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Archive for April, 2019

How to Make Well Exposed Photos Every Time. Part 1 – Seeing the Light

03 Apr

The post How to Make Well Exposed Photos Every Time. Part 1 – Seeing the Light appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Part One – Seeing the Light

Opinions about what a correctly exposed photograph is must be about as numerous as what people choose to take pictures of. Some opinions are more common than others.

‘Every photograph must contain an even range of tone with no details lost in the highlight or shadow areas.’ This is the one I encounter most frequently. It’s probably been learned from technical books and academics.

Durian How to Make Well Exposed Photos Every Time

© Kevin Landwer-Johan

Performing a quick Google search on this topic brings up the Canon Australia website with this:

“The act of having ‘correct’ exposure means your combination of settings between aperture, shutter speed, and ISO speed have produced a perfectly exposed image. When nothing is blown out (highlights) or lost in shadow in an image, it has achieved correct exposure.”

I’m not including this quote to get at Canon users or Aussies, (even though I am a Nikon user and a Kiwi,) but because it represents a purely technical approach to exposure choice.

How to Make Well Exposed Photos Every Time Flower and Moss

© Kevin Landwer-Johan

How can creative expression be judged as correct?

Photography, at its best, is a creative expression of how we perceive what we see. Our world view is unique. Each of us has the ability to interpret and convey our experience through the photographs we capture.

Freedom to expose our photos so some parts of our compositions have no recorded detail is a natural part of this art form. If our minds are boxed in by technical restraints such as are expressed on the Canon Australia website, our expression is inhibited.

I’m not suggesting we disregard technical quality – this would be like throwing the baby out with the bathwater. I am recommending you reach beyond purely technical restraints to expose your photos so that they are more expressive of what they are about, not just what they are of.

Conforming to the opinion that photographs are best when no details get lost due to exposure choice can provide documentation of what you are photographing. This approach to taking pictures will not often infuse your photographs with much life, emotion, or energy, apart from what your subject may naturally provide.

Histogram bells taste like Vanilla ice cream

Vanilla ice cream – enjoyable sometimes – but plain nonetheless. You are likely to get bored with it if that’s all you eat. It’s not the most exciting flavor at the ice cream parlor.

A bell-shaped histogram indicates your camera has recorded a lot of mid-range tones and little or no extreme dark or light ones.

Striving for a bell-shaped histogram is not going to produce the most flavorsome photographs. At times you’ll make a great image that’s got a bell-shaped histogram, but not often.

I believe it’s a common myth that the ideal histogram is bell-shaped.

 

Even Exposure Buddha Statue How to Make Well Exposed Photos Every Time

You can see that the histogram for this image is reasonably balanced. There are no spikes to the left or right. This indicates we will see detail in the darkest and brightest parts of the composition.

I took the photo mid-afternoon on an overcast day. Because the light was soft and even, and the tones in my composition are all fairly neutral, I have obtained a ‘correct’ exposure.

How to Make Well Exposed Photos Every Time Contrast-Buddha-Statue

Subscribing to the ideal of the bell shape, you might look at this histogram and think the photo is extremely underexposed. You might even consider deleting such an image based on this information alone.

It is the same statue photographed on a sunny day in the mid-afternoon. It’s a much more appealing photograph than the one made on the overcast afternoon.

It was my intention to lose shadow detail. I wanted to isolate the statue from the dull background and add some drama.

Exposure choices are as personal as ice cream preferences

How to Make Well Exposed Photos Every Time Chocolate Ice Cream

© Kevin Landwer-Johan

Seeking to only create photos with an even exposure throughout the tone range is like choosing to eat just vanilla ice cream and always ignoring all the other flavors.

Great photographs express what the photographer sees and experiences. Sometimes they are technically correct, many times they aren’t. It all comes back to the intent of the photographer.

Choosing to let most of your composition fall into darkness is your choice. If you want to use the shadow areas to enhance your subject, then do it. If light streaming into your lens from behind your subject creates softness and depth of feeling, let it happen.

Don’t just focus on the technical details. You will usually end up with photos containing little or no feeling.

Before you bring your camera up to your eye, you need to see the light. Consider the brightest parts of a scene. Are they important? Do you need to show detail in them to convey what you want to with your photo?

Likewise for the dark areas of your photo – if there are a lot of distracting elements in the shadow areas – let them be buried in the darkness.

How to Make Well Exposed Photos Every Time Woman Tourist with an Elephant

© Kevin Landwer-Johan

Behind the woman and elephant was a large, open building casting a helpful shadow over its messy interior. By positioning myself so I could only see the shaded area behind my subjects, I knew I could isolate them. I set my exposure for the woman’s face, as it’s the most important part of my composition.

The fact that the background is dark and contains no detail helps make my photo stronger.

Understanding light and tone will help you make more interesting exposures. Knowing how your camera evaluates and records light and tone is equally as important. How to manage your exposure is the topic of the next article in this series.

What’s the most important element in your composition?

Recognizing your key subject is an important early decision in taking a photo. Most often it will be your first.

This will be what you focus on and what you want to expose well, (usually). If your subject has a wide tonal range – say a bride in a white dress and a groom in a black suit – be careful. Your camera will not be able to render detail both in the dress and the suit because the tones are extremely different.

Likewise, if part of your subject is in bright sun and part is in the shade, you will need to choose your exposure carefully. The contrast created by sunlight and shade is also extreme.

Discerning your primary subject helps you compose everything in your frame around it. Exposing it well helps make it the center of attention in your photograph.

How to Make Well Exposed Photos Every Time Fancy Kaftan

© Kevin Landwer-Johan

What mood do you want to capture or create?

To me, the answer to this question is more important to focus on than trying to obtain a full tonal range in my photographs.

The type of light you’re photographing in will influence the feeling in your photographs. So will your exposure choice. Is the light bright and hard, or soft and gentle? Should you set your exposure so you can see all the detail in the shadows or chose to let them become very dark and contain little or no detail?

Letting your camera make these choices for you, by not controlling your exposure, your photos may become flat and somewhat lifeless. By taking control and exposing your main subject well you can infuse story, drama, and imagination.

