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Archive for February, 2020

Street Portraits vs Street Photography: What is the Difference?

10 Feb

The post Street Portraits vs Street Photography: What is the Difference? appeared first on Digital Photography School. It was authored by Simon Bond.

street-photography-vs-street-portraits

One of the most popular and accessible forms of photography you can practice is street photography. In this article, you’ll learn about one of the key questions that get asked in this area of photography. That is when do you ask a person’s permission to take their photo? The answer to that question divides street portraits vs street photography.

Read on to find out about both areas of street photography, and how they relate to each other.

What is street photography?

This can be a difficult area of photography to define because street portraits can easily be mistaken for street photography.

It’s also true that it’s possible to practice street photography and still have permission from your subjects.

So what sets this area of photography apart?

Well, the simple answer is that street photos should be natural and not staged. So what does it take to get a good street photo?

Image: YOu can even use a fisheye lens for street photography. People’s faces aren’t rea...

YOu can even use a fisheye lens for street photography. People’s faces aren’t really shown here, yet there is a story.

The equipment

The camera body you use here is important for street photography that occurs in low light situations, where you’ll want to use a higher ISO.

The choice between DSLRs or mirrorless cameras is a personal one. However, the smaller size of mirrorless cameras is an advantage.

You really want to keep to one lens, so you can keep things lightweight while you’re on the move. There is an understandable desire to use different focal lengths, though, so consider returning to the same location twice, and with different lenses.

So which is the ideal lens for street photography?

Image: A lens of 135mm means you need to stand quite far away to include the context in your scene.

A lens of 135mm means you need to stand quite far away to include the context in your scene.

  • 50mm – This is many street photographers’ lens of choice. That’s because it has a similar field of view to a person’s eye. That field of view is also wide enough to give your scene context, and you have a large enough aperture with a prime lens to photograph in low light. Keep in mind the crop factor for DSLR cameras that have a crop sensor, as it will change the effective focal distance of your 50mm lens.
  • Wide-angle – Then there are those photographers who like to have even more stories in their scene and will look to use even wider lenses. That might even mean a wide-angle zoom lens. You’ll now be getting very close to the people you photograph, making it harder to avoid them noticing you.
  • Telephoto – On the other end of the spectrum are those who prefer to photograph from a distance. This allows you to photograph the scene without the chance of people posing, as they’re much less likely to see you. On the other hand, you’ll compress the scene. If you don’t stand even further back, you won’t show very much context in your photo.
Image: Market’s make great locations for street photography. They are even better at night, wh...

Market’s make great locations for street photography. They are even better at night, when there is more atmosphere.

The location

Street photography is the exploration of your urban environment, so it needs to happen in this setting. The photo might happen away from the street itself, for instance, in an indoor market, but this would still be considered street photography.

The best place to practice this will be a place that allows for plenty of moments of capture. With that in mind, locations like markets, train stations, or high streets would work.

The subject

Now you know the location for street photography, the next thing to think about is the subject. There are plenty of photos you can take from the location suggested above that aren’t street photos.

A photo that shows only fruit is more of a food detail photo than a street photo. That said, does every street photo need to include a person’s face? The answer to that is, no, it doesn’t. But there does need to be a narrative element to it.

A photo that just shows people’s feet can certainly still contain a story. However, in most cases, you’ll want to see a person going about their daily life, and that means including their face.

Image: A street portrait will see your subject fully engaging with the camera.

A street portrait will see your subject fully engaging with the camera.

What is a street portrait?

A street portrait is one that shows the person’s face. It’s almost certainly posed, and it will be taken on the street. There is an authentic element to it. You’re not taking a model out with you, and you never know if the person you ask will give you permission to take their photo.

Once granted permission, you’ll be able to control many elements of the photo. You might be able to ask your subject to stand in front of an interesting background, turn their face towards a light source, or control their facial expression.

