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Archive for July, 2020

Film Fridays: 10 classic Olympus film cameras

17 Jul
Photo: Stephen Dowling

We figured with the sad news regarding the inevitable sale of Olympus’ camera division, it’d be nice to celebrate the company’s history designing some of the coolest film (and digital) cameras of all time. This week’s Film Friday comes to us from our new friends at KosmoFoto.com, another excellent resource for film camera reviews and analog nerdery.

From half-framers, to TLRs, to pocketable rangefinders, to the cult-classic and now impossibly-overpriced mju III (Stylus Epic) compact, Olympus’ film camera portfolio is truly remarkable. Hit the link below and have a look for yourself at 10 classic Olympus film cameras. And we won’t judge at all if your next step is to pick one up on Ebay or Craigslist.

Read: 10 classic Olympus film cameras

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at KosmoFoto and 35mmc.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Design debuts new URSA Mini Pro 12K camera and lower-cost versions of its Video Assist 3G

17 Jul

Editor’s note: Skip to just under 30 minutes again to avoid the static intro image.


Blackmagic Design has taken the wraps off its new Blackmagic URSA Mini Pro 12K digital film camera with support for recording video at up to 12K/60fps with 80MP per frame. The model is joined by a pair of new off-camera monitors from the company, the Blackmagic Video Assist 3G in 5″ and 7″ sizes.

Blackmagic URSA Mini Pro 12K

The Blackmagic URSA Mini Pro 12K is a digital film camera offering advanced options combined with a 12288 x 6480 Super 35 image sensor. This is the company’s third-generation model, one offering 14 stops of dynamic range, 4K/220fps Super 16 and 8K/110fps options in addition to 12K, an interchangeable lens mount and a SuperSpeed USB-C expansion port.

Blackmagic Design has packed a number of other notable features into its new pro-grade digital film camera, including built-in ND filters, an interchangeable PL mount and UHS-II SD and CFast card recorders. The company says that the Super 35 sensor found in this model is ‘optimized for images at multiple resolutions’ and that it features a unique (non-bayer) design with an equal number of RGB pixels. We’ve contact Blackmagic Design for further information on the sensor and will update with additional information when it becomes available.

Blackmagic Design has also streamlined its entire workflow to be more efficient, going so far as to demo that with the help of Apple’s Metal graphics architecture, it’s possible to edit 12K Blackmagic Raw footage directly on a MacBook Pro.

The Blackmagic URSA Mini Pro 12K is aimed at professional productions, including use with television and movies. Videos shot in 12K Blackmagic RAW can be tweaked with multiple constant bitrate encoding and quality options. The 12K sensor enables oversampling so that users get sharp, highly detailed 4K and 8K images, giving creators a bit more freedom during post-production.

This is joined by a new film curve feature for Blackmagic Generation 5 Color Science that takes advantage of the 12K sensor color data. According to Blackmagic, this will ensure that highly saturated colors are better rendered and that skin tones are particularly ‘pleasing.’ The camera is compatible with PL cinema lenses, as well as EF and F mount lenses.

Talking about the new model is Blackmagic Design CEO Grant Petty, who said:

With Blackmagic URSA Mini Pro 12K we have advanced imaging technology into a new generation where new styles of shooting will be possible. It’s not just the 12K sensor, but there is so many other innovations in this camera. From the Generation 5 Color Science, the in sensor scaling, new symmetrical color pattern, full RGB quality and of course the 12K resolution, it’s going to be exciting to see what DOPs do creatively with this technology!

Blackmagic Design is launching the URSA Mini Pro 12K this month at $ 9,995.

Blackmagic Video Assist 3G

Joining the new digital film camera is the Blackmagic Video Assist 3G, an off-camera monitor offered in 5in and 7in sizes. According to the company, Video Assist 3G is a touchscreen model offered at a lower price point than the company’s other options; it features HDMI and 3G-SDI with support for all Standard and High Definition video formats.

Likewise, Video Assist 3G has upgraded batteries compared to past models, as well as built-in scopes, a rear tally light, headphone jack and front panel speaker. Both size options feature standard SD and UHS-II SD card support — the larger model has two SD card slots so that a full card can be swapped out while recording to the second card continues.