How to Make Well Exposed Photos Every Time Karen Grandpa

© Kevin Landwer-Johan

I have a mantra of sorts. Look. Think. Click.

Look at what you want to photograph. See what is before you. Your subject, it’s surroundings and the background. The light.

Think about how you want to portray your subject. What is your intention?

How much or how little do you want to include? What will fill your frame?

What quality is the light and how will it affect your photo?

Where will you stand or position yourself?

When will be the best time to take your photo?

Which exposure settings will you choose to best suit your intention?

Click. This should only happen once you have thought these things through.

How to Make Well Exposed Photos Every Time Chedi

© Kevin Landwer-Johan

It may seem a whole lot to do before taking a photograph, but this is what makes the difference between a snapshot and an image you may want to have framed and hang on your wall.

In the next article in this series, I will cover how to manage your camera settings to match your intent.

The post How to Make Well Exposed Photos Every Time. Part 1 – Seeing the Light appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Interview: Understanding RF, DS and DO – we talk to Canon about its latest lenses

03 Apr
Left to right: Yoichi Sato, Manabu Kato and Shogo Yamaguchi

At the launch of the Canon EOS RP in February we had the chance to sit down with a selection of senior engineers and planners to discuss the R series and its lenses. They talked to us about the RP and the six lenses whose development was announced alongside it, but also gave some insight into where the R series is heading.

  • Manabu Kato – Head of EF + RF mount R&D
  • Yoichi Sato – EOS camera electronics R&D
  • Shogo Yamaguchi – Optical planning specialist

What’s the biggest challenge for Canon over the coming years?

One of the challenges from the lens side is that, obviously we switched mount: we added the RF mount. We’ve kept the same mount for over 30 years, that was really big, and we kept lens compatibility for a long time. But when we started the new mount had to start from scratch and prepare a lot of new lenses, so that’s been a big challenge for us. Of course, it’s very exciting that the new mount opens up whole new possibilities in lens design and expand the boundary of image capture.

How do you prioritize which lenses to develop?

So the idea for the initial four lenses was we wanted to deliver the surprise factor, so we decided to deliver the 28-70mm, as well as the 50mm F1.2, with stunning resolution. That was the concept behind these two lenses.

With 24-105mm we thought it would be the best match as a standard zoom lens to the EOS R camera, and the 35mm F1.8 was supposed to be an affordable and compact travel companion. Those were the concepts behind the four initial lenses.

With the six additional lenses that we introduced as development announcements this time, we believe we will be able to deliver more surprise factors, for some models compactness. These two concepts with the addition of these models.

How have you made the 70-200mm so small?

Canon’s RF 70-200mm F2.8 L mockup, alongside the EF version. Although it’s not clear from this mockup, we expect the RF version to extend on zooming.

We were actually surprised as we started developing this particular product. The idea is that, with the introduction of the large diameter mount with the shorter back-focus distance, we were expecting it to be more suitable for designing wider-angle lenses, but it turned out to be very effective for designing this telephoto lens.

So this is largely due to the fact we have this new mount: it has become a really big contribution to designing this really compact telephoto zoom lens. So we hope we were able to give more of a ‘wow’ factor with the introduction of this telephoto zoom lens.

I apologize that this is all we can talk about, as of now, but we hope to talk more about it as we make an official announcement of this product.

It doesn’t use a Diffractive Optics design, then?

We decided not to use Diffractive Optics with this lens, this time, but we are working on this particular technology and we are experimenting with different designs and so forth, to see how we can use this DO technology in future.

Can you give any insight into the DS technology?

With lens such as the 85mm F1.2 bokeh is a really important factor, because it’s a portrait lens. We really wanted to deliver something that was not possible with the conventional lenses, so we decided to develop this technology of defocus smoothing.

There will be two versions of the RF 85mm F1.2L USM: a ‘DS’ variant will feature ‘defocus smoothing’ technology.

The fact with our DS technology is that it’s a coating technology, so it’s relatively easy to apply this technology to a range of different lenses. This is all we can say at this moment.

There are going to be two versions, does this imply the DS technology is quite expensive?

There’s a price factor but, with the DS element it’s not the case that it’s superior in every way. There’s some differences: some challenge in maintaining the illuminance. With transmittance, we lose some light as it goes through the DS element, so that is one difference of having the DS technology. So it’s not like one version is obviously better than the other.

That sounds like an apodization effect.

Yes

Some lenses designed to match the EOS R and others designed to impress and surprise, what lenses do you imagine EOS RP users buying?

At this moment, the best match would be the 35mm F1.8 and we believe the 24-240mm lens that we announced will be a good companion to the EOS RP body.

We were able to mount the 24-240mm mockup on an EOS RP body, to give some idea of the size.

One thing that’s important about our system is that you can adapt a lot of lenses. Truly a variety of lenses: you can adapt some of the really compact EF lenses, that’s an option too.

Obviously we’re working on a lot of really compact lenses in the future, so I hope you’ll stay tuned to hearing from us.

The pro-level ‘L’ series lineup looking impressive: how far into the future are you planning?

I’m sorry, the roadmap is all we can say for now. We have a full lineup of what there should be: a full lineup of the RF lenses. And what we do among those lenses we choose which to prioritize, that’s the concept of how we decide what to work on next.

With this many professional lenses being announced in 2019, does that mean a body isn’t far behind?

All we can say is that we’re working on a lot of different types of cameras. I can’t pinpoint when a specific camera will come. We understand that expectations are really high.

What are the advantages of the faster communication between lens and body that the RF mount allows?

A good example is that we are working on a combination of optical and body stabilization, working together to give enhanced IS. That would be a good example of being high speed communication system in RF.

We are working on a combination of optical and body stabilization, working together to give enhanced IS

There are numerous things that we will be able to deliver, through the introduction of the new communication system. The combination of RF lens and body, the Dynamic Lens Optimizer (DLO) data can be transferred automatically to the body. So users will be able to use in-camera DLO for new lenses without needing to download an update from their computer.

We’ve previously talked about how we’re looking another 30 years into the future. We have to think about what might be possible with another 30 year in mind, we have to think that far into the future. So at first glance this communication system might be too much for what’s been made possible, as of now. But we have to look so far into the future that this system has to have a lot of potential.

