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Camera Comparison – The Fujifilm X-H1 Versus the Sony a7R III

23 May

Two of the hottest mirrorless cameras you can get your hands on right now are the Sony a7R III and the Fujifilm X-H1. My husband owns one and I have the other. In the past few months, we’ve been experimenting with our new cameras and have noticed quite a few similarities and differences. This is by no means a comprehensive camera comparison, but some of the main differences will be highlighted below.

Camera Comparison - The Fujifilm X-H1 Versus the Sony a7R III

The Fuji X-H1 left, and the Sony a7R III on the right.

Our Background

My husband and I are both photographers who have always been in opposite brand camps. We were Nikon versus Canon during the height of the DSLR. Now in the mirrorless world, we are Fujifilm versus Sony. I’m a full-time photographer specializing mainly in food and architecture photography, while my husband is a part-time assistant photographer.

Our differing photo needs and styles have partially dictated our camera brand loyalty. I prefer Sony for its higher megapixel count for architecture photos and also its more flexible lens selection. Meanwhile, my husband loves Fujifilm for their rangefinder design and film simulations.

One thing we can agree on is that we both have an interest in making more videos. That is why we specifically choose the Sony a7R III and Fujifilm X-H1 as our new cameras. Note that at the time, the Sony a7R III was the newest camera on the market–there wasn’t yet a Sony A7III or a Sony a7S III, both of which are arguably better cameras for video.

Fuji versus Sony

Common Features

Before we talk about differences, the Sony a7R III and Fujifilm X-H1 do have many features in common. First, both cameras have enhanced, on-par video recording capabilities. They shoot in 4K and 120 fps slow motion video, and both cameras offer in-camera image stabilization (IBIS). Built-in Wi-Fi and Bluetooth are available on both cameras to facilitate quick transfers to cell phones or tablets.

Physically, both cameras have dual SD card slots for more storage flexibility. There’s also focus peaking to help highlight areas that are in focus, which is especially helpful when using manual-focus lenses. Finally, there are tiltable touchscreens on both cameras. However, touchscreen capabilities are quite limited and you can’t perform full camera operation with them.

Here is the same scene, shot with both cameras for comparison.

Fujifilm X-H1

Sony A7rIII

Common Weaknesses

In terms of things that neither camera offer, the list isn’t terribly long. But ideally, both cameras would offer a more flexible tilt and swivel screen. Built-in GPS for geotagging photos is also missing.

Finally, both cameras come with hot-shoe mounts for attaching an external flash. However, neither camera comes with a built-in flash.

Sony a7R III

Sony a7R III Benefits

Larger Sensor, More Megapixels

The biggest difference exists in the cameras’ sensors. There’s a full-frame, 42.4-megapixel sensor on the Sony, while the Fujifilm has an APS-C 24.3-megapixel sensor. Currently, Fujifilm does not make any full-frame mirrorless cameras, although that will change when the X-T3 comes out in late 2018.

Depending on your photography style, more megapixels is a generally a good thing. Although, it does require using SD cards and hard drives with significantly more storage space for those large file sizes.

Super High-Resolution Composite (Pixel Shift)

Speaking of resolution, there’s a new feature on the Sony a7R III called Pixel Shift. In short, this increases image resolution by 4 times. You still have to shoot individual images and stitch them together in post-production using the included software. The result is a super high-res image that’s great for shooting landscapes or buildings.

forest scene with a river and bridge - Camera Comparison - The Fujifilm X-H1 Versus the Sony a7R III

A photo that was taken with Pixel Shift.

Longer Battery Life

Mirrorless cameras have long been criticized for having poor battery life. Luckily, Sony responded positively by putting a new Z-battery in the a7R III. This battery isn’t cheap, but it offers a much longer battery life than the X-H1 at 650 shots versus 310 shots.

Hyperlapse Filming Mode

One thing many Sony shooters miss from the a7R II is the PlayMemories App that added built-in features such as time-lapse shooting. However, time-lapse can still be taken on the a7R III if you use the S&Q setting.

This allows for shooting slow motion or fast (hyper-lapse). If you do the latter, this is essentially a hyper-lapse that is taken in camera. Just be sure to adjust the settings in the camera, as S&Q can be set to shoot slow motion or hyper-lapse videos.

Headphone Jack

Since recording accurate sound is a big part of video-making, it’s essential to have a headphone jack. This is present on the Sony a7R III but is oddly missing from the Fuji X-H1.

Sony a7riii versus fujifilm x-h1 cameras - Camera Comparison - The Fujifilm X-H1 Versus the Sony a7R III

Fuji left, Sony right.

Bigger Buffer for JPGs

The X-H1 is a faster camera when it comes to shutter speed and frames per second (more on that below). But the Sony has a leg up when it comes to JPG buffering, or how many more JPGs you can shoot before waiting in burst mode. It’s 82 shots on the Sony a7R III compared to 40 shots on the Fuji X-H1.

Higher ISO

Sony – The Sony a7R III has a native ISO sensitivity range of 100 to 51,200. When extended, the Sony can reach ISO 50 to 204,800 for stills, or 102,400 for video.