As well, the Video Assist 3G utilizes Sony L-Series batteries and features two battery slots so that one can be swapped out with a charged battery while recording. The obvious benefit to the Video Assist 3G is that it offers a larger display than the often small screens built into cameras, giving users considerably more control over their work.

Likewise, the Video Assist has an integrated pro-grade audio recorder, exceeding the quality of many cameras while eliminating the need to tote around audio gear, though it is also possible to attach microphones to the 7-inch model via a pair of XLR inputs. In addition to the monitor’s many other features, Blackmagic has included support for several languages, including English, Spanish, German, Chinese, Russian, Japanese and more.

Blackmagic Design is now offering the Video Assist 3G monitors starting at $ 495.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Canon EOS R6 review

17 Jul

The EOS R6 promises to be the full frame mirrorless camera from Canon that many have been waiting for. Does it hit the mark? We put it through the wringer for both stills and video to find out. Filmed on a pre-production Canon EOS R5.

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

  • Intro
  • Design and handling
  • Sensor
  • Video capabilities
  • Japanese garden sample photos
  • In-body image stabilization (IBIS)
  • Displays and battery life
  • The Lethbridge Viaduct
  • Low light and dynamic range
  • HEIF recording
  • Autofocus
  • Evening photo shoot
  • Who's it for?

Sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Gear Review: Tamron 70-180mm f/2.8 for Sony

17 Jul

The post Gear Review: Tamron 70-180mm f/2.8 for Sony appeared first on Digital Photography School. It was authored by Suzi Pratt.

Tamron 70-180mm f/2.8 lens for sony review

Earlier this year, the highly anticipated Tamron 70-180mm f/2.8 telephoto lens finally hit the shelves. Made for full-frame Sony E-mount cameras, this lens is very compact and affordable, coming in at more than half the price of the Sony G-Master version. What are the pros and cons of getting this lens? Read on to find out!

The Tamron “Holy Trinity” is complete

Photographers often refer to the “holy trinity” of zoom lenses that cover a wide range of focal lengths. Traditionally, the holy trinity consists of a wide-angle lens (16-35mm), a midrange lens (24-70mm), and a telephoto lens (70-200mm). Tamron has been working on their own version of the holy trinity that includes the 17-28mm f/2.8, 28-75mm f/2.8, and now the 70-180mm f/2.8.

All three of these Tamron lenses complement each other in that they are very affordable, compact in size, and even use the same filter thread size of 67mm. The low cost is probably the most attractive feature. You can have the Tamron holy trinity of f/2.8 lenses for just under US$ 3,000. In comparison, buying all three Sony G-Master lenses would cost a whopping US$ 7,000.

Tamron 70-180mm f/2.8 for Sony review
Canon 5D Mark III with Canon 100mm f/2.8 – 1/60 sec, f/7.1, ISO 400

Specs

The formal name of this lens is the Tamron 70-180mm f/2.8 Di III VXD. Tamron claims this is the “world’s lightest and most compact package,” and it’s hard to disagree when comparing this lens to similar focal lengths. The lens is 5.9 inches (149mm) long and weighs 1.8lbs (816 grams). The Tamron 70-180mm also has moisture resistance and weather sealing.

This is an autofocus lens with two rubber barrels – one controls focus and the other zooms. The front part of the lens extends when zoomed in. There is just one minimal locking switch on the lens to keep it from extending when not in use. No other physical buttons or switches are on the lens. The minimum focusing distance is 33.5 inches, however, you can focus down to 10.6 inches when using manual focus at 70mm.

One last thing to mention about this and every Tamron lens is the 6-year warranty for USA residents. The warranty period is much longer than Sony’s and just about any lens manufacturer out there.

