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Leica Q2 Monochrom initial review

10 Nov

Introduction

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Product shots: Dan Bracaglia

The Leica Q2 Monochrom is Leica’s latest dedicated black-and-white camera, joining the M Monochrom and the M10 Monochrom manual-focus rangefinders. The Q2 Monochrom has a 47MP sensor that only produces black and white images, a fixed 28mm F1.7 ASPH lens with 17cm (6.7 in) macro mode and a claim of better dynamic range and noise performance compared to the color Q2. The Q2 Monochrom certainly won’t be for everyone, but for dedicated black-and-white shooters there is a lot to love about this camera.

Jump to:

What’s new | Body and handling | First impressions | Sample gallery

Out-of-camera JPEG.
ISO 6400 | 1/30 sec | F9
Photo by Jeanette D Moses

Key Specifications

47.3 MP CMOS Monochrome Sensor
3.68MP OLED electronic viewfinder with 0.76x magnification
3″ touchscreen with 1.04 million dots
60s – 1/2000s (mechanical); 1s – 1/40,000s (electronic)
28 mm F1.7 ASPH lens with 11 elements, 3 aspherical
Splash and dust resistant body up to IP52
ISO range of 100 – 100000
Up to 4K/30p, 1080/120p video capture
Bluetooth and WiFi capabilities with Leica Fotos app
Additional toning settings (sepia, blue, selenium)

What’s new and how it compares

The one significant difference between the Q2 and Q2 Monochrom cameras is, as you’d expect, the ‘specially designed’ 47MP sensor that comes without a color filter array (CFA). On color digital cameras, the CFA filters incoming light so that each photosite captures information on either red, green or blue light, and the camera’s processor interpolates that data to produce a full-color image.

On the Q2 Monochrom, there’s no CFA, so each photosite captures a single ‘true’ tone, with no loss of resolution through interpolation. And, because CFAs absorb some incoming light, the lack of one means the ISO sensitivity of the Q2 Monochrom gets a boost when compared to the color Leica Q2.

From an aesthetics standpoint the Q2 Monochrom has a more discreet design when compared to its color counterpart and a slightly simplified menu interface.

Out-of-camera JPEG.
ISO 800 | 1/500 sec | F2.8
Photo by Jeanette D Moses

Compared to the M10 Monochrom, the Q2 Monochrom is a much simpler and easier camera to operate, thanks primarily to its electronic viewfinder and reliable autofocus. The downside is that you’re stuck with the 28mm lens on the Q2 Monochrom (though there are some crop modes we’ll discuss a bit later). The price points of these two black-and-white cameras are… well, high. The M10 Monochrom costs $ 8295 USD for only the body, whereas the Q2 Monochrom comes in at $ 5995 USD.

Compared to…

	Leica Q2 Monochrom	Leica M10 Monochrom	Fujifilm X100V
MSRP (body)	$ 5995	$ 8295	$ 1399
Sensor	47MP full-frame monochromatic	41MP full-frame monochromatic	26MP APS-C full color
Type	Fixed-lens	Rangefinder interchangeable lens	Fixed-lens
ISO range (native)	100-100000	160-100000	100-25600
Viewfinder type	3.69M-dot OLED electronic	Rangefinder optical	3.69M-dot OLED electronic / optical
LCD	3” fixed	3″ fixed	3″ tilting
Touch-screen	Yes	Yes	Yes
Included flash	No	No	Built-in
Weather-sealing	Yes, IP52 rated	No	No
Max. burst	20fps (elec. shutter)	4.5 fps	20 fps (elec. shutter)
Max. shutter, mech \| electronic	1/2000 \| 1/40000	1/4000 \| N/A	1/4000 \| 1/32000
Video	4K/30p, 1080/120p	N/A	4K/30p, 1080/120p
Battery life (CIPA)	350 shots	~210 shots (based on color M10)	420 shots
Dimensions	130 x 80 x 92 mm	139 x 39 x 80 mm	128 x 75 x 53 mm
Weight	734 g	660 g	478 g

But if price is a blocker, the Fujifilm X100V is a camera that is conceptually similar, but much more affordable. The X100V shoots in color, but thanks to Fujifilm’s film simulation modes you can set it to see the world in monochrome (albeit not at the same resolution possible with a dedicated mono sensor). The X100V has a fixed 35mm (equivalent) F2 lens instead of the 28mm lens F1.7 lens and a smaller APS-C sensor, but it also only costs $ 1399 (MSRP).

It’s also worth mentioning the $ 899 (MSRP) Ricoh GR III, which also offers an APS-C sensor, but it has a 28mm-equivalent lens that matches the field of view of the Leica. It’s a great pocket camera, but be aware that it doesn’t include a viewfinder (an optical finder is available but there’s no provision for an EVF) and battery life is on the short side.

Body and handling

The command dial on the right has a center button that can be customized with a variety of functions.

The Leica Q2 Monochrom has a discreet subtle black and neutral gray body to match the monochromatic images that it captures and is wrapped in a classic grained leatherette. Leica has removed the iconic ‘red dot’ Leica badge and the engraved script on the top of the camera. Inscriptions on the lens and the shutter speed dial are all gray and white-on-black, and the camera’s name is engraved around the hot shoe.

The ergonomics and button layout are identical to the Leica Q2. On the top of the camera you’ll find the power switch and shutter button, a shutter speed dial for selecting full stop shutter speeds and a command dial for selecting third-stop shutter speeds. On the back of the camera you’ll find a four-way controller, a 3″ fixed touchscreen, and the Play, Menu and Function buttons.

The controls on the Q2 Monochrom are pared back and basic, but in a refreshing way.

