A number of Canon 1D X Mark III owners have reported issues with Canon’s flagship DSLR, wherein the camera appears to lock up and fall asleep while shooting in continuous mode.
First reported nearly three weeks ago in the DPReview forums, users have noticed their 1D X Mark III cameras seizing up after a few shots, making the camera unusable for a few seconds until it appears to reset. DPReview reader Hamilton Pytluk made what we believe to be the first mention of the issue when he had the following to say (emphasis his) in the Canon EOS-1D forums:
“My only gripe so far [with the 1D X Mark III] has been what I believe to be a buffer “issue” when shooting through the OVF, which seemingly puts the camera to sleep after taking a series of shots (as few as 5 in my usage) and de-pressing the shutter (if you keep it half-pressed, it’ll stay “awake”). Everything shuts down — I can’t even open the menu — until the write (red) light stops flickering.”
DPReview forum member PrestoPhotographer responded to Pytluk’s post confirming they too were affected by this issue:
‘I have the same issue with the viewfinder ‘sleeping’. Incredibly frustrating when shooting soccer or any fast-moving sport. I’m sending mine back as it’s currently not usable for me. I’ve noticed the card access light going off randomly amongst some other bizarre things as well. I’m set up for an eventual exchange but no clue when they’ll get more stock.’
Pytluk responded with the following YouTube video, showing exactly what both users described: after ten shots in continuous mode, the digital markings on the optical viewfinder (OVF) went blank and shut off until the camera caught back up, at which point the shutter could be released again.
Follow-up posts in the thread confirmed this issue occurred regardless of whether or not a memory card was inside the camera.
We experienced a similar issue with a pre-production camera earlier this year, but have not replicated the problem with two production samples of the EOS-1D X Mark III currently undergoing testing at DPReview. We have contacted Canon for comment and will update this article if we receive a response. If you’ve noticed this issue on your 1D X Mark III unit, leave us a message in the comments below.
I recently had an opportunity to shoot a short video while on vacation in New York, so decided to take the X-T4 with me. It’s a pre-production unit but one we’ve been told is close enough to final spec that we can show the video from it, so it seemed like a chance to put in some hours on the camera as we await a fully reviewable model.
I don’t regret that choice. Traveling for four days to a considerably colder city meant my carry-on luggage was already full, so any camera gear I wanted to take needed to fit under the seat in front of me on the plane. I’m 1.85m (6’1″) tall, so I’m already a bit pressed for legroom on US domestic flights, but I was able to fit the camera, a lens, my laptop and an SSD in a small, slim camera bag – everything I need to shoot and edit – and slot it vertically between my feet.
I was able to fit the camera, a lens, my laptop and an SSD under the seat in front of me on the plane
Much as I was impressed by the Panasonic S1H, I couldn’t have fitted it in my bag: not with an appropriately flexible lens. The same is true of the X-T3: adding either a tripod or a gimbal would have meant paying bag fees on my trip.
The camera, lens, mics, filters, SSD and laptop all fitted in a small, under-seat camera bag
In general, the footage lives up to the standard I’ve come to expect from the X-T3: very, very good. I shot the whole video in a combination of Eterna or F-Log, for the higher contrast scenes, safe in the knowledge that I had Fujifilm’s F-Log-to-Eterna LUT saved on my laptop to get a good color match with minimal effort.
The shoot itself went pretty smoothly, with no temperature concerns (no single clip is longer than 10 minutes but I shot around 30 minutes of footage essentially back-to-back). I remembered to pack the headphone dongle, so was able to monitor the audio, meaning I noticed when interference between the radio mic’s transmitter and receiver threatened to interrupt the interview recording.
With the ability to capture 10-bit footage internally and less need for a tripod or gimbal, the X-T4 ends up being a pretty self-contained video package.
The camera’s stabilization is really rather good, too. There’s none of the ‘grabbiness’ that was apparent the last time I shot with the X-H1, and it was my lack of technique, rather than the camera, that undermined some of the movement in the final video. At least on the pre-production camera, I didn’t see an appreciable improvement in the IS when I switched the ‘Boost’ mode on. Here I’d expect the camera to try more vigorously to maintain the original framing, but I found any difference hard to notice. I’ll try Boost IS again with ‘In-body + Digital IS’ on a future project.
