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Posts Tagged ‘Camera’

5 Camera Settings That All Macro Photographers Should Know

03 Jun

This article will detail five camera settings that are essential and which all macro photographers should know. It was inspired by Will Nichols’ excellent tips Five Camera Settings Every New Photographer Needs to Know. You will notice two main themes in this article – ensuring a perfect point of focus and ensuring maximum sharpness. Both of which are critical in macro photography.

Included in the list of settings are Manual Focus, Manual Mode, Live View, the self-timer, and burst mode. By familiarizing yourself with these settings, your macro photography will grow by leaps and bounds.

dahlia macro photography flower - 5 Camera Settings That All Macro Photographers Should Know

1. Manual Focus

Manual focus is one of the most important tools in a macro photographer’s toolkit. When working at high magnifications, you cannot rely on a lens’s autofocus capabilities for a couple of reasons.

First, Manual Focus is necessary for creative macro photography. In macro photography, particularly in more abstract macro photography, you have to make your point of focus count. Only by using Manual Focus, can you do so with the required pinpoint accuracy.

Secondly, macro lenses tend to have relatively bad autofocus capabilities, especially at high magnifications. It becomes frustrating to sit and wait while the lens pans back and forth (this is an even bigger problem in low light).

Macro photography grape hyacinth abstract - 5 Camera Settings That All Macro Photographers Should Know

By using Manual Focus, I was able to render the tip of the flower sharp.

The solution? Learn to use Manual Focus. With a bit of practice, you’ll find that you can focus quickly and efficiently, and your keeper rate will immediately increase.

Flower Abstract Macro Photography pink flower - 5 Camera Settings That All Macro Photographers Should Know

2. Aperture Priority or Manual Mode

There’s no way around this. A macro photographer must have maximum control over their depth of field.

At the high magnifications that are characteristic of macro photography, depth of field is often mere millimeters. And, as touched on above, it is essential that you use that in-focus area to your advantage.

One way to do this is by carefully selecting your depth of field. This may involve using a shallow depth of field for a more abstract look, or a large depth of field so as to ensure a completely sharp subject. Regardless, being able to modify your depth of field from subject to subject, from image to image, is crucial.

Tulip abstract macro photography - 5 Camera Settings That All Macro Photographers Should Know

I knew that I needed a very shallow depth of field if I wanted to pull off this tulip photograph. I used Manual Mode to select an aperture of f/4.2.

There are two settings that offer this level of control: Aperture Priority and Manual Mode. Aperture Priority Mode (labeled A or Av on your camera mode dial) allows you to set the aperture (and hence adjust the depth of field). Then the camera sets the shutter speed based on its internal light meter. Manual Mode (labeled M on your camera mode dial) allows you to control the aperture but also gives you control over the shutter speed.

I generally use Manual Mode, because I like to make split-second decisions regarding the shutter speed. But there are good reasons to use aperture priority mode as well. Whichever mode you choose, make sure that you are consciously adjusting the depth of field to fit your creative vision.

macro photography abstract trout lily - 5 Camera Settings That All Macro Photographers Should Know

3. Live View

Live View is useful in macro photography for a few reasons.

First, Live View allows for you to check your point of focus. As mentioned above, nailing your desired point of focus is essential in macro photography. With Live View, you can zoom in on the LCD screen to ensure that you are not front-focusing or back-focusing.

macro photography abstract flower - 5 Camera Settings That All Macro Photographers Should Know

Live View allows for you to make an image such as this where you can carefully focus on the base of the flower.

Furthermore, on some camera bodies, Live View enables you to reduce camera shake and keep your images sharp.

How? For the relevant camera bodies (I recommend that you check to see if this is true for your camera because it is an excellent trick), when Live View is activated, the mirror in your camera immediately flips up. Normally, this mirror flip occurs when you press the shutter release, causing camera vibration, and thus reducing sharpness.

But with Live View, this pre-flip means that, when you ultimately press the shutter release, no extra vibration occurs.

Macro photography black eyed susan abstract - 5 Camera Settings That All Macro Photographers Should Know

I took this handheld image at dusk, and just barely managed a sharp image.

4. Burst Mode

If you always use a tripod when shooting macro, feel free to ignore this tip. But for those who don’t like the weight or reduced flexibility that a tripod brings, Burst Mode can be a great tool.

What is Burst Mode? This is the camera setting that allows rapid-fire photography when you hold down the shutter release button. It ranges from a few frames per second to upwards of 10 (depending on your camera model).

While primarily used by wildlife, sports, and bird photographers in order to capture split-second action in the field, Burst Mode can also be used by macro photographers in order to ensure maximum focusing accuracy.

macro photography seedhead abstract - 5 Camera Settings That All Macro Photographers Should Know

I took this photograph while hand-holding at an extreme magnification. Without burst mode, I probably would have failed to get a usable image.