The Function button is customizable, and can be quickly reassigned to another function with a ‘long press.’ During my time with the Q2 Monochrom I kept this button set to swap between the EVF and the LCD screen (the eye sensor to auto-switch was pretty sensitive, even with the sensitivity set to ‘low’). Above the LCD you will find the camera’s diopter, which can be pressed in to prevent accidental adjustments, and a rear button that sits directly below the shutter speed dial.

By default this button is set to activate digital crops within the camera, but can be customized to be an exposure or focus lock as well. The in-camera crops can be made at 35mm, 50mm and 75mm, but retains the full image when shooting in Raw. A rangefinder-style frame appears within the EVF to show you what will be included in the cropped frame (but those crops can’t fill the EVF). The Q2 Monochrom features the same subtle indent on the right hand side as the color Q2, which ends up being a very comfortable place to rest your thumb while shooting.

On the bottom of the camera you will find a single SD card slot and the battery door. The Q2 Monochrom uses the BP-SCL4 battery found in the Leica SL and is CIPA rated to 350 shots per charge. In use, you can expect far more shots than that, though lots of playback and Wi-Fi use are big battery drains. In our experience (which includes switching the camera off between shots), we found the battery would easily last a couple of days of moderate shooting.

The Leica Q2 Monochrom’s fixed 28mm F1.7 lens has 11 elements including three aspherical ones, which is a pretty complex optical formula. The lens can be clicked into macro mode to shoot closeup photos as close as 17cm (6.7in). The updated 3.68M dot OLED is incredibly bright and gives you an accurate live view of the black-and-white images without having to remove the camera from your eye. However, there’s not much in the way of an eyecup on the Q2 Monochrome, so glasses-wearers might struggle a bit with it.

Overall the camera feels very good when it’s slung over your shoulder, wrapped around your wrist or up to your eye making pictures.

First impressions

The Q2 Monochrom is lightweight, easy to use, and since the lens is fixed to the camera there’s no fretting about what camera gear you’re bringing when you leave the house. It has a quiet shutter and the understated body design makes it great for shooting in public without having to have a conversation about your Leica.

In a different era, I would love to see what this camera could do at a low-light rock show

Overall, the Q2 Monochrom has an excellent design, an easy to navigate menu system and dependable autofocus. As soon as I popped a memory card into the Q2 Monochrom I couldn’t wait to start shooting.

But why limit yourself to black and white images?

Of course, a camera like the Fujifilm X100V set to the Acros film simulation will give you a similar shooting experience for a fraction of the price (so long as you like the 35mm equivalent focal length), and with that camera you still have the option to process your Raw files in color. So why wouldn’t you stick with that? Why get a monochromatic camera at all?

Out-of-camera JPEG in 75mm crop mode.
ISO 200 | 1/250 sec | F1.7
Photo by Jeanette D Moses

Well, the Q2 Monochrom offers full-frame image quality, and a significant increase in pixel-level resolution, thanks to how the sensor and processing work. From a purely creative perspective, I’ve found that eliminating color as an option altogether has a positive impact on me creatively, too. Put simply, this is a camera that allows photographers to focus on the basics: how light, shadow, and action interact to create an image.

Simple handling

The three customizable buttons on the Q2 Monochrom are a smart design choice and offer a lot of flexibility depending on a photographer’s needs. The fact that the Q2 Monochrom has weather and dust-sealing is also a selling-point. Fall weather in New York City is known to be unpredictable, and it was reassuring to know that the Q2 could stand up to a little bit of moisture when the skies inevitably opened up. The autofocus makes it faster and easier to use than the manual-focus M10 Monochrom and creates a shooting experience that is more approachable for all levels of photographers.

Image quality impressions

Out-of-camera JPEG.
ISO 640 | 1/125 sec | F4
Photo by Jeanette D Moses

I loved the subtle tonality shifts in the images that I shot with the Leica Q2 Monochrom. The camera’s noise characteristics at high ISO paired with that fast lens make this a great choice for shooting late at night. I used Auto ISO, meaning the camera picks the ISO value and I picked the aperture and shutter speed settings.

Even letting the camera select the ISO for me, it rarely veered into the highest ISO range, but images shot at ISO 12500 don’t exhibit that much noise or grain. In a different era, when it was safe to gather inside poorly lit and ventilated spaces, I would have loved to see what this camera could do in a low-light setting of a rock show.

The flexibility of the Raw files is outstanding

The level of detail found in every file is impressive, and although these images are all straight out of camera, the flexibility of the Raw files once you’ve dropped them into Adobe Lightroom is outstanding. The in-camera crop ended up being handy while shooting with the Q2 Monochrom, though I also appreciated that I had the option to uncrop the Raw images once imported them into Lightroom.

The Q2 Monochrom’s Raw images are super flexible.
ISO 1000 | F8 | 1/50 sec | -2 EV to preserve highlights
Photo by Carey Rose

Pairing the Q2 Monochrom with the Leica SF 60 flash makes it a nice choice for capturing high-contrast black-and-white images. Although using a camera with a 28mm lens for shooting portraits might seem counterintuitive, the in-camera crops actually worked quite well. If you use the flash with Leica’s remote control flash unit you can easily create beautiful black-and-white portraits with the Q2 Monochrom with a very small kit.

Wrapping up

It might initially seem like it would be limiting to use a digital camera that only shoots black-and-white images, but in the end I found it to be quite freeing. I really enjoyed that the Q2 Monochrom’s excellent EVF only allows you to see the world in monochrome, which I found helpful for paying attention to patterns, textures and light quality within a scene, especially in comparison to something like an M10 Monochrom with its optical (and therefore, full-color) viewfinder.

