Category: Uncategorized

  • Looking back: Canon’s eye-controlled focus

    The Canon EOS 5 (known as the EOS A2/A2E in the Americas) was the world’s first SLR camera with eye-controlled focus.

    Over the past few years, we’ve become spoiled by a lot of great autofocus technologies like face detection, tap-to-focus, and subject tracking. But before we had those things, we had Canon’s eye-controlled focus, a technology that made its appearance in film SLRs, but which never quite made the jump to digital cameras.

    For those unfamiliar with eye-controlled focus, let me provide a quick primer. The system made its debut way back in 1992 on the EOS A2E, and remained part of the Canon system until the EOS Elan 7NE in 2004. It promised ‘focus where you look’ functionality, meaning you could activate your AF point of choice just by looking at it.

    As I recall, there were generally two sets of users when it came to this technology: those for whom it worked, and those for whom it absolutely didn’t. There weren’t many in between.

    Even today, whenever we review a Canon camera, someone will post a comment expressing a desire for Canon to bring back eye-controlled focus. And I have to admit, I’m right there with them. I have great memories of it.

    The Canon EOS Elan IIE, introduced in 1995, had a 3-point autofocus system with eye-controlled focus.

    I got my first taste of eye-controlled focus on the EOS Elan II E, and instantly fell in love with it. In fact, I liked using it so much that I switched from a Nikon to a Canon system. The ability to focus by eye was just too much to resist.

    I later upgraded to the EOS 3 – still one of my favorite cameras of all time – which had a much more advanced 45-point AF system. Eye control on the EOS 3 was more sophisticated than on the Elan II E: it had a calibration procedure that involved looking at selected AF points in a prescribed manner, allowing the camera to tailor its response to your eye. Supposedly, if you repeated the calibration process under different conditions, performance would improve over time.

    The EOS 3 also had the ability to store three registers of calibration data. This was especially useful for glasses wearers because you could use one register to calibrate for your naked eye, and another to calibrate while wearing glasses or contact lenses.

    Did it work? It depends on who you ask. Even around the DPReview office, you’ll find opposing views. In my experience, the system didn’t always land on the exact AF point that I wanted to use, but it usually landed close enough that it wasn’t an issue. At least that’s the way I remember it.

    But as we all know, memories can be selective. I sometimes wonder if eye-controlled focus was as good as I remember it being, or if those memories are just a result of nostalgia for a bygone technology. To find out, I pulled those old Canon cameras out of a closet and put them to the test.

    The Canon EOS 3, introduced in 1998, had an advanced 45-point autofocus system with eye-controlled focus.

    The Elan II E worked just as well as I remembered it, performing at about 90% accuracy in my hands. However, it’s worth noting that this camera had a fairly rudimentary 3-point AF system, with well-isolated AF points. Basically, the camera just had to figure out which third of the viewfinder you were looking at to pick the correct AF point.

    The EOS 3 was a bit of a different story. Its 45 AF points were crowded close together, requiring a higher degree of precision when reacting to eye movement. I could reliably get it to focus on the general region of the viewfinder I was looking at, but not with the degree of accuracy I remember.

    With a bit of practice, I’m sure I could improve my success rate a bit, which is probably why I remember the system working better than it does in my hands today. Alternatively, it’s nostalgia. To be honest, I’m not sure which it is.

    Unlike the Elan IIE, whose autofocus points were very far apart, the EOS 3’s 45 autofocus points were packed very close together. This made it more difficult to activate a single, specific AF point by eye. (Diagram from the EOS 3 Instruction Manual.)

    So, would I exchange today’s modern AF systems for eye-controlled focus? Not a chance. Features like face detection (and even eye detection) actually solve the ‘where to focus’ problem in many cases, and features like subject tracking would be hard to give up.

    However, I still love the idea of eye-control focus and believe it would have a useful place on today’s cameras. There are times when I’m moving focus points around with a joystick or D-pad and find myself thinking ‘I wish I could just look at my subject and focus.’

    Technology has advanced a lot in the past couple decades. When eye-controlled focus was introduced in 1992, Microsoft was just launching Windows 3.1, and CERN was still rolling out this new thing called ‘ The World Wide Web.’ In that context, I’m sure a modern eye-controlled focus system could be much more effective, and work for a higher percentage of users, than one introduced during the film era.

    So here’s my plea to Canon: Please consider bringing back eye-controlled focus!

    I suspect that many of you reading this used eye-controlled focus at some point. How did it work for you? Would you like to see it added to modern AF systems? Or, am I completely off my rocker, chasing down a useless technology that should never see the light of day again? Let me know in the comments.

    Articles: Digital Photography Review (dpreview.com)

  • Beautiful photos from 1942 show the making of the New York Times

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    Publishing has come a long way since the mid twentieth century. What was once a herculean task putting together each individual page of a newspaper has largely been replaced by click-and-save web publishing.