I think most people now understand how forward-thinking the EF mount was for 1987

Looking back after 30 years of EF lens and mount, we can’t help but thank our predecessors for being so forward-thinking: delivering a fully electronic mount at that time in history. We hope we were able to deliver the type of communication system that our future generations of designers, thirty years down the road will be thankful us for being so forward-thinking.

Is there anything else you’d like to tell our readers?

So in terms of the six lenses, once we’ve launched these we’ll have ten RF lens models. I hope we can convince our users we’re serious about this mount, serious about this system.

We hope your readers will understand each of these designs are unique, and are impressive in every way, in terms of the specifications, in terms of the size. I hope your readers understand the potential of the system.

Please don’t forget the pro-level camera that you’re expecting is on the way

We hope that with the introduction of the RP, the main purpose is we hope we’re making full frame more accessible to more people. That’s what we’re trying to do with this camera. We hope that a lot of beginners in photography will be able to enjoy what is possible with the full frame sensor and we hope to expand the market of full-frame camera, overall.

Please don’t forget the pro-level camera that you’re expecting is on the way.

Also important, we see people speculating that we’re terminating the DSLR or the M-series development. What we can say is that we’re developing, simultaneously, multiple DSLR, M-series and R-series models. Our approach is to leverage our lineup strategy but at the same time, we’d like to listen to our customers’ feedback and make decisions based on this.

Should we expect to see more lenses like the EF-M 32mm then?

The Canon EF-M 32mm F1.4 is one of the few photographically ambitious lenses available for the EOS-M system.

The reason we launched the 32mm for EF-M came from closely listening to users and what the market was asking for. So we were really happy that we were able to deliver something that a lot of users will be able to enjoy and we’re really confident about the performance of this lens.

One of the goals of the EOS RP was meant to be a good step-up for current APS-C users. We hope it’s possible for APS-C users to step up to the FF camera market.

Editor’s note: Richard Butler

We conducted this interview a few hours after Canon revealed the six RF-mount lenses it plans to launch in 2019 and, although they wouldn’t be drawn on specifics, we did uncover a few interesting details.

The confirmation that the 70-200mm F2.8 won’t use diffractive optics was interesting (a Canon patent for an extending 70-200 has subsequently come to light), as was the confirmation that the 85mm DS will use an apodization filter effect to smooth the edges of its bokeh.

Canon has only released a mid-level and entry-level R-series camera so far, but its lineup is awash with pro-focused ‘L’ lenses.

On the cameras side of things, the interview confirmed what we believed about the RP: that it’s a concerted attempt to expand the market to reach a new type of user that wouldn’t have previously considered a full-frame camera (and, as a result, a different type of user than the one Sony has already been targeting with its a7 models).

It was interesting to hear Canon confirm that there will be a pro-level camera: something that can be easily deduced from the company’s lens lineup, but still good to have confirmed. But it was the statement that Canon is working on a combined in-body and in-lens image stabilization system that most stood out.

Many of these are themes that we took up with Canon when we met them at CP+ in Yokohama. There’ll be further insights coming in that interview, tomorrow.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS RP review

03 Apr

Intro

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Silver Award

83%
Overall score
Jump to conclusion

The Canon EOS RP is among the smallest and lightest full-frame cameras on the market, and is the least expensive full-frame camera at launch, ever. And though its specifications aren’t going to set the world on fire, the RP is a likable little camera with solid JPEG image quality that will be a fine photographic companion for casual users and those already within the Canon ecosystem looking for a compact second body.

Key specifications:

  • 26.2MP Dual Pixel CMOS sensor
  • 4K/24p (from 1.7x crop region)
  • 4 fps continuous shooting with continuous AF (5 without)
  • Pupil detection AF in continous/Servo AF mode
  • AF rated to -5EV (with an F1.2 lens)
  • Digic 8 processor
  • 2.36M dot OLED viewfinder
  • Fully-articulated 1.04M dot touchscreen
  • Twin command dials
  • CIPA rated to 250 shots per charge

Accounting for inflation, the EOS RP (body-only) is priced within $ 75 of the original 6MP Canon Digital Rebel / EOS 300D that was released back in 2003 – a camera that really helped bring large-sensor digital photography to the masses. And like the Digital Rebel, the EOS RP promises to offer a bit of a stripped-down shooting experience in exchange for its large full-frame image sensor at a reasonable cost. It’s worth noting, however, that the earlier Rebel debuted with a range of relatively low-cost lenses designed for it – not so much the case today.

While other manufacturers are moving ever further up-market with more expensive and capable devices, the EOS RP stands alone in providing more novice or budget-constrained users with access to the shallower depth-of-field that full frame cameras offer over those with APS-C or smaller sensors. There are caveats, though, in that the RP is a poor choice for those looking to shoot video, and the native lens selection is lacking at this time.

The EOS RP is available now at a price of $ 1299 body-only, $ 1999 with the EF adapter and a 24-105mm F3.5-5.6 lens, and $ 2399 with the native RF 24-105mm F4L lens.

What’s new and how it compares

The EOS RP has a lot of ingredients we’ve seen in other Canon cameras before, but certainly not at this price point.

Read more

Body, handling and controls

The EOS RP’s diminutive size and light weight don’t get in the way of some well thought-out controls.

Read more

Image quality

Take a look at how the RP stacks up in our standard studio test scene.

Read more

Shooting experience

Get a sense for how Richard Butler got along with the EOS RP, and how sometimes, likability may trump capability.

Read more

Is the EOS RP right for you?

We take a look at some common photographic use-cases and see how well the EOS RP is suited for them.

Read more

Autofocus and performance

We take a look at tracking performance, pupil detection and more on the EOS RP.

Read more

Video

The EOS RP shoots both 4K and 1080p footage, but the quality of its video capture is somewhat lacking.

Read more

Conclusion and sample gallery

Want the full list of specifications for the EOS RP? We have you covered.

