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Archive for October, 2019

NiSi launches ‘Starter,’ ‘Professional’ filter kits for Ricoh GR III cameras

31 Oct

Optics manufacturer NiSi has announced a new square filter holder for Ricoh GR III camera systems.

The filters, which are constructed of an aluminum alloy, fit on the end of the extending lens packed inside the GR III and can rotate a full 360-degrees. While a clever solution to adding photo filters to a point-and-shoot camera, this also means the filter holder will pop off when the camera is powered off and the lens retracts, so make sure to remove the filter holder when turning off the camera (and make sure the auto-off functionality is turned off).

As for the filters themselves, NiSi is offering two kits: the Starter Kit and the Professional Kit. The Starter Kit includes a graduated neutral density filter (GND8) and polarizer; the Professional Kit includes those two filters as well as an IR neutral density filter (ND8) and a natural night filter. Both kits include the holder and a cloth carrying pouch for safe transport.

The Starter and Professional NiSi filter kits for Ricoh GR III cameras are currently available on Amazon for $ 49 and $ 65, respectively.

Articles: Digital Photography Review (dpreview.com)

 
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Visual Flow’s new presets are custom made based on lighting conditions in an image

31 Oct

Visual Flow, the company launched by DVLP and SLR Lounge, has introduced ‘The Modern Pack,’ a series of 10 presets for Lightroom and Adobe Camera Raw. The Modern Pack stands out from competitors, according to Visual Flow, because it is ‘lighting condition-based,’ meaning that it does not require the ‘perfect lighting and weather conditions’ for which other presets are designed.

According to Visual Flow, its new lighting condition-based presets use a Color Engine and camera profile technology to unify the color variations between camera manufacturers and to create the look of the selected preset regardless of the lighting conditions in the input image.

The Modern Pack presets include Black & White, Hard Light, Soft Light, Backlit, HDR Natural, Over Saturated, Tungsten, Tungsten Mix and Green Tint; further comparison examples of each preset can be found on the Visual Flow website here. According to the company, the work it put into its Color Engine means users will enjoy 1-click presets without the need for extensive manual tweaking.

Joining The Modern Pack is the non-destructive Retouching Toolkit for Lightroom and ACR, which features 26 tools and 47 retouching brushes for dodging and burning, retouching, scene enhancements,and more.

The Modern Preset Pack and the Retouching Kit are available for $ 95 each; there’s also a bundle of the two for $ 165.

Articles: Digital Photography Review (dpreview.com)

 
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From field to cup: We join photographer Lauren Kelly as she documents tea production with the Canon EOS RP

30 Oct

Positioned far to the south of the country in the shadow of an active volcano, Kagoshima has a very different feel to most Japanese cities. Warm and humid all year, the area around Kagoshima is ideal growing country for fruit and vegetables, and the rich volcanic soil is perfect for the cultivation of tea.

In this video, we’re joining photographer Lauren Kelly in Japan, on assignment to document the production of matcha – a finely ground type of green tea, prized by connoisseurs for its rich, complex flavor. Along the way, Lauren captured the vivid sights and sounds of the Kagoshima area using the Canon EOS RP, a small, lightweight mirrorless camera ideal for travel and portraiture.

Canon EOS RP in Kagoshima, Japan

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This is sponsored content, created with the support of Amazon and Canon. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
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Canon Reveals the RF 70-200mm f/2.8L and the RF 85mm f/1.2L DS Lenses

30 Oct

The post Canon Reveals the RF 70-200mm f/2.8L and the RF 85mm f/1.2L DS Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

 

Canon-reveals-RF-lensesCanon has announced two new lenses for its mirrorless lineup:

The RF 70-200mm f/2.8L IS USM and the RF 85mm f/1.2L USM DS.

Let’s take a closer look:

The Canon RF 70-200mm f/2.8L Lens

Canon-reveals-RF-lenses

The Canon RF 70-200mm f/2.8L offers a classic focal length that’s useful for pretty much everything.

You’ll find a 70-200mm in practically every landscape photographer’s bag for those tight shots that require a longer focal length. Portrait photographers like 70-200mm lenses for their headshot capabilities. Sports photographers love the focal length for powerful action shots. And event photographers appreciate the way a fast 70-200mm zoom lets them shoot without getting in the way.

Up until now, Canon hasn’t produced a lens in this focal length range, unless you count the RF 24-240mm, which is nowhere near as fast as the RF 70-200mm f/2.8L, nor does it have the ‘L’ lens designation. Therefore, many of Canon’s serious mirrorless shooters will jump at the chance to add such a powerful lens to their bags.

