Tag: Capture

Canon releases 1D X Mark III firmware update to fix lock-up issue, add 23.98p video capture

As it had promised a few weeks back, Canon has released a firmware update (version 1.1.0) for its 1D X Mark III DSLR camera that addresses the lock-up issue we first reported on in early March. In addition to the lock-up issue, the update addresses a few other ‘enhancements and fixes.’

First and foremost, firmware version 1.1.0 corrects a problem that would cause the camera to lock up when the electronic level is set to ‘Show’ in the viewfinder display and the shutter or AF-ON button is pressed. Below is a video from DPReview reader Hamilton Pytluk, who shared the lock-up issue in action:

The update, which was released on March 31 and only recently brought to our attention, also fixes an issue where the ‘Custom Shooting Mode’ settings could change when the shooting mode is switched and adds the option for a 23.98p frame rate option. Canon has also improved the communication speed when connected via wired LAN, added a ‘Browser Remote’ function and added the ability to transfer only images that are protected.

You can find the firmware update, available to download on both macOS and Windows computers, on Canon Europe’s 1D X Mark III support page.

Articles: Digital Photography Review (dpreview.com)

April 8, 2020
Video: How to capture abstract macro photographs using little more than paper and lights

Considering most of the world is well into a few weeks of self-isolation, you’ve probably photographed nearly everything you can in your household, leaving little left to document. Now, it’s time to get really creative and to help make the most of a rough situation is Ben from Adaptalux, who’s shared a 15-minute video showing how you can capture abstract macro photographs using little more than a few lights, a few sheets of paper and a little bit of creative thinking.

Throughout the 15-minute video, Ben walks through a number of different setups and other variations you can experiment with to capture the macro abstract photographs, but the basic tools you’ll need on hand include a camera, a close-up capable lens, a tripod (not necessary, but will very much simplify the process), at least one light source, several sheets of white paper, paper clips (or bobby pins) and a flat surface that’s either transparent or translucent.

While Adaptalux lights are unsurprisingly mentioned in the video, any lights should do and if you have a few gels sitting around, you can get extra creative by mixing up colors.

If you prefer a non-visual explainer, Adaptalux has also published an accompanying blog post on its website that details the process. You can find more tutorials on Adaptalux’s YouTube channel, where it offers up a complete playlist dedicated to ‘Macro Photography Tutorials.’

Articles: Digital Photography Review (dpreview.com)

April 7, 2020
Apple patent shows its working on panoramic light field capture technology

A newly-published Apple patent, filed back in September 2019, details a light field panorama camera system seemingly intended for use in future iPhone and iPad devices. The technology would enable the average consumer to capture large light field panoramas of a particular scene by moving their device using gestures. The resulting content could be rendered and viewed on the device or using some type of head-mounted display (HMD), including VR headsets.

According to Patently Apple, which first spied the patent, Apple details technology that would build upon its current AR efforts by enabling its consumer devices to capture complex 3D scenes. To do this, the user would need to move their light field-equipped iPhone or iPad in a gesture, such as moving the device in a swooping infinity symbol, to capture light field images of the environment from multiple angles.

A flow-chart provided within the patent filing that shows the process of capturing, processing and viewing the resulting imagery.

A rendering engine would process the individual images into a 3D panorama with six degrees of freedom (6DOF) made possible using the light field technology. As a result, the viewer would have the ability to look above and behind objects, zoom in on areas of the scene and view different angles of the environment. The patent follows Google’s acquisition of light field camera technology company Lytro in 2018.

Unlike conventional cameras, a light field camera system captures both the intensity of the light from a scene and the direction the light rays are traveling in space. The additional data gathered by light field camera systems enable new types of experiences, including the one detailed by Apple.

The patent indicates that Apple’s system may use the sensors in the iPhone and iPad to capture position, motion and other similar metadata alongside the images, the combination of which would contribute to the final light field panorama. The combination of captured images and metadata could then be used to render different views of the same 3D scene, according to the patent, ultimately giving the user six degrees of freedom for exploring the panorama using an HMD like a VR headset.

