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Capture One 20 Review: Time to Make the Switch from Lightroom?

11 Jan

The post Capture One 20 Review: Time to Make the Switch from Lightroom? appeared first on Digital Photography School. It was authored by Carl Spring.

It’s that time of year – time for a Capture One 20 review.

In a huge change to the schedule, Phase One took the bold step of renaming it Capture One 20 instead of the unlucky for some Capture One 13. Let me know your thoughts on this bombshell below!

Okay, I admit it. That is simply an excuse to get you to read on. But is there more than a simple name change to this update? A coat of polish if you will?

Well, honestly, yes and no.

The best thing is that, unlike last year, they have added Catalina support in version 12. This means that Mac owners don’t have to upgrade this year unless they want to. I (and may others) appreciate things like this, bravo Phase One, bravo.

Capture One themselves said that this update aimed to make the software more accessible and easier to use. Simply put, they are after Lightroom users who are unhappy with Adobe.

This update does make Capture One 20 feel more Lightroomesque (yeah, I made that word up). It improves the workflow for existing users as well as adding some useful tool updates.

Another Year, Another Capture One release. Could this be the one that makes you change?

Overview

So let’s start with the list of new features list.

New user interface
Faster culling of images
New HDR tools
New color editor
New crop tool
Improved copying of layers
Improved noise reduction
Improved support for DNG files

Now, these all seem to be small changes when taken individually, but do they add up to a whole package that makes it worth the upgrade? Or perhaps more importantly for many of you, is this the upgrade to make Lightroom users make the jump?

Let’s look at these upgrades individually.

New user interface

You can tweak the layout until you find your perfect workspace. The new scrolling area makes a huge difference.

This is one of the little things many users of Capture One have been asking for what feels like forever. (Finally, Capture One!)

Actually, it even has a scrollable section. Better than that, you have a pinned area, where you can keep tools you always need, along with a scrollable area. That means you no longer need to keep minimizing and maximizing tools.

However, this does mean there is a workflow change for regular users of Capture One. You can no longer simply scroll on a tool to change sliders. Now you need to hold down the alt key to alter tools.

To me, this is great as it stops any mistakes when editing. However, you can alter this in the preferences and use the Alt/Option key to scroll through tools instead.

I do love this update – it means you can customize it to exactly how you want your tools and not have the hassle of minimizing tools. I am sure there are Lightroom users who are thinking, “What the hell! You call this an update?”

Well, yes. This is one of the features that will make moving across from Lightroom easier and more intuitive.

Faster culling of images

Culling of images in Capture One 20 is now much faster. As a wedding photographer, it makes a world of difference to my workflow. You can set the software to automatically move to the next image once you rate it, either by star rating, color rating, or both. This simple tool saves a lot of time.

A new color editor

The color tool redesign is a welcome addition.

Well, they say it is new. In reality, it is another user interface update that makes the tools more user-friendly. Along with full layer support, it is more useable.

Capture One 20 has reduced the real estate that the basic color editor takes up. You now have 8 color segments with sliders for Hue, Saturation and Lightness. These are customizable, so if you are looking to isolate a specific range, and the standard segment just doesn’t work, you can simply customize it.

Direct color editor

This is a nice touch that again helps speed up workflow (sensing a theme yet?).

When selecting a color within a photograph, if you continue to hold your mouse button down, you can alter the settings of the selected color range with your mouse (and the alt key).

By sliding your mouse vertically, you alter the saturation. Move it horizontally, and you change the hue. Finally, hold down the Alt/Option key whilst moving horizontally to change the lightness of the color.

New crop tool

So many upgrades this year make Capture One 20 smoother to use. The crop tool is a perfect example of this.

I’m beginning to sound like a broken record. This is by no means groundbreaking – it should have been fixed several versions ago – but cropping is faster and easier than ever before.

When you hit the Crop tool, the first thing you notice is the bold handles. This means it is much easier for you to grab the handles and crop the image. These handles also disappear when you are cropping in or out of the image, which is a nice touch.

Capture One 20 also allows cropping to the center of the image by holding down the Alt/Option key. It also freezes crop ratios when using the unconstrained option by holding down the shift key.

