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Archive for June, 2018

Review: Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head

06 Jun

Shopping for a tripod may be one of the most complicated endeavors a photographer can take on. Lights, lenses and other accessories are pretty easy. Most things on the market in these instances are relatively similar and the differences can be negligible. With tripods, that is not the case.

There are so many options at every price point on the market that it’s hard to choose. In my case, I went through various models at the cheaper and middle-grade ends of the market with varying results. At first, the cheaper models were fine. All that I used them for was tabletop work, where if I didn’t knock it by accident, there was little chance of movement.

But as I started to get outside more for landscape photography, the downfalls of using a cheap tripod became apparent immediately. Upgrading to middle-grade models did little to solve the problem. Still fine in a studio environment, they always underperformed on location.

Finding the Right Tripod

Review: Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head

This all changed when I visited the Manfrotto stall at a trade show in the UK. At first, I thought it was going to be another case of being overwhelmed by choice with no apparent differences in the various models. That was more or less exactly what happened. That is until I spotted the Manfrotto XPRO Ball Head. Within two minutes of fiddling about with it, I knew that it was exactly what I had wanted for the past few years.

With a tripod head chosen, I just needed to find a set of legs. Going through the selection of tripod legs, none of them felt right. They were all either too heavy, too short, or the controls were too awkward. Just as I was about to give up, I spotted the Manfrotto 055 Carbon Fiber Tripod. It was perfect. Lightweight, a maximum height just above my eye level, sturdy carbon fiber construction and easy, but firm controls added up to everything I had given up on finding.

The Legs

The Manfrotto 055 Carbon Fibre Tripod has a few relevant features.

Carbon Fiber Construction

This is pretty self-explanatory, but the carbon fiber build on this tripod is excellent. Despite being quite lightweight at 4.6 pounds (2kg), it’s still tough as nails.

I once gave up on a landscape location after 15 minutes because of gale force winds. When I got home, I realized the frames were all sharp with no signs of camera movement.

This thing is sturdy. Any of the other half dozen tripods I’ve used in the past decade or so probably would have snapped in half on that occasion. (An exaggeration of course, but it doesn’t feel like one.)

landscape scene - Review: Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head

I gave up on this location after 15 minutes because of really strong winds. When I got home, I realized the tripod held its own and there was no sign of camera shake despite the weather.

Here’s a little bonus:

All of my previous tripods have been aluminum. As it’s difficult to operate tripods with thick gloves on cold winter days, they were quick to become painful when used or carried for any amount of time. One of the first things I noticed about this tripod is that the legs never got truly cold, even in the worst weather.

At first, I thought I was making this up and it was psychosomatic, but when you have poor circulation as I do, these things are really noticeable. A bit of research showed that heat conduction with carbon fiber is vastly lower than it is with aluminum. If you have poor circulation and carrying cold metal in the winter is painful to you, even with gloves, try carbon fiber. It may give you a bit of relief that you weren’t expecting.

Controls

All of the clasps, knobs, and levels on the Manfrotto 055 Carbon Fiber Tripod work beyond well. All of the knobs can be tightened with small movements and loosened just as easily. Gone are the days where I would have to spend ages tightening down a knob with all my strength only for it to still not be tight enough. In this case, Manfrotto’s engineers have outdone themselves. Twist and go.

The clasps that hold the legs in place are strong, but they’re designed so they are easy to use, even while wearing thick gloves. At first, it seemed like getting the clasps open was a bit tough. But once you get used to the amount of pressure you have to apply to get them to open and close, you begin to appreciate how much force is keeping the legs in position.

Just don’t close your fingers in them. That would hurt a lot.

leg clasps on the Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head

The clasps on the legs are strong and require a bit of effort to open and close, but they do their job really well.

Height

Without the head, the Manfrotto 055 Carbon Fiber Tripod has a maximum height of 66.9” (170cm). This stat alone could have caused me to not give this tripod a second glance had it been any shorter. There have been too many occasions, when on location, that I couldn’t get the shot because I couldn’t get the tripod positioned over a normal size barrier like a fence or railing.

It was frustrating, which is why height was a major consideration in choosing my next tripod. The problem is, every single tripod I looked at that had a similar height and the taller ones were significantly more expensive. This tripod, however, sits at exactly the height I was after and was just inside the budget I was willing to spend.

