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Archive for February, 2018

Scammers are peddling fake ‘KODAKCoin’ to unsuspecting victims

08 Feb

Kodak is warning potential investors that “KODAKCoin” offerings found online aren’t the real thing. According to an email sent to potential investors, and shared by AdAge, scammers have started listing KODAKCoin for sale despite its lack of official availability. Buyers aren’t getting the new cryptocurrency, they’re simply losing real-world cash.

In January, Kodak announced plans to launch a blockchain-based image rights management platform called KODAKOne and its own cryptocurrency called KODAKCoin. In a status update published on January 31st, Kodak said it has received interest in its digital currency from more than 40,000 potential investors. The company is now entering an “accredited investors” phase during which time it will verify the status of interested potential investors.

Now, scammers are taking advantage of the hype around cryptocurrency in general and the confusion around KODAKCoin specifically to try and steal some money.

Scams involving initial coin offerings (ICOs) and cryptocurrencies are huge at the moment thanks to bitcoin’s recent record value and growing public awareness of the digital currency market. Facebook recently blacklisted advertisements involving cryptocurrencies and ICOs from its platform due to the number of scams, and SEC Chairman Jay Clayton testified before Congress about the topic yesterday.

Editor’s Note: If you’re confused as to why exactly Kodak decided to get into cryptocurrency and bitcoin mining, give the op-ed below a read. Not everything with the Kodak name on it is connected to the company many of us know and love (or loved).

Kodak didn’t get into cryptocurrency and bitcoin mining, “Kodak” did

Articles: Digital Photography Review (dpreview.com)

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Samsung’s new ISOCELL Dual module will bring dual-cameras to budget smartphones

08 Feb

Dual-camera setups that allow for better zooming and a background-blurring fake bokeh effect have become pretty much a standard feature on flagship smartphones; however, they are still far less common on cheaper ‘budget’ devices. That’s all about to change. The image sensor division of device maker Samsung just launched the new ISOCELL Dual camera module, which was specifically designed for use in budget devices.

The new module comes with a built-in set of algorithms and functions and can be configured two ways: either for low-light performance by combining image data from two sensor, or to provide a bokeh effect feature. For the low-light setup, Samsung couples two 8MP sensors; for the bokeh effect, the module is assembled with a 13MP and 5MP image sensor combination.

Samsung will likely use the module in its own entry-level devices but, like it does with its sensors, RAM modules and other components, the company is also offering the technology to other OEMs. This will allow smaller companies to integrate dual-cam technology into their products without the need for large R&D budgets and software optimization.

We should see the first production smartphones using the ISOCELL Dual module sometime later this year.

Articles: Digital Photography Review (dpreview.com)

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Meike teases three new lenses: 50mm F1.7, 25mm F2.0 and 25mm T2.2

08 Feb

Chinese accessory and optical manufacturer Meike has posted a picture on its website of three lenses it intends to launch in the coming months. Two stills lenses are promised, a 50mm and a 25mm, as well as a 25mm designed for movie shooters.

It is reported that the first will be a 50mm F1.7 for mirrorless systems—including the Canon EOS M mount—which is due in the middle of next month. A 25mm F2 shown in the same graphic is quite a different design to the 50mm, and different also from Meike’s existing mirrorless and APS-C range of lenses, so it isn’t easy to guess what systems this model will be aimed at. The third lens is a 25mm T2.2 Cinema lens, which appears to be the company’s first foray into this video market.

Finally, as for how much these lenses might cost, it’s worth noting that the company’s current 50mm F2 retails for about $ 80… so they tend to be pretty affordable.

For more information, visit the Meike website.

Articles: Digital Photography Review (dpreview.com)

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How to Capture a Winter Wonderland – Essential Tips for Photographing Snow

08 Feb

There’s nothing quite like waking up to the winter’s first snow covering the landscape. It’s an amazing transformation that affects everything from light and sound to mood. Whether you’re interested in nature photography, abstract photography, or portraits, winter is a fantastic time to do something different!

01 winter photography tips

Snow offers a lot to the willing photographer. The unique light, the brilliance of the white, the refreshed feeling you get when a fresh blanket of snow covers the ground, the low temperatures — the opportunities (and challenges) are endless. In this article, I hope to help you prepare with some essential tops for photographing snow so you can get started on your wintery outdoor adventure. So let’s get to it!

Before you set out

Before you grab your camera and run outside to capture your wintery landscape, there are some very important things to remember. First of all, you need to get dressed, and you need to do it well. Wear several layers of clothing rather than just one very warm layer. Put on shoes that will keep you warm and dry and don’t forget gloves and a hat!

It’s important that you’re dressed warmly, but who said anything about your models?

When you’re certain you’ll stay warm for long enough to be able to enjoy the snow, make sure you grab some extra batteries. The cold weather will drain the camera’s batteries surprisingly quickly. Keep the extra batteries close to your body (preferably your torso), inside your clothing, to keep them from getting cold and discharging faster.

Now you’re ready to head out!

03 winter photography tips

Practical things to keep in mind while you’re rolling in the snow

Once you’ve stepped out the door, there are some things you should keep in mind to make your photography excursion as comfortable as possible for you, and as safe as possible for your gear.

Be sure to stay warm. Taking photos often means you’ll be standing (or lying) still for a long time. So if you’re getting cold, get up and move around a bit. Also pay attention to your toes and fingers, as they can get really cold even if the rest of you is warm and cozy.

04 winter photography tips

Use protection

It’s also important to protect your eyes. Especially if it’s cloudy it might seem like there isn’t actually that much light. But as snow reflects light very effectively your eyes can easily get damaged without you even noticing. This is called snow blindness and the best way to avoid it is to wear sunglasses.

Yes, sunglasses, in the winter, even when it’s cloudy! It sounds crazy, but ask anyone who spends a lot of the winter outdoors and they’ll agree. And, of course, you’ll also look cool.