Macro photographers are often working at such high magnifications that it’s difficult to ensure perfect focusing even when using the above settings. This is where Burst Mode comes in. By taking a series of images, any slight camera motion is controlled. Even if a few photographs are out of focus, you are likely to be satisfied with some of the others.

5. Two-Second Self-Timer

A final setting that is useful for macro photographers is the two-second self-timer. When shooting (with or without a tripod) in low light with a large depth of field, you might struggle to get sharp images. Part of the problem may be camera shake, caused when you press the shutter release button. Your finger pushes the button but also rocks the camera at the same time.

The solution is to use the two-second self-timer. This is a setting offered by most DSLRs which allows you to obtain maximum sharpness and may be the difference between a usable image and a blurry one.

macro photography abstract lights - 5 Camera Settings That All Macro Photographers Should Know

When shooting in the evening, the two-second timer can be extremely useful.

Conclusion

By familiarizing yourself with these five settings; Manual Focus, Manual Mode, Live View, Burst Mode and the two-second self timer – you will have the technical grounding that all macro photographers need.

Can you think of any others settings that all macro photographers should know? Please share them in the comments below.

macro photography abstract - 5 Camera Settings That All Macro Photographers Should Know

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5 Common Camera Setting Mistakes Made by Newbie Photographers

01 Jun

Photography is a process of constant learning, so it’s only natural to make mistakes along the way. But with a little bit of advice from those who have been there already, fledgling photographers can avoid a few common camera setting mistakes and focus on bigger and better things. Here are a few tips and tricks I learned early on that will help you get stuck into quality image making.

1 – Leaving image stabilization on when using a tripod

Image stabilization is a handy device that can reduce camera shake and improve image quality when it’s used properly. When activated, image stabilization counteracts slight movements of the camera to help reduce blur in your photos. It can be so effective that cameras and lenses equipped with the system allow you to use a shutter speed of between three and five stops slower than cameras without the feature.

This makes for sharper images in lower light conditions. Sounds great right? Well yes, but not all the time. In fact, when image stabilization is used with a tripod, it can sometimes be more of a hindrance than a help.

If your camera is already set up on a tripod, it should be steady enough by itself. In this case, with the image stabilization left on, the system may try to compensate for minuscule vibrations that wouldn’t otherwise have an effect on the image, increasing blur rather than reducing it.

Check your camera or lens user manual to learn how to switch the system off while shooting with a tripod and you’ll get much sharper images. Just don’t forget to turn it on again when you are going to hand-hold the camera.

5 Common Camera Setting Mistakes Made by Newbie Photographers

In this example, you can see the difference in sharpness between the photograph taken with Image Stabilization on and the photograph taken with IS off. Notice that the photograph with IS off is sharper, with greater contrast.

2 – Using the wrong autofocus mode

When I started out in photography, I remember struggling to properly focus on a subject in my frame, often leaving the camera to select a point at random and hoping for the best. At the time, I didn’t realize the importance of different autofocus modes.

Autofocus offers several different modes which you can select. These are One-Shot AF (Canon)/AF-S (Nikon), AI Servo AF (Canon)/AF-C (Nikon), and final AI Focus (Canon) and AF-A (Nikon).

Probably the most commonly used focus mode is the One-Shot/Single-Servo option. It is the best choice for stationary subjects and serves as the standard setting on your camera. For this setting, the autofocus system achieves focus and then locks that setting in until the shutter is actuated. Once locked, you are assured that your subject will be sharply focused.

AI Servo/AF-C, on the other hand, focuses the lens continuously, which makes it ideal for tracking a moving subject. In this focus mode, the camera will let you take a picture at any time, even if the subject isn’t in focus. This mode is the best choice when you have a moving subject like children, animals, shooting sports, birds, etc.

5 Common Camera Setting Mistakes Made by Newbie Photographers

You can change your focus mode in the quick control panel (this shows the Canon options).

Many cameras also offer a third autofocus mode: AI Focus (Canon) or AF-A (Nikon). This mode attempts to automatically detect whether the subject is stationary or moving and sets the focus mode depending on the situation. However, AI Focus isn’t as reliable as the other two dedicated settings, so it’s best to deliberately select between One-Shot/AF-S or AI Servo/AF-C where possible.

 

5 Common Camera Setting Mistakes Made by Newbie Photographers

AI Servo/AF-C focus mode is ideal for photographing moving subjects.

3 – Not shooting in RAW format

For much of my early photography, I shot in jpeg. It was a familiar file format, so I just went with it. Only later did I discovered what I was missing out on. JPEG files are processed by the camera. That means that while settings like color temperature and exposure are set based on your camera settings, the camera will process the image to adjust blacks, contrast, brightness, noise reduction and sharpening. The file will then be compressed into a JPEG.