Review: Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head - tripod height

Fully extended, the Manfrotto 055 comes to (just about) my eye level, making it the perfect height for me.

Spirit Level

tripod spirit level - Review: Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head

The body of the Manfrotto 055 features a spirit level that moves independently from the rest of the tripod and the head. You can put it in any position around the center column. Although the XPRO ball head features two spirit levels already, this third one makes sure that you have visual access to a level at all times.

Size

Review: Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head

When folded up, the Manfrotto 055 is small and easy to carry around.

Despite being just shy of six feet when fully extended, when it’s compacted the Manfrotto 055 Carbon Fiber Tripod folds up quite small. With the head detached, it fits neatly into the small carry-on suitcase that I fly with. On location, I can slip one of the legs through the straps on the side of my camera bag and it only sticks out a few extra inches.

Tripod Design

detail of tripod leg - Review: Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head

It may be a weird thing to say about a tripod, but this one sure is pretty.

As an aside, it’s worth mentioning the design aesthetics of both the Manfrotto 055 Carbon Fibre Tripod and the XPRO Ball Head. Considering that we’re talking about a tripod, they both look really good.

The carbon fiber legs feature a pleasing pattern and the whole thing has a generous dose of metallic red that looks good to the eye. Now, aesthetic design is the last thing that you should ever consider when choosing a tripod, but as it exists here, it’s worth a mention.

Perhaps it’s a symptom of that fabled Italian design, or perhaps it just reflects the price point. Either way, don’t buy a tripod because it looks good, but this one does all the same.

The Ball Head

In short, the Manfrotto XPRO Ball Head is a dream. As mentioned, it’s exactly what I have always wanted in a tripod head.

tripod ball head - Review: Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head

If you don’t know what a ball head is, imagine an old trackball mouse (if you can). The tripod plate is mounted on the ball which in turn moves freely in its mount until you clamp it down. This allows you to move the camera freely to any position within the head’s range of movement, and clamp it into position with the twist of a knob or two.

Ball heads are ridiculously convenient and easy to use.

Dedicated landscape photographers whom may balk at the thought of jaunty angles may choose other options, such as pan and tilt heads, but I shoot landscapes for fun when I can. The versatility and ease of use of a ball head in the studio or for a portrait session make it ideal for multiple disciplined photographers.

Ball Head Controls

ball head controls - Review: Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head

Both knobs that hold the ball in place (yes, there are two) are strong and tighten with short, effortless movements.

Like the Manfrotto 055 Carbon Fiber Tripod, the controls of the XPRO Ball Head are very well designed and easy to use. Movements of the knobs that hold the head in your desired position are slight, yet they hold fast without any slippage.

On top of that, there are two knobs to hold the ball in place, creating a layer of redundancy when it really counts. The same applies to the other mechanisms and controls. They all work perfectly and in the time I’ve been using the tripod, nothing has slipped yet.

Spirit Levels

levels on the tripod ball head - Review: Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head

The Manfrotto XPRO Ball head features two spirit levels in perpendicular orientations that make it easy to ensure that your shots are level.

Price

You may be thinking that I’m waxing a bit too lyrical about the virtues of this tripod and head. I promise, it really is that good, but there is a significant downside. All that greatness comes at a cost.

At $ 379 for the legs and $ 139.95 for the head, this is not a cheap piece of equipment. If you’re using it a lot, that price is fine, but if you’re looking for a tripod for the occasional landscape foray, this tripod is probably not for you. Likewise, if you’re only using it in a studio for static subjects, you can easily get away with a less expensive model.

Conclusion

As you can gather from the write-up, this tripod works very well when in use. It’s sturdy, with easy controls that work quickly and fluidly. It’s lightweight and does what it says on the box.

If you’re looking for a quality tripod and head combo that’s a workhorse, do consider the Manfrotto 055 Carbon Fiber Tripod and the XPRO Ball Head combo. It does exactly the job it’s meant to with finesse. Yes, it’s an expensive bit of kit, but the price point reflects the quality.

A good tripod is a great investment, one you will not have to repeat if you choose wisely.