Assessing exposure
One big thing I did notice, though: a camera that shoots video this good really needs better exposure tools. It’s got zebras, to let you interpret when things are clipped or near clipping, but not much more than that. With a bit of fiddling you can set them to check skin tones or a grey card but they can’t be set below 50%, and in F-Log mode your middle grey is supposed to be below 50%. Still, the new F-Log Assist function meant I was able to make a reasonable assessment by ‘eyeing’ the corrected preview, which was hugely useful. Having got used to using waveforms on the GH5S and S1H, I found myself really missing them here.
Similarly, I found myself wanting the ‘shutter angle’ option from those cameras. Having to manually navigate from 1/48 sec shutter speed to 1/120 sec every time I switched from 24p to 60p shooting was an extra step that I wouldn’t have to make on the Panasonics. And an extra opportunity to get something wrong.
I was only shooting video on this occasion, but that dedicated stills/movie switch helps de-clutter the menus, whichever mode you’re using, which made the camera faster to operate.
As I always try to make clear, I’m learning as I go along, and this inevitably means making mistakes. Perhaps the most important lesson I learned on this project was to bring more memory cards than you think you need. I thought a 64GB card would be sufficient for a two minute video, but then decided to shoot the interviews from two different angles, doubling data requirements.
Perhaps the most important lesson I learned on this project was to bring more memory cards than you think you need
It was enough to force me to drop down to use the camera’s 200 mbps Long-GOP compression, rather than the maximum 400 mbps ALL-I mode. Apparently the difference is enough that you can begin to risk macro-blocking compression artifacts in high data scenes (F-Log scenes with finely textured suiting are more data-intensive than I realized).
One of these days I’ll get everything right. One of these days I’ll even remember to capture some ‘room tone’ to plug the gaps in between subjects talking. But for now I’ll keep enjoying the learning journey – a journey on which the X-T4 makes for a supportive traveling companion. I certainly look forward to having it with me on my next trip.
Nikon has released an N-Log 3D lookup table (LUT) for use when color grading footage captured with N-Log gamma on its D780 DSLR.
The updated download is version 1.01, an update from version 1.00, which only offered the N-Log 3D LUT for Nikon’s Z6 and Z7 mirrorless camera systems. Version 1.01 includes the original Z6 and Z7 3D LUT files as well as the new cube-format 3D LUT file for the Nikon D780.
Nikon says it’s tested the 3D LUT files in Adobe Premiere Pro CC, Apple Final Cut Pro X and Blackmagic Design DaVinci Resolve 16, but compatibility isn’t limited to those editing programs.
You can find out more information and download the file for macOS and Windows computers on Nikon’s download page.
The post 5 Ways to Capture More Diverse Landscape Photos appeared first on Digital Photography School. It was authored by Jeremy Flint.
One of the most challenging things with landscape photography is to capture images that stand out. Planning to get to a destination at the right time is the easy part, and usually requires minimal effort. So when you have arrived at your location, how do you go about capturing more diverse landscape photos?
Well, there are several ways to represent greater diversity in your landscape images. Read on to discover how to make your landscape photos more interesting.
1. Minimalist scene
1/400 sec at f/11, Canon 5D Mark IV, 70-200mm f/2.8 lens
The first thing to consider when you are out in nature doing landscape photography is to decide what you are going to capture.
You may decide to photograph the entire view of the beautiful scenery in front of you. However, while executing a wide-angle shot of everything in the scene is a great way to start, why not try simplifying a scene to make it stand out.
Take a moment to think about what is actually appealing about the landscape. Are there any interesting features on show? What elements help to make the landscape look stunning? Is there an attractive outbuilding or a tree, for example?
I find limiting the number of components in a scene helps to convey the spirit of a place more fluently. Try adopting a “less is more approach” and bring certain elements together, such as a visually enticing cloud formation or evocative mist floating over an alluring landscape. The natural light and components within a scene can play an important part in the overall composition and look of your final image.
2. Extract patterns
1/100 sec at f/11, Canon 5D Mark IV, 70-200mm f/2.8 lens
Have you ever felt your landscape images are overly complicated or lack impact?