Do you need color photos? Even in black and white, it’s clear that this is a photograph of a humanoid hot dog.
ISO 250 | F4 | 1/125 sec
Photo by Jeanette D Moses

Is the Q2 Monochrom for everybody? Of course not. Leica has never been known for the affordability of its cameras and, arguably, their exclusivity is part of their appeal.

The Q2 Monochrom is certainly a niche camera, but for a shooter who prefers to see the world in black-and-white it ends up being surprisingly versatile and usable. While we’ve still got to do our full testing with a production model, I found that shooting with it is simply a joyful experience, and ultimately, that’s what photography should be about.

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Articles: Digital Photography Review (dpreview.com)

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A Beginners Guide to Capturing Motion in Your Photography

10 Nov

The post A Beginners Guide to Capturing Motion in Your Photography appeared first on Digital Photography School. It was authored by Darren Rowse.

Emily Hancock, a professional Hampshire Photographer, submitted the following tutorial on capturing motion in photography.

(Image by T.MoE)

Photographs, by definition, capture and immortalize a small slice of life. There isn’t an easy way for the viewer to infer what happens before or after that moment. However, there are images that need to communicate motion.

For example, you may want to capture a dog running, a train barreling down the tracks, or trees blowing in the wind. Each of these scenes can come alive within your photographs if you learn how to convey motion properly.

Today, I’ll describe how you can use different shutter speeds and panning to capture motion in your photography. I’ll also explain a potential issue you might experience when photographing moving subjects – along with tips to resolve it.

Let’s get started!

Reasons to capture motion

Beginning photographers have likely seen captivating photographs that capture motion. There are several ways to achieve these photos, and each has a slightly different goal.

You see, sometimes there is a need to blur certain elements in the image while focusing sharply on a few subjects in the foreground. Other times, you may want to freeze or blur everything. The direction you take depends on your objective for your photograph.

A lot of photographers capture motion simply to convey that an object is moving. But there are also other reasons to do this. Movement can communicate mood. Trees rustling in the wind suggests serenity, while throngs of people on a busy city block implies hurried activity.

You can also use motion to eliminate elements in a scene that may serve as distractions to the viewer. For example, you may want to photograph a person standing on a sidewalk corner as cars move behind them. By blurring everything but your primary subject (i.e., the man on the corner), you can eliminate potential distractions and focus the viewer’s attention.

Two primary techniques for capturing motion in photography

The shutter speed you use while photographing a scene plays a key role in capturing motion in your image.

The faster the shutter speed, the sharper the focus on your subject. On the other hand, a slower shutter speed will blur a moving object. There are two main approaches here (though I’ll discuss a couple of alternatives in a moment).

1. Blurred subject with the background in focus

Let’s assume you’re photographing a speeding train against a wall of trees in the background. You can blur the train while leaving the trees in focus. Doing so would instantly communicate to the viewer that the train is moving quickly.

To accomplish this, you would use a slow shutter speed.

(It’s also important to use a tripod. That way, your camera remains steady.)

You’ll often see this technique used in nighttime photographs with car headlights cutting through the image.

2. Blurred background with the subject in focus

This second technique keeps your subject in sharp focus while the background is blurred.

Using our train example, the train would be in focus and the wall of trees would be blurred, thereby conveying the train’s movement.

Similar to the first method, you’ll need to use a slow shutter speed. However, instead of using a tripod, you’ll be panning your camera along the directional path of your subject.

But what actually is panning?

Panning explained

motion in photography biker moving fast — Photo by fabbriciuse

Most beginning photographers are trained to “secure” their cameras. That is, beginners are taught that the camera should remain as still as possible for certain types of shots.

By contrast, panning requires that you move your camera with your subject. Specifically, you’ll be matching your subject’s rate of movement and the direction in which it is traveling.

In our bike example, assume the man on the bike is moving from east to west. In that case, you’ll need to pan your camera in the same east-to-west direction, matching the speed of the bike. The best results occur when you have a clear view of the moving object and ample room to swivel your camera along a parallel axis.

Panning effectively can be difficult. You can practice and perfect your technique by photographing athletes who move quickly (for example, basketball players). Try to capture their facial expressions while blurring everything in the background. It will take some time to get it right, but once you do, the technique can be a valuable addition to your repertoire.

Other techniques to capture motion

Besides the two main techniques described above, you can also freeze the entire scene or blur everything.

Freezing the entire scene can give your photographs a unique look, especially if the objects strongly imply movement. For example, consider a bird flying in front of a waterfall. Both imply motion to the viewer. Freezing the entire scene captures all that motion and can produce a breathtaking image. You should use a shutter speed of at least 1/1000s for that type of shot.

Blurring everything produces the best results when the scene offers bright, contrasting colors or varying tones. In most cases, capturing motion in this manner is done purely for artistic purposes.

Another effective method for capturing motion within your images is “chrono photography.”

Using the continuous shooting feature on your camera, you can capture a series of shots and join them together in the post-processing stage to create the effect shown above. A tripod is essential when attempting to shoot motion using this method.

Determine the proper shutter speed

A lot of novice photographers ask what the proper shutter speed is, given their objective.

But every situation is unique. One speed doesn’t suit all circumstances. To identify the right shutter speed, you’ll need to ask yourself a few questions:

How fast is your subject moving?
How much distance exists between the camera and the subject?
How much motion do you want your photograph to convey to the viewer?

The faster the shutter speed, the more frozen and crisply-defined your subject will be. Most cameras today will allow you to freeze a scene using 1/8000s or faster.

