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Archive for April, 2019

Lensrentals found a dead fly inside a Canon 70-200mm, tested how it affects image quality

12 Apr

A backlit photo of a dead fly trapped inside the inner elements of a Canon 70-200mm F2.8 lens, photos kindly provided by Lensrentals.

Thanks to ever-increasing reliance on firmware, the latest lenses can sometimes have bugs, but the bug Roger Cicala and his team at Lensrentals recently came across inside a 70-200mm F2.8L IS II lens wasn’t about to be fixed with the latest firmware update from Canon. That’s because it wasn’t a bug in the programming they encountered, it was a fly that managed to trap itself inside the optical elements of the lens.

Time for its close-up!

Somehow, a sneaky fly found its way into the deepest parts of a 70-200mm F2.8 lens, where it remained until its untimely demise. Naturally, Roger and his team wanted to remove the little critter, but not before they used it as an opportunity to see just how much a fly in the lens affected the performance of a lens and share the results (and process) with the world. In Roger’s own words, the blog post was written up for two reasons:

‘1) [To shot that] this big-ass fly had almost no effect on image quality, so that little dust speck you’re frantic about sure doesn’t, and 2) getting flies (or dust) out of a lens is a lengthy and difficult process that takes a long time.’

Just how well did the lens perform with the fly stuck inside of it? ‘Pretty well, actually,’ according to Roger. The Lensrentals team took the time to run a complete set of MTF tests and stopped down the lens across all focal lengths.

What the fly looked like stopped down to F13.

As noted in the blog post, there was no sign of the fly until the lens was stopped down to F13, but even then all that was visible was a shadow in the image. Stopped down to F22 and zoomed out to 70mm showed a much more prominent black spot, but even then it only took up a fraction of the frame.

What the fly looked like when stopped down to F22 at 70mm.

The remainder of the post details the teardown process and shows just how much effort goes into thoroughly cleaning out the inner-elements of a lens, especially a zoom lens as intricate as a 70-200mm IS lens. For all of the nitty-gritty details of the teardown process and more photos, head over to Lensrentals’ blog post.

Finally, the fly is discovered.

Roger’s takeaway message from the image tests with the fly-laden lens is ‘if your dust spec is smaller than a fly (about 4mm by 1.5mm) it’s not showing up in your images.’ He goes on to say in the ‘Final Thoughts’ section:

I think this does serve as a good demonstration of how little effect even a very large object inside the lens has. It would have a more dramatic effect, probably, if it had been located closer to the rear element. It’s also a really good demonstration on why we (nor anyone else who’s qualified) won’t clean the dust out of your lens for $ 50. Sure, a lot of lenses are easier to do than this one, but it’s still time-consuming and often technically difficult.

As for how the fly got into the lens, Roger deduces that it likely made its way into the lens through the small gap that’s made in the rear of the lens that can open up during the zooming process. The lens had been in Lensrentals’ rotation for 15 months, so he believes it found its way inside the lens after it left the factory. However, Roger admits he’s not a bug expert, so he’s not against hearing other possibilities.

Articles: Digital Photography Review (dpreview.com)

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Instagram starts demoting ‘inappropriate’ content, even if it doesn’t violate its rules

12 Apr

In a meeting with journalists yesterday, Facebook detailed changes it is making to its family of products aimed at dealing with what it calls ‘problematic content.’ For Instagram, this change means a demotion of content Facebook refers to as ‘inappropriate,’ though the posts don’t violate the platform’s Community Guidelines.

Demoted content will not appear in Instagram’s Explore or hashtag pages, according to a new page on the platform’s Help Center. The demotion applies to posts that ‘might not be appropriate for our global community,’ even if those posts aren’t in violation of the Community Guidelines, the company explains.

Instagram’s Help Center page, seen in the screenshot below, doesn’t offer any visual examples of ‘inappropriate’ content, only providing ‘sexually suggestive’ as one category that will be demoted. This change doesn’t apply to the user Feed at this time, but there’s no word on whether Facebook will lower the Feed ranking of these posts in the future.

TechCrunch has published multiple images from Facebook’s press event that include visual examples of ‘non-recommendable’ content set for demotion on Instagram. Though dealing with certain posts, such as ‘likes’ spam and fake news, would obviously be a good thing for users, other categories encompass large, vague content segments with no clear definition of what is and isn’t ‘appropriate.’

Based on the images from Facebook’s press event, Instagram will demote posts that feature sexually suggestive, ‘graphic/shocking,’ and violent content. Examples include, among other things, images of someone being sprayed with pepper spray, a woman in a bikini and a skull.

The vague nature of Facebook’s sweeping ‘non-recommendable’ categories leaves many users in a state of uncertainty and may reduce the platform’s overall usefulness for certain creatives and brands. Though a user’s existing followers will still see the ‘inappropriate’ posts in their respective Feeds, being filtered from Explore and hashtag pages greatly limits the user’s ability to gain new followers.

Though Facebook didn’t go into details in its press release about the changes, TechCrunch reports that the company will use AI algorithms to determine which posts are demoted. Human content moderators have been tasked with labelling ‘non-recommendable’ content; Instagram will use those labels to train machine learning algorithms on identifying borderline content.