The post Review: Manfrotto 055 Carbon Fiber Tripod and XPRO Ball Head appeared first on Digital Photography School.


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Apple improves photo search and sharing, adds Camera Effects in iOS 12

06 Jun

At its WWDC developer conference in San Jose, Apple has showcased the beta version of its iOS 12 mobile operating system, which will be officially released this fall. And the new software comes with a few imaging-related improvements.

Photo search has been updated and now comes with search suggestions. If you are searching a photo on your device, even before you start typing, you’ll see suggestions for recent events you have attended, people you have photographed, and places you have been to. The suggestions are refined as you start typing and search results get even more precise if you use multiple keywords.

Photo sharing has been overhauled as well and the camera roll now features a new ‘For You’ tab. In the latter the best moments and events from your photo library are displayed. If people are detected in your images, the system suggests sharing the image with them. If your contacts are running iOS 12, they’ll also be prompted to share their photos from the same events with you.

Lastly, there is Camera Effects. This new feature allows you to create and share images and videos, directly in the Messages and FaceTime cameras, using Animoji, Memoji, filters, animated text effects, stickers, and other effects.

For a full list of all new features in iOS 12 head over to the Apple website.

Articles: Digital Photography Review (dpreview.com)

 
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DJI announces price and delivery date for Ronin-S gimbal

06 Jun

Chinese drone manufacturer DJI has announced that the Ronin-S, its first single-handed stabilizer, will be available from late this month at a cost of $ 699. The company says it is taking pre-orders now via its own store and at authorized resellers around the world.

The Ronin-S is designed to support cameras as large as the Canon EOS 5D IV and it will be able to carry up to 8lbs of camera and lens. It comes with a number of innovations including the ability to compensate for trombone zooms, a Push Mode that lets users adjust the pan, tilt and roll balances while the gimbal is still on, and a battery that DJI claims will last for up to 12 hours of shooting.

Despite early appearances, when released the Ronin-S will be fitted with a standard Manfrotto style quick release plate, and the whole rig will be controllable via the DJI Ronin app on a smartphone or with the optional Focus Command Center.
For more information see the DJI website.

Press release:

DJI Reveals Pricing And Availability Of Ronin-S

DJI’s First Single-Handed Stabilizer Offers Professional Quality At A Competitive Price

DJI, the world’s leader in creative camera technology, today revealed the pricing and availability of the Ronin-S, DJI’s first single-handed stabilizer for DSLR and mirrorless camera systems. The Ronin-S will retail for $ 699 USD with pre-orders beginning May 29 at www.dji.com, DJI flagship stores and authorized dealers worldwide, with shipments starting in late June.

About the Ronin-S
Utilizing DJI’s powerful three-axis gimbal technology, the Ronin-S delivers smooth, shake-free video and crisp photos, adding a cinematic and professional look to your work.

Powerful high-torque motors support a payload of 8 pounds to accommodate the most popular camera and lens combinations including the Canon 1D and 5D, Panasonic GH and Sony Alpha series. Its stabilization system compensates for zoom lenses with external zooming barrels and higher magnification ratios, while its advanced stabilization algorithms work with both in-camera and in-lens optical stabilization technology. When mounted to a vehicle, the maximum operation speed has been tested at 47mph with a Panasonic GH5 and 50mm lens utilizing an optional top hotshoe bracket.

Capturing stabilized video has never been easier because the Ronin-S was designed for easy setup and use. A new Push Mode lets you adjust the pan, tilt and roll axis by hand while the Ronin-S is powered on and an Auto Tune function automatically adjusts the strength of the motors to speed up gear prep so you can spend more time filming and less time setting up your gear. The Ronin-S has a comfortable, ergonomic design that helps capture smooth cinematic movements from upright to flashlight mode to underslung positions without obstructing the camera’s display. Ronin-S also features DJI’s intelligent battery system that is built into the handle and has an operating time of 12 hours.

The high-precision joystick changes the camera position to help frame your shot perfectly while a host of dedicated buttons allow operators to control various settings such as toggling between SmoothTrack profiles or to begin and stop recording.* An included Focus Wheel can be mounted to either side of the handle via the 8-pin ports on each side and a new Sport mode allows seamless transitions to fast movements with tight and quick subject following speed.