That being said, the numbers only serve as a rough guideline. You’ll need to experiment with different shutter speeds in a variety of situations.

Potential issue: excess light

Here’s a potential issue you may encounter when trying to capture motion in photography:

When you slow your shutter speed to blur elements in your image, there’s a chance that too much light will enter and impact your photograph (which will result in overexposure).

This is a common problem, but there are a couple of ways to resolve it:

First, check the aperture on your camera. The wider it is, the more likely excess light will enter. Try adjusting the settings to reduce its size.

Second, review your ISO setting. When the ISO is high, the image sensor in your camera may be overly sensitive to light. This can create a too-bright image, as well as unwanted noise, so consider dropping your ISO.

Mastering the art of motion capture

Becoming proficient at capturing motion in photography requires practice and experience. You’ll need to spend time learning how different shutter speeds impact the quality of your images. Even if you’re just setting your camera on its tripod, timing a perfect shot of a fast-moving object can be difficult.

In the end, capturing motion in your photography is part technique and part art. Fortunately, with practice, you can master it!

The post A Beginners Guide to Capturing Motion in Your Photography appeared first on Digital Photography School. It was authored by Darren Rowse.

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Custom Lightroom Presets for Autumn

10 Nov

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This is Why You Need a Camera Lens Protector

10 Nov

Nothing rattles the photography community faster than talking about lens protectors. Some swear by it, while others wouldn’t touch it with a 10-foot pole. What is the rage about, and what is the approach you should take with lens protectors? We will discuss all of them in this article. What is a Lens Protector Lens protectors are pieces of glass Continue Reading

The post This is Why You Need a Camera Lens Protector appeared first on Photodoto.

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Sony announces it’s getting into the drone game with its new ‘Airpeak’ brand

10 Nov

Watch out, DJI. Sony Corporation announced today it is getting into the drone market under the brand name ‘Airpeak.’

I a short press release, accompanied by the above teaser video, Sony says the Airpeak brand will ‘reflect its aspiration to contribute to the further evolvement and the creation of the unprecedented value through its imaging and sensing technology.’

While Sony does hint at industrial purposes for its drones, the company specifically says the Airpeak brand ‘will support the creativity of video creators to the fullest extent possible.’

An illustration from a patent application Sony was granted back in January 2020.

Sony says the project will launch in spring of 2021. In the meantime, it will share information along the way and work on partnerships to test their products and get feedback from drone users. You can keep up with the latest updates on Sony’s new Airpeak website.

Articles: Digital Photography Review (dpreview.com)

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Solarcan Colours promises easy tinted solargrams—from a soda can

10 Nov

The maker of the Solarcan has launched a new series of solargram cameras loaded with ready-tinted photo paper that will create colored images straight out of the tin. Solarcan Colours come in a choice of three versions to offer warm, cool or duotoned traces of the sun’s passage across the sky.

Solarcan cameras are literally a drink can with a pin hole drilled into the side and a sheet of 7x5in photographic paper loaded and sealed inside. The idea is to strap the camera somewhere outside so it is facing south and then to leave it there as long as you like while it records a trace of the sun everyday while it is in place. Once you can’t wait any more you take the camera indoors, open it with a tin opener and retrieve the paper. The paper will show the image without processing, so you photograph it or scan it and then invert the image to get a positive impression of what you’ve recorded.

The longer you leave the can strapped to a tree or a pole the more sun traces you get, and the company recommends leaving it is place for six months from one solstice to the other. You can just leave it for a day though.

The Solarcan Colours kit includes (left to right) Eldorado, Atlantis and Nebula versions of the camera. These are the colors you’ll see once the recorded negative is inverted in software, or via a smartphone app

The original Solarcan uses straightforward black and white paper, but Solarcan Colours uses tinted papers that deliver a color to the images without post-processing. Many Solarcan fans add colors to their digitized negatives in software, but the new Solarcan Colours have the shades built-in. The colors are:

Atlantis: Produces a cool blue finish
Eldorado: A warm, golden appearance with solarised halos
Nebula: A striking, duotone picture of the Sun and landscape

Inventor Sam Cornwell won’t let on what’s in the paper to give it the tints, but he does tell DP Review that the Solarcan Colour is half-way on his Solarcan roadmap – and that he has something ‘big’ planned for 2022.

Solarcan Colours is being launched via a Kickstarter campaign, as was the original Solarcan, and the company aims to deliver the first consignment in January 2021. Prices start from £39 (approx. $ 51) for a kit with all three colored cans, while the original black and white Solarcan is also for sale for £15 (approx. $ 20). For more information see the Solarcan website or the Solarcan Colours Kickstarter page.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

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DaVinci Resolve 17 announced, includes over 300 new features and improvements

10 Nov

Blackmagic Design has announced DaVinci Resolve 17, the latest major release of its flagship video and audio editing software. DaVinci Resolve is ‘the world’s only solution that combines editing, color correction, visual effects, motion graphics and audio post-production all in one software tool.’

DaVinci Resolve 17’s primary new features include HDR grading tools, redesigned primary color controls, an AI-based magic mask, a next-generation Fairlight audio engine and much more. Blackmagic states that in total there are over 100 new features and 200 improvements to existing features.

The new HDR grading feature is accessible within the software’s color page. Users can create new color wheels with ‘custom roll-off for specific tonal ranges,’ resulting in additional creative control when making fine adjustments. The new wheels include control over exposure and saturation within each zone and are color space aware, allowing for uniform results.