But because the image has been edited, compressed and then saved as a JPEG, information in the original photograph gets discarded and cannot be recovered. This limits how much editing you can do with the image in post-production.

Advantages of RAW format

RAW files, on the other hand, are uncompressed and unprocessed. Although they come out looking flatter and darker than JPEG images, they retain all the information recorded in the original image. This allows for a lot more flexibility in post-production, allowing you to take full control over adjustments that you want to apply to a photograph.

Shooting in JPEG can be useful for happy-snaps or circumstances where output doesn’t need to be as higher quality. Otherwise, for professional-grade imagery, you want to shoot in camera RAW. And if you aren’t sure, it is possible to shoot both at the same time – just make sure you have an extra CF card or two on hand.

5 Common Camera Setting Mistakes Made by Newbie Photographers

You can see that the unedited, uncompressed RAW image is a lot flatter than the JPEG because it retains all the information of the original shot. Only after processing will the RAW image match or surpass the look of the JPG.

4 – Always shooting in automatic mode

Automatic exposure mode means that the shutter speed, aperture and ISO are set automatically by the camera for a given situation, leaving you to depress the shutter button and move onto the next shot. But what if you want to take more control over your images?

The biggest advantage of shooting in manual mode (or shutter/aperture priority mode) over automatic is creative control. Plus, the camera doesn’t always get the algorithm for exposure right, so you can end up with underexposed or overexposed images.

Choose a semi-automatic mode instead

You don’t have to shoot fully manual to take better control of your images either. Aperture and Shutter Priority modes allow you to select and adjust either your aperture or shutter speed while the camera compensates to give you the right exposure.

5 Common Camera Setting Mistakes Made by Newbie Photographers

Auto shooting mode.

By using Aperture Priority, you have much more control over the depth of field in your image, dictating how much of the image is in sharp focus. This is helpful for many genres from portraiture to landscape photography, changing the dynamic of your images depending on the situation and how deep you want your photographs to look.

As for using Shutter Priority, being able to take control of the motion in an image allows for a lot more creative leeway. Motion blur has long been used to make images more dynamic. Think waterfalls with smooth flowing water and time-lapse cityscapes, as well as intentional camera movement.

While Automatic exposure mode is useful and often effective, relying only on Auto is allowing your creative photographic potential go to waste. Experimenting with shooting in full Manual or Shutter or Aperture Priority Mode means that you can truly get to know your camera and exploit its artistic possibilities.

5 – Not backing up files

We have a saying in Australia; “She’ll be right”. The term asserts that whatever is wrong will right itself with time. It’s both an optimistic and an apathetic outlook, and when it comes to photography, it can be the start of a spiral into digital file oblivion. I’m talking about backing up files.

Okay, so it isn’t technically an in-camera setting mistake, but photography has an enormous output of content that needs to be maintained so that it is as fresh as the day it was created.

From day one, “she’ll be right” just doesn’t cut it. If you only have one copy of your images stored on a hard drive, and that hard drive fails, (as they often do) then you’ll completely lose all your work. Forever! The easy solution is to have a second or even third copy of your images stored somewhere else, either on an external hard drive or cloud storage service.

Make the investment now and you’ll thank yourself later.

5 Common Camera Setting Mistakes Made by Newbie Photographers

An old favorite, this image is backed up on two separate hard drives!

Conclusion

Starting out in photography can sometimes seem like a daunting task – there’s so much to learn! But photographers, for the most part, are a friendly bunch. We’re happy to pass on the tips and tricks we’ve learned along the way.

By doing your research, there are plenty of ways to dig into photography, avoiding common mistakes, and delve into the world of photography with confidence!

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Skydio R1 autonomous camera drone gets four new cinematic modes in update

31 May

The Skydio R1 aerial “self-flying camera” received its first major software update today, gaining four new cinematic modes: Quarter Lead, Quarter Follow, Car Follow, and Car Tripod. Skydio underscores the new Car Follow mode as the biggest new feature, one that enables the drone to follow vehicles autonomously while capturing footage.

Talking about the software update is Skydio CEO Adam Bry, who said, “With Skydio R1, cinematography becomes a software defined experience. That means we can regularly introduce fundamentally new capabilities over time for all existing and future users.”

The R1 is billed as an advanced autonomous device thanks in part to the NVIDIA Jetson AI supercomputer powering the device. According to Skydio, the Car Follow feature is made possible via neural networks trained using automobile image datasets.

In addition to the new operation modes, R1’s software update optimizes the Skydio Autonomy Engine prediction system to enable more intelligent obstacle handling. The drone’s companion mobile app has received UI improvements that simplify accessing the new cinematic modes, and the update also improves the landing experience by showing operators exactly where the drone will land.

