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Phase One unveils IQ3 100MP Trichromatic digital back, promises unmatched color quality
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Phase One unveiled its newest IQ3 model today. A 100MP digital back designed in partnership with Sony, it’s called the Trichromatic because of its focus on exceptional color reproduction that supposedly matches the capacity of the human eye. In many ways the photographic foil of the Achromatic digital back, the Trichromatic is the “brain child” of Phase One’s long standing collaboration with Sony.
Not to put too fine a point on it, Phase One promises the Trichromatic will bring “unsurpassed color quality to the hands of the finest photographers across the globe.” No big deal… just unsurpassed color quality.
Here’s a quick video introduction to the new camera, and a hands-on look/ad by fine art photographer Tony Hewitt:
The Trichromatic achieves these color feats thanks to new Bayer color filter technology that has been implemented on the ultra-high res 100MP CMOS sensor. This technology is allegedly “exclusive” to Phase One, and “transforms digital color capabilities to render color more authentically than ever.”
Phase One also claims that the Trichromatic’s sensor design offers the “absolute lowest digital noise” of any medium format CMOS camera on the market thanks to a new base ISO level of just ISO 35.
Here are a few high res sample photos courtesy of Phase One:
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The IQ3 100MP Trichromatic Digital Back is available today at a wallet-shrinking suggested retail price of $ 44,990. Or, if you have an extra five grand and want to get a slightly better deal, you can pick up the Trichromatic alongside an XF camera body, a prime lens of your choice from the Schneider Kreuznach Blue Ring lineup, and a 5-year warranty for $ 49,990.
To learn more, head over to the Phase One website or read the full press release below.
Press Release
Introducing the Phase One IQ3 100MP Trichromatic Digital Back
The art of expression. The science of color.
COPENHAGEN, September 13, 2017 – Phase One today announced the Phase One IQ3 100MP Trichromatic Digital Back, based on a new CMOS sensor designed to capture color as perceived by the human eye. The new sensor technology in the IQ3 100MP Trichromatic Digital Back is the brainchild of a longstanding collaboration between Sony and Phase One. The result is astonishing color definition – with which champions of photography are able to create and express their artistic visions more accurately than ever before.
In this way, Phase One’s latest product brings unsurpassed color quality to the hands of the finest photographers across the globe.
The 100MP CMOS sensor in the IQ3 100MP Trichromatic Digital Back incorporates new Bayer Filter color technology, the result of Phase One’s close working relationship with Sony. Available exclusively through Phase One, this new technology transforms digital color capabilities to render color more authentically than ever – giving the world’s foremost photographers 101-megapixels of unprecedented creativity.
Click on the following link to learn more about the Phase One IQ3 100MP Trichromatic Digital Back: www.phaseone.com/trichromatic
“As a photographer, one of the things that excites me the most is having the opportunity to use color to evoke emotion. The Trichromatic Camera System itself becomes a true extension of my vision, and what my eye sees and what my eye wants to express – the camera delivers.” – Tony Hewitt, Fine Art Photographer
This pioneering sensor design has also established the lowest and therefore cleanest base ISO of any medium format CMOS sensor. At an impressive ISO 35, the results of the IQ3 100MP Trichromatic are crisp and clean, providing the absolute lowest digital noise for any CMOS system of its size.
“The ability to capture an image that reflects exactly what you see the moment you press the shutter button, with little interpretation or conjecture, is a fantastic leap for photography and more importantly, for the integrity of image quality,” said Niels Knudsen, Phase One Image Quality Professor.
Availability and Pricing:
The IQ3 100MP Trichromatic Digital Back is available now through Phase One Partners: www.phaseone.com/partners. Contact your local Phase One Partner to arrange a demo.
The Manufacturer Suggested Retail Price for the IQ3 100MP Trichromatic Digital Back is $ 44,990 USD.
The Manufacturer Suggested Retail Price for the XF IQ3 100MP Trichromatic Camera System, including XF Camera Body, free Prime Lens choice and a 5-year warranty is $ 49,990 USD.
All Phase One XF IQ3 Camera Systems are supplied with a free lens of choice from the Schneider Kreuznach Blue Ring Prime Lens range, valued up to $ 6,990 USD.
