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Archive for November, 2017

Weekly Photography Challenge – Blue Hour

18 Nov

Blue hour is the time of day after sunset (and just before sunrise) when the sky still has some color it and it’s not pure black. This is the number one tip for shooting night photography – don’t shoot at night! If you want a dark, deep blue sky – shoot at blue hour.

This is a bonus – you don’t have to stay up all night getting shots for this week’s challenge. Just catch the blue hour and you’re good to go.

Blue hour in New York City.

If you need some help:

  • Video Tutorials and Tips for Shooting Blue Hour
  • 5 Quick Tips for Better Blue Hour Photography
  • New Photographer’s Guide to Blue Hour
  • Recommended Gear for Doing Long Exposure Photography at Twilight and Dusk
  • Do you pack up and leave after sunset and miss the fun of night photography?
  • How to do Long Exposure Photography and Light Trails at Night

Weekly Photography Challenge – Blue Hour

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Blue hour in Rome, Italy.

San Francisco – the complementary colors of blue hour make for stunning compositions. Use it to your advantage.

Share in the dPS Facebook Group

You can also share your images on the dPS Facebook group as the challenge is posted there each week as well.

The post Weekly Photography Challenge – Blue Hour by Darlene Hildebrandt appeared first on Digital Photography School.


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Polaroid wants Fujifilm to pay millions in royalties for Instax Square format

17 Nov

According to a report by World Intellectual Property Review, Fujifilm has filed a complaint for declaratory judgment, asking a US district court to clear the company of any wrongdoing after it was allegedly threatened with trademark litigation by Polaroid over the borders around its Instax Square images.

According to the suit, PRL IP, the brand licensor and marketer of the IP rights for Polaroid instant cameras, has turned against Fujifilm, “by suddenly demanding millions of dollars in annual royalty payments, on threat of a lawsuit.”

Fujifilm says Polaroid sent the company a letter in January 2017 stating that the “square form” of photographs taken by Fujifilm’s Instax camera is “essentially identical” to the trademark and trade dress rights owned by Polaroid. In March, another letter said that Polaroid would have “no choice but to take appropriate action to protect” its IP rights if Fujifilm would not take its Instax Square film off the market.

A third letter, sent in June, demanded royalty payments, and the complaint goes on to say that “on November 8, 2017, Fujifilm was notified that a negotiation meeting between the parties scheduled for the following day was cancelled because the lead investor expressly instructed defendants to pursue litigation unless Fujifilm complied with demands.”

PLR IP owns the US trademarks covering the borders surrounding instant photographs, but Fujifilm’s claim says that after filing for bankruptcy and discontinuing many product lines in 2008, Polaroid has been “unable to return to profitability through product sales” and now seeks “to generate revenue from what remains of the Polaroid IP portfolio”.

Fujifilm is asking the court to declare that its Instax film photos do not infringe any Polaroid IP rights, and is requesting cancellation of Polaroid’s trademarks.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a7R III added to studio scene comparison

17 Nov

We’ve had our hands on the Sony a7R III for about a week now, and the camera has quickly impressed our reviewers both in the studio and on the road. Currently, a couple of our staffers are traipsing around Arizona capturing beautiful photos we’ll soon be adding to our a7R III sample gallery, but back in Seattle we wasted no time putting the camera in front of our standard studio test scene.

See how the Sony a7R III stacks up against its closest competitors by clicking the button below. And don’t forget to compare the a7R III’s Pixel Shift Multi Shooting mode against the Pentax K-1’s (both are available in the studio scene tool). Pentax debuted the first full-frame pixel-shift tech with the K-1 in February of 2016; has Sony managed to improve upon it with their version?

See the Sony a7R III in our studio scene comparison tool

Articles: Digital Photography Review (dpreview.com)

 
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Top 10 sample galleries of the year #8: Nikon D7500

17 Nov

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We’re counting down our top 10 most popular sample galleries of 2017. At the #8 spot we have the Nikon D7500, which launched in the spring of this year.

This enthusiast DSLR is very well suited for all forms of still photography – read how it won one of our editors over – thanks to excellent subject tracking, a fast burst rate, deep buffer, good image quality, and solid ergonomics. It sits right below the APS-C flagship Nikon D500 (read how the two stack up) and borrows a few key components from it and the Nikon D5.