Lastly, it is easier to switch to the rotation of the image. Instead of having to change to the Rotate tool, you simply move outside of the crop area, and it becomes active. It is also noticeably smoother (on my computer at least) and easier to fine-tune than ever before.

Improved support for DNG files

Capture One 20 also offers better color profiling for DNG files. The improvements are subtle, but they are there. If you use DNG files, you will see a slight improvement in the rendering of colors, with them appearing more natural. However, how much of an improvement will depend on the camera the DNG comes from.

Improved copying of Layers

The ability to choose which layers to copy across is a great improvement in this current version.

There are three really great improvements to working with layers in Capture One 20.

Firstly, it is the ability to decide which of the layers you want to copy across. This is great for when you want to have layers that do not want copying across, such as specific retouching layers, or you want to copy your color edits across to a series of images, but not everything else.

This brings me to perhaps the biggest improvement, it pastes copied layers on top of any existing layers. This is huge and removes one of the previous frustrations when using layers in Capture One.

Lastly, you can now easily copy layers between cameras. This can be useful if you have two photographers on a shoot using different cameras. This is a tool that, if you need it, is great. But for many users, this won’t be a deal-breaker.

Improved noise reduction

A small but noticeable improvement to the way the software handles noise is seen in Capture One 20

Okay, it’s time to bring out the big ones – the two new feature updates aimed at getting existing users to upgrade.

First is the improved noise reduction.

They have changed the noise reduction algorithm in Capture One 20. There is definitely an increase in performance here, both in the standard reduction applied at import and when using the tools. The colors in high ISO images tend to look nicer (especially skin colors), and you can reduce more noise than in the previous version.

This is one of those tools that suddenly make this upgrade a no-brainer if you shoot a lot at high ISO.

New HDR tools

The New HDR Tools allow fine-tuning that has been missing from Capture One for years. This has several users excited. Those looking to move from Lightroom will feel much more at home.

Again, this is more of a “finally!” moment than a “WOW” moment.

The new HDR tools include a black and white point slider. This makes things so much easier in a practical sense and especially if you are moving from Lightroom. Also, the redesign of the sliders mean you can darken shadows rather than just recover them and the same with highlights.

It is great to have this feature, but it should have been developed a while ago. It makes working with shadows and highlights in Capture One 20 so much better.

This finally means no more tweaking the levels just to get the right black point. Again, this is something that Lightroom users have had forever, which brings me nicely to my conclusion.

So, Is it Worth The Upgrade?

This is one of those upgrades that really isn’t exciting. Just like when Apple revealed IOS12, this is not going to be full of new features. Instead, it’s about making the workflow better and making it much more intuitive for Lightroom users to move across.

I think the fact that Phase One updated Capture One 12 to run on Catalina OSX says a lot. In the past, you needed to upgrade to the newest version to use the latest operating system.

As someone who uses the software constantly, the updates are worth the price tag. It really makes editing quicker and easier.

I no longer find myself wishing for fixes to tools quite as much. The new user interface is much nicer than previous versions too. The addition of a black point and white point in HDR tools is great, while the big plus is the noise reduction improvements.

But is it worth the $ 159 to upgrade?

It is going to be hard to justify for a lot of people. The best advice, as always, is to try it for 30 days and see. There may be features that either individually or collectively make it worth your while. However, you may be able to invest that money more wisely.

Should I move from Lightroom?

No Capture One 20 review is complete without the Lightroom question. This is the bigger question and, in my opinion, the main point of this upgrade from Phase One’s perspective.

They have made the software much more user-friendly. The UI tweaks really are good. They are very Lightroom-like, meaning that you will find it much easier to come over to this software.

I have never got on with Lightroom. I tried it briefly when Apple stopped supporting Aperture but found myself preferring Capture One. To me, it is a better piece of software.

Phase One is definitely trying to persuade you to switch over to them, with this upgrade more likely to push more people to Capture One. It gives a more polished performance than ever and fixes some UI issues that long term users have wanted for a while. They even have a monthly subscription model if you don’t want to pay upfront.
It may seem like an expensive outlay at $ 299, but if you are a Fuji or Sony shooter, you can purchase Capture One 20 for $ 129. At that price, it really should be something you look into.

So, if this version can’t persuade you to switch from Lightroom, nothing will.

Have you tried Capture One 20? What are your thoughts? Are you looking to make the switch from Lightroom? Share with us in the comments.