Read more

Specifications

Want the full list of specifications for the EOS RP? We have you covered.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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Tamron SP 24-70mm f/2.8 Di VC USD G2 Lens Review

03 Apr

The post Tamron SP 24-70mm f/2.8 Di VC USD G2 Lens Review appeared first on Digital Photography School. It was authored by Kunal Malhotra.

The 24-70mm is undoubtedly one of the most desired lenses because of obvious reasons. The focal length range in a single lens enables you to capture multiple genres of photography such as street, landscape, portraits, and travel.

Recently, I got my hands on the Tamron SP 24-70mm f/2.8 Di VC USD G2 Lens, and I have been using it for more than a month now. I also made a comparison with the Canon variant, which I talk about at the end along with sample images.

This lens is available in both Canon and Nikon mounts designed for FX and EF format cameras. It can also be mounted on DX/EF-S bodies.

Build quality and ergonomics

Talking about the construction of the Tamron 24-70mm f/2.8 G2, it consists of 17 elements in 12 groups and 9 rounded diaphragm blades. This lens has moisture-resistant construction, and the front element has fluorine coating which protects against dust, dirt, and smearing.

The moment I held the Tamron 24-70mm f/2.8 G2, my first impression was that this lens feels premium. With the new SP series, Tamron has revised the design of their professional lenses and made them more sturdy. The AF/MF and VC ON/OFF switches are of superior quality, and the rubber grips for focus and focal length adjustment feel comfortable.

One thing that impresses me on this Tamron lens is the placement of the focal length ring. I have been used to the Canon 24-70mm f/2.8 lens which features the focal length ring placed near to the camera. Whereas, the Tamron 24-70mm f/2.8 G2 lens has it placed near to the front element. After using both the lenses, I feel that the focal length ring placement is much more user-friendly on the Tamron lens.

In regards to technology advancements, the Tamron 24-70mm f/2.8 G2 lens is compatible with TAP-in Console (to be purchased separately) for fine-tuning focus adjustments and also to update the lens firmware.

Focus speed and accuracy

The lens features an Ultrasonic Silent Drive auto-focus motor which is designed to provide quick and accurate focusing performance. After using the lens for a month, I feel the focus is precise and swift, even with fast moving subjects. As a street and travel photographer, my priority is to nail the focus, and this lens compliments my camera very well.

I also took the Tamron 24-70mm f/2.8 lens for a spin in low light conditions, and I was happy to see how fast it locked the focus. Even in continuous focus mode, it hardly hunted for focus. Overall, this lens is a charmer in the focus speed and accuracy department.

After using the Canon 24-70mm f/2.8 lens for almost 3 years, the Tamron lens did not make me feel that I was using a slower lens. It was almost the same experience for me. With the closest focusing distance of 1.25ft or 15inches (same as the Canon variant), I was also able to shoot some close up shots.

Sharpness and Image Quality

There is one highlighting feature in this Tamron zoom lens which the Canon variant is missing, and that is VC (Vibration Compensation) or Image Stabilization. VC helps in minimizing the camera shake by up to 5 stops, which can be effective in low light conditions.

The VC on this lens helped me shoot at slower shutter speeds such as 1/10th -1/15th sec and lower ISO values without introducing shake in the images. Practically, I was able to achieve 3.5-4 stops of Image Stabilization performance with this lens, which I could not from my Canon variant.

Canon vs Tamron 24-70mm f/2.8

From f/2.8 to f/4 the Canon is slightly sharper at the center and has better contrast performance. But as I tested, these lenses at f/4 and narrower, both started generating similar results in terms of sharpness and contrast.

Overall, the Canon 24-70mm f/2.8 lens scores better in terms of image quality. Whereas, for me, the Tamron is a winner considering its price-to-quality ratio and the build quality.

LEFT: Shot at 1/15th sec with VC OFF. RIGHT: Shot at 1/15th sec with VC ON

Conclusion

At a good price point, the Tamron SP 24-70mm f/2.8 Di VC USD G2 Lens seems like a great choice for travel, street, wedding, and even landscape photography. The image quality is superior, and the focus speed and accuracy is spot on. If you are looking for a 24-70mm f/2.8 lens which is slightly cheaper than the Canon//Nikon variant but still performs very well, this could be an ideal choice.

The post Tamron SP 24-70mm f/2.8 Di VC USD G2 Lens Review appeared first on Digital Photography School. It was authored by Kunal Malhotra.


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This online tool calculates the “exposure” you should demand when being asked to work for free

03 Apr

Many photographers (and other creatives) know the situation very well: you’re offered a freelance job but once the conversation turns to remuneration it becomes clear that there won’t be any hard cash but instead you’re expected to accept ‘exposure’ in some vague shape or form as payment.

Problem is, it’s very hard to put a value on exposure. The people behind Photography Domination have now come up with a way of quantifying how many ‘exposures’ your photography is worth.

The Exposure Calculator is an easy-to-use online calculator that lets you input some information about your work, for example your level of experience, the photographic genres you work in, your equipment, the number of followers of your Instagram account etc. When you hit the “Calculate” button you get the number of “exposures” you should asking for as a result.

In a very helpful way the calculator also provides conversion rates to US dollars, leads and exposure to social media followers.

Just in case it wasn’t entirely clear that the calculator shouldn’t be taken too seriously, there are notes saying ‘This calculator is obviously created with parody intentions’ and ‘Of course, if you’re serious about becoming a photographer you should almost never work for “exposure” alone.’

Maarten Mellemans, the creator of the calculator, has also authored a blog post in which he gives advice to photographers receiving ‘work-for-exposure’ offers.

Articles: Digital Photography Review (dpreview.com)

 
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Getty Images sued over ‘deceptive’ licensing public domain images

03 Apr

CixxFive Concepts, a digital marketing company based in Dallas, Texas, has filed a class action lawsuit against Getty Images over its alleged licensing of public domain images. The complaint, which was first reported by TechDirt, accuses Getty of violating RICO and the Washington Consumer Protection Act, among ‘other claims.’

The lawsuit, embedded below, alleges Getty Images has been…

…fraudulently claiming ownership of copyrights in public domain images (which no one owns) and selling fictitious copyright licenses for public domain images (which no one can legally sell), including operating an enterprise of third-party contributors to perpetrate this egregious scheme.