05 winter photography tips

To protect your gear, it’s important to keep snow off of it. Once the snow melts, it can damage your camera, your lenses, as well as other electronics. Keep the gear you’re not using in a bag, and remove any snow from your camera before you go indoors. Also, if it’s snowing while you’re out photographing, be careful so it doesn’t get on your lens and end up as big blurry blobs in your photos.

Technical aspects and tips

So let’s get to the bit that’s actually interesting, the photography itself. There are some basic technical aspects to keep in mind while you’re photographing snow, but I’ll also bring up some ideas for how to enjoy your snow white photography to its fullest.

1. Overexpose

If the world around you is more or less completely white, and you’re not going for a drab kind of image, you need to overexpose by at least one stop. This will give you a photograph that looks more like what you saw with your bare eyes, as well as one that captures the magical atmosphere of winter.

11 winter photography tips

2. Pay attention to shutter speed

As always, you need to use your shutter speed intelligently to capture the scene the way you want to. In winter, it’s good to remember to use a very short exposure time if you want to freeze falling snow, and to play around with slower shutter speed if you’re trying to capture drifting snow moving across a landscape.

07 winter photography tips

3. Look for contrast

In a completely white world, you might have to look quite hard to find something to contrast with the snow. Contrast is interesting, though, so keep your eyes and mind open.

To add colour contrast, look for something colourful or wait for sunset when the blue of the shadows and the warm colours of the sun mingle. If you find moving water, contrasting the stillness of the snow with the rushing water can add a lot to your image.

08 winter photography tips

06 winter photography tips

09 winter photography tips

4. Try something different

Like any season, winter offers a diversity of photo opportunities. Snow can be a great way to create negative space in your image. It is a great way to really bring out your subject or to create a calm atmosphere.

10 winter photography tips

You can also try to go beyond the obvious to find the treasures that are hiding in your winter wonderland. Go from landscape photos to close-ups, from strong color contrast to black and white, from a classical winter landscape to a surprising take on the season…

Don’t let the weather stop you, and remember to have fun and tell an interesting story with your photos.

12 winter photography tips

Conclusion

What do you think is the best thing about photographing snow? Do you have any fun or informative experiences to share? I’d love to hear your thoughts and see your snowy creations in the comments below/

The post How to Capture a Winter Wonderland – Essential Tips for Photographing Snow by Hannele Luhtasela-el Showk appeared first on Digital Photography School.

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3 Key Tips for Making More Dynamic Photos

07 Feb

Do you find it difficult to make photographs which stand out and truly resonate with the people who view them? Let me share with you three key ways you can practice that will change your photographic experience and will assist you in making more dynamic photos.

Two Kayan long neck women laughing - 3 Key Tips for Making More Dynamic Photographs

Two Kayan friends share a joke in Chiang Mai, Thailand, Asia.

1. Know your subject – don’t just know about them

Research, understand and relate to your subject. Communicate with your subject – whether that be a person, pet or place, (or anything else,) you need to relate to and have rapport your subject.

The more knowledge and understanding you have of your subject the easier it will be for you to make compelling photographs of it or them. Sometimes, as is common with travel photography, having a fresh perspective on a subject will allow you to capture it in a way an expert may not see. But generally having some education about your subject will aid you in producing better, more dynamic photos.

Kayan girl having fun playing with soap bubbles.

Develop an intuitive sense

Knowing your subject well will give you more opportunity to get an intuitive sense of when it’s the right time to make a picture. Knowing and being passionate about your subject will help you develop your intuition.

Being comfortable with your subject, even if you do not know it so well, will also help you to create more interesting and unique photographs of that subject. Having the ability to really focus in on your subject, observing them carefully, the surroundings, the lighting and any activity associated with them, will help you to develop a meaningful connection.

This is something that can sometimes happen quite quickly and at other times will need to be developed over a longer duration.

Kayan girl with a front tooth missing.

2. Don’t Focus on your equipment

“The fact is that relatively few photographers ever master their medium. Instead they allow the medium to master them and go on an endless squirrel cage chase from new lens to new paper to new developer to new gadget, never staying with one piece of equipment long enough to learn its full capacities, becoming lost in a maze of technical information that is of little or no use since they don’t know what to do with it.” – Edward Weston

There’s a lot to be said for knowing your camera equipment well and being confident using it like you’ve mastered it. Being in control of your gear and being competent using it so that your focus can be immersed on your subject allows you to connect in a more meaningful way because you are not distracted. Achieving this ability takes nothing more than a little study and a whole lot of practice.

Porter at a fresh market in Chiang Mai, Thailand.

Use camera settings you’re comfortable with

Using camera settings you are comfortable with releases you to give more attention to your subject. When you work with camera equipment you are not familiar with or maybe when you first start trying to understand and use manual mode, your focus will be on your camera, not on your subject.

Becoming familiar with a camera and how to work with it confidently takes concentrated practice. Just as a musician will not take the stage and play a brand new song they’ve written without practicing it well first. Neither should you expect stunning results from a camera or technique you are not familiar with and well practiced at doing. Sure, sometimes you can get lucky, but to be consistently good you need to practice a lot.

Buddhist nun standing at the temple window.

Balance the technical and creative aspects

Balancing the technical and creative aspects of photography is challenging for most people. You are generally either more technically oriented and love learning how to use your new equipment or you are more creatively oriented without much interest in learning to understand all the bells and whistles on your camera.

Be mindful that photography is a creative process which requires a complicated tool. Even if you are using the most basic of cameras you must command a certain amount of technical skill to produce pleasing results regularly. To grow as a photographer and develop your own style, you will need to find a happy balance of the technical and creative aspects of this art form.

close up of a man riding a tricycle taxi with a strong shadow in Chiang Mai, Thailand. 3 Key Tips for Making More Dynamic Photographs

Tricycle taxi abstract

Aim to capture mood and feeling

Aim to capture mood and feeling in your photographs by giving as much of your attention to the technical settings as to the feeling you have and how you want to portray your subject. If you set your camera so your exposure is good and you have as much depth of field as you want, you will be free to connect with your subject. This will give you more freedom to get a real feeling for what you are doing which will resonate in your photographs.

