Photographer and YouTuber Arthur Reutov has published a new video showcasing the Nanoha Super Macro lens from Japanese company Yasuhara, which claims this product is the only microscopic lens available for cameras. The Nanoha is, as Reutov notes, quite unique in that not only is it a powerful macro lens, but it also features built-in LEDs for illuminating the subject.
The Yasuhara Nanoha is a 5x magnification macro lens designed for use with mirrorless cameras. The company says its lens is capable of microscopic imagery, enabling photographers to get unique up-close shots without using a microscope. The Nanoha name is inspired by the word nanometer, referencing the lens capabilities.
According to Yasuhara, the effective F-number for its Nanoha lens at 5x magnification is F11. The company says that its macro lens exceeds the brightness of the Canon MP-E65mm F2.8 macro lens, which has a magnification range from 1x to 5x. With Nanoha, the lens must be around 11mm (0.4in) from the subject in order to focus.
The most notable aspect of the lens is its integrated lighting system, which includes a battery, multiple LEDs, and a USB connector for recharging the battery. The inclusion of this lens light eliminates the need to use an external light, which could introduce shadows that are difficult to get around with such a minuscule focus distance.
Yasuhara provides a gallery of sample images captured with Nanoha, showing off what its lens is capable of. Here to provide a better look at the offering is Reutov, however, who presents the model, details its build quality and quickly goes through the lens features.
‘This is super crazy, unique, it is a lens unlike any I’ve ever used,’ Reutov said, demonstrating how he captures images with the Nanoha. The shallow focus distance means the lens must be placed flat on a surface above the subject in most cases, which is where the plastic housing and integrated LEDs come in.
Ultimately, Reutov notes that the macro lens won’t work for every photographer, pointing out that capturing live insects, for example, would be essentially impossible with Nanoha due to the focus sensitivity and need for, in some cases, focus stacking. Ultimately, though, Reutov notes that Yasuhara’s offering is ‘a very fun lens to use … it’s pretty cool to see how much it magnifies. It’s like having a microscope attached to your camera.’
The Yasuhara Nanoha Macro lens is available now in Sony E, Canon EF-M and MFT mounts from Yasuhara and B&H Photo for $ 399.99.
Atomos has released the latest firmware update for its popular Ninja V monitor/recorder that enables ProRes RAW capture over HDMI with the Fujifilm GFX 100 and Sigma fp camera systems.
Fujifilm GFX 100
On a GFX 100 running firmware version 2.01 or later, the Ninja V can now record 12-bit 4K ProRes RAW video at up to 30p over HDMI. This marks the first time users can capture Raw footage on the large format camera.
If you don’t need the Raw video, the Atomos firmware update also enables 10-bit 422 ProRes and DNx 4K UHD (3840 x 2160) capture up to 30p or 4K DCI (4096?×?2160) at up to 24p. Multiple monitoring modes have also been added for viewing and playing back Raw footage.
Sigma fp
Moving onto the Sigma fp, the Ninja V can now record 12-bit ProRes RAW at 4K DCI up to 24p or 4K UHD up to 30p over HDMI using the full width of the sensor. You can even capture 120p (119.88p) 12-bit ProRes Raw if you knock the resolution down to 1080.
10-bit ProRes 422 and DNx can also be recorded at 30p and 120p (119.88p) at 4K UHD and 1080 resolutions, respectively, if you don’t need Raw footage. Like the GFX 100, multiple monitoring modes have also been included for viewing and playing back Raw footage.
You can download the 10.53 firmware update from the Atomos Ninja V support page.
Press release:
AtomOS 10.53 — Sigma fp and FujiFilm GFX100 HDMI RAW
Important Note:
With the installation of this update if not previously activated users will be required to activate ProRes RAW, as a codec.
Following the Firmware update, when a RAW source is plugged in, or a user selects ProRes RAW Codec, a UI pop-up will ask for activation code to continue.
Visit Atomos website www.atomos.com/activation and follow the online instructions to generate a code.