Additional improvements to colorwork include mesh-based warping tools. You can adjust hue and saturation or chroma and luma. Adjustments are performed by dragging control points and Blackmagic Design promises ‘clean, natural-looking adjustments.’ Primary color controls have also been redesigned in the software. With respect to color space, DaVinci wide gamut and DaVinci intermediate are new timeline color space and gamma settings which deliver a universal working color space. Blackmagic states that ‘it’s larger than what cameras can capture’ and that ‘customers will never lose image data, no matter where it comes from.’

DaVinci Resolve 17 includes numerous improvements to color work, such as HDR Color Wheels, Custom Curves and more. Image credit: Blackmagic Design. Click to enlarge.

The Fairlight Audio Core in DaVinci Resolve 17 has undergone major changes. Blackmagic says it is ‘the world’s fastest and highest quality solution for audio post-production.’ Fairlight Audio Core is a low latency, next-gen audio engine that intelligently manages CPU cores and threads in your computer. With the new Fairlight Audio Core, you can work with up to 2,000 tracks at a time with fully supported real-time effects, EQ and dynamics processing. DaVinci Resolve 17 promises ‘sample-accurate editing tools’, ADR, Foley and Fairlight FX (like reverb, de-esser, hum remover and more). You can mix and master stereo audio, 5.1, 7.1 and 3D audio formats. For improved performance, you can also utilize an optional Fairlight Audio Accelerator Card. Further, with the software’s multiple user collaboration feature, multiple sound editors can work on the entire project at the same time.

A new transient analysis tool has been added. This tool automatically detects individual words, beats or sound effects. Transient markers are displayed in the waveform as vertical lines and can be navigated by users via the arrow keys. Blackmagic states that these markers make it easier to identify specific parts of a sound when editing audio. You can also now see larger audio waveforms while trimming.

Image credit: Blackmagic Design. Click to enlarge.

The DaVinci Neural Engine allows for automatic mask creation for an entire person or for specific features such as a face or arms. Further, ‘customers get matte finesse tools, the ability to add and remove strokes and automatic tracking.’ When editing in 16:9 HD or Ultra HD, you can now quickly create square or vertical versions for publishing to platforms such as Instagram. The Neural Engine helps here as well by automatically identifying faces and repositioning them inside the new frame, thus saving time.

Additional time-saving features include the new multi-column view for viewing effects, transitions and titles. The new workspace includes description icons, plus you can cover the cursor over an item to see a live preview in the viewer. The edit page includes ‘dozens’ of time-saving new features as well. These include the ability to manage independent proxy media, more easily synchronize multicam clips, create a sync map, generate render files for any portion of the timeline, make source side adjustments and much more.

Doubling back to multi-user collaboration, this feature is now included in the free version of DaVinci Resolve 17. This means that multiple free users can collaborate on the same project, across multiple devices, simultaneously. Of course, the free version doesn’t include all new features, but it includes a lot. A quick note that it appears that a much-requested feature, ProRes RAW support, doesn’t appear to be coming in DaVinci Resolve 17.

Image credit: Blackmagic Design. Click to enlarge.

Of DaVinci Resolve 17, Blackmagic Design CEO, Grant Petty, said, ‘This is a massive update and it has amazing new technology and features for colorists, audio engineers, editors and visual effects artists. While the new color science, HDR grading and improvements and Fairlight usability are the most noticeable features, what I am most proud of are the thousands of small improvements that customers will notice every day!’

There are many features and improvements in DaVinci Resolve 17 that are beyond the scope of this article, so let’s quickly summarize the primary features of DaVinci Resolve 17:

Next generation HDR color correction with customizable wheels and tonal zones.
Mesh and grid based color warper delivers an entirely new way to transform color.
Magic mask automatic object isolation powered by the DaVinci Neural Engine.
Improved color management with tone mapping and color space aware tools.
Massive DaVinci wide gamut color space for higher quality image processing.
High speed audio editing with new keyboard and mouse context-sensitive tools.
Fairlight Audio Core engine with auto load balancing and support for 2,000 tracks.
Revolutionary FlexBus architecture for audio routing without limitations.
Automatic transient detection for beats, words, and sound effects.
Support for massive audio projects with thousands of tracks on a single system.
Metadata based card view in media pool on cut page.
Precision audio trimming on the cut page timeline and graphical trimmer.
Smart reframe powered by the DaVinci Neural Engine on cut and edit pages.
Live effect, title, and transition previews on cut and edit pages.
Import and edit projects from ATEM Mini Pro ISO.
Proxy media workflows up to 1/16th resolution in H.264, H.265, ProRes or DNxHR.
Timeline based clip syncing to create multicam and compound clips.
Alpha support for keying and compositing on cut and edit pages.
Render in place command for effects heavy clips on cut and edit timelines.
Make source side adjustments before editing clips into the timeline.
Portable timeline and bin files for easy sharing.
Native interlace processing and realtime 3:2 pulldown removal.
Node tree bookmarks, customizable Fusion toolbar, and vertical node layouts.
Support for growing files in media pool.
Support for frame based metadata for BRAW, ARRI, RED, Sony and EXR.
Workflow integration API and third party encoder API.

Image credit: Blackmagic Design

DaVinci Resolve 17 is available now as a public beta. You can download the software by clicking here. DaVinci Resolve is available as a free download. For all the new features, including the DaVinci Neural Engine, stereoscopic 3D tools, additional Resove FX filters, Fairlight FX audio plugins, HDR grading and more, you must purchase DaVinci Resolve Studio. When the public release of DaVinci Resolve 17 Studio is available, it will cost $ 299 USD.

