360Photography

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  • LandscapePro software promises simple steps to dramatic changes

    Anthropics Technology, the makers of the PortraitPro software application, has announced a program that it claims ‘radically simplifies and speeds up’ dramatic reworking of landscape images. LandscapePro offers tools for replacing skies, enhancing water and altering the direction of the light using automatic selection techniques and ‘one-click’ pre-sets. The company says that users will need ‘no prior knowledge or technical skills’ to use the program.

    LandscapePro invites users to drag labels, such as ‘grass’, ‘sky’ and ‘water’ on to the relevant areas of an image and the software automatically makes an adjustable selection of that area. A collection of sliders and filters then makes it possible to adjust or replace each type of element. A depth of field simulator can create blur at certain distances while further controls allow photographers to emphasize distance through coloration.

    Color temperatures can be adjusted using pre-sets with atmospheric labels to simulate sunset or stormy conditions, and ‘common objects’ such as grass and sand have their own pre-sets as well. There is also a tool that helps to select areas of sky through the branches of a tree.

    There are two versions of LandscapePro: Standard and Studio. The Studio version works with Raw files and has options to operate as a plug-in for Photoshop, Lightroom and Elements among other differences.

    The Standard version costs $ 79.90/£59.90 while the Studio version costs $ 119.90/£99.90, though both are offered at 50% off at the moment.

    For more information, and a free trial, visit the LandscapePro website.

    Press release:

    LandscapePro Launched

    New, easy way to enhance landscape photos

    Anthropics Technology today announced the launch of LandscapePro, the industry’s first intelligent landscape photo editing software, available in standalone and Adobe Photoshop, Lightroom and Elements plug-in editions. The new software radically simplifies and speeds up outdoor and nature photo retouching. It includes landscape relighting, sky replacement, 3D depth estimation, a depth of field simulator, distance controls, intelligent selection tools, and photo-adaptive controls among other powerful features. With one-click presets and targeted editing available, users can create beautiful landscapes in seconds.

    LandscapePro is a new way to enhance pictures that rises to the challenges and nuances of landscape photography. It assumes no prior knowledge or technical skills, and photographers can create unique, dramatic effects quickly. The new product comes from the makers of the award-winning retouching software PortraitPro and PortraitPro Studio with a plug-in mode for Adobe Photoshop, Lightroom, and Apple Aperture.

    “Inspired by the success of Anthropics’s PortraitPro software, we are delighted to introduce a new product to help photographers expand their creativity and take landscape retouching to the next level,” said Andrew Berend, CEO, Anthropics. “LandscapePro offers an innovative and easy way to create stunning landscape photography, and can be used by novices or experienced photographers alike. As its intelligent controls uniquely adapt to the features of each photo, it enables photographers to do incredible things with their outdoor photos simply by using sliders.”

    Key Features

    Easily enhance landscape photos. LandscapePro contains a host of unique tools to enable anyone to create beautiful scenic photographs.

    • Intelligent selection tools.
    • Unique editing controls that adapt to the photo.
    • Easy-to-use slider interface.
    • No technical skills required.
    • LandscapePro Studio handles RAW files and can be run as a Photoshop, Lightroom and Elements plug-in.

    Expand your creativity. Create unique, breathtaking scenes. LandscapePro effects are specifically tailored to landscape photography.

    • Landscape relighting. Lighting adjustment to fit any creative goals: change light source, temperature, time of day, or go from dawn to sunset. Note how the side lighting brings out the texture on the ground.
    • Instant sky replacement with presets. The unique sky controls enable photographers to replace sky, change clouds, or cast cloud shadows. Note how the change in sky has automatically relit the ground.
    • Cloud and atmosphere adjustment. Tools to manipulate skies by separately adjusting the clouds and the atmosphere behind them.
    • 3D depth estimation. A unique, easy-to-use depth of field simulator respects 3D objects in the scene. As easy as using a single slider.
    • Distance controls. Change colors in the image depending on the distance to the camera – make distant objects bluer, highlight the middle distance, or add fog.
    • Landscape-specific tools for dealing with common issues such as selecting small patches of sky behind trees.
    • Color adjustment tools targeted at common objects in landscapes, e.g. tools to make grass look lush, change the color of the sea, or to make sand golden.
    • One-click presets such as wet sand, stormy water, red sunset, lush trees.
    • Automatic area selection. Tag areas as sky, trees, buildings, grass, sand, rock, water and the selection will be applied instantly.
    • Targeted editing. Specially designed controls for different areas, e.g. change clouds to stormy or add thunder clouds, adjust waves, or add sunrise reflection to the sea.
    • Whole picture and individual object enhancements. Transform the whole photo instantly or use a new workflow where you select several objects in your scene first, before editing.