Harness intelligent shooting modes and advanced customization on the Ronin-S through the DJI Ronin mobile app such as creating complex camera moves automatically like Panorama, Motionlapse, Timelapse and Track that lets you designate specific camera positions in a scene and rotate between them on demand. Operators can also change SmoothTrack settings including the Speed, Acceleration and Deadband for each axis, save them in three profiles and toggle between them with the dedicated M button on the Ronin-S. Vital camera settings can be directly adjusted via the Ronin app and the optional Focus Command Center accessory allows for quick changes when needed.*

Ronin-S uses an industry standard Manfrotto quick release system and is compatible with a variety of DJI Pro Accessories to capture any scene and expand your creative freedom on set or on location. Supported optional accessories include a Focus Command Center consisting of a menu screen allowing for advanced gimbal, camera, and focus control without a mobile device; DJI Force Pro; DJI Master Wheels; the Ronin 2 remote controller; and an external focus motor for manual lenses that pairs with the included Focus Wheel. The Ronin-S can also be used with the DJI vehicle mount, jib mount and the dual-handle system for when an added level of comfort and stability is required.

The Ronin-S firmware that supports camera parameter control will become available in early July.

Articles: Digital Photography Review (dpreview.com)

 
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Sony Cyber-shot RX100 VI: What you need to know

06 Jun

Sony Cyber-shot RX100 VI: What you need to know

The sixth and latest in Sony’s popular RX100-series, the RX100 VI is (unsurprisingly) the most powerful yet. Still pocketable, but now offering a longer zoom than any of its predecessors and an updated AF system, the RX100 VI promises to be a highly versatile camera. We’ve been poring over the specs for a while – click through this article for a closer look.

New 24-200mm (equiv) F2.8-4.5 lens

Perhaps the most obvious addition to the RX100 VI compared to its predecessors is a substantially longer zoom lens, with a claimed 4EV of optical image stabilization. Whereas the RX100 V’s zoom topped out at a modest 70mm, the RX100 VI’s lens reaches all the way to 200mm (equivalent).

In one sense, this should make the RX100 VI a more versatile camera than its predecessors, but that additional zoom range doesn’t come for free. The RX100 VI’s maximum aperture is F2.8-4.5, which is significantly slower than the F1.8-2.8 of its predecessor, and it does not include the useful built-in ND found in earlier models.

New 24-200mm (equiv) F2.8-4.5 lens

As you can see from our equivalent aperture graph, the RX100 VI’s lens offers an equivalent (in DoF terms) maximum aperture of around F8 at 24mm, and it only gets darker from there. Whether this matters depends on several factors, not least ambient light. It’s worth noting though that subject/background separation will be more challenging with the RX100 VI compared to previous-generation RX100-series cameras. That being said, it should be noted that beyond 50mm (equivalent) the RX100 VI’s lens is significantly brighter than both the Panasonic Lumix DC-ZS200 and the older ZS100. The maximum F12 equivalent aperture on the long end should mean less diffraction-induced softening than the F16 equivalent offered by the Panasonics.

The lens itself is comprised of 15 elements in 12 groups, featuring two ED (extra-low dispersion) aspherical glass elements and eight aspherical lens elements including four AA (advanced aspherical) lenses. Sony claims that this results in ‘outstanding sharpness from corner-to-corner at all focal lengths’ and we’ll be sure to test this for ourselves as soon as possible.

Upgraded tracking and better buffer

The RX100 VI incorporates an upgraded BIONZ X™ image processor and Front-end LSI. This has resulted in several improvements, including to autofocus speed (Sony claims an AF response time of 0.03 seconds) and superior Eye AF tracking, to the tune (again, claimed) of a 2x performance increase compared to the RX100 V.

The maximum stills capture rate of 24fps is unchanged compared to the RX100 V, but the new camera can shoot for up to 233 images, compared to around 150 in the earlier model.

Full-width oversampled 4K video

As we’ve come to expect from Sony’s RX-series as a whole, the RX100 VI offers impressive video specifications, in addition to its stills capture features. The new camera can capture 4K video at up to 30p, at a maximum bitrate of 100 Mbps. 4K video is oversampled from 5K, and the entire sensor area is utilized, resulting in very clean, detailed footage. High definition 1080p footage is also possible, at up to 120fps. High frame rate modes are available, with up to 960 fps capture.