This would differ substantially from a traditional 360-degree panorama, which is captured from a single point, only allowing the viewer to move their head around within the rendered 3D scene. Light field panoramas will appear more realistic, keeping objects in their correct positions as the user moves around within the scene, which could realistically render from different angles as the user has a look around.

It’s no secret that Apple has been heavily focusing on augmented reality technologies; its most recent iPad Pro model underscores this effort with the inclusion of a LIDAR sensor.

Just a few of the possible movements you could use to capture the scenery using your Apple mobile device.

In its announcement of the 2020 iPad Pro last month, Apple said the new LIDAR sensor ‘delivers cutting-edge depth-sensing capabilities, opening up more pro workflows and supporting pro photo and video apps,’ specifically with augmented reality in mind. The sensor works by measuring the distance of objects that are as far as 5m (16ft) away.

Apple went on to explain:

‘New depth frameworks in iPadOS combine depth points measured by the LiDAR Scanner, data from both cameras and motion sensors, and is enhanced by computer vision algorithms on the A12Z Bionic for a more detailed understanding of a scene. The tight integration of these elements enables a whole new class of AR experiences on iPad Pro.’

The future expansion of these capabilities using light field technology wouldn’t be surprising, particularly in light of ongoing rumors Apple is working on AR/VR gear. With that said, and as with any patent, it is possible we’ll never see this technology make its way into a consumer product. Per usual, Apple has not commented on the patent.

Articles: Digital Photography Review (dpreview.com)

April 4, 2020
Phase One Industrial launches 280MP dual-lens aerial system with four-band capture

This isn’t your everyday camera setup

Phase One Industrial has announced the release of the iXM-RS 280F, a new 280-megapixel large-format aerial photogrammetric system.

The dual-lens metric camera system is mounted onto Phase One Industrial’s DSM400 gyro mount and uses a pair of 90mm lenses to capture incredibly detailed images for commercial purposes. In addition to capturing RGB images, Phase One is also offering an additional configuration that will simultaneously capture both RGB and near-infrared (NIR) images at the same time. This simultaneous capture requires yet another camera that will use a 50mm lens for capturing the four-band (R, G, B, NIR) imagery, which can be output distortion-free and color corrected in JPEG or TIFF formats.

Sales are currently live, but the ‘full solution’ pricing, which includes the iXM-RS 280F large format camera, Applanix GNSS/IMU receiver (POS AV series), Somag gyro-stabilized mount (DSM 400), Phase One iX Controller and iX Flight Management software, starts at $ 455,000.

Press release:

Phase One Industrial Redefines Large Format Aerial Imaging Launches 280MP Aerial Solution

Challenges Status Quo with Imaging Precision, Flexibility and Affordability

COPENHAGEN – Phase One Industrial, a pioneer in digital imaging excellence, today launched the 280MP Aerial Solution – a large format aerial photogrammetric system, with an image coverage width of more than 20,000 pixels – enabling unprecedented high quality aerial survey productivity. Compact and lightweight, this new aerial mapping solution can reduce operating costs and produce better returns on investment than today’s traditional large format systems.

The Phase One Industrial 280MP Aerial Solution is a large format camera system that easily integrates with DSM400 gyro-stabilized mount creating a compact and lightweight system for use in a wide range of aircraft. At its heart, the iXM-RS 280F is a dual lens metric camera, with 90mm lenses for capturing RGB information, providing precision imaging. Adding a near infrared (NIR) camera generates a 4-band configuration, most useful in agriculture & forestry and pipeline monitoring missions.

The iXM-RS280F camera generates a central projection image from two 150MP nadir images with equal ground resolution. The cameras’ backside illuminated (BSI) CMOS sensor supports very high dynamic range at 83dB. Its high light sensitivity provides superb image quality in challenging low light conditions, enabling operators to take advantage of more flight hours per day and more flight days per year.