The post Capture One 20 Review: Time to Make the Switch from Lightroom? appeared first on Digital Photography School. It was authored by Carl Spring.

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Plugable´s new docking station offers Thunderbolt/USB-C compatibility and 100W power delivery

11 Jan

If you’re using a laptop out on the road but want the luxury of a workstation setup back at base, a docking station is the way to go.

Plugable has now launched its latest TBT3-UDZ model which works with any USB-C or Thunderbolt equipped laptop on the market. It allows for the connection of up to two additional 4K displays via either HDMI or Display Port, without using any external adapters. Plugable says its new model is the first Thunderbolt 3 docking station to offer this functionality.

Thanks to a total of 14 ports, for video, audio, SD/microSD and ethernet, you should not have any trouble connecting multiple input devices or peripherals. The TBT3-UDZ is built around the Intel Titan Ridge chipset which enables dual Thunderbolt/USB-3 compatibility and makes it an interesting option for those using multiple types of laptops.

At 100W power delivery is the highest charging wattage to be implemented in the Plugable lineup line of docking stations which, according to the company, makes the TBT3-UDZ an ideal choice for users of some of Apple’s latest laptops, such as the 16″ MacBook Pro, which come with 96W chargers. The Plugable TBT3-UDZ will be available for $ 299 in spring 2020.

Articles: Digital Photography Review (dpreview.com)

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Weekly Photography Challenge – Snow

11 Jan

The post Weekly Photography Challenge – Snow appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is SNOW!

Image: The Cathedral at Mt Buffalo National Park, Victoria in Winter by Caz Nowaczyk, Focal length:...

The Cathedral at Mt Buffalo National Park, Victoria in Winter by Caz Nowaczyk, Focal length: 130mm, ISO 100, f/6.3, 1/500th

For people in the Northern Hemisphere, it is Winter and, for many, that means snow.

So, this week’s challenge is to go out and shoot any pictures that include snow.

They can be dark and moody or light and bright, color or black and white. They can be stark or busy, close ups or distant landscapes. You get the idea!

So, check out these inspiring pics, have fun, and I look forward to seeing what you come up with!

Image: Bridge over Bullock’s Head Creek from Link Road, Kosciusko National Park by Caz Nowaczy...

Bridge over Bullock’s Head Creek from Link Road, Kosciusko National Park by Caz Nowaczyk. Focal length: 17mm, ISO 125, f/8, 1/1000th

Image: Near Yarrangobilly Caves in Kosciuszko National Park by Caz Nowaczyk. © Focal length: 200mm,...

Near Yarrangobilly Caves in Kosciuszko National Park by Caz Nowaczyk. © Focal length: 200mm, ISO 125, f/5, 1/250th

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting SNOW

How to Capture a Winter Wonderland – Essential Tips for Photographing Snow

13 Snow Photography Tips: A Beginner’s Guide

Tips for Photographing Snow

Snowed In? Here’s One Way to Pass the Time

5 Uncommon Snow Photography Tips That Can Transform Your Winter Scenes.

How to Stay Motivated to Photograph Nature after Months in the Snow and Cold

Why Is The Snow In My Pictures So Blue?

Important Things to Consider When Photographing Winter Scenes

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSsnow to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Snow appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Hands-on with the Canon EOS-1D X Mark III

10 Jan

Hands on with the Canon EOS-1D X Mark III

Although we’ve known it’s been coming for some time, Canon has now released all the details about its new EOS-1D X Mark III. A big, double-grip DSLR, the 1D X Mark III sits at the top of Canon’s lineup as its fastest, toughest and in many ways, most advanced camera yet. You’d be forgiven at first glance for mistaking it for the previous Mark II (or a much older 1D camera), but small refinements on the outside bely some big advances within.

Autofocus, shutter, sensor and processor

Let’s start with some of those big internal advances. First off, the EOS-1D X Mark III has an all-new autofocus system for use with the optical viewfinder. It offers the same coverage as the Mark II, but with 191 points, of which 155 are cross-type. For the first time, this secondary sensor uses conventional square pixels, rather than dedicated ‘strip’ detectors.