The equipment

This type of photo, once again, will be taken with a good quality mirrorless or DSLR camera. The lens should be a prime lens with a large aperture to give you the choice of blurring the background. However, you don’t have to use bokeh when you can control where your subject stands.

The type of lens you could use would be the same ones portrait photographers use with a model. So a 50mm, 85mm, or 135mm prime lens is ideal.

You might even consider using off-camera flash to have further control over your photo – this is, after all, a posed photo now.

The location

This will be a location where people congregate and go about their daily lives. It’s likely you’ll take a mixture of street portraits and street photos in the same location. With that in mind, refer to the advice given above for locations for street photography, since this is broadly the same for street portraits.

Image: In this photo I asked the man to move to a better position for the light.

In this photo I asked the man to move to a better position for the light.

The subject

Now you’re looking for people who have personality in their appearance. Look for people who really tell the story of the place they are in. Do this through the clothes they’re wearing, the imperfections on their face, and the backgrounds you can find to place behind them.

One crucial aspect of this type of photo is gaining permission.

You’ll need to decide which types of personality are most likely to give you a positive response. You’ll also need to adapt the way you approach people, as different people may respond differently to varying ways you could break the ice. However you do this, always remain professional, and courteous. Perhaps bring a portfolio of your work and a business card with you to give yourself added weight.

Model releases

It’s worth mentioning model releases when it comes to photographing people. While it’s true that in many countries you’re allowed to photograph people in public places, you can then only use those photos for editorial and personal use. There may come a time you wish to use your photos more commercially.

If that’s the case, then you’ll need a model release. Even if you don’t use the photos for commercial reasons, getting a model release is always good practice.

In the case of street portraits, this should be easier to do since you’ll already be in conversation with the person in question.

Image: You can use the background for a street portrait, so it adds context to the rest of the photo...

You can use the background for a street portrait, so it adds context to the rest of the photo.

Street portraits vs street photography, time to decide.

Now you know your street portraits vs street photography.

Which form of photography do you prefer, both as a photographer and a viewer? How often do you ask people on the street for their permission before taking the photo?

Do you have a favorite set of equipment for either of these photography genres?

Here at digital photography school, we like hearing your opinions, so please share them in the comments.

Likewise, please share your photos that show street photography or street portraits in the comments section.

 

 

The post Street Portraits vs Street Photography: What is the Difference? appeared first on Digital Photography School. It was authored by Simon Bond.


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Leica releases major 2.0 firmware update for its Q2 compact camera

10 Feb

Leica has released a firmware update for its Q2 that adds and improves a number of features for the prime lens compact camera. Firmware version 2.0 for the Leica Q2 addresses nearly every facet of the camera, from shooting modes to mobile transfer speeds.

First up are the autofocus (AF) improvements. Leica has added selectable AF field sizes (small, medium and large) that can be changed by a long tap when Touch AF is activated. Leica has also made it so Touch AF + Release works across all AF modes and has also made it so if a face isn’t detected in Face Detection AF Mode, the AF-Mode will temporarily switch to Field AF instead of Multi-field until a face is detected. Tracking AF has been improved across the board as well.

Speeds across the entire workflow have been improved, too. DNG and DNG+JPEG write speeds are twice as fast and transferring images to mobile devices via the Leica FOTOS app is now up to 50-percent faster.

Leica has also added a new top-level menu screen for a more complete overview of settings, made it so auto-ISO is changed to ‘prioritize correct exposure’ and added a menu option so you can choose between 60 fps or 120 fps refresh rates for the electronic viewfinder. In Leica’s own words, ‘For fast moving subjects, set 120 fps for a more fluid display of movement (lower resolution), or choose 60 fps for full resolution.’

You can read more details and download firmware version 2.0 for the Leica Q on Leica’s download page.

Articles: Digital Photography Review (dpreview.com)

 
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How to Create a Portfolio Template in Photoshop and Profit from Layer Types

10 Feb

The post How to Create a Portfolio Template in Photoshop and Profit from Layer Types appeared first on Digital Photography School. It was authored by Ana Mireles.

