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Archive for August, 2018

Review of the Olympus 300mm F4 PRO Lens

29 Aug

Review of the Olympus 300mm F4 PRO Lens

About six months ago, I made a heart-wrenching, painful, and difficult decision: I switched from Canon to Olympus.

Now, I’m not some crazy, brand-loyal photographer. I think the Canon versus Nikon argument is ridiculous. But I had invested thousands of dollars, tens of thousands really, in my Canon gear.

However, my photographic priorities have been changing. I’ve established something of a niche in Alaska wilderness photography and the size and weight of my Canon kit was becoming a hindrance.

bird in a tree - Review of the Olympus 300mm F4 PRO Lens

I’ve been extremely impressed by the sharpness and clean bokeh of this lens. Swainson’s Thrush, Alaska. Lumix G9 with Olympus 300mm F4 PRO.

Size and weight were a factor

Access to many of the places I work on assignment or lead photo workshops and tours is via small plane or on foot. In other words, the weight of my gear is a major consideration.

More and more often, I was forced to pass over my beloved Canon 500mm f4L, because it was just too darn heavy and bulky. Rather, I’d pack something more compact, even if it wasn’t as good. Leaving that big lens behind was painful, but necessary, and I constantly wished for something comparable that wasn’t so darn big.

As a result of leaving the big glass behind, my wildlife work suffered. So I started experimenting with a variety of alternative lenses for the Canon system: Tamron’s and Sigma’s 150-600mm lenses, and Canon’s 100-400mm and the 70-200mm f/2.8 with a 2x teleconverter.

All were decent, but none matched the quality and dreamy bokeh of the 500mm f4.

Review of the Olympus 300mm F4 PRO Lens - spruce grouse

Spruce Grouse, Denali National Park, Alaska. Lumix GX85 and Olympus 300mm F4 PRO.

Some smaller options

Unrelated to this search, I purchased a little Lumix GX85 as a backup camera for wilderness trips. Surprised by the quality of the micro 4/3rds system, I rented a couple of long lenses for it. First the Lumix/Leica 100-400, (which I’ve previously reviewed here on DPS), and then the Olympus 300mm f4 PRO.

While the Lumix/Leica 100-400mm combo gave me a staggering reach (200-800mm equivalent on the 4/3rds system), the sharpness at the long end was imperfect, and the bokeh was lacking. It’s a great lens, but just doesn’t quite compare to the 500mm f/4.

The Olympus 300mm F4 on the other hand… that one took me completely by surprise.

Review of the Olympus 300mm F4 PRO Lens

A tough, all-metal housing and full weather sealing mean the durability of the Olympus 300mm F4 PRO easily compares to the best lenses by Canon and Nikon.

Six months after first renting the Olympus, I sold all of my Canon gear and purchased a Lumix G9 body, a variety of Lumix/Leica lenses and the Olympus 300mm f4 PRO lens.

Here is what I think of it.

Price – Olympus 300mm F4 PRO

Review of the Olympus 300mm F4 PRO Lens - moose in a field

Bull moose. Denali National Park, Alaska. Made with the Olympus 300mm F4 PRO on a Lumix GX85 body.

A new Canon 600mm F4L currently sells for $ 11,500. The Olympus 300mm F4 PRO is about $ 2,500.

Yeah, no contest there. You could buy the Olympus and still have enough left over for a trip to Alaska to photograph brown bears AND a trip to Africa to see lions and elephants (travel is always money well spent).

Size and Weight

Review of the Olympus 300mm F4 PRO Lens

At 9 inches long (with the hood retracted) and 3.25lbs, the Olympus 300mm F4 PRO is a third the weight and half the length of the Canon 600mm F4L.

Thanks to the smaller sensor of the 4/3rds system, you can fit equivalent or greater magnification into a lens while retaining the same maximum aperture in a MUCH smaller package. Canon’s 600mm F4 lens weighs in at a whopping 8.6lbs (3.9kg) while the Olympus with the same equivalent magnification and maximum aperture is a comparably dainty 3.25 (1.47kg).

Physically, it is also much more compact. At about 9 inches (22.9 cm) long it is roughly half the length of the Canon lens. When it comes to size, the Olympus is a clear winner for a wilderness photographer like myself.

But how is the quality?

Sharpness

Review of the Olympus 300mm F4 PRO Lens - bird in the grass

I made this image of a Smith’s Longspur in Alaska’s Arctic National Wildlife Refuge with a Canon 5D Mark III and 500mm F4L. It’s sharp and crisp, as you would expect.

When I first considered replacing my Canon gear with Olympus I took both systems out in the field for a week-long photo workshop I was leading. On the trip, I was able to shoot both under similar conditions. Later, when I examined the images at 100%, I felt the sharpness was more or less equivalent even when they were shot wide open at F4.

Review of the Olympus 300mm F4 PRO Lens - fox in the grass

Just as sharp as the Canon 500mm. Fox. Umnak Island, Aleutian Islands, Alaska. Lumix G9 and Olympus 300mm F4 PRO.

With a sigh of relief, I moved on to . . .

Bokeh

Review of the Olympus 300mm F4 PRO Lens - brown wren

Few lenses can compare to the dreamy bokeh of the Canon 500mm F4 L. (Canyon Wren, Joshua Tree National Park, CA.)

The bokeh of a lens is one of the most important aspects of image quality. In wildlife photography, the ability to separate your subject from the background is a huge asset, meaning you need a shallow depth of field. The big Canon can achieve this with aplomb. Its bokeh is smooth and creamy and creates a perfect background for your subject. This, I knew, would be the greatest challenge for the Olympus 300mm F4 PRO.

And it is the one place the Olympus fell short… but only just (and I mean by the narrowest of margins). Since a 4/3rds sensor crops rather than physically magnifies an image, the depth of field is the same as you would achieve with 300mm f4 on the full-frame Canon camera if you cropped the image by 50%.