The camera will focus through the viewfinder with telephoto-lens-and-teleconverter combinations down to F8. The overall system has been enhanced with machine learning for body and head detection, yet simplified, with fewer customizable autofocus ‘cases’ and a new ‘Case Auto’ mode that automatically adjusts parameters on the fly without any input needed from the user.

The shutter mechanism has been redesigned, with the goal of giving users less blackout while shooting bursts than the previous model, even while shooting at a faster burst speed. It’s still rated to 500k shots, so should be plenty durable. There’s a menu option to enable an electronic front-curtain shutter if you’re concerned about shutter shock, but we haven’t found any sign of this yet in our limited time with the camera.

Though there’s the same ~20MP of resolution we’ve seen before, the sensor has been updated and offers faster readout speeds. So if you want to take advantage of the silent, fully electronic shutter, you’ll find that rolling shutter artifacts are pretty well controlled. The new Digic X processor is many, many times faster than the dual Digic 6+ units in the previous camera. Together, the sensor and processor combine to unlock 20fps burst shooting with AF / AE in live view (16fps through the viewfinder), as well as some pretty impressive video specs…

Video

The EOS-1D X Mark III makes for an excellent (if hefty) hybrid stills-and-video camera. The toggle switch shown here lets users quickly switch between the two mediums, and the camera now remembers your shooting mode and exposure settings as you move back and forth. This is really great for, as an example, a sports shooter freezing motion at 1/1000 sec shutter speed for stills, but then wanting to quickly capture some 4K/24p video, where they’re more likely to want around 1/50 sec shutter speed.

Impressively, the 1D X Mark III can capture Raw, 5.5K/60p video internally. Just be aware that shooting in this mode means you’ll fill up a 128GB card in under six minutes. You can also capture smooth and detailed 4K/60p video with All-I or IPB compression and 4:2:2 10-bit Log capture if needed, though you need to drop to 4K/30p or lower, or engage the ‘Super 35’ crop mode if you want access to the camera’s excellent Dual Pixel AF system while recording.

There are both headphone and microphone jacks for audio, and though there’s no sensor-shift stabilization, you can enable up to two degree of electronic stabilization, with the more modest setting having minimal impact on detail retention.

But perhaps you’ve noticed that the AF-ON button looks a bit different than before…

AF Smart Controller

The AF-ON button can now function as a sort of trackpad for your thumb. Once enabled in the menus, you can drag your thumb across its surface to control the AF point placement in both the optical viewfinder and when using the rear screen in Live View. You can fine-tune the sensitivity, and because it’s based on optical technology, it even works with gloves if you find yourself in chilly conditions.

In our experience on a pre-production camera, we’ve found that it works well, but different users have different sensitivity preferences. And, quite frankly, some of us have had a hard time re-programming our muscle memory to avoid just reaching for the AF joystick by default.

We suspect that, with a little practice, it’ll be one of the standout features that users will remember this camera for in a few year’s time.

Other ergonomic updates

The rest of the rear of the camera is pretty consistent with what we’ve seen before, though Canon has added backlighting to most of the buttons on the rear plate, so it’s easier to work in dim conditions. The touchscreen also has some updated functions; in addition to controlling the autofocus area and interacting with menus, users can now double-tap with two fingers to zoom in on the menu interface for easier reading.

You’ll also see the built-in microphone and speaker in the rear of the camera for leaving voice memos attached to certain files, an invaluable tool for the full-time sports shooter needing to record crucial information about a particular series of images out of many thousands.

Top plate

There’s not much in the way of surprises on the top plate either, though the ‘illumination’ button that lights up the top-plate LCD is also how you light up the rear controls. The information display gives you almost all you need to know about the camera and your settings at a quick glance, and existing EOS-1D users should be able to find their way around without much fuss.

You may notice an outline of a cover plate just in front of the flash hot-shoe. This is the only portion of the exterior chassis that isn’t metal; the camera’s built-in GPS, Wi-Fi and Bluetooth antennas are housed here.

Hello, CFexpress

The 1D X Mark III ditches the previous camera’s mis-matched CFast and CF card slots in favor of two matching CFexpress slots. These cards are fast and very expensive, but it’s the speed of these CFexpress cards that allow the camera to capture that Raw 5.5K video we covered earlier, internally, and they’re also responsible for a near limitless buffer during continuous shooting.