Dov Kalinski, General Manager of Phase One Industrial said, “Our 280MP Aerial Solution is a bold and innovative approach to solving customers’ demands for affordable and reliable aerial mapping performance. Previously, opportunities in the aerial mapping business were restricted due to high cost of equipment and limited aircraft options. While pioneering superior image quality, Phase One Industrial is creating more profitable possibilities in this exciting and important market.”

The Phase One Industrial 280MP Aerial Solution

The Phase One Industrial 280MP Aerial Solution consists of an iXM-RS 280F large format camera, Applanix GNSS/IMU receiver (POS AV series), Somag gyro-stabilized mount (DSM 400), Phase One iX Controller and iX Flight Management software. It is unprecedented in its image quality, operational flexibility, reliability and affordability.

Availability and Pricing

The iXM-RS 280F camera and 280MP Aerial Solution may be ordered from Phase One Industrial partners worldwide starting now.

Full Solution pricing (with Applanix POS AV 310 and Somag DSM 400) starts at USD 455,000.

For more information, please visit: https://industrial.phaseone.com/Aerial_System_280MP_System.aspx

Articles: Digital Photography Review (dpreview.com)

March 30, 2020
Canon confirms the EOS R5 will capture internal 8K/30p video, offer ‘advanced animal AF’

In an uncharacteristic move, Canon Australia has published a press release revealing a number of new details pertaining to the specifications of its upcoming EOS R5 mirrorless camera, in what appears to be an effort to quiet the ongoing speculation regarding what ‘8K’ capabilities the camera will offer. Spoiler alert: Canon’s video-limiting days may be over.

Canon confirms in the press release the EOS R5 will offer 8K internal video recording using the full width of the sensor at up to 30 frames per second (fps). In addition to no crop shooting, Canon notes all 8k modes for the EOS R5 will support Canon’s Dual Pixel CMOS AF technology.

Canon also says the R5 will support ‘advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible.’

Historically, Canon has been suspected to limit the video capabilities of its non-cinema camera products in order to minimize cannibalization, a name given to the problem of losing sales within a company’s own product lineup by putting what’s considered premium features and capabilities in lower-cost products.

These new details don’t confirm Canon has taken an entirely altruistic approach to its EOS R camera development, but it does show Canon is getting serious about video in its mirrorless lineup and is determined to make a statement in the market compared to the likes of the Sony’s a7 III and Nikon’s Z7, two full-frame mirrorless cameras that have, until now, been above and beyond what Canon has offered with its EOS R and RP mirrorless cameras.

Sydney, AUSTRALIA, 13th March 2020: Canon INC has today released further development specifications for its recently announced Canon EOS R5, the next-generation full-frame interchangeable lens camera in the company’s EOS R System. These additional details come exactly one month since Canon released the development announcement of the EOS R5 and shut down speculation that some of its revolutionary specifications are ‘a fantasy’.

Signalling a new phase of Canon 5-Series imaging and a revolution in the mirrorless full camera category, Canon’s EOS R5 will offer every photographer – not just professionals – access to high-quality imaging, cutting-edge 8K movie recording, new approaches to in-body image stabilisation, and revolutionary subject detection and tracking performance features.

New possibilities for movie performance
Unleashing new possibilities, Canon Inc. confirms the EOS R5’s video capabilities will exceed that of competing cameras on the market¹. With its ability to internally record 8K using the full width of the sensor at up to 30p, the latest Canon EOS R camera is set to redefine mirrorless with its market-leading features. In addition, in all 8K modes the EOS R5 will support Canon’s renowned Dual Pixel CMOS AF.

A beast for subject detection and tracking performance for animals and people
Canon Inc. also confirms the EOS R5 supports advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible.

Jason McLean, Director – Consumer Imaging & Services, Canon Australia, said: “Our EOS 5-Series was developed fifteen years ago to make full-frame cameras accessible to consumers, not just professional shooters. Today, that purpose remains steadfast as we continue achieving the ‘impossible’ to deliver the hybrid needs of content creators who are demanding uncompromised performance to generate more still and motion visual content than ever before.”

