360Photography

Tag: Camera

  • Afidus ATL-200 camera can capture time-lapses for up to 80 days on battery power

    A company called Afidus andbased out of Taiwan is demonstrating a relatively small cube-shaped camera called the ATL-200 at NAB 2019. Though it resembles an action camera, the ATL-200 is designed specifically to capture time-lapses; it can capture continuously for up to 30 days while on battery power.

    The ATL-200 camera can be powered with four AA batteries or with a 5V micro USB cable charger. When operating off batteries, the camera operates for 45 days at a 1-minute capturing interval or 80 days at a 5-minute capturing interval, assuming it runs for 8 hours per day.

    Operators have a number of capture options, including time-lapse intervals from 1 to 30 seconds, 1 to 10 minutes, and 1/4/24 hours, as well as a custom time option for using any interval duration. Continuous intervals can be set to 5, 10, and 15fps when recording at 1080p and 30fps at 720p.

    ATL-200 supports multiple capture modes, including motion detection, stop motion, time-lapse, time-lapse and motion hybrid, and step video. The camera’s integrated motion sensor can detect moving objects located up to 25ft / 7.6m away. In addition to the camera’s autofocusing capabilities, operators can manually set the focus and zoom using the ATL-200’s companion mobile app.

    Other features include a Sony Exmor Full HD 1080p sensor, IPX 64 weather-resistant construction, and a standard 1/4-20 tripod mount joined by four strap tabs. The camera is shipped with a 16GB SanDisk Ultra microSD card, but users can swap it out with other cards that have capacities up to 128GB. Time-lapses are saved in MP4 format. Below is a video highlighting the stand-out features of the time-lapse camera.

    Afidus lists the ATL-200 on its website, but it only appears to be available for sale through TimeLapseCameras.com at this time, as noted by Newsshooter. The camera is priced at $ 389 USD; the next camera batch is expected to start shipping in late April.

    Articles: Digital Photography Review (dpreview.com)

  • A Beginners Guide to Auto ISO and other Camera Modes

    The post A Beginners Guide to Auto ISO and other Camera Modes appeared first on Digital Photography School. It was authored by Rick Ohnsman.

    The What, When, Why, and How of Auto ISO

    So, you understand how to interactively use Aperture, Shutter Speed, and ISO settings to achieve proper exposure. You know how to control things like depth-of-field and the freezing or blurring of motion. Perhaps you also understand the camera modes: Aperture Priority, Shutter Priority, or Manual and know when using them which settings are fixed and which can fluctuate. But how often do you adjust ISO adjustment? The idea that you might let the ISO speed “float” with each shot is alien to many photographers. So what is Auto ISO? When and why might you want to use it, and how can you set it up to make better shots?

    Fast action in changing light conditions is a good reason to use Auto ISO.

    Back to basics – the Exposure Triangle

    From the dawn of photography and the simplest pinhole camera to the most sophisticated modern DSLR, there have been three constants – Aperture, Shutter Speed and what we now measure with ISO – the Light Sensitivity of the media onto which the image gets recorded. All cameras are essentially boxes with a hole in them. The size of the hole (aperture), the length of time the hole is opened (shutter speed), and the sensitivity of the recording medium (ISO). When we allow light into the box to create an image on the sensitive media, we are making an “exposure.” It makes up the “Holy Trinity” of photography – The “Exposure Triangle.” Perhaps you knew all this? If so, feel free to skip ahead in the article, otherwise, keep reading.

    From the simplest to the most complex camera, three things – Aperture, Shutter Speed, and ISO are the factors affecting Exposure.

    A “correct” exposure

    There are two basic things to consider when making an exposure:

    1. What is the correct amount of light to let into the “box” rendering all tones in the subject and capturing everything from the blackest shadows to the brightest highlights, and
    2. How can we use the three components of the triangle most creatively?

    The first consideration is technical, the second creative.

    A histogram shows us the 256 shades of gray for a given image. At the far right are the shadows, on the far left, the highlights. In theory, an image which stays “between the goalposts” such that none of the tones go off either edge is a “correct exposure.” In editing, we can redistribute the tones so long as they have not gone to “0” which is total black, or 255 which is total white. At those extremes there is no detail to recover; it is either totally black and “blocked up,” or totally white and “blown out.”

    Learning how to interpret a histogram will greatly aid you in your growth as a photographer.

    Creatively using the controls

    How to use the elements of the exposure triangle creatively brings in some secondary considerations of how aperture, shutter speed, and ISO affect our image. Aperture is the hole in our “box” while the f/stop is the term we use to define the size of the hole. A good way to remember which is the “bigger hole” is is to think about any f-number as a fraction. If you like pie, would you rather have a ½ pie or a 1/16 slice?

    Therefore, the bigger f/numbers like f/22 represent smaller apertures (holes), while the small f/numbers like f/2.8 or f/4 represent the larger apertures.

    Creatively, we can use smaller f/stops to increase depth-of-field and larger ones to limit it. In a portrait, we might want an unfocused, simplified background with a limited depth-of-field, so a large aperture would be a good choice. In a landscape photo where we want front-to-back sharpness, a small aperture may be better.

    The shutter speed you choose also offers creative possibilities. Remember, shutter speed is represented in whole or fractions of as second. A shutter speed of 1/2 second is a longer time the shutter remains open than 1/250th of a second. You might think of the shutter speed as the “slice of time” we expose the light-sensitive medium to light. Short (faster) shutter speeds will help us freeze motion by capturing a “thinner slice of time.” Longer (slower) shutter speeds can allow us to “stretch time” and cause moving objects to blur.

    Adjustable ISO? What a concept !

    Of the three components of the triangle, ISO choice has implications, but probably less so than the others. Like an audio amplifier, lower settings keep the background “noise” less while higher settings which amplify the signal also introduce more noise and distortion. ISO measures how sensitive we make the sensor in a digital camera. In the film days, film sensitivity was fixed. Put in a roll of ASA 64 film and that was what you lived with for the whole roll. It had less grain than did an ASA 400 roll, but it was also less light sensitive.