New in the RX100 VI is an HLG (Hybrid Log-Gamma) gamma curve option within Picture Profiles, which in Sony’s words offers ‘an instant HDR workflow solution’. HLG gamma fits the entire dynamic range of the sensor into your video. While footage will look flat on a standard display like the rear LCD, plug the camera into an HDR display and enable its HLG mode and you’ll see your high dynamic range footage, from preserved highlights to detailed shadows, with the more lifelike contrast modern TVs offer. The use of HLG and zebras in stills also allows you perfectly expose your Raws, as we covered in our a7R III review.

Sadly, the RX100 VI omits a microphone socket, meaning that external recording will be necessary for any kind of serious filmmaking.

Touch-sensitive, tilting LCD

Oh happy day! The RX100 VI is the first RX100-series model to offer a touch-sensitive LCD. This enables touch to focus and touch shutter – both nice features that we’ve been enjoying for several years on competitive cameras. It’s particularly important for the RX100 series, which has always had limited controls and particularly cumbersome methods for selecting your AF point.

Touch-sensitive, tilting LCD

The tilt angle of the screen has also been expanded, to up to 90 degrees downwards and 180 degrees upwards. You know – for selfies.

Updated Menus

Not only have menus been updated to the far more organized structure we’ve come to expect on a7/a9 cameras, a My Menu has been added. You can populate it with your most accessed menu items, in your preferred order. This, combined with the customizable Fn menu accessible on-screen during shooting, should make it easy to quickly access your most used settings. This is particularly important on a camera with so few controls.

Redesigned ‘one push’ EVF

The RX100 VI’s XGA OLED pop-up EVF is similar to previous models in the series, but once popped-up, the finder optics no longer need to be manually extended for use. This might sound like a minor upgrade, but missing a shot because you forgot to pop out the finder window is an annoyance that will be familiar to many RX100 IV/V owners.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm GetPix DASH photo kiosk is designed for mobile devices

06 Jun

Fujifilm has unveiled GetPix DASH, an inexpensive photo kiosk platform for printing images from a mobile device. The GetPix DASH, which resembles a tablet on a pole, doesn’t require a mobile app or cable, instead using a companion website where customers upload their images.

According to Fujifilm, anyone can use the GetPix DASH photo kiosk by uploading images to mygetpix.com and then retrieving them at the kiosk using a unique code. Fuji chose the ASK-300 dye-sublimation printer for the platform, which it says offers lab-quality prints in seconds while keeping costs low.

Fujifilm will begin selling the GetPix DASH photo kiosk on July 2 for $ 1,999 USD.

Via: Fujifilm

Articles: Digital Photography Review (dpreview.com)

 
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Kodak teases first sample photos of Ektachrome

05 Jun
Kodak

Kodak Professional has posted a video to its Instagram page and a few sample photos to its Facebook page teasing the first test images taken with its revived Ektachrome slide film, as well as images of what the packaging will look like.

Back in January 2017, Kodak Professional announced it was bringing back its beloved Ektachrome slide film from the dead. Since then, the only major update we’ve heard is from back in 2017, when a few higher-ups at Kodak Professional detailed the progress it had made on bringing the film back from the dead on the Kodakery podcast.

Ektachrome 100: Our Development team is still working hard on the update! In the meantime, here are some successful test photos from our pilot-scale equipment. #KodakProfessional #Ektachrome #Ektachrome100 #Photography

A post shared by Kodak Professional (@kodakprofessional) on

Now, we finally have something to look at. Alongside a video that slideshows through 12 different images, including color cards, sample shots, and photos of the packaging material, the Kodak Professional Instagram account writes, ‘Ektachrome 100: Our Development team is still working hard on the update! In the meantime, here are some successful test photos from our pilot-scale equipment.’

As a few Facebook and Instagram commenters have pointed out, the sample images appear a bit grainy in the video. Kodak Professional replied, saying the video did appear to make the photos appear more grainy and less impressive than the stills. They said to see more accurate samples, to check out its Facebook post, embedded above, which includes three sample images seen in the Instagram video.