Note that the RF 70-200mm f/2.8L seems specially designed for low-light shooters: A combination of an ultra-wide f/2.8 aperture and Canon’s image stabilization technology makes this a formidable piece of kit for any low-light shooting scenario.

The Canon RF 70-200mm f/2.8L will debut in November 2019 for $ 2699 USD.

The Canon RF 85mm f/1.2L USM DS Lens

Canon-reveals-RF-lenses

Canon already offers an RF 85mm f/1.2L lens, so what makes this lens stand apart?

The new RF 85mm lens is designed with a brand new DS coating, known as Defocus Smoothing. The DS coating promises a smoother bokeh effect when shooting at wide apertures by darkening the edges of lens elements. While this serves to create a beautiful background quality, it also decreases light transmittance, so you do lose a bit of the light-gathering capabilities that you generally expect from an f/1.2 lens.

That said, the RF 85mm f/1.2L DS is bound to be appreciated by portrait photographers. With the DS coating, you’ll be able to capture some of the creamiest bokeh you’ve ever seen, while the f/1.2 aperture is perfect for creating a beautiful shallow depth-of-field look.

The Canon RF 85mm f/1.2L USM DS will debut in December 2019 for $ 2999 USD.

Do these lenses excite you? Will you add them to your line-up? Share with us in the comments below.

The post Canon Reveals the RF 70-200mm f/2.8L and the RF 85mm f/1.2L DS Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Set Up Your Own Cloud System and Avoid Using Commercial Services

30 Oct

The post Set Up Your Own Cloud System and Avoid Using Commercial Services appeared first on Digital Photography School. It was authored by Herb Paynter.

set-up-your-own-cloud-system

If you’re anything like me, you have taken way more photos than you can access at any given time, especially if you’re away from your home system. In this article, I’ll show you why you should set up your own cloud system so you can access your image files all the time, and avoid monthly fees with commercial providers.

Image storage

set-up-your-own-cloud-system

For most of us, home is where we maintain massive drives full of images, both edited and unedited. Most of which are only loosely cataloged or organized too. When I need to find a particular photo, I perform a pretty detailed metadata-based search spread over my multi-drive setup.

The operation is neither efficient nor pretty.

Particularly when the photo I’m looking for was taken years ago and could be anywhere on my system. It’s far from the tidy professional setup I would like it to be. I’ve been adding to this collection daily since the mid-1980s.

Now multiply this dilemma by being away from home much of my life, armed only with a laptop and maybe a thumb drive or small USB pocket drive. If I haven’t uploaded all my images to one of several cloud storage systems I use, this exercise is over before it starts.

Even if I can access my desktop system, the chances are slim that all those pesky permissions doorstops will let me search all my drives remotely.

Set Up Your Own Cloud System and Avoid Using Commercial Services

Hard-drive mania. Repaving the parking lot

Recently, I counted more than a dozen hard drive carcasses stacked on shelves in my home office.

They have served as photo and file storage depots over the years. Some contain images taken twenty years ago that I didn’t transfer to my newest, latest, largest storage device.

There are some great images that I simply haven’t had the time to weed through and sort out. It’s all pretty discouraging.

For those files I have stored online, many times I have to “qualify” them with a password often deemed incorrect (aargh!). Perhaps I’m simply getting older, but there are too many passwords for too many storage sources for this to be fun anymore.

Frustration and anxiety sets in every time I leave the house with my laptop in hand. I know I’ll need to get to something that I won’t be able to access.

Two months ago, I faced the recurring problem of needing more file storage space. What to do? Yet another even larger hard drive? More online parking space? Where does this cycle end?

set-up-your-own-cloud-system

Flying the friendly skies

This time I took the time to seriously investigate the commercial cloud systems available.

If you think you’re not using cloud storage, think again.

If you have an Adobe account, you are a member of the Creative Cloud. If you are a Mac user, you have an iCloud account. If you are on Google, you probably are a member of Google cloud. Most likely, you use Dropbox – yet another cloud system.

All these systems provide file access from remote locations, but you certainly don’t have all your files on a single cloud.

While these clouds are wonderful, to some extent, there’s a significant downside to each. There’s also a lot of common problems with each. The restrictions, privacy, cost, access, limitations, and vulnerability involved with each is significant when all the facts are in.

Enter the personal cloud system

set-up-your-own-cloud-system

What I have discovered is the surprise upside of installing my own personal NAS (network-attached storage) system, which is basically a full access file server.