Though CixxFive acknowledges that it is not illegal to sell public domain images, the company alleges that Getty’s ‘conduct goes much further than this,’ claiming it has utilized ‘a number of different deceptive techniques’ in order to ‘mislead’ its customers — and potential future customers — into thinking the company owns the copyrights of all images it sells.

The alleged actions, the lawsuit claims, ‘purport to restrict the use of the public domain images to a limited time, place, and/or purpose, and purport to guarantee exclusivity in the use of public domain images.’ The lawsuit also claims Getty has created ‘a hostile environment for lawful users of public domain images’ by allegedly sending them letters, via its License Compliance Services (LCS) subsidiary, accusing them of copyright infringement.

In listing examples of Getty’s allegedly deceptive actions, the lawsuit states:

One aspect of the deceptive nature of Getty’s and/or Getty US’s licensing scheme is that Getty and/or Getty US claims copyright on all of the content on its website. For example, the bottom of each page of its website states: “All contents © copyright 1999-2019 Getty Images. All rights reserved.”

Also, specific public domain images are overlaid on Getty and/or Getty US’s website with the © symbol followed by an entity or contributor name, indicating that the image is protected by copyright. The same © symbol and information is also provided next to the public domain image.

CixxFive claims it has licensed public domain images from Getty, pointing to two images specifically that are available for free from the Library of Congress and NASA. The lawsuit claims that Getty’s licensing of public domain images has ‘injured CixxFive and the public, and will continue to do so unless brought to a halt by this court.’

It’s doubtful CixxFive will prevail in its lawsuit against Getty, as it’s legally allowed to sell public domain images, as unethical as it may be. Getty has previously won two past lawsuits related to image licensing: one from photographer Carol Highsmith filed in July 2016 and another from press agency and wire service Zuma in August 2016.

Articles: Digital Photography Review (dpreview.com)

 
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Canon launches four new 4K / 30p professional camcorders in XA range

03 Apr
Canon XA55

Canon has added four new models to its XA range of professional camcorders updating the series to include its first models capable of 4K / 30p recording: the XA55, XA50, XA45 and XA40.

All four of the cameras are aimed at professional news, broadcast and corporate videographers. They providing 5-axis OIS support for their wide ranging zoom lenses and feature dual XLR sockets built-in to the handle for linear PCM audio recording.

The XA55 and XA50 are essentially the same camera just with the addition of an HD-SDI (3G-SDI in Europe) terminal in the XA55. Both use 1″-type sensors and use Canon’s Dual Pixel AF system. They have a 15x zoom that covers the angle of view we’d expect from a 25.5-382.5mm lens on a full frame system, and both offer a Wide Dynamic Range Gamma mode that Canon says increases the DR by 800% to improve detail in highlight areas and to produce more accurate color.

The XA45 and XA40 use smaller 1/2.84-inch sensors and have 20x zoom lenses (29.3-601mm). As well as offering 4K / 30p recording each of the new models provides an over-sampled HD footage mode.

A fifth model launched at the same time has many of the features of the XA55 according to Canon, but is aimed at the budget/student market and doesn’t feature an overhead handle. The Canon VIXIA/LEGRIA HF G60 4K UHD uses a 1″-type sensor, has Dual Pixel AF and a 15x zoom with a variable maximum aperture.

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Some existing Canon camcorders will also benefit from new firmware:

  • XF705: Firmware Version 1.0.1.1 now features improved zoom response when using the zoom ring or zoom rocker, improved focus following speed during zooming, and improved image quality of interlaced recording.
  • XF405/XF400: Firmware Version 1.0.3.0 now features IP streaming, the ability to set custom white balance, support for the reset function that resets the clip number when the reel number is set and improved image quality of interlaced recording.
  • XF405 only: Firmware Version 1.0.3.0 now features 3G-SDI mapping at level A and level B.
  • VIXIA GX10: Firmware Version 1.0.3.0 now features the ability to set custom white balance.

The new XA55 and XA50 models are due to ship in June this year and will cost $ 2699 and $ 2199. The budget VIXIA/LEGRIA HF G60 will arrive at the same time and will cost $ 1699. Those interested in the XA45 and XA40 should see their cameras later this month, at a cost of $ 2199 and $ 1699.

For more information see the Canon website.

Press release:

Four New Canon XA Professional Camcorders Feature 4K 30p High-Quality Recording
XA55, XA50, XA45 and XA40 Camcorders Deliver Crisp 4K Imagery in Compact Bodies at Affordable Price Points

Meeting videographer needs for a variety of applications, Canon U.S.A. Inc., a leader in digital imaging solutions, today announced four new additions to the lineup of XA Series professional camcorders, the XA55, XA50, XA45 and XA40. These four camcorders are the first in the series to feature 4K 30p recording. They also include a detachable XLR handle and the XA55 and XA45 each feature an HD-SDI terminal. In addition, the company has announced the Canon VIXIA HF G60 4K UHD camcorder, a budget-friendly, compact-and-lightweight camcorder.

“Often spending their days and nights working in fast-paced environments, videographers need a camcorder that is affordable, reliable, and delivers great images,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc. “These new camcorders meet the needs of a variety of users, including those capturing news, shooting influential documentaries, educating young filmmakers or developing content for their companies.”

All of the camcorders feature Canon’s five-axis Intelligent Optical Image Stabilization system, providing users with powerful image stabilization via a Dynamic mode, which helps reduce image distortion, even when shooting while moving. The ergonomically designed and highly portable camcorders have a three-inch LCD touch panel screen and user-friendly, tilting, high-resolution Electronic View Finder (EVF).

The XA55 and XA45 are excellent options for news reporting and documentary shooting, while the XA50 and XA40 are geared more towards broadcasting schools, government agencies and corporate-video production companies. The affordable VIXIA HF G60 caters to advanced amateur videographers who need a 4K UHD camcorder to shoot a wedding or a student film project.

