360Photography

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  • Canon EOS-1D X Mark II: What you need to know

    Introduction

    The Canon EOS-1D X Mark II is Canon’s flagship DSLR aimed at pro photographers, with a lineage dating all the way back to 2001’s EOS-1D. As usual, this iteration of the line is full of new and updated technologies designed to make it one of the top performing cameras in the world.

    A quick glance through the headline features will tell you that this is a pretty amazing camera, and unsurprisingly that’s pretty much what our review uncovered. But let’s take a look at what impressed us most, what surprised us, and maybe even what disappointed us a little bit.

    Touch screen innovation – conservative UI

    The EOS-1D X II gains a touchscreen, which we’ve seen work well in conjunction with the excellent live view focus that Canon’s Dual Pixel AF can bring. Sadly, and presumably in the name of backwards compatibility, its use is extremely limited.

    Thus, you can customize the arrangement of the Q.Menu but can’t operate it by touch. You can use the touchscreen to specify the AF position in live view mode, but the camera can’t then track the subject and, unlike its Nikon counterpart, you can’t double-tap to zoom nor swipe to switch images.

    In fairness, the 1D X II is designed as the zenith of what the conventional DSLR can do. It’s a traditional, sports-shooting super camera that will be immediately familiar to existing users of the series. But is that a reason to limit the utility of a feature that its new owners are having to pay for?

    Autofocus needs careful configuration

    The EOS-1D X II’s autofocus is excellent, as you’d expect for a camera whose first major outing was to cover the multitude different sporting challenges of the Rio Olympics.

    Configuration is easier than on the likes of the EOS-1D IV: you now need only choose from six preset use cases, then adjust them if they’re not giving you the results you want, rather than just being confronted with the 75 different combinations that the settings allow.

    However, in our testing, we found that it needed a bit more of a hand than Nikon’s D5 for it to anticipate the type of movement it needed to shoot. And that, once suitably configured, it was less adaptable to other shooting situations. Which isn’t to suggest it’s not up to the job, just that it requires a little more user input.

    We were also hoping the higher resolution metering sensor would increase the accuracy, of the camera’s iTR focus tracking system. Sadly, the system still felt imprecise and tended to jump off the subject entirely. It works, but it’s not as effective as the 3D autofocus on the Nikon D5, which may leave many users shooting their 1D X II the same way they always have.

    Quick, easy video

    The 1DX II can shoot DCI 4K video at 60 frames per second. It’s the first stills camera we’ve seen that can do this and we were very impressed with the quality, detail and how little rolling shutter it exhibits. So, while we don’t expect many people to buy this camera for video shooting, it does put very good quality video into the hands of photojournalists and sideline shooters (so long as TV rights deals don’t prohibit it, of course).

    And, beyond thinking of it as video, this means the 1D X II can shoot 8MP JPEGs at 60 frames per second with the camera refocusing as you shoot. Suddenly, rather than just using the touchscreen to rack focus between subjects, you can ask it to track subjects as you record and have a great chance of capturing your decisive moment.

    Huge files, dual formats

    High frame rate 4K isn’t an unalloyed benefit, though. The 1D X II doesn’t (or can’t) compress video into a compact video format, instead taking the unusual route of using the huge, inefficient Motion JPEG format.

    It’s true that Motion JPEG gives slightly higher quality individual frame grabs even than All-I H.264 (where each frame is recorded individually), but the size cost for that gain is tremendous.

    And this draws attention to the 1D X II’s decision to use two different memory card formats. You’ll need to use a CFast card to capture video at the camera’s highest rate, just as you will to maximize the camera’s buffer when 14 fps shooting. In which case, what do you use the second slot for? Even choosing to record JPEGs to the physically similar Compact Flash format while shooting Raw to a CFast risks slowing the camera down. Perhaps Canon should have been brave and made a dual CFast camera, even if that meant also offering a slower dual CompactFlash version.

    Image Quality

    The area we had least concern about was image quality (though the JPEGs seemed a little muted, by default.) Despite splitting every pixel in two and increasing the amount of circuitry, the 1D X II outperforms its predecessor in low light. That’s not enough to quite match the best sensors we’ve seen but hey, you also gain that simple autofocus in video.

    The other area in which the Mark II gains an edge over the original model is dynamic range. A move to on-sensor analog-to-digital conversion means that you get Raw files will more processing latitude at low ISOs. You can push, pull and manipulate your Raw files more than before without having to worry about noise becoming visible. Which is especially useful in unexpected or challenging light the X is likely to encounter.

    Take Home Message

    The EOS-1D X II exceeds its predecessor in just about every way, though not without a few compromises along the way.

    We love the additional dynamic range we get out of the Raw files on this camera; it makes it a much more flexible tool in challenging lighting. We also love the CFast card slot, though we kind of wish Canon had gone all the way and just put in two of them. Also, while AF is blazing fast, there are enough customization options to make you dizzy at times; practice and familiarity will pay off.