SIGMA fp
• Video modes available for monitoring and recording in 12 Bit RAW: – 4096x2160p24
– 3840×2160 up to 30p
– 1920x1080p up to 119.88p
• Video modes available for monitoring and recording in 10 Bit ProRes 422 or DNx:
– 3840×2160 up to 30p
– 1920×1080 up to 119.88p
Monitoring of RAW input in:
– Native – Linear to VLog for use with 3D LUTs – can use any existing VLog LOOK LUTs – Rec709 – to view RAW input in SDR up to 6.7 stops of dynamic range – HLG – to view RAW in HLG with up 10.5 stops of dynamic range – PQ – to view RAW in PQ/HDR10 with up to 10.5 stops of dynamic range, for scenes with extended spectral highlights.
• Playback of recorded video in ProRes RAW, ProRes, and DNX
FujiFilm GFX100
• RAW modes available for monitoring and recording in 12 Bit RAW
– 3840×2160 up to 30p
• Video modes available for monitoring and recording in 10 Bit ProRes 422 or DNx:
– 4096×2160 up to 24p – 3840×2160 up to 30p – 1920×1080 up to 60p
• Monitoring of RAW input in:
– Native – Linear to Vlog for use with 3D LUTs – can use any existing Vlog V Gmaut LOOK LUTs. – Rec709 – to view RAW input in SDR up to 6.7 stops of dynamic range. – HLG – to view RAW in HLG with up 10.5 stops of dynamic range. – PQ – to view RAW in PQ/HDR10 with up to 10.5 stops of dynamic range, for scenes with extended spectral highlights.
• Playback of recorded video in ProRes RAW, ProRes 422, and DNx.
Known limitations
SIGMA fp
• In some instances when using LUTs banding artifacts may be observed in some areas of the display on the Ninja V for
4KUHD video modes. (This behaviour is only limited to the display of the Ninja V and not the recordings).
• On occasion if the camera is. powered down whilst connect to the Ninja V and set to RAW mode, the Ninja V may enter a locked state.
– Switch between Record and Play back mode, Unplugging and re-plugging the HDMI, or Power cycling Switching will all resolve this issue.
• ISO metadata reported in Final Cut Pro X may occasionally be incorrect if using 1/3 EV ISO adjustments on the camera. – Incorrect for camera ISO setting 1000, 8000, 16000.
• Update in future firmware release for camera. – White balance adjustment is not available in Final Cut Pro X.
FujiFilm GFX100
• Interaction with the EVF eye sensor may cause freeze frame or black frames in the recording. – Not using the EVF or tilting the LCD screen can resolve the issue. – Removal of the EVF from the camera is advised to avoid issue.
• White balance metadata is not reported in Final Cut Pro X. – Update in future firmware release for camera and Ninja. – White balance adjustment is not available in Final Cut Pro X.
General
• RAW to HDR HDMI output – PQ / HDR10 output conversion may appear slightly incorrect.
Sony has announced the impending release of the LA-EA5, its newest A-mount to E-mount lens adapter. In addition to changing mounts, the new adapter provides autofocus support for Sony A-mount SSM (Super Sonic wave Motor) lenses, SAM (Smooth Autofocus Motor) lenses, and even non-motorized screw-drive lenses in still shooting modes.
An illustration showing the internal construction of the LA-EA5 adapter, with emphasis on the screw-drive motor.
Despite the ability to power non-motorized screw-drive lenses (limited to the a7R IV and a6600, at least for the time being), the LA-EA5 features a compact form factor, thanks to clever internal gear and motor positioning. Sony says the adapter provides ‘full support for focal plane phase-detection autofocus (stills only), wide-area focal phased detection autofocus (stills only), Real-time Eye AF for both humans and animals, Real-time Tracking and AF/AE (auto exposure) tracking for SSM/SAM lenses on nine most recently introduced E-mount cameras at up to 11 frames per second depending on the camera model.’ The supported camera models, as of this press release, are as follows:
Sony a7 III
Sony a7R III
Sony a7R IV (up to 10 fps)
Sony a6100
Sony a6400
Sony a6600 (up to 11 fps)
Sony a9 (up to 10 fps)
Sony a9 II (up to 10 fps)
Sony a7S III
Sony says the LA-EA5 will be available in October 2020 for a suggested retail price of $ 250 / $ 330 CAD. You will be able to find a full compatibility list on Sony’s support page (currently shows ‘Coming Soon’ as of posting this article).