Instagram’s content demotion effort is now underway.

Articles: Digital Photography Review (dpreview.com)

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5 Steps for Photographing the Blue Hour

12 Apr

The post 5 Steps for Photographing the Blue Hour appeared first on Digital Photography School. It was authored by Jeremy Flint.

Blue hour photography is an attractive subject to shoot. It’s great to be outdoors after dark, there are usually less people around, and it presents the opportunity to capture a familiar daytime scene in a new and different light.

Taking photos during the blue hour is considered to be the optimum time to document a cityscape as the artificial lights awaken and the daylight disappears.

Blue hour is one of the most popular times for photographers to take pictures. The blue hour refers to “the period of twilight in the morning or evening, during the civil and nautical stages, when the sun is at a significant depth below the horizon and residual, indirect sunlight takes on a predominantly blue shade.”

For the purpose of this article, I will focus on outlining the steps required for shooting during the blue hour:

1. Consider the time of day

Sheldonian Theatre, Oxford © Jeremy Flint

The time of day is an important factor when photographing the blue hour.

The blue hour is not just limited to the period after sunset. Similar light can be achieved in the morning (before sunrise) and evening (after sunset).

During the blue hour in cities, buildings are lit, and streetlights come on, making it an ideal time for urban and city photography with a perfect blend of natural and artificial light. The sky takes on a deep blue hue with cold tones and warmer colors from the illuminated buildings. A gradient of colors from blue to orange tinges the sky in place of the sunrise and sunset.

In the evening, the blue hour coincides with the end of the civil twilight, just after the golden hour. In the morning, it coincides with the initial part of the civil twilight, occurring just before the golden hour.

Try taking pictures after this time to see how your images differ. You will generally find that when capturing cities after the blue hour, the natural light will have faded away and your images will appear darker in the sky. This can still be a good time to take interesting pictures.

2. Consider your subject and viewpoint

When preparing to take pictures during the blue hour it is important to take on board a few considerations. What are you going to photograph and how will you frame your image?

My first suggestion is to decide on your subject and consider what you want to include in your image. You may want to frame your subject with an attractive background or foreground to make the image look more visually pleasing.

I chose to photograph this night scene of Tokyo with the Rainbow Bridge as my main subject with the neon-lit cityscape and towering skyscrapers beyond.

3. Consider the exposure, aperture and shutter speed

You will need to decide on the settings you want to use. If there is movement in the image, you may want to prioritize shooting in shutter speed priority. If not, then aperture mode can be used to achieve greater depth of field.

University Church of Saint Mary the Virgin viewpoint © Jeremy Flint

The correct exposure will automatically be set to let in the right amount of light when you capture your images. Both methods allow the use of longer exposures.

As my subjects were static, I opted for aperture priority to achieve more depth.

4. Try different shutter speeds

As the light fades, you may find that you want to increase your shutter speed to maintain a well-exposed shot. I would start at around a second and increase the exposure accordingly when darkness falls.

You can also use shutter speeds to creative effect. For example, capturing moving traffic trails during the blue hour can give pleasing results. Try anything over five seconds of exposure time to allow for some movement.

Long exposures are another great way to create amazing photographs. For example, they can be used to exaggerate cloud movement or traffic trails even further. Try anything over 30 seconds.

5. Use a tripod or something for support

Using a tripod or a stable surface such as a table or wall is of paramount importance when photographing the blue hour. They will help you to achieve sharper pictures by minimizing unwanted camera shake.

Skytree, Tokyo © Jeremy Flint

I achieved the photo attached by setting my camera up on a sturdy tripod to prevent any potential movement.

Conclusion

Blue hour is a magical time to take photographs in towns and cities. Follow the above steps and see if you can improve your photos captured during the blue hour.

Share your pictures with us below and feel free to add your tips to capturing the blue hour.

The post 5 Steps for Photographing the Blue Hour appeared first on Digital Photography School. It was authored by Jeremy Flint.

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DJI urges public to submit comments on proposed FAA rules

12 Apr

Photo Credit: Goh Rhy Yan

Time is running out to weigh in on important polices that will impact the future of drone operations in the U.S. This Monday, April 15th at 11:59 PM, Eastern Standard Time, marks the final deadline for the public to submit comments on two separate Notices of Proposed Rulemaking (NPRM) issued by the Federal Aviation Administation (FAA).

An NPRM is issued, by law, from one of the government’s independent agencies when they wish to add, remove, or change a rule or regulation. The FAA, in this case, is subsequently required to review every single comment submitted over the 60-day period, respond appropriately to concerns raised, and either make or alter regulations.

To date, the Advanced NPRM for Safe and Secure Operations of Small Unmanned Aircraft, which includes guidelines for implementing payload and flying beyond visual line of sight, has received over 1,400 comments. DJI, a leader in civilian drones and aerial imaging technology, recently released an official statement on the alarming lack of commentary regarding the other NPRM, Operations of Small Aircraft Over People.

At the time the statement was published, less than 100 people weighed in on the latter NPRM. Since then, over 200 comments have been submitted regarding operations at night and over people. Since the FAA takes the public’s input into consideration when making its final decision, it is important to read through the entire regulation and provide thoughtful, fact-based responses to each issue posed.