Which is to say, it still has a great, shallow depth of field, but the bokeh retains more form than it does with the 500mm or 600mm.

Review of the Olympus 300mm F4 PRO Lens - black raven close up

Though not quite the amazing bokeh of the Canon 500mm, the Olympus 300mm f4 PRO attains something VERY close and just look at that sharpness! (Common Raven. Juneau, Alaska. Lumix G9 and Olympus 300mm F4 PRO.)

When it comes to bokeh, the Canon had the edge, but not by much.

Performance

Autofocus

The Canon 500mm F4 has lightning-fast autofocus. That is not up for debate and is one of the reasons that so many pro wildlife and sports photographers select that lens.

So how does the Olympus compare?

Review of the Olympus 300mm F4 PRO Lens - crane in flight

This image made with the Canon 500mm F4L was easy to grab with the lightning fast autofocus system.

This was a harder comparison to make because autofocus ability is a combination of camera body and lens and how the two communicate. When I use the Olympus, my choice of a camera body is the Lumix G9. At first, I expected that this mixing of manufacturers would hinder the performance, but I’ve been relieved to find that is not the case. Lumix bodies are fully compatible with all features of Olympus lenses with no apparent loss in performance.

I’ve found the autofocus of the Lumix/Olympus combination to be precise and extremely fast, attaining focus as quickly as the Canon.

Review of the Olympus 300mm F4 PRO Lens - birds in flight and snowy mountain

Birds in flight, particularly against a background like this are hard for any autofocus system to handle. But the Olympus 300mm F4 PRO was able to make it happen and fast.

Another nifty feature of the Olympus 300mm F4 PRO is you can switch between auto and manual focus simply by giving a little tug on the focus ring. It snaps down, and suddenly you are in manual focus, click it back, and autofocus returns. There is no fumbling around for switches.

Stabilization and Handhold-ability

Review of the Olympus 300mm F4 PRO Lens - waterfall in Alaska

Waterfall, Umnak Island, Alaska. Made at 1/15th of second handheld (!!!) with the Olympus 300mm F4 PRO on a Lumix G9 body.

Canon’s image stabilization is extremely good, but they’ve stubbornly refused to integrate stabilization into their camera bodies. Lumix, however, has stabilization built into the body which communicates with simultaneous stabilization in the lens!

Here, the Lumix/Olympus combo is a clear winner. I’ve found I can hand hold the Olympus 300mm f4 PRO on the Lumix G9 as low as 1/15th of a second and still get acceptably sharp images. The small, easily handled size certainly helps with this, but I would NEVER be able to hand hold the Canon 500mm at 1/15th.

The overall performance winner? The Olympus 300mm f4 PRO.

Conclusion

Review of the Olympus 300mm F4 PRO Lens - bald eagle

Bald Eagle, Unalaska Island, Alaska. Lumix G9 body with the Olympus 300mm F4 PRO.

I’ll be honest here, from time to time I miss the big Canon 500mm f4L. But not for reasons of image quality or field performance. Rather, I miss the snob appeal of that big glass. It’s the stupidest of stupid reasons, but it’s a real one.

As a pro photographer, the big lens was a badge of honor. Fortunately, I’ve (mostly) outgrown the need to be seen as a pro when I’m in the field shooting. Now, I try to concentrate on making images good enough that they speak for themselves, and leave the lens size contests to others.

Review of the Olympus 300mm F4 PRO Lens - caribou

Caribou in Alaska’s Northwest Arctic. Lumix G9, Olympus 300mm F4 PRO.

When I put aside the size and snob appeal, I’m not at all sorry to have moved away from Canon. Now, my big lens is small enough that I carry it everywhere (even on my evening dog-walks). It’s light and unobtrusive and I can even carry it backpacking. The quality is so close to that of the bigger glass, that the differences are almost unimportant.

So yeah, I like the Olympus 300mm f4 PRO. A lot.

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Sony launches new line of rugged SD memory cards

29 Aug

Sony today announced its SF-G series TOUGH specification UHS-II SD cards. The new memory cards are targeted at “photographers who are reliant upon their photographs remaining safe when their SD cards are removed from the camera” and combine ruggedness with fast read/write speeds.

The SF-G cards are bend proof to 180N, drop-proof to 5 meters, waterproof with an IPX8 rating and dustproof with an IP6X rating. To achieve these characteristics the cards feature a one-piece molding structure and a ribless and switchless design. In addition, they are X-ray proof, magnet proof, anti-static and temperature proof.

Top read speeds of up to 300MB/s and write speeds of up to 299MB/s should allow for swift burst shooting, and the cards also support the V90 video speed class, making them a good option for video shooters.

The SF-G cards come with Sony’s SD Scan Utility and File Rescue Software. They will be available in 32GB, 64GB and 128GB capacities and will launch in Europe from October. No information on availability in other regions has been provided yet. More information can be found on the Sony website.

Press Release:

Sony introduces the world’s toughest and fastest SD Card

  • World’s toughest[i] SD card is 18x[ii]bend proof[iii] and drop proof[iv]
  • World’s first[v] one-piece molding structure for strength and hardness
  • Ribless and switchless design ensures there are no fragile components
  • World’s fastest[vi] read speed up to 300MB/s and write speed up to 299MB/s[vii]
  • Waterproof and dustproof world-class ratings of IPX8and IP6X respectively[viii]
  • Keep your work safe with the SD Scan Utility and File Rescue Software

Sony today announced a brand new innovation in storage media with the launch of the “SF-G series TOUGH specification”UHS-II SD card. Addressing the needs of photographers who are reliant upon their photographs remaining safe when their SD cards are removed from the camera, the new SF-G series TOUGH specification range combines the world’s fastest read and write speeds with an ultra-rugged design that is bend proof to 180N, and drop proof to 5 metres. For photographers who are fighting against the elements to get the perfect shot, the SF-G series TOUGH specification range of SD cards are also waterproof with an IPX8 rating and dustproof with an IP6X rating.

