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Archive for May, 2020

3 Reasons to Introduce Motion Blur Into Your Photography

20 May

The post 3 Reasons to Introduce Motion Blur Into Your Photography appeared first on Digital Photography School. It was authored by Kav Dadfar.

dps-reasons-to-introduce-motion-blur-in-photography

Making a still image come to life can be a difficult task, especially if you don’t know the full functionality of your camera. When you’re first learning photography, it quickly becomes second nature to keep everything perfectly in focus, so you don’t instantly know how, why, and when to introduce motion blur to your images. But before you introduce motion blur, first, let’s learn what it is and how to do it.

3 Reasons to Introduce Motion Blur Into Your Photography
f/6.3 – ISO 160 – 1/100 sec

What is motion blur?

First and foremost, motion blur is a lot different than a blurry image. If you shake the camera around or your subject starts to move right as you open the shutter, that creates a blurred image, but not necessarily motion blur.

Motion blur is when you purposely create an aspect of movement for your subject, but the rest of the photo is in focus. This is a really important element that makes the difference between motion blur and just a blurred image. Without some part of your photo being sharp, then your foreground and background are going to blend together and the photo won’t work.

Motion blur should also happen to something that the viewer would naturally assume is moving, like a car or a person running. Adding motion blur to something that is typically stationary, like a book or a salt shaker that is on a table, will seem awkward. Even though seeing a salt shaker move at the speed of light is an interesting idea, it won’t really make any sense to the viewer.

Now that we have the basics down, here are 3 reasons why you should introduce motion blur to your photography.

Introduce-motion-blur
f/8 – ISO 400 – 1/40 sec

1. It tells a story

When done correctly, motion blur enhances the storytelling capability of a photo.

Imagine that you’re shooting at a horse racing track. You’re standing at an angle near the finish line, and when the two runners pass you, you compose your shot with them both in the frame and the finish line in the background.

If you introduce motion blur correctly in
your photo, then you’re going to have an awesome shot of the two runners in
motion, slightly blurred as if they are still running despite being frozen in
time. The finish line may even be in focus, along with the spectators.

This brings the viewer into the shot like they are standing right alongside you to see the race to completion. It tells the story of what you witnessed that day.

If done incorrectly, you’ll just get a blurred photo of two blobs running toward another blob. The elements in the photo will blend together and you’ll barely be able to understand what is happening in the first place.

3 Reasons to Introduce Motion Blur Into Your Photography
f/2.8 – ISO 4000 – 1/80 sec

2. It adds action to your photography

Another great reason for adding motion blur to your photos is to convey a sense of “action” or “movement.” This can make your photos seem much more dynamic.

For example, imagine a dirt bike that is roaring around the side of a mountain. Imagine seeing the blurred dirt bike racing along the path while the mountain itself is in perfect focus. It almost makes it look like the dirt bike is rocketing through the frozen image, or that you’re present to witness the moment yourself.

Or, for example, imagine a dancer. If you introduce motion blur, you can show the viewer the movement that is taking place. It could be that he or she is spinning, moving their arms, or even jumping. Having the right amount of motion blur can bring the dancer to life in your photo.

You’ll need to select a slower shutter speed than you would do normally to get this to work properly. The exact settings will depend on the speed that your subject is moving at. For the bike example above, you won’t need a shutter as slow as you would need for someone walking for example.

Introduce-motion-blur
f/4 – ISO 200 – 1/200 sec

3. It can create a wonderful effect

If you set up your camera when the lighting conditions are dark, and set a slow shutter speed so that you have a longer exposure, you can create streaking lights that not only tell a story but also look fantastic.

First, you need to make sure that you have a steady tripod. Without it, you won’t get anything other than a completely blurred picture unless you raise your ISO ridiculously high. The problem with doing that is the amount of unwanted noise that you will end up with being in your photo. So if you want the best photo possible, use a tripod.

The long exposure will mean that any vehicles that drive past will create a streaked-light effect, or the stars above will streak across the frame as the Earth rotates.

Attempting this during the day won’t work unless you use a neutral density filter like a Lee little or big stopper. Without a filter, you will just end up with a completely blown out (white) image. Even if you do get it to work, it would not have the same impact as when it is darker.

Introduce-motion-blur
f/8 – ISO 100 – 5 sec

Getting the hang of motion blur photography isn’t very difficult. But to do it well will require practice. So, experiment a little when you introduce motion blur to your photography and keep these reasons in mind to help push you along in your trials! With experience, you’ll get to learn how and when to best introduce motion blur to your photography.

The post 3 Reasons to Introduce Motion Blur Into Your Photography appeared first on Digital Photography School. It was authored by Kav Dadfar.


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DPReview TV: What critical items does Chris stash in his camera bag?

20 May

We all have our favorite essential gear that lives in our camera bags. Find out what DPReview TV host Chris Niccolls keeps in his when he and Jordan are out on a shoot.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Chris' bag
  • Chris' main camera
  • Sensor cleaning tools
  • Filters
  • Cards and storage
  • Audio tools
  • Fashion accessories
  • Honorable (carry-on) mention
  • See you soon!