Fuji – Meanwhile, the X-H1 has a slightly smaller range of ISO 200 to 12,800 or an extended ISO range of 100 to 51,200 for stills or 25,600 for video.

Bigger Lens Selection

When it comes to lenses, Sony has a wider array of choices compared to Fujifilm. If you need traditional focal lengths such as the 16-35mm, 24-70mm, or 70-200mm, you’ll want to go with Sony.

Camera Comparison - The Fujifilm X-H1 Versus the Sony a7R III

Fujifilm X-H1 Benefits

Top LCD Display

The X-H1 takes on the look of a DSLR camera, departing a bit from Fujifilm’s more classic rangefinder design. Part of the DSLR look includes a top LCD display where you can easily see your camera settings. In practice, that may or may not be helpful since the pop-out LCD can also show your camera settings.

Faster JPG and RAW Shooting

Interestingly, the Fujifilm X-H1 is quite a bit faster than the Sony a7R III. The X-H1’s shutter is faster at 1/32,000th versus 1/8000th when shooting wide open in bright light. Also, the X-H1 has faster RAW and JPG shooting in burst mode (14 FPS for the Fuji as compared to 9 FPS on the Sony).

Longer Exposure

Despite being a crop sensor camera, the X-H1 is set up better for taking night photos. It has a long exposure of up to 900 seconds (15 minutes), compared to 30 seconds on the Sony a7R III.

Camera Comparison - The Fujifilm X-H1 Versus the Sony a7R III

Built-In Film Simulations

Fujifilm has been mastering color profiles long before digital cameras even existed. Many color profiles from film days have been added into digital cameras in the form of built-in film simulations. Six have existed until the X-H1 which saw the addition of the brand new Eterna film simulation. If you’re a fan of Fujifilm colors, this could be a big selling point.

Lower Price

Finally, the Fuji X-H1 is significantly less expensive coming in at $ 1,899 compared to $ 3,198 for the Sony a7R III.

In Conclusion

Here is a video comparison going over some of these things as well:

Both the Fujifilm X-H1 and Sony a7R III are fantastic digital photography tools that offer lots of features for those looking to up their photo or video game. Which is best for you depends largely on your photography style. What do you like to shoot, and what are the basic tools of the trade that you need to make that happen?

As a commercial architecture, food, and event photographer, I need the extra megapixels, ISO range, and lens choices offered by Sony. However, these features aren’t as critical to my husband, an editorial photographer who values the physical aesthetic and experience of shooting with a Fujifilm camera as much as the image quality.

Here are some more images of the same scene for comparison:

Fujifilm X-H1

Sony A7rIII

The post Camera Comparison – The Fujifilm X-H1 Versus the Sony a7R III appeared first on Digital Photography School.

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Canon is now selling CMOS image sensors, including a 120MP APS-H beast

23 May

It looks like Canon is getting into sensor sales. The three specialized CMOS sensors the company has been recently showing off—including a 120MP APS-H model and an ultra-low light sensor—have been listed for sale by special order through Canon, and through Phase 1 Technology Corp in the US. As far as we know, this is the first time Canon has publicly gotten into the semiconductor business.

That in and of itself is big news, despite the fact that these sensors are likely meant for security, machine vision and, say, astrophotography camera makers. There’s the 120MP APS-H sensor, which outputs images measuring 13280×9184 pixels; there’s a 2/3″ 5MP global shutter sensor that boasts “remarkably wide dynamic range”; and, finally, a 2.2MP full-frame unit with 19µm high-sensitivity pixels designed for extreme low-light shooting. All three are available in RGB and monochrome variations.

B2B sensor sales like this usually require you purchase more than one sensor, so at-home camera makers may not be able to get into the action, but we’ve contacted the company for a quote so we can share the price with you all the same. We’ll update this article if and when we hear back. In the meantime, you can find more information about all three sensors on the Phase 1 Technology Corp website.

Specifications

Canon 120 Megapixel CMOS Sensor

Available Variations:

120MXSC: RGB
120MXSM: Monochrome

Ultra-High Resolution CMOS Sensor

The 120MXS is an ultra-high resolution CMOS sensor with 13280 x 9184 effective pixels (approx. 60x the resolution of Full HD). It has a size equivalent to APS-H (29.22mm x 20.20mm), and a square pixel arrangement of 2.2µm x 2.2µm with 122 million effective pixels. Ultra-high-resolution is made possible by parallel signal processing, which reads signals at high speed from multiple pixels. All pixel progressive reading of 9.4 fps is made possible by 28 digital signal output channels. It is available in RGB or with twice the sensitivity, in monochrome.