Fun fact: if you set the camera to 16fps and mash the shutter button, you’ll reach the shutter’s 500,000-shot rating in a touch under nine hours.

A familiar battery

Good news for current 1D-series users and photo agencies: The 1D X Mark III uses the same LP-E19 battery as the older model. But this doesn’t mean you don’t get a capacity upgrade. Thanks to more efficient processing throughout, the battery life has leapt from a CIPA rating of 1210 shots with the viewfinder on the Mark II to a whopping 2850 shots on the Mark III. Likewise, Live View shooting climbs from 260 shots to 610. As always, users are likely to get many more shots per charge in real world shooting.

Ports and networking

Lastly, what sort of sports camera would this be without an ethernet port? Yes, the EOS-1D X Mark III supports gigabit ethernet connections, and is being released alongside a new, professional WFT-E9 wireless transmitter for users that need to get photos off the camera and out into the world quickly.

There’s also a remote port, a USB type C connector, HDMI out and a flash sync port. Canon has incorporated some pretty neat networking updates, including the ability for the 1D X III to use multiple network protocols simultaneously. So, as an example, you can remote-control the camera with the EOS Utility and its built-in Wi-Fi connection while the camera is set up to upload files to an FTP server with the WFT-E9 adapter.

Hands on with the Canon EOS-1D X Mark III

We have a lot more in-depth coverage in our EOS-1D X Mark III initial review, so head on over there for sample images, a video reel, and a more in-depth look at its all-new autofocus system.

What do you think of Canon’s latest flagship? Should it have been a mirrorless camera with the RF mount? Is it going to be the ‘last great DSLR?’ Is this a sign that DSLRs are going to be relevant for years and years to come? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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First look at the Nikon D6

10 Jan

Nikon D6: First look

We don’t know much about Nikon’s forthcoming pro sports flagship camera, but CES 2020 did give us an opportunity to get a first look – albeit at a sample under glass. Click through this slideshow for a closer peek, and a digest of what (little) we know so far.

Nikon D6: First look

It’s no surprise to see that the D6 looks a lot like the D5. In fact, aside from the slightly more D850-inspired sculpting of the pentaprism you’d be hard pressed to tell the two bodies apart. As Nikon’s high-end DSLRs have matured, it’s pretty much inevitable that we’re not going to see major changes to body shape or control layout.

From the front you can see the D6’s deep vertical grip, which houses a high-capacity lithium-ion battery, and the heavy duty rubber covers which protect its remote control and flash sync ports from dust and moisture.

Nikon D6: First look

From the back, the D6 is again almost indistinguishable from the D5. There are in fact no noticeable changes to button layout at all compared to the previous model. While unconfirmed, the LCD looks to be the same or very similar to the D5, too. Assuming we’re right about that, it’ll be a 3.2″ panel. We fully expect the D6 to follow the D5 in offering back-lit controls for low-light shooting, too.

The D5 was among Nikon’s first DSLRs to offer 4K UHD video, and we expect the D6 to build on this feature set, perhaps also offering an enhanced video / live view autofocus experience of the kind we’ve seen in the new D780.

Nikon D6: First look

The D6 features the same unusual eyecup attachment method as the D5, with the cup screwed into a removable panel, which releases via a pair of catches to the lower left and right of the finder. This view shows off the D6’s large upper status LCD, which displays key exposure settings, battery level, etc.

It remains to be seen what kind of autofocus features the D6 will offer, but we still consider the D5 to be a gold standard for DSLRs, so any improvement on its excellent 153-point system will just make a great system even better. What we really want are improvements to live view autofocus, to bring the D6 more in line with what we’ve seen from the Z6 and Z7 (and now the D780). We’ll have to wait a while longer to see whether our wishes are fulfilled.

Nikon D6: First look

On the opposite side of the D6’s top plate is the main drive mode dial, which lets you quickly select from a range of advance options. No word yet on maximum framerate, but we’d expect a jump from the D5’s maximum shooting rate of 12fps. The trio of buttons which top this dial are MODE / BKT / metering pattern, and are unchanged from the D5.

Eagle-eyed readers will also notice the WiFi and Bluetooth symbols printed on the D6’s shoulder.