‘Drone professionals know society has barely tapped the potential of this transformative technology, and we appreciate the FAA’s willingness to listen to the voices of people who use drones every day as they craft these necessary rules,’ said Brendan Schulman, DJI’s Vice President of Policy & Legal Affairs. ‘Given how vital these rules are for every professional drone pilot in America, it is surprising to see how few comments have been received. We strongly encourage professional drone operators and fleet operators to read the FAA’s proposals and submit their perspectives on how to ensure drones can handle expanded responsibilities safely.’

DJI plans to contribute comments to each of these NPRMs. Anyone and everyone can make a difference.

Articles: Digital Photography Review (dpreview.com)

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Manfrotto Super Clamp: More than a Tripod Alternative

11 Apr

The post Manfrotto Super Clamp: More than a Tripod Alternative appeared first on Digital Photography School. It was authored by Joey J.

As a cityscape enthusiast photographer primarily shooting long exposures at blue hour (twilight and dusk), tripods are something I can’t live without. That said, we occasionally come across places where a full-size tripod is prohibited or there is no appropriate space to set one up.

In such situations, I used to rely on a mini tripod like Gorillapod (I own the “5K Stand”, their top end model with a load capacity of 5kg). However, mini tripods are a bit shaky and don’t always hold the camera weight too well. This is especially problematic when using it for long exposures, where the images end up with somewhat “soft” (i.e., not sharp enough).

How to set the Super Clamp up

LEFT: Plug a camera mounting platform adapter into a Super Clamp socket and secure it with a double-lock system. RIGHT: Mount a tripod head with the camera on the mounting platform adapter, just like you do with your regular tripod.

This is where a clamp tripod like Manfrotto Super Clamp comes in very handy. I own the Manfrotto 035 Super Clamp without the Stud and use it with the separately-sold Manfrotto 208HEX 3/8-Inch Camera Mounting Platform Adapter, as described below.

Avoid standard stud

By the way, Manfrotto also has a Super Clamp that comes with a so-called standard stud (Manfrotto 035RL Super Clamp with 2908 Standard Stud), but I recommend avoiding it because the standard stud is a bit too long. Thus, the tripod head sits about an inch out of the clamp, making the setup vulnerable for heavier camera/lens combos.

Besides, the standard stud only comes with 1/4″ screw. If your tripod head uses 3/8″ screw (most tripod heads do), you’ll need a screw adapter to convert 1/4″ screw into 3/8″ in order to screw your tripod head in.

LEFT: The Super Clamp with the standard stud inserted (a silver screw adapter is attached to convert the default 1/4″ screw into 3/8″). RIGHT: Due to the standard stud being too long, a tripod head doesn’t sit flush with the Super Clamp, leaving the camera setup rather unstable.

Reversible Short Stud

Therefore, I recommend photographers get the aforementioned Manfrotto 208HEX 3/8-Inch Camera Mounting Platform Adapter, or opt for Manfrotto 037 Reversible Short Stud (cheaper alternative). In fact, this reversible short stud is handy as it comes with both 1/4″ and 3/8″ screws. Like the mounting platform adapter, this short stud also allows a tripod head to sit flush with the Super Clamp, giving much better stability to mount a camera.

LEFT: The reversible short stud comes with both 3/8″ (top) and 1/4″ (bottom) screws. RIGHT: The reversible short stud fits perfectly into the Super Clamp (3/8″ screw on top).

With the short stud used, a tripod head sits flush with the Super Clamp. This setup can be as strong as the Super Clamp + Manfrotto 208HEX 3/8-Inch Camera Mounting Platform Adapter mentioned earlier.

Super Clamp in action

Note that a clamp tripod cannot be used anywhere you like, as it needs a rail or something similiar to be clamped onto. However, where possible, this setup is rock solid (with a load capacity of whopping 15kg), and the resulting long exposure photos are appreciably sharper than those photographed using a mini tripod or even a regular tripod.

Clamping onto a road railing.

Here we have clamping onto a thick tempered glass (clamping from the top).

You can also clamp onto things like a footbridge railing (by using short stud, instead of camera mounting platform adapter).

In addition, a clamp tripod also comes in handy at crowded photography spots that attract a lot of tourists. Setting a regular tripod up at such locations takes space on the ground and always has a risk of someone accidentally kicking tripod legs. It’ll be a catastrophe if that happens in the midst of a long exposure. With a clamp tripod that takes no space on the ground, there is no such worry.

Conclusion

I hope this post helps you consider a clamp tripod as a tripod alternative. Indeed, Super Clamp is like a game changer and more than just a mere alternative to a mini tripod, etc. Last but not least, be extra vigilant and tighten wherever must be tightened when using a clamp tripod somewhere high up. If the camera or any part is dropped, it could seriously injure people or break your gear.

The post Manfrotto Super Clamp: More than a Tripod Alternative appeared first on Digital Photography School. It was authored by Joey J.

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DaVinci Resolve 16 has new Neural Engine, native Frame.io integration and more

11 Apr

In addition to the new battery grip for the Pocket Cinema Camera 4K, Blackmagic has announced DaVinci Resolve 16, the latest version of its video editor that brings a massive collection of new and updated features.