Technical Information:

Sensor size: APS-H (29.22mm x 20.20mm)
Filter types:
- 120MXSC: RGB
- 120MXSM: Monochrome
Number of effective pixels: 13280h x 9184v, approx. 122MP
Pixel size: 2.2µm x 2.2µm
Progressive Scan
Rolling Shutter
188pin ceramic PGA
Sensitivity:
- 120MXSC (Green): 10,000e/lux/sec
- 120MXSM: 20,000e/lux/sec
Saturation: 10,000e @ gain0.5x
Output Channels: Data 28 lanes, Clock 14 lanes
Dark Random Noise: 2.3e rms @ gain x8, Room Temp.
Dark Current: 8.1e/sec @ gain x8, 60°C
Number of output channels: Data 28 lanes, Clock 14 lanes
Main clock frequency: 45MHz (Recommended)
Output format: 720Mbps in LVDS output 9.4fps @ 10 bit
Built in column amplifier (Pre-amplifier gain mode: x0.5, x1, x2, x4, x8)
Serial communication
All pixel progressive scan reading function, Region of Interest (ROI) reading function (Vertically)
Vertically intermittent reading function (1/1, 1/2, 1/3, 1/5, 1/7, 1/15)
Power consumption: 2.5W (under recommended operating conditions)
Power supply voltage: 1.7 V, 3.5 V
Package size: 55.0mm x 47.8mm x 4.49mm

Canon 5 Megapixel Global Shutter CMOS Sensor

Available Variations:

3U5MGXSC: RGB on-chip color filter
3U5MGXSM: Monochrome

Global Shutter CMOS Image Sensor

The 3U5MGXS global shutter image sensor employs a new pixel design introducing new drive readout and light guiding technologies significantly expanding the full well capacity, reducing noise, and contributing to remarkably wide dynamic range with a power consumption of 500mW. Equipped with a global shutter and all pixel progressive reading at 120fps, the 2/3″ sensor size, and pixel size of 3.4µm with 5.33 million effective pixels (2592 x 2056) easily allow for applications in machine vision and other industrial environments where smaller size and high performance are required. It is available in RGB and Monochrome.

Technical Information:

Sensor size: Approx. 2/3 inch (8.8mm x 7.0mm)
Number of effective pixels: 2592h x 2056v, approx. 5.3M
Filter types:
- 3U5MGXSC: RGB on-chip color filter
- 3U5MGXSM: Monochrome
Pixel size: 3.4µm x 3.4µm
Maximum Frame Rate: 120fps
Global electronic shutter function
Progressive scan
Main clock frequency: 36MHz (Recommended)
Sensitivity:
- 3U5MGXSC (Green): 30,000 e/lx/sec @Analog gain x1(TBD)
- 3U5MGXSM: TBD
Saturation: 14,000e gain x1 (10 bit 60 fps) (TBD)
Output Channels Data: 12 lanes, Clock 2 Lanes
Output from LVDS: Maximum output of 864Mbps
Analog gain: 0 to 36dB
Digital Gain: 0 to 24dB
Dark Random Noise: 2.6e rms @ Analog gain x4(TBD)
Dark Current: 1.3 e/sec @Analog gain x4, Room Temp
Maximum Dynamic Range: 74dB (TBD)
Function: ROI function (8 region) Inverted output function (horizontal and vertical)
180pin ceramic LGA
Power consumption (Typ): 500mW (full pixel scan at 60 fps)
Power supply voltage: 3.3V, 1.2V
Package size: 19.0mm x 18.1mm x 2.5mm
Exposure control by external trigger

Canon 19µm Full HD CMOS Sensor

Available Variations:

35MMFHDXSC: RGB
35MMFHDXSM: Monochrome

Full HD, High-Sensitivity, Low-Noise Imaging

The 35MMFHDXS CMOS sensor delivers highsensitivity, low-noise imaging performance, even in exceptionally low-light environments. The sensor’s pixels and readout circuitry employ new technologies that reduce noise, which tends to increase as pixel size increases. High sensitivity and increased well depth have been achieved through a larger pixel size of 19µm x 19µm (square) with proprietary device design technologies. The 35MMFHDXS CMOS sensor is available in RGB or Monochrome.

Technical Information:

Sensor size: 35mm film size (36.48mm x 20.52mm)
Number of effective pixels: 2000h x 1128v, Approx. 2.2MP
Filter types:
- 35MMFHDXSC: RGB
- 35MMFHDXSM: Monochrome
Pixel size: 19µm x 19µm
Progressive scan
Rolling shutter
Serial communication
180pin ceramic PGA
Sensitivity:
- 35MMFHDXSC (Green): 1,100,000e/lx/sec @gain x1
- 35MMFHDXSM: 2,100,000e/lx/sec @gain x1
Saturation: 61,000e @gain x1
Dark RN: 2.2e rms @gain x16, around 35°C
Dark Current: 250e/sec @gain x16, 60°C
Simultaneous reading of vertical 4 lines
Drive frequency: 16ch x 18MHz (Recommended)
Output format: Source follower output (Analog)
Built in column amplifiers: (Basic pre-amplifier gain: x1, x4, x16)
Power consumption: 2.2W (At 60 fps under recommended operating conditions)
Power supply voltage: 5V, 3.3V, others
Package size: 60.9mm x 44.6mm x 3.57mm

Articles: Digital Photography Review (dpreview.com)

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Kodak Daylight Single Use disposable camera launched in Europe

22 May

Kodak Alaris has launched a new single-use disposable camera in Europe. Called the Kodak Daylight Single Use Camera, this 800 ISO film camera can be used in low and high outdoor lighting conditions, according to the company, which bills it as an item ideal for parties, weddings, and similar events.