The new SF-G series TOUGHspecification range of SD cards are 18 times stronger than the SD standard[ix] with world’s first monolithic structure (one-piece molding, no empty space in the card) and materials of high-grade hardness, unlike conventional SD cards with a thin, 3-part ensemble. They areprotected against typical physical damage that can affect conventional SD cards such as a broken plastic casing, broken data protection lock and broken connector ribs. This has been achieved through a new means that it is the world’s first rib-less SD card with no write protection switch. These developments ensure that the SF-G series TOUGH specificationis more resistant to bending and easy to break parts are removed entirely and has been engineered by Sony to deliver the best balance of hardness and toughness. Completely sealed with one-piece molding structure, no waterdrop, dust or dirt is not allowed to come into the card, meeting highest grade of waterproof (IPX8) and dustproof(IP6X).

Unleash the power of the camera

In an industry trend, driven by Sony, full-frame mirrorless cameras such as the ?9 and ?7 series are packing in more and more performance in both stills and video performance. These high-end cameras rely on fast memory cards to maximise their performance and with professional photographers now using SD cards more frequently, users are demanding the levels of reliability and durability associated with other professional card types. With the world’s fastest write speed of up to 299MB/s, buffer clearing time is minimised. This allows the photographer to shoot many frames per second and capture the action that they want. The SF-G series TOUGH specification range also supports V90, the highest standard of video speed class, making it an ideal companion for shooting high resolution video.

Furthermore, transferring high capacity photo and video files is made simple with the SF-G series TOUGH specification, thanks to a read speed of up to 300MB/s. This is another world’s fastest which dramatically enhances workflow efficiency after the shooting is all wrapped up. In a further acknowledgement of the practical needs of photographers, the SF-G series TOUGH specification range feature bright yellow banding design, making the card easier to spot in dark shooting conditions.

Ultimate Assurance

SF-G series TOUGHspecification SD cards offer a series of further features, designed to give photographers peace of mind. These include an ‘SD Scan Utility’ which allows the user to check that the card is good condition and File Rescue Software[x] which can recover data and photos that might have accidentally been deleted. Furthermore, SF-G series TOUGH specification SD cards are also X-ray proof, magnet proof, anti-static, temperature proof and feature UV Guard.

Pricing and Availability

The SF-G TOUGH series of memory cards will be available in 32GB, 64GB and 128GB capacities. They will launch in Europe from October. Full product details are available at: http://www.sony.net/sfgt/

[i]As a consumer SD card, Sony investigation as of August 2018.

[ii]Performance is 18x stronger compared to SD bending test specification of 10N

[iii]Bend proof to 180N

[iv]Drop proof to 5m

[v]As a SD card of 2.1mm thick. Conformance to ribless card specifications of Standard Size SD Card Mechanical Addendum 6.0. Sony investigation as of August 2018.

[vi]As of August 2018, Sony investigation.

[vii]Based on Sony internal testing. Transfer speeds vary, and are dependent on host devices, the OS version or usage conditions. To effectively utilize the product’s high-speed capabilities, your compatible device must support UHS-II. Sony investigation as of August 2018.

[viii]Conformance to IP68 standard. We cannot guarantee against damage to record data or card in all situations and conditions.

[ix]SD standard withstands 10N force, while this card withstands 180N force.

[x]Downloadable from the Sony Support site

Articles: Digital Photography Review (dpreview.com)

 
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How to Make Image-Filled Shapes in Photoshop

28 Aug

Photoshop may not be primarily a graphics program but it still comes with very useful tools for that kind of work. For example, making image-filled shapes.

It doesn’t matter if you’re doing some professional job like web design for your business or something personal like a birthday card, you’ll often need to constrain your photo to fit within a specific shape. In this tutorial, I’ll show you how to do that with just a few clicks.

image-filled shapes Photoshop tutorial Intro1

Create a Shape

First, you need your shape. You can easily create one with the Shape tool from the toolbox. You can click and hold to display the menu with your choices. In this first menu, you’ll have some basic shapes like rectangle, ellipse, line, polygon and a customize shape tool.

image-filled shapes Photoshop tutorial Shape Tool

If you choose the custom shape you’ll have a second menu with all your possibilities for that. You can access it in the options bar at the top. If you don’t see many choices, just click on the bracket on the right and click All from the menu that will open; this will load all the preset shapes. If you download any new shapes from the Internet you’ll also found them in this menu.

Image-filled shapes Photoshop tutorial Custom Shape

To draw the shape you chose on a blank canvas, just click and drag until it reaches the size you want, then let go. Whenever you draw a shape on your canvas you can choose to use Fill and Stroke from the options bar. In this case, the filling will be your photo, so set the Fill as black so that your image will be constrained to the shape that you chose.

Here’s how you can do it:

image-filled shapes Photoshop tutorial Draw Shape

Add Your Image

Now that you have your shape you need to bring in the image to fill it. Go to Menu > File > Place. This will open a browser window so you can choose the file from your computer. Choose the one you want and click OK. This photo will be imported into your project as a new layer.

image-filled shapes Photoshop tutorial Place Image

Clipping Mask

Now you just have to go to Menu > Layer > Create Clipping Mask. This can also be achieved by clicking Alt + Ctrl (PC) or Cmd (Mac) + G at the same time.

image-filled shapes Photoshop tutorial Clipping Mask

Note: If you were following my steps exactly then the image was placed as a layer at the top. However, if you are working with a complex project with many layers or if you followed the instructions in a different order this might not be the case.

If that happens, then you do need to take an extra step. Just drag and position the image layer on top of the shape layer in the Layers panel for the Clipping Mask to work as you want.

As a result, you’ll only see the photo through the shape and the best part is that the process is non-destructive. In other words, you did not cut out your photo, the rest of it is just hidden underneath which gives you two advantages.

First, you can reposition your photo to best fit the shape. If you click on the Move tool from the Toolbox you can just click and drag the image so that it gets placed in the best possible way. You can also use any of the transformation tools to resize or rotate it until you are happy with the result.