    In the digital world, ISO can be changed whenever we like, even from shot to shot. Now making an exposure truly becomes a “three-ball juggling act.” We can change Aperture, Shutter Speed, or ISO with each shot if we like. We still must use those to make a “correct” exposure, but we can also better consider the creative implications of our choices. We can also choose which controls we want full control over and which we might relinquish to the camera. Auto ISO coupled with newer, better, and “less noisy” sensors has changed the ballgame. Let’s go back to our three-ball juggling analogy.

    Which of the three “exposure balls” will you choose to “let float?”

    Learning to juggle

    Watch a video clip of a juggler throwing three balls, and you will see at any given time, one ball is in the air, and the other two are in each of his hands. He has “control” of two of them, and the third is in “float.”

    Now, when you use Auto ISO, it becomes that “third ball,” the component you let be in “float.” Fortunately, ISO has the least creative potential, and with modern cameras, the least penalty of choice. So it often makes sense to let it be the “ball in float.”

    Let’s bring this back to the practical. You’re shooting dancers on the stage in an auditorium. The stage lighting varies with each scene and even as the dancers move to different spots. They are not allowing flash here, so you must live with the lighting conditions.

    You want a reasonably high shutter speed to freeze the motion and a moderately small aperture so you have sufficient depth of field. Which of the three “balls” makes the most sense to let “float?” Auto ISO to the rescue! Situations where lighting changes quickly and the action you’re capturing won’t wait while you manually adjust settings is perfect for using Auto ISO.

    Setting things up

    I shoot with a Canon 6D most of the time so I will use that as my point of reference and for the menu shots below. How, (or even if your camera supports Auto ISO at all) will vary between make and model so you will need to dig a bit deeper to learn that. You might even have to get out your camera manual! The method may differ with your camera, but if you can grasp the general concept, the rest is simply navigating your camera’s menus.

    Setting up Auto ISO on a Canon 6D.

    Usually, there will be a button or menu where you can set Auto ISO. If you go to the low end of the scale, past the lowest (smallest) numbers of ISO you will likely find “A” for Auto ISO. Set the camera there.

    Now you will want to set some “boundaries” as to when and how Auto ISO will be implemented and how high you will allow it to go. You should know that the higher ISO settings may allow you to shoot in very low light but may also introduce more image noise. How much is too much noise and what settings are impractical will depend on your camera and you. Shoot some high ISO images and evaluate them, so you know how much is too much for your liking.

    With this information, you will want to find the menu item where you can set the specifics for how Auto ISO behaves. On my Canon 6D, I tap the Menu button and then roll the small top dial to the third camera menu icon from the left. I then roll the larger Control dial down to the second item, ISO speed settings, and hit the Set button to get to the menu below.

    Again, your camera may differ, but you will set several things here:

    • Confirm the camera is in Auto ISO – ISO Speed
    • Set the full ISO speed range the camera will use – ISO Speed Range
    • Choose the lower and upper limits of ISO you will allow – Auto ISO range (you will usually enter the lowest ISO as the minimum and the highest as that ISO you think will not have excessive noise). For my 6D, I typically enter 100-3200 here.
    • Choose the minimum shutter speed you will allow before Auto ISO changes the ISO setting – Min. shutter spd.

    Setting limits on how Auto ISO operates.

    For this last setting, whatever you enter here is the slowest shutter the camera will allow before jumping to a higher ISO setting.

    You will note “Auto” is an option here. If you pick this, your camera will detect the focal length of your lens when the image is about to be made and use the formula 1/focal length to set the minimum.

    The idea here is you should not shoot slower than this (especially if handholding your camera) if you want to prevent camera shake blur. For example, let’s say if you are shooting a 24-105mm zoom lens and are zoomed all the way in. If Min. Shutter Speed is set to Auto, your camera will start to increase the ISO if the required shutter speed drops below 1/100th.

    How it works in each mode

    So you have this all set up. Now how will it operate? It depends on what camera mode you are shooting in. Let’s look at each.

    Full Auto (Green) Mode

    What you Can Adjust – Nothing, in Full Auto Mode the camera adjusts Aperture, Shutter Speed, and is in Auto ISO.
    What the Camera Adjusts – Everything. This is a true “Point-and-Shoot” Mode with the camera making all adjustments.
    Exposure Compensation Possible? – No
    Pros/Cons – You are letting the camera make all your exposure and creative decisions. You are in Auto ISO and perhaps didn’t know it!

    Program (P) Mode

    What you Can Adjust – Everything, but as you adjust one item, the others will change too depending on lighting.
    What the Camera Adjusts – Everything. The camera will seek to maintain proper exposure.
    Exposure Compensation Possible? – Yes
    Pros/Cons – This can be confusing when used with Auto ISO. I don’t recommend it.

    Aperture Priority (Av or A) Mode

    What you Can Adjust – Aperture. Lock in your Aperture setting and Shutter speed will adjust to maintain exposure. If the required shutter speed is lower than your minimum, ISO will increase up to the maximum you have set.
    What the Camera Adjusts – Shutter Speed and then ISO
    Exposure Compensation Possible? – Yes
    Pros/Cons – If control over depth of field is your priority, this is the best option. Used in combination with the minimum shutter speed setting, it allows you to lock in the Aperture, set a base for the shutter speed, and have the camera adjust ISO increase when light goes below the shutter speed minimum you set.

    Shutter Priority (Tv or S) Mode

    What you Can Adjust – Shutter Speed. Lock in your Shutter Speed setting and Aperture will adjust to maintain exposure. If the required aperture is more than the maximum for the lens used, ISO will increase up to the maximum you have set.
    What the Camera Adjusts – Aperture and then ISO
    Exposure Compensation Possible? – Yes
    Pros/Cons – If control over shutter speed is your priority, this may be the best option. Used in combination with the minimum shutter speed setting, it allows you to lock in the Shutter speed. The camera will adjust the aperture as needed and call on an ISO increase when you reach the maximum aperture of the lens used.

    Full Manual (M) Mode

    What you Can Adjust – Shutter Speed and Aperture. Lock in both your Shutter Speed and Aperture settings and ISO will adjust to maintain exposure. The exposure display will stay centered and ISO increase or decrease as needed to maintain proper exposure. If the required ISO exceeds the minimum or maximum set, the indicator will move off center showing an under or overexposure.
    What the Camera Adjusts – ISO
    Exposure Compensation Possible? – Camera Dependent
    Pros/Cons – This gives maximum creative control to set both shutter speed and aperture and thus control both freezing/blurring of motion and depth of field simultaneously. ISO will “float” to adjust exposure up to the limits set. With some cameras, no exposure compensation is possible in this mode. However, with newer cameras, the “center point” may be adjusted thus supporting compensation.