In addition to DaVinci Resolve 17, Blackmagic Design has also announced additional products. The DaVinci Resolve Speed Editor, $ 295 USD, is a new keyboard for DaVinci Resolve’s cut page and ‘allows a new and dramatically faster editing solution that’s a combination of integrated hardware and software.’ For a limited time, every customer who purchases DaVinci Resolve Studio from a Blackmagic Design reseller will get the Speed Editor free of charge.

DaVinci Resolve Speed Editor. Image credit: Blackmagic Design.

On the Fairlight side of things, a new Fairlight Desktop Console will be available this December for $ 3,495. This is a complete audio mixing control surface for mixing multiple tracks at once, automating various parameters and plug-in settings and more. Blackmagic has also announced the Fairlight HDMI Monitor Interface. This allows customers to use any HDMI or SDI television or monitor with large Fairlight Studio Consoles. This product will cost $ 259 and you can learn more about it here.

Articles: Digital Photography Review (dpreview.com)

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iPhone 12 Pro Max review round-up: a meta review of Apple’s largest iPhone 12 model

10 Nov

The embargo has lifted on iPhone 12 Mini and iPhone 12 Pro Max reviews ahead of their availability this coming Friday. So, just as we did with the iPhone 12 reviews, we’re rounding up and summarizing a number of reviews from across the web as we were unable to get ahold of review units.

For the most part we’ll be focusing on the iPhone 12 Pro Max in this meta-review collection, but some videos and text reviews cover both the iPhone 12 Mini and 12 Pro Max, so you’ll get a little mix of both.

MKBHD

In this video review, Marques Brownlee, better known as MKBHD, shares his thoughts on the new iPhone 12 Pro Max. As you may remember from his iPhone 12 Pro review, he had expected the iPhone 12 Pro Max would perform even better thanks to the camera improvements inside, but much to his surprise, he noticed hardly any difference in image quality, even between the iPhone 12 Mini and iPhone 12 Pro Max.

The Verge

To accompany its comprehensive video review, The Verge has also shared its longform text review titled ’The best smartphone camera you can get.’ In it, The Verge Editor-in-Chief, Nilay Patel, focuses almost entirely on the camera capabilities, praising improvements of the larger sensor, saying the iPhone 12 Pro Max ‘took better, more detailed, and less noisy photos than the Pixel 5 and Samsung Galaxy Note 20 Ultra.’

Engadget

In addition to its video review embedded above, Engadget also posted a text review of the iPhone 12 Pro Max titled ‘Better, not just bigger.’ In it, Engadget Senior Editor Chris Velazco praises the larger screen, best-in-class performance and the improved camera system. However, similar to Brownlee’s assessment, Velazco says the better cameras in the iPhone 12 Pro Max ‘aren’t exactly game-changers.’

CNET

Similar to Engadget and The Verge, CNET also published both a video review and text review of the new iPhone 12 Pro Max titled ‘Big phone energy.’ Echoing the sentiments of the other reviews, CNET Senior Associate Editor Patrick Holland says ‘when [comparing the 12 Pro Max’s photos] to photos from the regular 12 Pro, the differences don’t jump out at you right away.’ However, he notes ‘that’s less of a strike against the 12 Pro Max, and more of an indication of how good the cameras are on the iPhone 12 Pro.’

Andy To

For a more real-world example, commercial videographer and YouTuber Andy To used the new iPhone 12 Pro Max to capture his trip back home to Oakland in a cinematic fashion using only video recorded with the device. The five-minute video lacks any narration, simply showcasing what’s possible with the camera array. The whole video was shot on HDR video mode without any external lenses. All footage was shot at 4K/60p or 4K/24p and the footage was edited in Final Cut Pro X.

We’ll post more video and text reviews of the new iPhone 12 Pro Max as they go live. If you know of any we’ve missed, link them in the comments below.

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Review: The DJI Pocket 2 is a vlogging machine you can take anywhere (even in your pocket)

09 Nov

DJI Pocket 2
$ 349 | DJI.com

The DJI Pocket 2 is a second-generation all-in-one camera with a built-in three-axis stabilizer. A follow up to the Osmo Pocket, the camera remains roughly the same size as the original but features a larger sensor, a wider lens, an improved autofocus system, more microphones, and the ability to shoot higher-quality photos and videos.

The camera remains incredibly easy to use and is a great option for vloggers and content-creators who need to capture stabilized video and don’t want to be weighed down with lots of gear.

Jump to:

Sample Photos | Specifications & Design | Video | Photos | Conclusion

Sample photos

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View our DJI Pocket 2 sample gallery

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Key Specifications:

1/1.7” CMOS sensor
20mm (equiv.) F1.8 lens
64MP and 16MP photo modes
Video: 4K/60p, 2.7K/60p, 1080/60p
8x zoom (64MP mode), 4x lossless zoom in 1080p or 16MP mode
Panorama modes in 3×3 and 180°
4 microphones with directional audio and sound tracking
Micro SD slot up to 256 GB
140 min. battery life (1080/24p)
Weight: 117 g
Dimensions: 124.7×38.1×30 mm
HDR Video: 2.7K/30p (arriving in a future firmware update)

Body and design

The exterior design of the Pocket 2 is similar to the original but now includes a Mini Control Stick that slides into the area previously reserved for a smartphone connection. If you’re using the Mini Control Stick, the buttons to control the Pocket increase to five from the original two. Although there are some changes with the button layout, the operation remains familiar to the original.

The Mini Control Stick (just below the screen at left) makes the Pocket 2 easier to operate than the original.

The Pocket’s power button sits on the right side of the camera, and the micro SD card slides into a slot on the left. The bottom left record button records video or shoots stills, and the button next to it allows you to swap between the two modes easily. The Pocket 2 now has the ability to pause recording while shooting video by pressing and holding the record button.