Reaching beyond the technical and concentrating your creative energy on the subject you will produce photographs which draw in your audience. They will be able to experience and feel the relationship you have with your subject.

portrait of a red head teenage boy - 3 Key Tips for Making More Dynamic Photographs

3. Follow your passion

“Your connection with the world is unique” – Martin Parr

This is why people who photograph subjects they are passionate about will typically produce more creative, interesting pictures than someone who photographs a subject they have no real interest in or connection with.

My wife takes far better photos of flowers than I do. She is passionate about flowers, she loves growing them. She has a lot of knowledge about flowers and flowering trees. Taking care of them and making sure they have the best conditions in which to flourish is important to her. She consistently makes far more beautiful and creative photographs of flowers than I do because she is passionate about them. They may not always be technically correct, but they are made with feeling and convey that feeling.

pink orchid flowers - 3 Key Tips for Making More Dynamic Photographs

Photo by: Pansa Landwer-Johan

Have a deeper, more soulful relationship

When you have a deeper, more soulful relationship with your subject, you will naturally make more interesting, creative photographs as well. Your connection with the world is unique. No one else sees things and experiences life as you do. By applying your unique perspective and conveying this through your photographs they will resonate more strongly with people who view them.

You may even find you pay less attention to technical aspects as you genuinely begin to follow your feelings and become immersed in photographing your chosen subject. Enjoying photography in this manner can be deeply therapeutic. As you begin to concentrate totally and follow the flow of your feelings toward your subject everything else will become secondary, nothing else will matter.

At times like this, you must take extra care to be aware of your own safety. Many times I have stepped back onto a road, come close to stepping backward off a jetty and had wet shoes because I stepped in a puddle. I was so focused on what I was photographing and not paying much attention to anything else. So please take care!

Woman in the mist with a red scarf over her head an shoulders - 3 Key Tips for Making More Dynamic Photographs

A practical example

When I visited the Grand Bazaar in Istanbul, Turkey, I went looking for a quarter I’d read about where craftspeople still produce copper wares using traditional methods. I love photographing people engaged in creative activities and I had never photographed people making copper goods.

I eventually discovered the right location and found three men in a small workshop. Two of them were putting finishing touches to some beautifully crafted artworks.

3 Key Tips for Making More Dynamic Photographs

I politely approached and using gestures and showing them my camera, as we had no common language, I was welcomed in and made to feel comfortable. I showed an interest in what these men were doing and they were comfortable with my presence. The older man even gave me a glass of Turkish tea. I quickly became engrossed making photographs of the creative process I was witnessing.

3 Key Tips for Making More Dynamic Photographs

Despite having no prior experience with this subject I was still able to connect with the men and easily relate to what they were doing. Eventually, a fourth man entered the workshop and he spoke some English so I was able to ask how many generations this family had been working with copper. After a considerable amount of discussion all three men, who were cousins and father/uncle, looked at me and shrugged their shoulders. Their tradition had been in their family longer than they could tell me.

3 Key Tips for Making More Dynamic Photographs

Sadly, the fourth man who had joined us was a buyer. He told me he wanted to push the price the craftsmen were asking for their artworks down and was threatening to steal their designs and mass produce them in his factory (which now mass produces lamps, coffee pots, urns and other goods which were traditionally made in small, family-owned workshops.) As he told me this story I continued to photograph with the aim of capturing the mood of the conversation.

3 Key Tips for Making More Dynamic Photographs

In conclusion

Connecting with your subject in a meaningful manner will support and enhance your creative process. Knowing your subject in advance, or adapting quickly to relate to it in a short time, gives you a depth of connection that is not likely if you are distant and non-communicative.

Being technically competent enough to not spend most (or even some) of your attention on your equipment will release you to develop your connection with your subject.

portrait of a young Kayan girl in Chiang Mai, Thailand. - 3 Key Tips for Making More Dynamic Photographs

Young Kayan girl without her neck rings on.

Being passionate about your chosen subject will favor you to go that much deeper and further without distractions to create more interesting and more creative photographs.

The most effective way to learn these things is to choose a subject that you can photograph many times, preferably one that you enjoy. If your chosen subject is a person, one who enjoys being photographed. Make time to photograph your subject as often as you find enjoyment in the creative process and develop a feeling for the technical settings of your camera. Doing this will help you to learn more about your subject and hopefully, you’ll become more passionate in the process as well.

Watch the video below to see this in action.

The post 3 Key Tips for Making More Dynamic Photos by Kevin Landwer-Johan appeared first on Digital Photography School.

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Panasonic Lumix G9 vs Olympus OM-D E-M1 II

07 Feb

Introduction

Announced late last year, the Panasonic Lumix DC-G9 gives Micro Four Thirds shooters looking for a high performance stills-oriented camera another option. Previously, the Olympus OM-D E-M1 Mark II was more or less alone in its class, and remained unchallenged for over a year (unless you count the video-focused GH5 as a direct competitor). Even considering its age, the E-M1 II still fetches a $ 2000 body-only price, with the G9 undercutting it slightly at $ 1700 body-only.

So how do these Micro Four Thirds flagships compare head-to-head? Take a look at our feature-by-feature breakdown.

Image quality

The G9 and E-M1 II both use a 20MP Four Thirds sensor, and it’s fair to say they match up pretty evenly in this category. They do of course use different processors, which will make a difference, and Panasonic has made a lot of effort to refine the G9’s JPEG engine since the GH5. But we’d expect them to perform quite similarly, and broadly speaking they do.

Analyzing each camera’s performance in our studio testing, the E-M1 II produces slightly nicer JPEG sharpening and colors at base ISO, but the G9 pulls just ahead at high ISO. The difference is subtle, but it’s one we noticed.

Both cameras offer a high-resolution mode, assembling a large file from multiple images taken while shifting the sensor slightly. The E-M1 II’s JPEG output is rendered at 50MP while Panasonic chooses to output 80MP, but both produce an 80MP Raw file. There’s some question over whether you really get 4x the resolution from this pixel-shift method.