    When to use Auto ISO

    When you have time to be a bit more leisurely with your image making, you can slow down and think through each of your settings. What are your objectives? Freezing action? Increasing or limiting the depth of field? Is the light changing?

    When time permits, and you have a good understanding of each element in the exposure triangle, use full manual and set your ISO to the lighting conditions, staying as low as possible to limit noise. For landscape, portrait, still life, architecture, or other kinds of work where time permits and lighting is reasonably constant, Auto ISO isn’t much additional help. Ditto if you’re doing long exposures on a tripod where shutter speeds will be longer.

    Shooting these ballet dancers under frequently changing stage lighting without flash is a challenge. Auto ISO helps tremendously.

    Where Auto ISO really shines is in conditions where the action is fast, the light is changing or particularly low, and you are blasting away without time to think through each setting.

    In that case, Auto ISO may be the helping hand you need. If lighting permits and your camera supports exposure compensation in Full Manual, this could be the ideal method. Lock in both Shutter Speed and Aperture where you like and shoot, counting on Auto ISO to handle any fluctuating exposure conditions.

    Sometimes Auto ISO in combination with Aperture Priority will be a good choice. I work part-time at an auto dealership photographing cars for the web. Set up like this, I can go from shooting the exterior of the car in bright sunlight to the much darker interior with no adjustments, letting Auto ISO kick up the speed for the darker interiors.

    Being able to move from a bright outdoor shot to a much darker interior shot and letting Auto ISO adjust the exposure speeds up my work in this situation significantly. On the older Canon 50D I use, I’m in Aperture Priority, my f/stop is at 4.5, and Auto ISO handles the rest.

    Sports and Action can be an excellent time to use Auto ISO, especially in changing lighting conditions. It was a mixed cloudy day, and the light on the river where these kayakers were running was changing. I wanted to be sure my shutter was fast to freeze the action. Shutter priority plus Auto ISO was the ticket.

    A mixed-light day with the kayakers moving from sun to shade, and fast action. With the need for servo focus, and shooting with a long telephoto in continuous mode… it was a challenge! I let Auto ISO handle exposure allowing me to concentrate on following the action.

    What if Auto ISO goes wild?

    Some photographers, especially those trained with the mantra “Auto Anything is Bad,” have a hard time invoking Auto ISO. Good photographers control everything, right? What if the camera goes up to a crazy high setting and all my images are too noisy?!!

    It could happen. But, then again, remember you can limit the upper end of the ISO setting.

    Also, newer cameras have such good sensors that your “upper limit” may be much higher than you think. Finally, what if you shoot at too slow a shutter speed and get blurry shots or don’t get the depth of field you wanted? There are many good noise reduction programs, but no apps I know of to fix a blurry, out-of-focus, shot with insufficient depth of field. I’ll take a noisy image over an out-of-focus image any day!

    Conclusion

    If you’re an old film guy like me and Auto ISO feels funny, or you’re worried about what it will do, or just haven’t been able to fully get your head around it, I suggest you relax and give it a try. Take your camera out on a non-essential shoot, turn on Auto ISO and just play. I’m going to bet you might just come away with a new trick.

    The post A Beginners Guide to Auto ISO and other Camera Modes appeared first on Digital Photography School. It was authored by Rick Ohnsman.


    Digital Photography School

  • Tiffen launches ND/PL filter kits for DJI Osmo Pocket camera

    Tiffen has introduced a pair of filter kits for videographers using the DJI Osmo Pocket that the company says help to create a more cinematic look to the footage recorded with the device. The kits consist of neutral density filters to control the shutter speed of the Osmo and polarisers to assist with color saturation.

    A three-filter kit has ND4, ND8 and ND16 filters, each with a polariser built in, while the six-filter kit offers the same three ND/PL filters minus the polarising element.

    Tiffen says the filters are coated to prevent moisture sticking to the surface and to protect against reflections and scratches. The optical glass has a 10-year warranty, and a metal case is provided to store them in.

    The 3-filter Osmo Pocket Filter Kit costs $ 49.99 while the 6-filter kit is $ 79.99. For more information see the Tiffen website.

    Press release:

    Tiffen Filter Kits Now Available for the New DJI Osmo Pocket

    Tiffen Filters, a division of The Tiffen Company, introduces their exclusive new line of filters for the DJI™ Osmo Pocket. The filter kits will consist of a three-filter kit of neutral density polarizer filters and a six-filter kit of neutral density and neutral density polarizers available for DJI™’s latest 3-axis stabilized handheld camera.

    The filters feature a multilayer and hydrophobic coating, waterproof surface and scratch prevention technology. They guarantee ultra-low reflection rates and have unmatched color fidelity. Its 4K high definition optical glass has a ten-year warranty.

    “We’re excited to announce the launch of these filter kits for the popular DJI™ Osmo Pocket,” said Andrew Tiffen, SVP of Marketing, The Tiffen Company. “Matching our exclusive line of filters with the latest pocket-sized handheld gimble from DJI gives content creators the tools they need to enhance the cinematic footage they create with the device.”

    Each filter kit includes a compact metal carrying case to safely pack and store the filters until ready for use, making it easy to take these filters on any video-worthy adventure with the DJI Osmo Pocket.

    With Tiffen’s exclusive kit of filters for the DJI™ Osmo Pocket, imagemakers can create more professional content by having greater control in camera. When used in conjunction with the award-winning filter technology engineered by Tiffen, the high-quality performance of the DJI™ Osmo Pocket camera system is taken to the next level.

    Articles: Digital Photography Review (dpreview.com)

  • Blackmagic announces a new battery grip for its Pocket Cinema Camera 4K

    Blackmagic Design has announced the impending arrival of the Pocket Camera Battery Grip, a new battery adapter for its Pocket Cinema Camera 4K (BMPCC4K) that dramatically increases the battery life and adds a bit of extra grip for when handholding the 4K camera.