    Our biggest surprise was how much we liked the 1D X II as a video camera. Thanks to Dual Pixel autofocus, it’s really easy to capture beautiful footage, even for someone who’s not a video pro. This could be a real game changer for photographers who need to capture both stills and video from the same event.

    What’s your experience? Have a favorite feature or surprise from this camera? Tell us in the comments below?

    Articles: Digital Photography Review (dpreview.com)

  • Review: Simple Booth Event Edition photo booth app

    Simple Booth Event Edition iOS App
    $ 60/£45 | www.simplebooth.com 

    Photo booths are a pretty popular item to have at your event these days. Weddings, parties, fundraisers – you’ll find a photo booth at many of them. From a simple camera on a tripod with a remote to fancier automated systems that take multiple images and print instantly, people seem to love being able to control their own image making. Could it be the result of selfie-obsession on steroids? Or is it nostalgia for the chemical-photography based photo booths of our past? Either way, people are fascinated by them. Because of this, having the ability to set up your own booth could make you the star of your office holiday party, PTA fundraiser, or child’s birthday.

    Into that popularity steps Simple Booth. Simple Booth is an iOS app designed to place all of the software you need to take, layout, share and print photo booth images into the hardware of your iOS device. There are four versions of the app with varying capabilities (one for the iPhone and three for the iPad): iPhone, Event Edition, Pro Edition 2, and Enterprise. Simple Booth Event Edition is the version I focus on in this article. It is the best choice for a photo enthusiast who wants to set up a photo booth. The iPhone version is pretty limited and while the Pro and Enterprise versions offer a number of additional options, they are probably overkill for anyone who isn’t running a photo booth business.

    What does Simple Booth do?

    When you start the Simple Booth app, you are presented with a setup screen with a number of options for how the app will work and your images to be laid out. You can choose 2/3/4 image photostrips for the classic booth style. For a more modern look, there are also a number of other multi image options in square or rectangular layouts. You have are options for setting background color, auto cropping, custom logos, and even Instagram-style film effects. You can also give your users the ability to crop, change the layout, and apply effects once the photos are taken. Though, to be honest, this doesn’t lend itself to the quick in-and-out pace of photo booths and I would suggest leaving that option off. I tend to feel the same way about the “retake” option, it encourages picky people to monopolize the booth trying to get the perfect photos.

    For output, you can set up a printer (more on that option below), send to various social media services, email, or sync to dropbox. You can also tell the app to save each individual image taken to the camera roll as well as saving the photostrips. Honestly, the print option is the winner here. The social media options require people to mess around logging into their accounts, thus taking up time in the booth when others are waiting, and the email has to use the iOS mail app. Now, if you have an extra iPad handy, you can use Simple Booth’s free companion app Live Booth Lite to create an “out of the booth” interface for people to use for emailing, sharing, and even printing. In order to connect with any of the social or output options, you will need to have access to an active wifi network. One odd thing for a photo app in this day and age is that there is no Instagram sharing option. The Simple Booth crew explains that this is because Instagram doesn’t offer an API that would enable uploading. You can choose to use either the front or rear camera on the iPad but there is no option to use an external camera. In all honesty, the front-facing camera is the one you are going to want to use. Using the rear camera has advantages as far as resolution and image quality, but it means that someone has to stand there operating the booth because users will not be able to touch the screen to do so themselves. And if you are having someone standing there, you might as well have them take the photos with a real camera. Part of the allure of a photo booth is that it can operate unattended. 

    Once you have decided on your initial settings, you put the app into booth mode, and it’s ready to go. Users cannot get back to the settings page and muck things up. Okay, well that isn’t completely true, if they think to double tap the home button and shut down the app, then restart it, they could get to the settings. But that is why you will probably want to use Guided Access to limit the iPad to just running Simple Booth.

    From the user POV, the app is really quite simple. Clear “tap to start booth” and “look here” messages instruct them on what to do. A visible countdown timer and beeps mark the pace between the images being taken. Once complete, the photostrip appears on screen with the various edit/print/sharing options. If anything can be described as foolproof in the digital age, at least as user interface for the end user, Simple Booth is pretty darn foolproof.

    What equipment will you need? 

    At the very least, you will need an iPad. The newer iPads with improved cameras will have better resolution and low light performance. But just about any recent vintage iPad will work. A tripod and mount capable of holding your iPad will make interacting with the app much easier for your subjects and safer for your iPad. You’ll need a neutral backdrop of some sort, though a plain wall could be used as well. And you will probably want some lights. Unless you are outdoors in open shade on a bright day, you will likely find ambient light to be too dim for the iPad’s camera. This is one area where having the ability to use a DSLR would be an improvement, both for the improved low light performance and ability to connect to strobes. But as is, you can solve the problem with something as simple as a couple clip on fluorescent work lights.