There’s still no definitive date on when the public launch will be, but seeing test photos means we’re one step closer to seeing it back on the shelves.

Articles: Digital Photography Review (dpreview.com)

 
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Enter for a Chance to Win One of NINE Photomatix Licenses!

05 Jun

Enter the Photomatix “Spring in HDR” Photography Contest Today!

Over the last few years here at dPS, we’ve run very some very popular competitions with our partners to give away some of their great photographic products to lucky dPS readers.

We are lucky enough to be able to do it again today!

Enter to Win One of NINE Photomatix Licenses

For this competition, HDRsoft is giving away THREE Photomatix Pro Plus Bundles, THREE Photomatix Pro, AND THREE Photomatix Essentials.

HDRsoft, the maker of the popular Photomatix software and pioneer of HDR photography post-processing, bring you the “Spring in HDR” photo contest.

What is HDR, you ask? HDR stands for “high dynamic range.” In simple terms, dynamic range is basically just the difference between the lightest light and darkest tones in a scene. HDR photography lets you capture a high contrast scene as you saw it. Take three or more photos with different exposures and merge them to create one stunning HDR image.

With spring in full swing, let’s have fun and SPRING into HDR!

These prizes are designed to help every level of photographer create impressive HDR pictures. Each prize will be won by a different dPS reader.

Photomatix Pro and Essentials offer the dPS readers High Dynamic Range photography software to:

Merge bracketed photos to HDR

  • Load photographs taken at different exposures (a.k.a. bracketed photos) to merge them into a single HDR image.
  • You can leave your tripod at home. Photomatix will align your bracketed photos for you.
  • If there are moving objects or people between the bracketed shots, Photomatix will remove them via its ghost removal tools.

Adjust the HDR image to your liking

  • Choose from a wide variety of styles, with built-in presets from natural looks right through to surreal or grunge effects.
  • Try different HDR styles and fine-tune the HDR settings to find enhancements that work best for your photo.

HDR Photo by Manarola Wojciech Toman, created with Photomatix Pro.

Prizes

Three grand prize winners will win the Photomatix Pro Plus Bundle, a $ 119 value. Three second prize winners will win Photomatix Pro, a $ 99 value. Finally, three third place winners will win Photomatix Essentials 4, a $ 39 value.

HDR Photo by Manarola Wojciech Toman, created with Photomatix Pro

THREE Grand Prizes

Photomatix Pro Plus Bundle – a $ 119 Value

Bundle of two products:

  • Photomatix Pro 6
  • Tone Mapping Plugin for Photoshop

3 second place prize winners will receive Photomatix Pro 6 – $ 99 Value

Photomatix Pro is a standalone program (running on Windows and Mac) to create HDR photos with the look you want, from natural to artistic, using one-click presets and a large range of settings.

  • Merge bracketed photos to HDR.
  • Automatic alignment of hand-held photos.
  • Advanced ghost removal tools.
  • 6 HDR styles (Tone Mapping / Fusion).
  • Over 70 HDR settings and 40 built-in presets.
  • Create an HDR “Look” with a single photo.
  • Native RAW file support.
  • Brush Tool.
  • Options for real estate photography.
  • Batch processing.
  • Plugin for Lightroom included.

Three third place prize winners will receive – Photomatix Essentials 4 – $ 39 Value

Photomatix Essentials is an easy-to-use standalone program (running on Windows and Mac) to create HDR photos with the look you want, from natural to artistic, using one-click presets and streamlined settings.

  • Merge of bracketed photos to HDR.
  • Automatic alignment of hand-held photos.
  • Automatic ghost removal.
  • 4 HDR styles (Tone Mapping / Fusion).
  • 33 HDR settings and 30 built-in presets.
  • HDR “Look” with a single photo.
  • Native RAW support.
  • Plugin for Photoshop Elements included.

Learn a little more about Photomatix Pro 6 HERE

How to Win

To win this competition you’ll need to:

  1. Download a free trial of Photomatix Pro or Photomatix Essentials from HERE
  2. Load a bracketed photo set or a single photo of your favorite shots in Photomatix Pro or Photomatix Essentials, to create an HDR photo and adjust it to your liking.
  3. Post your HDR photo in our comments section below, include a few words about what you like about the software…and of course, a few words about your HDR photo. It’s as easy as that!

