360Photography

Category: Uncategorized

  • Watch a mirror, LED, razor and a camera make the invisible visible

    If you have a camera and a long lens, then you’re halfway toward a Schlieren photography setup. YouTube channel Veritasium demonstrates the effect in the video above, essentially revealing gasses and airflow normally invisible to the human eye. All it takes is an optical-grade concave mirror, an LED, a camera on a tripod with a telephoto lens and a razor blade.

    What the camera sees with everything aligned is actually the slight differences in the refractive index of whatever’s in front of the mirror. If you light a match in front of the mirror, light from the LED will change direction slightly differently as it passes through the warmer and cooler air around the flame.

    We don’t normally perceive those differences, but this setup reveals them as lighter and darker spots to the camera. The same thing happens with, for example, butane escaping from a lighter. Light passes through it at a slightly different angle than the air around it, and the Schlieren rig captures those slight differences.

    Suddenly, it’s possible to see the heat displaced when you rub your hands together, or worse, the stuff that flies everywhere when you sneeze. It’s pretty darn cool, especially when played in slow motion as in the video above.

    Articles: Digital Photography Review (dpreview.com)

  • Researchers let AI loose on 100 million Instagram photos to study style

    Cornell University researchers have found the mother lode of data to inform their studies about clothing trends around the world: Instagram. They’ve applied machine learning to a set of 100 million photos uploaded to the image sharing app, and while the results aren’t earth shattering (red hats are big at Christmas!) they’ve paved the way for the anthropologists of the future.

    The photos come from 44 cities across the world. A machine learning algorithm was trained to identify faces and articles of clothing. After weeding out photos without faces or a visible torso, the algorithm went to work on 15 million images. While findings were a bit basic this time around, it represents a step toward mining a massive data set that may help anthropologists conduct broad studies of culture and fashion in a way that’s never been done before.

    Read more about this research at MIT Technology Review.

    Articles: Digital Photography Review (dpreview.com)

  • Verizon officially acquires Yahoo including Flickr

    It’s been written on the wall for a while, but now US network operator Verizon has confirmed its acquisition of Yahoo in a deal worth $ 4.48 billion. This also means that Yahoo’s online image sharing platform Flickr is now in the hands of Verizon. With both AOL and Yahoo now owned by Verizon it seems the network giant is planning to combine the two companies and a few of its other subsidiaries into a new service called Oath.

    “We’re putting together one of the largest companies on the planet that’s focused on brands,” says Tim Armstrong, CEO of AOL. “Oath is our house of 50+ media and technology brands. We reach over 1 billion consumers around the world.”

    In the process of merging Yahoo and AOL 2,100 employees will be made redundant but Flickr users should, at least in the short term, not expect any major changes to the service as Verizon says it has no immediate plans to change Flickr pricing.

    It appears the Oath service has been structured to compete with other major ad platforms, such as Facebook or Google but it remains to be seen what the move will mean for Flickr. Under Yahoo ownership the service has not necessarily been developed in a way that users and photographers would have liked. We’ll have to wait and see if Verizon and Oath can increase the rate of innovation at Flickr and bring the site back to its former glory.

    Articles: Digital Photography Review (dpreview.com)

  • Paralenz is an underwater action cam for scuba divers

    Action cameras and compatible underwater housings have been available for any budget for years but now Danish company Paralenz is taking a new approach by designing an action cam specifically for underwater use by scuba divers.

    The Paralenz can go to 200 metres depth without any additional housing and automatically corrects color, using a pressure sensor to detect the depth you’re diving at. Conventional action cams typically require the use of filters to correct for underwater light conditions.

    In addition the Paralenz can act as a dive computer. The camera logs your dive, and an accompanying app then generates a dive profile with photos and videos registered at the time and depth they were taken at. The camera can capture 8MP still images or 1080p 30fps video recording for 3.5 hours and 4K footage for 2 hours and 15 minutes. Images are stored on a 128GB microSD card. The Paralenz underwater action cam can now be ordered for €649 ($ 728) on the Paralenz website.