Nikon D6: First look

A view from the top shows off the D6’s fairly sparse upper controls, which will be very familiar to D5 and D850 shooters. While – again – unconfirmed, the seam in the pentaprism hump just in front of the hotshoe looks a lot like a polycarbonate ‘window’ for those previously-mentioned wireless connections and / or GPS.

And that’s it – for now. We’re hoping for more information on the D6 soon, ahead of its expected release before the Tokyo Olympics this summer. We’ll keep you posted!

Articles: Digital Photography Review (dpreview.com)

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Hands-on with the Nikon Nikkor Z 70-200mm F2.8 S

10 Jan

Hands-on with Nikon Z 70-200mm F2.8 S

Nikon’s just-announced Z 70-200mm F2.8 S looks like a powerful option for Z-series photographers, joining the Z 24-70mm F2.8 S as the second part in Nikon’s ‘holy trinity’ of F2.8 zooms for Z mount. We got our hands on an early working sample at CES. Click through for some initial impressions and a breakdown of the key features.

Hands-on with Nikon Z 70-200mm F2.8 S

Physically, the Z 70-200mm F2.8 S is very similar to the older AF-S 70-200mm F2.8. Its external dimensions are about the same, as is its weight. But while the optical design bears some relation to its F-mount forebear, this is a very different, and very advanced design.

Featuring 21 elements in 18 groups, the Z 70-200mm F2.8 S is Nikon’s most ambitious Z-mount zoom yet, featuring no fewer than six ED (extra low-dispersion) elements, two aspherical elements and one fluorite element.

It also includes a new ‘SR’ (short wavelength refractive) element, which is, in Nikon’s words, ‘a specialized-dispersion glass lens featuring characteristics that greatly refract light with wavelengths shorter than that of blue.’ This appears to be a comparable technology to Canon’s Blue Spectrum Refractive Optics (BR) found on lenses such as the EF 35mm F1.4L II and RF 85mm F1.2L.

This should mean that chromatic aberration is kept to an absolute minimum, something we want to test as soon as possible. Nano crystal coating and Nikon’s new Arneo coating also help keep contrast high and flare low when shooting into, or just off-axis, from bright light sources.

Hands-on with Nikon Z 70-200mm F2.8 S

This view shows the standard A|M switch for focus and a simple focus limiter, to stop the lens from hunting through its entire range for distant subjects. Close focus (should you need it) is 1m at 200mm, and 0.5m at 70mm – a nice improvement over Nikon’s previous 70-200mm designs for DSLRs.

The Z 70-200mm F2.8 S offers an impressive built-in VR system, capable of 5 stops of correction, Nikon’s highest-ever rating (per CIPA). So what’s missing? The Z 70-200mm F2.8 S does not feature the familiar VR mode switch found on many Nikon lenses; instead, VR is toggled and controlled via the camera body.

Hands-on with Nikon Z 70-200mm F2.8 S

Twin Fn buttons on the barrel can be customized to fulfill various other requirements, basically matching the options available in-camera for the Z6 and Z7’s own Fn buttons. The tripod collar is fixed, but the foot can be removed when not required.

Hands-on with Nikon Z 70-200mm F2.8 S

As we’ve seen on the Z 24-70mm F2.8 S (as well as the new Noct) the 70-200mm features a small display on the barrel itself, which can be switched (via the ‘DISP’ button) to display aperture and focus position.

This shot also shows the zoom and focus ring arrangement, which matches that of the AF-S 70-200mm. Some photographers love having zoom positioned towards the tip of the lens, and some photographers hate it, but hopefully all Z-series shooters will appreciate the customizable control ring, positioned at the opposite end of the Z 70-200mm F2.8 S, which can be used for quick control over exposure compensation and/or aperture.

Videographers will also appreciate that this lens provides parfocal support. In other words, the focus position doesn’t shift when the lens is zoomed. It’s not clear at this point whether the lens is optically parfocal or if it makes a real-time focus adjustment to provide a parfocal effect, but either way it should negate the need to pull focus during or after zooming.

Hands-on with Nikon Z 70-200mm F2.8 S

As we’d expect, the Z 70-200mm F2.8 S is sealed against dust and moisture incursion. You may just be able to make out the slim rubber sealing ring around the lensmount in this shot.

Notice too the relatively recessed rear element, which is unusual in Nikon’s current Z-mount lens lineup.