Tamron 70-180mm f/2.8 for Sony review
Canon 5D Mark III with 100mm f/2.8 – 1/60 sec, f/7.1, ISO 400
Tamron 70-180mm f/2.8 for Sony review
Canon 5D Mark III with 100mm f/2.8 – 1/60 sec, f/7.1, ISO 400
Tamron 70-180mm f/2.8 for Sony review
Canon 5D Mark III with 100mm f/2.8 – 1/60 sec, f/7.1, ISO 400

Ease of use

The Tamron 70-180mm f/2.8 is very easy to use, especially if you’ve ever shot with a 70-200mm f/2.8. In practice, it’s almost not fair to compare these two lenses. The Tamron is considerably smaller and lighter than any 70-200mm f2/.8 on the market. It weighs 1.46 lbs lighter than the Sony G-Master, and it easily fits inside of medium-sized bags that a traditional 70-200mm lens would never fit into. Thus, it’s no longer a second thought on whether this lens should be packed on a hiking trip, or whipped out to shoot a quick photo.

To keep the lens small, 20mm was shaved from the long end which might be a problem if you really need to be shooting at 200mm. However, Sony full-frame shooters have the option of shooting in APS-C mode to get a zooming effect (roughly 270mm with the 1.5 crop factor). When shooting with a high-resolution camera such as the Sony a7rIV and its 61 megapixels, you also have more megapixels, so cropping is a viable option.

Tamron 70-180mm f/2.8 for Sony review
Tamron 70-180mm f/2.8 @ 180mm – 1/640 sec, f/2.8, ISO 160

Autofocus

The autofocus performance on this lens is phenomenal. You have access to all of the autofocus features in your Sony E-mount camera including face and eye detect for humans and animals.

Autofocus was snappy and accurate when shooting a still or moving subject. This lens feels just like using a native Sony lens in a much lighter and cheaper body.

Tamron 70-180mm f/2.8 for Sony review
Tamron 70-180mm f/2.8 @ 70mm – 1/4000 sec, f/2.8, ISO 200

Only one thing missing

Like the rest of the lenses in the Tamron holy trinity, the 70-180mm is missing image stability built into the lens. Tamron claims it isn’t needed because many Sony full-frame cameras come with in-body image stabilization (IBIS, or SteadyShot).

While this might seem like a downside, Tamron might be onto something. In practice, the 70-180mm shot incredibly stable handheld video, even at 180mm. Stills photography was also very sharp and spot-on in every scenario. Along those lines, let’s talk about image quality.

Tamron 70-180mm f/2.8 for Sony review
Tamron 70-180mm f/2.8 @ 70mm – 1/80 sec, f/8, ISO 400

Image quality

When reviewing images, the Tamron 70-180mm f/2.8 leaves little to be desired. Photos are tack sharp and crisp with excellent color. Thanks to the lens coating, there is also very little ghosting and flare, even in the most backlit conditions.

Conclusion

This is a rather short review, because there honestly isn’t a lot to say about this lens other than it is impressive on every level. If you want an ultra-compact f/2.8 telephoto zoom at a very affordable price, this is the one for you.

However, you’ll want to act fast since this lens has been back-ordered ever since it was announced, and for good reason.

Tamron 70-180mm f/2.8 for Sony review
Tamron 70-180mm f/2.8 @ 180mm – 1/160 sec, f/11, ISO 400
Tamron 70-180mm f/2.8 for Sony review
Tamron 70-180mm f/2.8 @ 180mm – 1/80 sec, f/8, ISO 400
Tamron 70-180mm f/2.8 for Sony review
Tamron 70-180mm f/2.8 @ 70mm – 1/80 sec, f/8, ISO 400
Tamron 70-180mm f/2.8 for Sony review
Tamron 70-180mm f/2.8 @ 140mm – 1/60 sec, f/8, ISO 160
Tamron 70-180mm f/2.8 for Sony review
Tamron 70-180mm f/2.8 @ 70mm – 1/1600 sec, f/2.8, ISO 200
Tamron 70-180mm f/2.8 for Sony review
Tamron 70-180mm f/2.8 @ 70mm – 1/100 sec, f/10, ISO 200
Tamron 70-180mm f/2.8 for Sony review
Tamron 70-180mm f/2.8 @ 140mm – 1/250 sec, f/11, ISO 400

The post Gear Review: Tamron 70-180mm f/2.8 for Sony appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Sony confirms a7S III launch event will take place on July 28

16 Jul

Sony has announced, via a teaser on its website, it will be holding an ‘Imagination in Motion’ launch event for its forthcoming a7S III camera on July 28 at 10am EDT (-4 UTC).