The XA55 and XA50 camcorders both feature a 1.0-inch sensor, nine-bladed circular aperture and Dual-Pixel CMOS AF with a 15x (25.5-382.5mm) genuine wide-angle Canon optical zoom lens. For natural and realistic life-like imagery the XA55 and XA50 camcorders feature a Wide Dynamic Range (DR) Gamma mode. This lowers the barrier for focusing, especially when shooting in 4K, which requires strict focus accuracy. By suppressing overexposure in high- brightness areas of the composition, this mode helps achieve a wide dynamic range of 800 percent to help produce seamless tone gradations, resulting in smooth detail, accurate color and virtually no blown-out highlights. The camera’s Dual Pixel Focus Guide takes advantage of Dual Pixel CMOS AF data to display focus-assist information on the screen. The camcorders also record 4K UHD/30p (4:2:0 8 bit) and 1080p Full HD (4:2:2 10 bit) via SDI/HDMI Output in XF-AVC and MP4 format to dual-card SD card slots with dual and relay recording.

The XA45 and XA40 camcorders both feature an eight-bladed circular aperture with the ability to record 4K UHD/30p (4:2:0 8 bit) and 1080p Full HD (4:2:2 10 bit) via SDI/HDMI Output) in MP4 or XF-AVC format to dual-card SD card slots with dual and relay recording. To help provide enhanced image quality over its predecessor, over sample HD processing can be utilized with information obtained from the 4K 1/2.84-inch sensor and the DIGIC DV 6 image processor. Both camcorders boast a 20x (29.3-601mm) genuine wide-angle Canon optical zoom lens.

The Canon VIXIA HF G60 4K UHD camcorder is packed with many of the same great features found in the XA55 and XA50, like a nine-bladed circular aperture, Dual Pixel Focus Guide and Wide DR, but with the budget- conscious user in mind. The affordable camcorder is an ideal tool for young videographers taking their first steps in the craft and will be sure to please due to its compact-and-lightweight form factor in addition to ease of use.

Additionally, Canon today announced firmware updates for the XF705, XF405/XF400 and VIXIA GX10 camcorders. New features by model include:

  • XF705: Firmware Version 1.0.1.1 now features improved zoom response when using the zoom ring or zoom rocker, improved focus following speed during zooming, and improved image quality of interlaced recording.
  • XF405/XF400: Firmware Version 1.0.3.0 now features IP streaming, the ability to set custom white balance, support for the reset function that resets the clip number when the reel number is set and improved image quality of interlaced recording.
  • XF405 only: Firmware Version 1.0.3.0 now features 3G-SDI mapping at level A and level B.
  • VIXIA GX10: Firmware Version 1.0.3.0 now features the ability to set custom white balance.

Pricing and Availability
The Canon XA55, XA50 and VIXIA HF G60 are scheduled to be available in June 2019 for estimated retail prices of $ 2699.00, $ 2199.00 and $ 1699.00, respectively. The XA45 and XA40 4K UHD video camcorders are all scheduled to be available in April 2019 for estimated retails prices of $ 2199.00 and $ 1699.00, respectively*. For more information, please visit, usa.canon.com.

Articles: Digital Photography Review (dpreview.com)

 
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Tiffen launches Steadicam Steadimate-S vest adapter for single handled gimbals

02 Apr

Tiffen has introduced a device aimed at owners of single handled gimbals like the DJI Ronin-S that allows them to connect their device to a Steadicam vest and arm to add extra stability. The Steadicam Steadimate-S is said to make holding single handle gimbals much easier too, so operators will be able to use them for longer without tiring.

Tiffen already markets the Steadicam Steadimate, which is designed for dual handled gimbals such as the DJI Ronin, and this new model works on the same principles but for single handled devices. The Steadimate-S consists of a bracket and a pair of counter weights. The bracket attaches the gimbal to the arm of the Steadicam vest and the weights ensure the gimbal remains upright. The gimbal then becomes part of the vest and benefits from the z-axis stabilization of the Steadicam arm as well as the x/y-axis stabilization of the gimbal’s own gyro head. The company says this arrangement helps to eliminate the ‘bounce’ often seen in footage shot with single handed gimbals in walking shots.

Users have a choice of two kits to suit the weight of their set-up. The Steadicam Steadimate-S 15 System comes with the A-15 Steadicam Arm and Scout Vest and can be used with up to 6.8kg / 15lbs of kit, while those with camera/gimbal combinations that weigh up to 13.6kg / 30lbs will need the Steadimate-S 30 System that uses the A-30 Arm and Zephyr Vest. The Steadimate-S will also be available on its own for those who already have a vest and arm.

No prices have been released yet, but the existing Steadicam Steadimate for twin handled gimbals costs from just under $ 1700 with a vest and arm, or $ 500 on its own. For more information see the Tiffen website.

Press release:

THE TIFFEN COMPANY DEMONSTRATES NEW STEADICAM STEADIMATE-S AT NAB 2019

Newest Camera Stabilizer Designed for Seamless Use with the DJI Ronin-S®

The Tiffen Company, the leading manufacturer of imaging accessories for the consumer/professional imaging and the motion picture and broadcast television industries, announces today the addition of the Steadimate-S to its Steadicam line of camera stabilizers.

Presented for the first time at NAB 2019, the Steadicam Steadimate-S offers camera operators increased freedom, endurance, and creative opportunity when working with single-handed motorized stabilizers like the DJI Ronin-S®. By pairing a single-handed stabilizer with a body- worn stabilizer the DJI Ronin-S can be operated for hours with minimal physical fatigue while maintaining a wide range of vertical movement and adding full panning ability and “low-mode” operation.

Users can minimize or completely eliminate the bouncing image effect that often occurs when using single-handled stabilizers as the Steadimate-S provides x-axis and y-axis stabilization while the Steadicam arm provides z-axis stabilization. The addition of the Steadimate-S easily and affordably transforms single-handed motorized gimbals into professional video stabilization systems.

“The Steadicam Steadimate-S is a new, elegant solution designed to add stability, operational comfort, and panning ability to single-handed stabilizers that are popular with camera operators,” said Andrew Tiffen, SVP of Marketing, The Tiffen Company. “We look forward to debuting and demonstrating this latest camera stabilizer in our booth at the NAB Show next month.”