The Kodak Daylight Single Use Camera has a one meter to infinity focal length and 39 total exposures; however, it’s worth noting that this camera does not have a flash. The company announced the camera for the European market, and it appears to be available now from Amazon UK for £7.79. It’s unclear whether the company will launch the Daylight Single Use model in other markets.

Articles: Digital Photography Review (dpreview.com)

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Why Nikon and Canon should build mirrorless as a second system – but probably won’t

22 May

All rumors suggest that Canon and/or Nikon is going to get into the high-end mirrorless interchangeable lens camera market, in some way.

I don’t have any insider knowledge of this, or I wouldn’t be able to write this, but it looks pretty likely at this point. It also seems pretty likely to me that both brands will do everything to maintain compatibility with their existing lens mounts. Avoiding the need to design a whole new lens range, maximizing the value of the investment in the existing lineup and side-stepping the kind of anger that Canon generated when it abandoned its previous ‘FD’ mount (all the way back in 1987) are all major motivators.

Let’s imagine what would happen if they decided to make a system that sat alongside their existing DSLRs, rather than heralding their obsolescence

Planning for a future, F-mount compatible mirrorless camera might explain why all of Nikon’s recent lenses have finally abandoned mechanical aperture control from the lens mount, since it means they could be fully controlled by an adapter with electronic mounts.

So what’s the alternative? Let’s imagine they didn’t tie themselves to their existing lens mounts. In fact, let’s imagine what would happen if they decided to make a system that sat alongside their existing DSLRs, rather than heralding their eventual obsolescence.

What if they decided to make a system designed to be companion camera? A system that offers something your DSLR doesn’t do, rather than trying to mimic what it already does?

A small camera, designed for enthusiasts and pros to be used alongside a DSLR or in circumstances where you don’t want to lug a DSLR around. A street shooter’s camera, a carry-everywhere photographer’s camera. Let’s think about the potential benefits.

Canon’s EOS M range has drifted towards the kind of camera I’m talking about, but doesn’t have the lens range to match.

It’s not necessarily true that mirrorless promised to be smaller but, not least because it started with Four Thirds and APS-C sensors, that was one of the differentiators when MILCs first appeared. Yet the expectation that a mirrorless camera must replace a DSLR has resulted in an unfortunate convergence.

Demands (including from us) for more battery life, along with the need to handle and act as a like-for-like DSLR replacement has led to mirrorless cameras getting progressively larger. This has helped create a generation of cameras that are nearly as big as their DSLR rivals. And, with the exception of better video implementation and the mixed blessings of electronic viewfinders, little else to set them apart.

So what do you propose?

Essentially, I’m asking for a full frame, interchangeable lens Fujifilm X100. Ok, that might not sound much like an X100, but the common thread is of something relatively small, that by design, doesn’t try to do everything. A camera that will sit happily alongside your existing camera (mirrored or not).

You can cover a lot of styles of photography with a couple of short-ish prime lenses. After all, it works for Leica

As with everything photographic, it quickly comes down to a question of lenses. This is the key element to it not being a DSLR rival: don’t try to build a full lineup of lenses. I’d propose a camera with a limited number of lenses, starting with a 24mm, a 35mm a 50mm and a 90. And nothing longer than that.

This is because the size benefits that come from removing the mirror from between the sensor and the mount can only be realized with short focal lengths. Stick mainly to the shorter focal lengths and you can keep the camera and lenses smaller.

The lineup should be designed with the expectation that most people will only buy the one or two lenses that suit them. You can cover a lot of styles of photography with a couple of short-ish prime lenses. After all, it works for Leica.

Taking the long view

For me, telephoto lenses ruin mirrorless cameras. There, I’ve said it.

Telephoto lenses for mirrorless are just as long as their DSLR counterparts, so there’s no size benefit to throwing away your mirror. Worse still, these long, heavy lenses demand that mirrorless cameras develop the bulky, bulbous grips that SLRs have evolved since the 1990s.

Creating a limited, dedicated set of lenses relieves a lot of pressure. It means you don’t need to build an extensive, open-ended lens range from scratch. No tele zooms, no mid-price 24-70s. Hell, no zooms at all if you don’t want to. This is something every mirrorless maker has struggled to do, both in terms of the time it takes to flesh-out a new lineup but also because mistakes get made in any learning process. Every mirrorless system has at least one lens that either isn’t as optically good as you’d expect or that focuses much more slowly than you’d want.

For me, telephoto lenses ruin mirrorless cameras. There, I’ve said it

However, building a lineup of any size is better than building a camera with a full-depth DSLR lens mount in the name of backwards compatibility, since this condemns its users to carrying an empty mirror box around with them for eternity. And that’s a punishment with a level of pointlessness right out of Greek mythology.

Just produce a handful of great, dedicated primes that take full advantage of the new system without any compromises that come from maintaining compatibility with DSLRs. That way you don’t have to split your R&D resources trying to keep two full lineups up-to-date.

This also has the advantage that you can sell your camera to photographers with commitments to other systems, because you’re not forcing them to choose. But it still gives your existing, faithful users the benefits of full compatibility with your flash systems and other accessories, along with familiarity with your menus.

A small, self-contained system solely aimed at a subset of photographers, rather than trying to be all things to all men. A camera that complements, rather than competing with the existing lineup.