    Using a printer…

    While the social media sharing features are handy in this day and age, having a printer on site is really the way to go with a photo booth. You increase the smile and fun quotient 1000% when someone is able to walk away from the booth with an image in their hand. While an inkjet printer will work, as any event photographer can tell you, a dye-sublimation printer is the way to go in this situation. The speed and toughness that dye-sub prints can offer over inkjets is significant in an event environment. 

    When looking at dye-sublimation printers, you have options on either end of the market, and not much in between. Both offer excellent prints, but at vastly different prices. At the one end is the Canon Selphy series of printers. At around $ 100, the compact Selphy 1200 won’t break the bank. With wifi connectivity and AirPrint, connecting to iOS devices is easy. Print speed is a somewhat slow 47 seconds and it can only hold 18 sheets at a time. Finally, print prices are a fairly inexpensive $ 0.28 cents per 4×6.

    At the other end of the market is the $ 1000 DNP DS620A. Designed for the high volume, high speed needs of event photography printing, the DS620A prints a 4×6 in as little as 8.3 seconds and can print up to 400 images without needing the paper roll replaced. The dye transfer is all done internally and the image only pops out once it is completely done. This makes it perfect for an unmanned both, you can set the DS620A up and leave it running all night. Print prices for a 4×6 work out to $ 0.14 a piece.

    Inkjet or dye-sublimation connecting Simple Booth to a printer needs to be done in one of two ways. If you have an AirPrint compatible printer, like the Canon Selphy 1200, the app can connect directly to the printer as long as both are on the same Wi-Fi network. If you have a printer that isn’t AirPrint compatible, such as the DNP DS620A, you’ll need to connect it to a computer and run an app to make it available via AirPrint. I used Printopia, a dead simple $ 20 utility app that works perfectly for sharing a printer with your iOS devices. 

    How does it work in the real world?

    While I was working on this review, my son received an invitation to a classmate’s birthday party. So, I offered to bring along a Simple Booth setup and printer (in this case, a DS620A) for the kids to play with. Partially, I was just helping a dad-buddy put on a party. But I also wanted a chance to see how Simple Booth worked in real life with people who had never played with it before. Would 6-8 year olds be interested in something as retro as a photo booth? Would they have trouble operating it? Would the printer jam or run out of paper? 

    Since this was a sunny summertime party, I had been planning to just set up a backdrop and tripod in some open shade and let the kids have at it. But my friend is a carpenter and decided at the last minute that he wanted to knock together a real “booth”. A few trips to the hardware store later and we had a low rent copy of an old school photo booth. It was nothing fancy, but the ipad was mounted and the printer delivered the print through a slot into the grubby over-sugared hands of the party goers. 

    Did it work? It couldn’t have worked better. Being an old-man tech-nerd, I insisted on showing the first group how to do it. But with much eye-rolling, they made it clear that I might as well have been teaching them to drink a glass of water. They had no problem understanding how to make it work. The DNP DS620A printer was outstanding for this sort of use. Having a print in their hands in less than 10 seconds was pretty exciting for the kids and knowing that I could go hundreds of prints without having to reload the printer was pretty relaxing for me. The kids piled in and out of the printer in group after group. They giggled, laughed and loved it completely and all went home with handfuls of photo strips.

    What’s the bottom line?

    Simple Booth is a pretty amazingly full featured solution to creating a photo booth out of gear that many photographers already own. It is simple enough for children or technophobes to use, but offers enough options to allow customization of layout and operation.

    At $ 59.99, it is likely more expensive than most any other iOS app that you own. That said, when you consider what you are getting and what it would cost you to figure out a way to do it without Simple Booth, it starts to look like a bargain. Perhaps more importantly, the proof is in the pudding. Even our hastily knocked together photo booth was a huge hit with the kids at the party – plenty of smiles and laughs and threats of tantrums if I didn’t print out duplicates for the kids in the group shots.

    Tired of bringing meatloaf to your local block party every year? Bring Simple Booth and a printer instead and watch yourself turn into the neighborhood hero. 

    What we liked:

    • Easy to set up
    • Customizable layouts
    • Pretty fool-proof in operation
    • Saves individual images as well as the “photo booth strips”
    • Print, email, social media integration

    What we didn’t like:

    • iPad rear camera offers limited resolution and quality, using higher resolution front camera eliminates the viewing screen
    • No options for flash lighting, must use constant lights
    • While inexpensive for a photo booth, somewhat expensive for an app

    Rating

    Articles: Digital Photography Review (dpreview.com)

  • Tamron announces SP 90mm F2.8 Di Macro and TAP-in console for Sony A-mount

    Japanese optical manufacturer Tamron has announced it is to launch its exiting 90mm macro lens in a Sony A-mount, and that Sony users will now be able to update and customise some of their Tamron lenses using the company’s TAP-in lens console. The Sony version of the SP 90mm f/2.8 Di Macro 1:1 USD will be the same as the versions produced for Canon and Nikon users, but will not feature Tamron’s Vibration Correction system as Sony cameras have their own in-body stabilization.