Phase One also announced their Feature Update #4 today, which is available immediately for downloaded free of charge for all XF Camera System owners at www.phaseone.com/Feature-Update-4
For more details, please go to: http://www.phaseone.com or book a demo on: www.phaseone.com/DemoSignup
Articles: Digital Photography Review (dpreview.com)
3 Ways Luminar May Cure Some of Your Post-Processing Headaches
Lately, I’ve been playing around with Luminar by Macphun. I’ve found that this program reduces the number of my editing headaches. I’ll share a bit of my experience with it, and you can see if it can help solve some of your headaches or challenges as well.
Processing is a chore
I’m the impatient type; I hate sitting down. I spend my life trying to find ways to keep moving and being active. I love to create and build and explore. Sitting down to edit photographs is a true chore. You all know a photographer like me. They spend their time carefully composing, adjusting lighting, and building the image in the camera, so they don’t have to spend hours editing their images.
Let’s be clear I’m not criticizing those who build images using several layers and masks. Some of my favorite photographers are editing masters, and I truly appreciate the skills they use to create their work. It’s incredible. But it’s not me. Editing is a headache for me. I hate it, but I’m too possessive of my work to ever considering outsourcing my post-processing. So anything that reduces the time I spend behind a computer is a bonus for me.
I used the presets in Luminar to help process this image. I’ve been on an abstract kick lately and the blue of this painted wall drew me to photograph all the cracks in the paint.
Luminar is very quick to use. The program works as a stand-alone application, or you can install and use it as a plug-in for Lightroom and Photoshop. I chose to edit using Luminar as the standalone version. So here are three of my editing headaches that Luminar helped reduce.
1) Finding a starting point for processing the image
Often we photographers shoot with a finished look in mind. We know we are going to convert an image to black and white or we want to create a luminous light filled look, and we shoot accordingly. However other times we struggle to picture the finished image. We can’t figure out a starting point for processing the photo. That’s where presets come in.
You can use presets as an idea bank that helps to get the creative juices flowing. The only issue is viewing these presets and finding the right starting point. In Luminar the presets are large, and you can easily scroll through each look using the slider bar. The display of presets is easily accessible at the bottom of the screen. You can click through several different looks and return to the one you like.
Here you can see the open screen and all of the presets are displayed at the bottom.
The other bonus to this method is the slider located on each preset. If the look is just a little too strong for your liking, it’s easy to dial it back. You can adjust how strongly each preset affects the image. For someone like me who tends only to make global adjustments to images, these types of features are really useful. I am able to select a preset then gently adjust the image to my liking.
Luminar helps with ideas and possibilities
This is the image I created in Lightroom. The color version is more like the picture I had in my head but when I saw the preset in Luminar it sparked some creativity.
The image you see below was pretty much a quick snap on my way out the door. I was in Cuba and waiting for my aunt to get ready before we caught the bus. I had no vision for the shot other than a quick sighting of something interesting. So when I returned home, I struggled with what to do.
I would never have thought of doing a black and white conversion for this image if it were not for one of the presets in Luminar. A headache solved, the program gave me an idea. I used the preset as a base and tweaked the image slightly. In total it took me about five minutes to edit the image.
I would never have thought of processing the image in black and white if not for the presets provided by Luminar.
2) Soooo many buttons to manage and remember
For those of us who want to edit images quickly, it’s difficult to remember all those keyboard shortcuts, and it’s time-consuming to keep checking the cheat sheet by our desks.
In Luminar, the interface is very simple, and it’s quick to use with just a few simple buttons. It’s easy to crop, compare, and apply a brush or a gradient to your work. It’s easy to make both global and more isolated adjustments quickly and effectively.
As you can see I quickly added a layer to this image. I wanted to use the brush to apply some very specific adjustments just to some areas of the image. Notice the clean interface.
Here you see the simplified interface with some of the options hidden (presets and histogram). It is a workspace called Quick & Awesome which you can select from the pull-down menu.
3) Layers can get complicated and confusing
Managing layers and masks can be confusing in Photoshop and for some of it’s a real headache. In Luminar, the layers are easy to access and utilize.
You can add filters to an image by creating another layer or apply them directly to the image. I used the filters and brushed them into the image on separate layers.