The standout feature of DaVinci Resolve 16 is a new cut page designed specifically ‘for editors that need to work quickly and on tight deadlines.’ The updated cut page is an alternate edit page that features a streamlined interface and a new toolset that makes it easier to ingest, process and export footage.

In Blackmagic’s own words, ‘The [new] cut page isn’t about simplification, it’s about removing the things customers don’t need and building powerful, professional tools that help customers work more quickly. And, sometimes, it means borrowing the things that were great about the past and bringing them into the future.’

These new and improved tools include source tape, a new feature that brings all of the clips in a users bin into the viewer as a single long tape so it’s easier to scrub though, select the in/out points and bring the needed footage into the timeline. Another updated tool within the interface is a dual timeline arrangement that makes it possible to see both detailed sections of footage, as well as the whole timeline at once. This makes it easier to get both a macro and micro look at the work, rather than having to zoom in and out constantly.

DaVinci Resolve 16’s Neural Engine at work picking out faces from various clips.

Blackmagic Design has also added its new DaVinci Neural Engine, which uses ‘state of the art deep neural networks and learning, along with artificial intelligence to power new features such as speed warp motion estimation for retiming, super scale for up-scaling footage, auto color and color matching, facial recognition and more.’

The DaVinci Neural Engine is cross-platform and uses the latest GPU technologies to provide improved performance when working on footage and help to streamline the editing process. Blackmagic Design specifically references the DaVinci Neural Engine’s ability to use facial recognition to automatically sort through footage and add individual clips to folders based on who is in the shot.

ResolveFX has also been updated in DaVinci Resolve 16. You can now add vignettes, drop shadows, analog noise/damage, chromatic aberration, video stylization and even remove objects. Blackmagic Design says there have also been improvements to the scalene, beauty, face refinement, blanking fill, warper, dead pixel fixer and colorspace transformation plugins.

Additional features added and improved upon in DaVinci Resolve 16 include new adjustment clips to help add effects and grades to clips in the timeline, a new quick export tool for uploading videos to YouTube and Vimeo from anywhere inside the app and GPU-accelerated scopes to help keep an eye on the technical side of things. Blackmagic has also partnered up with remote collaboration tool Frame.io to add native support in DaVinci Resolve 16. Now, Frame.io is baked right into the software, rather than working as an iteration.

Below is a 25-minute video of Blackmagic Design walking through all of the changes found inside DaVinci Resolve 16:

DaVinci Resolve 16 public beta is available to download from the Blackmagic Design website, where you will also find additional details.

Articles: Digital Photography Review (dpreview.com)

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Review: The Aputure Amaran AL-MW LED light

11 Apr

Aputure Amaran AL-MW
$ 209 | aputure.com

The Aputure Amaran AL-MW is a small, single-color, continuous LED light that runs on battery power and can be set to 10 selectable output levels. It has high TLCI and CRI ratings for color accuracy, as well as a couple other features not usually found on a light at this price, such as special effects modes, while its small size of 117.5 x 43.5 x 32mm (4.6 x 1.7 x 1.25 in.) makes it ultra-portable.

When I learned about this light I was intrigued to see if it could solve a couple of issues for me. I was in need of a small light for product shots, video and stills. I didn’t need a huge output as it was going to be a fill or back light. I wanted something small, easy to control and battery powered. I also wanted a light that didn’t exhibit a loss of illumination level as the battery life faded, as some lights do. This can be really annoying, so I needed a light that just dies (with a warning beforehand) when the battery reaches a certain level. The Aputure Amaran AL-MW seemed to fit the bill.

Key features

Built in battery with USB-C charging
Up to 24 hours continuous operation (according to manufacturer)
10 selectable output levels
Five ‘special effects’ lighting modes
Included filters and diffusers
IP68 rated to 10m (30 ft.)
>95 CRI and TLCI ratings

One thing that’s unusual about this light is that it offers five lighting effects: lightning, fireworks, TV, a (faulty) light bulb and paparazzi. Usually if you need these effects on a shoot you have to employ some additional equipment, or someone waving a flag or reflector in front of the light. On top of that, the light is submersible to 10m (30 ft.), opening the door to some creative uses.

The light’s 110-element C.O.B (chip on board) structure is semi-random, avoiding the multiple shadows seen with some LED lights.

Uses

I’ve been using the AL-MW for shoots in a table top environment, mainly for product shots. It’s ideal for this as I can easily tuck it behind props or just place it on a table and use it as a back light. It doesn’t suffer from the multiple shadows that you can get on some LED lights due to its semi-random pattern and phosphor sheet, and this applies without any diffusion. It’s also equally at home lighting up a small backdrop. The stated CRI and TLCI figures (>95) mean that it’s also a suitable light to use in interviews as skin tones are correctly illuminated.

The Amaran AL-MW is small and versatile enough to be placed easily. I’ve been using it to help light tabletop product photos. Below, you can see the actual product shot from this simple lighting setup.

It’s also quite handy in some some light painting situations, thanks to its size and maneuverability, and I’ve also used it to fill in shadows when shooting stills. It’s a light that I gravitate towards using rather than one that I use only when required to do so.