The Skydio R1 is available through Skydio’s website for $ 2,499 USD.

Articles: Digital Photography Review (dpreview.com)

 
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Camera Plus 2 comes with overhauled UI and new features

30 May

Camera+ was launched almost eight years ago and since then has become one of the most popular third-party camera apps for iPhone and iPad. Now its makers have given the app a complete overhaul and launched Camera+ 2.

Camera+ 2 is a universal app and as such provides the same user experience across all compatible iPhone and iPad models. Unlike on the original app, all features and tools are included from the start, without the need to acquire some function via in-app purchase.

The redesigned interface includes manual controls, raw shooting and editing, depth capture, and other advanced features. In shooting modes parameters such as shutter speed, ISO or white balance are controlled via on-screen dials. Owners of dual-camera devices can switch between wide angle and macro lenses. If you prefer things simpler, many settings can also be hidden.

When shooting in depth capture mode, depth information is saved alongside the image, allowing for the application of depth effects in the editor. In addition a range of filters can be adjusted in terms of strength and layered for customized effects.

There are also a few new shooting modes. Smile mode triggers automatically once a smile is detected on your subjects. Stabilizer mode triggers when the camera is held steadily enough for a sharp picture and a slow shutter mode allows for long exposures, even in bright light.

On the editing side of things, Camera+ 2 now offers full Photo Library integration with editing support. If you are the owner of an iOS device running version 11 or later of the mobile OS, you can download and install Camera+ 2 from the App Store for $ 2.99.

Articles: Digital Photography Review (dpreview.com)

 
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Leica M7 film camera comes to an end

30 May

Leica has discontinued its M7 film camera after 16 years of service. According to the Red Dot Forum, which is run by the Miami Leica store, the last of the M7 standard and ‘a la Carte’ bodies has been built and no more will be made. The Miami store lists the camera as ‘Out of Stock’ but models will remain in circulation elsewhere until they are sold through. The UK Leica stores have stock listed at £3900 and New York at $ 4795 – the same price as the Leica MP and £/$ 100 more than the M-A film bodies.

The M7 caused a bit of a stir when it arrived with features that required battery power to operate – particularly the electronic shutter. Without power users are restricted to shutter speeds of 1/60sec and 1/125sec, whereas models before the M7 had used an entirely mechanical shutter and could therefore continue working in the event of a flat battery- or no battery.

The M7 also brought aperture priority to the M range, a feature that has found a place in a number of M bodies, but not all, since, and it was the first M to feature a DX code reader to automatically set the ISO for the internal metering system by ‘reading’ a code printed on the film cassette.

Ironically, while the slightly modern M7 will descend in to history with its new-fangled electro-wizardry, two perhaps less helpful film models will continue the previous traditions of fully mechanical shutters and all-manual operation. The MP and the M-A remain on the product list, though the MP seems to be widely listed as Out-of-Stock in official Leica stores.

For more information see the Red Dot Forum and the Leica website.

Red Dot statement

Leica M7 Film Camera Discontinued

Today marks the passing of a legend, the venerable Leica M7. First introduced in 2002 as the follow-up to the M6, the Leica M7 brought a more modern aperture priority mode and electronically-controlled shutter to a classic mechanical M design. The M7 was also the first M camera with a built-in DX code reader for ISO detection. The camera has been well-loved for over 15 years, but all good things must come to an end.

Effective immediately, Leica will no longer produce any more new M7 cameras, in black or silver. There still might be a handful in stock at various dealers, but once sold out, no more will be coming from Wetzlar. The same goes for the a la Carte program. No M7-based configurations will be accepted or built for customers wanting a custom camera.

While this is certainly sad news for analog lovers, fear not. The Leica MP and Leica M-A film cameras remain current items in the catalog and will continue to be produced.

Articles: Digital Photography Review (dpreview.com)

 
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Thoughts and Field Test of the Fujifilm X-H1 Camera

30 May

This spring, the Fujifilm X-H1 was released to the masses. It’s touted as the company’s camera with the most video features to date, even topping the popular X-T2. As long-time owners of the Fujifilm X-Pro2, my husband and I jumped on the X-H1 bandwagon early, sending in our preorder the day it was announced.

Our main intention was to use it to support our new venture into videography. In the short couple of months that we’ve been shooting with the Fujifilm X-H1, we’ve found it to be not only a superior camera for video but for still photography as well.