Create-a-Portfolio-Template-in-Photoshop

Your portfolio is your presentation card. It should always be current with your latest works, coherent with your style and accessible to your clients. Perhaps there’s one on your website, another one printed, and one for pitch presentations. All of them need to be up to date. So, how do you keep up with that? Create a portfolio template that is easy to update that you can scale to different formats.

Keep reading to learn how to create a portfolio template in Photoshop.

Create a Portfolio template examples

While Photoshop is a fantastic photo editing software, it does have some tools that are useful for graphics work too. This will relieve you of the task of having to learn another program like Illustrator. One of the best things for creating a portfolio template is profiting from the characteristics that each type of layer can offer. You can use Vector Layers for your design and logos, Text Layers for all the information, and Smart Objects for your images.

Let’s go through it step by step.

The fundamentals

First of all, what is a Layer?

When you open a new project, whether this is a blank canvas or a photograph, it opens as an image layer by default. This is the base that you build upon. You can then add as many layers as you need.

Imagine that the Layers are paper sheets that you can stack. Each one will then modify, add or block the content of the ones below. The properties of each layer depend on the type of layer it is.

 

Photoshop Layers in Perspective

Layers are one of the most versatile and useful tools in Photoshop.

There are many types of layers, some are stand-alone layers like images or vectors. Others work only in combination, as Adjustment Layers.

The important thing to understand is that each one has different characteristics that can be used to simplify your life. Here I’ll discuss the ones I find most useful to create a portfolio template.

The template

Designing your template

The first thing you’ll need is to draw the design of the template. Here, you can decide the elements and colors you want to use. Because this is a template, it should be able to fit most images and situations. So, you might want to keep it simple, but this is up to you.

In any case, every element that you design is best drawn with the Shape tool. Doing this creates a vector layer by default. To make sure of this, check that the menu in the options bar is set to Shape.

Create a Portfolio Template with Shapes

This is important because, unlike images, vectors are independent of resolution. This gives you the advantage of modifying the elements without losing quality, as you would do with pixels. This is why most graphic programs, like Illustrator, work with vectors. Shapes and vector layers are also great for creating your logo.

Adding a logo

If your logo consists of many shapes, select all of them and turn them into a Smart Object by right-clicking on top and then choosing Convert to Smart Object from the menu.

This is a different type of layer, not only can you scale it as many times as you want – just like the vectors – but you also retain the source data so that you can work non-destructively.

Because of this, every time you open your Smart Object, you’ll still find all the original shape layers to work on them independently.

Create a portfolio template with smart objects

Another cool feature from smart objects is the possibility to link one or more copies.

This means that every time you modify your logo, it will automatically apply the changes to all the copies. This is useful if your design includes more than one logo. To do this, create a copy of the layer by dragging it to the Duplicate Layer button at the bottom of the panel.

Create a logo with smart objects

If you want to keep your copies working independently from each other, you can create a copy of the smart object that it’s not linked. Do this by using New Smart Object via Copy. You can find it in the menu that pops up when you right-click on the layer.

Create a portfolio template with logo

Adding text

This is as straightforward as it sounds. When you use the Text tool, it creates a Text Layer. Keep in mind that because it’s a different kind of layer, not all the tools are available for use. For example, you can’t use the filters.

If you want to use them, you will get a prompt asking you to “rasterize the layer.” This will turn it into an image (a pixel layer). You shouldn’t do this if you want to be able to edit the text in the future. If you do want to rasterize your layer, make a copy of it first and turn off the original by clicking on the “eye” next to the layer in the Layers panel.

Create a Portfolio Template Rasterize Layers

Another useful tip when designing your template is to confine the space for your text, so it doesn’t ruin your design if you change or add content later.

Instead of just clicking and typing, click and drag a rectangle text box where you want the text to be. That way, whatever you type adjusts to that space. I usually put one next to the image to add all the information like title, technique, and project. Then I can update it for every image.