The resulting image has a subtle tungsten back light effect shot together with an on-camera diffused flash.
ISO 1600 | 1/20 sec | F22 | Sony FE 24-105mm F4

Design

What strikes you on first opening the box is just how small the included carrying case is. When you open it you’re greeted with the light itself, which of course is even smaller.
Also included are a filter holder, three CTB filers, three CTO filters, two diffusers, a piece of 3M hook and loop tape and a USB-A to USB-C charging cable. Phew, that’s quite a few accessories packed in a small space.

The light has a very solid build with a single 1/4″ mount on the bottom and a membrane control panel on the top. The front face contains the 110-element C.O.B. (chip on board) emitters arranged in a semi random pattern. One thing the AL-MW is not is a variable color temperature light; any color adjustments have to be achieved with the included CTB and CTO gels together with the gel holder.

The top panel with membrane controls and status LEDs.

Variable output

Located on the top panel are 5 LED indicators showing battery level (green LEDs) and light level (blue). While the charge level indication only offers 20% increments, the light level goes up in 10% steps, with a blinking LED showing the in between percentages of 10, 30, 50, 70 and 90%.

I’m always slightly skeptical of manufacturers’ stated battery specifications, so I conducted various tests of charging and run times at different output levels and incorporated the results into the table below. Charging is done via the included USB-C cable (no charger is included) and I have found that it charges from flat to full in around 120 minutes.

Output Level (%)	Run Time (hours)
10	22:00*
20	11:48
30	8:36
40	6:45
50	5:09
60	3:51
70	2:57
80	2:15
90	1:46
100	1:25

*The manufacturer’s stated run time at 10% is 24+ hours, though I was never able to achieve this through multiple tests. I contacted Aputure and I was advised that the maximum run time can be dependent on ambient temperature.

I’ve been using it in a table top environment for product shots. It’s ideal for this as I can easily tuck it behind props or just place it on a table and use it as a back light.

What I discovered is that the relationship between battery readout and run time is not linear, and the indicators don’t accurately represent the remaining run time at the bottom end of the scale. The last 40% of indicated battery life runs out much more quickly than you might expect. If you see the 20% light illuminated then be prepared for the light to go out within about two minutes. If you get a flashing red light then you have less than one minute remaining, although these timings are dependent on the output level selected.

A boost button increases the maximum light output by 50%, however this is limited to a run time of 60 seconds, and it can only be used again after 40 seconds has elapsed. Though limited, this can be handy for planned slow motion shots. It’s also possible to use the light at up to 80% brightness while plugged in, although it’s limited to 40% when charging from flat. The ability to operate from internal battery or while charging from an external battery pack is useful as well.

The rear heat sink.

At full output this light gets quite hot. The case acts as a heat sink, with the back being full of fins, and it does its job very well. I measured the temperature to be in the region of around 47-52°C (116-125°F) at full output. Part of the reason for the limited run time of the boost function is to protect the battery from overheating.

This brings up another question: the manual states that the provided 3M hook and loop tape is supposed to be attached to the back of the light, but I saw a potential issue as a result of the heat. How long is it going to remain attached when using it at full output? Will the heat melt the adhesive? With this concern I decided to test things out. I need not have worried, with the light at full output and hung vertically on a smooth surface it remained stuck securely for the entire run time. However, it did peel away from the back of the light as I was removing it.

Additional features

The effectiveness of the light’s special effects settings are variable. In my opinion, the ‘faulty bulb’ mode is probably the best while the ‘TV’ mode is least effective. This mostly comes down to an inability to produce RGB colors and the rather digital nature of the effect. There’s only a little subtlety to the fade-in and fade-out of the light when it simulates illumination from a TV screen.

Placing the light under running cold water is a helpful way to cool it down after it’s been used at full output.

On the other hand, the cadence of the paparazzi effect is very good. However, due to the duration of the flashes you’ll still see rolling shutter artifacts on your videos. Maybe this is deliberate, but I’d rather have seen a slightly longer activation time to mimic flashes on film or CCD cameras.

Another string to its bow comes in the form of environmental sealing, waterproof to a claimed depth of 10m, which unfortunately I was unable to test. (Although submersing it in a plastic container to a depth of about 25cm did it no harm.) Placing it under running cold water is also a helpful way of cooling the light down after it’s been used at full output; just make sure you have the USB cover attached.

Included accessories

In addition to the light, you get 6 color correction gels in 1/4, 1/2 and full CTO and CTB. These are held in place with the supplied gel holder and can be stacked 2 deep. These aren’t quite true gels as they are in fact hard plastic, but that’s what Aputure call them.

The included gel set includes three CTOs, a diffuser and three CTBs.

Along with the color correction gels you also get a diffuser gel, as well as hard diffuser made from silicone rubber. The latter can be slipped over the gel holder or onto the light itself to provide an additional level of diffusion with a loss of 2.5 stops. It’s possible to use both diffusers and one of the color correction gels at the same time, although then there’s an even greater penalty in terms of light output.

The gel holder, which accommodates up to two gels at a time, employs clips at either end, though magnets might have been better.