Here are our thoughts so far. This camera is most comparable to the Fujifilm X-T2, which is already a respectable video performer. We don’t have the X-T2 but will make some comparisons to the X-Pro2 that we do have.

fujifilm x-h1 mirrorless camera

Key Specs

  • First announced in February 2018
  • 24-megapixel X-Trans APS-C sensor
  • 5-axis in-body image stabilization (IBIS)
  • Touchscreen rear LCD with 2-axis tilt
  • 3.69M-dot OLED viewfinder
  • DCI and UHD 4K video capture at up to 200 Mbps
  • Slow motion 1080p (from 120 and 100 fps)
  • Internal F-log capture
  • New film simulation – Eterna
  • 24-bit audio capture
  • Timecode
  • Dual UHS-II compatible SD card slots
  • Anti-flicker shooting mode
  • Built-in Wi-Fi with Bluetooth
  • Currently priced at $ 1899 USD for body-only; $ 2199 when bundled with the VPB-XH1 vertical battery grip.

What’s New?

Physical Body

Compared to most other Fujifilm cameras, such as the X1ooF and X-Pro2, the X-H1 is much bulkier, but that isn’t necessarily a bad thing. Much of the bulk comes from the camera’s larger hand grip and buttons, making it much easier to carry the camera.

The X-H1 also ads an AF-On button for those who prefer using back-button autofocus. It also has top-panel LCD similar to a DSLR. In practice, the top-panel LCD seems unnecessary, especially since it takes the place of the Exposure Compensation dial that is present on the X-Pro2 and X-T2.

fujifilm x-h1 mirrorless camera

New Quiet Shutter Mechanism

This is among our favorite features of the X-H1: its shutter is whisper-quiet, offering a soft yet audible click when a photo is taken.

Not only is the shutter quiet, it also allows the camera to offer an Electronic First Curtain (EFC) shutter mode. EFC allows you to reduce the risk of shutter shock without increasing the risk of rolling shutter.

5-Axis In-Body-Stabilization (IBIS)

For videomakers, in-camera stabilization is key for helping capture smooth footage. The X-H1 is Fujifilm’s first camera to include IBIS and right off the bat, we’re impressed with its performance.

When activated and used with an image-stabilized lens, capturing smooth hand-held video footage is easier than ever before. As an added bonus, IBIS also helps you shoot still photos at low shutter speeds.

fujifilm x-h1 mirrorless camera - sunset shot

Improved Video Performance

Although based on the same sensor and processor as the X-T2, the Fujifilm X-H1 boasts significantly improved video features. Shooting options have been extended to include DCI 4K and UHD 4K shooting. If you’re unfamiliar with the two terms, here’s a quick summary. DCI (short for Digital Cinema Initiatives) 4K is 4096 x 2160, while UHD (Ultra High Definition) 4K is 3840 x 2160. For videos winding up on YouTube or TV, UHD is fine. But for videos that will be projected in theaters, DCI 4K is a better choice.

The X-H1 also allows for recording F-log footage internally. In video-terms, shooting in log format is like shooting in RAW. Your log footage tends to be less saturated and less detailed so that you can color grade (post-process) the video footage to your liking later. F-log made its debut on the X-T2, but it could only be done via an external recorder. The X-H1 is Fujifilm’s first camera that allows for the recording of F-log directly to an SD card in 4K.

Another vital video feature making its Fujifilm debut on the X-H1 is 120 fps slow motion video. It can only be recorded at full HD, but the slow-motion video quality has been stellar, especially when paired with IBIS.

fujifilm x-h1 mirrorless camera - shot of a car in the mountains

New Eterna Film Simulation

Fujifilm has long been known for their excellent color reproduction, even back in the days of film photography. Thankfully, that is passed down in Fujifilm digital cameras in the form of film simulation modes. They’re similar to the color profiles offered in digital cameras from Canon, Nikon, and Sony.

Until recently, Fujifilm had six unique film simulation modes on its cameras: Provia, Velvia, Astia, Classic Chrome, PRO-Neg STD, and PRO Neg HI. The X-H1 is the first camera to ship with Fujifilm’s seventh film simulation, Eterna.

Designed for videographers, Eterna is characterized by more muted, subdued colors and rich shadow tones. Our observations so far are that Eterna is designed for further color grading in post-production, and also to attract the video viewer’s eye to the action in the scene and away from the rest of the frame.

fujifilm x-h1 provia film type - car next to a field

What could be improved

One of many things to love about Fujifilm is that they really listen to their customers. Kaizen firmware updates are frequent and they add useful features that build on the cameras. Here are a few things we’d like to see rolled out in firmware updates, or in the next version of the X-H1.

Physically, the chunky handgrips and the bigger buttons are appreciated for improved ergonomics. However, the missing exposure compensation dial is a big disappointment. Also, the rear LCD having only a two-axis tilt is limiting; it needs to be able to fully swivel to appeal to the vloggers and also make it easier to shoot from different angles.