    The Pocket Camera Battery Grip features a carbon fiber design with non-slip hand grips and a slide out tray that trades the BMPCC4K’s usual LP-e6 battery for two L-series batteries, increasing the battery life to up to two hours of continuous shooting on a single charge. When a charge is needed, users can charge the batteries inside the grip using the camera’s 12V DC connection.

    As with other battery grips, the Pocket Camera Battery Grip attaches to the bottom of the BMPCC4K and screws into the integrated tripod mount using a tightening dial. The LP-E6 battery door on the BMPCC4K even gets a cozy place to hide in the grip so it doesn’t get misplaced for when you need to switch back.

    The Blackmagic Pocket Camera Battery Grip will be available in August 2019 and is currently available to pre-order at B&H for $ 245 USD.

    Blackmagic Design Announces New Blackmagic Pocket Camera Battery Grip

    New camera grip attaches to any Blackmagic Pocket Cinema Camera 4K and holds 2 L-Series batteries for over 2 hours of non-stop shooting

    NAB 2019, Las Vegas, USA – Monday, April 8, 2019 – Blackmagic Design today announced Blackmagic Pocket Battery Grip, a new battery adapter that features a slide out tray designed to hold two L-series batteries. This allows customers to power external flash disks or run the camera for over 2 hours of record time before charging. Blackmagic Pocket Camera Battery Grip will be available in August from Blackmagic Design resellers worldwide for US$ 245.

    The Blackmagic Pocket Camera Battery Grip will be demonstrated on the Blackmagic Design NAB 2019 booth #SL216.

    Designed for the Blackmagic Pocket Cinema Camera 4K, the new Pocket Camera Battery Grip lets customers replace the camera’s standard LP-E6 battery with two L-series batteries so they can shoot for over 2 hours on a single charge. It’s perfect for anyone that needs to shoot for extended periods of time. Featuring a unique carbon fiber design, non-slip hand grips, and a slide out tray that holds 2 L-series batteries, the Pocket Camera Battery Grip also makes it easier to hold the camera on longer shoots. L-Series batteries are standard batteries used for a variety of professional lighting equipment, so they’re readily available. Customers can even charge the batteries in the grip via the camera’s 12V DC connection in between takes.

    Unlike traditional external battery packs that hang off the side of the camera, the Pocket Camera Battery Grip has a unique design that makes it part of the Blackmagic Pocket Cinema Camera 4K. Simply remove the detachable LP-E6 battery door cover from the camera, slide the pocket grip in and lock it into place. There’s even a storage slot built into the grip for the battery door cover. Because the Pocket Camera Battery Grip becomes part of the camera, customers get larger non-slip hand grips that make holding the camera even easier. Best of all, there’s no extra gear hanging off the camera so customers still have a compact camera that can go anywhere.

    “The Blackmagic Pocket Cinema Camera 4K has been received incredibly well by our customers because it’s not a dumbed down consumer product, but it is a true digital film camera with incredibly advanced features generally only found on the most expensive cameras available,” said Grant Petty, Blackmagic Design CEO. “The new Pocket Battery Grip is exciting because it lets you power external flash disks allowing customers to record to the disk used for editing. It will even power the camera for over 2 hours on a single charge. As it’s designed to integrate into the cameras design, it’s more comfortable to hold the camera on longer shoots. Unlike regular external battery packs that hang off the camera, the Pocket Camera Battery Grip is integrated into the cameras design itself, so it doesn’t add a lot of weight and it fits perfectly!”

    Availability and Price

    Blackmagic Pocket Camera Battery Grip will be available in August for US$ 245 excluding duties from Blackmagic Design resellers worldwide.

    Articles: Digital Photography Review (dpreview.com)

  • Which Crop Sensor Sony a6000 Series Camera Should You Buy?

    The post Which Crop Sensor Sony a6000 Series Camera Should You Buy? appeared first on Digital Photography School. It was authored by Suzi Pratt.

    If you’re on the market for a high-quality compact camera, you can’t go wrong with the Sony a6000 series. Ever since the original a6000 debuted, this camera has topped multiple best-seller lists and remains popular among enthusiasts and professionals alike. With the recent release of the Sony a6400, there are now four cameras in this series to choose from. This article will explain some key differences between all camera models with recommendations on which camera is best for you.

    Sony a6000-Which Camera-01

    History

    Sony debuted its first high-end mirrorless camera in 2010. However, 2014 was the year that the Sony a6000 was introduced. This compact crop sensor mirrorless camera has been a hit among consumers and professionals alike. Over the last few years, Sony has released several updated versions of this camera that include features such as 4K video recording, IBIS (5-axis in-camera image stabilization), and better low light performance. Interestingly, Sony has not discontinued any previous models. So right now, as of early 2019, you can still buy any of these cameras brand new, directly from Sony.

    • 2014: the original Sony a6000
    • Early 2016: the Sony a6300
    • Late 2016: the Sony a6500
    • 2019: the Sony a6400

    What’s the same

    Despite some key differences, these four generations of Sony crop-sensor mirrorless cameras have a lot in common. Namely, they have almost the exact same camera bodies. There are a few minor differences in size and weight, with the a6500 weighing the most at 16 ounces. All four cameras also come with a 3-inch LCD screen and a 1-centimeter OLED viewfinder. All cameras capture images of approximately 24-megapixels in size at 11 frames per second. Finally, battery life is also about the same, lasting about 300-350 shots.

    Still photography differences

    We start to see noticeable differences when looking at key photography specs such as:

    ISO performance

    With every new release, Sony ups the limit in terms of ISO range. The a6000 has the smallest range of ISO 100-25600, while the a6400’s high range ISO is the most at 102400. Both the a6300 and a6500 have the same ISO range of 100-51200.

    Sony a6000-Which Camera-02

    Sony a6300 shot at ISO 3200

    Autofocus Points

    Another key difference is in the number of autofocus points. The a6000 sits at the bottom of the pack with 179 phase-detection AF points and 25 contrast-detection AF points. Both the a6300 and a6500 have 425 phase-detection AF points with 169 contrast-detection AF points. Finally, the a6400 offers the best autofocus with 425 phase-detection points and 425 contrast-detection points.