Effectiveness

So, after all the figures and the impressions how does the AL-MW perform? Actually, really quite well. I’m a bit of a sucker for small things that punch above their weight and this product certainly belongs in that category.

It’s very convenient thanks to its size, and I find that I’m actually using it in my work quite a lot. It’s also very solidly built and feels able to take more than just the odd knock. However, its size also means that with the supplied accessories you can’t get a very diffuse light. Softness is directly related to the size of the diffuser (and distance from the subject). As a result its use as a soft key light is going to be limited.

Room for improvement?

I do have a concern that the gel holder attachment is more fragile than I would have liked, and it doesn’t instill confidence when attaching or removing it. I wish that Aputure had employed a magnetic attachment system rather that the clip-on one provided as failure of the clip is my key concern. Although, I should add that in 6 weeks of using and testing this light it hasn’t proven to be a weakness yet, so maybe I’m worrying unnecessarily.

I would also like to have some sort of barn door attachment to shape the light as the horizontal angle of the beam is around 160 degrees. Although it’s nice and even without the diffuser, I would like to have seen some way to sculpt the light without having to rely on 3rd party solutions or jury-rigging some black wrap.

The included silicon diffuser is effective, though its small size means it won’t produce diffuse enough light for some applications, such as using it as a soft key light.

As part of my wish list I’d love to see a version of this light that could be controlled remotely, which would allow for a couple set to different levels that could be ganged together.

Is it for you?

Due to its size this isn’t going to be your key light for full length interviews, although there are lots of situations where you will find yourself using it if it’s in your bag. It doesn’t take up a lot of room, the powering options free you from the wall and it can give you decent run time, especially if you combine it with an external USB battery.

While not a truly disruptive product, the Aputure AL-MW offers enough advantages in one package to be kept close at hand. It’s powerful for its size, small, rugged and great quality. It has found a place in my camera bag.

What we like

Small size
Output level and quality of light
USB-C charging
Range of included accessories
Environmental sealing
Case

What we don’t like

Gel Holder doesn’t inspire confidence
Effectiveness of special effects modes varies
Battery meter could reflect run time more accurately

Articles: Digital Photography Review (dpreview.com)

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Sony adds enhanced Real-time Eye AF, Animal Eye AF and interval shooting to the a7R III, A7 III

11 Apr

Sony has released firmware version 3.0 for its a7R III and a7 III full-frame mirrorless cameras, bringing enhanced real-time Eye AF functionality as well as an Eye AF mode designed specifically for animals.

Enhanced Real-time Eye AF

Sony’s enhanced Real-time Eye AF is now available in the AF-C focus mode and works with a half-press of the shutter button, or when pressing the AF-ON button. When set to function with a half press of the shutter or with the AF-ON button, Real-time Eye AF will continue to operate as usual, even if no eye is found in the scene. If you choose to map the Real-time Eye AF function to a custom button, you will lose out on this functionality.

Firmware version 3.0 seen installed on an a7 III camera.

Real-time Animal Eye AF

It’s not just human eyes Sony is focusing on either. Firmware version 3.0 brings — for the first time ever in an interchangeable lens camera — Animal Eye AF, a new autofocus mode that uses AI-trained algorithms to pinpoint and focus on the eyes of wild animals and pets.

Like Real-time Eye AF, Animal Eye AF works with AF-C focus mode and is activated with the half press of the shutter button or when assigned to the AF-ON button. It’s worth noting however, that you must choose between the ‘Human’ and ‘Animal’ Eye AF mode in the menu before shooting. Sony also notes that due to the large amount of data required to track animal eyes, the Animal Eye AF likely won’t perform as well as the Human Eye AF.

Interval Shooting mode

Firmware version 3.0 also brings an interval shooting mode first seen in the Sony a6400. Now, it’s easy to capture between 1 and 9999 photographs in 1 to 60 second intervals. The new feature also includes an auto exposure (AE) sensitivity setting that can be adjusted between High, Mid or Low to account for changing exposures throughout the set capture time.

The resulting images can also be put together into a full video using Sony’s Imaging Edge app, which will process the Raw photographs and output the final video to YouTube, PlayMemories Online and other online video services. Below is a video shared by Sony showing a video produced with the new Interval Shooting mode.

Other changes found in firmware version 3.0 for a7R III and a7 III cameras include support for Sony’s wireless remote commander RMT-P1BT, the ability to assign the ‘Menu’ button to a custom key and general stability improvements.

As for the a9, Sony anticipated firmware version 6.0 will be released Summer 2019 and will include Animal Eye AF and the interval shooting modes now available for the a7R III and a7 III.

Firmware update 3.0 is available to download now on Sony’s website via the Sony a7R III support page and the Sony a7 III support page. As the firmware was only released at the time of publishing this article, we will be spending time with the firmware update to provide more hands-on insight at a later time.

Press release:

New Firmware Update for Sony a7 III and Sony a7R III Boosts Eye AF Capabilities and Adds Interval Shooting for Time Lapse

Sony’s acclaimed a7 III and a7R III mirrorless cameras have received an exciting firmware update—Software Version 3.0— that enhances Real-time Eye AF performance and adds Real-time Animal Eye AF and interval shooting for time lapse.