Another great technique to capture more diverse landscape photos that depict a location in a better way is to draw out patterns or details within the environment.
One method to do this is to shoot with a long lens from afar and compress the perspective to reduce the sense of space. A long lens helps to focus on capturing a certain part of the landscape, bringing near and far objects closer together and emphasizing shapes and patterns more effectively. An example of this may be to capture an attractive building with a field.
3. Aerial views
When looking to capture diverse landscape photos, a great way to alter the perspective of your shots is to vary your viewpoint. Shooting from a high viewpoint provides a great way to capture scenes from an angle that people may not normally see. This can be a good strategy to photograph something new and develop some creative landscape photography.
Elevated views can help to flatten the perspective of your image as it eliminates distance indicators. You can reduce the amount of sky in your photos and concentrate on creating images with interesting shapes. You can achieve aerial views by walking up to a higher vantage point, or shooting from a plane or hot-air balloon, for example.
1/180 sec at f/11, Canon 5D SR, 24-70mm f/2.8 lens
4. Shoot in overcast conditions
Don’t limit your landscape photography to sunny days or only wait for perfect light to appear, you can achieve diverse landscape photos in all weathers.
Capturing a scene in overcast conditions can lead to particularly striking results. The flat lighting will remove shadows and help to simplify a scene. Also, the reduced contrast will help to provide a simpler and more minimalist composition.
Overcast skies provide beautiful diffused light that can be really appealing for landscape photography.
5. Shoot fleeting light
Working with light can be a great way to capture remarkable images. With the right amount of light and cloud, you can convert a dull scene into a special scene, taking your photos to the next level.
For example, after a storm has passed, interesting light can transform a photo of the landscape into something incredible. This is especially so where the sun paints the land with magical pockets of light.
The precise combination of light, sky, and atmosphere can be blended to create an incomparable beauty within a frame.
1/320 sec at f/8, Canon 5D Mark IV, 24-70mm f/2.8 lens
Following a rain shower, keep a lookout for rainbows, as they provide an extraordinary addition to your pictures and help them to stand out. Remember to ensure your gear is kept dry during any rain too. That way, your camera will work well when capturing these great lighting moments after the rain has stopped.
Conclusion
In summary, you can capture more diverse landscape photos by applying a few important techniques. Go for a minimalist look by focussing on attractive elements within the landscape, and extract patterns by using a long lens to compress the perspective.
Shoot from above, shoot in overcast conditions, and capture momentary light and rainbows for more varied landscape images.
Apply these techniques next time you are out with your camera photographing the landscape and share your pictures with us below.
Do you have any other tips for capturing more diverse landscape photos? Share them with us also.
The post 5 Ways to Capture More Diverse Landscape Photos appeared first on Digital Photography School. It was authored by Jeremy Flint.
Ricoh has announced it’s spinning off its 360-degree camera division into a new startup called Vecnos and simultaneously releasing the first product from the Ricoh-backed venture.
The Vecnos venture started back in 2018 when Ricoh decided, as part of its new business development initiatives, to create a team tasked with creating ‘specialized cameras for a new generation of consumers.’ This new team, led by Shu Ubukata (now Vecnos’ CEO), proved entrepreneurial enough to Ricoh that it decided to turn it into a separate startup, with Ricoh as the investor.
There’s not much information about Vecnos, aside from a bare Twitter account, but to drum up some interest, Vecnos has announced its first product, a 360-degree ultra-compact camera that’s designed to ‘reinvent the selfie for social media natives.’
Specifications are scarce for the prototype camera, but Vecnos does say it will feature a proprietary four-lens optical system with a single lens on the top and three lenses around the perimeter of the wand-like device. Vecnos says the camera will work with an upcoming mobile app that will allow users to ‘users can easily enhance and share their images and videos on social media platforms.’
Based on the above promotional video, the camera appears to function almost identical to the Ricoh Theta cameras, with the ability to capture 360-degree photos and video and recompose the content as you see fit using the accompanying mobile app. The device itself features a power button, a shutter button, a dedicated button for switching between still and video mode and a what appears to be a pair of holes for an internal stereo microphone.
No pricing information has been shared, but Vecnos says the camera will be available in 2020.