Second, you can work on the shape as well without worrying about damaging your photo or showing any empty canvas because the photo is complete and untouched underneath.

image-filled shapes Photoshop tutorial Free Transform

Extra tip

You can do as many image-filled shapes as you want in the same canvas, as they will just be stacked as additional layers. For example, you can add text to your project.

To do that, instead of using the Shape Tool go to the Type tool and select a font type broad enough to make the effect noticeable. Then repeat the process of placing an image (it can be a different photo than the one you used for the shape) and creating a clipping mask.

image-filled text Photoshop tutorial

And again, since the image is intact underneath, you can come back and edit the text anytime you want. Have fun!

image-filled text Photoshop tutorial edit type

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Phase One XF IQ4 digital backs offer up to 150MP and ‘Capture One Inside’

28 Aug

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Phase One has announced its new ‘Infinity Platform,’ which has built the core of the company’s Capture One software into the processors of three new XF IQ4 54 x 40mm digital backs. According to Phase One, having ‘Capture One Inside’ brings “unprecedented image editing and processing – once possible only in the Capture One software.” The new processor also provides improvements in JPEG quality, live view and frame rates.

The Infinity Platform includes three digital backs, including two 150 Megapixel, Sony-designed BSI-CMOS models (IQ4 150MP and IQ4 150MP Achromatic) as well as a 100MP Trichromatic model. The backs now include three new tethering options, via Wi-Fi, USB-C and Ethernet. All three models have dual card slots, supporting XQD and SD.

The three XF IQ4 backs will ship in October and include the camera body and prism and the Blue Ring prime lens of your choice. Prices range from from $ 47,990 for the IQ4 100MP to $ 54,990 for the IQ4 150MP Achromatic.

Press Release

Phase One’s New XF IQ4 Camera Systems Introduce ‘Capture One Inside’ and Enable Unmatched Workflow Flexibility and Resolution

COPENHAGEN, Aug. 28, 2018 – Phase One today announced a giant leap forward in photography: Phase One XF IQ4 Camera Systems are built upon the new and expandable Infinity Platform. Three full frame medium format camera systems, based on the Infinity Platform, include the IQ4 150MP (151-megapixels), the IQ4 100MP Trichromatic (101-megapixels), and the IQ4 150MP Achromatic (151-megapixels). Each delivers a flexible and customizable photographic solution designed to evolve and adapt over time. The IQ4 features a new level of workflow optimization, integration and support for all photographic applications.

With the Infinity Platform, Phase One has moved the core of Capture One’s imaging processor into the IQ4 itself. ‘Capture One Inside’ offers unprecedented RAW file control. Image editing and processing – once possible only in the Capture One software application – can now be controlled within the IQ4. The Infinity Platform also allows Phase One to challenge fundamental imaging concepts, such as the limitations of dynamic range. Additionally, the IQ4 delivers new tethering and storage options, wireless integration, and performance improvements.

“Our customers drive us to break down barriers and keep pushing forward,” said Henrik O. Ha?konsson, CEO & President, Phase One, A/S. “With the Infinity Platform we are completely dedicated to grow the IQ4, adapting and expanding incrementally to match the pace of technology – making it unique in the photographic world – a camera investment that pays back with years of cutting-edge operation. We dedicate the new XF IQ4 Camera System to these individuals whose passion for perfection is unlimited.”

Phase One is widely known for its modular, open-platform approach. Like the Phase One XF camera body, introduced in 2015, the Infinity Platform of the IQ4 has been engineered to anticipate developments in technology, and expand functionality to support customers’ changing workflow demands.

Key Features and Future-Forward Innovations

Building on 25 years of digital imaging innovation and the success of the XF Camera System, the IQ4 introduces:

151-Megapixel Backside Illuminated (BSI) Sensor

The IQ4 150MP and IQ4 150MP Achromatic models feature an ultra-efficient pixel design that delivers unprecedented image quality and detail. A world first in full frame medium format photography.

‘Capture One Inside’

The core of Capture One’s RAW imaging processor has been integrated into the Infinity Platform, opening a multitude of customizations and imaging possibilities. Key for expanding workflow efficiency, images can now be processed by the camera itself. ‘Capture One Inside’ enables:

  • Improved preview quality
  • JPEG processing
  • IIQ Style integration
  • Improved live view, faster frame rate, and new tools

Three New Tethering Options

Wireless, USB-C, and Ethernet offer greater control of connectivity and workflow. In addition, users will be able to interface directly with accessories such as hard drives, NAS storage, network solutions, mobile devices, etc. New ports (Ethernet and USB-C) can offer charging capabilities of the camera system or sustained power from compatible devices. Each tethering option brings its own unique workflow benefit, such as speed, extended cable length, evolving camera control and freedom from cabling.

Dual Storage

Support for both XQD and SD memory cards can be combined with the above tethering options to provide a multitude of workflow solutions.

Open Platform

Time-lapse and bracketing tools now operate independently of the camera body, enabling sequencing options across other camera bodies such as technical cameras.

More information about the IQ4, Infinity Platform and supported XF Camera System configurations can be found here: www.Phase One.com/IQ4

Availability and Pricing

The XF IQ4 150MP, IQ4 100MP Trichromatic, and IQ4 150MP Achromatic Camera Systems, will be available in October 2018 through Phase One
Partners: www.Phase One.com/partners.

The Manufacturer Suggested Retail Price for the XF IQ4 Camera Systems (including XF camera body and prism, a Blue Ring prime lens of your choice, 5-year warranty and 5-year uptime guarantee) are:

  • XF IQ4 150MP Camera System: $ 51,990 USD
  • XF IQ4 100MP Trichromatic Camera System: $ 47,990 USD
  • XF IQ4 150MP Achromatic Camera System: $ 54,990 USD

For more information, please go to: www.Phase One.com or book a demo on: www.Phase One.com/DemoSignup

Articles: Digital Photography Review (dpreview.com)

 
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DPReview on TWiT: Nikon Z Mirrorless

28 Aug

As part of our regular appearances on the TWiT Network show ‘The New Screen Savers’, our Science Editor Rishi Sanyal joined host Leo Laporte to discuss Nikon’s entry into the high-end mirrorless market. In this episode, we cover everything from DPReview’s initial impressions of the Z 7 camera based on hands-on testing of the camera and lenses over multiple days of shooting, to the broader question of what Nikon’s serious entry into mirrorless means for the camera industry at large.