If you’re very picky and base ISO JPEG rendering is a priority, we think the E-M1 II holds a slight advantage

These modes are best suited for still life, but nevertheless Panasonic and Olympus have both made efforts to improve results for long exposures of moving subjects. Testing the G9 on some street scenes and the E-M1 II on a waterfall (the one from Twin Peaks, naturally), we came away with some decent results. In both cases you’ll see artifacts if you look closely, but they’re usable images for certain applications.

Differences in this respect are very, very subtle. If you’re very picky and base ISO JPEG rendering is a priority, we think the E-M1 II holds a slight advantage. If it’s the very best high ISO JPEG detail and color you’re after, the G9 does a bit better in that category.

Video

Panasonic is the better established player in the video game, but don’t count the E-M1 II out just yet. Both cameras offer UHD 4K capture (though the G9 does 60p to the E-M1 II’s 30p), but the E-M1 II also adds 24p DCI resolution, for a more cinematic aspect ratio.

For DCI recording, Olympus quotes a bitrate of 237 Mbps, which in theory makes for better capture of random motion in clips. Unusually though, Olympus seems to be quoting a maximum bitrate here rather than an average rate. E-M1 II users report that they rarely see the camera use anything like that 237Mbps, which our own additional testing supports. Despite this, we still think that the E-M1 II’s DCI 4K capture looks a bit nicer than the G9’s UHD 4K. The E-M1 II’s 1080p footage is, however, disappointingly soft.

Both cameras provide video niceties like touchscreens that enable tap-to-focus and flip-out LCDs. It’s worth noting that HDMI ports and headphone/microphone jacks are on the left side near the screen’s hinge and can be slightly blocked when the LCD is unfolded on both cameras. The robust image stabilization systems on both cameras are also beneficial to video shooters. In our experience, they’re both effective for handheld video and give a reasonably steadicam-like appearance to footage.

Again, neither camera has a huge advantage in this category. If you need the very best 4K capture, we give a slight edge to the E-M1 II. But for overall video quality, the G9 comes up with 4K/60p, and we think it’s the better buy. Of course, those who very serious about video would want to look to the G9’s sibling, the GH5, where you’ll find 4:2:2 output that seems to have been withheld from the G9.

Burst rate

The G9 is just a hair faster when using continuous autofocus – 20 fps with e-shutter / 9 fps mechanical shutter to the E-M1 II’s 18 fps with e-shutter / 10 fps mechanical. But perhaps more impressive is the G9’s near-infinite buffer depth: it will carry on shooting at 9 fps with mechanical shutter for over 600 frames. The E-M1 II is no slouch in terms of buffer depth, but we did find ourselves irritated with the camera locking us out of playback while the buffer cleared.

Both cameras also offer a very handy pre-recording burst shooting feature, which records full resolution JPEG and Raw frames captured before you fully push the shutter. Once you half-press the shutter, each camera begins saving images to its buffer, and will record a certain number once the shutter is fully pressed.

Olympus calls it Pro Capture mode, and it will record 14 pre-captured frames – but requires an Olympus Micro Four Thirds lens to be attached. Panasonic’s mode is called Pre-Burst, and is separate from the 6K/4K pre-capture stills-from-video that’s also available on the G9. It starts recording 0.4sec before the shutter’s fully pressed, which means either 8 or 24 frames depending on your burst mode.

If you have a particular use case that demands a nearly bottomless buffer depth, we’d suggest leaning toward the G9. Otherwise, this category is basically a wash.

Autofocus

The bad news for the G9 is that it only offers contrast-detect autofocus, but the good news is that it uses the most capable CDAF system we’ve ever tested. In continuous focus mode it performed admirably in our bike test, though the very slight ‘wobble’ inherent in its CDAF-based “Depth from Defocus” system made for a bit of a distraction and not-quite-tack-sharp images here and there.

The E-M1 II offers 121-point phase detect autofocus, and is capable of seriously impressive results. However, we were disappointed by a tendency of the camera to jump from a subject to the background, in continuous autofocus mode. We found C-AF to be very good at tracking subjects for candid portraiture in single shot drive mode, but not quite reliable enough to compete with industry-leading continuous AF systems.

It’s worth noting that the G9 requires Panasonic lenses to utilize Depth from Defocus, and thereby unlock its best AF potential. If you have a stash of Olympus lenses already, you’d be better off sticking with the E-M1 II. If that’s not a limiting factor, we’d recommend the G9 for fast action if you can live with the occasional, slightly less than razor sharp image. If your AF needs are less demanding, we have found the E-M1 II’s AF to be better suited for casual use.

Stabilization

Sensor-shift stabilization is a standout feature on both of these cameras. Both offer a 5-axis based sensor-shift system with nearly-physics-defying 6.5 CIPA-rated stops when coupled with a compatible lens using optical IS. The G9 claims 6.5 stops with the 200mm F2.8 IS attached, as well as at wide focal lengths on non-stabilized lenses. The E-M1 II should be good for 6.5 stops with the 12-100mm F4 and 300mm F4 Pro lenses; with all other lens combinations Olympus claims 5.5 stops.

These two cameras have among of the best stabilization systems on the market

In our testing, the G9’s stabilization provided slightly better results than the E-M1 II’s. At 200mm the G9 gave us 5 2/3rd stops; the E-M1 II provided 5 stops. In our shooting, that translated to getting some sharp shots down to 1/5sec. At 24mm, the G9 gave a 3-stop advantage; the E-M1 II provided 2.5-stops. Not a huge difference, but a difference nonetheless.

It’s good news all around in this category – these two cameras have among of the best stabilization systems on the market. The G9 came up slightly stronger in our testing, but the differences are slim indeed.

EVF

Panasonic paid a lot of attention to the EVF in developing the G9. That effort resulted in a 3.68M-dot OLED panel with both 60 fps and 120 fps refresh modes. The E-M1 II’s EVF is an LCD which offers a lower magnification (0.74x to the G9’s 0.83x) and lower resolution (2.36M-dot).