Create a portfolio template

Adding images

The photos are the stars of your project, so you want to make sure to work non-destructively on them. The best choice for this is the Smart Object. 

To add your photo as a Smart Object layer, you have to go to Menu->File->Place. Because in my design, I added a rectangle to serve as a frame for my images, I can now add a Layer Mask to fit it inside without losing any information.

create a portfolio template for your photography

You can do this by placing the smart object directly on top of the rectangle shape designed at the beginning. Now create a Clipping Mask by pressing Cmd+Alt+g (Ctrl+Alt+g on PC). The Mask will reveal the image through the frame without cutting it or changing any of it.

Create a portfolio template

To update the images, you can open the Smart Object and place the new one there so that you don’t change the Layers or Masks of the template.

Save and close

Because you used Vectors, Texts, and Smart Objects, you can change the resolution from web to printing as many times as you want while keeping the quality of it. Just be sure to save each page of the portfolio separately, so you don’t overwrite your template.

Conclusion

I hope that you have found How to Create a Portfolio Template in Photoshop and Profit from Layer Types useful for creating your own portfolio templates.

Remember, save each template as a PSD file so that you can go back and utilize them again when you want to update your photos or text. Saving as a PSD file retains all of your layers so that you can access them and change them easily. If you save it as a JPG or another lossy format that flattens the layers, you will no longer have the ability to edit them.

If you have any other tips for creating a portfolio template, please share them with us in the comments below.

 

The post How to Create a Portfolio Template in Photoshop and Profit from Layer Types appeared first on Digital Photography School. It was authored by Ana Mireles.


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7 Mistakes Beginner Photographers Make The Camera Can’t Be Blamed For

10 Feb

The post 7 Mistakes Beginner Photographers Make The Camera Can’t Be Blamed For appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

7-mistakes-beginner-photographers-make

There are many mistakes beginner photographers make. It’s healthy to make mistakes so long as you learn from them. Be willing to understand why your photos are not turning out how you wanted them to. Don’t be quick to blame circumstances or your camera gear when you mess up.

Here are some common beginner photographer mistakes you can’t blame the camera for.

1. Poor composition

Poor composition is one of the main mistakes beginner photographers make. Not getting close enough to your subject, results in having too much unnecessary space in your pictures.

Sometimes being too close can ruin a composition too. Are you cutting off your subject’s feet?

Be mindful of what’s inside your frame. Ask yourself if everything you see is relevant to the picture you are taking? If it’s not, fix the mistake. Move closer, zoom or change your position.

Leaving excessive space above a person’s head is the most common compositional mistake I see beginner photographers make. Often what’s above a person’s head is not relevant to the photograph. Get closer or tilt your camera angle down to minimize this space.

mistakes beginner photographers make

© Kevin Landwer-Johan

2. Rushing your photography

Take your time, and you will take better photos. Being impatient will never make you a fabulous photographer. Whatever style of photography you engage in, being patient will benefit you.

Grabbed moments don’t often capture the best photographs. Of course, there are exceptions, but typically it pays to prepare yourself and anticipate action before it happens. Doing this, you can set your camera and line up your composition.

Using manual mode will help you slow down. You will visualize that you are photographing differently. This is because you are forced to think more about every aspect of taking your pictures.

During our photography workshops, I love to teach people how to slow down by using manual mode. Most people I teach develop their skills quickly. Their photos are well exposed and composed because they are working more slowly.

mistakes beginner photographers make

© Kevin Landwer-Johan

3. Distracting backgrounds

Having distracting backgrounds is another mistake beginner photographers make. It’s easy to concentrate on your main subject and not see what’s behind them until you look at your photos later.

When you do see that you have a distracting background, there are several options to avoid this.

  • Use a longer focal length lens.
  • Move your subject somewhere else.
  • Change your camera angle or location.
  • Use a wide aperture to blur the background.

A longer focal length lens will reduce the amount of background you see. Move back from your subject and use a longer focal length. You will see the background differently than using a wider lens.