    Silent Shooting

    One of the biggest perks of shooting with mirrorless cameras is silent mode shooting that truly is silent. When enabled, silent shooting allows you to shoot stills in stealth mode without the telling snap of the shutter going off. It’s an ideal feature for shooting weddings or events that frown upon extraneous noise. Silent shooting is a feature lacking on the a6000. The a6300 and a6500 can shoot in silent mode at up to 3 frames per second (fps), while the a6400 is at 8 fps.

    Video Features

    Which camera should you buy?

    Best for beginner photographers on a budget

    If you’re a beginner photographer on a budget, the Sony a6000 is still a fantastic deal. For about $ 500 for the body-only or $ 600 with the kit lens included, you can get one of the most popular mirrorless cameras on the market. The main features you’ll be lacking are ultra fast and accurate autofocus, the very best low light photo performance, and key video features such as 4K video recording and in-body stabilization. However, you can still shoot up to 1080p video if you choose, and the still images are decently crisp. Bottom line: get this camera if you are a casual still photographer on a shoestring budget.

    Sony a6000-Which Camera-02

    Best for intermediate photographers or budding videographers

    If you happen to have the extra budget, consider the Sony a6300 as the ideal intermediate camera of the bunch. There are many improvements for both photography and videography. This camera got a major sensor upgrade with faster and more accurate autofocus including 425 phase detection points. Low light photos and videos are also vastly improved.

    Video features also got a major boost with the ability to record in 4K, or 120 fps for 4x slow motion at 1080p. The a6300 also allows for shooting in S-Log, a flat video profile that allows for easier color grading in post-production.

    Finally, the a6300 also debuted with a more solid, magnesium alloy camera body as opposed to the a6000’s mostly plastic build.

    Bottom line: there are big autofocus and low light performance enhancements to make this a much improved still photography camera. But the biggest reason to buy this camera over the a6000 is if you’re in need of modern video features.

    Best for intermediate photographers or advanced videographers

    A few months after the a6300 came out, Sony pulled a strange move and released yet another camera: the a6500. This camera is essentially the a6300, but with 3 key new features. First, they added 5-axis in-body camera stabilization. Also known as IBIS, this feature stabilizes the a6500 so you can shoot steady handheld video or low-light photos no matter what lens you are using. In contrast, the other a6000 cameras offer only 2-axis stabilization when using a stabilized lens. Unfortunately, battery life shrinks when IBIS is on.

    The a6500 also adds a touch screen rear LCD and slightly faster in-camera image processing.

    Bottom line: If you absolutely need IBIS for video or ultra-fast image processing for say sports photography, get this camera. But if you don’t need either of those features (and most hobbyists or beginning photographers won’t), save the extra cost and put it towards a lens instead.

    Sony a6000-Which Camera-01

    Best for Vloggers or pro videographers

    This year, Sony pulled another strange move by releasing the a6400. It sits right in between the a6300 and a6500. This camera features a new image sensor and processor that work together to enhance autofocus performance and speed. There are also significant upgrades in video. The a6400 allows for high dynamic range capture, plus interval recording for time-lapse video. Also, Sony finally delivered a rear LCD screen that can flip up 180-degrees. This is ideal for vloggers or those who want to monitor footage while in front of the camera.

    However, there are a couple of flaws with the a6400. First, the flip screen stands directly in the way of the hot-shoe mount. If you’re trying to use the flip screen with a light or microphone on the camera, forget it. Second, the a6400 omits 5-axis in-body camera stabilization (IBIS), offering only 2-axis stabilization if you use a stabilized lens.

    Bottom line: The a6400 offers a new sensor, processor and other features. But these things are more important to professional photographers and videographers. Unless you need IBIS, a flip screen, or ultra fast camera performance, you’re better off with another camera in the a6000 line.

    Sony a6000-Which Camera-04

    No matter which camera you choose…

    Remember that any of these cameras can be purchased used or sold if you decide to upgrade in the future. If you take care of your camera gear, these cameras retain their value and are fairly easy to sell.

    The post Which Crop Sensor Sony a6000 Series Camera Should You Buy? appeared first on Digital Photography School. It was authored by Suzi Pratt.


    Digital Photography School

  • CIPA’s February 2019 report shows huge drop in global digital camera shipments

    The Japanese Camera & Imaging Products Association (CIPA) has published a new graph showing the number of cameras shipped in February 2019 and the figures aren’t reassuring. According to the association, sales were down from January 2019 and had substantially decreased compared with February 2018.

    Global digital camera shipments in February 2019 came in at only 935,148 units compared to the 1,001,398 shipped in January 2019. This is a more than 30% decrease year-over-year, with January 2018 having seen 1,340,492 shipments and February 2018 having maintained a consistent rate at 1,340,995.

    A decrease was experienced in the interchangeable lens camera market as well, dropping from 798,014 in February 2018 to 521,217 in February 2019. Both the February 2018 and 2019 shipment periods were lower than February 2017, which had 843,217 in global interchangeable lens camera shipments.

    A similar, though not quite as dramatic, decrease in global built-in lens digital camera shipments was experienced in February 2019 compared to February 2018 at 413,931 units versus 542,981.

    According to the CIPA data, global digital camera shipments remained very similar from January to February 2017 and increased slightly for those same months in 2018. The trend changed in 2019, with overall February shipments dipping a little more than 6% below January’s global shipment numbers.

    The numbers are concerning due to the general decrease year-over-year, but also because the shipment numbers decreased during a time in the year when they previously remained relatively steady or began increasing. It’s yet to be seen whether March’s figures represent yet another decrease or if February’s shipment numbers end up being an unfortunate, concerning fluke.

    Articles: Digital Photography Review (dpreview.com)

  • Adobe adds new lens, camera support to Adobe Camera Raw, Lightroom in April updates

    In addition to its updates to After Effects and Premiere Pro, Adobe has also updated Adobe Camera Raw, Lightroom CC and Lightroom Classic with updated lens profiles and additional camera support.

    Adobe Camera Raw version 11.2.1, Lightroom version 2.2.1 and Lightroom Classic version 8.2.1 adds lens profile support for the following lens and its adapter combinations:

    • Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR
    • Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 1.4x
    • Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 1.7x
    • Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 2.0x

    On the camera body front, Adobe has added support for the following camera systems:

    • Canon EOS RP
    • Panasonic LUMIX DC-FZ1000M2 (DC-FZ10002)
    • Panasonic LUMIX DC-S1
    • Panasonic LUMIX DC-S1R
    • Panasonic LUMIX DC-ZS80 (DC-TZ95, DC-TZ96, DC-TZ97)

    The latest updates can be downloaded directly from Adobe’s Creative Cloud desktop app for users with the compatible plans. If you don’t have the Creative Cloud Desktop app, you can download it from Adobe’s Creative Cloud website.