    Articles: Digital Photography Review (dpreview.com)

  • Undercooked: Canon’s first CMOS-based compact, PowerShot SX1 IS

    Canon was producing some impressive superzoom cameras back in 2008. Its PowerShot S5 IS had solid image quality, a capable autofocus system, pleasing color and respectable image quality.

    In September of that year, the company split its superzoom line in two. Both the PowerShot SX1 and cheaper SX10 IS had 20X, 28-560mm lenses, 10MP sensors, fully articulating LCDs and decent electronic viewfinders. What differentiated the two – in a major way – was the type of sensor used. The S10 IS went with a traditional 1/2.3″ CCD, Canon made the SX1 its first compact with a CMOS sensor, which was both a blessing and a curse.

    Canon had been marketing the PowerShot S-series as ‘hybrid’ cameras since their inception, and the SX1 continued that tradition. Canon used a USM (ultrasonic motor) in that 20X lens, which allowed for quiet focusing that is required when capturing video. The zoom was also capable of zooming slowly, like a camcorder. The SX1 had a prominent movie record button, flip-out widescreen LCD and HDMI output. Heck, even the EVF had a 16:9 aspect ratio, though its resolution was considerably lower than that of its cheaper sibling.

    The use of a CMOS sensor rather than a CCD brought an immediate benefit to video-shooters. Unlike previous Canon superzooms, which topped out at VGA resolution, the SX1 could capture 1080/30p video. In 2008 this was a very big deal.

    Another benefit of the switch to CMOS was that SX1 could shoot bursts at 4 fps, compared to 0.7 fps on the SX10. While we can’t draw firm conclusions about this, the addition of Raw capture could be due to the faster readout speed of the CMOS sensor, though it could also be a marketing decision.

    The PowerShot SX1 was considerably noisier than the lower-end, CCD-based PowerShot SX10 that shared the same design. Old studio scene taken at ISO 400.

    So what was the downside? Images were quite noisy as soon as the SX1 left its base ISO of 80, and by the time you got to around ISO 200-400, the CCD-based PowerShot SX10 produced images with less noise and more detail. Compared to its peers from Sony and Panasonic, the PowerShot SX1 was the noisiest.

    It’s telling that Canon didn’t release another CMOS-based superzoom for three years. The SX20 and SX30 were both CCD-based, until the arrival of the SX40 HS in 2001, which used a BSI-CMOS sensor.

    Were you a PowerShot SX1 owner? Share your memories in the comments below. That’s also the place for leaving suggestions for future TBTs!

    Read our PowerShot SX1 IS review

    Sample Gallery

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2857485410″,”galleryId”:”2857485410″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });
    Articles: Digital Photography Review (dpreview.com)

  • Technique: The ‘Dolly Zoom’ can add new dimension to your video

    We all know that a good camera is helpful when it comes to producing high quality video. Just as important, however, is how the camera moves. A good director or cinematographer can utilize camera motion in to set the mood, add emotion, or even to disorient the audience.

    One of the most jarring camera moves – but a very effective one when used well – is the dolly zoom. Hitchcock made the move famous in Vertigo, and it has been used in many other films to add tension to a scene.

    The dolly zoom works pretty much the way it sounds – you simultaneously zoom in or out on your subject while moving the camera in the opposite direction on a dolly. The result is a subject that appears to stay in place as the perspective of the scene changes noticeably. It takes a bit of practice, but employed correctly it can be very effective.

    The video above from YouTube user ‘Now You See It’ does a great job of explaining the dolly zoom and how filmmakers have used it to great effect. It’s not a move to use every day, but it’s worth keeping in your back pocket so that when the opportunity arises you’re prepared to do it.