As I say, it’ll never happen. But it’d be nice, wouldn’t it?

As well as the desire to mesh with the existing lens lineups, the other reason we won’t see the camera I describe is because Fujifilm has already effectively invented it

Articles: Digital Photography Review (dpreview.com)

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New 6-bay NAS from Synology offers 72TB of storage

22 May

Synology has added a new 6-bay NAS to its DiskStation+ series, and it’s aimed squarely at photographers and medium sized businesses. The DS1618+ can handle up to six 12TB drives, giving it a total capacity of 72TB and up to 60TB of storage when using a RAID 5 configuration.

The new NAS uses the Intel Atom C3538 Quad-core 2.1 GHz processor and comes with 4GB of DDR4 system memory—which can be expanded to 32GB via two 16GB ECC SO-DIMMs. As with other NAS models in the DS+ range, the DS1618+ is compatible with the DX517 expansion unit that allows users to add capacity and extra bays just by plugging it in. The new model can connect with two of these 5-bay units to take the total number of drive slots to 16 and the total capacity to 192TB.

Like the DS1517+, the DS1618+ offers users the chance to increase the size of the cache via a M2D17 PCle adapter card that takes Dual M.2 SSD, or to increase read/write speeds by installing a network interface card with up to two 10GbE ports. The DS1618+ also uses Synology’s Btrfs file system that can provide detection and self-healing of corrupt files and errors, as well as multiple snapshot options with customizable backup schedules.

The Synology DS1618+ is available now for $ 800. For more information, visit the Synology website.

Press Release

Synology® Introduces DiskStation DS1618+

High-performance, scalable all-in-one storage solution designed for power users and SMB’s

Synology® Inc. today launched DiskStation DS1618+, a 6-bay NAS featuring the Intel Atom® C3538. For tech enthusiasts and small to medium sized businesses, DS1618+ is the perfect all-in-one solution for file serving, application hosting, data backup, and real-time collaboration — all aided by its exceptional performance.

DS1618+ is powered by a quad-core Intel Atom® processor C3538 and 4GB DDR4 non-ECC SODIMM, expandable up to 32 GB in ECC SODIMMs. The storage capacity can be upgraded to 192TB when connected to two DX517 expansion units, providing fast-growing companies a data storage solution that scales with their business.

“Modern-day companies compete based on the speed at which they generate, process, and use data to drive innovations,” said Derren Lu, CEO at Synology. “By integrating Intel technology, we are putting a compact powerhouse in every SMB. It will allow them to take advantage of that untapped throughput to give their companies that extra edge.”

With Synology’s M2D17 PCIe adapter card, DS1618+ can house dual M.2 SATA SSD, taking advantage of the SSD cache to boost maximum throughput and reduce the I/O latency. By alternatively installing a network interface card via the PCIe slot, DS1618+ supports up to two 10GbE ports to reach a maximum throughput of 1,551 MBps reading and 586 MBps writing.

“Small to medium sized businesses need powerful, secure and scalable storage solutions to efficiently manage their growing levels of digital content,” said Dan Artusi, Vice President and General Manager of Intel’s Connected Home Division. “Through our collaboration with Synology, their new DiskStation NAS products based on the Intel Atom® processor C series have the performance and configurable high-speed I/O to help businesses quickly store and manage their most critical data.”

DS1618+ runs on DiskStation Manager, the advanced and intuitive operating system for Synology NAS devices, with quality applications offered to enhance data security and work efficiency. Synology has received numerous media accolades, topping the mid-range NAS category in TechTarget’s storage solution survey and winning PC Mag Readers’ Choice seven years in a row.

For more information on DS1618+, please visit https://www.synology.com/products/DS1618+

Articles: Digital Photography Review (dpreview.com)

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Tips for Doing a Summer Project 92 to Get You Out Shooting

22 May

You’ve heard of the fabled Project 365, right? A photo a day for a year. We’ve even posted theme ideas here on dPS for those interested in a long-term project. But what about if you know that you aren’t going to make it all year, especially when the weather turns ugly and you love shooting outdoors? Enter, the Summer Project92.

What is it?

The idea is the same as the Project 365 but with a larger emphasis on getting outside and exploring your world with a camera. Keeping this project short and simple will hopefully encourage you to pick up that dusty camera and head outside. Smartphone, drone, underwater…it doesn’t matter the type of camera you are using, the point is to use it!

If you sometimes get stuck when looking for subjects, I have a list of weekly themes that should help give you some motivation. There are 13 weeks and one day to summer with the first day being June 21. So I’m going to follow the sun on this one and make all weeks start on a Thursday, just to mix it up.

Some Ideas

Week 1 – June 21st – Blooming – There are tons of flowers out there, just begging for a portrait.
Week 2 – June 28th – Endless Sunshine – I know it seems like the days last forever, but they are actually getting shorter, so get out there and shoot how it feels.
Week 3 – July 5th – It’s the Small Things – Time to get up close and personal with the little things that make nature and summer unique.
Week 4 – July 12th – Daydreams – Most of us don’t get the entire summer off work, but that shouldn’t stop you from daydreaming.
Week 5 – July 19th – Sunsets – A whole week of sunsets? Why not! You can throw in some sunrises too if you like.
Week 6 – July 26th – Patterns – Look for the repetitions in life.