    The TAP-in console allows customers to tune focus, update firmware and customize features such as focus limiters and full-time manual focus in those lenses that offer them. The console is compatible with the latest batch of Tamron fixed focal length lenses, including the 85mm f/1.8 which the company has yet to launch in Sony mount.

    The SP 90mm f/2.8 Di Macro 1:1 USD and the TAP-in console will be available from 25th August. Although the press release doesn’t mention prices, the console for Canon and Nikon users currently sells for $ 60/£55 and the lens for $ 749/£579.

    For more information visit the Tamron website.

    Press release:

    Tamron announces the launch of the SP 90mm F/2.8 Di MACRO 1:1 USD (Model F017) for Sony mount

    August 18, 2016, Saitama, Japan – Tamron Co., Ltd. (President & CEO: Shiro Ajisaka), a leading manufacturer of optics for diverse applications, announces the launch of the SP 90mm F/2.8 Di MACRO 1:1 USD (Model F017) for Sony mount.

    Model F017
    MACRO 1:1 USD (Model F017) for Sony mount*
    Date of Launch: August 25, 2016

    *The Sony mount model does not include VC (Vibration Compensation), since the bodies of Sony DSLR cameras include built-in image stabilization functionality. The name of the Sony mount model is “SP 90mm F/2.8 Di MACRO 1:1 USD” without the VC designation

    Product Highlights

    Built upon the outstanding optical performance of the legendary Tamron 90mm Macro

    Inheriting the optical design of the previous 90mm Macro lens (Model F004), the new Model F017 delivers the same excellent resolving power and remarkably soft background blur effects (bokeh). The advanced construction includes one LD (Low Dispersion) glass element that maximally limits the dispersion properties of light and two XLD (eXtra Low Dispersion) glass elements that correct dispersion properties to an even greater extent. The special elements optimally compensate for on-axis and lateral chromatic aberrations from macro shooting range to infinity. Furthermore, the design ensures the best imaging performance at any range by adopting the Floating System which shifts the location of a group of elements to the best possible position as the focusing group travels relative to shooting distances. From 1:1, life-size close-ups to the most distant horizon, this new 90mm Macro lens achieves outstanding image quality.

    Optimized for spectacular background blur effects (bokeh)

    Earlier models of Tamron’s 90mm macro lens received high acclaim for their spectacular blur effects, and the new 90mm macro builds upon this legacy. To continue this commitment, thorough optical simulations were conducted. Careful examinations were performed to minimize any blurring with a doubled image appearing for a single line because that phenomenon has a considerably negative impact on background image quality. As a result, the lens achieves both sharp, vivid images and spectacular background blur effects. This combination is highly prized by portrait photographers.

    Moisture-Proof and Dust-Resistant Construction

    Areas of possible ingress surrounding switches and the boundary between the focus ring and the lens barrel are protected by special seals. These provide stronger protection against the intrusion of dirt, dust and moisture compared to the Moisture-Resistant Construction used previously. This additional protection assures even more wide-ranging opportunities for using this lens.

    A durable Fluorine Coating on the front element repels water and fingerprints

    The water and oil repellant coating applied to the front element surface allows instant removal of dirt or smudges with ease. The coating also provides a reasonable level of durability, and will sustain its effectiveness for years. The Fluorine Coating technology that Tamron developed for use in industrial optics applications was first used on the SP 15-30mm which was introduced in 2014.

    USD actuator maximized for macro photography is fast, accurate and quiet

    The control software program for the USD (Ultrasonic Silent Drive) actuator has been revised to provide substantially improved focusing speed and accuracy when using AF. The USD quickly addresses any out-of-focus condition caused by back-and-forth camera movement (which commonly occurs during macro photography) ensuring better results when shooting at close range.

    Advanced coating technology reduces flare and ghosting

    Two advanced coating technologies, both providing outstanding anti-reflection performance, are applied to critical element surfaces for maximum light transmission. eBAND (Extended Bandwidth & Angular-Dependency) Coating boasts outstanding anti-reflection performance across nearly the entire range of visible rays, and BBAR (Broad-Band Anti-Reflection) Coating utilizes traditional multi-layered, anti-reflection technology. This combination virtually eliminates extraneous reflections and substantially reduces ghosting and flare which enables the lens to achieve flawless, crystal clear images.