Articles: Digital Photography Review (dpreview.com)

 
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Sony’s new ‘Intelligent Vision Sensor’ is the world’s first to feature on-chip AI processing

20 May

Sony has shared the details of its new sensor array that it claims is the world’s first to feature artificial intelligence (AI) directly onboard the chipset.

Before diving into the details, it’s worth noting this sensor has been produced with industrial applications in mind, but as tends to be the case with much of Sony’s other sensor technologies, it’s not difficult to imagine seeing these AI-powered technologies in Sony’s smartphone and possibly even mirrorless camera sensors down the road.

With that out of the way, let’s dive into the details. The IMX500 is a 12.3MP (4056 × 3040 pixels) backside-illuminated 1/2.3” sensor capable of 4K/60p video capture that features a new stacked design that puts the pixel chip atop the logic chip. The stacked design means the data captured from the pixel chip can immediately be parsed via Sony’s AI processing directly on the logic chip.

Processing in the sensor not only removes the need for external hardware, it also means only the relevant data needs to be output, significantly reducing the amount of data that needs to be communicated to the cloud, reducing bandwidth and increasing speed. Sony says the new sensor can capture and process the image within 3.1 milliseconds when using the MobileNet V1 image analysis model.

IMX500 (left), IMX501 (right).

In addition to faster, real-time object-tracking and processing, this setup also allows the system to export either image data and information or information alone. The ability to export the AI-derived information alone adds an additional layer of security that could be added to scenes where privacy is critical.

Illustration from Sony showing how the data output format can be customized to meet various needs.

Again, Sony specifically mentions retail and industrial equipment use-cases for this new sensor technology, so it’s not likely we’ll be seeing this in consumer camera tech anytime soon.

The IMX500 (bare chip model) is expected to start shipping in April 2020 for 10,000 JPY (~$ 94), while the IMX501 (packaged product model) is expected to start shipping in June 2020 for 20,000 JPY (~$ 188).

Articles: Digital Photography Review (dpreview.com)

 
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The Associated Press criticized over social media rights requests for free content

20 May

Lawyer and self-professed ‘copyright geek’ Mike Dunford recently drew attention to the Associated Press’s controversial requests to use content posted on social media. He shares a copy of the social media release form the AP asks social media users to agree to, breaking down each part with an explanation and issues related to them. Though some of the AP’s presumed concerns are legitimate, according to Dunford, he ultimately claims that the release terms are ‘abusive across the board.’

The controversy started when lawyer Jay Mashall Wolman shared a tweet from Associated Press editor R.J. Rico, which has since been deleted, bringing attention to the AP’s social media release form. Wolman then shared several other similar content requests made by the Associated Press and its employees, each asking different social media users whether they took the content that caught the AP’s attention, as well as whether the AP could use it for free.

The requests are joined by an image of the AP’s social media release form, which asks the person who captured the content to read the message, then to respond to the message containing the form with an agreement to the terms. The AP’s social media release form claims for itself:

…world-wide, non-exclusive right to (and all consents to) use, reproduce, prepare derivative works of, edit, translate, distribute, publicly perform, and publicly display the content throughout the world in perpetuity by any and all means now known or hereafter created in all media now known or hereafter created; an AP shall further have the right to license these right to others…

In addition, the social media release form includes a section that requires the user to agree to be responsible for any copyright matters that may result from the use of the content by AP or any entity it licenses the content to, stating:

[The social media user agrees that] you are the copyright owner or the copyright owner’s authorized agent and that you are fully entitled to grant these rights in favor of AP and that there is no agreement or other restriction preventing this grant of rights. You agree to indemnify and hold harmless the AP and its licensees from and against any claims, losses, liabilities, damages, costs and expenses arising from any breach or alleged breach of these representations and warranties.

Wolman tagged multiple people in his tweets, including Dunford, who gave a long commentary on the release form in a tweet thread of his own.

Dunford points out that though Twitter’s terms may allow the Associated Press to embed these tweets in its online articles without getting prior permission, he ‘wouldn’t want to rely entirely on that.’ There have been examples of controversy over publications embedding tweeted content without getting explicit permission to do so. Dunford also points out that embedding isn’t useful for the AP when it comes to video and printed content.

Requesting that a social media user allow a major news company to use the content for free is problematic when it comes to paying content creators for their works. However, Dunford zeroes in on the social media release form terms, claiming that they are ‘MUCH more of an issue’ than simply asking to use content without paying for it.

Dunford points out that the AP and its lawyers are at ‘a substantial advantage’ over the unrepresented social media user when it comes to securing content rights. Digging into the actual terms, Dunford points out multiple concerns, including that the AP’s release form gives it the right to license the social media user’s content and it gets the non-exclusive right to forever use the image as if it owns it. ‘It’s abusive,’ Dunford says.