Ricoh spins out Vecnos to focus on consumer 360-degree camera segment
First product aims to reinvent the selfie for social media natives
MARCH 10, 2020, YOKOHAMA, Japan – Vecnos Inc., the visual revolution company, today unveiled its vision to be a leader in the consumer 360-degree camera market and announced its first product, an ultra-compact camera that aims to reinvent the selfie for social media natives. Vecnos is a new startup venture spun out of and funded by Ricoh Company, Ltd.
Vecnos was founded by the core team that designed and launched the pioneering Ricoh Theta 360 camera in 2013. At Vecnos, the team—led by CEO Shu Ubukata—will leverage its expertise in optical and artificial intelligence (AI) technologies to develop new approaches to 360-degree and other specialized cameras, software and apps with a goal of making advanced imaging accessible to and enjoyable for broad consumer audiences.
“Enabled by advances in technology, combined with new social networking platforms, we are building a new generation of cameras, with our first product designed to reinvent the selfie and be used by a younger consumer,” explained Ubukata. “Our objectives are to combine ease of use with advanced capabilities for shooting, enhancing and sharing images, in beautiful and elegantly designed products that people will want to use. We aim to inspire a new generation.”
Vecnos’ first product will be a 360-degree camera that achieves new levels of miniaturization in a sleek and sophisticated design. A proprietary four-lens optical system, with three lenses on the side, and one on the top, enables the camera to be ultra-slim and pen-shaped. Using the Vecnos app, users can easily enhance and share their images and videos on social media platforms. The 360-degree camera and app will be available in 2020.
Emerging from Ricoh’s new business development initiatives, Vecnos was founded on the principles of open innovation and leveraging third-party knowledge, said Ricoh Company, Ltd. President and CEO Yoshinori “Jake” Yamashita. He explained: “Ricoh has always been committed to supporting innovation in visual communications. As part of our new business development initiatives, a team led by Shu Ubukata was formed in 2018 to create specialized cameras for a new generation of consumers. Ultimately, we all realized that it made sense for this highly entrepreneurial team to be spun out into its own venture. And with that, Vecnos was born. Ricoh is proud to be the lead investor in a young company with a Ricoh pedigree and a vision to build revolutionary products.”
The post 5 Reasons You Should Use Mirrorless in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Are you struggling to decide between DSLRs and mirrorless cameras? Do you want to know which is best for your needs? You’ve come to the right place. In this article, I’m going to give you the main reasons you may want to use mirrorless in 2020 over DSLRs.
And, if at the end of this article, some (or all) of those reasons speak to you, then mirrorless is probably the way to go.
If not, then I recommend you stick with DSLRs, because they really can produce amazing images.
Make sense?
Let’s get started.
1. Mirrorless cameras offer a live exposure preview
For me, this is the absolute best thing about mirrorless photography and the main reason why I bought my first mirrorless body.
You see, on a DSLR, when you look through the viewfinder, you see the actual scene before you (through your camera’s lens).
But if you look through the electronic viewfinder of mirrorless cameras, then you don’t see the scene in real life. Instead, you get a feed from the camera’s sensor, which incorporates exposure information.
See the area where you look through on the camera below? There’s a small OLED or LCD screen, which allows you to see a preview of the shot.
The feed isn’t perfect. It doesn’t always show you an accurate representation of the final image, especially if you’re shooting long exposure with changing light.
But it’s really, really good. And it’s extremely useful for those situations where you need to capture shots on the fly, because you have an immediate understanding of where your camera’s exposure is and where it needs to be. Just a few twists of your camera’s dial and – voila! – you’ve got a good exposure.
Note that there are also downsides to using these electronic viewfinders. They vary a lot in terms of quality, and even the best EVFs are nowhere near optical (DSLR) viewfinders in terms of clarity.
Plus, there will be some situations where you’ll want to work without exposure simulation, and this often means diving into your camera’s menu in order to figure out how to turn the feature off.
But if you’re the type of person who wants to know the resulting exposure before you hit the shutter button, then mirrorless is a great choice.
2. You can fit a mirrorless body in your pocket
I’m serious.
With some of the smaller mirrorless cameras, you can mount the lens on the body and stick it in your pocket, no problem.
