight movement in your image is unavoidable, like a posed portrait, or landscapes.

In ‘Handheld’ High Res Shot mode, the E-M1 Mark III and E-M1X capture 16 images in quick succession, and combine them to create a 50MP file. The cameras’ powerful inbuilt stabilization system is employed to reduce the risk of shake.

In this mode, the E-M1 Mark III captures 16 exposures very rapidly, totaling 320MP of data, and combines them to create a single 50MP image. The sensor-based stabilization system does double-duty, turning on and off throughout the sequence of exposures, helping to prevent excessive movement due to motion blur, and analyzing the amount of camera movement that occurs during the sequence. The camera uses this information to automatically align the images for the final image and clone out any blurred areas.

If too much motion is detected, the camera will flash a warning to let you know.

Use for:

  • Landscapes
  • Portraits (static)
  • General photography at wide / medium focal lengths
  • Any situation where a tripod isn’t practical / allowed

Tips for using High Res Shot modes

  • With the Olympus OM-D E-M1 Mark III and E-M1X it is possible to hand-hold exposures down to four seconds*. Used in combination with Handheld High Res Shot mode, this makes it possible to capture long exposure nighttime photographs.
  • For best results with Handheld High Res Shot mode, shoot at wide and medium focal lengths, where the image stabilization system of the OM-D E-M1 Mark III and E-M1X is most effective.
  • Because it combines 16 exposures, Handheld High Res Shot mode also cancels out a lot of noise. Try switching to handheld High Res mode in low light situations for better image quality at high ISO settings.
  • When shooting in High Res Shot mode, avoid shooting at very wide apertures, especially for scenes with out of focus objects in the foreground. You’ll get best results at smaller apertures, where more of your scene is in focus.

* Exact performance is dependent on lens and focal length

Articles: Digital Photography Review (dpreview.com)

 
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Video: What it’s like to photograph Formula 1 in 60 seconds

31 Aug

It’s not just hockey that’s seeing sports photographers change the way they have to operate during events. Like many other sports during this global pandemic, the Formula 1 season is quite different than usual, with an altered schedule and different race tracks than expected, but as with all sports, there are still photos that need to be taken.

View this post on Instagram

Who’s ready for another episode of My Job in 60 Seconds? ? This week meet Steve, our team photographer since 2010! From Schumacher to Senna, Hamilton to Hakkinen, Steve’s photographed all the greats in @f1 during his impressive career!

A post shared by Mercedes-AMG F1 (@mercedesamgf1) on

As part of its ‘My Job in 60 Seconds’ series the team hosts on Instagram, Mercedes-AMG Petronas F1 Team photographer Steve Etherington shares what it’s like to photograph the pinnacle of motorsports at a time when team personnel and fans are limited due to the COVID-19 pandemic.

Throughout the video, Etherington shares what it is he does on a race weekend, how the social ‘bubbles’ put in place have changed how he shoots and more. It’s a great, albeit quick look into shooting Formula 1 — something Etherington has been doing every race weekend for 28 years.

You can find more of Etherington’s work on his website.

Articles: Digital Photography Review (dpreview.com)

 
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Check out the Raws: Canon EOS R5 sample gallery update

29 Aug

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Canon’s EOS R5 seamlessly blends high speed with high resolution resulting, generally, in great images. As we press on with our full review, we’ve revisited our gallery now that we have ACR support and dug into some of our Raw images to see what the new, 45MP sensor is really capable of.

View our updated sample gallery

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