The biggest concerns start with the second paragraph, however, with Dunford stating in his tweets:

National Press Photographers Association (NPAA) General Counsel Mickey Osterreicher weighed in on the matter with a tweet of his own, encouraging content creators to refrain from agreeing to terms like this:

Wolman found examples of AP employees tweeting the social media release form dating back to 2015.

For social media users who fail to see the potential harm in accepting terms like this, an anonymous legal Twitter account allegedly belonging to an Australian lawyer detailed some of the problems users may encounter, including the fact that owning the copyright to the content doesn’t protect the user against potentially being sued over it in the future.

Wolf points out, among many other things:

You’ve heard of bots that do automated DMCA takedowns. Imagine that there’s an automated DMCA takedown of your video. Imagine that results in legal action over who has the rights to the video. You don’t have to imagine too hard, it happens all the time.

Now imagine that you’ve agreed to indemnify the AP for the costs of bringing/defending those proceedings.

Wolf concludes his commentary with a solid point, stating, ‘Can’t afford a lawyer? Then you definitely can’t afford to grant indemnity.’ The Associated Press has not commented on the criticism and concerns.

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: These are the shortlisted images for the Palm* Photo Prize 2020 contest

20 May

Shortlisted images for the Palm* Photo Prize 2020 contest

Palm* Studios recently announced the shortlisted images for its 3rd annual Palm* Photo Prize competition. Over 7,000 images were submitted from all over the world. 108 were selected for the shortlist and are now in the running for the annual prize. All of these photos are for sale as prints with 100% of the profits going directly to the artists.

The judging panel consists of Alastair McKimm, editor-in-chief of i-D, Karen McQuaid, senior curator at The Photographers’ Gallery, Sarah Allen, assistant curator at Tate Modern, David Campany, Jessica Lopez, photo editor at Polaroid Originals, and Lola Paprocka, founder of Palm* Studios.

Brooklyn, New York-based photographer Dino Kuznik is in the running for the annual prize.

20 overall award winners for the Judge’s Panel prizes, Peoples Choice Award, and Peoples Choice Instagram Award will be announced on May 30th. DPReview reached out to a handful of these shortlisted photographers and got the story behind their nominated images plus the information on the gear they used. Don’t forget to check out all the nominees and support their work.

Shortlist, 2020: Dimitri Djuric (London, United Kingdom)

Artist Statement: The image is a type of pylon for a high tension overhead power line. It’s part of an ongoing series of buildings and structures photographed at night.

Gear: Fujifilm XH1 camera and a big flash.

Shortlist, 2020: Ashley Bourne (Bristol, United Kingdom)

Artist Statement: My work centers around storytelling within society, drawing on ideas from personal experience to form the basis of my projects.

Gear and Film: Pentax 67 medium format camera, a 90mm lens, and Kodak Portra 400 film.

Shortlist, 2020: Mark Mahaney (San Francisco, California, United States)

Artist Statement: This is an image from my first book, Polar Night. The project is a passage through a rapidly changing landscape in Alaska’s northernmost town of Utqiagvik. It’s an exploration of prolonged darkness, told through the strange beauty of a snowscape cast in a two month shadow.

The unnatural lights that flare in the sun’s absence and the shapes that emerge from the landscape are unexpectedly beautiful in their softness and harshness. It’s hard to see past the heavy gaze of climate change in an arctic town, though Polar Night is a visual poem about endurance, isolation and survival.

Gear: Pentax 645z camera with manual focus 75mm lens.

Shortlist, 2020: Joseph Balestra (Philadelphia, Pennsylvania, United States)

Artist Statement: At the end of 2019, I spent a month out west in California as a way to wrap up the year and reflect. During this time I created a few portraits of local artist and personalities. This portrait was created on Venice beach of Artist Floyd Zion, a musician and model based out of LA. The shoot was approached in what is still to this day one of my favorite ways to work with a subject. No planning, just chasing light and enjoying a day of collaboration.

Gear and Film: Mamiya AFD II camera, Kodak film, self-scanned.

Shortlist, 2020: Alexander Beer (London, United Kingdom)

Artist Statement: Too many people stigmatize women who wear the hijab. There is nowhere in the the Holy Quran that tells them not to kick ass as human beings. These amazing girls and women are all taekwondo black belts.

Gear and Film: Asahi Pentax 67 6×7 camera, with 120 film.

Shortlist, 2020: Caitlin Chescoe (London, United Kingdom)

Artist Statement: My Father has been a life long KISS fan, we’ve grown up with bands like KISS playing throughout the house and it is very much a part of who we are as a family. On this occasion myself, Mum, Dad and Sister all dressed up as the band to watch a gig in Munich for KISS’ last ever world tour. We had front row seats and my Dad nearly cried he was so happy. This image represents an incredible memory that we all share together.

Gear: Hasselblad 500c/m camera.

Shortlist, 2020: Jan Kühr (Oslo, Norway)

Artist Statement: Ripe fruits and vegetables constitute a wild boar feast in the mountains in Alpilles, South of France.