    Editions

    LandscapePro Standard – dedicated landscape photo editing.
    LandscapePro Studio – handles RAW files, 48 bit per color TIFFs, supports different color spaces, and can be run as a plug-in for Photoshop, Lightroom and Elements.

    Compare the different editions: www.landscapepro.pics/editions.
    Availability, Free Trial and Pricing

    LandscapePro is available to purchase or for a free trial from http://www.landscapepro.pics/.

    Articles: Digital Photography Review (dpreview.com)

  • Hasselblad offers no-loss trade-up on H6D to those waiting for 100MP back

    With the Hasselblad 100c 100MP back delayed by the after effects of the Japanese earthquake the company has introduced a trade-up deal for photographers who want to get their hands on the new H6D medium format body sooner rather than later. The deal allows photographers to buy the camera with the 50c 50MP back now and then trade-up without financial penalty later when the higher resolution back becomes available.

    Those trading up will only have to pay the difference in recommended sales price between the two backs, so Hasselblad will effectively take the 50c back for the same amount that was paid for it. This means those who are waiting for the 100c to become available before buying the H6D can start using the new, improved camera now.

    The sensor used in the 100c back is made by Sony at its plant in the Kumamoto region of Japan. The factory was badly damaged in the recent earthquakes and is only just getting production underway now, so there will be quite a delay before Hasselblad can get its 100c into the stores. The sensor in the 50c back is also made by Sony, but as it has been in production for longer the company had a stock-pile before the earthquakes struck.

    For more information visit the Hasselblad website.

    Press release:

    H6D-50c to H6D-100c Trade-Up Promotion

    Purchase the H6D-50c now and trade-up to the H6D-100c for the difference in price!

    The H6D has become an instant success with orders received worldwide and has far exceeded our expectations. The engaging media coverage and encouraging comments from our current and new users has been phenomenal!

    Unfortunately due to the recent devastating earthquakes in Kumamoto, Japan, the suppliers of some components, including the 100MP sensor, have been affected.
    To get the H6D into the hands of eager customers Hasselblad are offering a fantastic H6D-50c Trade-Up promotion.

    Purchase the all new H6D-50c at the standard price and you will have the option to trade-up that camera to the H6D-100c for the difference in the recommended sales price (MRSP).

    The H6D has a brand new electronic platform boasting super-fast image processing and faster shooting rates that can be sustained for longer than ever before. The 100MP option, delivers unmatched image quality and the ability to resolve the finest detail with all our HC & HCD lenses.

    This unique offer of getting started with our all new H6D-50c applies to both new and previous H6D-50c customers, and will be valid until 31st October 2016.

    Articles: Digital Photography Review (dpreview.com)

  • 2016 Roundup: Interchangeable Lens Cameras around $500

    While they aren’t cameras that make headlines, one thing is for certain: entry-level interchangeable lens cameras sell by the truckload. The majority of them are stripped-down versions of their midrange siblings, with things like newer sensors, advanced autofocus systems, customizable controls and ‘premium’ build quality being left out. That doesn’t mean that these aren’t capable cameras – quite the contrary, actually.

    All of these cameras – both mirrored and mirrorless – produce good image quality, offer respectable performance and can record Full HD video. The majority have Wi-Fi. Many of them are targeted toward beginners, with ‘help’ systems that point out the best settings to use for various shooting situations.

    Those unfamiliar with DSLR and mirrorless cameras may be wondering what advantages and disadvantages each brings to the table. DSLRs are larger cameras, with a more ‘traditional’ shape and control layout, as well as an optical viewfinder. While they’re great for shooting stills, they’re not as well suited to video capture, and focusing using live view can be sluggish. Mirrorless cameras are typically smaller and are very capable video shooters, since live view focusing is much faster than most DSLRs. Two negatives about mirrorless cameras are that battery life isn’t nearly as good as a DSLR and – especially true in this class – they often lack a viewfinder.

    Let’s take a look at several entry-level ILCs, with US MSRPs in the $ 500 region, kit lens included. 