Do this in the next month and on or about July 20, 2018, the team at HDRsoft will choose the nine best photos and comments, and we will announce the winners in the following days.

Deadline to enter is July 6, 2018, 04:59 pm AEST (July 6, 2018, 02:59 am EDT). Photos and comments left after the deadline will not be considered.

Please click HERE for full contest rules, terms and conditions.

There’s no need to write essay length comments to win, just what you like about Photomatix and/or HDR. Don’t forget to include your HDR photo in our comments section below. We encourage you to have fun and be creative!

This competition is open to everyone, no matter where you live. To enter – simply leave your photo and comment below.

HDRsoft will be offering a 25% discount on Photomatix when we announce the winners. Make sure to get your trial now and watch out for the announcement after July 20th!

 

 

Learn more about Photomatix HERE

Disclaimer: HDRsoft is a paid partner of dPS.

The post Enter for a Chance to Win One of NINE Photomatix Licenses! appeared first on Digital Photography School.


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Here’s what happens when you attach a 70-200mm F4 to a Game Boy Camera

05 Jun
Why? The better question: Why not?

There’s an unlikely vintage camera enjoying something of a resurgence these days: 1998’s 0.5MP Game Boy Camera. Attached to a game cartridge, Game Boy Camera brought digital photography to the youth 2 bits at a time. Lately, its legacy has continued to evolve as clever DIYers repurpose it for astrophotography and motorsports photography, and have even trained neural networks to convert the camera’s low-res monochrome images into photorealistic color.

Clearly, it was time for somebody to step up and work out how to attach EF lenses to the thing. And that’s just what Bastiaan Ekeler did. He’s a designer and self-proclaimed tinkerer, and feeling inspired by recent projects reviving the Game Boy Camera, saw an opportunity for a little fun. His 3D-printed adapter fits to a partially disassembled camera, and with a 1.4x teleconverter and 70-200mm F4 attached, produces an impressive 3026.8mm equivalent view.

With all of the parts in place he took a stroll on the beach to put the rig to use, and even managed a few photos of the full moon despite contending with a dim screen and a 1 fps refresh rate in low light.

Long Beach Bar “Bug” Lighthouse. (Canon 70-200 f4 + Canon 1.4x extender). Photo by Bastiaan Ekeler.
A Seagull at Norman E. Klipp Marine Park (Canon 70-200 f4 + Canon 1.4x extender). Photo by Bastiaan Ekeler.
The full moon on 2018-05-30 in Greenport, NY. (Canon 70-200 f4 + Canon 1.4x extender). Photo by Bastiaan Ekeler.

Head to Ekeler’s website for a full-write up of the project and more sample images. You can also follow him on Twitter and Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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Nokia 8 update adds new Pro Camera mode with manual controls

05 Jun

Last week, HMD Global released a software update for the Nokia 8 smartphone that added a new Pro Camera mode. The mode, which resembles the camera controls offered on older Nokia handsets, gives users manual control over five camera functions: shutter speed, ISO, white balance, focus, and exposure.

The Nokia 8 Android handset features dual rear 13MP cameras with Zeiss optics, optical image stabilization, PDAF and a dual tone flash. The handset supports 4K video recording with 360-degree audio. With the newly added Pro Camera mode, users can view the changes each manual adjustment makes to the final image in real time.

The update is currently rolling out globally.

Articles: Digital Photography Review (dpreview.com)

 
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First pictures of rumored Samyang 24mm F2.8 AF lens

05 Jun
Image via Nokishita

Japanese rumor site Nokishita has published images it claims are of the forthcoming, as yet unannounced, Samyang AF 24mm F2.8 lens for the Sony E mount. If accurate, the lens will look very similar to the company’s existing AF 35mm F2.8, and will share its 49mm filter thread.

The lens in the leaked images is marked with a closest focus distance of 0.24m/0.79ft, and features a rubberized close-ribbed focus ring.

There is no word at the moment from Samyang regarding when this lens will appear.

Articles: Digital Photography Review (dpreview.com)

 
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