Pushing the plus (+) button adds a layer quickly in Luminar. The layers can be used to overlay a second image, like a texture or to apply filters, brushes, etc. It’s easy to apply a preset to an image, globally. Then if you want to apply a preset to just a few areas of an image you can also create another layer and brush the preset onto specific areas of the image.
To illustrate this point, I’ve quickly applied a black and white preset to an image using the brush tool. You can see how quick and easy it is to make very specific adjustments to an image by painting in the preset as a layer mask, similar to tools like Adobe Photoshop. However, Luminar can take things even one step further. Filters themselves can also be applied in the same manner. To do this, simply click on the brush tool, then click on the title bar of a filter (not a layer). When you begin painting in the mask, you’ll see a small mask preview thumbnail appears in the title bar. After creating the mask, adjust the filter sliders as desired to apply the effect to the mask. Once you get the hang of filter masks, you’ll find it’s an extremely efficient way to make selective edits to your photos.
Filters themselves can also be applied in the same manner. To do this, simply click on the brush tool, then click on the title bar of a filter (not a layer). When you begin painting in the mask, you’ll see a small mask preview thumbnail appears in the title bar. After creating the mask, adjust the filter sliders as desired to apply the effect to the mask. Once you get the hang of filter masks, you’ll find it’s an extremely efficient way to make selective edits to your photos.
I really like how the program displays all the masks and layers I’ve created. I found it easy to manage.
In conclusion
For some of us, editing is a chore. It depends on your personality and your style. Post-processing is an essential part of the photographic process, but it doesn’t have to ruin your love of photography.
Many of the features in Luminar help to alleviate those editing headaches from which many of us suffer. The program simplifies complicated processes and allows users to create beautiful images in a fairly short amount of time.
Here’s a finished image I completed using Luminar.
The Mac version of Luminar is available for a free trial or purchase here.. If you’re on a PC, download a free public beta version of Luminar for Windows here.
Disclaimer: Macphun is a dPS advertising partner.
The post 3 Ways Luminar May Cure Some of Your Post-Processing Headaches by Erin Fitzgibbon appeared first on Digital Photography School.
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Aurora HDR 2018 pre-orders go live ahead of September 28 launch
Macphun has started taking pre-orders for Aurora HDR 2018, giving both Windows and Mac users a chance to purchase the software ahead of its launch later this month. The pre-order period will run from September 12-27 and includes a special lower price of $ 89 for new customers versus the regular $ 249 rate. Existing Aurora HDR customers can update for $ 49.
The Aurora HDR 2018 pre-orders are bundled with four free bonuses: a travel photo training video by Matt Granger, five sets of HDR Brackets by Pros, a 3-month membership to Zenfolio, and an HDR training video by Trey Ratcliff. According to Macphun, these bonuses have a value of $ 150.
Head to the Aurora HDR 2018 site to pre-order. The software will be available starting on September 28.
Via: CanonRumors
Articles: Digital Photography Review (dpreview.com)
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Hands-on with the Sony Cyber-shot DSC-RX10 IV
Introduction
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The RX10 IV, as the name suggests, is the fourth in Sony’s series of 1″-type sensor, long zoom compacts. The Mark IV is the first to offer phase detection autofocus alongside a series of changes designed to boost the speed and capability of the camera, for both stills and video shooting.
Sony is adamant that the camera is much more than an RX10 III with an RX100 V sensor in it. Let’s take a look at what the latest version brings.
Autofocus
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One of the biggest changes in the Mark IV is the addition of on-sensor phase detection autofocus. There are a total of 315 phase-detect points, which cover 65% of the total sensor area. This is a significant update as it should eliminate the RX10 III’s need to hunt for focus, which was a particular problem at the long end of the zoom.
In addition, we’re told the camera has “exactly the same” processor as used in the company’s flagship sports camera: the a9. This means the RX10 IV has the same autofocus algorithms for subject tracking and the improved Eye AF mode we saw on the a9.
Touchscreen
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The RX10 IV also becomes the first camera in the RX series to gain a touchscreen. This can be used for tap-to-focus in both stills and video mode. In video mode it is designed to offer a smooth focus transition between subjects which, combined with on-sensor PDAF, should make it relatively easy to shoot good-looking video without having to worry about manual focus.