    Use of circular aperture to achieve beautiful, rounded blur effects (bokeh)

    When shooting a scene that includes a point-source of light in the subject background, marvelously tuned blur (bokeh) can be obtained without generating undesirable polygonal shapes of aperture patterns thanks to the circular aperture. The 9-blade diaphragm retains a nearly perfect circular opening even when stopped down by two stops.

    Focusing options perfectly suited to a macro lens

    The new 90mm macro has a focus limiter that makes it possible to shorten the time for accurately focusing on a subject when the working range is known. The lens also features an Internal Focusing system, so the overall length of the lens never changes, not even when focusing. As a result, the user is assured of a comfortable working distance of at least 139mm (5.5 in) from the front of the lens. In addition, the lens is equipped with a Full-time Manual Focus override mechanism which makes it possible to flexibly choose focal points. Even with the AF driving system in action, it is possible to instantaneously override it to make manual fine focusing adjustments without switching the AF-MF mode back and forth.

    Compatibility with TAMRON TAP-in Console™

    Always as new as tomorrow: You can update firmware, customize autofocus positions and adjust the mechanical setup and preferences of the 90mm lens by simply attaching it to the TAMRON TAP-in Console and connecting it via USB to a personal computer. (The TAP-in Console is an optional accessory.)

    TAMRON TAP-in Console™ (Model TAP-01)
    Sony mount model launched

    Tamron Co., Ltd. (President & CEO: Shiro Ajisaka; Headquarters: Saitama City), a leading manufacturer of optics for diverse applications, announces the launch of the TAMRON TAP-in Console (Model TAP-01), a lens accessory that enables firmware updating and customized setups for selected Tamron lenses, for Sony cameras (Sony A mount model).

    For the first time, customers can update firmware in selected Tamron lenses and customize various lens functions to meet their needs simply by attaching a TAMRON TAP-in Console and running the TAMRON TAP-in Utility software on their PC or Mac.

    Previously, firmware updates could be performed only at a TAMRON Customer Service Center. Using the new accessory and an internet connection, customers can access a dedicated website and update firmware themselves anytime, anywhere. In addition, selected lenses can be customized by changing various settings (described below) to match the customer’s preferences based on how they like to use the lens, making it even more versatile and user-friendly.

    Custom Options

    With a TAMRON TAP-in Console, customers can do the following things.

    • Update firmware
    • Update the firmware of compatible lenses
    • Update the firmware of the TAP-in Console itself
    • Customize functions of selected lenses
    • Focus adjustment
    • Focus distance limiter customization (only for lenses that have the Focus Limiter feature)
    • Full-time Manual Focus override customization (only for lenses that have the Full-time Manual Focus feature)
    • Save customized data files

    Because Tamron lenses compatible with Sony cameras are not equipped with the VC (Vibration Compensation) system, the Customize function for VC adjustment, which is available for the Nikon and Canon mount models, is not available for the new Sony mount model.

    TAMRON TAP-in Utility Software
     
    Customers download the free TAMRON TAP-in Utility and install it on their Mac or PC. Updating firmware and customizing various lens functions is as easy as connecting the TAP-in Console with a USB cable and making selections. An internet connection is required for firmware updates.

    Updating Firmware
    Customers can update firmware of selected Tamron lenses using this utility software. Additionally, the firmware in the TAP-in Console unit can be updated as needed. Using an internet connection and the utility software, users can access a dedicated website and easily confirm that the lens attached to the TAP-in Console—and the Console itself—have the most up-to-date firmware. If a newer version is available, updating is quick and secure.

    Customization of Selected Tamron Lenses
    Various lens functions can be customized, depending on the lens model and built-in features.

    (1) Focus adjustment
    Focus can be adjusted in three distance regions: close, intermediate, and far ranges. For zoom lenses with variable focal length ranges, adjustments can be made for up to eight segments, which means that focus adjustment for a combined total of up to 24 regions is possible. Fixed-focal length lenses have only one segment, so customization for the three distance regions is possible. The conditions and range of possible adjustments may differ according to the lens model.

    (2) Focus distance limiter customization
    For lenses equipped with a Focus Limiter switch, it is possible to adjust the autofocus drive range by setting the near and far limits according to user preferences. If the Focus Limiter switch has three positions, setting the middle position is also possible. Only lens models equipped with the Focus Limiter function can be adjusted. The conditions and range of possible adjustments may differ according to the lens model.

    (3) Full-time Manual Focus override customization
    For any lens with a Full-time Manual Focus override system, you can set the mode to ON or OFF. In addition, you can optimize the sensitivity of the focus ring to your preference relative to its angular rotation anywhere between High and Low, when setting the manual focus mode menu button to ON.