Moving your subject or your camera location will change what’s behind your subject. Sometimes you will not be able to move your subject. When you can’t, you’ll have to move. This sometimes means you need to compromise with the lighting or composition.

Blurring a background can sometimes be the best way to avoid distractions. You’ll need to open your aperture wide to achieve this, except when you are using a long lens or focusing very close to your subject.

Young Woman in the Park mistakes beginner photographers make

© Kevin Landwer-Johan

4. Not looking for alternative angles

Taking a picture from the first angle you think of, is not always going to make the best photo. This is another common mistake beginner photographers make.

Move around – even a little. Shift your camera from side to side. Tilt it higher or lower. Pay attention to the relationships of elements in your composition as you do this. At times, even a very slight alteration of your camera angle will result in a more striking photograph.

Always consider taking both a vertical and a horizontal perspective with your camera. When you can’t make everything fit the way you want, use a Dutch Tilt. Turning your camera to an off-kilter angle to accommodate your subject can work very well.

When you find something interesting enough to photograph, take more than one or two frames. Looking at a subject from different angles will help you visualize it in fresh ways. I think one of the advantages of using prime lenses is that you are more likely to move about to change your composition. You cannot stand in the same spot and zoom, so you will be more inclined to seek out different points of view.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

5. Not giving people enough direction

How often do you avoid giving directions to the people and have them pose awkwardly? These are common mistakes beginner photographers often make.

Communicate well with the people you photograph. Talk to them about what you are doing and how you want them to look in the photo. Start with some easy, relaxed poses so they’ll be more confident with you.

If you leave them to come up with poses on their own, they may not be very interesting.

People will feel better when you give them direction, particularly if you do so with relaxed confidence. Be clear about what you want them to do and speak to them politely.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

6. Failing to relate to your subject, whatever you are photographing

When photographing people, it’s important to develop a rapport with them. Give them instructions so you can get the photos you want. Moreover, connecting with these people.

If you spend your time looking down fiddling with your camera settings, your subject will most likely feel awkward. You might want to adjust your camera settings, so they are technically perfect. But when you fail to relate to your subject, you will not capture the most interesting photo.

This is most important when you’re photographing people, but not exclusive. Whatever your subject, you’ll make more appealing photos when you include feeling.

Think about why you are photographing something.

What attracted you to take these pictures? How can you incorporate this feeling into the photos you take?

Many beginner photographers will find this challenging. However, as long as you are aware of how you relate to your subject and seek to develop this, you will become more skilled at it.

Muddy female Ceramic artist

© Kevin Landwer-Johan

7. Being fearful to take photos

Many beginner photographers will hesitate to go after the pictures they want because they are fearful.

If you want to photograph something dangerous, where there’s a high degree of risk, being fearful is natural and healthy. For example, it wouldn’t be wise to get close to a bear cub or a poisonous snake in the wild. These situations require fear to motivate us to keep our distance.

Not photographing people because you are fearful that you might impose is entirely different. You can’t know how someone will respond until you ask if you can take their photo. It’s taken me years to learn this, and still, at times, I hesitate.

Tame the negative, fearful thoughts in your head. When you see something you want to photograph, consider the reason why and how you can. Don’t be consumed by thoughts and excuses of why not and how not.

Being committed to the ideas you have about the photos you want to capture will help you develop your personal photography style.

Chiang Mai market porter

© Kevin Landwer-Johan

Conclusion

Mistakes beginner photographers make can be very frustrating. When you take your time and review the photos you take, you’ll see how to improve and not keep making the same mistakes.

Moreover, look over the photos you take each time you load them to your computer. This is most helpful when you have not deleted the ‘duds’ off your cards before uploading.

When you see your best and worst photos side by side, this can help you grow as a photographer.

mistakes beginner photographers make

© Kevin Landwer-Johan

Are there any other mistakes that you have made as a beginner photographer that you’d like to help others learn from? If so, please share them with us in the comments section.