Finally, battery life and video recording limits on this camera leave much to be desired. The X-H1 limits 4K video recording to 15-minute clips. This can be extended to about 29 minutes of shooting in 4K if you use the optional battery grip. However, the battery grip adds lots of bulk to the camera, making it less pleasant to shoot with.

fujifilm x-h1 mirrorless camera

Hopefully, Fujifilm will take a cue from Sony and their new NP-FZ100 battery, which arguably is the best-performing battery for mirrorless cameras at the moment.

In Conclusion

The Fujifilm X-H1 is the first of a new line of cameras that make the bold statement that Fujifilm is a viable alternative for videomakers. This camera builds on the already credible video features of the X-T2 by taking it a step further with the addition of features such as Eterna film simulation and 5-axis IBIS. If you’re a serious video maker, keep an eye on the X-H series. It will only improve more with each new release.

Overall Rating: 9/10

To hear more about our experience with the X-H1 and how it compares to the X-Pro2, check out the video below featuring the main Fujifilm shooter of the two of us: my husband Martin.

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NASA photographer Bill Ingalls’ camera melted in fire caused by rocket launch

30 May
Credits: NASA/Bill Ingalls

Last week, a tweeted image of a melted camera belonging to NASA photographer Bill Ingalls caught the Internet’s attention. In a statement clarifying the matter, the space agency explained the story behind the image, saying, “His creativity and efforts to get unique images are well known within the agency and to those who follow it.”

Ingalls has worked as a NASA photographer for 30 years. In its statement published Friday, NASA explained that Ingalls knows where to setup his cameras, and that a grass fire caused by the GRACE-FO launch on May 22 was behind the damage. Though Ingalls had placed two cameras outside of the launch pad safety perimeter, the melted camera was one of four placed within the perimeter.

Speaking with NASA, Ingalls said, “I had six remotes, two outside the launch pad safety perimeter and four inside. Unfortunately, the launch started a grass fire that toasted one of the cameras outside the perimeter.”

Despite the camera casualty, NASA says the memory card within the camera survived the fire. The space agency published a GIF of the fire as it moved toward the camera, which recorded its own demise. NASA says it’ll “likely” display the melted device at its Washington DC headquarters.

Via: NASA

Articles: Digital Photography Review (dpreview.com)

 
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Not your ordinary camera bag: Rhake waterproof pack with Camera Capsule insert review

26 May

The Rhake Weatherproof Bag + Camera Capsule
$ 365 (bag) + $ 130 (insert) | MissionWorkshop.com

The Rhake pack has a roll top giving it a decent degree of expansion.

The Rhake waterproof backpack by Mission Workshops doesn’t look like an ordinary camera bag – instead it looks a lot more like a high quality bike messenger pack or something you might take on a weekend trip when packing light. And that’s the point. The bag’s 22L main compartment is designed to be multi-functional. Once you slide the Capsule Camera insert ($ 130) into the Rhake you have a camera bag with a utilitarian design, albeit with a very high price tag.

The Capsule Camera insert that slides into the Rhake pack.

Though this pack is not designed specifically with photographers in mind, I was intrigued to find out just how functional it could be.

Specifications

  • Exterior: 21 x 13 x 5 in / 53 x 33 x 13cm
  • Interior Volume: 22L
  • Capsule Insert: 9.75 x 17.75 x 4.25in / 25 x 45 x 11cm
  • Laptop Compartment: Dedicated 17in Exterior Pocket
  • Weight: 3.1lbs / 1.4kg

Design & construction

The first thing I noticed about the Rhake was the high quality construction – Mission Design guarantees their products for life – which makes me believe that this thing was built to last. The bag is made of weatherproof nylon fabric called HT500 that is apparently exclusive to the company. It gives the pack an understated look and a good degree of water and stain resistance.

The Rhake pack’s laptop compartment can fit up to a 17″ computer. The pack also has a dedicated tablet compartment.

The second thing I noticed about this bag was the amount of organizational pockets. There are technically two zippered compartments that are large enough to fit a laptop (a dedicated exterior pocket, shown above left, and a second one within the 22L main compartment). On the back of the bag, opposite the exterior laptop pocket, there is a mesh water bottle pocket that tucks away when not in use.

There are numerous options for organization within this bag to suit your tastes

The front of the Rhake features a dedicated 10” tablet pocket and two accessory pouches (one at the top of the bag and one at the bottom) for stashing chargers, spare batteries or other items that need to be accessed quickly.

There are two zippered front pockets with plenty of room to organize smaller odds and ends. There are also two accessory pouches, one at the top (accessible via the roll top) – and one at the bottom (accessible via zipper).

There are also two larger zippered front pockets, one of which is filled with three smaller interior zippered mesh pockets. In short, there are numerous options for organization within this bag to suit your tastes.