A NAS is a standalone Linux or Windows processor (computer operating system) acting as a full-service librarian attached to host one or more hefty hard drives and providing a significant variety of server services. Each server is available only those to whom the server’s owner (typically known as Admin) gives permission, and accessible from virtually everywhere around the globe.

You can configure each personal multi-drive cloud server as either a single massive drive system or as one of several RAID configurations. RAID stands for Redundant Array of Inexpensive Drives and consists of two identical hard drives recording mirrored copies of your files. Each drive stores identical backups for near-bulletproof security.

These NAS RAID arrays provide from two to twelve terabytes of online storage and backup.

Cloudy skies and bumpy rides

Set Up Your Own Cloud System and Avoid Using Commercial Services

But you should take great care to investigate ALL customer reviews of the various private cloud systems available.

Read beyond the marketing talking points and glitzy advertising and read the comments of current users.

The technology is proven, but not all products are quite as user-friendly as they seem. Lower-priced units sometimes indicate entry-level and basic features. Also, sometimes, the lower price indicates a lesser-quality product.

You can’t judge either books or NAS systems by their appearance OR brand popularity.

The system I originally purchased was manufactured by a highly-rated and respected hard drive company. It consisted of two four-terabyte drives set up as a RAID type 1 system that provided immediate access to virtually all my photos, videos, music, and files.

The server worked wonderfully, as long as I was on my home WiFi network. However, when I attempted to set up access away from home, some air escaped from the balloon. This lack of remote access led to me renaming my server “Fogbank” in protest.

After re-reading, reinstalling, and re-configuring the system as best as I could understand the ambiguous installation instructions, I first contacted customer support via email. Detailed explanations of my failed attempts were responded to by references to endless generic PDF documents in their “knowledge base” and forum discussions.

Unfortunately, my phone calls were handled by friendly technicians whose English was so challenged that I simply could not get a direct answer to my questions.

Multiple attempts to put this Humpty-Dumpty server back together failed over and over. Further reading on the company’s forums revealed hundreds of other frustrated users who had given up on the hardware. I will not name the product or the manufacturer. Instead, I’ll just encourage you to do your diligence and read the reviews of actual users before you buy.

Clear skies ahead

Set Up Your Own Cloud System and Avoid Using Commercial Services

I believe totally in both the concept and the technology of NAS personal cloud servers and have since purchased a quality, value-based product. I’ve spent a bit more than I did for my initial system, but I am rewarded with the amazing freedom and power behind this amazing technology.

I now enjoy speedy access to all files in my vast image library. My personal cloud server system provides file sharing and syncing, and personal multimedia services for streaming video and TV shows. It has a bulletproof backup, home security system monitoring, and many more amazing features.

I can even upload images directly from a photo session (through the camera’s WiFi) to my personal server – no waiting to get home!

set-up-your-own-cloud-system

And best of all, this secure server system is fee-free. Once you own the equipment, your only cost is Internet access. If you have an Internet account, you’re good to go. Monthly fees and service restrictions are only distant memories.

You no longer have to rent the rare air on someone else’s cloud. You can collaborate with other users and photo club members, share and download huge files via FTP, all while being entertained. And they actually call this work!

Check into these devices, ask a lot of questions, and open up a whole new communications experience for as little as a $ 500 investment.

Have you set up your own personal cloud system? Share your thoughts on the process with us below!

The post Set Up Your Own Cloud System and Avoid Using Commercial Services appeared first on Digital Photography School. It was authored by Herb Paynter.


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Hands-on: Tamron’s new 24mm and 35mm Di III OSD M1:2 are featherweight options for Sony shooters

30 Oct

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

Tamron just announced a trio of featherweight full-frame lenses for Sony E-mount, each of which weighs less than eight ounces and offers a 1:2 macro capability. The new Di III OSD M1:2 range of F2.8 primes are highly portable options for Sony shooters, which sacrifice lens brightness for impressive compactness and light weight.

We’re still waiting to see results from these new lenses, but we had the chance to check them out in person at last week’s Photo Plus Expo in New York.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

The 20mm F2.8 Di III OSD M1:2 will be coming in the new year, and a working sample wasn’t available to use at the show but it’s physically and cosmetically extremely similar to the 24mm, shown here. The 24mm F2.8 Di OSD M1:2 weighs in at 7.6 oz (215g) and measures 2.5in in length. That’s compared to 7.8 oz for the 20mm, and in fact all three of these new lenses are essentially the same size, not including their hoods.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

All three of the new primes feature ‘front element focusing’ which basically means that when the lenses rack from their nearest to furthest points, the front element moves within the lens, and the size of the lens does not change.