“With its game changing 8K movie capabilities, new approaches to image stabilisation, revolutionary subject detection, and compatibility with Canon’s full suite of EF² and RF lenses, the EOS R5 represents a category revolution as opposed to product evolution in the interchangeable-lens camera market.”

The EOS R5 specifications previously confirmed by Canon include:
• The EOS R5 offers a step-change in performance with an incredible 12fps using the mechanical shutter and the electronic shutter offering 20fps
• The EOS R5 takes Canon’s cutting-edge image stabilisation technology to the next level, by including a newly Canon-developed, in-camera image stabilisation system – which works in combination with the lens stabilisation system
• With content delivery just as important as image and video capture, the EOS R5 supports automatic transfer of image files from the device to the image.canon cloud platform³
• The highly anticipated EOS R5 will feature dual card slots
• Upon launch, the Canon EOS R5 will also be supported by Canon Australia’s 5-year warranty when purchased from an authorised local dealer⁴.

To stay up to date with the latest news and information regarding the EOS R5, register here: www.canon.com.au/preference-and-settings/in-focus.

¹ As of 13th March 2020
²When used with Canon’s EF-Series lens mount
³Automatic file transferring, available for cameras equipped with the automatic file transfer function, beginning with the currently-in-development EOS R5 (announced on 13 February 2020), requires users to connect the camera to a Wi-Fi access point that has been registered in advance
⁴For full details on Canon Australia’s 5 year warranty, visit https://www.canon.com.au/support/warranty

Articles: Digital Photography Review (dpreview.com)

March 14, 2020
How to Use Photoshop and Capture One Pro Together

The post How to Use Photoshop and Capture One Pro Together appeared first on Digital Photography School. It was authored by Darina Kopcok.

Capture One Pro is a RAW processor with incredible performance and functionality, but it doesn’t completely replace Photoshop.

In order to get the most out of your RAW file, you might want to do as much of your post-processing as possible in Capture One (COP). However, you’ll still need Photoshop for retouching.

COP offers fantastic color management and adjustment tools, but Photoshop allows you to work on the individual pixels in a file via cleaning techniques, cloning, and layers. Photoshop also allows you to create composites.

The process of using Photoshop and Capture One together has been automated since version 10, just like it is between Lightroom and Photoshop.

Instead of having to manually open an exported file into Photoshop and then reimport it back into the Catalog or Session, your file can quickly and easily make a “round-trip”, starting in Capture One.

How do Capture One Pro and Photoshop differ?

There is a lot of conversation around which program is better – Capture One or Photoshop? But there’s not much point in comparing the two programs in this way because they’re very different. They’re meant to do different things, as Lightroom and Photoshop are also meant to do different things.

Photoshop is the standard for image manipulation across various disciplines, such as graphic design, graphic art, and, of course, photography. It’s a powerful program for retouching, composting, creating website mockups, and adding effects to images.

On the other hand, Capture One is a RAW editor and asset management tool, such as Lightroom and Camera RAW. It is made by Phase One, manufacturers of medium format cameras.

Because Photoshop and Capture One have their strengths in different areas, you’ll get the most functionality out of using them together. Some photographers and retouchers prefer to focus on Photoshop alone, which is certainly a viable choice. However, there are benefits to using Capture One as an additional software program. It has powerful masking, layer, and color tools.

One of these benefits of using Capture One is the advanced tethering capabilities that the software offers.

If you’re a studio photographer, or otherwise find shooting tethered to a computer indispensable to your workflow, you’ll find Capture One outstanding in this regard.

It allows you to use Live View, artwork overlays, and also offers stability and lightning speed. Capture One technology uses direct access to the camera, which enables Live View and advanced controls. Other tethering programs copy files such as camera proprietary programs save the captures to an SD card and call it “tethered capture.” However, it’s actually a “file copy.”

The steps for using Capture One and Photoshop together

Your photo can make a “round trip” in Capture One and Photoshop.