You do need to use a small lens, but it’s still pretty impressive, and it’s another reason to use mirrorless in 2020.
In other words:
Mirrorless cameras tend to be much smaller than their DSLR counterparts.
In fact, the small size was considered the original groundbreaking advantage of mirrorless, and is still pretty great, even though DSLRs like the Canon SL3 and Nikon D3500 are really quite small.
That’s why mirrorless cameras are great for travel and casual shooting. Plus, you can take them into events without anybody noticing you’ve got a high-powered camera. This is also key for street photography, where you generally want to avoid attention.
Oh, and if you really want to take the small form factor to the next level, check out Micro Four Thirds cameras and lenses. Their compact size will blow you away.
Here’s an example of the size variation you can find with mirrorless bodies, from the large Olympus OM-D E-M1X, all the way down to the compact E-M10 Mark III:
3. You can see in black and white as you shoot
Another reason to use mirrorless in 2020 is black and white photography. If you’ve ever wanted to shoot in black and white, but you felt it’d be too hard a medium to master…
…get a mirrorless camera.
Because if you use a mirrorless body with a viewfinder, you’ll be able to program it to display in black and white.
And, as long as you’ve got the viewfinder to your eye, you’ll see in black and white.
This means that you have an immediate boost in your black and white potential. Instead of struggling to see in black and white (which is half the battle of the b&w genre), you’ll be able to understand the black and white medium straight out of the gate.
You’ll see how different colors are rendered in black and white. You’ll see how black and white photos change as the light changes.
And you’ll become a much better black and white photographer.
In fact, even if you switch back to a DSLR, you’ll retain your black and white skills. Because your understanding of black and white will exist on a much deeper level.
If you’re a street photographer or an event photographer, then I’m guessing that you’d love the opportunity to shoot without making a sound.
It prevents you from disturbing the silence in a wedding ceremony. And it prevents people from noticing that you’re photographing them on the streets.
Now, DSLRs often offer silent shooting modes.
But if you’ve ever tried one of these, they’re just…bad.
Sure, they make things quieter than the “thunk, thunk, thunk” you get from normal shooting. But they still leave the shutter quite audible, and I certainly wouldn’t feel comfortable using them in a quiet room.
Enter mirrorless silent modes.
See, mirrorless cameras generally offer two broad types of shooting:
Shooting with the mechanical shutter (which is what causes the loud noise you get from a DSLR).
And shooting with the electronic shutter.
Fortunately, shooting with an electronic shutter is literally silent. You can hit the shutter button and no one (probably not even you) will hear it.
It’s perfect for street photography, and it’s amazing for event photography.
So that once you’ve used a true silent shutter, you’ll struggle to ever go back to a DSLR!
5. Mirrorless cameras come with all sorts of cool bonus features
When I got my first mirrorless camera, here’s one of the things I was most excited about:
The extra features that came with it. This is another reason to use mirrorless in 2020.
Sure, I was happy with the smaller size and the live preview, and those were the main reasons that I bought it in the first place.
But the extra features…
…well, I couldn’t wait to try them out.
I’m talking about things like focus peaking, which allows you to see, in advance, which areas of your shot are going to be in focus. It’s not perfect, but it gives you an approximation of the necessary depth of field, plus it’s just really cool.
I’m also talking about the manual focusing guide, which lets you select an autofocus point, then tells you when you’ve nailed it with manual focus.
This last feature has been a huge help for ensuring I get my point of focus right; it acts as a check on my manual focusing in landscape, architectural, and macro photography.
Now, not all mirrorless cameras offer these features. And there are some bonuses, such as Olympus’s Pro Capture option, that you’ll only find in a select few mirrorless bodies.
(Pro Capture, by the way, causes the camera to start firing at up to 60 frames per second when you press the shutter button halfway down, but then saves around a dozen shots from before you finally hit the shutter button, as well as dozens of frames after you hit the shutter.)
So before you buy a DSLR, check out the features hidden in different mirrorless camera menus. I bet there are some awesome ones that are worth a look.
5 Reasons You Should Use a Mirrorless in 2020: Conclusion
Now that you’ve finished this article, you should know all about mirrorless cameras, and whether you should think about purchasing one.