    Articles: Digital Photography Review (dpreview.com)

  • FixIts biodegradable plastic sticks can be used to fix, upgrade your camera gear

    Last summer, a Kickstarter campaign raised funds for moldable, eco-friendly plastic sticks called FixIts. The product is billed as a DIY tool that enables anyone to easily mold durable plastic into whatever little gizmo or component they need, similar to Sugru, but more eco-friendly. The FixIts sticks are now available to order in orange, black, and white colors.

    FixIts sticks can be used creatively for a number of projects, and that includes potentially being used to create small custom camera gear mounts and accessories. In addition, the biodegradable plastics can be used to fix broken gear, such as creating a replacement tripod foot, repairing a bit of missing plastic or reinforcing a weak cable.

    The product is similar to other moldable plastics; users only need to put the stick into a cup of hot water, wait for the plastic to soften, then mold it into whatever shape is desired and let it cool down. These created components can be heated and used again to create different objects.

    FixIts are available now in three-stick packs $ 8.53 / £6.50 / €7.62.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm Camera Remote app for iOS gets new UI, additional camera support and more

    Fujifilm has released version 4.0 of its Fujifilm Camera Remote iOS app and announced the Android version will be available May 2019.

    The update, which was originally announced back in February, features a new interface as well as a number of new features that makes it easier to control settings and capture images remotely with wireless-equipped Fujifilm cameras.

    Fujifilm has changed the interface of the app to better use the additional screen real estate of newer iOS devices and has changed the icons and buttons throughout the app to create a more streamlined look. The pairing process is now easier with the updated app and Fujifilm has added an ‘Album’ function that makes it easy to browse through photos and videos that have been imported from the camera. Overall stability of the app and wireless connection has been improved with this update and additional camera support has been added as well.

    Fujifilm lists the following features in the app’s description:

    1. Transferring images and movies to a Smartphone
    2. Browsing the Camera from a Smartphone
    3. Downloading Location Data from a Smartphone
    4. Shooting Images by Remote Control(*)
    5. Easily transfer pictures from the cameras that offers Bluetooth capability.
    6. Synchronizing “date and time” and/or “location information” with the cameras that offers Bluetooth capability
    7. Firmware update via a Smartphone to the cameras that offers Bluetooth capability.
    8. Bluetooth wireless remote control camera shutter release is now supported for cameras that offers Bluetooth capability.
      *How to change the setting depends on your camera.

    Fujifilm’s X-T30, GFX 50R, X-T3, XF10, X-H1 and X-E3 cameras support all of the above features while the FinePix XP140 supports all but number seven. The X-T100, X-A5 and FinePix XP130 support features one through six and the GFX 50S, X-T20, X100F, X-A10, X-A3, X-T2, X-Pro2, X-E2S, X70, X-T10, X-T1, X30, X100T, X-E2, FinePix XP120, FinePix XP90, FinePix XP80, FinePix S9900W and FinePix S9950W support features one through four. Wrapping up, the X-E2, XQ2, XQ1, X-A2, X-A1, X-M1 and FinePix Z1100EXR support features one through three while the FinePix Z1000EXR only supports the transfer of images and movies.

    Fujifilm Camera Remote version 4.0 works with iPhone, iPad and iPod Touch devices running iOS 10 or later. Geotagging functionality only works with iOS devices equipped with LTE connectivity.

    You can download the app for free in the iOS App Store. For more information on the app and update, head over to Fujifilm’s documentation page.

    Articles: Digital Photography Review (dpreview.com)

  • MIOPS Mobile RemotePlus Review – Taking Control of Your Camera in Ways a Cable Release Never Can

    The post MIOPS Mobile RemotePlus Review – Taking Control of Your Camera in Ways a Cable Release Never Can appeared first on Digital Photography School. It was authored by Peter West Carey.

    MIOPS Mobile RemotePlus is a handy device and app to help you take control of your camera in ways a simple cable release never can. Sleek and stylish, the unit sits on your camera’s hot shoe and can provide a variety of functions through the easy to configure app for iPhones or Android phones.

    What is it?

    The MIOPS Mobile RemotePlus has three main components:

    1. The remote trigger that sits on your camera’s hot shoe
    2. A release cable specific for your camera type
    3. The MIOPS Mobile app

    The app works with the unit via Bluetooth, sending and receiving information constantly while in use. It is important to note that the unit can continue on its own, after being sent a command, if you close the app or you lose connection. So if you start a 500 image time-lapse, you can effectively let the unit continue working without babysitting it.

    The RemotePlus will set your shutter speed for the various modes explained below, but you will still be in charge of ISO, Aperture, White Balance and any other setting you choose. Some RemotePlus modes work better with Manual mode on your camera while others, such as the Long Exposure Timelapse, will need Bulb mode.

    Getting Started

    After unpacking the RemotePlus, you’ll need to connect it to your camera’s remote port. This process is different for each camera. Hook the other end of the cable into the side port on the RemotePlus, which has both a receptacle to attach to a camera hot shoe and a standard tripod threaded hole.

    The app can be downloaded from either Google Play or Apple Store.

    The app has a demonstration mode if you want to download it before you buy the unit to see how easy it is to use.

    You will need to register your device with MIOPS if you want to upgrade your firmware. After signing on, you will see a screen like this one:

    Choosing the MobileRemote and the app will scan for nearby remotes:

    Clicking on the only unit available brings up a full menu of options:

    Whoa now! There’s a lot there to parse through, so let’s take them bit by bit.

    What can it do?

    Cable Release Modes – 6 Varieties

    Let’s start with the basics.

    While connected to your camera and smartphone, the RemotePlus functions as a shutter release for your camera in six modes:

    Cable Release

    This mode is straightforward and perfect for those who don’t want to stand with their camera while taking a photo. Pressing the large button on the screen (see below) will trigger the shutter in whatever mode you have set on the camera. For instance, this mode is great for sitting at a campfire while your camera is set to take photos nearby.