    So when we came across a curated set of images on Mashable, pulled from the Library of Congress, we were instantly mesmerized by the beauty and complexity of a daily paper’s production. These images were all shot during the course of one night of production in the New York Times’ Manhattan office in the Fall of 1942. The photographer, Marjory Collins, worked for the War Information office.

    What’s particularly interesting about these images, aside from the daunting physical labor required to publish, is the stories of the day. September 1942 was smack in the middle of World War II and news in that day’s paper focused on fighting in both Europe and the Pacific.

    See all the full gallery of images here.

    Articles: Digital Photography Review (dpreview.com)

  • Taco night in 4K with with Panasonic GX850

    Note: Switch the Youtube quality setting to 4K.

    No night of the week is more delicious than taco night. And to document the making of this week’s bounty of yum, we grabbed Panasonic’s new entry level ILC, the GX850, and got shooting.

    The GX850 is capable of 4K/30/24p video, something that sets it apart from other cameras in its class (most only do HD). There is a catch, though: when in video mode users are unable to control exposure settings, with the exception of exposure compensation (which must be set prior to shooting).

    Still, the exposure values selected by the camera on taco night mostly seem sensible. And despite the lack of in-body stablization, the camera’s stabilized 12-32mm kit lens did a decent job keeping things steady. Overall, we think the footage looks pretty good.

    Stay tuned for our full GX850 review, to be published soon.

    Articles: Digital Photography Review (dpreview.com)

  • Hahnel introduces radio-controlled MODUS 600RT hotshoe flash system

    Hahnel industries has launched its first flash unit in the shape of the radio-controlled Modus 600RT. The new hotshoe flash is powered by a block lithium ion battery, in the style of the Godox V860ll, instead of the usual AA cells and has a guide number of 60m @ ISO 100. Each flash unit can operate as both slave or master in a wireless set-up, using optical or 2.4GHz radio signals to communicate with other guns or with a Viper flash trigger in the hotshoe.

    Hahnel says the Modus units will be compatible with some other third party speedlights via its optical system and the Viper TTL radio transmitter, but stops short of saying which ones. The Modus 600RT’s radio system has a range of 100m and can control up to three groups of flash units, with manual and TTL output modes. High speed sync is also supported, with shutter speeds of up to 1/8000sec possible, and the lithium ion battery is said to provide up to 550 full power bursts per charge.

    The Hahnel Modus 600RT is available for Canon, Nikon and Sony flash systems and retails at £219.99 for the flash on its own, £269.99 for the flash and a Viper transceiver, or £429.99 for a kit with two flash units and a Viper. US prices have yet to be announced.

    For more information see the hahnel website.

    Manufacturer’s information

    {PressRelease}

    You may recognise the hähnel brand for their long-standing reputation for manufacturing high quality Li-Ion batteries & DSLR accessories, so their new speedlight range may well come as a surprise to you. You must remember though, that hähnel have a long-standing reputation for their wireless flash trigger range which includes the popular Tuff TTL & Viper flash triggers.

    The MODUS 600RT is powered by one of their best-sellingLi-ion batteries –the staggeringly powerful hähnel Extreme Li-Ion battery which beats the speed of AA-powered speedlight’s hands down.

    This new speedlight has a GN of 60 and each unit will handle over 550 shots at full power. Rather than waiting the normal 4-6 seconds which normal Speedlight’s would require at full power, the MODUS 600RT has fast re-cycling in abundance at just 1.5 seconds. The built-in wireless receiver/transmitter offer TTL, manual and multi-modes and high speed sync supports up to 1/8000 of a sec.

    The unique wireless connectivity really steps into a league of its own though when the MODUS 600RT is paired with the Viper TTL Wireless Flash Trigger. Use them together and control up to 3 separate groups of flash guns in either TTL, manual or Multi (Stroboscopic) mode.

    DCM channel matching and over 100m range makes the Viper TTL the perfect partner for this new speedlight.

    Available for Canon, Nikon & Sony.
    For more info take a look at www.hahnel.ie.

    {/PressRelease} 

    Articles: Digital Photography Review (dpreview.com)

  • Adobe’s Lightroom Coffee Break videos give quick time-saving tips

    It’s over ten years since Adobe’s Lightroom emerged from beta, and it’s evolved a lot since then. The company’s ‘Coffee break’ series of videos introduces features you might not know. For a minute of your time, these tips can help speed your workflow.

    For instance, the video above (as highlighted on PetaPixel) shows you how to set the default processing applied to all your files. You can set it to a different preset per camera or even per ISO setting, if you have a preferred noise reduction and sharpening system.

    In this video, Lightroom team member Benjamin Warde explains (in 46 seconds) how to define a new starting point for when you work with new files. That’s got to be worth a moment of your time, hasn’t it?

    Click here to see the Coffee Break playlist of 34 sub-minute video.