Because here’s the thing:
Mirrorless systems aren’t for everyone. There are reasons to use mirrorless in 2020, and there are reasons to shoot with DSLRs (and there are even reasons to shoot film!).
Now I’d like to know your opinion:
Why do you shoot mirrorless? Are there any reasons for shooting mirrorless that I missed? And if you shoot with a DSLR, why? Let us know in the comments!
The post 5 Reasons You Should Use Mirrorless in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Nikon USA has announced it is delaying the release of its new D6 DSLR due to issues caused by COVID-19.
In a short announcement on its website, embedded below, Nikon USA says the D6 has been delayed ‘As a result of delays in the procurement of parts and components from a third-party cooperating company due to measures implemented in response to the spread of COVID-19.’ Nikon says the new release timeframe is May 2020 and notes it ‘announce the new release date once it has been determined.’
This delay will further push the release date closer to the 2020 Olympics, which is set to take place in Tokyo from July 24 through August 9. However, as coronavirus cases and mortalities due to the virus ramp up, the likelihood of the Olympics being delayed or downright canceled increases as well.
Apology and Notice of Delay in the Release of the Nikon D6 Digital SLR Camera
MELVILLE, NY– Thank you for choosing Nikon for your photographic needs.
As a result of delays in the procurement of parts and components from a third-party cooperating company due to measures implemented in response to the spread of COVID-19, the release of the new Nikon D6 digital SLR camera, originally planned for March 2020, will be delayed. We sincerely apologize to our customers and all those concerned for any inconvenience this may cause.
We are now planning to release the Nikon D6 in May 2020 and will announce the new release date once it has been determined.
We will continue to closely monitor the situation and do our utmost to deliver this new camera as soon as possible. Thank you for your understanding and patience in this matter.
About Nikon?
Nikon Inc. is a world leader in digital imaging, precision optics and photo and video capture technologies; globally recognized for setting new standards in product design and performance for an award-winning array of equipment that enable visual storytelling and content creation. Nikon Inc. distributes consumer and professional digital SLR cameras, NIKKOR optics, Speedlights and system accessories, Nikon COOLPIX® compact digital cameras and Nikon software products, as well as the revolutionary Nikon Z series of mirrorless cameras and NIKKOR Z lenses, which achieve a new dimension in optical performance. In 2018, Nikon Corporation, the parent company of Nikon Inc., announced the production of 110 million NIKKOR lenses, creating a new milestone in Nikon’s heritage of superior optics. For more information, dial (800) NIKON-US or visit www.nikonusa.com, which links all levels of photographers and visual storytellers to the Web’s most comprehensive learning and sharing communities. Connect with Nikon on Facebook, Twitter, YouTube, Instagram, Vimeo and Flickr.
Adobe has announced it’s withdrawing from this year’s NAB Show in Las Vegas due to concerns surrounding COVID-19 (the coronavirus). In the brief statement, embedded below, Adobe says it is disappointed it has to make this decision but says ‘the health and safety of our employees, customers and partners are always our priority.’
This announcement comes just days after both AJA and Nikon confirmed the companies wouldn’t be attending NAB 2020. With respect to this year’s NAB Show, the organizers have a webpage dedicated to information about COVID-19 and how the show will be different this year. NAB is still scheduled to take place April 18-22. We have contacted the organizers of the NAB Show for comment regarding the departure of Adobe, AJA and Nikon. We will update this article accordingly if we receive a response.
Adobe Withdraws from NAB Show 2020
Each year, we look forward to seeing our video community at NAB to talk about the latest trends and our product innovations. Over the past few weeks, we have been closely monitoring and evaluating the situation around COVID-19 and have made the difficult but important decision to cancel our presence at the show this year.
While we are disappointed, the health and safety of our employees, customers and partners are always our priority. We look forward to engaging with our NAB community through a digital experience in the near future.
Adobe and Nikon withdrawing from the NAB Show follow on the heels of the annual CP+2020 show in Japan being canceled at the end of February. The impact of COVID-19 has been felt outside of the realm of tradeshows as well, with the virus affecting the supply chains for camera manufacturers. Nikon has just announced that the release of the Nikon D6 flagship DSLR camera has been delayed from this month until May. Canon has proactively suspended production at three of its plants in Japan.