Press release:
Sony Electronics Announces New LA-EA5 Lens Adaptor for A-Mount Lenses
New Adaptor Enables Advanced Autofocus Capabilities When Attaching A-mount Lenses to Latest E-mount Bodies
SAN DIEGO – September 1, 2020 – Today, Sony Electronics Inc. announced the new LA-EA5, a 35mm Full-frame A-mount lens adaptor that allows users to easily pair advanced E-mount camera bodiesi with A-mount lensesi.
Using the new LA-EA5 A-mount adaptor, users can now access the acclaimed autofocus and high-speed shooting capabilities found in Sony’s latest E-mount camera bodiesi with A-mount SSM (Super Sonic wave Motor) and SAM (Smooth Autofocus Motor) lensesii, as well as A-mount lenses that do not have internal focus motors.
Full support is provided for focal plane phase-detection AFiii, wide-area focal phase-detection AFiii coverage, Real-time Eye AF for both humans and animals, Real-time Tracking and AF/AEiv (auto exposure) tracking for SSM/SAM lenses on nine most recently introduced E-mount camerasi at up to 11fpsv depending on the camera model. When used with the Alpha 7R IVvi or Alpha 6600vi, for the first time, these capabilities are possible with lenses that do not have internal focus motors, such as the Sonnar T* 135mm F1.8 ZA and Planar T* 85mm F1.4 ZA.
The LA-EA5 combines a compact design, featuring an aperture drive unit and a newly developed compact AF drive unit. To ensure comfortable operation when used on an E-mount camera body, the new adaptor’s diameter matches that of the A-mount, perfectly aligning with the edges of the mount. The LA-EA5 allows easy operation on full-frame E-mount bodies, even when a vertical grip is attached to the camera body.
Pricing and Availability
The LA-EA5 is available in October 2020 for a suggested retail price of $ 249.99 USD and $ 329.99 CAD.
Exclusive stories and exciting new content shot with the new lens and Sony’s other imaging products can be found at alphauniverse.com, a site created to educate and inspire all fans and customers of Sony’s ? – Alpha brand.
Notes
i. As of Sept. 2020, focal plane phase-detection AF is supported for SSM/SAM lenses on the Alpha 7 III, Alpha 7R III, Alpha 7R IV, Alpha 6100, Alpha 6400, Alpha 6600, Alpha 9, Alpha 9 II, and Alpha 7S III. Focal plane phase-detection is supported for lenses that do not have internal focus motors on the Alpha 7R IV and Alpha 6600.
ii. STF lenses are manual focus only. Teleconverters are not supported.
iii. Autofocus is not available during movie recording.
iv. For AE tracking, the aperture is fixed for the first frame while shutter speed and ISO are used for exposure adjustment.
v. Maximum continuous shooting speed is 10 fps with the Alpha 7R IV, Alpha 9, and Alpha 9 II, and 11 fps with the Alpha 6600. Continuous shooting speed may change depending on the attached lens.
vi. The Alpha 7R IV must be updated to software V1.20 or later, and the Alpha 6600 must be updated to software V1.10 or later.
Update (September 1, 2020 at 10:50am ET): Updated the article to clarify that support for non-motorized screw-drive lenses is limited to a7R IV and a6600 camera systems.
The Nikon Z5 is an entry-level full-frame mirrorless camera that looks and handles almost exactly like its higher-end Z-mount siblings, the Z6 and Z7. It’s built around a stabilized non-BSI 24MP CMOS sensor, which is likely more closely related to the generation of chip found in Nikon’s D750 DSLR, rather than the newer BSI sensor in the Z6.