Week 7 – August 2nd – Playfulness – Get playful with your shots, either of people and/or animals at play or create a playful scene.
Week 8 – August 9th – Heat – Oh my, is it ever hot out there!
Week 9 – August 16th – Bring on the Night – Yes, a whole week of night photography! It’s a good way to avoid the heat sometimes.
Week 10 – August 23rd – Summers of the Past – This is a chance to dig up some memories and archive those prints from your past. Find seven favorite photos from summers of the past and share them digitally.
Week 11 – August 30th – Roadtrip – All things cars or camping or hotels/motels or the open road.
Week 12 – September 6th – Family and Friends – What’s summer without good people around you to enjoy it with?
Week 13 – September 13th – Foods of Summer – Plan ahead as you might want to shoot this one on food as the summer progresses (yes, I allow that kind of cheating in my photo projects).
That Extra Day – September 20th – Transitions – All good things come to an end unless you are already thinking about doing a fall project?

If you don’t want to follow the schedule above, that’s just fine. There are no hard and fast rules about what to shoot and when. Although might I suggest that if you post your photos on social media, that you use the hashtag #SummerProject92? That way those of us who want to feel inspired (me!) will be able to find and comment on your work more easily.

Results

A blog, Tumblr, Instagram…the format doesn’t matter. What matters is to get out there and start shooting and sharing. And enjoy your summer! Psst, might I suggest posting some results in the dPS Facebook Group?

Forgive me for those of you in the Southern Hemisphere as I realize you are about to head into winter. You can start a #WinterProject92 and we’ll catch up with you in about six months.

The post Tips for Doing a Summer Project 92 to Get You Out Shooting appeared first on Digital Photography School.

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Video: Astronaut forgets to insert SD card into GoPro before spacewalk

22 May

An unnamed NASA astronaut stationed on the International Space Station recently ran into an issue during a spacewalk: he forgot to check whether his GoPro camera had an SD card installed before embarking on a spacewalk. We’ve all been there, right?

The astronaut, who may have been Andrew Feustel, was featured in a spacewalk livestream on NASA’s Twitch account last Wednesday. During the livestream, viewers were treated to a brief conversation that started with the astronaut asking, “Hey, Houston, I gotta ask a question about the GoPro real quick.” The astronaut explains that he sees a “No SD” warning on the GoPro’s display when pushing a button.

“Do I need that to record?” he asks, referring to the SD card. “And if it’s recording, is there supposed to be a red light on?”

After a long moment of silence, Houston clarifies that the red light should appear while recording if the SD card is inserted, and that the “No SD” message likely meant the camera didn’t have a media card installed. The astronaut ultimately abandoned his plans to use the camera during the spacewalk.

Clarification about the SD card’s whereabouts was not provided, but if we had to guess, it’s probably floating (in this case literally) around in the bottom of Feustel’s camera bag alongside a half-eaten protein bar and a few extra lens cleaning cloths.

Articles: Digital Photography Review (dpreview.com)

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RED’s Hydrogen One phone with holographic display is coming to AT&T and Verizon

22 May

Although no exact release date or pricing has been announced yet, it seems the RED Hydrogen One modular smartphone with its holographic display will be available to the masses before long. According to an announcement last week, the phone will be available through two of the United State’s largest mobile carriers, Verizon and AT&T, sometime this summer.

The device was first launched in July 2017, with preorders starting at $ 1,200, but delivery was recently pushed back to August of this year. According to RED founder Jim Jannard, the company needed some extra time to receive carrier certification. Looking at the latest announcement, this process appears to have gone well.

The Hydrogen One’s key selling point is a 5.7-inch lightfield holographic display for mobile gadgets, which uses Nano-Photonic technology and RED’s 4-View video format to create a 3D effect without the need for glasses. The display is made by Leia Inc., in which RED is an investor.

The phone will also come with a pin-based expansion system which will allow for attaching a range of hardware modules, similar to Motorola’s Moto Mods, but probably more high-end video focused given the brand we’re dealing with.

The Verge got to take the phone for a spin during a media event in LA this past weekend, and while they couldn’t show you the screen (because the holographic effect apparently doesn’t show up well on video) they did have some thoughts about the entire Hydrogen One experience:

Given the Verizon/AT&T announcement, it now seems certain the Hydrogen One has made the transition from concept to production device. And while we have no doubt the new tech will be impressive, it’ll be interesting to see if the device can compete with the established brands in the smartphone sector.

Articles: Digital Photography Review (dpreview.com)

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How to Take Amazing Photos Using the MIOPS Splash Water Drop Kit

22 May

Water droplet photography is a dream for almost every creative photographer. When a water drop collides with another drop, it creates beautiful crowns and other shapes that look fabulous. Capturing those moments is a very satisfying experience for a photographer.

Taken by Andrea Laybauer using MIOPS Splash Water Drop Kit

Until now it was not easy to create such shots, but thanks to the advancement of technology, now we have some gadgets that could make this process almost effortless for us. One such gadget is the MIOPS Splash Water Drop Kit which is the world’s first water drop photography gear that can be controlled by your smartphone.