We’re confident in calling the G9’s EVF superior. If that’s a major consideration in your purchase, chalk one up in the Panasonic column.

Operation & handling

If there’s any category that comes down to personal preference more than anything else, it’s this one. The G9 is a larger, slightly more DSLR-shaped camera. It offers a top panel status LCD, which is quite rare in its class. Both cameras are weather-resistant, highly customizable, and provide those lovely aforementioned flip-out LCDs.

Here’s where we’d strongly encourage you to get to your local camera shop, hold both of these cameras in your hands and see which one feels better. Some of the DPR staff find Olympus cameras onerous to set up and prefer Panasonic’s Quick Menu screens. Some of us love Olympus’ interface and consider that it’s worth the trouble setting it up. To each their own.

Conclusion

There are enough similarities between these cameras that it’s reasonable to choose one over the other based on a spec that stand out to you. Either camera will get you good image quality, industry-leading image stabilization, strong autofocus, and excellent customizability.

For our money, the E-M1 II feels like the better buy for the stills shooter, and the G9 better for someone who wants a stills camera with an excellent video feature set. We felt the E-M1 II’s AF wasn’t as strong for fast moving subjects, but performed admirably in a host of casual shooting situations. It’s also the smaller of the two, so anyone looking for a light, always-at-your-side everyday camera would be pleased with the E-M1 II.

The existence of the G9 can only mean good news for Micro Four Thirds shooters
in either camp

The G9 is just a little bigger and bulkier, which some shooters will prefer, and in our testing we thought it did a bit better keeping up with fast moving targets if you can deal with the DFD system’s inherent wobble. That lovely big EVF will be a revelation to some users who thought they’d never love an EVF.

Really though, we’re splitting hairs. There’s very little to separate the two, and if you already have either brand’s lenses, you’d do just fine to stick with that brand’s stills flagship camera.

And the truth is, the existence of the G9 can only mean good news for Micro Four Thirds shooters in either camp. More competition means better products in the future, and that’s a win in our book.

Articles: Digital Photography Review (dpreview.com)

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Google enables HDR+ for Instagram and other apps on Google Pixel 2

07 Feb

Google’s latest generation Pixel 2 smartphones come with the built-in Visual Core dedicated imaging processor that powers the HDR+ mode’s sophisticated multi-frame-stacking computational imaging functions and other camera features. However, Visual Core wasn’t activated when the Pixel 2 devices were first launched, and only was enabled for developers in November last year.

The latest Android update now brings the power of Visual Core to all Pixel 2 users, an update smartphone photographer should be very excited about.

This update mainly means that Google’s excellent HDR+ mode is now available on all apps that call the camera and target API level 26, not just Google’s own Camera App. According to Google, this includes popular examples such as Instagram, Whatsapp or Snapchat, but we hope it also covers some of the powerful third-party camera apps available on Google Play.

Previously, those apps relied on a much more basic camera API that could not produce the same image quality as HDR+.

The Android update for the Google Pixel 2 will be rolling out over the next few days, along with other software improvements, so make sure you install the newest version as soon as it becomes available to take full advantage of the phone’s camera capabilities.

Articles: Digital Photography Review (dpreview.com)

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Olympus announces PEN E-PL9 equipped with 4K and Bluetooth

07 Feb

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Olympus has announced the PEN E-PL9, which improves upon its predecessor in terms of design and features. The camera has a more pronounced grip and larger mode dial, and its faux leather wraps around the body. The E-PL9 finally has a built-in flash, so you no longer need to tote around the small external flash that came with earlier models.

The E-PL9 uses a 16MP Live MOS sensor as well as the same TruePic VIII processor found on the E-M10 Mark III. While the E-M10 III has in-body 5-axis image stabilization, the E-PL9 is limited to three axes. The two cameras share the same 121-point contrast-detect AF system with face and eye detection.

The most significant new features are 4K video capture (at 30p) and Bluetooth. The latter allows for quick pairing and the ability to have tagged photos transferred while the camera is turned off. Olympus has also added a ‘Sweep Panorama’ feature (nine years after Sony pioneered it,) a new Instant Film art filter and improved automatic scene selection.

The E-PL9 will be kitted with the 14-42mm F3.5-5.6 ‘EZ’ power zoom lens. Available colors include black, brown and white. The camera will be available outside of North America in mid-March for €699/£649 with the kit lens or €549/£579 for the body only. Pricing and availability in North America will be announced in the weeks to come.

Press Release

The new Olympus PEN E-PL9: The camera to put you in touch with your creative side

Hamburg, 07. February 2018 – While increasing numbers of people discover the joys of photography through their phones, the progression to a camera may be more than a little daunting. Boasting an envy inducing look and distinguished build quality, the new Olympus PEN E-PL9 delivers the jump in quality and creative control usually seen in much larger offerings. It also makes the transition a lot less painful through touch screen access to its new Advanced Photo mode.

Petite dimensions hide a versatile range of photographic expressions boosted further by compatibility with Olympus’ much lauded line up of more than 20 M.Zuiko lenses, such as the superb M.Zuiko Digital 45mm F1.8 for portraits that combine a flattering perspective with beautiful natural bokeh.

Film fans can now take advantage of in-body stabilized blur-free 4K movies while the new built-in flash ensures E-PL9 users are always ready for adding a splash of extra light. Anyone who can’t wait to share their new masterpieces online can take advantage of the new combined Bluetooth and Wi-Fi connectivity to smartphones.

Due for delivery in mid-March, the Olympus PEN E-PL9 will be available in white, black or brown as body only or in a kit with lens (see below for choices and pricing).