Slightly stripped down and more stills-focused, the Z5 shares the same 273-point hybrid AF system, Expeed 6 processor and 3.69M-dot OLED viewfinder as the Z6. But niceties like a top plate display are absent. Likewise, the Z5’s max burst rate and video capabilities are considerably less than that of the Z6: 4.5 fps vs. 12 fps and heavily cropped 4K vs. un-cropped, oversampled 4K. But from an image quality and handling standpoint, the two cameras are quite similar.
Key Specifications:
24MP full-frame CMOS sensor (not BSI)
Hybrid AF system with 273 phase-detect points covering 90% of the frame
4.5 fps continuous shooting with AF
5-axis in-body image stabilization
3.69M-dot OLED viewfinder
Dual UHS-II SD cards
4K/30p video capture (with 1.7x crop)
1080/60p video capture (no crop)
Headphone and microphone ports
Dust and moisture sealed
The Nikon Z5 sells for $ 1399 body-only, $ 1699 kitted with the new 24-50mm F4-6.3 lens and $ 2199 kitted with the 24-200 F4-6.3 VR.
What’s new and how it compares
The Z5 is essentially a stripped down Z6. Here’s what Nikon changed in the camera to keep the price down.
Read more
Body, handling and controls
The Z5 is the same exact size, weight and shape as the Z6. But there are a few small differences between the two bodies.
Read more
First impressions
DPR’s Dan Bracaglia has been busy shooting with the Z5. Here’s why he thinks it’s such a tempting camera – and why he may buy one in 12 months’ time.
Read more
Sample gallery
Pups, mountains and summertime vibes. Check out our initial Z5 sample gallery.
The post 5 List-Making Exercises to Improve Creativity in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
We’ve all made lists before: shopping lists, to-do lists, Christmas lists, and more. List-making can be a valuable asset to photography, too. In this article, we’ll look at the benefits of list-making, how it can improve creativity, and some effective list-making exercises.
The benefits of list-making
List-making can improve creativity in a number of ways. For example, many of us tend to remember tasks that need to be done better than we remember the tasks we’ve completed. This can generate a feeling of being overwhelmed, which can lead to something called task paralysis. Making lists provides a visual reminder of our progress over a period of time, inspiring creative momentum and a sense of accomplishment.
In addition, a recent study has shown that the simple act of jotting down a list of to-dos is enough to ease the anxiousness brought on by incomplete tasks. List-making also encourages brainstorming, a pillar of the creative process. By creating an accessible layout of tasks and ideas, lists give goals a certain tangibility, facilitating active steps towards a positive creative outcome.
List-making isn’t restricted to pen and paper. There are plenty of useful apps for making and reviewing lists, too. Android apps pictured: Notepad (left); Habits (right).
List #1: Things I don’t know (and how to learn them)
I’ll admit that a things I don’t know list sounds a little pessimistic at first. But identifying areas you know little about is the best way to target gaps in your own practice.
Take a bit of paper, use a list-making app, open a Word document, or select a page from a notebook (whatever works), and start listing the facets of photography you want/need to know more about. You can list anything, from art theory to photography tricks to post-processing techniques. Next, pair your points with a few words about how you might actively bridge these knowledge gaps.
Here’s an example:
You’ll see that I’ve added timelines to each point on the list, too. Adding a timeline helps bolster your commitment to incorporate the listed tasks into a creative routine.
Naturally, the time you assign to each goal will depend on your daily habits and the goal itself. Just remember that any dedicated length of time invested in your practice is far better than investing no time at all. If you aren’t sure about your timeline, start small and make adjustments incrementally.
Put your list somewhere visible as a reminder of your goals. As you progress, make additions or amendments to your list; your plan should always be open to change. You could even create a checklist to help improve creativity and to map the trajectory of your creative growth.
List #2: Subjects I want to photograph (but haven’t yet)
We all have subjects we would love to photograph, but haven’t yet. Making a list of subjects you aspire to photograph is a productive way to set goals that will broaden and improve creativity.
To start a subjects I want to photograph list, first type/write out some realistic subjects that you would like to photograph in the short and/or long term. Next, add some necessities that will facilitate these goals. Will you need particular equipment? Additional experience in the field? A passport? Savings? Research? List anything that comes to mind. Here’s a quick example:
Note that I have added research to each individual goal. Solid research is fundamental to most photographic undertakings. To tease out what particulars you might need to research, you can use the things I don’t know list!