You can open the image in Photoshop via Capture One, retouch it, and then send it back to Capture One. Lightroom and Photoshop work in tandem the same way.

With Capture One, you can finalize your image within the program and send it to an external editor, like Photoshop.

Capture One is an asset manager, so you’ll probably want to put it back alongside your original file in the Catalog or Session where it’s stored.

You can then refine it further, or create Variants (like Virtual Copies) in black & white, color grading, etc. if you choose.

To initiate the round-trip process, follow these steps:

1. Start with the Basic Tab:

Right-click on the image itself or on the thumbnail. This will initiate a dropdown menu. Choose >Edit With. This will bring up a Dialog Box.

Do not choose >Open With. This function is just for opening up the image in another program, while >Edit With will create a new file and place it next to the RAW file.

If you don’t see Photoshop as an option in the dropdown, just click on >Other and navigate to Photoshop in your applications and click on it.

In the Dialog box, choose >PSD and your desired bit depth – 8-bit or 16-bit.

Choose the desired color profile – sRGB for web use only, or Adobe RGB.

Choose 100% for Scale to the image is full-sized.

2. Under the Adjustment Tab:

Choose to ignore crop, if desired.

Add additional sharpening if you want to do so at this stage.

3. Under the Metadata tab:

Check off any metadata parameters you want included in the file.

Click on >Edit Variants. The image will open up in Photoshop.

“Edit Variants” refers to a single file, instead of batch processing.

Once your image is open in Photoshop, do your retouching as you normally would.

When you’re ready to take your image back into Capture One, close the file and hit >Save.

Note that Maximize Compatibility must be checked to work properly.

Now when you go back to Capture One, you’ll see your PSD file in the filmstrip.

From here, you can make new variants, which work similarly to Lightroom Virtual Copies. You can convert your image to black & white or make variations with different color grading, such as warmer or cooler shadows. This can be handy for showing a client some variations on your work to find out what they would prefer.

Conclusion

Users of Lightroom are often hesitant about making the switch to Capture One or other RAW processors outside of the Adobe suite because of the learning curve associated with a new piece of software. They also worry about having to alter a workflow they may have spent years refining.

If this describes you, never fear. As you can see, your images can make the round trip through Capture One and Photoshop just as seamlessly as they do using Lightroom.

And If this is one of the major reasons you’ve been holding off on a change, you may want to download the free 30-day trial to Capture One and test it for yourself. The best RAW processor is the one that is best for your needs.

Have you tried using Photoshop and Capture One together? What are your experiences and thoughts on it? Share them with us in the comments!

The post How to Use Photoshop and Capture One Pro Together appeared first on Digital Photography School. It was authored by Darina Kopcok.

Digital Photography School

March 11, 2020
5 Ways to Capture More Diverse Landscape Photos

The post 5 Ways to Capture More Diverse Landscape Photos appeared first on Digital Photography School. It was authored by Jeremy Flint.

One of the most challenging things with landscape photography is to capture images that stand out. Planning to get to a destination at the right time is the easy part, and usually requires minimal effort. So when you have arrived at your location, how do you go about capturing more diverse landscape photos?

Well, there are several ways to represent greater diversity in your landscape images. Read on to discover how to make your landscape photos more interesting.

1. Minimalist scene

1/400 sec at f/11, Canon 5D Mark IV, 70-200mm f/2.8 lens

The first thing to consider when you are out in nature doing landscape photography is to decide what you are going to capture.

You may decide to photograph the entire view of the beautiful scenery in front of you. However, while executing a wide-angle shot of everything in the scene is a great way to start, why not try simplifying a scene to make it stand out.

Take a moment to think about what is actually appealing about the landscape. Are there any interesting features on show? What elements help to make the landscape look stunning? Is there an attractive outbuilding or a tree, for example?

I find limiting the number of components in a scene helps to convey the spirit of a place more fluently. Try adopting a “less is more approach” and bring certain elements together, such as a visually enticing cloud formation or evocative mist floating over an alluring landscape. The natural light and components within a scene can play an important part in the overall composition and look of your final image.