It not only controls the size and timing of drops with great precision, but it also controls your camera or flashes so that you can focus on other creative tasks like lighting, background, and different settings to create unique pieces of art.

So, let’s find out how you can create extraordinary splash photographs using this amazing device.

Photo credits: In this article, we are featuring examples done by myself, as well as three photographers and MIOPS Splash Water Drop Kit customers; Andrea Laybauer (a specialist who shoots drops and splashes), Jos Daanen (a primarily wildlife photographer), and Paul Lindqvist (a specialist in food, stop-motion products, and portraits).

MIOPS Splash Water Drop Kit - blue drops

Taken by Ramakant Sharda using MIOPS Splash Water Drop Kit

What you need:

A Quiet Room:

First, you’ll need a room that can be darkened where you can create a lot of mess in that room. It’s better to choose a spare room as you may need to keep your equipment setup for a few days.

Camera and Lens:

You can use any DSLR camera for water droplet photography, or any other camera that has manual controls. Lens choice is important as you need one with a longer focal length and shorter minimum focusing distance so your camera is safe from water splashes but you can still fill the frame with splashes. I found that a 100mm macro lens is the best option for this project.

Flashes/Speedlights:

Next, you need flashes with manual control over power. You are going to use the flashes at the lowest power setting so you need a minimum of two flashes. If you have more, that is even better.

Taken by Andrea Laybauer using MIOPS Splash Water Drop Kit

Tripod:

A steady tripod is a must for the camera so you can focus on other aspects of the shoot. You also need an extra tripod for attaching the MIOPS Splash Water Drop Kit device.

Water Containers:

You may use a glass bowl, wine glass, or a designer cup. But if you don’t want to show the container in the picture you need around an 8×12″ glass tray with two-inch depth. You can get it from your local aquarium shop (or a similar baking dish).

Taken by Jos Dannen using MIOPS Splash Water Drop Kit

Taken by Jos Daanen using MIOPS Splash Water Drop Kit

Backgrounds:

You also need some colorful background images. Go to Google and search for “blur abstract background” and you’ll get an idea about what type of images you require. You can buy similar images from stock sites or there are some sites that provide images at no cost. You now have two options, you can print these images on paper or transparencies.

MIOPS Splash Water Drop Kit:

Finally, you need a MIOPS Splash Water Drop Kit to control the water drops and your camera. It comes with a holder kit so you can easily fix it on a tripod.

MIOPS splash dark

Other than these items, you need a few more things like a milky white acrylic sheet (Plexiglass) to attach backgrounds. Something to hold the acrylic sheet, a dry cloth, some clamps or clips and a shutter release cable.

Setup:

Now you have everything ready, so let’s start. First, place the acrylic sheet as the background, making sure to leave at least two feet at the back for placing the flashes. Now place a tripod at the front of this and attach the MIOPS Splash Water Drop Kit on it. The distance between the background and the point where your drop will fall should be around 12-15 inches.

Now put your water container below it and ensure that the drop falls in the center of this container. Also, align your background with it.

Next place your flashes. If you are using transparencies for the background, place the flashes behind the glass, at a distance of around 12 inches. If you are using a paper background, place the flashes at a 45-degree angle on both sides. Make sure to cover your flashes with a plastic bag.

Setup using a transparent background with the flashes behind it.

Setup using a paper background with the flashes in front of it. Notice the flashes are being protected from any water drops that might splash and land on them, potentially damaging your delicate electronic equipment.

One flash will be the master and it’ll attach with MIOPS Splash Water Drop Kit and the other flashes will be in slave mode so they fire automatically when the master flash fires.

Lastly, fix your camera on a tripod and attach a shutter release cable. It’s better to create this setup on a table because you need to work for a long time and if this setup is on the ground, you’ll get tired quickly.

Settings:

At this point, you may want to take a break and have coffee but if you are like me, you probably dying to see your first image. So, let’s talk about all the settings.

First, set your flashes at 1/32 power. If you are using four flashes, you may need to lower the power to 1/64 or 1/128. The lowest power setting will give you shortest flash duration and your photos won’t have any motion blur.

Next set your camera to Bulb Mode, set ISO to 100, choose an aperture between f/11-f/16 and attach the shutter release cable. Now put a pencil or something else where your drop will fall and focus manually on that spot, and leave the camera.

Taken by Andrea Laybuarer using MIOPS Splash Water Drop Kit

You can also control your camera using the MIOPS Splash Water Drop Kit, but it’s always better to set your camera to Bulb Mode and fire flashes instead. It will give you accurate results as there will be no shutter lag.

Lastly, you need to do the MIOPS Splash Water Drop Kit settings. You are going to set the size of the first drop, the delay between two drops, size of the second drop and finally the flash firing time. Open the MIOPS Mobile app on your phone and you’ll find some settings. Set the first drop size to 25 milliseconds, the second drop size to 50 milliseconds and delay to 100 milliseconds. Finally set Trigger to 350 milliseconds and set mode to flash.

These settings are just a starting point and you need to do some fine-tuning. If your nozzle is too high or low, you need to change delay time according to that. For the above settings, the distance between nozzle and water container is around two feet.