    • Canon EOS M10
    • Canon EOS Rebel T6
    • Fujifilm X-A2
    • Nikon 1 J5
    • Nikon D3300
    • Olympus PEN E-PL7
    • Sony Alpha a5100

    Articles: Digital Photography Review (dpreview.com)

  • Michael Reichmann, founder of Luminous-Landscape, dies aged 71

    We are very sad to report the death of Michael Reichmann, founder of Luminous-Landscape. 

    Luminous-Landscape and dpreview.com came of age at around the same time. While we focused on lab testing and measured performance, Michael’s perspective was always that of a passionate photographer. 

    Michael Reichmann, founder of Luminous-Landscape has passed away aged 71. Photo by Nick Devlin, used with permission.

    I was a keen reader of Luminous-Landscape before I discovered DPReview (shhhh, don’t tell Phil), back when it seemed like almost every month brought a new paradigm shift in the quality of digital cameras. I still remember poring over Michael’s now-famous (and still controversial) study of Canon’s EOS D30 against Fuji Provia, in which he concluded that grainless 3MP digital files were in most respects superior to film.

    “Life is short, death is long and
    I’m busy enough as it is”
     
    Michael Reichmann, on exhaustive side-by-side testing

    Michael was a towering figure in the North American photography press, and a natural writer. His humility and sense of humor shone through his work on Luminous-Landscape and made him wonderful company. He’d seen it all before, and didn’t take any of it – certainly not himself – particularly seriously. In failing health, Michael spent the last year of his life focused on the Luminous-Endowment, a charitable fund that he set up to benefit photographers across the globe.

    Just last week I enjoyed (re) reading his excoriating 2004 ‘non-review’ of the Contax N Digital, and I almost emailed him to see how he was doing. I wish I had. Michael will be missed by all of us at DPReview.

    Tribute to Michael Reichmann on Luminous-Landscape.com

    Articles: Digital Photography Review (dpreview.com)

  • Processor maker ARM acquires Apical

    Processor maker ARM has acquired the UK-based imaging technology company Apical for a cash consideration of $ 350 million. The Apical name might not be too well known among consumers, but the company’s technology can be found in a very large range of digital cameras and smartphones.  

    The company’s products include Assertive Display which makes screens adapt to changes in lighting, and Assertive Camera, a range of image signal processors (ISPs) and software modules that manage HDR capture, noise reduction and color management among other tasks. Apical is also one of the UK’s fastest growing technology companies and currently employs approximately 100 staff, most of them at its research and development center in Loughborough. 

    According to the press release, with the acquisition ARM is hoping to get into new markets where computer vision technology is in demand, including connected vehicles, robotics, smart cities, security systems, industrial/retail and the ‘Internet of Things’ devices. That said, Apical also complements ARM’s offerings in the smartphone and digital camera sectors. 

    “Computer vision is in the early stages of development and the world of devices powered by this exciting technology can only grow from here,” said Simon Segars, CEO, ARM. “Apical is at the forefront of embedded computer vision technology, building on its leadership in imaging products that already enable intelligent devices to deliver amazing new user experiences. The ARM partnership is solving the technical challenges of next generation products such as driverless cars and sophisticated security systems. These solutions rely on the creation of dedicated image computing solutions and Apical’s technologies will play a crucial role in their delivery.”

    Apical’s dynamic range compression algorithm, ‘Iridix’ was used by a range of camera makers, including Nikon, Olympus and Sony as they developed their in-camera dynamic range options Active D-Lighting, Shadow Adjustment Technology and Dynamic Range Optimizer.

    Articles: Digital Photography Review (dpreview.com)

  • Fast and steady: Tamron 85mm F1.8 Di VC USD real-world samples

    The Tamron 85mm F1.8 claims the title of the world’s first fast-aperture 85mm lens with stabilization. The focal length will certainly appeal to portrait photographers, and the combination of Tamron’s vibration compensation with an F1.8 aperture might just give it an edge in low light situations. We’ve been shooting with it over the past couple of weeks, both on full-frame and crop sensor bodies, to get an idea of its performance.

    Tamron 85mm F1.8 Di VC USD real-world samples

    Articles: Digital Photography Review (dpreview.com)

  • Weather-resistant Fujifilm 2x teleconverter brings 1219mm focal length to X-Series

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    Fujifilm X-Series users will soon be able to purchase a 2x teleconverter compatible with two of the company’s telephoto zoom lenses, delivering a maximum equivalent focal length of 1219mm for its interchangeable lens compact system. The XF2X TC WR teleconverter will be weather and dust-resistant when used with the X-T1 and X-Pro2 camera bodies combined with the XF50-140mm F2.8 R LM OIS WR and XF100-400mm F4.5-5.6R LM OIS WR lenses.