We gave it a silver award in our review – it also scored a bit higher than its closest Canon competitor, the EOS 80D (read how the two compare). So take a peek around our gallery and see why we think this camera rocks.


Top 10 most popular sample galleries of 2017:

#10: Sigma 14mm F1.8 Art
#9: Fujifilm GFX 50S
#8: Nikon D7500
#7: To be revealed on 11/18
#6: To be revealed on 11/19
#5: To be revealed on 11/20
#4: To be revealed on 11/21
#3: To be revealed on 11/22
#2: To be revealed on 11/23
#1: To be revealed on 11/24

Articles: Digital Photography Review (dpreview.com)

 
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Adobe’s Lightroom Downloader lets you rescue your image library from the cloud

17 Nov

Adobe has released Lightroom Downloader app, an application that pulls original image and video files from the cloud and stores them locally in a folder.

The Lightroom Downloader app is available for both Windows 10 and macOS High Sierra, and requires users to log in with their Lightroom account. Once the login is complete, users are prompted to choose a hard drive location to which the cloud content will be downloaded.

As Adobe explains on its help site, Lightroom Downloader pulls all of the cloud video and image files and parks them in a date-based folder in a user-specific hard drive location. Any edits made to these original, raw files will be written into XMP sidecar files alongside the raw files.

In instances where only a Smart Preview is cloud synced, Adobe says its app will download the DNG Smart Previews for those photos.

Articles: Digital Photography Review (dpreview.com)

 
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Kodak reveals how and when it’s bringing back 35mm Ektachrome film

17 Nov
Photo: Kodak

Kodak first announced the rebirth of Ektachrome way back in January at CES. Along with Kodak Alaris—who will distribute the 35mm Kodak Professional Ektachrome film for stills shooters—the company said it would bring back Ektachrome by the end of 2017… and then promptly stopped talking about it.

But if you were worried that Kodak had given up on the idea, fear not: in a new episode of the Kodakery podcast, a few of Kodak’s higher ups (including Marketing and Product Manager Diane Carroll-Yacoby) updated the world on the progress of the Ektachrome reboot, how they’re making it, and what testing still stand between your hands and a fresh 36-shot roll of the stuff.

You can listen to the entire Kodakery podcast update below:

The first half of the podcast is mostly a photography and history lesson: discussing the origins of Ektachrome, its ‘characteristics’ (read: limitations), and how Kodak has managed to bring it back to life after discontinuing it in 2013. But if you want to get into the “how and when” of the matter, you’ll want to skip to the 22 minute mark.

That’s where we get to learn about how difficult it is to bring back a film like Ektachrome—which is made up of 80 ingredients, some of them no longer available to purchase—and how Kodak is making the economics of Ektachrome work by creating it in smaller, more sustainable batches.

You’ll want to listen to the discussion to really get the details of how the film is made, but here are a few of the most interesting tidbits about the revival process (for us anyway):

  • Kodak has managed to either find or manufacture all 80 ingredients required to make Ektachrome.
  • Much of the process so far has involved retooling the formula so it will work on the machines available to them, because they no longer have all of the equipment they had when Ektachrome was being developed previously.
  • They’ve already produced some ‘pilot coatings’ that they are testing to ensure they’re ready to mass produce Ektachrome that’s up to snuff.
  • When they’re ready to go, they will be making rolls using a coater that produces the film on sheets that are 4 feet wide and 6,000 feet long. The first of these ‘wide’ rolls will be produced before the end of 2017, and will be used for internal testing.
  • Kodak will be making a single (4ft x 6,000ft) roll for the first production run, so they don’t have to hold on to too much inventory at one time.
  • Kodak Ektachrome’s market release is planned for 2018.

Eastman Kodak itself will produce all of the film and plans to distribute the Super 8 cinema version of Ektachrome, while Kodak Alaris will distribute the 35mm slide film for stills shooters. For now, we still don’t know exactly when Ektachrome is coming back in 2018, but as soon as we do, we’ll let you know so you can mark your calendars.