If you’ve slid the Mini Control Stick into position, you will be able to customize the joystick to Zoom or Tilt and switch between Tilt Lock, FPV, and Follow using the button on the top right. Touchscreen controls allow you to access additional shooting modes (slow-mo, timelapse, pano, HDR Video), customize the Mini Control Stick settings, select recording resolution, review files, and access Pro Mode.

Some Pocket 2 accessories: Do-It-All handle (attached to the base of camera), a wireless mic with windscreen, tripod mount and smartphone connectors.

The Pocket 2 has been redesigned so that the wrist strap can attach to the camera instead of just the carrying case. It’s a subtle upgrade but a useful one. The Pocket now has a detachable base that can be swapped out for a base with a tripod mount or an accessory called the Do-It-All handle ($ 99), which turns the Pocket into a live streaming tool and allows you to use it with the DJI Mimo app without attaching your phone to the camera. The Do-It-All handle increases the total size a bit, but the benefits that come with this tool make that extra bulk worth it.

The Pocket still comes with accessories to connect to your smartphone without that Do-It-All handle, but doing so requires that you remove your phone case to make the connection, and the setup feels unbalanced. You’ll also have to control zoom and tilt through the app, which isn’t as intuitive as that new Mini Control Stick. The Do-It-All handle is really the way to go if you want to use your phone as a monitor or use the Pocket for live streaming. You’ll need to use the Mimo app and the Do-It-All handle if you intend to go live with the Pocket.

ISO 100 | 1/120 sec | F1.8

The majority of the time, I used the Pocket as a standalone product. The Pocket’s real genius is its simplicity and small size, and if you’re shooting with a smartphone connected, it makes things a bit more complicated. Having the Do-It-All handle attached to the Pocket and reviewing images and videos through the Mimo app was quite helpful, though.

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Video

When the original Pocket launched last year, it was clearly aimed at vloggers who needed stabilized footage while they walked-and-talked. Still, the original lens was a 25.7mm F2, resulting in shots that featured a whole lot of face and required relatively bright conditions. The new version has a wider 20mm F1.8 lens and a larger sensor, making it a much better option for those who need stabilized footage of themselves.

The Pocket 2 adds two additional mics, bringing the total to four, and features directional audio. With a future update, a new feature called SoundTrack will allow those microphones to follow whatever is making noise in a scene. The SoundTrack feature wasn’t available during our time with the Pocket, so we haven’t evaluated it, but DJI says it will arrive by way of a firmware update.

This Pocket 2 sample reel includes 4K/60p footage shot in New York City.

The audio quality on the original Pocket left something to be desired. The additional mics and new audio features make for recordings that sound better than what you might be able to get with a smartphone. The new Pocket also comes with an optional wireless mic accessory that communicates with the Do-It-All handle for even cleaner audio—a great choice for interviews done on the fly or capturing voices in noisy locations.

The Pocket 2 features hybrid AF, which uses both phase-detect autofocus and contrast-detect autofocus. We found that it did a nice job grabbing onto subjects and moving with them, like the kids dancing at a hardcore show and the band’s lead singer moving around the street. The Pocket 2 can now record 4K video up to 60fps at a 100Mbps bitrate.

The Pocket’s stabilization remains one of its most impressive features.

The Pocket’s stabilization remains one of its most impressive features. The Pocket 2 is much easier to use than larger gimbals but just as reliable. I’d never be able to ride my bike while holding a stabilizer and a traditional camera. With the Pocket, it’s possible, and it delivered footage that was remarkably smooth as I cruised around, although it did struggle as I rolled over some New York City potholes.

The camera is drop-aware, and although I didn’t intentionally drop the Pocket, it does seem sensitive. It will shut itself off if it thinks the gimbal is in danger. I tried and failed to record footage while biking over the Williamsburg bridge with the Pocket zipped into the front pocket of my jacket with the lens sticking out and the gimbal locked, but apparently, that ride was just a bit too bumpy for the Pocket 2 to feel safe and secure.

ISO 100 | 1/60 sec | F1.8

Eventually, the Pocket 2 will also shoot HDR video similar to the Mavic 2 Air drone, but according to DJI, the firmware to enable this feature won’t ship until later in 2020.

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Photos

Still image quality is noticeably improved compared to the original Osmo Pocket, partly due to the larger 1/1.7” sensor and faster F1.8 lens. Regular JPEGs top out at 16MP, but if you’re shooting in high-resolution mode, you can get 64MP files. If you swap the camera into PRO mode, you can capture Raw DNG files that clock in around 127.7 MB each. It’s a big leap in quality from the 12MP files on the original Pocket.

One interesting quirk we discovered is that the Pocket 2 won’t let you record Raw+JPEG images simultaneously—it’s an either/or decision.

The RAW files have a lot of flexibility in editing, although we noticed some chromatic aberration when zoomed in. According to DJI, the Pocket offers 8x zoom and 4x lossless zoom. In our experience, photos look crisp when the camera is at its widest vantage point, but as you zoom in, it becomes harder to nail sharp focus and the loss of quality becomes noticeable.

Boo!
ISO 100 | 1/40 sec | F1.8

The Pocket 2 has the ability to shoot 3×3 panoramas in addition to the 180º panoramas. The 180º panorama shoots four photos and stitches them into one long image, while the 3×3 panorama mode shoots 9 images and then stitches them into a 5×7 image. The process is fast, and stitching is all done within the Mimo app. A tripod comes in handy with 3×3 panoramas to limit camera shake.