The ‘OSD’ (Optimized Motor Smart Drive) focus motors provide silent automatic focus, although on the a7III which we used, there is some noticeable ‘wobble’ as the lens finds its mark. This could be a pre-production issue (and it could be related to the horrible tradeshow light) but we’ll reserve judgement until we receive final shipping samples.

This photo shows off the shallow petal-style hood of the 24mm F2.8, and the 67mm filter thread, which is common to all three lenses.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

If you didn’t get the message yet, these are tiny lenses, and so light that when mounted onto an a7R II, they feel like they’re hardly even there. Some photographers will always lust after brighter, more ‘professional’ options but for everyday shooting, assuming the image quality holds up, we anticipate these primes being very appealing to casual Sony a7-series shooters.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

The 35mm F2.8 Di III OSD M1:2 looks almost identical to the 24mm, and in fact shares a similar optical design, of nine elements in eight groups (compared to ten elements in nine groups, for the 20mm and 24mm). These contain LD (Low Dispersion) and GM (glass-molded aspherical) lens elements and BBAR (Broad-Band Anti-Reflection) Coating, to reduce flare and ghosting.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

The 35mm doesn’t need such a wide hood, and ships with a rather attractive ‘snoot’ style hood which serves to protect the front element not only from stray light, but also from accidental scratches and scuffs.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

The hood is removable, at which point the 35mm F2.8 is near-impossible to distinguish from the 20mm and 24mm. The fact that all three lenses weigh almost the same, measure almost the same in length, and use the same 67mm filter thread could lead to confusion when groping around in a dark camera bag, but we suspect that their combined weight of less than 1.5 lb (about 680g) will more than make up for the inconvenience, for a lot of photographers.

All three of Tamron’s new Di III OSD M1:2 lenses will ship for $ 349, with the 24mm and 35mm (featured in this article) shipping next month, and the 20mm coming in early 2020.

Articles: Digital Photography Review (dpreview.com)

 
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Canon is shutting down its cloud-based photo platform Irista

30 Oct

Canon has announced it’ll be shutting down its cloud-based photo storage platform, Irista, on January 31, 2020.

Launched back in 2014, Irista served as an online solution for managing, sharing and printing photos ‘without compromising on quality,’ in Canon’s own words. In addition to the browser, Irista was also accessible via Android and iOS apps.

The shutdown message on Irista’s homepage reads:

Sadly, we’ve decided to close Irista on January 31, 2020. You can continue to access to your photos until the service closes. Please sign in to download them before this date.

In a thorough FAQ page, Canon says all photos and personal data will be removed from its servers on January 31, 2020. Any photos hosted on Irista can be downloaded ahead of time using the ‘Download Your Photos’ link on the Irista homepage. Your photos will be compressed into a ZIP folder and downloaded to your computer, but Canon notes organization methods, such as tags, photo ratings, titles and albums won’t be included with the download, so that information will need to be re-applied afterwards.

Shared albums will still be viewable until the shutdown date, but no new users can be invited to the albums in the meantime. The Irista photo book service will still be in operation through the shutdown date as well.

You can find out more details and information by visiting the Canon Irista FAQ page.

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: Agora presents The World’s Best Photos of #Water2019

30 Oct

The World’s Best Photos of #Water2019

Agora, a free-to-use social photo app consists of a global community with over 3.5 million users from 193 countries. Every week, its users participate in an international photography contest that revolves around one of 52 annual hashtags representing universal themes. The #Water2019 contest drew almost 17,000 entries and was narrowed down to 49 finalists. From there, users, along with guest judge Victor de Valles (@victordevalles), voted on the overall winning image.

‘Tides,’ captured by British photographer Lee Mumford (@leemumford8) was selected as the winner and received a $ 1,000 cash prize. ‘Truth be told, this was such a hard decision as the quality of the Top 50 was so much higher than expected, but there can only be one winner! I have chosen @leemumford8’s shot…because of its super original composition which I just love, its use of the water as its principal element and its perfect balance and mixture of colors that make it so aesthetic,’ said de Valles.

When using Agora, you start out with a few credits. Each photo uploaded counts for one credit. Users can gain a credit every 8 hours by watching a sponsored ad and receive 10 more for referring new users. Credits can be purchased through the app store as well. Every week, users can enter competitions for a chance to win cash prizes ranging from $ 1,000 to $ 25,000, photo gear, and other life-changing experiences.