The post 7 Mistakes Beginner Photographers Make The Camera Can’t Be Blamed For appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Video: BTS look at how Nissan turned its 2020 GT-R NISMO into the ultimate camera car

10 Feb

How do you film a high-speed performance car capable of reaching speeds up to 300kph (186mph)? You simply take another one and modify it to be used as a high-speed camera car itself.

In a press release, Nissan has shared how it captured promotional footage for its 2020 Nissan GT-R NISMO using another GT-R that had been modified to be a purpose-built camera car. To get the job done, Nissan enlisted the help of Mauro Calo, ‘a professional precision driver and automotive video expert known for his work on big-budget blockbuster movies and automotive TV shows.’

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After plenty of planning and prototyping, Nissan and Calo got to work ‘bespoke tubular structure that was welded to the chassis and able to hold the weight of the professional carbon-fiber gimbal camera mounting system.’ In addition to the camera rig, the car was covered with a matte black wrap and gained a new name of sorts—Godzilla Tracking Rig (GT-R).

‘Thanks to its low center of gravity, adjustable sports suspension and four-seater configuration, the GT-R is the perfect base car to accommodate a camera rig of this type,’ says Nissan in its press release.

Using a four-person team (with not much room to spare inside the coupe), Calo drove while a gimbal operator, focus puller and director captured the required footage for the promotional material. The above behind-the-scenes video is promotional in its own regards, but it still shows the incredible camera rig Calo and the Nissan team were able to develop.

Articles: Digital Photography Review (dpreview.com)

 
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Across the American west: Fujifilm GF 50mm F3.5 sample gallery

09 Feb

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Fujifilm’s GF 50mm F3.5 pancake prime isn’t exactly tiny, but it is impressively small given the large medium-format sensors it’s designed to work with. We paired it with a GFX 50R and took it out on the open road and to coastal California to see how it handles as a walk-around travel companion.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung files trademark for its ‘Nonacell’ technology destined for its 108MP sensor

09 Feb

Back in December, a rumor went around that Samsung’s Galaxy S11+ smartphone will use a new 108-megapixel sensor with ‘Nonacell’ technology. Not much is known about the sensor still, but it seems the rumor holds a little more clout now that Samsung has officially trademarked the ‘Nonacell’ nomenclature.

As first discovered by Dutch technology site LetsGoDigital, Samsung has filed a trademark in the United Kingdom for the ‘Nonacell’ name. As addressed in our initial coverage, ‘nona’ is Latin for ‘nine.’ As such, it’s expected that Samsung’s ‘Nonacell’ technology will use a three-by-three color filter array to merge nine pixels into a single, larger one. If combined with the much-anticipated 108MP ISOCELL Bright HMX sensor, the ‘Nonacell’ technology would yield a 12MP still.

Plenty of details remain about the rumored S11+ smartphone from Samsung, but we shouldn’t have to wait much longer with the series expected to launch sometime this month.

Articles: Digital Photography Review (dpreview.com)

 
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The Photographer’s Ephemeris app updated with support for what3words system

09 Feb

The Photographer’s Ephemeris (TPE), a mobile app that enables photographers to plan outdoor shots based on natural lighting conditions, has been updated with support for ‘what3words’ location tagging. With this system, photographers can tag a 3m x 3m (approx. 10ft x 10ft) area that is assigned three words by the what3words system.

The idea behind what3words is that it is easier to use than typical latitude and longitude coordinates, which involve long strings of numbers that can be difficult to accurately return to. The assigned words are completely random and are presented in a format like ‘jump.house.nine.’ Every spot on Earth has been assigned a three-word location tag.

The TPE app has been updated with support for this system so that photographers can save their favorite locations using what3words and lookup shared destinations using the same location tag format. The option to enter latitude and longitude remains. Users can now access what3words tagging in the iOS and Android versions of the app.