2. Extract patterns

1/100 sec at f/11, Canon 5D Mark IV, 70-200mm f/2.8 lens

Have you ever felt your landscape images are overly complicated or lack impact?

Another great technique to capture more diverse landscape photos that depict a location in a better way is to draw out patterns or details within the environment.

One method to do this is to shoot with a long lens from afar and compress the perspective to reduce the sense of space. A long lens helps to focus on capturing a certain part of the landscape, bringing near and far objects closer together and emphasizing shapes and patterns more effectively. An example of this may be to capture an attractive building with a field.

3. Aerial views

When looking to capture diverse landscape photos, a great way to alter the perspective of your shots is to vary your viewpoint. Shooting from a high viewpoint provides a great way to capture scenes from an angle that people may not normally see. This can be a good strategy to photograph something new and develop some creative landscape photography.

Elevated views can help to flatten the perspective of your image as it eliminates distance indicators. You can reduce the amount of sky in your photos and concentrate on creating images with interesting shapes. You can achieve aerial views by walking up to a higher vantage point, or shooting from a plane or hot-air balloon, for example.

1/180 sec at f/11, Canon 5D SR, 24-70mm f/2.8 lens

4. Shoot in overcast conditions

Don’t limit your landscape photography to sunny days or only wait for perfect light to appear, you can achieve diverse landscape photos in all weathers.

Capturing a scene in overcast conditions can lead to particularly striking results. The flat lighting will remove shadows and help to simplify a scene. Also, the reduced contrast will help to provide a simpler and more minimalist composition.

Overcast skies provide beautiful diffused light that can be really appealing for landscape photography.

5. Shoot fleeting light

Working with light can be a great way to capture remarkable images. With the right amount of light and cloud, you can convert a dull scene into a special scene, taking your photos to the next level.

For example, after a storm has passed, interesting light can transform a photo of the landscape into something incredible. This is especially so where the sun paints the land with magical pockets of light.

The precise combination of light, sky, and atmosphere can be blended to create an incomparable beauty within a frame.

1/320 sec at f/8, Canon 5D Mark IV, 24-70mm f/2.8 lens

Following a rain shower, keep a lookout for rainbows, as they provide an extraordinary addition to your pictures and help them to stand out. Remember to ensure your gear is kept dry during any rain too. That way, your camera will work well when capturing these great lighting moments after the rain has stopped.

Conclusion

In summary, you can capture more diverse landscape photos by applying a few important techniques. Go for a minimalist look by focussing on attractive elements within the landscape, and extract patterns by using a long lens to compress the perspective.

Shoot from above, shoot in overcast conditions, and capture momentary light and rainbows for more varied landscape images.

Apply these techniques next time you are out with your camera photographing the landscape and share your pictures with us below.

Do you have any other tips for capturing more diverse landscape photos? Share them with us also.

The post 5 Ways to Capture More Diverse Landscape Photos appeared first on Digital Photography School. It was authored by Jeremy Flint.

Digital Photography School

March 11, 2020
Capture One Pro 20 update adds support for 7 new camera bodies, 6 new lenses
Capture One has announced an update that adds support for seven new camera bodies from Fujifilm, Nikon, Canon and Olympus as well as six new lenses from Sony, Nikon and Pentax. A handful of bugs have also been squashed along the way.

As for new camera body support, Capture One version 20.0.3 now supports the Fujifilm X-T4, Fujifilm X100V, Nikon D780, Nikon D3500, Canon EOS M100, Canon EOS M200 and the Olympus TG-6. Capture One emphasizes in its press release (embedded below) the new support for the Fujfilm X-T4, saying it is the first company to offer ‘official support’ for Fujifilm’s newest APS-C camera system.