    Press & Hold

    Press & Hold take things up a notch and is perfect to use when you are waiting for some action. It’s the same as pressing and holding the shutter release on your camera in Bulb mode. The longer you press, the longer the exposure.

    Results will vary with duration and here is one simple example of eight seconds on a freeway overpass.

    Press & Lock

    Don’t want to bother holding the button on your screen while waiting? Press & Lock is where it’s at. Same as above, but now you have to tap the main button on the screen a second time to stop the exposure. There is a timer shown at the bottom of the screen for your convenience.

    Timed Release

    Going one step further, if you know you want a 10-minute exposure, Timed Release is the correct mode for you. Just enter in the appropriate shutter release time on the screen, set your camera to Bulb mode while adjusting the ISO and Aperture to your liking. Once you press start, it’s all taken care of for you.

    On the display are places for hours, minutes, seconds and decimals of a second. In this example, I chose 12 seconds for another overpass shot.

    Self Timer and Timed Release & Self Timer

    The Self Timer mode is just like the self-timer on your camera, but you can set the delay, up to 99 hours in the future.

    Lastly, the Timed Release & Self Timer combines the last two sections to allow for a delay and then a long exposure.

    In each of these modes the command is sent from the app and then stored in the unit, so you don’t need to be present or within range for the unit to take action.

    Timelapse – 4 Main Varieties

    While the RemotePlus will not create the final video file for you, it will greatly simplify your ability to create fun and unique timelapses in a few different modes. More information on compiling the timelapse can be found here on DPS.

    Basic Timelapse

    The Basic Timelapse mode will take care of all your simple timelapse needs. It’s there for you to point, focus, and create with ease.

    On the first screen you set the interval between photos, and on the second, you set the number of photos you want to take. It’s that easy! Press Start and away your camera goes.

    The two screenshots above show the app screen while the camera shoots. The circle around the interval counts down until the next shot, while the current frame and remaining time display on the bottom. Up top are the overall settings.

    The app has a nice feature to help reduce accidental stops; you have to press the lock button before you can click on STOP. It’s possible to still stop the app on accident, but the extra step helps.

    It’s up to you to set your camera on your preferred mode. Manual Mode with the White Balance set often gives the best results for consistent image quality.

    Long Exposure Timelapse

    Long Exposure Timelapse is where things become more complex but also more exciting as far as the results. Here you will again set the interval between shots and the number of shots, but you will also set your camera to Bulb mode and set the shutter speed in the app.

    After pressing Start the screen will change, as with the Basic Timelapse, but now two countdown circles will appear.

    These circles will show you the amount of time left in each interval and exposure.

    You can use the Long Exposure Timelapse for a variety of subjects. Below are two examples I shot of the same subject, but with slightly different settings for varied effects.

    The first had settings of ISO 100, f/7.1 and 1/100th (Standard Timelapse Mode) while the second had settings of ISO 100, f/22 and 1/5th (Long Exposure Timelapse Mode). The difference is apparent in how blurred motion from the cars can impart more motion.

    Here are three more tests at 1/10th second shutter speed, .6 seconds and 1.2 seconds. All timing set from the app in Bulb Mode.

    Bulb Ramping Timelapse

    Bulb ramping is a manner of shooting while the lighting changes. This is most often performed at sunrise or sunset and can cover an extended period, such as an hour. While the camera is in Bulb Mode, the shutter speed is gradually adjusted to keep the overall exposure consistent, so the timelapse does not change from very dark to very bright.

    It’s important here to understand some limits and to plan for them with this mode.

    Most cameras are limited to 1/30th of a second in Bulb mode with a cable release. Check with your owner’s manual to see what limits Bulb Mode and using a cable release may put on your photography.

    This mode also requires planning ahead to know – or at least make a good guess – which exposure settings to use at the start and end of the ramp. The ramp is linear in its progression, so you will need to choose a time of gradually increasing or decreasing light. If the sun suddenly shines brightly on your scene once above the horizon, but then ducks behind some clouds, the effect might be rather jolting.

    To use this mode:

    The Bulb Ramping mode has four settings.

    The first is the interval between shots. The example below shows 30 seconds.

    The second screen sets the shutter speed of the first image. Because I am using a Canon, I set it to 1/30th of a second above (the fastest Bulb will handle, even though the screen shows a decimal of .01, or 1/100th of a second).

    The next screen is the final shutter speed. This is where math, planning and scouting help. You will need to calculate how long you want your bulb ramp to run, from start to finish, and know what the lighting will be at the start and finish. In this case, I picked 20 seconds for an end shutter speed (left, below).

    The last screen asks for the number of frames to shoot. Here, it will shoot 60 frames, one every 30 seconds.

    That will make for a total time of 30 minutes from start to finish. It’s important to plan ahead to make sure these shutter speeds will work for the given lighting. While you can adjust aperture and ISO to help compensate, if the end time of your timelapse is too long, your images will become blown out. Too short and you’ll be left in the dark.

    Planning is crucial to this mode.

    HDR Timelapse

    An HDR Timelapse is the same as a normal timelapse, but the mode does all the shooting for you if your camera doesn’t have this ability built in. It can shoot a sequence of 3, 5 or 7 shots, for each step of the timelapse, but it does have the limitation mentioned in Bulb Ramping above; that you can not shoot faster than 1/30th of a second on most cameras. This does limit its abilities.

    The brackets are set around a central time setting, such as one second (in the example below). Below that the exposure shift, in terms of EVs, is set, followed by the number of frames. The unit will keep you in check if you pick settings that won’t work with Bulb mode, such as choosing 1/15th of a second, seven frames and 2-stops of EV shift in each image.

    Lastly, set the Interval between shots and the number of frames. If you don’t know the number of frames you want to shoot, simply pick the infinity setting and stop the sequence when you have enough.

    More information on using bracketing can be found in this DPS article.

    Road Lapse, A Special Kind Of Timelapse

    Road Lapse is a fun tool to use, not only while driving but also on a train, boat, hot air balloon or anywhere else you have a GPS signal. The app uses that signal then asks you how often you want to take a photo, be it in feet or meters. You also set the number of photos or just set it to infinity which allows you to stop the Road Lapse when you are finished.