    Compatible Tamron Lenses (As of August 2016)

    • SP 85mm F/1.8 Di VC USD (Model F016) for Sony: To be launched soon
    • SP 90mm F/2.8 Di MACRO 1:1 VC USD (Model F017) for Sony: To be launched on August 25, 2016
    • SP 45mm F/1.8 Di VC USD (Model F013) for Sony
    • SP 35mm F/1.8 Di VC USD (Model F012) for Sony

    Articles: Digital Photography Review (dpreview.com)

  • DPReview celebrates World Photo Day with our favorite shots of 2016

    World Photo Day celebrates the Daguerreotype process, which the French government released to the public on August 19th, 1839. The World Photo Day project started in 2009 and encourages users all over the world to share their pictures online.

    To celebrate, we took a look back at all our sample galleries from 2016 and cherry-picked some of our favorite shots. Within this gallery you’ll find a wide range of gear represented as well as images from everyone on staff. And when your done looking through be sure to grab your camera and spend some time out shooting, because World Photo Day only comes along once a year.

    Staff Picks: Our favorite samples of 2016 so far

    Articles: Digital Photography Review (dpreview.com)

  • World record camera collector now has over 4500 – and a short film about himself

    Indian Dilish Parekh has once again beaten his own world record for having the largest camera collection, with his personal museum now housing 4500 exhibits. In August 2013 DP Review reported that he had 4425 cameras, but in the intervening three years he has grown his hoard by 75 more models.

    Filmmaker Dheerankur Upasak visited Dilish, who has held the Guinness Book of World Records title since 2003, at his home in Mumbai to make a short about the man and some of the models in his collection. Dilish says that he started collecting in 1970 when his grandfather gave him cameras as gifts – and things went from there. He never spends more than $ 15 on a camera, but has still managed to accumulate quite a number of rare and expensive bodies, such as the Leica Reporter GG 250. Only 950 were made and one sold with a motor drive at the ‘100 Years of Leica’ Westlicht auction for €576,000 in 2014.

    The collection spans only the years between 1890 and 1960 and includes all of Canon’s rangefinder models. Dilish isn’t for selling the collection, though he says he gets lots of offers, and he has instructed his sons not to sell once he passes away.

    Dheerankur filmed the piece on a Canon EOS 5D III with Pentax 50mm f/1.2, Tamron 90mm macro and Tair 11-133mm f/2.8 lenses.

    Articles: Digital Photography Review (dpreview.com)

  • 5 Tips for Protecting Your Digital Photos

    The advent of the internet has provided endless opportunities for photographers; it has →

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  • Datacolor releases Spyder5CAPTURE PRO color calibration kit

    Datacolor has announced the launch of its new Spyder5CAPTURE PRO color calibration kit for photographers. The kit includes the maker’s SpyderLENSCAL, SpyderCHECKR, SpyderCUBE and Spyder5ELITE to cover all the aspects of camera calibration, including autofocus, display, colors, contrast and white balance. 

    The company lists each product as having the following features:

    • SpyderLENSCAL allows users to calibrate camera and lens combinations, resulting in accurate auto-focus.
    • SpyderCHECKR and SpyderCUBE provide the user with reference tools to allow control of contrast, white balance and color when editing images.
    • Spyder5ELITE calibrates displays to an industry standard, ensuring that on-screen colors of images are accurate and match photo prints every time.

    According to Datacolor, the Spyder5CAPTURE PRO kit brings more than 30% savings versus buying the items individually. At launch, the bundle is priced at $ 269.99 USD, though that rate will increase to $ 369.99 USD after September 30. 

    Via: Datacolor

    Articles: Digital Photography Review (dpreview.com)

  • Pentax K-70 real-world sample gallery

    It’s a bit of a shame the K-70 didn’t arrive in the middle of winter. The weather-resistant design would have made it the perfect companion for braving the inevitable Northwest rain, and the famed in body “Shake Reduction” would have helped in overcast light conditions, as well. Nevertheless, when it arrived we took the refined 24MP DSLR out in the hot summer sun for a bit of a sample shakedown.

    Pentax K-70 real-world sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • The good, the bad and the ugly of aerial photography – part 2: aircraft

    My favorite image from the Holuhraun volcanic eruption, Iceland. Not only did I shoot multiple versions, I also asked the pilot to fly as slowly as possible and to return to this angle repeatedly so I could make sure I have the composition just right. This was easily done with the helicopter.

    In the previous article I talked about some of the advantages of aerial photography. Now we’ll talk about some logistics, starting with the aircraft. There are two main options here: a light airplane or a helicopter. Yes, you can shoot from a hot air balloon but that’s not really an option in most places, plus it’s far less maneuverable, so I’ll gently disregard it. Also, while drones are taking the world of aerial photography by storm, the considerations discussed in this series don’t really relate to them, and so I won’t be talking about them at all.

    It will probably come as no surprise when I say that a helicopter is the better way to go, by far. It might cost a bit (or a lot) more, but the advantages it offers make for a very different, vastly superior experience. 