Below is a list of the lenses the update adds support for:
- Sony FE 24mm F1.4 GM (SEL24F14GM)
- Sony FE 600mm F4 GM OSS (SEL600F40GM) + 1.4X Teleconverter (SEL14TC)
- Sony FE 600mm F4 GM OSS (SEL600F40GM) + 2X Teleconverter (SEL20TC)
- Nikon AF NIKKOR 24mm f/2.8D
- Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G
- Pentax D FA 150–450mm F4.5–5.6 ED DC AW
In addition to new camera and lens support, Capture Pro One 20 also addresses a number of smaller bug fixes across both the macOS and WIndows versions. You can find a full list of the fixes within Capture One’s release notes.

Capture One version 20.0.3 for macOS and Windows is now available in multiple versions. Capture One Pro 20 can be purchased with a perpetual license for $ 299 or as a subscription starting at $ 20.99 per month. Capture One Pro (for Sony) and Capture One Pro Fujifilm are available to purchase with a perpetual license for $ 129 or as a subscription starting at $ 9.99 per month.

Capture One has a complete list of supported cameras and lenses on its website. You can download a free 30-day trial of any version of Capture One Pro if you want to take it for a spin before buying or subscribing.
Capture One update brings first Fujifilm X-T4 support

Fujifilm’s newest flagship APS-C camera is now officially supported by Capture One 20 in a release that also brings further fixes & hardware support

COPENHAGEN, March 3rd, 2020: Capture One, the leading name in photo editing software, celebrates the release of Capture One version 20.0.3 which sees the company offer the first official support to the Fujifilm X-T4 – plus support for additional new cameras and lenses from other brands. Since 2018, Capture One and Fujifilm have enjoyed a unique collaborative relationship; working together to further develop the software, and to enable Fujifilm users to get the most out of the X-Trans sensors. This service release also includes bug fixes for Capture One 20.

Capture One offers Fujifilm photographers a suite of tools unmatched by other photo editing software, including the ability to utilize Fujifilm’s critically acclaimed and globally beloved Film Simulations such as Acros, Provia, and Classic Chrome. With Capture One, these Film Simulations are not restricted to JPEGs, but can be used with RAW files, allowing for the most powerful and flexible image processing ability, and one that is distinctly Fujifilm.

The collaboration also allows Capture One and Fujifilm to support the photographic community by providing full tailored support to Fujifilm’s newest cameras upon launch. From the moment it is released, X-T4 owners can rely on Capture One 20’s industry-leading image quality, tethering, and precise lens correction.

Unlike other RAW processors, Capture One’s camera profiles are individually measured, a process that requires the use of the camera in and out of the controlled lab in Copenhagen, where a team of specialists engage the camera in numerous different scenarios. The team then evaluates performance parameters such as color, sharpness, and noise across hundreds of images and uses that data and experience to provide a truly tailored profile, ultimately providing the best post-processing experience possible, and one that is distinctly Fujifilm.

New camera and lens support

New camera support:
New lens support:
For a complete list supported cameras, please go to: www.captureone.com/features/supported-cameras

Pricing and Availability

Capture One 20.0.3 for Mac and Windows is now available in several versions and free to current Capture One Pro 20 customers.

For new customers Capture One is committed to providing customers a choice when it comes to how they acquire their software, so Capture One Pro 20 is available for purchase, or via subscription. The perpetual license for Capture One Pro 20 is available for $ 299, with upgrade pricing from previous versions starting at [add correct price]. Capture One Pro (for Sony) and Capture One Pro Fujifilm are available for $ 129.

For those who prefer subscription models, Capture One Pro 20 is available for plans as low as $ 20.99 per month, and Capture One Pro (for Sony) and Capture One Pro Fujifilm subscription plans start at $ 9.99 a month.

For a complete list of all products and licensing options, please visit: www.captureone.com/store to learn more.

A 30-day fully-featured free trial of Capture One 20 is available. Download the trial here: www.captureone.com/download
Articles: Digital Photography Review (dpreview.com)
March 4, 2020
Vital Tips to Capture Fast-Action Photos
The post Vital Tips to Capture Fast-Action Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Whether you’re photographing cars racing down the track, athletes running across a field, or your kids playing in the yard, it can seem impossible to get tack-sharp photos of fast action. If you have ever struggled to capture fast-action photos, you’re not alone. Lots of people deal with the same issue!