The entry of one of the camera industry giants into the full-frame mirrorless ILC segment signals, in our opinion, significant winds of change. Just two short years ago Nikon advertised the benefits of DSLR over competitor mirrorless cameras during its D5 launch, citing the immediacy of the optical viewfinder and higher frame rates during burst shooting.

But shortly thereafter the Sony a9 showed us that mirrorless technologies could not only overcome but surpass these shortcomings. Now in its mirrorless launch, Nikon is introducing cameras with higher burst rates, wider AF coverage and far superior video autofocus than any of its previous full-frame, non-pro-grade DSLRs. And mirrorless’ reliance on fast-evolving image image sensor technology means that, just maybe, we can expect faster, far reaching improvements with each generation.

Have a watch of our discussion, and then let us know your thoughts on the launch of the Nikon Z cameras in the comments below.

Articles: Digital Photography Review (dpreview.com)

 
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Tips for Doing Drone Photography and How it Improve All Your Images

28 Aug

In this article, I’ll share with you some of my experiences doing drone photography in my first month with my new flying camera. You’ll see how learning to use and fly a drone can help you improve all your photography as well.

Getting into drone photography

A filmmaker friend of mine brought his DJI Mavic Pro (a small drone with a built-in 12-megapixel camera) to our house several months ago. I told him that I’d been thinking about all the photos I could take if I had a drone. He insisted that I try his out, so I did.

Bad move. I probably raved about it far more than was wise. My family took my enthusiasm seriously. Thus, for a combined Father’s Day/Birthday/Christmas present (since these flying cameras don’t come cheap), they got me a DJI Mavic Pro. I then owned a drone. And had no idea what to do with it.

You may be in the same situation if you’ve recently purchased a drone or are considering doing so. If you’re still determining which one to get, check out this helpful overview. Or take a look at these tips and reasons why you might want a drone.

Lessons Learned from Drone photography 2

What we’ll focus on here are the issues no one tells you about when you do finally get a drone. Learn how to speed up the learning curve and some surprising discoveries about how using a drone can make you an overall better photographer.

Take time to learn the basics

How long it will take you to learn to fly your drone depends in part on the drone you get. With the DJI Mavic Pro, I spent time reading the manual (somewhat helpful), watching the DJI videos (more helpful) and then watching other people’s YouTube videos (super helpful).

Even if you’re a “forget the instructions, let’s get going” type of person, spend time watching some of these videos. It will be worth the effort since not everything about your drone, especially from a photography perspective, will be intuitive. Besides, you can do it while your batteries are charging.

Lessons Learned from Drone photography 3

On most drones, the controller connects to your smartphone. Your phone’s screen becomes your remote viewfinder. Let’s state what may seem obvious but isn’t if you’ve never owned a drone.

You need a smartphone to fly most drones for photography purposes.

It took me three days of trying to get the detested DJI app (just read the app reviews and you’ll see what I mean) to work only to find that it was incompatible with my older phone. I switched to my wife’s phone and voila, everything suddenly worked.

If your drone doesn’t connect immediately once you download the app, it’s likely the app/phone combo. My advice is to focus on solving the phone/app connection first.

Starting to fly

Lessons Learned from Drone photography 17

The first time I actually flew the drone, I freaked out seeing it go up so high. The second time, not so much. The third time, I stopped looking at the aircraft (which, DJI reminds you repeatedly, is the proper name for the device, not a drone. Drones shoot missiles and spy on terrorists. Aircraft are, well, aircraft, I guess, even if this one can fold up and fit in a purse).

Instead, I just watched the screen. That is much easier. In short, while you want to have your drone in visual range at all times so you’re aware of hazards (that’s actually the law in most areas), concentrate mostly on your screen and you’ll gain confidence in flying it faster.

Learning how to make photos

I posted my first drone shots on Instagram and found some nice folks out there who liked them and have inspired me with their own drone photos. After looking at their photos (I’m only concentrating on photos initially, videos will come later), it gave me additional ideas on how to use my aircraft as a photography tool.

Here are some of the lessons learned in my first month of flying:

Lessons Learned from Drone photography 6

Learn to fly before you learn to shoot

This means finding a really open space and learning the controls well so don’t have to consciously think about every lever and button and what it does. You’ll have plenty of time for making photos later. Get the feel of the aircraft now.

Visualize before you take off

On the Mavic Pro, you get about 26 minutes of flying time on each battery (so definitely consider buying extras). Because of that, try to visualize your shots before you take off so you’re not spending that precious 26 minutes of battery life just flying around aimlessly.

You must realize, however, that when you first start working with a drone, everything will look different from above. Don’t worry. As you get more experienced, you’ll learn how to “read” a scene better and you’ll spend less time searching and more time setting up the shots you want.

Lessons Learned from Drone photography 13

Shoot RAW

Consider photographing in RAW (the camera’s native format for images as opposed to JPEGs) if you know how to process them in a program light Lightroom. For me, it is too hard to see all the lighting nuances on my phone screen. RAW gives me more latitude than JPEGs for fixing later.

Consider bracketing your shots as well (if your drone has that feature) to allow for even greater flexibility with exposure.

Don’t let the initial images fool you

DJI’s RAW files look pretty bad right out of the camera. But pump up the Blacks (for contrast) and increase the Vibrancy and the images can be stunning. Overall, the camera and the Mavic Pro aircraft are surprisingly good.