Confirmation of the a7S III’s existence was confirmed just over two weeks ago in an exclusive interview with DPReview wherein Kenji Tanaka, VP and Senior General Manager of Sony’s Digital Imaging Group, shared the news that an a7S II successor would be announced ‘later this summer.’

Sony doesn’t divulge any new details of the a7S III in the teaser, but we know from our interview the camera will be ‘a complete redesign of the whole system,’ complete with a new sensor.

Articles: Digital Photography Review (dpreview.com)

 
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ZY Optics releases ultra-fast 50mm F0.95 ‘Speedmaster’ lens for Canon EF mount

16 Jul

Zhongyi Optics (ZY Optics) has announced the release of its new Mitakon Speedmaster 50mm F0.95 manual lens for Canon EF-mount cameras.

The lens might be similar in specs to its mirrorless counterparts (Canon RF, Nikon Z and Sony FE) released back in 2019, but ZY Optics says the lens has a different optical design featuring 12 elements in 6 groups, including one high-refractive element and five ultra-low dispersion elements.

The lens is constructed of metal, features an eleven-blade aperture diaphragm (F0.95-F16), uses an 82mm front filter thread and has a 65cm (2.13’) minimum focusing distance. It measures in at 89mm (3.5”) diameter and 122mm (4.8”) long, weighing 1.5kg (3.3lbs).

Below is a sample gallery of images provided by ZY Optics:

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The Mitakon Speedmaster 50mm F0.95 lens for Canon EF cameras is available now on the ZY Optics online shop for $ 799.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus interview: ‘We are extremely grateful to all of our customers for their loyalty and support’

16 Jul

Setsuya Kataoka, VP of Global Strategy, Olympus Imaging Division, pictured holding the forthcoming M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO.

These are difficult times for the photo industry, and even before the COVID-19 pandemic, economic stresses and falling sales had been presenting headwinds to camera and lens manufacturers. Following the recent announcement that Olympus is planning to sell its Imaging Division, we caught up with Setsuya Kataoka, 29-year veteran of the company and current VP of Global Strategy. In this interview, Mr. Kataoka gave us his thoughts on the sale, what it means for fans of the brand, and what’s next for Olympus-branded cameras and lenses.

This interview was conducted through and interpreter and has been edited for clarity and flow.


What immediate impact will there be from the sale of the Imaging Division?

First, I would like to stress that the sale of the Imaging Division does not mean that we will withdraw from the imaging business. We will continue to offer unique and exciting products. Of course there will be some changes in management, and transformation of the organizational structure after the transfer, but these changes are to stabilize the business and strengthen the organization and our operations. We think the transfer of the Imaging Division will have a positive effect on our imaging business.

Based on our current timeline, if everything goes smoothly, we’ll have a Definitive Agreement in place in September, and the new company will be established in January 2021.

Was the sale of the Imaging Division being discussed before the COVID-19 pandemic, or did it come about as a result of the challenging market conditions this year?

The COVID-19 pandemic has had an impact on the imaging business, but it is not directly related to this decision.

The OM-D E-M5 Mark III is a genuinely small, lightweight ILC. It’s aimed at enthusiasts and designed to appeal to travel and everyday photographers who don’t want to be weighed down by a DSLR or full-frame alternative.

After the establishment of the new company, will camera and lens production continue at the same pace and in the same factories?

The production system is still under consideration, so I can’t provide any details right now, but please be reassured that there will be no problem with production, whatever happens. Production of existing models will continue.

How long have you worked at the Imaging Division inside Olympus?

Since 1991, so 29 years.

Was the announcement of the sale of the Imaging Division a sad day for you, or are you optimistic about the future?