Gear and Film: Mamiya 7 II camera with an 80mm lens, Kodak Porta 160 ISO film.

Shortlist, 2020: Rinchen Ato (Cambridge, United Kingdom)

Artist Statement: Rinchen Ato’s photographs are an exploration of her heritage and the fast-evolving culture of the Khampa people. Over multiple trips, spanning the past two decades, she has documented family, friends and the struggles and celebrations of the wider community of Tibetan people living in Kham.

It is an incredible place. The region is mountainous, consisting of high altitude grasslands, a remote and rugged land with a society where little had changed for centuries until recently. ‘My father often jokes that he was born in the Bronze Age and even in the 20 years I have been photographing there I have seen how quickly Kham has evolved.’ The inhabitants were mostly nomadic but, with rapid modernization, mass migration to the town of Jyekundo ????????????? and huge earthquake in 2010 which obliterated the area, many villages are now abandoned or only have a few families remaining.

Deeply aware of the visual tropes used by foreign photographers, depicting Tibetans as ‘other,’ Ato’s work employs a sensibility which comes from her connection to the community, a community which is familiar to her.

The project has been described as a mix of nostalgia and realism. ‘To photograph is the act of capturing a moment and this is my attempt to record and hold on to something precious, like a love letter, an homage, to the people I hold most dear and the country that I adore.’

The project started in a naïve way. Twins are an obvious subject for photographers as the very notion suggests the mirror-like rhetoric that photography has with the world. It’s also interesting because when you shoot subjects so similar, under scrutiny, it highlights the differences between them and how we’re all individuals. But as the project now stretches over such a long period it has evolved into something more, an uninterrupted sequence, a body of work in it’s own right marking the passage of time. As they have grown and changed, so too has the environment around them, yet the resemblance between the girls remains constant.

In this image they were 15. We’d finished lunch and were sitting around chatting but this year was different. They dashed off to their room to get ready and were gone about half an hour. They came out wearing these incredible gingham dresses and matching watches. It felt like a real transition, they’d become conscious of their appearance. We stood on the balcony overlooking the town. The rabbits were a birthday gift and they wanted to hold them, and there it was, the shot.

Gear: Hasselblad 503CXI camera with film.

Shortlist, 2020: Lotte Van Raalte (Amsterdam, The Netherlands)

Artist Statement: This January (2020) I published my very first book, BODY. Over the course of 16 months I photographed 46 women in their most natural form including my mom. This picture was taken on the 16th of October 2018 at the beach in The Hague, the city where I grew up. My mom – who is terminally ill – had just told me some bad news. Minutes after, we were driving to the beach, during which I was still processing what she had just said.

As soon as we started shooting she was running, dancing and playing. One of her oldest friends was at the beach too, so I photographed them together. My mom absolutely loves the beach and although she’s ill, looking at the images afterwards, she looks so full of life and joy. It’s one of my favorite images of the book and I still am fascinated by the fact that her body actually created mine. The title of this image is ‘Judy and Lily.’

Gear: Sony a7RIII camera.

Shortlist, 2020: Jon Ervin (Brooklyn, New York, United States)

Artist Statement: This project aptly titled ‘Boys Will Be,’ which references the common phrase ‘Boys Will Be Boys,’ is an ongoing photographic journey exploring the various ways in which men perform and construct their identity. In this project I use the camera as an active agent to witness these gestures of masculine performance through documentation, portraiture, and staged scenarios.

By turning the camera on these men, I am encouraging them to perform for the ‘other.’ That performance, framed between the lines of the viewfinder, is a subjective choice to display their constructed identity to the camera, myself, and the viewer. The use of staged adolescent experiences creates scenarios where innocent horseplay can become something of consequence and for impalpable power dynamics that are threaded throughout our society to become tangible.

It is in those moments where boys learn their own power and how it can be used to influence others. Despite the relation to “Boys Will Be Boys,” this project does not adhere to the belief of so-called excusable male behavior that is at times aggressive, violent, and toxic; instead it has importantly left off the last word — ‘Boys.’ That distinction allows the men of this project to simply be.

Gear and Film: Pentax 67II camera with a 300mm f/4 lens and 1.4x teleconverter, Portra 400 film.

Shortlist, 2020: Dylan Lewis (Richmond, Virginia, United States)

Artist Statement: This image is from my larger body of work, a photo book titled ‘Dusker.’ The images in Dusker act as physical expressions of interior states. Situated between exhalation and incantation, they construct a space where the ontological unease of ‘documentary’ photography, the aestheticizing eye of fiction, and the emotional texture of dreams within an always-already fractured reality intertwine.

Shortlist, 2020: Pat Martin (Los Angeles, California, United States)

Artist Statement: It was Easter afternoon and we heard Jeff was feeling lonely. She had thought that her whole family had forgotten about her, but to her surprise, we all showed up with a pack of American Spirits, wine, and a pair up bunny ears. Jeff may be 98, but she’s still a party-girl and loves some good company.