    Articles: Digital Photography Review (dpreview.com)

  • Viltrox launches lens adapters for Sony E-Mount and Micro Four Thirds cameras

    Hong Kong based manufacturer Viltrox has announced three new electronic lens adapters for Sony E mount and Micro Four Thirds cameras. The NF-E1 model lets you use Nikon Nikon F mount lenses on Sony E mount cameras. The EF-M1 and EF-M2 models let you connect Canon EF and EF-S lenses to your Micro Four Thirds camera.

    The latter comes with with four optical elements in four groups. According to the manufacturer this design results in a, compared to the EF-M1, one stop faster aperture and a focal length multiplier of 0.71x.

    All adapters are made of metal and come with a USB port for firmware updates and gold-plated electronic contacts. Autofocus and aperture-adjustment from the camera are supported and Viltrox says the EF-models are compatible with all Canon EF lenses. Pricing and retail information have not yet been released. 

    Articles: Digital Photography Review (dpreview.com)

  • This video of a bear chasing a biker is why POV cameras were invented

    Hello Mr. Bear.

    Action cameras have made documenting all of the extreme, dangerous and downright stupid things human beings subject themselves to an incredibly simple endeavor. But the truth is most folks’ videos end up looking more like this than like this, because sadly, our lives are just not as interesting as those of pro athletes.

    But every now and then something happens during a seemingly run-of-the-mill action camera video that makes every mundane clip that preceded it suddenly feel worth the boredom. I give you, the bear chasing a mountain biker video:

    The footage was shot by Dusan Vinžíkwho who was riding with a buddy at a mountain bike park in Slovakia, when suddenly a bear runs out on the trail – it seemingly follows the one rider for a bit before veering off back into the woods.

    Of course, there’s a good chance the bear was not actually chasing the rider, and that its presence was purely coincidentally. But the fact remains: keep those action cameras running, because you might actually get something good.

    Articles: Digital Photography Review (dpreview.com)

  • Sundisc is an ultra-portable softbox/reflector combination

    Sundisc has launched a crowdfunding campaign on Kickstarter to fund production of its portable light shaper. The Sundisc is an ultra-portable softbox and reversible reflector in one and works with your DSLR’s or mirrorless camera’s flash gun. A compact and foldable design means the Sundisc fits in a camera bag, hand bag or even some coat pockets, allowing you to carry less gear and weight and still have control over your lighting when away from the studio. 

    When using the Sundisc as a reflector you can switch between a warmer and cooler color temperature by reversing the interior. It automatically flips into its shape when unzipped and clips onto your flash gun. For more information watch the video below or visit the Sundisc Kickstarter page. On the latter you can reserve your personal copy for 400 Swedish krona ($ 45). 

    Articles: Digital Photography Review (dpreview.com)

  • This camera is designed to keep only the best photos

    A new device called Trophy Camera uses artificial intelligence to compare its own photographs with the world’s most iconic images. During the comparison, Trophy Camera’s AI looks for specific characteristics common in photographs that have won World Press Photo yearly since 1955. Photos that show at least a 90-percent positive correlation with these notable characteristics are then uploaded to the camera’s own automated website. It’s a bit similar in spirit to Camera Restricta, a concept camera that uses GPS to prevent its user from taking clichéd photos.

    Trophy Camera was created by media artist Dries Depoorter and PhD student/photographer Max Pinckers. Speaking to Co.design, Depoorter and Pinckers explain that their camera is a sort of commentary on what they see as the redundant photography produced by the ‘more automatized’ cameras that are becoming increasingly popular.

    Elaborating on that, Pinckers said:

    Press photography appears to be becoming a self-referential medium dominated by tropes, archetypes, and pop-culture references. What implications does this have on how we learn about the world through the images we are being shown? …By making this camera, we try to implicitly comment on the current status of photojournalism–which seems to be becoming more questionable in today’s visual landscape–along with the incredibly fast development of computer vision and the relevance of artificial intelligence in our time.

    The camera itself is made from a Raspberry Pi Zero W, the computer’s Full HD camera module, a 128 x 32 monochrome OLED display, and a 5000mAh powerbank. Trophy Camera is currently part of an exhibition where photographs are taken; most of them are blurry and less than ‘notable,’ as shown on the camera’s automated website.

    Via: Co.design

    Articles: Digital Photography Review (dpreview.com)

  • Filmmaker and photographer collaborate to show natural beauty of ocean waves

     

    How do you capture the beauty of an ocean wave with a single still image? You turn it into a cinemagraph, of course.

    After discovering the potential of the Puppet Warp tool in Adobe effects, Dutch cinematographer Armand Dijcks started to experiment with creating ‘cinemagraphs’ of images of moving water, using Flixel Cinemagraph Pro to create the infinitely looping animations.

    After perfecting the technique, Dijcks reached out to Australian ocean photographer Ray Collins for source images. Their collaboration, titled ‘The Infinite Now’ can be viewed above.

    Read more about the process of creating ‘The Infinite Now’

    Articles: Digital Photography Review (dpreview.com)