The COVID-19 coronavirus has already had a large impact on industries around the world, including the photo industry, and companies are working hard to mitigate the risk for their employees. As governments and health agencies around the world work to better understand and contain COVID-19, it is difficult to predict the extent of the impact that the virus will have on the photo industry, but it’s safe to expect today’s announcement from Adobe is not the last of its kind we will hear in the coming weeks and months. For more information on how COVID-19 is affecting the photo industry, click here.
The organizers behind The Photography Show and The Video Show, have announced the event is being postponed due to ongoing concerns regarding COVID-19 (the coronavirus). Originally set to take place from March 14 through March 17 at the National Exhibition Centre in Birmingham, England, the event will now take place at a later time in 2020, if all goes according to plan.
In the statement shared on The Photography Show website, organizers say they have ‘taken the extremely difficult decision to postpone The Photography Show & The Video Show until later in the year, when we will be able to deliver the show you deserve.’
The organizers note any current ticket-holders will be able to use their tickets for the future event, whenever the dates are established. In the event attendees aren’t able to attend at the future date, they will have the option to receive a refund, including any ‘Extras’ purchased alongside the main ticket.
According to The Photography Show website, over 300 brands and 32,000 visitors show up annually to see the latest products and attend over 270 talks, demos and galleries over the course of the four-day show. Canon, Epson, Fujifilm, Nikon, Panasonic, Rode, Sony, and Westcott are just a few of the featured exhibitors who are planning to attend the event. The organizers say they will ‘aim to keep the programme the same where possible, subject to speakers being available for the new dates [and] hope that the exhibitor list will remain much the same.’
You can visit The Photography Show’s website to view more details.
On March 4, NASA shared the highest-resolution panoramic Mars image ever captured by its Curiosity rover. The panorama features 1.8 billion pixels and is comprised of more than 1,000 individual images captured by the rover over the Thanksgiving 2019 holiday break in the US.
NASA explains that Curiosity captured two different panoramas using two different lenses: the record-breaking 1.8-billion-pixel panorama using the Mast Camera (‘Mastcam’) with a telephoto lens and a smaller 650-million-pixel panorama using a medium-angle lens. The larger panorama captured with the telephoto lens was not able to include most of the rover in the final image, but the lower-resolution panorama does include Curiosity amid the landscape.
The Mastcam is mounted at a height of 2m (6.5ft) on Curiosity; it supports capturing color images and videos using ‘left eye’ and ‘right eye’ lenses featuring 34mm and 100mm focal lengths. The camera has a resolution of 2MP, which produces images with a 1600 x 1200 resolution. When recording video, Curiosity’s Mastcam can capture 10 frames per second. According to NASA, the rover’s 8GB storage can hold 5,500 or more Raw frames.
While the mission team was away on holiday leave from November 24 to December 1, Curiosity worked to snap images using Mastcam over a six-and-a-half-hour period of time spread across four days. The camera was programmed to take the images from between noon and 2 PM local time to ensure that the lighting was consistent for the eventual panorama.
The new record 1.8-billion-pixel image. Credits: NASA/JPL-Caltech/MSSS
NASA explains this holiday break provided a rare moment of downtime for the rover, which typically does not stay in one place long enough to capture so many images from the same vantage point. The resulting 1.8-billion-pixel panorama, which exceeds the rover’s previous record 1.3-billion-pixel image, took ‘months’ to assemble.
NASA Jet Propulsion Laboratory’s Curiosity project scientist Ashwin Vasavada said:
While many on our team were at home enjoying turkey, Curiosity produced this feast for the eyes. This is the first time during the mission we’ve dedicated our operations to a stereo 360-degree panorama.
The public can download a full-resolution version of the 1.8-billion-pixel panorama in JPEG and TIFF formats from NASA JPL’s website here, as well as the 650-million-pixel version from the same link. At its highest resolution, the panorama has a massive 2.43GB file size. The space agency offers lower quality versions with file sizes ranging from 82MB all the way down to 350KB.
In addition, NASA has an online 360-degree viewer to present the panorama in full screen with a zoom tool.
You must be logged in to post a comment.