Real-time Eye AF

Software Version 3.0 brings Real-time Eye-AF to the a7R III and a7 III, an AI-driven, enhanced eye detection system that’s based on the results of machine learning. Through machine learning, Sony has created a system that can detect—and focus on—the human eye even if the subject is looking down, partially blocked in the frame, turning or backlit. This feature is available in AF-C mode with a simple half-press of the shutter button.

Real-time Animal Eye AF

As with human eye recognition, Software Version 3.0 brings AI-driven animal eye detection to Sony cameras for the first time. Advanced subject recognition allows the a7 III and a7R III to detect and track animal eyes, and is the first step in a robust animal-tracking AF system.

The development of Animal Eye AF performance will continue, increasing the range of animals recognized by the system as well the system’s ability to track their movement.

Interval Shooting

This new software adds a built-in interval timer that can be set for anywhere between 1 and 60 seconds, with a total number of shots from 1 to 9999. AE tracking sensitivity is available to be adjusted to “High”, “Mid” or “Low” in order to reduce changes in exposure.

For more information on Software Version 3.0 for the a7R III and a7 III cameras, please visit AlphaUniverse.com.

Update (April 11, 2019): Text edited to clarify Real-time Eye AF and Animal Eye AF work with AF-C focus mode.

Articles: Digital Photography Review (dpreview.com)

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Leaked images: A detailed look at the unreleased Zeiss Otus 100mm F1.4 lens

11 Apr

It’s not official yet, but it appears Zeiss will soon announce the Otus 100mm F1.4 lens for Canon EF and Nikon F mounts, making it the longest focal length in the Otus lineup. DPReview has obtained leaked images, with permission, from Nokishita showing in detail the impending manual lens and its accompanying specifications from Zeiss.

According to the leaked technical sheets (that appear to come directly from Zeiss), the lens will feature an Apo Sonnar design with 14 optical elements in 11 groups including one aspherical element placed at the very back of the lens and multiple ‘special glass’ elements throughout. It will feature an aperture range of F1.4 – F16, have a minimum focusing distance of 100cm / 39.37in and weighs in at 1336g / 2.95lbs for the Nikon F version and 1405g / 3.10lbs for the Canon EF version.

The lens features a nearly identical design to Zeiss’ three other Otus lenses — the 28mm F1.4, 55mm F1.4 and 85mm F1.4 — and features the same 86mm front filter thread as the other three to negate the need of stepping rings for filters and accessories. Below is a full gallery of product shots of the unreleased lens:

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Being the lens isn’t yet official there’s no detail on availability or pricing, but based on the $ 4,990 price tag for Zeiss’ other Otus lenses, it’s a safe bet the 100mm F1.4 will end up around the $ 5,000 mark.

Articles: Digital Photography Review (dpreview.com)

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How to Make Well Exposed Photos Every Time. Part Two: Managing Your Exposure

11 Apr

The post How to Make Well Exposed Photos Every Time. Part Two: Managing Your Exposure appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Part Two – Managing Your Exposure

This is the second article in a series of three discussing how to make well-exposed photographs. The first article covers subject choice, some common misconceptions about exposure and the photographer’s intention.

How to Make Well Exposed Photos Every Time Thai Dancer

Having identified your subject, managing your exposure then matters most. These things will influence how your photograph is exposed:

Point of view
Lens choice
Timing
Reading the light
Exposure settings

You’ll notice that I’ve placed ‘Exposure settings’ at the bottom of this list. This is because it’s the most obvious aspect of managing your exposure. I want you to consider how the other items on the list affect your exposure setting choices.

Point of view

Where you choose to take your photo from can significantly affect your exposure. Is the light behind you? Behind your subject? To one side?

By changing your position you can manage what you see in the background and how it impacts the amount of light entering your lens.

How to Make Well Exposed Photos Every Time Giant Soap Bubbles

In this photo, the reflection off the water makes up a large portion of the background. Had I not been careful with my exposure my subject may have been underexposed. In this photo, I compensated for the bright background by adding some fill flash.

Changing my point of view so I no longer included the lake in the background meant I could expose my subject well. The reflected light off the water surface no longer affected my exposure. In this photo, I did not need to use my flash as there was no strong backlight to compensate for.

Lens choice

Composition is partly governed by your choice of lens. Using a telephoto lens will include less background. In doing this, you can restrict light sources and bright areas of your composition more easily. With a wider lens, you are more likely to include more sky or other bright areas which can have some effect on your exposure.

How to Make Well Exposed Photos Every Time Rice Fields

Had I used a wider lens for my photo of these rice fields I would have included the setting sun in my composition. This would definitely have a strong impact on my exposure and the whole look and feel of my photo.

I could have eliminated the effect of the sun altogether by using a lens focal length that was slightly longer. I could have also tilted my camera down slightly, but the foreground was unattractive, and I like the sunburst.

Timing

The time you choose to make your photograph can also influence your exposure. It may mean waiting until the sun is in a different place in the sky for a landscape photo. Or you may have to calculate when to press your shutter release to avoid bright headlights of a passing car. This was the case when I photographed the image below.