Gear and Film: MF Pentax 67II camera, and printed in a color darkroom. All Kodak film, chemicals, and chromogenic darkroom paper.

Shortlist, 2020: Hua Jin (Montreal, Canada)

Artist Statement: This photo is part of my long-term and ongoing project ‘My Big Family.’ A project I document my extended families in China.

I call the woman in the picture ‘Aunt,’ she is a distant relative who lives nearby. When I took this photo she was trying to dig some coppers and wires from the demolition sites where the old farmer houses had been destroyed. She could make a small amount of money in the market by selling these materials.

While local people were trying to make small amounts of money from the ruins that used to be their homes, the government along with big companies were trying to redesign and reuse the land by building residential and commercial high rises, meanwhile, to change the traditional life-styles in the rural area.

Gear: Plaubel Makina W67 camera

Shortlist, 2020: Kamila Lozinska (Bristol, United Kingdom)

Artist Statement: This is a candid shot of my dear friend Jasmine basking in the sun.

Gear: Mamiya RZ67 camera.

Shortlist, 2020: Laura Pannack (London, United Kingdom)

Artist Statement: At the age of 16, Baruch chose to leave his Orthodox Jewish community and to study. The dramatic and challenging decision forced him to question his identity and future. Einstein says: ‘The important thing is to not stop questioning. Curiosity has its own reason for existing.’ The project explores how we choose our paths in life and questions how much control we have to change who we will become. The project was commissioned by 1854 Media and supported by Panasonic.

Gear: Panasonic SR1

Shortlist, 2020: Imogen Forte (London, United Kingdom)

Artist Statement: Last Summer, I moved out of my house, put my stuff into storage, and spent three months traveling the coast of England documenting the people and places I encountered. I wanted to explore more of the country I’d always called home and familiarize myself with new people and new places.

I met this girl in Cornwall, where she was stood in the street with her family. I approached and asked if she wanted a portrait and she agreed. I spotted this amazing backdrop in the cafe beside us and so we popped inside to have a drink and a chat and take some portraits.

Gear: Mamiya RZ67 camera.

Shortlist, 2020: Tais Sirote (London, United Kingdom)

Artist Statement: Tais Sirote, also known as Taisido, is a London-based photographer specializing in still-life and product photography. She has a background in graphic design and loves anything related to self-publishing books. Her style has always shown attention to lighting, showing her strengths on taking bold images, and having an eye for detail. Her pictures are sometimes mistaken for 3D renders and attempt to trick the eye of the viewer to make you wonder how it was taken.

Gear: Canon 5DS

Shortlist, 2020: Valeria Moreno (Richmond, Virginia, United States)

Artist Statement: This image is from a photo series meant to serve as an image as film sequence portraying young womanhood.

Gear: Panasonic Lumix G7 camera.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe updates Creative Cloud video and audio apps, adds GPU-accelerated encoding, ProRes RAW support and more

20 May

Adobe has released updates for a variety of its software products, including major updates to Adobe Premiere Pro. Adobe Premiere Pro version 14.2 includes GPU acceleration for encoding on Windows, promising export speeds up to five times faster than encoding performed using only the CPU.

For Nvidia and AMD GPUs which support hardware encoding, the new versions of Premiere Pro, Media Encoder, After Effects and Audition on Windows promise vastly improved performance when exporting files. Of the new update, Adobe senior engineering manager Manish Kulkarni says, ‘With new support for NVIDIA GPUs on Windows, exports are hardware accelerated leveraging the power of the GPU to make Premiere Pro more powerful and keep video creators productive and nimble.’

‘This graph shows encoding speeds gains using hardware-based encoding with an NVIDIA RTX 5000 GPU. With the addition of AMD and NVIDIA support on Windows, hardware encoding is now available across all modern macOS and PC systems.’ Image and caption credit: Adobe

Adobe has also introduced ProRes RAW support in Premiere Pro and After Effects on Windows, a very welcomed change that’s been a long time coming. The graphics workflow in Premiere Pro has also been enhanced through the addition of an improved Pen tool with better support for Bezier curves. This will allow users to more easily create lines and shapes.

Further, in After Effects, motion graphics artists have new tapered shape strokes to use when creating animations and designs. There are also new repeating concentric shape parameters and Mask/Shape cursor indicators.

In addition to faster encoding through hardware acceleration on Windows, users can also expect faster Auto Reframe across all devices. Utilizing its artificial intelligence, Adobe Sensei, Auto Reframe now automatically reformats and repositions video across varying aspect ratios. Speaking of aspect ratios, Adobe Premiere Rush users will now be able to automatically resize projects to the 4:5 aspect ratio frequently used for Facebook and Instagram videos.

‘Auto Reframe in Premiere Pro uses Adobe Sensei AI to reposition video within different aspect ratios. The feature is now twice as fast.’ Image and caption credit: Adobe

On the workflow side of things, Adobe has added support for audio files within Creative Cloud Libraries, which allows users to save, organize and share audio assets for easier access through the CC Libraries panel. For macOS users, automatic audio hardware switching has been added to After Effects, Media Encoder, Audition, Character Animator, Prelude, Premiere Pro and Premiere Rush. This means that when changing audio devices, Adobe applications will now automatically switch to the current hardware.