It’s all about expression

The increase in creative options a camera brings too often comes with a scary menu system to match. Seeking to break down those barriers, the Olympus PEN E-PL9 lets you start your journey of photographic experimentation gradually via touch screen selection of creative programmes before moving on to more traditional settings. Select AUTO mode to let the camera identify many photographic situations from faces to groups and even movement and choose the best setting for you in the blink of an eye. Feel the need to adjust – fear not, a touch screen control with sliders allows you to adjust brightness, colour and contrast amongst other common settings. Tilt the screen down for a superior quality selfie and you can even touch select e-Portrait to smooth skin tones in camera. All of that comes in a very small and lightweight camera body that gives away both a traditional and modern feel.

Art not just for art’s sake

Olympus pioneered Art Filters way back and touching the screen brings them to life in a new way, making comparing the effects live on screen easier than ever. Besides Bleach Bypass, Instant Film is also new to the list of now 16 Art Filters – a nostalgic nod to the exaggerated colours of the early instant cameras. Use in daylight and the effects are subtle. Use at night on people with flash and a potentially dull shot is transformed: darker areas becomes green and skin is given a warm glow, an image is created that has a modern touch with a nostalgic feel.

Building on this, Olympus has made access to scene modes available through the touch screen too. Simply double tap the image that most closely matches what you see in your mind’s eye and the camera chooses the appropriate settings. The innovative access to simpler creative control is the new Advanced Photo (AP) mode. Olympus pioneered techniques like Live Composite used to be buried deep in the camera menus, often lying undiscovered. Want to take a photo of your friend creating a light painting in front of a lit up building at night? Used to be almost impossible, now tap the icon in AP mode, put the E-PL9 on a solid surface and off you go. Explore the delights of multiple exposure, HDR, sweep panorama, even focus bracketing – a technique that is a boon for close ups.

A learning process

A new set of easy access video “How To” guides hosted on the free OI.Share app, that handles the wireless transfer of images from camera to phone, provide useful tips for operating the E-PL9. Speaking of image transfer: the E-PL9 combines Bluetooth LE with Wi-Fi to ensure that the camera is always connected with your smartphone even when “asleep”. Want to see and import some images you just shot but the camera is back in your bag? No problem. Open the app and wake up the camera without needing to get it out and switch it on.

Quality through technology

What else does the E-PL9 have up its sleeve to help your photographs stand out from the crowd? Another Olympus pioneered innovation is in-body Image Stabilization (IS). Reducing blurry shots in low light, this system is married to the fast TruePic VIII image processor from the acclaimed Olympus camera flagship OM-D E-M1 Mark II which allows the camera to choose higher shutter speeds* further improving the chances of sharp results in challenging conditions.

Learning to love lenses

A system camera lives and dies by the lenses available to suit an ever expanding range of subjects. Many current Olympus PEN users head straight for the M.Zuiko Digital 45mm F1.8 portrait lens. Why? If you come from taking portraits on phones or compact camera, the lenses are often a wider angle to be more flexible. Sadly for the human face, wide angles tend to distort features. A classic portrait lens like the 45mm F1.8, slightly flattens the perspective which is more flattering. The wider aperture also delivers a natural looking blurred background (bokeh). While phones increasingly mimic this effect, the right lens sets an image apart. One area where a system camera really excels is getting in close: macro photography. Try our “all-day” go-to macro lens M.Zuiko Digital ED 30mm F3.5 Macro with the E-PL9. For capturing details in jewellery, food, material or flowers it opens a whole new world.

On top of the currently more than 20 Olympus M.Zuiko lenses it is possible to use hundreds of legacy lenses via various adapters.

Kit choices, pricing & availability

> Olympus PEN E-PL9 body only at EUR 549 RRP*** incl. VAT from mid-March 2018

> Olympus PEN E-PL9 with M.Zuiko Digital ED 14-42mm F3.5-5.6 EZ Pancake lens at EUR 699 RRP*** from mid-March 2018

Olympus PEN E-PL9 specifications

Price
MSRP	£579/€549 (body only), £679/€699 (with 14-42mm EZ lens)
Body type
Body type	Rangefinder-style mirrorless
Body material	Composite
Sensor
Max resolution	4608 x 3456
Image ratio w:h	1:1, 4:3, 3:2, 16:9
Effective pixels	16 megapixels
Sensor photo detectors	17 megapixels
Sensor size	Four Thirds (17.3 x 13 mm)
Sensor type	CMOS
Processor	TruePic VIII
Color space	sRGB
Color filter array	Primary color filter
Image
ISO	Auto, 200-6400 (expandable to 100-25600)
Boosted ISO (minimum)	100
Boosted ISO (maximum)	25600
White balance presets	6
Custom white balance	Yes (4 slots)
Image stabilization	Sensor-shift
Image stabilization notes	3-axis
CIPA image stabilization rating	3.5 stop(s)
Uncompressed format	RAW
JPEG quality levels	Super fine, fine, normal
File format	JPEG (Exif v2.3) Raw (Olympus 12-bit ORF)
Optics & Focus
Autofocus	Contrast Detect (sensor) Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Manual focus	Yes
Number of focus points	121
Lens mount	Micro Four Thirds
Focal length multiplier	2×
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3″
Screen dots	1,040,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	None
Photography features
Minimum shutter speed	60 sec
Maximum shutter speed	1/4000 sec
Maximum shutter speed (electronic)	1/16000 sec
Exposure modes	Auto Program Aperture priority Shutter priority Manual
Scene modes	Portrait e-Portrait Landscape with Portrait Night Scene with portrait Children Hand-held Starlight Night Scene Fireworks Light trails Sports Panning Landscape Sunset Beach and Snow Backlight HDR Panorama Candle Silent mode Macro Nature Macro Documents Multi Focus
Built-in flash	Yes
Flash range	7.60 m (at ISO 200)
External flash	Yes
Flash modes	Auto, manual, redeye reduction, slow sync w/redeye reduction, slow sync , slow sync 2nd-curtain, fill-in, off
Flash X sync speed	1/250 sec
Drive modes	Single Sequential Self-timer Bracketing
Continuous drive	8.6 fps
Self-timer	Yes (2 or 12 secs, custom)
Metering modes	Multi Center-weighted Highlight-weighted Spot
Exposure compensation	±5 (at 1/3 EV, 1/2 EV, 1 EV steps)
AE Bracketing	±5 (3, 5 frames at 2/3 EV, 1 EV steps)
WB Bracketing	No
Videography features
Format	MPEG-4, H.264
Modes	3840 x 2160 @ 30p / 102 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 25p / 102 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 24p / 102 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 30p / 52 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 25p / 52 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 24p / 52 Mbps, MOV, H.264, Linear PCM 1280 x 720 @ 120p, MOV, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC card (UHS-I supported)
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (micro HDMI)
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n + Bluetooth 4.0 LE
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	No
Battery	Built-in
Battery description	BLS-50 lithium-ion battery & charger
Battery Life (CIPA)	350
Weight (inc. batteries)	380 g (0.84 lb / 13.40 oz)
Dimensions	117 x 68 x 39 mm (4.61 x 2.68 x 1.54″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes (Video up to 4K)
GPS	None