    Articles: Digital Photography Review (dpreview.com)

  • Instagram added an Archive feature to help you de-clutter your profile

    Instagram’s latest feature, the ability to archive posts, is pretty self-explanatory. But it’s kind of a big deal if you’re a user who wants a personal account to look somewhat polished and professional. Archiving a photo moves it from your profile page (along with its associated likes and comments) and tucks it away in a private Archive tab. Un-archiving a photo will move it back into its original spot in your timeline.

    Now, photographers can share personal photos without putting them front and center to anyone who visits their profile page for weeks afterward. And who hasn’t looked back at their body of work and wanted to hide at least one photo from way back? Anyway, the teens have embraced minimalist profile pages, so it’s only a matter of time before the rest of us do too.

    Articles: Digital Photography Review (dpreview.com)

  • New Pro Light Bumblebee family from Manfrotto targets still, video and drone users

    Manfrotto has introduced a new collection of outdoor backpacks and messenger bags that are designed to cope with extreme environments and to allow users to carry loads of kit. The largest backpack in the Pro Light Bumblebee series, the Bumblebee-230 PL can hold a DSLR with vertical grip with a 70-200mm F2.8 zoom attached as well as an extra ten lenses, according to Manfrotto.

    The series comprises two backpacks and two messenger bags all of which can hold a laptop as well as cameras and lenses. The backpacks have configurable internal dividers so the main compartment can be arranged for high-end still or video cameras, lenses and accessories. These backpacks also have a tripod holder and the Bumblebee-230 PL features a lens pouch on the waistband strap.

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0518829044″,”galleryId”:”0518829044″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    The two messenger bags, the Bumblebee-M30 PL and M10 PL, can also be configured to hold a small gimbal with their XtraSecure handheld gimbal strap. The larger of the two, the M30 PL can also be used to carry a DJI Mavic plus the Osmo gimbal camera.

    The messenger bags have NoiseFree Velcro for silent access to the main compartments and all of the Bumblebee bags have DuoFace rain/sun covers. For more information see the Manfrotto website.

    Prices:
    MB PL-B-230 Bumblebee-230 PL Backpack $ 279.99
    MB PL-B-130 Bumblebee-130 PL Backpack $ 229.99
    MB PL-BM-30 Bumblebee M-30 PL Messenger $ 149.99
    MB PL-BM-10 Bumblebee M-10 PL Messenger $ 129.99

    Press release

    Manfrotto Launches New Pro Light Bumblebee Camera Bag Family

    Performance, Quality & Comfort, Redefined

    Manfrotto, a leading global innovator and manufacturer of premium photo, video and lighting support products and accessories, has launched the new Pro Light Bumblebee bags – perfect for professional and amateur photographers and videographers who work outdoors and want a reliable carrying solution. With this collection, users can stay comfortable in the harshest of conditions despite high temperatures, extreme cold or high humidity.

    The new Pro Light Bumblebee family is an exceptional assortment of high-performance camera backpacks and messenger bags which perfectly embody Manfrotto’s Italian heritage. This family introduces Manfrotto’s unique-to-the-market breathable harness system that greatly reduces photography gear fatigue, allowing image makers to cover more ground and locate the best spots for the perfect shots.

    Inside, the bags’ innovative designs safeguard the latest professional equipment options. The renowned Camera Protection System (CPS) dividers take extra care of camera bodies and lenses. They are fully adjustable and built to distribute weight evenly and avoid tension to the body.

    The new Manfrotto Bumblebee backpacks are designed to take stress and heat off the shoulders, neck and lower back and feature Manfrotto’s state-of-the-art AirSupport breathable harness and back panel, adjustable sternum support, shaped hip and waist support systems. A side handle helps users put the pack on or take it off, while elastic side pockets keep water bottles outside the critical gear zone.