Hands-on with Nikon Z 70-200mm F2.8 S

The Z 70-200mm F2.8 S features a nine-bladed aperture for circular bokeh at wide apertures, and a 77mm filter thread. It will be available next month for $ 2,599.99.

Articles: Digital Photography Review (dpreview.com)

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Canon announces its new CR-S700R ‘Robotic Camera System’

10 Jan

Canon has introduced the CR-S700R, a ‘Robotic Camera System’ that allows operators to wirelessly zoom, pan, tilt and roll select EOS cameras for composing and capturing still image photography.

The system, which Canon suggests is designed for ‘sports photography and news media,’ pairs with the CR-G100 camera controller and works alongside Canon’s CR-A100 Camera Remote Application to ‘to control multiple cameras from a PC, display live-view images and remotely trigger a camera or simultaneously shoot with multiple cameras.’

No measurements are given, but based on the images, it’s clear this machine is large, as it manages to make an EOS 1-series body and 70–200mm F2.8 lens look small when attached. Canon says the system can follow ‘high-speed subjects and features a turning radius of up to 260mm.’

Canon IP camera controller CR-G100

At the time, the system only supports the 1D X Mark II and 1DX Mark III cameras when used with the following lenses:

EF 11–24mm F4L USM
EF 16–35mm F2.8L III USM
EF 24–70mm F2.8L II USM
EF 70–200mm F2.8L IS II USM
EF 24–105mm F4L IS II USM
EF 100–400mm F4.5–5.6L IS II USM

Based on the sole screenshot of the Camera Remote Application CR-A100 Canon has provided, it appears as though operators will be able to control over a dozen cameras at once, with the ability to edit nearly every setting the camera has to offer. There are even preset buttons, suggesting it’ll be possible to remotely capture multiple pre-composed shots with the click of a button.

While Canon surely expects other use-cases, the CR-S700R looks like the perfect system to use during this year’s 2020 Summer Olympic Games. Remote cameras are consistently used during Olympic events and having the ability to reposition and remotely control every aspect of the camera seems like a no-brainer for sports photographers and news agencies who want to get the best shots possible.

The Robotic Camera System CR-S700R and the Camera Remote Application CR-A100 are scheduled to be available ‘from mid-February 2020,’ according to Canon.

Press release:

Canon Introduces The CR-S700R Robotic Camera System Enabling The Remote Operation Of Select EOS Cameras And Lenses*

MELVILLE, NY, January 6, 2020 – Sports photography and news media require the use of remote photography extensively to capture still images from various viewpoints or angles that may not be achieved with conventional photography methods. Canon U.S.A. Inc., a leader in digital imaging solution, today announced the release of the Canon Robotic Camera System CR-S700R, a remote-control system for still image shooting. This system was developed to meet the needs of professional photographers to operate cameras remotely to shoot still images for the media and further represents Canon’s continued commitment to deliver convenient solutions.

The Canon Robotic Camera System CR-S700R revolves around a remote pan head that can be used to remotely control and shoot still images using a compatible EOS camera and lens*. This system includes a small and lightweight gateway box: the IP camera controller CR-G100. The CR-A100 Camera Remote Application (sold separately) enables users to control multiple cameras from a PC, display live-view images, and remotely trigger a camera or simultaneously shoot with multiple cameras.

Bring New Viewpoints for Professional Press and Sports Photographers
By using a center-type mechanism that rotates around a central axis perpendicular to the optical axis of the lens, the remote pan head can perform operations such as zooming, panning, tilting, and rolling of the attached camera in a small footprint with minimal shifting of weight and balance. The remote-control solution can be ideal to follow high-speed subjects and features a turning radius of up to 260mm. The focus on still image capture has made it possible to achieve a more compact and lightweight design, while the IP camera controller CR-G100 helps eliminate complicated and bulky wired connections, meaning one person can operate multiple cameras. The PC software (licensed with the Robotic Camera System CR-S700R) is also available separately to control a camera using the IP camera controller CR-G100, streamlining the workflow of still image shooting at the news site.

Availability
The Robotic Camera System CR-S700R and the Camera Remote Application CR-A100 are scheduled to be available from mid-February 2020**. For more information, please contact your local Canon pro-market representative or regional sales manager.

† Based on weekly patent counts issued by United States Patent and Trademark Office.