    Perhaps the greatest advantage is that some helicopters allow the doors to be opened or even completely removed for the flight

    A helicopter is a flexible craft: it can fly slower than a plane or even hover in place, which gives you much more time to shoot a desired composition. But that’s not all: perhaps the greatest advantage is that some helicopters allow the doors to be opened or even completely removed for the flight. Once the door is off, you have a huge field of view, and wide-angle shooting is possible. You need to be careful not to have the rotor in the shot, but that can generally be avoided when pointing the camera downward.

    The huge field of view also means that you have the option to try the same shot more than once should the first try fail, and you can shoot different angles of the same subject even after you’ve moved ahead. That’s a critical advantage which can make the difference between getting a shot and losing it.

    Huge icebergs finally released from Kangia Fjord after floating there for years. Can you spot the (fairly large) boat?

    Disko Bay, Greenland.

    The most common helicopter for aerial photography is the Robinson R44. It’s a small helicopter fit for a pilot plus three passengers, and you can take both doors off in a minute, which is crucially important for getting crisp images without reflections or aberrations (if the pilot refuses to take the door off don’t even bother). Its small size also makes it relatively cheap to fly and maintain (emphasis on relatively).

    What’s considered cheap? Well, one of my R44 flights cost me $ 850 (around €760) an hour, the other €1500 (around $ 1670) an hour. It really depends on where you fly, and costs worldwide can vary even more than that in both directions, but primarily upward. In places where a small, cheap helicopter isn’t available, costs can rise quite ludicrously. For example, I’ve recently gotten a quote of $ 4200 an hour for a larger heli in a place whose name I won’t mention. That’s $ 70 a minute. Yes, my reaction was similar to yours.

    In the image below you can see a wide-angle shot of the dunes of Sossusvlei, Namibia, taken from an R44 helicopter with the doors taken off. It’s quite striking to see these intricate dunes from this angle, and the helicopter allowed me to take a very wide shot and include the entire dune, which is a huge advantage.

    Shooting from a light plane is different. You usually shoot from an open window, and that’s in the best case scenario: about a year ago I did a photography flight in Greenland in which I had the dubious pleasure of shooting through a 15cm hatch in the front window. This means that shooting-angle selection was extremely limited (forget about ultra-wide lenses), and that once you pass a good shooting angle, the shot is gone unless you circle back. This disadvantage is emphasized by the faster movement speed, which frankly gives you a feeling of anxiety to be ready and shoot before it’s all gone.

    To sum it up, though cheaper than a helicopter, a light plane with a small hatch (as opposed to a large window) is very limited in shooting angles, supplies less opportunities to get the right shot, and as a result yields much less keepers when the flight is done. I’d seriously reconsider before ever doing it again.

    A Cessna with a large window you can open is a very different story. Shooting is much more comfortable and angle choice much less limiting. If you lean back (careful not to push against the poor pilot! I know I did that a few times…), no wind interferes with your lens and stability is quite good. I shot from such a Cessna in the Lofoten Islands and the experience was wonderful. 

    Kjerkfjord, surrounded by mountains struck by beautiful pink light. Shot from a Cessna during sunset on my Lofoten Islands workshop this January.

    In the next article I’ll discuss technicalities and parameter selection for aerial photography.

    Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram, Facebook and 500px, and subscribe to his mailing list for updates.

    If you’d like to experience and shoot some of the most fascinating landscapes on earth with Erez as your guide, you’re welcome to take a look at his unique photography workshops around the world:

    Land of Ice – Southern Iceland
    Winter Paradise – Northern Iceland
    Northern Spirits – The Lofoten Islands
    Giants of the Andes and Fitz Roy Hiking Annex – Patagonia
    Tales of Arctic Nights – Greenland

    More in This Series:

    The good, the bad and the ugly of aerial photography – Part 1: Why shoot aerials?

    Selected articles by Erez Marom:

    • Behind the Shot: Dark Matter
    • Mountain Magic: Shooting in the Lofoten Islands
    • Behind the Shot: Nautilus
    • Behind the Shot: Lost in Space
    • Behind the Shot: Spot the Shark
    • Quick Look: The Art of the Unforeground
    • Whatever it Doesn’t Take
    • Winds of Change: Shooting changing landscapes
    • On the Importance of Naming Images
    • Parallelism in Landscape Photography

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm X-E2S: What you need to know

    Introduction

    The Fujifilm X-E2S is essentially a Fujifilm X-E2 with firmware updates and some very minor tweaks. That doesn’t mean it’s a bad camera, or that people shouldn’t consider it. Over the course of doing a thorough review (one that focused on its use and its appeal to different users, given how well-known the camera’s performance is), I came away with some observations – some of which you’d miss if you were just skimming the review, or reading through the key specifications.