Articles: Digital Photography Review (dpreview.com)

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How I built a large-format (8×10) video camera

07 Feb

Large format, for me, has always been the dream. Not for its ridiculously high resolutions—the 12 megapixels of my Sony a7S are more than plenty for me—but for its unique depth rendering. There is an enchanting quality to the depth of field produced by a huge chunk of vintage 8×10 glass that is near impossible to replicate on a smaller format, mostly thanks to the ridiculous equivalent aperture that would be required.

My longing for large format without the expense and and hassle of chemicals led me to build a pretty unique camera rig with very promising results.

The camera works by projecting an image from a large format lens (an Industar-37) onto a large matte white screen. The projected image is then captured with an off-axis camera (a Sony a7S) and wide-angle lens (an Irix 15mm F2.4). The 15mm is shifted upwards (using a Kipon shift adapter), which allows it to record a centered image of the screen with none of the perspective distortions that would come from simply pointing the camera up, and still be well out of the way of the light path.

I am not really sure if it should be called a ‘large format camera’ or a ‘large format adapter’—is format determined by the size of the imaging plane, or that of the sensor? Usually those are one and the same but not with a rig like this—but either way it records real large format images and just from my first results, I think they look fantastic.

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Beyond just digitizing large format photography, the rig opens up the really exciting possibility of large format video. It is absolutely incredible to see the large format image come to life, and it is something the world hasn’t really seen before. Dynamic range and resolution are only limited by the camera you put inside, and I am just using a consumer camera. I can’t wait to see how the rig performs with cinema gear.

The main downside of of the the design is sensitivity. The process of re-imaging loses about 6 stops of light, so an ISO 100 shot outside the camera becomes an ISO 6400 one in the rig. Thankfully, many modern cameras have excess sensitivity for bright environments so the camera works great in well-lit scenes, although it definitely struggles without proper lighting like the indoor scenes in the video above.

Large format ‘reimaging’ rigs have been made before (quite successfully by Gonzalo Ezcurra), but with one key difference: they project onto ground glass and record the image from behind, instead of reflecting the image off a diffuse surface. This method works, but ground glass is never a truly perfect diffusing filter, so there will always be a hotspot at the center of the image and some grain pattern introduced as well. The hotspot can be reduced—really, just enlarged so it looks more like a vignette and less like a spotlight—by moving the camera further back with a longer lens, but then the already huge setup just gets longer and less practical.

My version has the advantage of a folded optical path: since the image is bounced off a screen instead of going through a ground glass, the rig is about half the size of these other experimental reprojection cameras. It is still rather unwieldy, but this size difference is enough to allow shoulder mounting and really improve usability to the point being a genuinely useful tool instead of just a novelty.

I am currently working on an updated v2 version with a host of improvements, but I have really just skimmed the surface of the new possibilities with a camera like this.

Zev Hoover is an 18 year old photographer/videographer based in Natick, MA. His work has been widely featured, ranging from the Boston Globe to a BBC mini-documentary, and he has received awards including the Flickr 20-under-20 Award and 500px ‘innovation’ contest winner. You can find more of his work on his website: zev.tv

Articles: Digital Photography Review (dpreview.com)

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Landscape photography: Don’t miss the moment for the photo

07 Feb

In the pursuit of timeless landscape photography, it’s easy to miss the forest for the trees. That is, to miss the moment for the photo.

Too often, photographers—myself included—focus on tiny imperfections in their images, yet miss the grandeur of the scene before their eyes. We can scrutinize over every pixel, while neglecting the people who are there with us sharing in nature’s spectacle. We search and yearn for perfect sunsets, only to set ourselves up to feel dejected when our idealized expectations fail to meet ‘mediocre’ realities.

Yet, over time, we begin to discover that the endearing value of landscape photography lays not in the final image itself, but in everything behind it and beyond it. In the effort—the literal blood, sweat, and tears—we exert to capture the image. In the memories forged along the way; the memories preserved decades later through the photo. The lasting value lies in the process itself.

In landscape photography, the means do not merely justify the end. The means are a worthwhile end in and of themselves.

Natural beauty, appreciated

The pursuit of capturing stunning landscapes exposes photographers to moments of wonder the majority of the population will rarely if ever have the privilege of experiencing. It grants us opportunities to witness scenes ignorant observers may dismiss as being ‘photoshopped’. Little do they know, these views do exist beyond the wallpapers of their desktop computers—should they have the curiosity and desire to look for them.

Once bitten by the landscape bug—and for those of you who have been, you know what I mean—the unscratchable itch encourages us to get out there as often as possible. To see the sun rising over Sydney Harbour while the city sleeps. To brave freezing winter nights and gaze up at the tapestry of stars in the Milky Way. To hike through forests, in the rain, in order to experience the torrential fury of waterfalls at full flow.

It encourages us to see the artistic potential in scenes taken for granted by untrained eyes. To look for alluring elements in seemingly mundane scenes—a fallen tree trunk acting as a leading line or a coastal rock channel aligned to catch the rising sun for a few fleeting weeks each year. To truly appreciate when the sky explodes in color on sunset, knowing all too well the countless times it doesn’t.