Tides

WINNING PHOTO: Tides by Lee Mumford (United Kingdom)

About the photo: Lee Mumford has been living and working in Hong Kong for the past couple of years. His journey into photography started at a young age, where he learnt how to develop his own rolls of film and print his own images in the darkroom. His passion grew after he fulfilled his dream to become an airline pilot, enabling him to travel the world with his camera.

‘Tides’ was captured in Mona Vale, Sydney one of the many rock pools on the eastern coast of Australia, with a Mavic 2 Pro drone.

Drinking Water

Finalist: ‘Drinking water’ by Hla Moe Naing (Myanmar)

Drywater

Finalist: ‘Drywater’ by Phyo Moe (Myanmar)

A Big Drop

Finalist: ‘A Big Drop’ by Theo Widharto (Indonesia)

Inception

Finalist: ‘Inception’ by Cuno de Bruin (Netherlands)

Rainbow childhood

Finalist: ‘Rainbow childhood’ by Sujit Saha (India)

Rainy Day

Finalist: Rainy Day by Hendy mp

Rainy

Finalist: Rainy by Andy Darmawan (Indonesia)

Sardine world

Finalist: Sardine world by Carles Alonso (Spain)

Stunning blue color from the Mediterranean sea in Greece

Finalist: Stunning blue color from the Mediterranean sea in Greece by Henry Do (USA)

Travelers

Finalist: Travelers by Pedro Luis Ajuriaguerra Saiz (Spain)

Water is Life

Finalist: Water is life by Debasish Chakrabarty (India)

Boat Cruising Past Old Harry Rocks, Dorset

Finalist: Boat cruising past Old Harry Rocks, Dorset by Joe Shelly (UK)

Articles: Digital Photography Review (dpreview.com)

 
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NVIDIA’s latest AI project is ‘face swap’ for animals. Kind of…

30 Oct

NVIDIA researchers are back with another project that uses artificial intelligence to generate entirely new images from existing source images. Unlike past work that involved portraits of humans, however, this latest work — called GANimal — transforms an image of an animal into different animals, including other species.

Using an AI technique called generative adversarial networks (GANs), among other things, the researchers developed GANimal, an app that takes the expression of an animal from an image and recreates it on an image of a different animal. Examples include taking an expression from one breed of dog and replicating it on other dog breeds.

Though this is a fun example of the underlying technology, NVIDIA researchers say it could one day be put to use in more serious work. One given example of GANimal’s potential use is engaging filmmakers to shoot images of a tame animal doing stunts, such as a dog, and then using the AI to apply those movements onto a less tame animal, such as a tiger.

NVIDIA’s past artificial intelligence research includes an AI that can accurately scrub noise from images, generate portraits from source images, and transform simple sketches into photorealistic photos.

Articles: Digital Photography Review (dpreview.com)

 
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The new Loupedeck Creative Tool editing console packs improved software integrations

30 Oct

Loupedeck has introduced Loupedeck Creative Tool (CT), the latest product in its line of editing consoles for creatives. The Loupedeck CT is small and nearly square at 160 x 150 x 30mm (6.3 x 5.9 x 1.2in) with a weight of 365g (12.9oz). The new model joins the previously released Loupedeck and Loupedeck+ consoles, offering a design that can ‘work in sync with all editing tools and software.’

The Loupedeck CT is a plug-and-play console with native integrations for a variety of popular software, including Final Cut Pro X, Photoshop, Premiere Pro, and Lightroom Classic. This model also introduces Loupedeck console support for Adobe Illustrator and music production software Ableton Live; later on this year, there will also be support for Autodesk Fusion 360.

The ‘fully adaptable’ Loupedeck CT is made with a high-quality aluminum cover and dials, plus it features LED backlighting, touchscreens, and what Loupedeck says are machine-quality ball bearings. The console packs preset workspaces designed for each software product integration, as well, though users retain the ability to customize the workspaces to meet their own needs.

Loupedeck designed its latest console with portability in mind; joining its small size is a removable USB cable. In addition to its software integrations and various buttons, dials, and touchscreens, the Loupedeck CT features Bluetooth 5 LE connectivity and support for macOS 10.12 or later and Windows 10. Below is a short intro tutorial shared by Loupedeck:

The new model is available to preorder now for $ 549 from Loupedeck and B&H Photo; shipping is expected to start on November 11.

Articles: Digital Photography Review (dpreview.com)

 
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