Articles: Digital Photography Review (dpreview.com)

 
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Expect twice the resolution and speed from the next Fuji GFX and Hasselblad X1D

17 Nov

It’s hard to say much about the next generation mirrorless medium format cameras at this point—even the rumor mill has been quiet—but if you look at Sony’s recently updated sensor roadmap, you can confidently assert one thing: the next-gen Fujifilm GFX and Hasselblad X1D models will contain a 100MP backside illuminated sensor with twice the readout speed of the current models.

This is a BIG deal.

It seems like just yesterday (it wasn’t) Sony released the a7R II, the first camera with a full-frame BSI sensor. But they’re already planning to scale that tech up to medium format in 2018. In fact, their 2018 sensor lineup includes two new MF sensors: a 100MP BSI 44×33 sensor and a 150MP BSI 55x41mm sensor.

These sensors first appeared on the roadmap back in April, but they only received their official announcement on Sony’s Semiconductor website on November 9th. That’s when Sony revealed the readout speeds of the new sensors, which is what really caught our eye.

The IMX161 is the chip (with some modifications…) that you find inside the current stock of 44x33mm medium format cameras—the X1D-50c, the GFX 50S, and the Pentax 645Z. That sensor’s max readout is 3.3 fps, and it offers 50MP of resolution. The upcoming IMX461 that you’ll very likely find in the next-generation models of these same cameras not only doubles the resolution to 100MP, it also nearly doubles the max readout speed to 6fps at 14-bit.

For the next Pentax model, that might not make a huge difference, since it’s a DSLR. But for the next Hasselblad X1D and Fujifilm GFX models, which are mirrorless and require on-sensor AF, that will make a huge difference in performance. Plus, the new sensor can record video at both 4K/30fps and 8K/18fps at 12-bit, which means it should comfortably capture the 8-bit and 10-bit flavors we’re more accustomed to seeing.

For fans of ‘real’ medium format digital (55x41mm sensor), keep an eye out for the IMX411 to show up in a PhaseOne camera of the future. That sensor is also backside illuminated, ups the resolution to 150MP, and can shoot 12-bit 4K/30fps and 8K/16fps.

Articles: Digital Photography Review (dpreview.com)

 
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OnePlus 5T unveiled: edge-to-edge display and a dual-camera optimized for low light

17 Nov

OnePlus has just launched its latest smartphone, the OnePlus 5T. The 5T carries over most of the internal components, including the Snapdragon 835 chipset, from its predecessor the OnePlus 5, but comes with a very obvious change on the exterior: The AMOLED screen now features an 18:9 aspect ratio and covers almost the entire front of the device, as it is en vogue this year.

Another important change can be found in the camera department: The 5T comes with the same 16MP main camera as the OnePlus 5, but instead of a telephoto module the secondary camera slot now houses a 20MP sensor that has been optimized for low-light performance.

Like on the main camera, the sensor is coupled with a fast F1.7 aperture, but is using what OnePlus calls ‘Intelligent Pixel Technology’ to merge four pixels into one, reducing image noise and improving sharpness. The system kicks in at light levels lower than 10 Lux… which is pretty dim.

Of course, a background-blurring portrait mode is on board as well, and a new multi-frame algorithm helps improve image quality when using the function in low light. OnePlus also says the new camera setup offers a similar zoom performance to the OnePlus 5’s camera.

Most other components, including the unibody metal shell, remain unchanged from the OnePlus 5. The 5T will be available from November 21st at $ 500 for the 64GB model with 6GB or RAM, and $ 560 for the 128GB version with 8GB of RAM. This makes the smartphone, like its predecessors, a real bargain when compared to most competitors.

We have our hands on a test device, and are eager to check the performance of the new dual-camera over the coming days.

Key specifications:

  • Dual-camera
  • Main camera: Sony IMX 398 1/2.8″ 16MP sensor, F1.7,
  • Secondary camera: Sony IMX 376K 1/2.78″ 20MP sensor, F1.7
  • 27.22mm equivalent focal length
  • Dual-LED flash
  • 4K video at 30 fps
  • 720p slow-motion at 120 fps
  • Manual mode and Raw capture
  • 16MP / F2.0 front camera
  • 6″ 1080p AMOLED display, 18:9 aspect ratio
  • Qualcomm Snapdragon 835 chipset
  • 64/128GB storage, 6/8GB RAM
  • 3,300 mAh battery

Articles: Digital Photography Review (dpreview.com)

 
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RAW Power: An iOS raw editor designed by the former Apple Aperture lead

17 Nov

Apple’s mobile operating system has been able to shoot RAW images for a while now, but iOS 11 added broad support for raw formats from other cameras, opening up the door for new apps to leverage this ability and let you edit your professional camera’s RAW photos on your phone or tablet. Enter RAW Power, an iOS app designed by Nik Bhatt, founder of Gentlemen Coders, who was a lead developer for Apple’s Aperture and iPhoto.