It’s these moments that open our eyes to the wealth of beauty that our natural world has to offer. Moments that leave those who witness them all the richer for it.

Explore with wonder

Not only does the pursuit grant us picturesque scenes to reflect fondly upon, it also exposes us to an emotion not often felt since childhood: a daring sense of wonder.

When viewing the work of my peers, I’m regularly exposed to fantastical scenes so different from what I know. It leaves me inspired to wander through these foreign lands and see how I might put my own unique spin on capturing them. From the scarred canyons of Iceland to the sandstone monuments carved into the American West.

Yet this act of discovery needn’t—and shouldn’t—only apply to grand overseas adventures. It can be found just as easily closer to home.

There’s a sense of wonder in humbly exploring your local countryside in search for the perfect skeleton of a tree. In researching familiar locations on Google Earth and then driving down ungraded side-roads not knowing what the next bend holds. Or in hiking out under the light of the crescent moon on way to an astrophotography shoot.

Express yourself

Life is full of customs to limit how you behave, to restrict what you can and can’t do. And for good reason. There’d be utter chaos should we wake up wanting to drive on the wrong side of the road…

But in our approach to photography, and the work we create, we can be our true selves. We can pursue the facets we like best while leaving behind those we don’t.

Two photographers can look at the exact same scene, yet walk away with starkly different images. One may focus on the weathered bark of an old tree and produce an elegant black and white, while another captures the entire grand scene, opting for an an ethereal Orton Effect in post-processing. Neither method is wrong. Nor is either more correct. Both are merely personal interpretations by the artist.

Dedication to the ongoing pursuit—the capturing, processing and sharing of work—allows us to experiment with new approaches, gear and techniques. It’s a humble process of trial and error to see what works for us and what doesn’t. Ultimately, through this continual refinement of our craft, we establish a look and feel to our images that becomes uniquely our own.

Personal achievement

Succeeding in landscape photography requires a healthy amount of discipline. Discipline to wake at 4am. To drive for an hour out to location. To battle the elements as we set up our gear. To wait and watch the sunrise fizzle out. And to then return home without taking a single decent image.

All to do it again next week, and the week after that.

It takes grit to push through the disappointment in failing to capture the ideal image you had envisioned. Grit to push on through the lows, so that when you reach the highs of a great image—and you will—you have the perspective to truly appreciate what you have created.

As landscape photographers, we must push ourselves. To reach beyond the known, safe certainties of our comfort zones. Be it leaving the warmth of our bed on a dark winter’s morning or embarking on an overnight hike through the bush. The pursuit allows us to challenge and exceed what we think we can achieve. We persevere with our craft and come through the other side the better for it.

Not just a solo pursuit

Who said landscape photography was a lonely pursuit?

Social media has changed the game for photographers. Instagram in particular has become the default portfolio of work for many. The platform allows us to not only draw inspiration from the works of others, but to directly engage and communicate with them. To discover new locations and new ways of viewing tried and true ones.

This works both ways, too. When you share your unique take on a location, no doubt it encourages like-minded photographers to get out and discover those locations for themselves. While it’s tempting to view their work as piggybacking off your hard work, it needn’t be a zero sum game. Through open sharing, we can teach and inspire one another to work harder, to create more. And as a profession, we are the better for it.

If you’ve ever struggled with the discipline aspect to landscape photography (I know I have) try to arrange meet-ups on location with like-minded peers in the field. Not only will their attendance commit you to venturing out, but it then becomes a shared learning opportunity for you both. Local Instameets and Facebook groups are great opportunities to better know the photographic community in your area.

But the social component isn’t limited to just other photographers. Consider inviting those closest to you on the next location scout. Or offer to act as tour guide for a friend, introducing them to new locations they never knew existed.

Case in point

Consider this photo above. On a recent trip across The Ditch, we were staying on New Zealand’s east coast. I knew I wanted to capture the famed Wanaka Tree under the light of dawn, but we were at the end of our travels and the tree was far away on the other side of the island. So, like all mad photographers, I decided to drive four hours through the night to get there in time.

Beside me on the road trip was my 75-year-old grandma, a former Kiwi-turned Aussie. The drive through the night proved to be a great opportunity to bond with her—a rarer opportunity with each passing year. As we drove through the towns of her childhood, she told stories of her past growing up in NZ. And likewise, I had time to share with her my current creative pursuits.

However, once we arrived in Wanaka, the clouds had rolled in to block out the rising sun. And so too our chance of capturing the image we had sought.

And in the car we waited, laughing to each other after coming all this way to be met by less than ideal conditions. Yet, after some time, a fleeting gap in the clouds lit up the fresh new growth on the foreshore and on the tree itself. Together, we hurried down to the lake and both snapped a handful of shots before the clouds returned again.

We couldn’t stop pinching ourselves on the drive back for having been so fortunate to have those brief few moments to take the shot, but upon reflection, it wasn’t getting the shot that made it worth it. Rather, it was the time spent bonding, and the moment shared. While it turned out to be a pretty picture, for me it was an even more memorable moment.

Take a moment for the moment

The classic adage states that it’s the journey, not the destination, that’s of greater importance. And that’s an apt mantra to keep in mind when we go about our landscape photography—both literally and figuratively.

Landscape photography demands much from the photographers who pursue it. It demands we invest our time and our effort into the craft. That we invest without guarantee we’ll walk away with the stunning award-winning image we so dreamed of.

With that in mind, the next time you find yourself on a beach on sunrise or on a hike through the bush… stop. Stop to appreciate the effort you’ve put into preparing for the photo. Stop to take solace in knowing that you’re in the thick of life, immortalizing the scene in front of you through your art. Stop and take a moment, to appreciate the moment.

And then take the shot.

Mitch Green is a Melbourne based Travel and Landscape photographer. He can be found via his website, through Instagram, or down by the beach at 5am waiting for sunrise.

Articles: Digital Photography Review (dpreview.com)

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