The Steadimate-S comes standard with a post block and balance pin that fits arms with 1/2″ posts. The weight capacity varies depending on the single-handed stabilizer, arm, and vest being used. The Steadimate-S adapter can be purchased on its own for use with existing arms and vests, or as a complete kit available in two weight classes. The Steadimate-S 15 System comes with the A-15 Arm & Scout Vest and offers a 15 lbs./6.8 kg weight capacity, while the Steadimate-S 30 System comes with the A-30 Arm & Zephyr Vest and boasts a 30 lbs./13.6 kg capacity.

Articles: Digital Photography Review (dpreview.com)

 
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How to Use the Lightroom Transform Tool

02 Apr

The post How to Use the Lightroom Transform Tool appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.

Lightroom has so many great tools we all use to edit our photographs. No wonder it’s an essential editing program for just about every photographer. Let’s take a look at the Transform Tool.

The Transform Tool can be used to adjust the perspective in your images. Most know that the tool is useful for straightening horizons or fixing those pesky leaning buildings, but it can do a lot more than that. The Transform Tool can help you to adjust other types of photographs. It has a convenient application, but it can also be used to edit your images to create more dramatic looks. You can also use it to help you create interesting artistic interpretations of your shots.

I used the transform tool to help me edit this image. I made several small adjustments to align the perspective with my creative vision.

Let’s start with the individual components of the transform tool before progressing to using them in more creative ways towards the end of the article.

The Auto Function

The Transform Tool comes with an automatic option. In this case, it’s pretty simple. Push the Auto button and let Lightroom make all the adjustments to your image. For those who are unfamiliar with how to use the other features of the Transform Tool this may be the simplest option. The problem is that Auto doesn’t always do the best job of adjusting your images. I find that if the adjustment is straightforward like straightening a horizon, then auto works well. However, it has difficulty adjusting the more complex perspective issues. This is meant to be a quick and dirty type of adjustment for minor perspective issues.

Here’s an example of the Auto tool in use on Tintern Abbey.

Vertical adjustments

The Vertical Tool automatically analyzes and then adjusts the vertical lines within your photograph. This type of adjustment is particularly useful if you’re trying to fix a leaning building or leaning trees in your landscape because you’re using a wide-angle lens. At the same time, you will find that automatic fixes don’t always work correctly and that Lightroom may over-adjust the verticals and give you something that doesn’t look quite right. So this may not be your best option for using the Transform tool.

In this case, the vertical tool didn’t do a very good job of adjusting the perspective.

Level Adjustments

The Level Tool automatically adjusts your horizontal lines. This tool seems to work reasonably well for most landscape shots. Issues with the Level Tool may arise when you are working with a horizon line along with diagonal lines. Sometimes this combination of lines fools the software. Lightroom may choose to adjust the diagonal lines and skew the rest of the image. Keep this in mind when using the automatic adjustment.

I find the level tool works great for landscape images but in this case, it needs manual adjustments.

Full Adjustments

The Full Adjustment option takes into account all vertical and horizontal lines plus the features of the auto option. This particular tool doesn’t adjust my images well. It tends to overcompensate. This tool rarely creates a look I want to use for my photographs. That doesn’t mean it won’t work for you; however, be aware that it tends to be aggressive.

Some may like the adjustments that a full perspective tool creates. If you do, remember to leave a lot of room around your subject. As you can see here, the crop that needs to occur is quite severe.

The Guided Adjustment option

The Guided Tool is probably the best way to adjust perspective within your images. The problem with the other options is that Lightroom chooses which vertical and horizontal lines it uses to adjust perspective. The reality is that these may not be the lines that need adjusting. This is where the Guided Tool comes into practice. As the editor of your work, you know which lines need straightening so you can guide Lightroom to adjust the proper verticals or horizontals. It’s still a quick and easy tool to use. You are guiding Lightroom by telling it where to focus its efforts.

The tool is straightforward to use. Just choose the line you wish to adjust and then use your mouse to define the line for Lightroom. Once two lines have been selected, Lightroom automatically adjusts your image based on your guidelines.

In this case, the Guided Tool straightens the lines I highlight but the required crop is rather extreme.

The guided tool worked really well with this simple adjustment.

Using the sliders

You can always adjust your images using the Manual Sliders located below the automatic options. Sometimes it works very well to use the Guided tool and then to make minor manual adjustments to the image as well.

Just move the sliders to adjust your work for the desired look. Each slider will adjust a different aspect of the image.

Level – tilts the image and creates an angle of sorts

Vertical – adjusts the image by tilting either forwards or to the back
Rotate – twists the image on an access point (adjusting horizon lines for the most part)
Aspect – stretches the image horizontally or compresses it horizontally
Scale – allows you to zoom in closer or further out on an image
X offset – moves the image on the x-axis to the left or right.
Y offset – move the image on the y-axis up or down.

Used on their own you may find that these sliders do not achieve much. However, when used in combination and subtle amounts, you can easily adjust the sliders to obtain the perspective you see in your mind’s eye.

In this screenshot, you can see how the aspect slider works to adjust an image.

Using the Transform Tool creatively

You can use the Transform Tool to help you adjust perspective to create more drama within an image. You can also use it to completely change the perspective of an image for a creative interpretation of the subject you originally photographed.

In the case of the following image, I made the adjustments to create something that highlighted the foreground more, thus drawing the viewers eyes towards that area.

I used the vertical slider to adjust the image so the foreground plays a bigger role in the image.

Here’s the completed photograph exported from Lightroom:

Compare this to the original perspective of the shot.

In the image below the foreground plays a less important role in the image. You can use the Transform Tool to help you make creative decisions about your photographs.

This is the unedited jpeg of the file above. Consider how the change of perspective affects the visual nature of the image.

It’s a versatile tool

You can use the Transform Tool in very subtle ways to adjust perspective. It can either be used to make an image seem more realistic and more accurate to our understanding of the way the landscape looks in reality or can be used to make some more open to interpretation. Remember, there are lots of options out there when editing work.

Be creative. Give the transform tool a whirl and see what you can do with it. You may surprise yourself and create something extraordinary.