    What’s different about this mode as compared to a standard timelapse is there is no perceived slowing and speeding, such as when a car comes to a stop sign. Because the mode is distance-based, a rough calculation can be made with regard to timelapse length when the driving distance is known.

    For instance, one mile is 5280ft. If you set the device to shoot every 40ft, that will net you 132 images. At 30 frames-per-second, the timelapse would turn out to be 4.4 seconds long. It won’t matter if it takes you 60 seconds or 15 minutes to travel that distance, the video will be the same length.

    It does make things appear sped up. In the examples below, the first shows a regular timelapse in a car at night. The second video shows the Road Lapse. In the second video I stopped at four different stoplights, but you don’t even notice them. I think each mode has its strengths and weaknesses and it matters what you want to create.

    For a unique test, I set my camera up on a Washington State Ferry, shooting off the back with the distance set to 40ft.

    HDR Bracketing

    HDR shooting uses the same functionality as mentioned above with HDR Timelapse. You can take a series of shots, offset by specific stops and then combine them in the computer later for an image with more dynamic range than a single image.

    It has the same limitations mentioned above.

    Sound

    The Sound Mode is triggered by sound and you can choose the threshold via the app.

    You will set your camera’s exposure either on Manual or another mode of your choice and leave shutter release up to the MIOPS trigger. I made some attempts at dropping (fake) ice into a glass to catch the splash. You can stop any action that makes a loud enough noise in motion with this mode.

    The mode can be set to take just one photo or continuous photos until the sound drops below the threshold. You can also input a delay. Activation of the shutter will happen from 10 milliseconds to 99 hours.

    A better example can be seen in Erik Lindegren’s photo, highlighted on Miops’ Instagram feed.

    Vibration

    Like Sound, Vibration relies on your phone to trigger the unit. And like Sound, you can set the sensitivity so small bumps won’t set off the unit, but large ones will.

    Again, a delay can be set and continuous shooting can also be chosen.

    Lightning

    Most lightning photos in the past were taken by leaving the shutter open for a length of time, maybe 30 seconds. The overall exposure was balanced for this and fingers were crossed, hoping for great bolts.

    The problem with this method is shots during the day were difficult with long exposures without the use of a neutral density filter. Even then, a vast multitude of images had to be taken, and the frame had to be clear of other moving objects (trees, for instance) or they could blur.

    The Lightning trigger simplifies capturing images and can offer better exposures of daylight and dusk images. Your camera will need to be in Manual Mode where you can set the shutter speed, aperture, and ISO to your liking. Compose the shot with anticipation of where the lightning will strike.

    You will set the sensitivity, and that’s it. A higher sensitivity number means any small flash will trigger the unit, while a lower number means much more light (larger bolts) is needed.

    Then press the “Go” button and sit back to enjoy the show while your camera does all the work.

    As luck would have it, a thunderstorm rolled by in the distance while I had the unit for testing. The lightning was about 10-12 miles away, and I ended up using a 10-22mm lens, with some cropping for the final images. All images shot at ISO 800, f/5, 1.3 second and 22mm.

    TIP: If you are curious about where the lightning is striking and which way a storm is moving, check out Blitzortung.org for real-time updates. While watching this storm, I found the delay from the time of strike to it showing up on the map was about 5 seconds. Often the map would update before the thunder made it to me.

    Motion

    Switching to Motion requires the use of your phone as the ultimate trigger. You can make the settings for your camera manually, or in any mode you desire, while the shutter will trigger when the view from your phone’s camera notices motion.

    The advantage here is that the phone can be set up remotely from the camera (within Bluetooth range, however) and made to cover a specific area.

    In this example, I set my camera on a tripod with a long lens to capture birds coming to my bird feeder. I prefocused on the feeder and then moved the field of view just off to the side. I then switched to manual focus to lock focus.

    I set the camera with a fast shutter speed and the ISO with a shallow aperture so I could capture the fast movement of the birds (ISO 1250, f/7.1, 1/1250th). I then set up my phone with an adjustable, gripping tripod, on top of the feeder, looking down. The field of view of the phone would cover the side of the feeder, where my camera was focused.

    That’s the view on the phone screen while setting up the shot. As you can see, much like other modes, you can set a delay after the app notices movement (handy if you put the phone somewhere on the approach to your camera) and the number of frames the camera will snap each time.

    Below the screen is the Accuracy Rating. Moving it left means any little movement will set off the unit while moving it right requires a lot of movement before triggering.

    The results, as you can see, were easy to capture while I sat inside enjoying the action.

    If the rains hadn’t started, I would have captured more. While I could have taken the shots above manually, more birds showed up when I went inside and let the camera do its thing. For skittish subjects, the RemotePlus is a definite benefit.

    You can use Motion in this manner for any number of moving subjects where their path is predictable. It will be a drain on your phone’s battery, though, as the camera and screen are on the whole time.

    Laser

    The Laser trigger mode is handy if you have a laser and expect the beam to be broken at a precise location. You will need a laser source, but just about any constant-on laser can be used, such as a presentation pointer or even a laser level.

    Point the laser at the sensor on the front of the RemotePlus, and set your camera’s focus and mode accordingly. It’s similar to the motion feature above, but a bit more specialized for more precision.

    Conclusion

    This review was harder than I believed it would be because of the number of features packed into the small unit. Also, during the review, I had access to MIOPS staff for questions and found them not only responsive to feedback but updating the app as I wrote. In a company and product, I like to see that nimbleness and desire to improve.

    After the testing I put the Miops Mobile RemotePlus through, I would purchase one for my own photography. While it had some room for improvement (the manual sometimes lags behind the quick pace of upgrades, and the Motion feature does have a limit when it comes to Bluetooth connectivity, but that is inherent in the protocol.), I do enjoy updates of the unit, both software and firmware, regularly.

    The two big plusses for me are the timelapse features (including the HDR one in specific cases) which add timing capabilities that my current Canon intervalometer lacks, and the lightning shooting, especially for daytime shots.

     

    Disclaimer: MIOPS is a paid partner of dPS

    The post MIOPS Mobile RemotePlus Review – Taking Control of Your Camera in Ways a Cable Release Never Can appeared first on Digital Photography School. It was authored by Peter West Carey.


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