I don’t think that this is a sad day for us, at all. This transfer means that the Imaging Division will be carved out from Olympus but I see this as an opportunity for our imaging business to grow further in future. This may not be well-known, but JIP – Japan Industrial Partners – is a business investment fund, and their vision is to revitalize and grow businesses by supporting long-term business management. This is why we believe JIP is an optimal partner.

We believe that this transfer is the best step to preserve our technologies, our products, our services and the legacy of the Olympus brand. We are very confident that we’ll be able to continue to offer products that will satisfy our customers under the new arrangement. I don’t expect that anything will happen that will not be good for our users. In all of our conversations about the transfer, ‘user first’ has been the bottom line.

Do you think that your product lineup will get smaller?

We will focus on the high-end market more than ever. High-end cameras and lenses in the ILC lineup. There may be some changes in the product lineup for strategic reasons, but we don’t plan simply to reduce the number of products.

Could an increased focus on high-end products spell the end for the entry-level PEN E-PL models?

How will the sale of the Imaging Division affect warranty and service support for existing Olympus customers?

Please be reassured that there will be no effect. I want our customers to be confident that their products will continue to be supported in future.

Do you think there will be a time when cameras will no longer be made under the ‘Olympus’ brand?

The question of Olympus branding is still under consideration, but there’s no plan to stop using the Olympus brand immediately after the transfer. Camera naming, such as OM-D, PEN and Zuiko will continue to be used.

We will continue to develop the Micro Four Thirds system [and focus on] areas where we can leverage the uniqueness of our products

Do you think that the OM-D lineup will evolve to be a more high-end system?

We believe that our OM-D lineup offers unique benefits that other camera manufacturers cannot. Not only the compactness and light weight of the system, but many technologies that competitors cannot match, such as high-resolution lenses, strong stabilization and outstanding dust-proofing and weather-sealing. I can’t say for sure how these technologies will evolve, but we will continue to develop the Micro Four Thirds system [and focus on] areas where we can leverage the uniqueness of our products, for example in the fields of nature and outdoor photography.

The last time I spoke to Aki Murata, in late 2019, he expressed a hope that the E-M1X would attract photographers who were ‘switching’ from DSLRs. Has that happened?

The E-M1X was developed for professional photographers, in order to withstand use in harsh environments. The development of this product was very important for us. We wanted to meet the demands of professional photographers, and also to accumulate know-how around improved reliability, which we could then apply to other models.

Although the E-M1X does not sell in the same volume as the E-M1 and E-M5 series, it has been accepted by many professional photographers. We are currently developing an intelligent subject detection autofocus update for bird photography for the E-M1X. That firmware is scheduled to be released this winter. Together with the M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO lens, we’re confident that we can make many professional photographers very satisfied.

Olympus’ flagship ILC (the OM-D E-M1X, left) is far from small or light, but Mr. Kataoka believes that when professionals and enthusiast bird and wildlife photographers see what it can do in combination with the upcoming 150-500mm lens, some of them will want to make the switch away from their current cameras.

How important is that particular lens to your professional strategy?

We believe that this lens will be a very special option, not only for wildlife and sports photographers but for all kinds of customers who need a telephoto zoom. This lens symbolizes the superiority of our system, and we might even call it a flagship. You can shoot handheld at 1000mm [equiv.], and it’s packed with innovative technology. This will be a significant lens, and [representative] of a new chapter in our imaging business.

Do you think that Olympus-branded cameras will ever compete against full-frame professional options, for sports and photojournalism?

We believe that our camera system has the potential to be accepted in the professional marketplace. In fact, many professional photographers are using our system, especially sports and wildlife photographers, following the launch of the E-M1 Mark II. We will continue to gather feedback from these photographers, particularly when it comes to the benefits which full-frame cameras cannot offer.

Given the challenging market situation, where do you see the biggest opportunities for Olympus-branded cameras and lenses?

We are proud to offer unique products that other brands cannot. Especially when it comes to the compactness and light weight of our system. This provides clear benefits to our customers when it comes to mobility. Although the market has contracted recently due to the effects of the COVID-19 pandemic, once people are able to start traveling again, and get outdoors, we’re confident that our products will satisfy users, and allow them to enjoy their photography.