    Fujifilm says that the teleconverter will deliver an angle of view equivalent to that of a 1219mm lens on a full frame camera when it is used with the 100-400mm lens, once the crop factor of the APS-C format is taken into account.

    The converter consists of nine elements in five groups and adds 30.2mm to the physical length of the camera/lens set-up. With the 2-stop light loss, the AF system of the X-cameras will revert to contrast detection with the 100-400mm F4.5-5.6 lens, but phase detection will still work with the 50-140mm F2.8. Both lenses will need a firmware update in order to operate with the new teleconverter so that adjusted aperture and focal length values can be recorded in the EXIF data and displayed on-screen.

    Fuji suggests that the converter will be compatible with other lenses in the X-Series range, and has set up a website on which it promises to post information about future lens compatibility.

    The Fujifilm XF2X TC WR teleconverter will be available in June priced £349. For more information visit the Fujifilm website.

    Press release:

    Fujifilm announces the FUJINON XF2X TC WR Teleconverter

    High-performance weather and dust resistant teleconverter with excellent optical design to be added to the X-Series interchangeable lens line-up in June

    FUJIFILM Corporation (President: Shigehiro Nakajima) is proud to announce that the new FUJINON TELECONVERTER XF2X TC WR, a teleconverter extending the telephoto area of some X Mount lenses*1, will be added to the mirrorless digital camera X-Series interchangeable lens line-up in June 2016.

    The FUJINON TELECONVERTER XF2X TC WR is a high-performance teleconverter, capable of multiplying the focal length of mounted lenses*1 by two. It features excellent optical design with a construction of 9 elements in 5 groups to maintain the optical performance of the original lens.

    In addition, thanks to the unified design when mounted to a compatible lens*1, the teleconverter is weather and dust-resistant and operates at temperatures as low as -10°C. This makes it possible to be used with confidence outdoors when used with the weather and dust-resistant X-T1 and X-Pro2 camera bodies, and the XF50-140mmF2.8 R LM OIS WR and XF100-400mmF4.5-5.6 R LM OIS WR lenses.

    *1 Compatible lens (As of May 19, 2016)
    XF50-140mmF2.8 R LM OIS WR = 100-280mmF5.6 with teleconverter mounted (Equivalent to 152-427mm on a 35mm format)
    XF100-400mmF4.5-5.6 R LM OIS WR = 200-800mmF9-11 with teleconverter mounted (Equivalent to 305-1,219mm on a 35mm format)

    1. Main Features

    (1) High image quality design which maintains the optical performance of the original lens

    • Construction of 9 elements in 5 groups maintains the optical performance of the original lens.
    • By using the optimal image quality parameters for the overall characteristics of the original lens and 2x teleconverter, excellent imaging performance with great aberration suppression is still achieved.
    • The aperture becomes two f-stops higher when the teleconverter is mounted, and the camera displays and records information reflecting the change in aperture and focal length.

    (2) Autofocus performance

    • Phase detection AF is still available when using the XF50-140mmF2.8 R LM OIS WR with the 2x teleconverter mounted.
    • Contrast Detection AF is still available when using the XF100-400mmF4.5-5.6 R LM OIS WR with the 2x teleconverter mounted.
    • Accurate focusing at super-telephoto focal lengths with shallow depth of field is possible thanks to the AF performed by the image sensor, thanks to the ‘Live View’ feature on the cameras.

    (3) The optical image stabilization performance

    • The camera’s optical image stabilization performance*2 is unaffected by the addition of the teleconverter

    *2CIPA guidelines, at telephoto end.

    (4) Weather and dust-resistant and -10°C low-temperature operation

    • Using the teleconverter with a weather-resistant camera, such as the FUJIFILM X-T1 or X-Pro2 mirrorless digital camera and the FUJINON XF50-140mmF2.8 R LM OIS WR or FUJINON XF100-400mmF4.5-5.6 R LM OIS WR lens does not affect the weather resistance of the system.

    (5) High-grade subtle appearance

    • The teleconverter’s high grade metal exterior has been designed with the X system in mind. When attached to a compatible FUJINON lens, the two products appear as one single lens.