Once you have your outline, you’re free to break down your list into more detailed segments. For example, you could plan a budget for acquiring suitable equipment. Some goals will be more long-term than others, but having a list will enable you to take decisive steps toward successfully photographing your dream subject.
List #3: Creatives that inspire
There are many artists that inspire my creative practice. So many, in fact, that it can be hard to keep track. That’s where list number number three comes in.
Inspiration drawn from other creatives can reveal new approaches to your own photography. Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/125s | f/3.5 | ISO 500.
Making a thoughtfully curated list of creatives that inspire and motivate your practice is a great way to maintain momentum and stimulate ideas. From recording your favorite photographers in an alphabetical Excel spreadsheet to noting the names of impactful artists in a visual diary, creating a list of inspirational creatives provides an accessible point-of-reference that can improve creativity in a lull.
List #4: Photography goals
Making a photography goals list is a lot like making a subjects I want to photograph list. The idea is to lay out goals paired with actionable steps to achieve a desired creative outcome. Here is a quick example:
Again, you can break down your actionable steps even further by creating checklists, budgets, or timelines. List-making rewards persistence while focusing and improving creativity; it also emphasizes the value of each step toward an overall creative objective. Keep your list somewhere you’ll see it regularly and use it as a compass and a source of inspiration when goals seem far away.
List #5: Why I love photography
Like most things, photography has its ups and downs. When things go right and inspiration flows, it can be smooth sailing. But when things go wrong, you can start to feel the pressure of creative fatigue. Fortunately, lists are a great way to help ease the burden of a creative dry spell.
Photography will take you to amazing places, and it can all start with a simple list! Canon 5D Mark II | Canon EF 24-105 mm f/4L IS USM | 1/200s | f/6.3 | ISO 100.
The why I love photography list is an opportunity to reflect on what it is that makes you do what you do as a photographer. What made you fall in love with photography in the first place? How does photography inspire you? What do you love about your favorite subject matter? How has photography positively impacted your life? What drives you to make your next shot?
There are so many reasons people fall in love with photographic image-making, and listing them creates something concrete to draw upon when needed, helping you to improve creativity and clear the fog of artistic fatigue.
Conclusion
Lists aren’t just great for remembering things; they’re an opportunity to improve creativity and expand creative practice. Lists give order to chaos, they provide a plan to work through, and they supply proof of what has been achieved.
By making lists, we can reinforce ideas, formulate goals, and track sources of inspiration and success. Happy listing!
The post 5 List-Making Exercises to Improve Creativity in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
In collaboration with Shutterstock, Google has announced the launch of licensable images on Google Images. This feature entered beta testing earlier this year and is now fully launched and integrated into Google Images, hopefully benefiting photographers. With the new ‘Licensable’ badge on Google Image search results, viewers can immediately identify which images can be licensed for varying uses and better understand the usage rights of individual images.
Shutterstock worked closely with Google to ensure the licensable images feature works effectively. Of the new features, Shutterstock’s VP of Content Operations, Paul Brennan, says:
‘Google Images’ new features help both image creators and image consumers by bringing visibility to how creators’ content can be licensed properly. We are pleased to have worked closely with Google on this feature, by advocating for protections that result in fair compensation for our global community of over 1 million contributors. In developing this feature, Google has clearly demonstrated its commitment to supporting the content creation ecosystem.’
When an image has specified license information on a website, the image can be displayed with the Licensable badge on image thumbnails in Google Images. This badge indicates to viewers that license information is available for the image and then provides a link directly to the license in the image viewer. From here, someone can learn how the image can be licensed and used.
Here you can see the ‘Licensable’ badge on the bottom left corner of images. When clicking on an image and accessing the image viewer, Google Images displays the creator, where the image can be licensed and also license details for the selected image. Image credit: Google
For Google to be able to discover and index images on a website, the images must be accessible without an account or by logging in. You must also follow Google’s Webmaster Guidelines and Google Images Best Practices. In addition to these existing steps, the new Licensable badge requires structured data or IPTC photo metadata to follow Google’s new guidelines. You can learn more about these requirements here.