Do you anticipate any job losses after the sale?

As a result of the transfer process, the reformulation of the organizational structure is obviously something that will be discussed. But I cannot give any detail at this point.

Do you think that Olympus as a photographic brand will be in a stronger position in one year’s time than it is today?

I really believe so. I think our position will be stronger in a year. Our manufacturing team, our R&D team, as well as sales and marketing – all of our teams are working hard to make that happen.

We are extremely grateful to all of our customers for their loyalty and support

I would like to take this opportunity to say thank you, for the many supportive messages and comments that we have received since the news of the transfer. We are extremely grateful to all of our customers for their loyalty and support. To demonstrate our continued commitment to our customers, we recently disclosed our lens roadmap, and the development of our 150-400mm PRO lens is well underway. There are no plans to change any product launches coming in 2020. We remain focused on the release of new products, so please stay tuned for news about more exciting future developments.

While the transfer may bring changes to some operations, one thing that will not change is that everyone on the imaging team will continue to work hard on innovative initiatives for our customers.


Editor’s note: Barnaby Britton

The last time we spoke to Mr. Kataoka was in 2015, following the launch of the OM-D E-M5 Mark II. Back then, he was extolling the virtues of that camera’s high-res shot mode, and predicting improved – handheld – iterations of the technology coming in future models. This prediction came true in the E-M1X and E-M1 Mark III, but neither we nor Mr. Kataoka could have predicted that in 2020 – almost a decade after the financial scandal which rocked the company in 2011 – we’d be discussing (again) the future of the entire Olympus Imaging business. But these are strange times.

In the short term, we’re told, nothing will change. The product roadmap (at least through 2020) is fixed, products will continue to be released – and sold – and warrantee service and post-sale support for existing customers will continue as before. While the future of the ‘Olympus’ brand is unclear, OM-D, PEN and Zuiko-branded products will continue to be manufactured and sold.

According to Mr. Kataoka, we’ll see more of a focus on high-end gear going forward, of the kind that he hopes will appeal to professionals. That’s where products like the long-anticipated 150-400mm come in: ‘a significant lens, and [representative] of a new chapter in our imaging business’.

The basic strategy behind Olympus’s development of high-end imaging products seems to be unchanged

Of course, this lens on its own is unlikely to persuade a significant number of professionals to pick up an E-M1 Mark III or E-M1X, but that was never the point. It seems as if the strategy behind Olympus’s development of high-end imaging products is the same now as it has been the last several times I’ve spoken to senior executives: aim high, focus on the differentiators, (i.e., the professed benefits of M43 such as lower size and weight, excellent in-body stabilization, and relatively small telephoto lenses), and court professionals with high-end tele optics, rugged build quality and excellent weather-sealing.

The challenge is that few of these things are (or need to be, or in some cases ever have been) unique to Micro Four Thirds. That said, Olympus has a good track record when it comes to maximizing the advantages of a smaller sensor, and trying to minimize the performance gap using technology.

The handheld high-res shot mode in the E-M1 Mark III and E-1MX is one good example of a technological solution to the small sensor ‘problem’, which provides the option of increased resolution, and somewhat improved high-ISO image quality compared to conventional single-exposure capture from a small 20MP sensor.

We know that new products are coming, and Mr. Kataoka tells us that his team remains focused on delivering high-quality, ‘innovative’ solutions. If things go to plan, according to Mr. Kataoka, a final agreement with presumptive new owners Japan Industrial Partners (JIP) will be in place in September, and a new company will be formed in early 2021. Longer-term, things are less clear, but it’s safe to assume that JIP has done its homework, and believes that Olympus cameras and lenses have a future. As for exactly what that future looks like, we’ll just have to wait and see.

Read more in-depth interviews

Articles: Digital Photography Review (dpreview.com)

 
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Cascade Pro Webcam can turn more than 100 popular cameras into webcams on macOS

16 Jul

While the likes of Canon, Fujifilm, Panasonic and others have released firmware updates or dedicated apps to turn cameras into webcams, not every camera owner is lucky enough to have their camera’s manufacturer release such utilities. Thankfully, there are third-party developers stepping up to the plate to help bring webcam functionality to many more cameras.