The screen can also act as an AF touchpad when the camera is held to your eye, with the option of limiting the active area of the screen to one of nine regions of the rear panel, including the top (or bottom) right or left quadrants. There’s also a choice as to whether the AF movement is absolute (pressing on the left of the screen places the AF point on the left of the image) or relative (swiping left anywhere on the screen moves the AF point left from its current position), as different photographers prefer different methods. These are all welcome improvements over previous touchscreen implementations from Sony.
Continuous shooting
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Continuous shooting speeds have been dramatically improved since the RX10 III, with the max frame rate increase from 14 to 24 fps, with continuous AF. The buffer is substantial, to say the least, topping out at 112 Raw and 249 Fine JPEGs.
If that’s too fast for you, middle (10 fps) and low (3.5 fps) options are also available.
Speaking of (very) quick, the camera’s electronic shutter allows for bullet-stopping 1/32000 sec shutter speeds. The RX10 IV uses the e-shutter in order to shoot at 24 fps, by the way.
4K and proxy shooting
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The RX10 IV can shoot 4K video from the full width of its sensor, which is rendered and downscaled to give very detailed, “oversampled” footage. This can be shot at 30, 25 or 24p in either 100Mbps or 60Mbps using the XAVC S codec. Dropping down to Full HD (1920 x 1080) you’ll find 120p, 60p, 30p and 24p frame rates. If you’re so inclined, a 60i option is available if you switch to AVCHD. (The PAL equivalents for these are also available, of course.)
As mentioned earlier, the new touchscreen display allows for tap focusing. You can use this to “rack focus” with zero effort, and there are three transition speeds to choose from. Unfortunately, ‘Spot Focus’ continues to confuse, and there’s still no easy way to ‘tap to track’ a subject, as all Lock-on AF options are greyed out in 4K video mode. It is available in 1080p video, but only via the rather clunky (and old) ‘Center Lock-on AF’ method.
The Mark IV also gains a ‘Proxy’ shooting mode, where it captures a 720p stream of video alongside the main 4K stream, meaning you can edit using the proxies and then apply the edits to the full-res footage at the end of the process. This greatly speeds up the workflow, especially when using slower computers.
High frame rate shooting
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In addition to 4K capture, the RX10 IV is able to shoot 1080 at up to 120p, which can either be saved as 100Mbps or 60Mbps clips or slowed down, in-camera, to 60, 30 or 24p.
The camera has the ability to capture at 240, 480 or 960 fps, with footage taken from increasingly low-res crops from the sensor (250, 500 or 1000 fps in PAL modes), which can then be output as 60, 30 or 24p super slow-mo footage (50 or 25p in PAL).
Other improvements
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The RX10’s focus peaking has also been improved, with three intensity settings designed to make the peaking easier to see and distinguish between, as you shoot.
A new focus limiter button, found on the left side of the camera, lets you choose between the whole focus range or 3m to infinity. Sony has also added a new “AF-A” mode, which will choose between AF-S and AF-C depending on subject movement.
Fans of back-button focus will be pleased to hear that you can now activate autofocus with any of the custom buttons (we figure most folks will use the AE-lock button).
Another new feature is Bluetooth connectivity, which can be used to share location data with the camera. We’ll see what else it can do when we spend more time with the camera.
Something that’s a slight step backward is battery life, which drops from 420 to 400 shots per charge (CIPA standard).
Lens
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The Mark IV uses the same 24-600mm equivalent, F2.4-4 zoom lens as its predecessor. As, no doubt, people will be highlighting in the comments, this is an equivalent aperture range of F6.5-10.9, which is not significantly slower than an F4.5-6.3 tele zoom on an APS-C camera. Even with that, the lens quality is superb, especially considering its long reach.
As one would expect, the lens is stabilized, and Sony claims 4.5 stops of shake reduction using CIPA’s testing methods. The company says that it has improved the IS system at the long end of the focal range, which should framing subjects easier.
Those who were hoping for the return of an ND filter (found on the RX10 II) will be sorely disappointed, as the RX10 IV lacks one as well. The lens is threaded for 72mm filters, however.
Wrap-up
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$ 1700 is a lot of money, but Sony believes the combination of capabilities: high speed shooting, autofocus performance and 4K video capture, together with a 24-600mm equiv. zoom, is what makes the Mark IV a compelling offering.
What do you think? Share your thoughts in the comments below.
Articles: Digital Photography Review (dpreview.com)
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