Lessons Learned from Drone photography 11

Learn the focus and metering buttons

Switching between the focus and metering buttons is easy once you locate them on the controller. Both are very useful since you get strong contrasts from the air.

At first, I blew out a lot of highlights. Once I learned to meter on the right areas of the scene, my photos improved dramatically. Start by sticking with the auto functions of the camera but quickly learn and use the other focus and metering functions available.

Consider getting a polarizer

Lessons Learned from Drone photography

A polarizing filter reduces glare but you can’t just twist it like a circular polarizer on your DSLR (it’s a bit out of reach when the drone is 300 feet above you). You can only adjust it by changing the angle of the aircraft which isn’t always helpful when composing a particular shot.

But the polarizer does protect the lens and makes the sky pop in your images. My next purchase will be some ND (Neutral Density) filters to knock down even more of the light and glare. Because you’re shooting from above, you’ll experience new angles of light that you don’t usually get with traditional photography.

Pay attention to the weather

Wind and moisture are big limiters in some areas. I recently returned from a trip to England (yes, most airlines allow drones on board as long as your batteries are in your carry-on) and was only able to fly the aircraft three times in 10 days.

Lessons Learned from Drone photography 8

Mostly, it was either rainy (moisture will ruin your battery) or too windy. But I did learn that I can fly in more wind than I initially thought, up to about eight mph of wind. I have gotten the high wind warning on the controller (which warns you about wind, if you’re in a restricted area or are too close to an object), but otherwise, no problems. But use your own discretion as one bad gust could ruin your day and your aircraft.

Don’t fly too high

Overhead shots can become more intriguing when you limit your altitude. As the photo above of the couple reveals (shot at a height of about 12 feet/three meters), you can get great images with a drone that no one but you will even know were shot with a drone.

Lessons Learned from Drone photography 10

Play with the color

Because sunlight is hitting the subject from a different angle than you’re used to, that will affect the color of your photos in surprising ways. Some familiar objects such as trees will be more vibrant when shot from above than from the side.

Just be prepared to experiment a good deal in your editing software with color.

Compensate for parallax

Lessons Learned from Drone photography 5

There’s a parallax phenomenon that takes time to understand. Compare the photos of two bridges above and below. In the first, I wasn’t directly over the bridge and the photo isn’t as good as the second one where I took the time to turn the drone sideways while rotating it at the same time to get the shot lined up perfectly.

Lessons Learned from Drone photography 7

It seems simple until you try it. But with practice, you’ll learn little tricks on how to maneuver your drone to get the shot you want. And the image stabilization, at least in my Mavic Pro, worked better than expected. Thus, if you can line up the shot, you’ll likely get a good image.

Start with photographs

As noted, I’ve held off on shooting more than quick snippets of video. Why? Because with still photography, the aircraft is essentially a floating platform that I can nudge into position. If my turns are awkward, it doesn’t matter.

But when you’re shooting video, flying is everything (or a whole lot). You want your aircraft’s movements to flow smoothly. In my first month of periodic flying, I just wasn’t experienced enough for video. But I did ask my friend Randy (who’s had a drone about as long as I have) about his experience with video.

Lessons Learned from Drone photography 18

He noted that a) videos are smoother when you lower the frame per second rate, and b) it’s far better to keep the focus on a single element rather than panning around to capture everything at once.

Learn how to avoid obstacles

In the early stages, you’ll likely be a bit freaked out by trees or other objects that seem to reach out toward your drone. Personally, I haven’t yet gotten close enough for the aircraft to employ its obstacle avoidance procedures.

Randy tested the sensors out by flying his aircraft directly at him. He figured that unlike flying into a tree, he could move out of the way if the sensors failed. As it turns out, they worked great. The aircraft stopped a few feet before him.

You still want to fly carefully, but it is nice to know you have the sensors working for you.

Recognize the limitations of where you can fly

Lessons Learned from Drone photography 12

There are restrictions where you can fly your drone (no national parks, no crowded areas, no flying near airports, etc.) but there are still vast regions you can explore by air that you can’t when tied to the ground. Also, scenes that look boring from the ground (a wheat field, for example), take on new possibilities when viewed from above. You just have to rethink what makes for a great image.

Try direct overhead photos

Shots taken directly overhead will likely be more intriguing to you when you first start. Remember when Instagram was first getting going? Everyone took photos of their feet because they were more enamored with the filters on Instagram than in taking great photos.

You’ll likely soon grow to improve and get better shots at angles, but as a beginner, the direct overhead shot is fun because it is a completely new way of seeing things. And don’t rule them out even as you get better. You’ll still find scenes where the direct overhead shot tells the best story.

Lessons Learned from Drone photography 15

Compare, for example, the two shots of the wrecked fishing boat above and below. Which is better? It’s all a matter of taste, but now you have options.

Lessons Learned from Drone photography 16

Learn to shoot at angles

Angled images are tougher to shoot at just the right height, distance and direction than direct overhead ones. But they don’t scream “DRONE SHOT” the way some higher-altitude-direct-overhead photos do.

Also, a benefit of angled shots is that you can isolate your subject from distracting foreground or background items. For example, in the shot of the ruined church above, using a drone allowed me to avoid several unwanted foreground elements.

Lessons Learned from Drone photography 9

Photograph like a designer

Back to direct overhead shots, another benefit is that they can help you think differently about photography. You may, in fact, start perceiving the world more from a design perspective, being more aware of line, texture, patterns, and colors.

You’ll see shapes, arrangements and interesting connections you wouldn’t otherwise just because you’re viewing scenes from different heights and angles. Check out these 11 drone tips for inspiring examples of using design principles in your photography.

Lessons Learned from Drone photography 14

The added benefits of photographing with a drone

For most photographers, a good quality drone is a luxury, not a necessity. But its greatest value isn’t just in allowing you to take photos you cannot without it. It’s helping you to make better photos even when you’re not using it simply because it will cause you to rethink how you see a scene and thus make a photo.