Improving software performance and stability is Adobe’s top priority. Alongside today’s updates, Adobe has published a new blog post outlining the various efforts the company and its engineers have made over the past year. Further, as many performance updates depend upon the user’s hardware, Adobe has also expanded its research into crash reports and how users are taking advantage of the company’s suite of software. If you are interested in learning more about the performance gains introduced with today’s update and becoming part of Adobe’s expanding public beta program for future updates, be sure to read the new post.

Articles: Digital Photography Review (dpreview.com)

 
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Sony UK teases new compact camera system on its website

20 May

Sony UK has published a page on its website teasing the release of a new compact camera system.

The page offers a countdown to the May 26 release date and shows a silhouette of a compact camera with a side-flip-out screen attached to what looks to be a tripod or grip, There also appears to be a windscreen-covered microphone atop the camera system.

Aside from the above statement on the page, as well as links to Sony’s social media profiles, no other information is given.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung’s new ISOCELL GN1 sensor features Tetracell tech, phase detection on all active pixels

20 May

Samsung Electronics has launched a new image sensor that is designed for use in the primary camera of high-end smartphones. Like other sensors from the the ISOCELL family, the ISOCELL GN1 comes with the company’s pixel isolation technology that creates a barrier around each pixel in order to reduce color cross-talk.

At 50MP the sensor´s native resolution is fairly moderate when compared to the 108MP juggernaut used in Samsung’s latest flagship smartphone, the Galaxy S20 Ultra, but has other tricks up its sleeve: it’s Samsung’s first image sensor to combine Dual-Pixel autofocus with the company’s Tetracell technology, allowing for increased light sensitivity in low light as well as precise and fast autofocus performance in all light conditions.

The GN1 comes with 100 million phase detection autofocus (PDAF) sites, meaning all of the sensor’s active pixels double as focus pixels, allowing for fast focusing in all light conditions and at all angles. Dual Pixel technology places two photodiodes side-by-side within a single pixel. When an image is captured the outputs from the two photodiodes are merged into a single pixel. Samsung also offers a software feature that can analyze light information from both photodiodes to compute image output that is comparable to a 100MP file.

Tetracell uses pixel-merging methods to increase light sensitivity in low light conditions. Four adjacent pixels are merged into one doubling the effective pixel size from 1.2?m to 2.4?m and quadrupling the light sensitivity at a 12.5MP output size. In bright light the sensor can operate as a standard Bayer sensor and capture full-sized 50MP images.

In addition the GN1 sensor offers a Smart-ISO function that ‘intelligently sets the optimal ISO value, and a real-time HDR mode. Electronic image stabilization uses data from the device’s built-in gyro to avoid shaky video and blurry images and video shooters can make use of an 8K video mode that can record at 30 frames per second.

Overall the GN1 looks like a very versatile image sensor that can adapt to a multitude of shooting situations. In bright light the 50MP resolution should allow for excellent detail. In dimmer conditions the Tetracell tech can deliver images with low noise and a wide dynamic range. At the same time the all-sensor Dual-Pixel autofocus system is making sure subjects are in focus, even in difficult scenes.

Samsung says mass production of the ISOCELL GN1 sensor has started this month. We’ll find out how it performs in real-life conditions once the first GN1-equipped devices make an appearance in the marketplace.

Articles: Digital Photography Review (dpreview.com)

 
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Review: The Tourbox controller – can it speed up your editing?

19 May

Tourbox
$ 169 | Tourbox Tech

Tourbox’s tactile controls are meant to be used by the non-dominant hand to help speed up workflow.

The Tourbox is a plug-in editing console intended to be used with editing (sound, photo and video) software, to speed up a professional’s workflow. Tourbox can be customized to work with just about any type of software (as long as there are keyboard shortcuts) and for this review, we tested it with Adobe Photoshop and DaVinci Resolve.

Key features:

  • 3 assignable dials, one with a clicking function
  • 11 buttons in 7 different sizes, all user-assignable
  • Support for any software with existing shortcuts
  • USB pass-through

Compared to its peers

At less than $ 200, Tourbox comes in at a unique price-point. Competitive options like the Loupedeck CT ($ 550) and Monogram ($ 330) offer similar functionality but at a price level that some might find difficult to justify. There are cheaper options like Streamdeck from Elgato ($ 92), but these don’t offer quite the same tactile interface as Tourbox. Initially offered via Kickstarter and after a successful campaign, Tourbox now retails for $ 170.

The first non-linear controller I ever used was the often praised Lightroom console some 25+ years ago. Since then I’ve been on the lookout for something as effective and tactile – is the Tourbox going to be the one?