Workflow:

Now you need to open the shutter using the shutter release cable and tap on the Start button in the app and close the shutter when flashes are fired. Since your room is dark and you are using a narrow aperture, the ambient light won’t affect the shot.

Taken by Andrea Laybauer using MIOPS Splash Water Drop Kit

Taken by Jos Daanen using MIOPS Splash Water Drop Kit

So, take a shot and check if the lighting is good or not. If your picture is too dark, increase the ISO or move the flashes a little bit closer. Keep in mind that you should not increase the power of your flashes above 1/32 or you’ll start getting motion blur. If your picture is too bright, lower the flash power to 1/64 or 1/128 or move them back.

Once the light is okay, take another shot and see if it’s properly focused. If not, focus again.

When everything is set and you get your first shot, it’s time to do some experiments to create different masterpieces. Change the size of drops to see what difference it makes. Remember that first drop size won’t make any major difference, it’s the size of the second drop what will create different shapes. Now change the delay time, every time you change it, you’ll get different shapes.

Now experiment with both drop size and delay between drops. Each change will give you different results. Just keep in mind that you should make small changes like 5-10 milliseconds.

Taken by Andrea Laybauer using MIOPS Splash Water Drop Kit

Once you understand the process and take enough shots, experiment with different backgrounds and light positions. You can place the flashes at the back and front or you can use gels on them to get different results.

Taken by Paul Lindqvist using MIOPS Splash Water Drop Kit

At last, I am going to tell you a little secret to get outstanding photos. If you add a few drops of liquid soap in the water, you’ll start getting some totally unique shapes.

So, let’s get started, please share your masterpieces in the comment area below.

More about the photographers:

Andrea Laybauer started to photograph in 2001. However, since 2009, she has dedicated herself to shooting drops and splashes. View her website here and Instagram to see more of her work.

Jos Daanen is primarily a wildlife photographer. He did his utmost best to get some collisions of droplets… For these featured photos, he ordered the MIOPS Splash Water Drop Kit unit which was released at the beginning of 2018.

Paul Lindqvist is a commercial photographer who specializes in food, stop-motion, product photography, and portraits. He loves using technology to create his images, and always find new ways to use it to his advantage. View his website and Instagram

Disclaimer: MIOPS is a paid partner of dPS.

The post How to Take Amazing Photos Using the MIOPS Splash Water Drop Kit appeared first on Digital Photography School.

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Behind the scenes: Shooting a documentary atop a moving train

22 May

From 2015 to 2017, filmmaker Miguel de Olaso (AKA Macgregor) and his crew spend many months traveling back and forth on the famed Mauritanian Railway—one of the longest and heaviest trains in the world, the so-called ‘Backbone of the Sahara—to document the grueling journey endured by merchants who regularly travel atop this train to transport goods to people living in remote Saharan towns.

The result is a beautifully-executed 12-minute documentary titled The Mauritania Railway: Backbone of the Sahara, which follows the journey of Malick: a 27 year-old merchant who relies on the train for his livelihood, even as he risks death each time he climbs aboard.

The short doc was shot entirely on a Sony F35 that was modified to take Nikon lenses (for reasons you’ll understand in a moment), and filming the documentary was a grueling process. We spoke with Macgregor shortly before the documentary was released last week, and he shared some details about the kit he used, the challenges he faced, and why he would never ever do this again.

The Mauritania Railway

by Macgregor

My crew and I put ourselves in the shoes of one of these merchants (over a two year period) and filmed the journey they go through on a daily basis. The result is a cinematic and immersive glimpse into a way of life that exists nowhere else in the world.

I shot the entire documentary on a Sony F35, Not sure how much you know about this “old” digital cinema cameras. The F35 was the successor of the Panavision Genesis, which was a big, heavy beast. But after the arrival of the solid state recorders a few years ago, the F35 became pretty compact and lightweight given the image quality it provided. Still not a DSLR in terms of size, but comparable to an Alexa for a fraction of the cost and size.

Anyways, even though I owned a set of PL mount lenses, I didn’t want to get them ruined in the desert sands of Mauritania so I decided to modify my Sony F35 with a custom built Nikon mount. That would let me travel lighter and use way cheaper glass than PL, but still capture a super high-quality image. We needed to travel with all our gear for more than a month and be able to move fast. Would a DSLR or Canon C300 had been a better choice? Possibly, but this project had to look amazing and I did not want to compromise on image quality. This had to look like a feature, shot on real locations and with real people.

Of course not all the lenses made it back home, but the camera did and it’s still working to this day.

This was a passion project that we did for the fun of it. But shooting atop of this damn train was horrible, dusty, endless, painful… I wouldn’t recommend it to anyone. It might all look very pretty with nice music, etc. but oh man, after three trips I said I’m not doing this again. Of course, we did end up going back and shooting more footage… #filmmakerlife

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Check out the full short doc at the top to see the final product, and then scroll through the behind the scenes photos above for a glimpse at what it takes to create this kind of documentary. And if you want to see more of Macgregor’s work, be sure to pay his website a visit or give him a follow on Instagram.

Articles: Digital Photography Review (dpreview.com)

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