    The removable Manfrotto CPS insert safeguards equipment right at the heart of the pack and keeps it organized with the efficiency of a portable studio:

    • The Bumblebee-230 PL backpack protects a gripped DSLR with a 70-200/2.8 lens attached and 10 additional lenses or an attached 400/2.8 with five additional lenses. In video configuration, it protects a disassembled modular camcorder like the Canon C100 with numerous lenses & accessories. It also fits a 17” laptop in its own padded compartment.
    • The Bumblebee-130 PL backpack keeps a high-end CSC or a DSLR safe with a 70-200/2.8 lens attached and eight additional lenses or an unattached 400/2.8 with three additional lenses. In video configuration, it protects disassembled modular camcorders like a SONY FS-5. It also fits a 15” laptop in its own padded compartment.

    The entire internal space is padded to protect camera gear but can be also configured to accommodate accessories and personal gear as well. The main zipper comes with four pullers, which can be divided by a stopper into a top and lower compartment. Just open the top zipper for rapid access to frequently used contents from above.

    A smart NeverLose tripod connection secures both longer and shorter tripods on the side of the pack. The connection straps are stitched in the side pocket and can be tucked away when not in use for a tidier appearance and to prevent straps getting lost.

    The bigger Bumblebee-230 PL also features a lens pouch located in the waist belt. When not in use, the pouch can be flattened by tightening the webbing strap. (This feature is not available in Bumblebee-130 PL.)

    Manfrotto’s new Bumblebee Messengers have significantly raised the bar for their category: a combination of flawless design and reliable performance, they meet all the needs of demanding professionals who travel light and fast. Like the backpacks, the messengers’ body-gripping fit and 3-point AirSupport harness system is breathable and perfect for prolonged outdoor use. The length of the strap can be rapidly adjusted using the EasyGrip buckle.

    Despite their compact size, they hold a substantial amount of professional gear:

    • The Bumblebee M-30 PL Messenger protects a DSLR with a 70-200mm/2.8 lens attached and three additional lenses, a handheld gimbal (such as a DJI Osmo) and a 15” laptop in their own padded compartments, with all the necessary accessories.
    • The Bumblebee M-10 PL Messenger keeps a CSC/DSLR safe with a 24-70/4 lens attached and two additional lenses (including 70-200/2.8) and a handheld gimbal (such as a DJI Osmo) and a 13” laptop in their own padded compartments, with all the necessary accessories. It can also carry a full set DJI Mavic plus the Osmo gimbal camera.

    These bags introduce the XtraSecure handheld gimbal-carrying solution – a stretchable band that holds the gimbal’s moving parts so it can be taken out quickly. The area can also be used as a traditional lens compartment if there is no gimbal in the bag.

    Manfrotto’s Bumblebee Messengers feature a secure silent quick-access flap. When shooting in quiet environments (e.g. during a ceremony), apply the NoiseFree Velcro silencer to keep a low profile. The broad front organizer keeps everything on hand. There are two bungee cord straps to hang a small tripod, monopod or selfie pole, which are also protected by the front flap. The Bumblebee Messengers can hold a gripped DSLR body when you take out the laptop from its compartment.

    All the bags of the Bumblebee collection come with a DuoFace sun/rain cover to protect from rain, reflect sunlight and keep the gear cool and dry all day long.

    Key features:

    • Breathable design – comfortable carrying solutions for professional and amateur outdoor photography
    • Super lightweight construction – carry more lenses and stay comfortable even with prolonged use
    • High-performance materials – rip-stop fabric and the Manfrotto Protection System safeguard equipment

    The following models are now available nationwide:

    MB PL-B-230 Bumblebee-230 PL Backpack $ 279.99
    MB PL-B-130 Bumblebee-130 PL Backpack $ 229.99
    MB PL-BM-30 Bumblebee M-30 PL Messenger $ 149.99
    MB PL-BM-10 Bumblebee M-10 PL Messenger $ 129.99

    Articles: Digital Photography Review (dpreview.com)

  • Sony a9 Full Review: Mirrorless Redefined

    The Sony Alpha 9 is the company’s first camera aimed at professional wedding, action and sports photographers. It’s a 24MP, full-frame mirrorless camera that can shoot at 20 frames per second with full autofocus. And, just as importantly, with very low viewfinder lag and absolutely no blackout during continuous shooting.