    2. Main Specification

    Type FUJINON LENS XF2X TC WR 
    Lens construction 9 elements 5 groups
    Focal length 2x that of original lens
    Max. aperture 2 additional stop
    Min. aperture 2 additional stop 
    Focus range Approx. same as that of original lens
    Max. magnification 2x that of original lens 

    External dimensions: Diameter x Length (distance from camera lens mount flange)

    		  
    Approx. ?58mm x 30.2mm
    Weight
    (excluding lens caps)    		  
    Approx.170g

    4. Support Information

    A firmware update is required for the FUJINON XF50-140mm F2.8 R LM OIS WR and FUJINON XF100-400mm F4.5-5.6 R LM OIS WR lenses in order to provide full compatibility. This firmware is planned to be available at the beginning of June 2016. Please note that when updating firmware, make sure to update the latest camera firmware before updating the lens.

    Please refer to the following website for information on how to confirm your firmware version and its update methods. http://www.fujifilm.com/support/digital_cameras/software/fw_table.html
    Please be sure to check the following website as we will continue to update it with information regarding mountable lenses. http://fujifilm.com/products/digital_cameras/x/fujinon_lens_xf2x_tc_wr/

    Articles: Digital Photography Review (dpreview.com)

  • Sony Xperia XA Ultra comes with 16MP OIS front cam

    Sony first announced its new Xperia X line of smartphones at MWC earlier this year. Now the Japanese manufacturer has added another model to the line in the shape of the Xperia XA Ultra. As the ‘Ultra’ moniker suggests the new device is larger than the standard XA model. The XA Ultra display measures 6 inches instead of 5 but retains the 1080p resolution and overall design. 

    That said, the XA Ultra’s headline feature is its front camera. It comes with a 16MP Exmor R sensor, optical image stabilization and a front flash, making it a significant upgrade to the original XA’s front camera, which at 8MP is no slouch either. The wide 88 degree viewing angle should allow for group self-portraits without selfie-sticks or similar contraptions.  The main camera has been upgraded as well and features a 21.5MP Exmor RS sensor with Hybrid-AF, which sounds similar to the camera specification of the Xperia Z3+.

    The rest of the specification arguably puts the XA Ultra into the mid-range bracket of the market. The Android 6.0 operating system is powered by a MediaTek MT6755 chipset and 3GB of RAM. 16GB of storage can be expanded via a microSD slot and Sony says the 2700 mAh battery is good for two days of use. Given the large screen, we’d take that statement with a pinch of salt though. The Sony Xperia XA Ultra will be available from July but no detail on pricing and regional availability has been released yet.

    Articles: Digital Photography Review (dpreview.com)

  • VR / Action cameras forum just launched

    Be like these guys.

    Are you excited about VR but frustrated that we don’t have a clearly demarcated area in our forums for you to talk about it? You’re not alone, probably. But we’re pleased to announce that your nightmare is over, with the launch of our dedicated VR and action cameras forum!

    Moderated by DPR contributor and VR enthusiast Mark Banas, this is the place to discuss VR capture, action cameras and related technologies.

    Click here to visit our new VR and action cameras forum

    Articles: Digital Photography Review (dpreview.com)

  • Google Art Camera uses robotic system to take gigapixel photos of museum paintings

    The Google Cultural Institute, an online virtual museum with high-quality digitizations of artifacts from across the globe, recently added more than 1,000 ultra-high-resolution images of classic paintings and other artwork by Monet, Van Gogh and many others. A new robotic camera system Google has developed called ‘Art Camera’ has made it possible for the organization to add digitizations faster than ever before.

    Previously, Google’s collection included only about 200 digitizations, accumulated over approximately five years. Art Camera, after being calibrated to the edges of a painting or document by its operator, automatically takes close-up photos of paintings one section at a time, using a laser and sonar to precisely adjust the focus. This process results in hundreds of images that are then sent to Google, where they’re stitched together to produce a single gigapixel-resolution photo.

    Instead of taking the better part of a day to photograph an item, as the old technology did, Art Camera can complete the process in less than an hour; speaking to The Verge, Cultural Institute’s Marzia Niccolai said a 1m x 1m painting can be processed in half an hour. Google has built 20 Art Cameras and is shipping them to museums around the world for free, enabling the organizations to digitize their artwork and documents. The resulting gigapixel images can be viewed here.

    Via: Google Official Blog
     

    Articles: Digital Photography Review (dpreview.com)