Design and handling

After opening the box, what first struck me about Tourbox is how dense the product is. It weighs in at 13.6oz / 385g, more than its small 4.6 x 4 x 2in / 11.7 x 10.2 x 5cm size might suggest. This is likely because it’s designed not to move around on your desk. Included in the box is the unit itself, a user manual, quick start guide and a 5ft braided USB-C to USB-A cable.

The body is finished in a soft-to-touch rubber which initially rang alarm bells with me: I’ve had other products featuring a similar finish that turned into sticky messes over time due to chemical decomposition. I hope that this is not going to become a problem with Tourbox a few years down the road. Even if it doesn’t, keeping the unit free from fingerprints and smudges is a full-time occupation.

As a tactile interface Tourbox generally succeeds

As a tactile interface, Tourbox generally succeeds: The main 4 large buttons (3 on the main surface, 1 on the left side) are easy-to-use and have a mouse-like click with minimal travel. The main central knob feels a little loose and could do with a bit more friction. The scroll wheel (top left) is just about right in terms of resistance and can be clicked inward, providing additional functionality. The dial (bottom left) could benefit from a sensitivity adjustment; it’s a little too responsive for me and tends to slip around a bit.

The 4 D-pad buttons are a little on the small side for me and the placement it slightly too close the the central dial. They also sit a little too flush as well, especially the top one. The round C1 and C2 buttons (upper right) are also on the small side.

Setup and installation

Tourbox has two ports: USB-C for connection to your machine and USB 3.0 for pass-through.

To get things working you first need to download and install the Tourbox Console app which is available for Mac and PC – there’s no support for Andriod, iOS or Linux at the moment. The installation of the software is a little more complicated than usual as you have to install the drivers separately. I’ve been using it on a self-built Ryzen PC (1700X) running Windows 10 and I would have liked the installation process to be a little more streamlined.

At the moment the Tourbox Console also does not auto load with Windows or MacOS

At the moment the Tourbox Console also does not auto load with Windows or MacOS. It needs to first be started up before you run your selected editing software (although a fix for this is planned for a future software version). One way around this is to manually create a shortcut in your startup items folder.

The Tourbox connects to your computer via the included cable, and there’s also the handy ability to pass-through another USB device using the USB A 3.0 socket.

Using Tourbox

Each control point on Tourbox has a unique name.

As mentioned, the Tourbox offers a number of different buttons and dials of varying sizes, shapes and feel that can be used on their own or in combination with one another. At time of publication it can be set up to have 38 user-defined functions, correlating to software keyboard shortcuts. These functions can be set up differently for each piece of software you’d like to use Tourbox with.

The software comes pre-loaded with shortcuts for Lightroom and Photoshop, but it’s easy to change these and to set up new ones

The software itself is very responsive and easy-to-use – I had no stability problems – and it only takes a couple of seconds to run and recognize a connected Tourbox.

However more than once I accidentally typed into the key assignment field when I meant to enter a description. This is because you actually have to select the edit icon before adding a description, you can’t type directly into the field.

The main console interface gives you the ability to create multiple presets.

The software comes preloaded with shortcuts for Adobe’s Lightroom and Photoshop, and it’s easy to change these and to set up new ones. I’ve primarily been using it with DaVinci Resolve and Photoshop. It definitely takes some time and several iterations to find out exactly which control is best for assigning to a function.

It definitely takes some time to find out which control is best for which function

I’ve found the main dial most useful for scrubbing though a timeline one frame at a time in Resolve, or changing the size of a brush in Photoshop. The mouse-like wheel at the top left I’ve assigned in both programs to zoom in and out of the image. The large buttons can be assigned to the usual modifiers like CTRL or ALT but equally they can be used for other functions.

This is just a small example of the way these controls can be used.

With my right hand on my mouse, the Tourbox can easily be used with my left, which is the way it was designed. However there’s really no reason why you can’t use this with your right hand, in fact I think some of the controls are better placed this way, mainly the side button and the dials.

Possible limitations

The rotary controls would benefit from adjustable sensitivity

It’s worth noting that black/grey controls on a black/grey body may prove difficult to see in low-light environments like an editing or grading suite. However, with time and experience, you should be able to use the Tourbox without actually looking at it.

Size is also always going to be an issue for some people – for me to comfortably use Tourbox, it would ideally need to be about 20% larger overall (and I do not have big hands). However the distributor, Ikan, has assured me that a lot of the physical issues are being looked at for a future version of this product (and the current version will soon be available in white).

Will it work for you?

Any editing console like this can be a difficult sell, as first of all the physical dimensions and design may not suit all users. And while it should ultimately speed of your workflow, there is an initial learning curve as you get it set up.

It took me about eight days of semi-regular use to get a grip with the Tourbox, and some of this time was down to reassigning buttons and dials to better suit the way I work. Setting up the main controls is quick, but it’s getting button combinations that work well together that takes quite a bit longer.

After initial setup this has sped up my workflow, which means that my hands spend less time on the keyboard. Admittedly, it can be easy to lapse back into old ways of working. The biggest change is that there’s a certain satisfaction in using wheels to adjust things like brush sizes and navigating through video timelines – it’s a more tactile way of fine controlling a virtual tool.