When I was in college, I played on the school’s tennis team. Part of the training included a class on how to teach others to play the game. For the month that the class lasted, each participant had to play using his or her non-dominant hand. Not easy.

Shooting with the drone/aircraft is similar. Because it is initially so unfamiliar, it will rewire how your brain thinks about the subject you’re photographing and how to compose the image the best way. Without a drone, your photography will likely be two-dimensional and you’ll probably continue shooting in the same way as you always have.

With a drone, you have to factor in height and different angle possibilities. That, in turn, will affect your more terrestrial shots as well since you’ll see more possibilities than you did before.

It may take time to master drone photography. But along the way, you’ll likely capture some surprising and astounding images. And best of all, you may become a better overall photographer as a result.

The post Tips for Doing Drone Photography and How it Improve All Your Images appeared first on Digital Photography School.


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Hydra app update brings zoom lens support and improved selfies

28 Aug

The Hydra app from Belgian company Creaceed is one of the more interesting iOS camera apps we have seen in the recent past. Applying multi-frame methods merging up to 60 exposures, Hydra offers a range of clever-looking capture modes, including an HDR mode that combines up to 20 exposures, a Hi-Res mode that can produce up to 32MP images and a Zoom mode that, by making use of the Hi-Res mode technology, allows for digital zoom with better detail than the standard method.

Now the app has received a major update, with version 1.5 finally supporting the optical zoom lens in iPhone dual-camera models. This means that the combination of optical zoom and the app’s advanced digital zoom you can now achieve even better zoom results up to a 8x magnification.

In addition HDR and low light modes are now available on the front camera, allowing for better selfie images in low light and high-contrast scenes.

Hydra 1.5 requires iOS 10.0 and can be downloaded from the App Store for $ 4.99. More information is available on the Hydra website.

Articles: Digital Photography Review (dpreview.com)

 
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Samyang announces 85mm F1.8 lens for APS-C mirrorless cameras

27 Aug

Samyang has announced an upcoming 85mm F1.8 prime lens for a collection of APS-C format mirrorless camera systems.

The lens, which will also be sold under the Rokinon brand name, is available in Sony E-, Fuji X- and Canon M-mounts, as well as Micro Four Third (MFT) systems. Taking into account the crop factors, the 85mm F1.8 lens will be equivalent to roughly 128mm on Sony E- and Fuji X-mounts, 136mm on Canon M-mounts and 170mm on MFT systems.

The lens is constructed of nine optical elements in seven groups, which includes an Ultra Multi Coating (UMC) to reduce ghosting and chromatic aberration. It relies on manual focusing with a minimum focusing distance of 0.65m/2.13 feet and features a nine-blade aperture diaphragm. The front filter mount is 62mm and the lens comes with a reversible lens hood.

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The Samyang/Rokinon 85mm F1.8 lens is set for a September 2018 release date at an expected MSRP of $ 399.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z 7 sample gallery updated from New York and Japan

27 Aug

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We’ve just returned from two launch events for Nikon’s new Z system – one in New York, and one in Tokyo. After spending a little more time with two more pre-production cameras, we’ve updated our previously published samples gallery.

Read our first impressions review of the Nikon Z 7

Articles: Digital Photography Review (dpreview.com)

 
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The Illusion of Photography and the Miracle of Sight

27 Aug

The photographic process is a grand illusion from top to bottom. Think about it. Everything about the process is visual trickery. Photography provides a reasonable facsimile of real-life perception, and luckily, your brain’s visual cortex is very forgiving and willing to play along with this ruse.

Here’s what I mean.

Illusion of Photography CameraLensEye

Your brain is pretty smart; way smarter, adaptable and intelligent than we sometimes give it credit for. Human perception takes place on a completely different level than photography (or even videography). But photographic science and advanced camera functions do hold certain advantages over nature’s system. Here’s a look at a comparison of the two systems.

Motion / Still Life

Your camera is able to capture slices of time and literally freeze motion in its tracks. Camera shutter speeds slice and dice life into instances of time lasting just thousandths of a second each. Only when we fail to set the shutter speed and (ISO) sensitivity properly are objects in motion recorded as a blur.

Illusion of Photography Motion Blur

Your eyes, on the other hand, have rarely seen anything absolutely still, unless it is a rock formation or building. Even then, our view is constantly changing simply because our body moves continually.

While your eyes capture thousands of frames each second, they process the images quite differently than your camera. They stream high-speed snapshots to your brain’s visual cortex – two at a time (right and left views) providing dimension and shape. And they do this all day, every day. No batteries or memory cards are required.

Your eyes shift and refresh their view thousands of times every second to paint complete three-dimensional moving scenes in your mind. This is perpetual “streaming” at the speed of light.

Video

The illusion of moving pictures (or movies) comes close to replicating what human eyes perceive as motion. The action portrayed in motion pictures is accomplished when single-frame images are flashed onto a screen sequentially at the same speed that they were recorded. The process works effectively to simulate what the human eye processes at much higher rates.

The major difference is the processing speed. Specific video codecs (computer word for the compression and decompression process) involve industry-standard capture/playback speeds (frames-per-second) designed to match the processing power of various playback systems. Videos are recorded and played back at speeds up to 60/fps to trick the eye into perceiving motion instead of seeing individual frames flickering by.

Autofocus and Blurred Backgrounds

The camera focuses on a single plane or depth of field and blurs the rest of the picture. You have the option to automatically focus on all subjects in the scene or select specific pinpoint areas.

If you set the camera to autofocus, you must remember that the camera always seeks and focuses on the objects with the highest contrast ratio in the scene. To control this you may select between face detection, autofocus tracking, multiple focus points (zone focus) or overall scene settings to tell the camera your preference.

Camera focus is all about managing the blur; making the eye concentrate on a particular part of the scene.

Illusion of Photography Autofocus Blur

Your eyes don’t really see blurs at all. They automatically focus on the single subject of your attention and gradually defocus and separate the view of the non-subject areas. This is quite different than camera “bokeh.” Close one eye and view a scene in the room, then switch eyes and notice how the background shifts.