I’ve included a few more photos edited using the Transform Tool to illustrate how you can use it both functionally and creatively.

The goal was to make the foreground more important in this photograph.

My goal was to capture my friend as she took photos of the incoming waves on the beach in Borth, Wales.

The post How to Use the Lightroom Transform Tool appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.


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Minolta DiMAGE V hands-on review

02 Apr

Introduction

In the DiMAGE V, Minolta combines point-and-shoot simplicity, modular lens design, thoughtful touches such as (literally) flexible storage media and the convenience of AA battery power to create a truly compelling photographic package for photographers of all types. From landscapes to family gatherings, the DiMAGE V is up to the task to help you capture the most of your moments in stunning 0.33MP detail. Younger photographers in particular will appreciate that the lens can swivel back towards you, making selfies just as easy as they are with your smartphone.

Key specifications:

  • 1/3 inch, 0.33MP CCD sensor
  • 34-92mm (35mm film-format equivalent) F5-5.6 manually zoomed detachable lens
  • Smart Media 5v storage (approx. 32 ‘Fine’ images per 4MB card)
  • Zero autofocus points (manual macro engagement)
  • ISO range of 160 to 160
  • 1.8″ 71.8k-dot rear screen
  • Powered by four AA batteries, with a battery life rating of ‘not good’

Body, handling and controls

The DiMAGE V sits comfortably in the hand, thanks to a ridge on the front of the camera and an indent for your thumb on the rear. The rotating lens does, of course, encourage two-handed operation, and the smooth action of the manual zoom lever is a joy. A small door on the bottom of the camera prevents accidental operation of the ‘Format,’ ‘Date’ and ‘Self-Timer’ options, because we all know that accidentally enabling the self-timer results in many a photographer hurling their camera into the nearest body of water in frustration.

The rear screen does an excellent job of giving you a general idea of what your photo may look like, without giving you enough detail to ruin the ‘moment of discovery’ when you load it up on (preferably) an old Trinitron CRT.

The ‘+’ and ‘-‘ buttons not only control exposure compensation, but also navigating images in ‘Play’ mode. This door prevents accidental operation, and will never, ever break, just like all of these little types of doors on ’90s electronics.

Operation of the camera is as straightforward as can be. The shutter button is in a nice spot, and the plus and minus buttons on the top give you control over exposure compensation and let you scroll through your images in playback mode. The built-in flash will be especially handy for when the light starts to drop, and the camera’s 1/30 maximum shutter speed won’t quite cut it. And to keep you focused on the actual process of taking pictures, there is no provision for manually selecting exposure settings.

So, does anyone out there have a Smart Media reader compatible with older 5v cards? Asking for a friend.

Lastly, the DiMAGE V runs on easy-to-find AA batteries, a blessing as you’ll be going through quite a few of them. It uses Smart Media storage, and will only accept cards up to 4MB – this thoughtful touch keeps you from over-shooting and having far too many images to go through on your OG Pentium-powered machine.

Performance and autofocus

In terms of performance, the DiMAGE V start-up time helpfully gives you plenty of time to think about the shot you’re going to take, and whether you really do want to take it. Likewise for shot-to-shot times. This careful slowing-down of the photographic process does, of course, encourage comparisons with Leica’s lineup of digital rangefinders, though we think the DiMAGE is the more practical option for most people.

This brings us to autofocus. There isn’t any. (Also like a Leica rangefinder!)

Image quality and usability

Ah, the moment I know you’ve all been waiting for. Unfortunately, this is just a hands-on review. We weren’t able to retrieve files from our DiMAGE V, owing to the scant availability of compatible card readers, but we’ve done the next best thing – we’ve photographed the rear of the camera so you can get an idea of how effective its screen is. Once we source a card reader, we’ll update the story so you can have your own ‘moment of discovery’ and see the full, glorious 0.33MP files that you crave.

Studio scene

Daylight

Low light

As you can see, the DiMAGE looks like it’s exposing the daylight scene fairly well without having to use exposure compensation. Colors look a bit cool, but we can’t say for sure whether it’s the screen or not – and certainly, there is no provision for custom white balance, to keep things simpler for the user.

Switch over to low light, and… well, perhaps it’s best to just not to shoot in low light.

Zoom range, selfies

The DiMAGE’s zoom range is fairly flexible, ranging from 34-92mm equivalent. Though the start of its zoom range isn’t all that wide, fans of Fujifilm’s X100 series – with its fixed 35mm lens – will likely see no problem with this.

Wide-angle

Telephoto

And thanks to the unusual design of the lens, you can even use the optical zoom while taking selfies. This is going to be great for those looking to spice up their Instagram feed with some more avant-garde compositions.

Wide-angle

Telephoto

Finally, we are big fans of the exposure compensation option on the DiMAGE. It really does give you wide latitude to adjust your exposure to your liking, particularly if you’re looking for a more silhouetted look. Though it’s difficult to see on the rear screen, it did help to bring back the Seattle wheel through the windows for this shot.

Automatic metering

Negative exposure comp

The detachable lens

It does detach, and you can even then use the camera itself as an off camera flash. This is something I was really looking forward to testing, but unfortunately, connector cables from the lens to the camera are harder to find than 5v Smart Media readers.

Conclusion

So, who is the Minolta DiMAGE V for? Well, while it’s tempting to say it’s great for anyone with fifty bucks and an eBay account, you may actually spend more money on and have a harder time finding the requisite memory card reader. But that said, we have to say we find the concept to be a bit of fresh air, even in 2019. There’s no denying that cameras these days are ludicrously more capable and more responsive, but designs are nowhere near as neat as some cameras seen in the early days of digital imaging. Today, the DiMAGE remains a fun-to-use novelty thanks to the detachable / swiveling lens design.

And later in the week, we promise we’ll get back to some reviews of, well, modern cameras.

Happy April Fool’s day, and H/T to our newest developer for generously loaning me his first ever digital camera.

Editor’s note – an earlier version of this article claimed incorrectly that the DiMAGE V has 3.3MP of resolution. It actually has 0.33MP – we regret the error.

Articles: Digital Photography Review (dpreview.com)

 
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