The straps are well-padded and a horizontal strap offers added stability.

The back of the Rhake is made of perforated foam and there is a luggage handle pass-through for use with roller bags. The straps have a nice amount of padding and feature an additional horizontal buckled strap.

The camera insert can be accessed from the top of the bag. A look inside the Rhake pack once the camera insert has been removed.

The Camera Capsule insert is accessed from the top of the Rhake pack. The inside can be customized to your taste using the padded partitions. There’s also a back pocket in the insert where you can slide in an 11″ laptop or tablet.

A close-up look inside the Camera Capsule insert. I was able to fit two bodies, several lenses and a flash.

In the field

All of my photographer friends who saw the Rhake in action immediately complimented the style of this bag. It looks good, and it can comfortably hold a large amount of gear. I loved the many organizational pockets and those tiny mesh interiors were a great place for all of my miscellaneous items that I end up with at a shoot.

Once it’s packed, the front is snapped together and the top rolled shut, the Rhake pack is a surprisingly compact gear bag with the ability to expand to hold a large amount of equipment.

Its compact silhouette made it a good for riding the subway (even during rush hour) and hauling it around didn’t make me feel like I was in danger of destroying a shoulder.

There’s no way to access most of the gear stored within the Camera Capsule insert unless you completely remove it from the bag

Unfortunately, there is one glaring design flaw with the Rhake: there’s no way to access most of the gear stored within the Camera Capsule insert unless you completely remove it from the bag. For some photographers, this might seem like a minor oversight; after all the Rhake is a multi-functional bag, but I found this design element to be really inconvenient. It was easy enough to access my main camera body through the top zipper, but if I wanted to switch lenses I needed to totally unpack the 22L compartment – which is kind of a pain when working in the cramped quarters of a dark music venue.

When the bag is fully packed it also takes a little bit of elbow grease to remove the Camera Capsule from the main compartment. I imagine that with more use the bag’s structure will become less tight, but on the shoots I took the Rhake to I found myself having to spend a few extra moments safely removing the capsule from the bag. The Camera Capsule essentially fills the 22L compartment, making it difficult to stash anything else in there (a jacket, supplies for an overnight trip, etc.). I’d be curious to see how the Rhake would function with smaller camera inserts like the Topo Camera Cubes.

What’s the bottom line?

The Rhake’s construction is high quality, the design is aesthetically pleasing and it can hold a good deal of gear without looking bulky, making it great for everyday use. But the bag is pricey and the multi-functionality aspects make certain elements of the design inconvenient for photographers. Ultimately, if you’re looking for a dedicated camera bag, there are other more cost-friendly and functional options out there. However, if you want a pack that can pull double duty as a bike bag or a weekend travel pack, the Rhake might be for you.

What We Like:

  • Utilitarian design
  • Durable construction
  • Slim profile
  • Ample organizational pockets
  • Holds a lot of equipment
  • Multi-functional bag, could be used as a camera bag or for something else

What We Don’t Like:

  • High price tag
  • Inability to access lenses in Camera Capsule without unpacking

Rating:

Articles: Digital Photography Review (dpreview.com)

 
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RED and Lucid unveil 8K 3D camera that produces 4V holographic video in real time

26 May

Computer vision company Lucid and cinema camera maker RED have partnered to create an 8K 3D camera that can capture 4-view (4V) holographic images and video in real-time. The camera is designed to work with RED’s upcoming holographic Hydrogen One smartphone—both by shooting holographic content that can be viewed on the phone’s 4V screen, and by using the modular phone as a “viewfinder.”

The camera itself (which has yet to be named) will be made by RED, but it will be powered by Lucid’s “real-time 3D Fusion Technology.” This tech generates 3D/4V footage in real-time, promising to turn a processing-intensive task into “an instantaneous point-and-shoot experience.”

The camera looks like any other RED cinema camera… sort of. Except instead of one 8K sensor the camera uses two “perfectly hardware-synced” 4K sensors and a beam splitter to capture and output 8K 4-view footage. That footage can be viewed after the fact or even live using the upcoming RED Hydrogen One smartphone, which will be able to integrate directly into the RED 3D/4V and act as a 3D viewfinder.

It’s important to not that this isn’t just a concept. RED and Lucid had a working prototype shooting scenes at the Hydrogen One launch party on May 19th.

If you see this as a gimmick—and an expensive one at that—you’re probably not alone. But Lucid CEO and Co-Founder Han Jin has faith the world is ready for, and in fact craving, 3D/4V content you can digest without goggles or glasses.

“This partnership allows us for the first time to deliver the highest-quality 3D capture to our customers, and now they can view the content immediately in 3D/4V without headsets,” says Jin via press release. “At a time when two of the biggest challenges in the industry have been resolution and easy viewing of 3D content, we believe this is the solution everyone has been waiting for.”