Articles: Digital Photography Review (dpreview.com)

 
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Leica releases major 2.0 firmware update for its Q2 compact camera system

09 Feb

Leica has released a firmware update for its Q2 that adds and improves a number of features for the prime lens compact camera. Firmware version 2.0 for the Leica Q2 addresses nearly every facet of the camera, from shooting modes to mobile transfer speeds.

First up are the autofocus (AF) improvements. Leica has added selectable AF field sizes (small, medium and large) that can be changed by a long tap when Touch AF is activated. Leica has also made it so Touch AF + Release works across all AF modes and has also made it so if a face isn’t detected in Face Detection AF Mode, the AF-Mode will temporarily switch to Field AF instead of Multi-field until a face is detected. Tracking AF has been improved across the board as well.

Speeds across the entire workflow have been improved, too. DNG and DNG+JPEG write speeds are twice as fast and transferring images to mobile devices via the Leica FOTOS app is now up to 50-percent faster.

Leica has also added a new top-level menu screen for a more complete overview of settings, made it so auto-ISO is changed to ‘prioritize correct exposure’ and added a menu option so you can choose between 60 fps or 120 fps refresh rates for the electronic viewfinder. In Leica’s own words, ‘For fast moving subjects, set 120 fps for a more fluid display of movement (lower resolution), or choose 60 fps for full resolution.’

You can read more details and download firmware version 2.0 for the Leica Q on Leica’s download page.

Articles: Digital Photography Review (dpreview.com)

 
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‘Back to the drawing board’: Sigma says full-frame Foveon camera won’t arrive this year

09 Feb
Sigma CEO Mr. Yamaki, pictured in the company’s factory in Aizu, Japan.

Development of Sigma’s full-frame Foveon camera has met considerable setbacks and the camera is no longer slated to arrive this year. In a letter to customers, CEO Kazuto Yamaki apologizes for the delay and says the decision comes after ‘careful and rigorous testing.’ No new release date is given at this time, and Mr. Yamaki says that the company has decided to start over with a ‘clean slate.’

The full-frame Foveon project was first announced to the public at CP+ in 2018. At the following year’s CP+, Sigma released more details about the camera and said it would reach market in 2020. Mr. Yamaki discussed with us some of the challenges of taking Foveon full-frame, describing the difficulty of improving interconnected aspects of sensor performance like high ISO performance and color gradation.

Press release:

Development status of the full-frame Foveon sensor camera

Dear Customers,

Thank you for being a valued customer.

At Photokina in September 2018, SIGMA announced the development of an L-mount mirrorless camera equipped with a full-frame Foveon sensor. Then, at CP+2019, we shared our plan to release the camera in 2020 and have worked diligently on the development to meet our commitment.

As a result of careful and rigorous testing based on the latest development information, however, it has become clear that the launch of such a camera would be infeasible within this year. Still at this point, we cannot say for certain when the full-frame Foveon X3 sensor will be put into mass production.

In light of current development progress, we are not in a position to offer any specific release plan at present. We have therefore decided that we should start over the project with a clean slate, putting the production plan for this new camera back to the drawing board and going back to the development of sensor technologies.

Since the earlier announcements, your excitement with the launch of a “full-frame Foveon” has been a tremendous source of inspiration and encouragement for us. Everyone involved in the project has pulled out all the stops to make it a reality. I would like to express my deepest apologies for failing to meet your expectations and having to share this disappointing news.

I would like to emphasize that Foveon sensors are in a class of their own and that they are part of the identity of SIGMA cameras that embodies our ideals and philosophies. We are determined to continue dedicating ourselves to technology development to bring better image sensors to life.

I would like to once again express my sincerest gratitude to our valued customers for the strong support you have offered to us. On behalf of all SIGMA employees, I commit myself to you that we continue striving to live up to your expectation and prove that we are worthy of your trust.

I truly appreciate your patience and understanding.

Warmest regards,

Kazuto Yamaki
Chief Executive Officer
SIGMA Corporation

Articles: Digital Photography Review (dpreview.com)

 
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