How to Make Well Exposed Photos Every Time On the Iron Bridge

The timing for blue hour photos is particularly important. You must wait for the ambient light to balance with any other light source you have in your frame. This amount of time will vary depending on your proximity to the equator.

In Chiang Mai, Thailand, we have about ten minutes each evening to capture a rich blue sky with the electric lights included in the composition.

How to Make Well Exposed Photos Every Time Chiang Mai Iron Bridge

Reading the light

To be able to set your exposure you must use an exposure meter or let your camera make the calculations and settings for you.

Leaving this choice completely up to your camera is rarely best as your camera does not know what you are photographing. Your photos will potentially lack creativity.

Your camera has amazing artificial intelligence built into it, but it cannot see the way you see and discern what your main subject is. By leaving your camera settings so the meter is set to take an averaged reading and is on any auto or semi-auto mode, your camera is in control. You can use exposure compensation or set your camera manually to take control of your exposure.

One of the easiest ways to read the light is by using live view and looking at your monitor. Some cameras do not have this capability, so you need to consult your manual and do some testing to discover if you can use this method.

Checking your exposure with live view works when you have your camera set to manual mode. It’s easy to watch the light values on your monitor changes as you alter your aperture, shutter speed, and ISO. Using this method in conjunction with your histogram is recommended so you can check if there’s any clipping happening.

Using your exposure meter set so it takes a reading from the entire frame and then calculates an average exposure is okay when the light and tone is even.

When there’s any amount of contrast in the scene it’s good to take a spot meter reading directly from your subject. This will provide you with the specific information about the light reflecting off the most important part of your composition.

How to Make Well Exposed Photos Every Time Opening the Windows

For this photograph, I took a spot meter reading from the Buddhist nun, as I wanted her exposed well. Had I left my meter on the averaging mode it would have included the bright light outside and the dark interior into its calculations. This would most likely indicate a setting which would have rendered my main subject underexposed.

Exposure settings

Once you have made your exposure reading and ascertained how the light is affecting your composition, you need to set your exposure.

You may decide your subject will be well exposed by setting your aperture, shutter speed, and ISO so the meter reads zero. You may prefer to have it read overexposed or underexposed, depending on the tone value of your subject and your creative expression.

When your subject is very dark or very light, you may want to alter your exposure settings to compensate. When you take a spot meter reading the camera is calibrated to see the thing as being middle gray. This means a black or a white subject will both appear gray in your photo if your meter is reading zero.

You must decide the tone you want your main subject to be. Do you want a clearly exposed subject? Will it look better if it appears brighter than it really is? Do you want a silhouette?

For this photo of pink orchid flowers, I chose to overexpose from the reading my spot meter was giving me. I did this to produce a softer feeling in the image.

How to Make Well Exposed Photos Every Time Pink Flowers

Had I been making the photograph to document the flower and its color accurately, I would not have overexposed it. My intent was not to make a technically accurate representation of the flower.

If technical accuracy is what I wanted I would have changed my point of view to avoid the backlighting. I would have set my exposure so the color and tone rendered correctly to how the flower looked to my eyes.

Try it out and see for yourself

Find a white or black subject to photograph. Make a spot meter reading and set your exposure so that the meter is at zero. Take a photo.

Now, for a black subject, change your setting so the spot metering indicates it is two stops underexposed. For a white subject make your settings so it’s two stops overexposed.

Which photograph is most appealing? The ‘correctly’ exposed photo, or the under or overexposed photo?

How to Make Well Exposed Photos Every Time Laughing Lady

Conclusion

Experimentation is always good when lighting and subject material are challenging. If you’re not 100% certain you have a perfect exposure, (I never am,) make a series of photos whenever you can.

Tweak your aperture and/or shutter speed settings between each exposure. Don’t make huge shifts in these settings, but just enough so you have a few options to look at when it comes to post-process them.

I’d love you to leave your comments below letting me know if this article has helped you understand exposure better.

The next article in this series will cover post-processing techniques which will enhance your exposure choices.

The post How to Make Well Exposed Photos Every Time. Part Two: Managing Your Exposure appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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Archive for April, 2019

1. Consider the time of day

2. Consider your subject and viewpoint

3. Consider the exposure, aperture and shutter speed

4. Try different shutter speeds

5. Use a tripod or something for support

Conclusion

How to set the Super Clamp up

Avoid standard stud

Reversible Short Stud

Super Clamp in action

Conclusion

Aputure Amaran AL-MW$ 209 | aputure.com

Key features

Uses

Design

Variable output

Additional features

Included accessories

Effectiveness

Room for improvement?

Is it for you?

What we like

What we don’t like

Enhanced Real-time Eye AF

Real-time Animal Eye AF

Interval Shooting mode

New Firmware Update for Sony a7 III and Sony a7R III Boosts Eye AF Capabilities and Adds Interval Shooting for Time Lapse

Real-time Eye AF

Real-time Animal Eye AF

Interval Shooting

Part Two – Managing Your Exposure

Point of view

Lens choice

Timing

Reading the light

Exposure settings

Try it out and see for yourself

Conclusion

Aputure Amaran AL-MW
$ 209 | aputure.com