Close-up image of the new image viewer in Google Images. Click to view larger. Image credit: Google
With the introduction of the Licensable badge, search results in Google Images can now be filtered to only display images that include licensing. Further, the dropdown Usage Rights filter has been streamlined, such that it now includes only options for ‘All’, ‘Creative Commons licenses’ and ‘Commercial & other licenses’.
It has long been far too easy for people to search for images on Google and use them without a license or permissions. Today’s changes to Google Images will hopefully reduce image misuse. At the very least, assuming a photographer has taken the steps to ensure their images are properly badged and filtered on Google Images, it will now be much easier for Google Images users to view creator information and licensing requirements.
A free new Photoshop plugin from Infinite Tools adds an endless stream of jokes and puns to your workflow. Called ‘Infinite Jokes,’ the plugin was inspired by a recent request for jokes from viewers made by image retoucher Pratik Naik of Infinite Tools, he explained in his unveiling of the new plugin. The tool is a bit more sophisticated than merely showing jokes; it also enables users to rate the quality of the puns and to submit their own.
Infinite Jokes is, according to Infinite Tools, ‘A sassy panel that tells you the best PS jokes and openly judges you as you work!’ One example of a joke presented by the panel is:
Plastic surgery is like retouching. When it’s bad, it’s really bad. When it’s good, you won’t even know.
The jokes were submitted by the photo-editing community, which can continue to contribute jokes for inclusion in the plugin. Infinite Tools says users are able to choose whether the jokes are presented in the voice of a man or woman, as well as the accent used.
Every joke is presented alongside credit to the person who submitted it. In addition to rating the joke, users are also able to view the top jokes rated by users from around the world via the Infinite Tools website.
Because everyone has their own limitations and sensibilities, the company has also enabled plugin users to decide what type of jokes they want to hear — whether they want the jokes to be restricted only to ones that are funny, or to skew more toward the ‘mean’ end of the mood spectrum.
Users can also choose how often new jokes are spoken by the Infinite Jokes panel, with options ranging from every 15 seconds to twice an hour.
The plugin only works in Photoshop CC 2019 or newer and it requires an online connection to work. The Infinite Jokes plugin is free to download from the Infinite Tools website here.
What happens when even a splash of saltwater makes its way inside a $ 10K Fujifilm GFX 100? Just ask Roger Cicala, Founder of Lensrentals.
For their latest teardown, Roger and his trusty teardown assistant Aaron took apart one of Fujifilm’s medium format cameras that had been damaged during a rental, wherein it was used inside a dive housing. Fuji Service told Roger a ‘repair [was] not possible,’ and the insurance claims were already paid out, so the dynamic duo took it upon themselves to salvage what components they could.
That is not how a PCB should look.
The general rule of water damage, according to Roger, is ‘it’s always worse on the inside.’ And, unfortunately, in the case of this GFX 100, that tidbit proved to be true once again. While the outside looked mostly unscathed, the inside was riddled with corroded screws, flex ribbon cables and solder points.
A literal hands-on look at the massive sensor inside the GFX 100.
Roger and Aaron salvaged what they could — namely the LCD panel, hot shoe and a few other pieces — but as much as the teardown was about getting any functional pieces, it was also about being able to take apart a $ 10K camera without the risk of damaging it.
In the words of Roger, ‘The IBIS unit looks like it could stabilize a small child, and certainly is strong enough to support this big sensor.’
In that vein, Aaron and Roger came across plenty of interesting engineering decisions and components inside the camera. From the robust IBIS assembly to the spring-mounted shutter mechanism, the GFX 100 proved to be as well-engineered as Roger had hoped for a camera of its size (and price). That said, the weathersealing wasn’t quite as impressive as is suggested, so whether it’s freshwater or saltwater, don’t press your luck too much when out in the rain or near the sea.
You can read and view the full teardown on the Lensrentals blog.
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