The second-generation Pocket does a slightly better job capturing action, but this probably isn’t the tool you want to shoot sports photos. It does a decent job grabbing and holding focus on musicians and wiggly pets, though.

Thankfully, the ergonomic changes to the buttons on the second-generation Pocket make it nearly impossible to accidentally swap between shooting modes, which was an issue with the original.

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Conclusion:

The Pocket 2 addresses many of the original Osmo Pocket’s shortcomings, which was a great tool to capture stabilized video footage quickly, but which had notable limitations. The larger sensor, faster and wider lens, improved autofocus capabilities, and additional mics make this a more robust tool for content creators, vloggers, and possibly even professional shooters looking to capture supplementary footage for big jobs.

The controls have gotten more intuitive, and it’s no longer easy to swap between shooting modes accidentally. The zooming capabilities and the Mini Control Stick accessory are incredibly useful—the same goes for the interchangeable grips. Although the Do-It-All handle is an accessory that needs to be purchased at an additional cost, we really think it’s worth paying extra. It performs well and makes it easy to use your smartphone to monitor, review, and download footage on the go and use the Pocket as a tool for live streams—something that we only see becoming more common as large in-person events are on hold.

It’s possible to control the Pocket 2 through your smartphone, but it feels unbalanced and requires you to adjust tilt and zoom from your phone’s screen. We much prefer using the Do-It-All handle ($ 99) with the Mini Control Stick.

The ability to shoot 64MP Raw images with the Pocket is a massive leap from the original, but the loss in quality at 8x zoom is noticeable, and at the end of the day, we think the Pocket is best suited as a video tool. The Pocket is nice for capturing candid moments and unique perspectives, but realistically we think people are more likely to use their smartphone to capture those. The Panorama modes do offer something unique. Unlike smartphones, the Pocket doesn’t necessarily have to rely on steady human hands to move in a straight line to create a perfectly stitched together image.

The Pocket remains small and simple to operate and isn’t nearly as intimidating to use as larger gimbals on the market—for us, that’s a win.

What we like:

Stabilized 4K video footage
Mini Control Stick with zoom capabilities
Optional Do-It-All handle
Live streaming capability (requires Do-It-All handle)
Improved audio quality
Improved autofocus
Redesigned control buttons
Responsive touchscreen controls

What we don’t:

Image quality drops when zoomed
Still feels unbalanced when a smartphone is attached

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Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8

09 Nov

The post Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Last Tuesday, Canon announced two new RF lenses:

The Canon 70-200mm f/4L IS USM and the Canon 50mm f/1.8 STM.

Canon's new RF lens, the 50mm f/1.8 STM — The Canon RF 50mm f/1.8 STM

Both of these lenses will ship in the first half of December, though they’re currently available for preorder ($ 1599 USD for the 70-200mm f/4L IS and $ 199.99 USD for the 50mm f/1.8).

The new lenses will undoubtedly appeal to the many Canon photographers who have already embraced the EOS R system, especially those who are looking for cheaper alternatives to the existing RF 70-200mm f/2.8 IS and the RF 50mm f/1.2.

Canon's new RF lens, the 70-200mm f/4L IS — The Canon 70-200mm f/4L IS

In fact, the 70-200mm f/4 and the 50mm f/1.8 have already garnered something of a reputation, thanks to their top-notch EF equivalents. The EF 70-200mm f/4L IS, for instance, is a high-quality, reasonably-priced option for landscape photographers, amateur portrait photographers, and more – while the EF 50mm f/1.8 STM is just about the handiest Canon lens you can own, combining optical prowess with affordability and compactness.

And while the RF 70-200mm and the RF 50mm f/1.8 won’t be quite as cheap as their EF counterparts, they’re certainly cheap enough to draw Canon photographers of all stripes, including a mix of professionals and hobbyists (for the 70-200mm f/4), as well as amateurs (for the 50mm f/1.8).

Plus, Canon has added several significant upgrades to these RF lenses. The 70-200mm f/4L IS, for instance, will offer up to 5 stops of image stabilization, which expands to 7.5 stops when combined with in-body image stabilization. It’s also Canon’s “shortest and lightest 70-200mm f/4 zoom lens to date,” making it an even more compelling option for landscape photographers who hike for hours on end.

As for the RF 50mm f/1.8:

You get the ultra-useful 50mm focal length for just $ 200 USD, not to mention the Canon RF lens control ring (which you can use to tweak camera settings on the fly). And the lens will be both compact and light – in other words, perfect for a casual photographer, or even a street photographer, looking to fire off shots without attracting much attention.

So if you’re after an affordable, high-quality lens with a wide maximum aperture and great ergonomics, check out the Canon RF 50mm f/1.8 STM, which is available for preorder for just under $ 200 USD.

Alternatively, if you’re hoping to capture gorgeous landscapes, portraits, or even outdoor event photos without breaking the bank, you can preorder the Canon 70-200mm f/4L IS USM here for $ 1599 USD.

The post Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Archive for November, 2020

Introduction

Key Specifications

What’s new and how it compares

Compared to…

Body and handling

First impressions

But why limit yourself to black and white images?

Simple handling

Image quality impressions

Wrapping up

Sample gallery

Reasons to capture motion

Two primary techniques for capturing motion in photography

1. Blurred subject with the background in focus

2. Blurred background with the subject in focus

Panning explained

Other techniques to capture motion

Determine the proper shutter speed

Potential issue: excess light

Mastering the art of motion capture

DJI Pocket 2$ 349 | DJI.com

Sample photos

Key Specifications:

Body and design

Video

Photos

Conclusion:

What we like:

What we don’t:

DJI Pocket 2
$ 349 | DJI.com