    That’s right, a mirrorless camera targeted at wedding, action and sports photographers – a strike at the DSLR’s area of greatest strength. It’s true that Olympus has pushed in this direction with its E-M1 Mark II, but Sony is promising both super-fast readout and full-frame image quality, backed up with an expansion of its Pro Support scheme that will be needed to break into the pro market. This is ambitious stuff.

    Of particular note for wedding and event photographers are the a9’s speed and silent shooting, both of which are certain to have a positive impact on capturing just the right moment without any interruption from the clacking of a conventional shutter.

    All this capability stems from a stacked CMOS image sensor, which includes processing circuitry nearer the pixels and features built-in memory to deliver all this data to the off-board processors at a rate they can cope with. It’s this structure that enables the camera to shoot at 20 frames per second and do so with an electronic shutter that’s fast enough to minimize the rolling shutter effect. The fast readout also allows 60 AF/AE calculations per second, promising better subject tracking and prediction.

    Key specifications

    • 24MP full-frame Stacked CMOS
    • 20 fps continuous shooting with full AF (electronic shutter, 12-bit files)
    • Continuous shooting buffer of up to 241 compressed Raw files (362 JPEG)
    • 10 fps continuous shooting with AF with adapted lenses
    • 5-stop (estimated) 5-axis image stabilization
    • 3.7M-dot OLED viewfinder (1280 x 960 pixels) with up to 120 fps update
    • 1.44M-dot rear touchscreen LCD
    • Oversampled UHD 4K/24p video from full sensor width (1.24x crop for 30p)

    The stacked CMOS design not only allows the super-fast readout that powers so much of the camera’s attention-grabbing spec, it also means it has all the benefits of BSI design. This means that the light-sensitive section of each pixel is closer to the surface of the sensor which, in turn, means the sensor is better at collecting light near the corners, where the incident angle will be high. It also generally means improved low light performance, and sharper pixel-level imagery.

    Sony’s crammed the a9 with seriously speedy technology and is aiming it at true sports professionals. Out-of-camera JPEG cropped to taste.
    Sony 24-70mm F2.8 GM | ISO 2500 | 1/800 sec | F2.8
    Photo by Carey Rose

    Beyond the technical wonders of the new sensor, there are a large number of significant changes to the a9 relative to Sony’s a7-series that have all been made with demanding professionals in mind; these include updates to menus, controls, image quality, and more. Will all of this be enough to tempt professionals to switch? Let’s dig in and find out.

    Review History
    23 Apr 2017 Introduction, Shooting Experience, Image Quality Impressions, Autofocus Impressions published
    30 May 2017 Studio Scene and Raw Dynamic Range published
    14 June 2017 Full review published

    Articles: Digital Photography Review (dpreview.com)

  • The first photo shared from a phone just turned 20

    Sharing photos from a phone is easy as breathing these days, and we have Philippe Khan to thank for paving the way. In June 1997, he achieved a technological first that would be repeated countless times in the following decades: he shared a digital photo instantly.

    It all came together just under the wire in the delivery room where his wife Sonia was in labor with their daughter, Sophie. He connected his Casio QV-10 camera to his laptop, and with a his flip phone rigged up to the laptop by way of a makeshift cable, the system was ready for Sophie’s arrival.

    His laptop was connected to a server at home, already configured to send email notifications to friends and family once his photo and text were transmitted. He snapped the photo, and an email with a link to the photo was sent out to 2000 people. There are a lot fewer cables involved in the process today, but basically, we’re doing the same thing in delivery rooms twenty years later. New parents everywhere thank you, Philippe.

    Articles: Digital Photography Review (dpreview.com)