The Tourbox’s unique combination of different controls sets itself apart from much of the competition, as does its price. However the product could benefit from some more development work both in the hardware and software departments. And who knows, maybe a Pro version won’t be far down the line?

What we like

  • Nice variety of different tactile controls
  • Dense, stays put on desk
  • USB pass-though
  • Detachable Cable
  • Compatibility with tons of software

What we don’t like

  • Somewhat small in size (very subjective)
  • Lack of friction on the central dial
  • Software needs some improvements
  • There’s a learning curve to working it successfully into one’s workflow

Star Rating

Articles: Digital Photography Review (dpreview.com)

 
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Photographing on Your Home Patch and Why You Need One

19 May

The post Photographing on Your Home Patch and Why You Need One appeared first on Digital Photography School. It was authored by Jeremy Flint.

dps-photographing-on-your-home-patch

Photographing on your home patch is an exciting way to practice your photography. Making a long journey to take photos can seem like a daunting task because of the travel times involved. Photographing closer to home is a much easier and inexpensive prospect and doesn’t require venturing too far.

What is a home patch

You may be wondering what a home patch actually is? Well, it refers to “a local area that is close to home and is easy to access year-round.”

A local patch can be almost anywhere nearby, and for most people will be on public land. It can be a location that is close by that you can visit with minimal efforts, such as a field, woodland, park, city, or river. Being nearby, you can ideally walk, bike, or use a vehicle to get there.

Why do you need a home patch?

There are several reasons why you need a home patch. Firstly, good photos can be achieved close to home with minimal effort. I took this shot less than five minutes from my home. I simply drove down the road, parked the car, and took the picture.

Photographing on your home patch
Misty morning, Oxfordhsire

By
photographing on your home patch, you can focus your efforts in one area, you can
re-visit the location anytime and you can spend more time enjoying your
photography and taking pictures.

Advantages of a home patch

Some great advantages of photographing locally include saving on time, as traveling is minimal, and the area is close by and relatively easy to get to. Going local by photographing on your home patch saves on costs as all you need is your camera. It is also a great way to practice your photography skills.

Focussing your photography on an area close to home will help you to keep your technique sharp whilst improving your images over time. You can even find a local project to capture.

Having traveled to several countries around the world to photograph amazing places, there is nothing I find more satisfying than capturing strong images close to home. You don’t need to travel far to create good photos.

For this shot, I visited the field of dandelions at first light to capture the early morning glow.

Photographing on your home patch
Dandelions in mist

When shooting close to home, you have the added benefit of being able to visit your local patch when the weather is more favorable. You can also visit at any time during the year, which is difficult to do when you visit somewhere abroad for a week on holiday, and the weather is unpredictable.

Other advantages of photographing on your home patch are that it enables you to practice your photography more frequently rather than waiting for a trip. You will also be better prepared for when you do go on a long journey with your camera.

What
to look for?

You may be wondering what you should look for when photographing on your home patch?

Well, once you have identified a great location nearby, you just need to decide what you will photograph. Your approach could be to photograph wildlife, landscapes, street scenes, or even architecture depending on your favorite photography subjects.

Photographing on Your Home Patch and Why You Need One
Deer, Oxfordshire

Finding great subjects close to home is easier than you may think. You don’t need to go on an African safari to take great wildlife photographs, for example. In the UK, we are lucky enough to have deer, rabbits and foxes for wildlife photography. When out in the countryside, observe nature and look for any clues of wildlife being present. You may find animal tracks or signs of life on show.

Local
woodlands and fields can be great places to visit and photograph too whilst
getting some fresh air in the great outdoors. In the UK, they are a haven for
birds and mammals such as squirrels and deer.

Rivers and riverbeds provide homes to otters, herons, and fish too, which you may be lucky to photograph.

Photographing on Your Home Patch and Why You Need One
Oxford, England

Some other ideas for things to look for in nature are beautiful landscape scenes such as valleys, trees or hedgerows, and details such as insects and plants. Shooting close-ups can give a more intimate view of a flower or insect.

If you live in a city, your home patch can include street photography, architecture photography, capturing reflections in windows, doing panning, or light trails to capture movement of traffic.

Working your local patch helps you to gain a
better understanding of your environment and become familiar with your
surroundings, the lie of the land, the buildings and their inhabitants. 

Whenever you visit, remember a familiar location can look very different in diverse light, contrasting weather and variable times of the day and year.

Conclusion

In summary, photographing on your home patch is a great way to practice your photography closer to home and generally requires minimal effort. Finding a local area to photograph that is easy to get to also saves on time and cost. Look to photograph something you enjoy such as landscapes, woodlands, wildlife present in nature and urban scenes in local towns, or cityscapes and night photography.

Be sure to share the images you capture on your home patch with us below and any other tips you may have.

The post Photographing on Your Home Patch and Why You Need One appeared first on Digital Photography School. It was authored by Jeremy Flint.


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