One of the latest attempts is from Cascable, a development team known for making wireless remote, tethering and transferring solutions for iOS and macOS devices. The team’s newest creation is Cascable Pro Webcam, a new macOS app that will turn compatible Canon, Fujifilm, Nikon, Olympus, Panasonic and Sony cameras into a webcam for popular video conferencing and streaming programs.

Over 100 cameras are supported by Cascable Pro Webcam, with some even offering wireless connectivity if the camera has built-in WiFi. Cascable has a full list of compatible cameras on its website. Note that in order for the camera to be supported, it must have a checkmark under the ‘Control & Automation’ column on the linked page.

The highlighted (red) column is what determines whether or not your camera is compatible with Cascade Pro Webcam.

As for the video conferencing and streaming apps it supports, the Cascade team says it’s specifically tested it with Google Chrome, Microsoft Edge, Microsoft Teams, OBS Studio, Quicktime Player, Skype (8.59 or later), Twitch Studio and Zoom (5.0.5 or later).

Cascable Webcam Pro is available to download for free to try out. The free trial doesn’t limit how many times you can use it, but not all features will be available and streams will show an overlay when they last more than five minutes. Cascable Pro Webcam will retail for $ 40, but until July 24, it’s just $ 30 as part of a ‘launch sale.’ You can download the free trial and purchase a license on the Cascable website. You need to be running macOS 10.14.4 or higher.

Articles: Digital Photography Review (dpreview.com)

 
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Indian photographer turned his home into a camera and named his sons after camera companies

15 Jul

How far would you go to profess to the world your love for photography? Would you live inside a house that looks like a camera or name your children after popular camera brands? If you’re 49-year-old Indian photographer Ravi Hongal, the answer to both of those questions is ‘yes.’

Detailed in this short video from Caters Clips, Hongal spent over £75,000 (roughly $ 95,000) turning his family’s home into a photography tribute. The house features a window lens, a film strip balcony railing, an oversized SD card and even a speedlight that doubles as a security lamp. Although not shown in the video, Hongal has also adorned the inside of the house with camera-inspired rooms.

As if the house wasn’t enough, Hongal and his wife also named their three sons Canon, Nikon and Epson. If that’s not dedication, we’re not sure what is.

Articles: Digital Photography Review (dpreview.com)

 
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How to Use Photography Filters for Amazing Long Exposure Landscapes

15 Jul

The post How to Use Photography Filters for Amazing Long Exposure Landscapes appeared first on Digital Photography School. It was authored by Simon Bond.

filters-for-long-exposure-landscapes

One of the most competitive genres in photography is landscapes. In this article, you’ll learn how to add creativity to your landscapes by using filters. The use of filters will allow you to create masterpiece long exposure landscapes, and you’ll learn what’s needed to do this. So read on and discover tips and tricks to get the best results.

How to Use Photography Filters for Amazing Long Exposure Landscapes
Using the correct exposure length meant an interesting foreground from the movement of water.

What is long exposure photography?

One of the key settings on your camera is the ability to control the exposure length. If you’re new to photography, the chances are you’ll not have tried long exposures yet. You’ll need a tripod, but once you begin taking long exposure photos, the creative potential is massive.

Long exposure photos are those that last for over one second in length, and typically don’t last more than thirty seconds. There are some situations where even longer long exposures can be taken. These can last minutes. To take these photos, you need to use bulb mode on your camera.

Filters for long exposure landscapes
Filters come in varying strengths.

How to use filters for long exposure landscapes

The use of filters to produce these long exposure landscapes will increase your options. They allow you to take long exposure daytime photos (where there is lots of light), and, if you wish, even longer night time long exposures.

You can use different grades of filters to give you the ability to take photos of different exposure lengths. Of course, the time of day is a massive factor as well, with night time an easier time to take long exposures.

Filters you can use during the day

The filter you’ll need to use to take long exposure landscapes during the day is the ND filter. These are neutral density filters, which are abbreviated to ND filters.