We don’t have official pricing and release date information just yet. All Lucid and RED will reveal is that the camera—colloquially called the RED 3D/4V but still officially unnamed—will “be rolled out” in Q4 of 2018. To learn more about Lucid’s tech or this strange new camera, read the full press release below or visit the Lucid website.

Press Release

Lucid Partners with RED to Build 8K 3D/4V Camera for Hydrogen One

Collaboration will result in the first camera to convert full 8K 3D/4-View (4V) holographic images and videos in real time and the capability to dynamically adjust lens distances for the best 3D focus and zoom

Santa Clara, CA – May 22, 2018 Lucid, the maker of the first VR180 3D camera, LucidCam, announces today it is working with Hollywood camera maker RED to build the next generation prosumer 3D/4-View (4V) camera for 8K video and image capture. The new camera is the first dual camera to give users full 8K video and picture capabilities converting to 4V in real-time while allowing them to shoot like professionals with dynamically adjustable lens distances for the best 3D focus and zoom. By attaching the soon-to-be-released modular holographic phone–RED Hydrogen One–to the camera, users will be able to view 3D/4V content in post and live as if it were the viewfinder.

The new RED camera is powered by Lucid’s real-time 3D Fusion Technology, transforming the time and processing-intensive 3D/4V workflow into an instantaneous point-and-shoot experience users crave. The look and feel of the new camera sticks to RED’s previous designs, but this time it has two perfectly hardware-synced 4K cameras which leverage a beam splitter to capture and convert the output to 8K 4V (.h4v) files. Once the content is created, all the high resolution 3D/4V videos and images can be distributed on YouTube and Facebook as well as through RED’s curated content universe.

“Having RED as a partner allows us to combine the best of both worlds – the highest resolution and quality hardware from RED with the most advanced software, our 3D Fusion Technology,” said Han Jin, CEO and co-founder, Lucid.

The RED and Lucid partnership enables both companies to extend their customer reach. Over the past year, Lucid has shipped and sold thousands of its VR180 3D LucidCams through Amazon and Best Buy as well as direct to consumers online, confirming the market interest and demand for creating and consuming such content. With Lucid’s solid consumer base and RED’s base of independent filmmakers and Hollywood producers, the new camera meets the need of a large, combined audience. The magic of 3D, VR and AR videos and images created by both the LucidCam and the RED 3D/4V camera can be enjoyed on the Hydrogen One without the hassle of wearing headsets.

The unique functions of the Hydrogen One phone in combination with the new 3D camera were showcased with a live 3D/4V preview at RED’s launch party on May 19th. Many people came to experience the holographic display capabilities, which provide a unique ability to let users look around and behind objects through 4-Views, and allow for viewing 3D, VR and AR content without any glasses or goggles. This phone also attaches easily to RED’s new camera and can act as a 3D viewfinder.

“This partnership allows us for the first time to deliver the highest-quality 3D capture to our customers, and now they can view the content immediately in 3D/4V without headsets,” said Jin. “At a time when two of the biggest challenges in the industry have been resolution and easy viewing of 3D content, we believe this is the solution everyone has been waiting for.”

The camera will be rolled out in Q4. Exact pricing is to be announced, as is the name of the camera. It will be sold through RED and its reseller channels.

For more information about Lucid, visit www.lucidcam.com.

Articles: Digital Photography Review (dpreview.com)

 
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Sony reveals camera strategy: aims to be the top camera brand by 2021

25 May

In a recent presentation at its investors relations day in Tokyo, Sony was not shy about its ambitions in the photography market. According to the presentation, Sony intends to occupy the top slot in the overall camera market by the end of 2020 by boosting its interchangeable lens systems to beat back Canon and Nikon.

Already doing quite a good job of grabbing market share, the company has told investors that it plans to expand its lens business and push towards the professional market while ‘strengthening products’ in the interchangeable lens camera segment.

Despite predicting only very modest growth in 2018 and acknowledging that competitors are becoming more aggressive, the company told investors that it will “win in an increasingly competitive market and continue to generate high profit” in the mid-term. Citing its crop of awards from TIPA, EISA and Camera GP Japan to back up the claims, Sony stated that it intends to broaden the range of lenses it offers and to expand its professional support services worldwide.

According to figures shown at the event, Sony achieved a 20% share of the still camera market in 2017 by value, and managed to rank third behind Canon and Nikon. It says it was the number one brand in the mirrorless market, and was number one in the premium compact business.

To learn more about Sony’s plans, check out the whole Sony Imaging Products and Solutions Segment presentation here.

Articles: Digital Photography Review (dpreview.com)

 
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