* Compatible cameras are the EOS-1D X Mark II and EOS-1D X Mark III. Compatible interchangeable lenses are EF 11-24mm F4L USM, EF 16-35mm F2.8L III USM, EF 24-70mm F2.8L II USM, EF 70-200mm F2.8L IS II USM, EF 24-105mm F4L IS II USM, and EF 100-400mm F4.5 -5.6L IS II USM.

** Availability and specification are subject to change without notice.

Articles: Digital Photography Review (dpreview.com)

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Canon shows off new AI-powered plugin for Lightroom Classic that will cull images for you

10 Jan

Canon has announced it will soon be releasing a new AI-powered plugin for Adobe Lightroom Classic that will be able to cull through images and sort them based on image quality.

The ‘Photo Culling’ plugin, as it’s so aptly named, uses Canon’s Computer Vision AI engine and ‘technical models’ to select images for ‘sharpness, noise, exposure, contrast, closed eyes, and red eyes.’ As the plugin analyzes images, it will flag the photos with different colored flags within Lightroom Classic for easier curation.

Canon says the settings will be customizable so photographers can ‘remain in complete control,’ but doesn’t elaborate on how exactly the parameters will be controlled. There’s no mention of whether or not this plugin will work with images captured with other cameras, but we’ve contacted Canon for clarification and will update this article accordingly when we hear back.

The Photo Culling plugin will be available exclusively on the Adobe Exchange App Marketplace in Q1 2020 for a monthly subscription.

Articles: Digital Photography Review (dpreview.com)

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Lucid’s new LucidPix AI app turns ordinary images into 3D photos

10 Jan

AI vision startup Lucid has introduced an upcoming app called LucidPix that transforms ordinary images into 3D photos. The app is currently in development but has been made available to some users as part of a private beta. LucidPix is made possible using a contextual artificial intelligence that replaces the need for depth of field sensors or multiple cameras.

Generally speaking, special high-end camera hardware including select expensive flagship smartphones are required to capture 3D images. Unlike old school red-cyan stereoscopic 3D images, this newer type of 3D image doesn’t require special glasses to view. Instead, the effect is generated in the image based on depth-of-field data. Users can perceive the depth of different elements in the images by tilting their phones while viewing them, giving the images a 3D effect.

The LucidPix app will make it possible for anyone to create 3D photos, including ones generated from existing 2D images, using any iPhone or Android smartphone model. The transformation happens entirely through software. The LucidPix app includes 3D effect frames and will be offered in both standard and for-pay Premium versions.

3D photos generated with LucidPix can be shared within the photo app, as well as on social media platforms that support 3D images, including Facebook. According to Lucid, more than 250,000 people are using the LucidPix beta app through the Google Play Store’s early access program. Lucid recently demonstrated the app at CES 2020; the product will officially launch in the second quarter of the year.

Additional examples of 3D photos generated with LucidPix can be found on the app’s official Facebook Page.

Articles: Digital Photography Review (dpreview.com)

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Canon announces Image Connect, a new photographer matching service for the U.S.

09 Jan

In addition to its Robotic Camera System CR-S700R and Photo Culling plugin for Adobe Lightroom Classic, Canon has also announced it will be launching a new photographer matching service in the United States.

The service, called Image Connect, will use Canon’s RAISE photo community platform to connect customers with professional photographers. The process will go as follows, according to Canon:

Through the platform, customers can provide basic details for the job, such as event type, location, and date
Once photographers are matched with the customer through the platform, customers review photographer profiles and invite those they like to bid on the job
Photographers create an offer which allows them to set their own price (rather than adhering to standardized pricing) and allows them to communicate their rates and value to customers
Once an offer is accepted, the job is booked through the platform
Following the event, images are delivered electronically to the customers through a Canon customer portal

The service will be brand agnostic, so even if you’re not a Canon shooter, you’ll still be able to use the service. The service is expected to go live in a limited number of markets starting in Q1 2020. At the time of launch, the service will be limited to residents of the following states: Connecticut, Florida, New Jersey, New York, Pennsylvania and Texas.

There’s no word yet on whether Image Connect will be available outside the United States. We have contact Canon for clarification and will update this article accordingly when we hear back.

Articles: Digital Photography Review (dpreview.com)

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