These filters work by blocking out the amount of light that comes into the camera. They should do this without changing the color tone of your image, which is why the filter is considered neutral. The strength of these filters range.

filters for long exposure landscapes - waterfall in the fall
Filters can be used to lengthen the exposure, and produce “silk water”.

Weak ND filters

These are the ND2, ND4, and ND8 filters. They’re more often used with flash photography, but you can use them to extend exposure length during the day. In low light situations like under tree canopies, or as the evening draws in, using one of these filters may allow you to take a long exposure.

Circular Polarizer (CPL) filter

In a similar fashion to the weak ND filters, you can use a CPL filter in a low light situation to turn a half-second exposure to a one or two-second exposure. This can be long enough to dramatically change the nature of moving water during an exposure.

Strong ND filters

These filters are designed for longer exposures, the typical filters you can use are the ND110 and the ND1000. Filters like this will allow you to take exposures longer than five seconds or more even during the middle of the day.

How to Use Photography Filters for Amazing Long Exposure Landscapes
Using an infra-red filter is an interesting way of creating landscapes.

Infrared filters

Infrared filters block out all light except infrared.

The exact light they block comes with the name of the filter. The Hoya R72 filter blocks all light except the light of a wavelength of 720 nanometers. This translates to a filter that’s even stronger at blocking out light than the ND1000.

You will, of course, be taking an infrared photo, but this will then be a long exposure that can often be minutes long.

Filters you can use during the night

The need to use filters for night time long exposure is not as extreme.

You’ll almost certainly be able to carry out long exposures with no problem, except perhaps during the transition from day to night. Here, the filters you’ll likely use are the weak ND filters or the CPL filters, with the intention of turning a medium-length long exposure into a longer long exposure.

However, the need to use a strong ND filter can occur. This happens when you want an exposure that lasts several minutes. Usually, you would not take an exposure of this length, but in order to get cloud motion across the sky, this length of exposure can be needed.

filters for long exposure landscapes - jetty over the water at sunset
Flattening the water makes for a serene landscape.

Stacking filters

The more extreme long exposure landscapes will require filter stacking. Stacking filters means placing one filter on top of another to combine their strength.

Those wanting to take an ultra-long daytime long exposure, that produces cloud motion, often need to stack an ND110 filter with an ND1000 filter.

Stacking filters gives you an extra level of control over the length of your exposure. This happens by blocking more or less light. One thing to be careful of when stacking is vignetting. When using screw-on filters, there is a greater risk of this, caused by stacking too many filters on the front of your lens.

How long to expose for?

The aim of adding a filter to the front of your lens is to lengthen the exposure. Learning the correct strength of filter you need to apply is therefore important.

To know how strong the filter should be, you will need to decide what type of long exposure landscape you wish to take. The following is a list of photo types you could take during the daytime.

  • Silky water – An exposure of one second is long enough to produce the silk water effect at places like waterfalls.
  • Water motion – The motion of water and the length of exposure is a sliding scale. At half a second, it’s long enough to capture motion from waves going in and out at a beach. A longer exposure can then be used all the way up to the exposure length needed to flatten the sea. It’s not always desirable to completely flatten water, as some turbulence can look nice.
  • Flattening the sea – An exposure longer than ten seconds will be enough to flatten the sea.
  • Cloud motion on a calm day – With slow-moving clouds, an exposure of minutes will be required.
  • Cloud motion on a windy day – On a windy day, an exposure of over 15 seconds is likely to be long enough. However, you will need to experiment with the conditions you have on the day.
How to Use Photography Filters for Amazing Long Exposure Landscapes
Getting cloud movement across your landscape can take very long exposures.

Time for long exposure landscapes!

The take-home message is to know how long an exposure you need, and use the correct filter on your lens to allow this length of exposure.

Do you enjoy long exposure photography, or are you yet to learn about the genre?

If you have examples of your work you would like to share, please share them in the comments section. These could be from your archives or images you take after reading this article. So get out with your tripod, and create some long exposure magic!

The post How to Use Photography Filters for Amazing Long Exposure Landscapes appeared first on Digital Photography School. It was authored by Simon Bond.


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