The human eye displaces subjects in the background while the camera attempts to blur them. We’ve been conditioned to accept photo blurs as if they are a part of real life, even though they aren’t!

Two Versus Three-Dimensionality

Single lens cameras capture only two-dimensional images; with height and width. Items in focus are limited to a single defined “plane,” or distance from the camera. The dimension of depth is simulated by blurring objects which are not in perfect focus.

Your eyes never observe scenes in only two dimensions; they see every scene in three dimensions, through two converged horizontal viewpoints, your left, and right eyes. Your eyes adjust and shift focal length almost instantaneously. Only recently has Hollywood caught onto the 3-D trick.

Dimension, like depth, is perceived visually by slightly defocusing and horizontally shifting the two scenes behind the object in focus. This differs significantly from the camera’s method of simply blurring and softening the background. While depth can be simulated, dimension cannot be. Dimension requires a process called parallax, a word derived from the French “parallaxe” meaning “fact of seeing wrongly.”

Depth of Field

The camera uses its single lens to capture subjects from a direct frontal view. With the camera, you can also determine how much of the scene you want in focus by a managing the depth of field (DOF); blurring both the foreground and background for emphasis.

You can’t do this with your eyes. If you concentrate on an object close to you, pretty much everything behind the subject will automatically be defocussed.

Illusion of Photography DOF

Each of your two eyes sees that same subject from a slightly horizontally-offset angle, which is a very good thing! This overlapping, crisscross view allows you to see enough of the sides of each subject to sense dimension, judge distances, and safely navigate your way around obstacles. When the eye’s two views are combined, they provide a unique depth and dimension to your perception.

Try walking around when viewing the scene ONLY through your camera’s viewfinder and you’ll notice the difference.

Sphere of Focus

Camera lenses all have one thing in common. When they focus on an object a measured distance from the lens, everything else in the scene (the same distance from the lens) is also in focus. The optical nature of the spherical shape of the lens makes this happen. When you employ a wide angle lens, you can see everything in the scene in near-perfect focus.

Illusion of Photography Sphere of Focus

The human eye is quite different. Our focus on a subject is actually limited to a very small radius of view, between 7-10° wide. Everything outside that window appears defocused; not blurred, but just out of sharp focus.

While our peripheral vision spans nearly 180°, only a very tight circle of view appears totally focused. The way we perceive entire scenes by our eyes is constantly shifting and sending patches of focus to the cerebral cortex, which paints a momentary scene in our mind.

Try staring at one word on this screen. You’ll notice that unless your attention shifts slightly, the words on either side of that word aren’t really “in focus.” The real magic is that both of your eyes have this agility and they both work in perfect unison, viewing the same exact spot and shifting together at precisely the same moment.

Monochrome

All digital cameras are able to record images using only the luminosity channel producing “black-and-white” images. Monochrome photographic images remove all chrominance (color) information and rely only on single color contrast (luminance) to portray the scene.

Photography’s earliest roots are in black and white photography as the development of film emulsions were able to capture only luminance (monochrome) values with the light-sensitive silver halide particles. Even color films used this same monochromatic process but added color filters to capture individual RGB light waves.

Illusion of Photography Monochrome

Your eyes have never experienced this phenomenon except in photographic reproduction. The eye’s rods and cones that make up the image receptors interpret every scene in full color. Red, green, and blue receptors in your eyes perform this same service for your vision.

This characteristic of photography is perhaps the most bazar example of visual forgiveness, though the eye’s rods (more receptive to the green frequency of light) are most able to perceive forms and shapes under very low lighting conditions. This is why identifying colors in low light is so difficult. Not coincidentally, the green channel of color digital photography captures the most realistic monochromatic information.

Zoom, Wide Angle, and Telephoto

You probably own either a zoom lens, a fixed-focus telephoto, or a wide-angle lens for your camera. These variable distance lenses allow you to capture scenes either closer or farther away than your eyes typically see. Your human eyes are “fixed” on a 1:1 or “real-time” vantage point.

If you want to see a subject at a different distance, you have to adjust your personal distance to the subject or view the world through magnifying lenses like binoculars.

Resolution

Illusion of Photography Resolution

Here’s another area where photographic systems hold an advantage over human vision. When ultra-sharp lenses are coupled with high megapixel image sensors, the number of pixels available to publish a photo far exceeds the size and magnification capabilities of human vision. When pixels are displayed small enough to escape detection (roughly 100 per inch), image projection and reproduction sizes are nearly limitless.

Autofocus

Your camera can capture a scene in which everything is in near-perfect focus. From an object just feet away to a mountain five miles away, everything is sharp and clear. It is impossible for your eyes to view entire scenes in perfect focus, though photographic prints depend on the brain’s forgiving acceptance of this abnormal interpretation.

Y0ur eyes very rarely maintain the same focus for any period of time. Your brain stays hungry for visual information and your eyes know how to satisfy that appetite. Your eyes shift their attention rapidly to maintain their focus on moving objects.

Try staring at this page for more than 15 seconds and you’ll probably notice your eyes shifting briefly before returning to the word you were reading. Your eyes and brain have an insatiable visual appetite and a boundless curiosity.

Pixels, Dots, and Spots

Illusion of Photography Pixel Dots Spots

And then there’s the whole pixel/halftone illusion itself. Your eyes register nature’s colors as continuous tones, colors that have no stages or gradations. A feat we graphic illusionists have never been able to reproduce. Every image we reproduce has to be broken down into minuscule particles of color so small that human vision cannot readily identify them individually (I’ve exaggerated the pixels and halftone dot sizes for those who don’t know the trick).

Something to think about

For all the similarities between the camera and the human eye, there are just as many (if not more) differences.

But in spite of those differences, we would be much the poorer without the precision of the human eye and the features of the digital camera. Appreciate both systems for what they add to your perception of life.

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