    So in case you missed it, let’s take a quick look back at some of our findings with the Fujifilm X-E2S.

    The fun factor

    I don’t always want to bring cameras I review to my friends’ barbecues. But I did want to bring the X-E2S. Fujifilm XF 27mm F2.8. ISO 200, 1/250 sec, F2.8.

    The most important thing to note about the Fujifilm X-E2S is that it’s a camera that you’ll want to pick up and just go shooting with. Its retro styling isn’t to everyone’s taste, but most people that see it will think it looks ‘cool.’ The buttons have great feedback, and to for the photographer with some experience, the old-school shutter speed, aperture and exposure compensation dials are a natural and easy way to take control of the camera. As for the newbie who just grabbed it because of the new, lower MSRP, the ‘Auto’ button on the back will ensure he or she can enjoy shooting right away, while all those other controls make for an excellent camera to grow in to. Although the menus are a bit laggy, the abundant customizable controls will limit the time you’ll need to spend in them. 

    In the end, this camera is just fun to use, which means you’ll want to take it with you more often, which means you’re going to end up taking more photographs. That’s never a bad thing.

    The JPEGs

    Straight-out-of-camera JPEG using the Classic Chrome film simulation. Fujifilm XF 27mm F2.8 lens. ISO 2500, 1/125 sec, F2.8.

    Take a Google stroll across the World Wide Web, and you’ll see heaps of both praise and disdain being hurled at Fujifilm’s JPEG engine. As for us? We’re big fans. Not only do you get lots of adjustment parameters, you can get quick access to them to boot using the custom-settings banks (although these also save your ISO parameters, which we’re not such big fans of). At the core of its appeal is Fujifilm’s selection of film simulations. Don’t be fooled, they won’t necessarily give you transparent, true-to-life colors (Classic Chrome used above is a good example), but they have a certain richness and personality to them that we find oddly addictive. Some people will still struggle with waxy skin tones at higher ISO values, but for the most part, we found we could get away without shooting Raws on the X-E2S by dialing down the noise reduction.

    The convenience 

    When you pop the XF 27mm F2.8 pancake lens on the Fujifilm X-E2S, you’ll have a combination that’s only slightly bigger than its fixed-lens sibling, the X100T. Sure, you get a slower maximum aperture with the pancake, but you also get a different field of view – and the 27mm is excellent wide-open. It’s a combination that’s unobtrusive and will let you get the X-E2S into venues where cameras with detachable lenses are generally not allowed, and your images will stand out from the masses and their smartphone snaps.

    And speaking of smartphones, the built-in Wi-Fi on the X-E2S will allow you to share your images almost as quickly as if you were one of the masses shooting with a smartphone. The size and Wi-Fi implementation alone make the X-E2S a convenient companion that still feels like a real camera.

    The great kit lens 

    Out-of-camera JPEG using the Provia preset. Fujifilm XF 18-55mm F2.8-4 @ 55mm. ISO 200, 1/1500 sec, F4.

    The Fujifilm X-E2S can be had with an XF 18-55mm F2.8-4 kit zoom lens, and although the price premium is higher than other manufacturers’ kit bundles, there’s a few clear reasons why. This kit lens is all metal, optically stabilized and has a solid feel to it without feeling heavy. The zoom, focus ring and aperture rings are all good-sized and well-damped. Lastly and most importantly, its maximum aperture varies from 2/3 of a stop to a full stop faster than most competitors’. Not only will this allow you to keep your ISO values that much lower in challenging lighting conditions, but it also contributes to an increased amount of background blur, and it must be said, the out-of-focus characteristics of this lens are very good. For people who aren’t able or don’t want to swap lenses or invest in a collection, this is a kit lens that could be their only lens without regret.

    The whole package

    Processed to taste in Adobe Camera Raw using the Pro Neg Hi preset. Fujifilm XF 90mm F2. ISO 1600, 1/200 sec, F8.

    There are certainly some aspects of the Fujifilm X-E2S that are starting to show their age – but they may not matter to everyone. The 16MP X-Trans sensor has less resolution than many competitors, but it still offers up good color and noise performance. The autofocus system isn’t great for fast-moving subjects, but for casual shooting, most users will find it’s good enough. The only feature that is really unforgivably bad is its video quality, which actually made me chuckle out loud when I looked at it for the review. But this camera is also very obviously not geared toward video shooters.

    So the X-E2S isn’t the most exciting camera that Fujifilm has released recently – the X-T2 and X-Pro2 have both brought some stirring innovations to the Fujifilm ecosystem – but that doesn’t make the X-E2S any less solid. As a decidedly midrange experience being sold at something approaching a more entry-level price, the Fujifilm X-E2S deserves a look.

    Articles: Digital Photography Review (dpreview.com)