With RAW Power, iPhone and iPad owners can use their devices to edit any raw file supported by iOS 11… and that list is long and comprehensive.

As Apple details on its support site, iOS 11 and macOS High Sierra both support raw image formats from dozens of cameras from multiple makers including Canon, Nikon, Olympus, Panasonic, Fujifilm, Hasselblad, and others. RAW Power presents a way to edit those images via iOS 11, offering features like white balance, sharpen, curves, and others that can’t be found in Apple’s own Photos app.

Plus, since it’s hooked up to iCloud, edits can be synced across devices so you can start editing on mobile and pick that up later on your desktop, or visa versa—as long as you have iCloud photo library enabled, that is.

According to the app’s devs, RAW Power also offers a Depth Effect feature designed specifically for photos taken with a dual-camera iPhone model. And Apple users who also have a Mac can edit the same image between both platforms via the RAW Power macOS extension.

RAW Power is currently available through iTunes for free, though users who want access to the depth, advanced curves and white balance tools will need to unlock them with a $ 10 payment. To find out more about the RAW Power app, head over to the Gentlemen Coders website or download it from the iTunes App Store.

Articles: Digital Photography Review (dpreview.com)

 
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B+W releases 3-slot filter holder for 100mm filter system

17 Nov

German filter manufacturer B+W has announced a new filter holder to go with the 2mm thick 100mm square filters it launched this year.

The new holder is made from aluminum and offers three slots so users can use multiple filters at the same time. The holder has a light seal on the rear to prevent leaks during long exposures, and the system has adapter rings for lenses with threads of 52mm to 82mm.

You can pick up the new filter holder now for £95 (~$ 125 USD), while the adapter rings cost £25 (~$ 33 USD) each. For more information visit the website of distributer Manfrotto.

Press Release

B+W Filters Announces New Filter Holder

Perfect Addition to B+W’s Square Filter Range

B+W filters, one of the world’s leading filter manufacturers, has announced the launch of the new Filter Holder.

Excellent Quality with Increased Stability

Launched to complement the range of the square filters that were released earlier this year, the new filter holder fits 100 x 100 x 2mm filters. It features an aluminium frame which means increased stability and has the capacity to hold up to 3 square filters. The light seal avoids incidence, and adapter rings for Ø52, 55, 58, 62, 67, 72, 77 and 82mm are also available.

Full Filter System

The release of the Filter Holder means that B+W offer a full filter system. Along with the Filter Holder, the Square Filters guarantee excellent image quality due to the finely ground, polished special glass that is used as the base. The 3 layer combination coating optimises the filter to deliver results, and the combination coating (MRC Nano) prevents troublesome reflections by including a multilayer anti-reflection component with seven layers on each side of the filters.

Stable and Resistant

Both the Filters and Filter Holder from B+W ensure stability when taking photos – the aluminium frame of the Filter Holder makes it stable when in use, and the ND filter series are dimensionally stable thanks to the glass substrate which means they cannot warp or distort.

The new B+W Filter Holder is priced at £94.95, with the rings being £24.95 each.

For more information on the full range including the filters please see www.manfrotto.co.uk/bwfilters

About B+W

B+W Filters have been made in Germany since 1947 with a passion for optics, precision, quality and longevity. Produced in Bad Kreuznach under the umbrella of Schneider-Kreuznach, B+W has succeeded in establishing itself as one of the world’s leading filter manufacturers.

Today, in the manufacturing plant in Bad Kreuznach, state of the art production equipment, precise CNC machines and highly advanced reflection reducing technology guarantee top quality products. Comprehensive know-how and start of the art production technology have made a name for B+W filters throughout the world, and the company is widely known for guaranteeing perfect image quality. www.manfrotto.co.uk/bwfilters

Articles: Digital Photography Review (dpreview.com)

 
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