Fortunately, it’s not as difficult as it seems. With a few simple tweaks to your photography process, you can get great action photos in no time at all.

Nikon D750, 112mm, f/4, 1/350 second, ISO 500

A major element of action photography involves knowing where to position yourself and what to look for.

In addition to that, there are some critical camera functions you need to understand and know how to control if you want to get the kinds of shots you see in sports magazines. Mastering a few shooting techniques will help you get the kind of fast-action photos you’ve always wanted.

Taking a picture is pretty simple. You press the shutter button, your camera initiates autofocus, and then it takes the picture. A quick beep-beep might sound once focus is acquired, or you might see a dot or square light up in the viewfinder of your camera. That works great for still subjects, but if you want to capture fast-action photos, you’re going to need to adjust your settings.

Nikon D750, 140mm, f/2.8, 1/1500 second, ISO 100

Use the right autofocus mode

Understanding how to use autofocus to capture fast-action photos is one of the first and most important steps you can take.

Autofocus first came to prominence in 1985 on the Minolta Maxxum 7000 camera. Ever since then, it has continued to evolve. Now, modern cameras have a host of ways to configure and control this basic feature.

Every camera has a variety of autofocus modes. They go by different names depending on the manufacturer, but, in general, you can expect the following on any given camera.
- Focus-and-lock: Once focus is acquired, it will not change until you take a picture or re-focus.
- Continuous focus: Your camera will constantly adjust focus as your subject moves.
- Manual. Not recommended for most fast action. It can be good if you know exactly where your subject will be at a specific point in time, but in general, it’s best to use autofocus.
Your camera will also have a few settings for how it computes autofocus. Names will vary but they will be something like the following.
- Full auto: Your camera decides what to focus on without any input from you.
- Expanded AF or Group: You use multiple focus points to keep the subject in focus instead of just a single dot or square.
- Tracking: You set a focus point and your camera will maintain focus continuously until you take a picture. You will see the focus point move around as your camera adjusts to keep the subject in focus.
Nikon D7100, 200mm, f/3.3, 1/1500 second, ISO 100

To capture fast-action photos, you will need to use one of the final two modes and make sure you set your camera to continuous autofocus. There is so much unpredictability with action shots that you want to use all the smarts and capabilities of your camera to help you out.

Tracking modes are particularly useful on newer cameras since the algorithms used to lock on subjects and track them are very advanced.

If your camera has a tracking option, I recommend using that, but Expanded or Group modes work well too. They give you a little more freedom and wiggle room compared to relying on one single autofocus point.

Back Button Focus

Back button focus is more of a technique than a camera setting. While it’s going to feel really weird at first, it will make your life a lot easier when capturing action photos.

Instead of using the shutter button to focus your camera, you use a button on the back of your camera.

Back button focus might seem counterintuitive since it feels like autofocus would go hand-in-hand with clicking the shutter button. There are some good reasons to use back button focus, though, especially when it comes to capturing fast-action photos.

When you set your camera to continuous autofocus and use the shutter button to engage autofocus, it can be difficult to keep the button half-pressed while following your subject around. Back button focus lets you track your subject continuously with a firm press of your thumb.

Then whenever the decisive moment hits, you press the shutter button to get the perfect shot. Or you can start snapping pictures well before the moment arrives and continuing to maintain focus with your thumb.

Nikon D7100, 200mm, f/2.8, 1/1500 second, ISO 100

Almost every camera can do back button focus, but you will need to change a few menu settings to enable it. Do an online search for your exact camera along with the words “back button focus,” and you should find the information you need.

It took me about a week to train my mind to use back button focus, but now I use it all the time, even on casual everyday photos.

It works so well once you get used to it!

Embrace Auto-ISO

When shooting action photos, the most important thing is to get images that are tack sharp. A well-composed shot won’t mean anything if your subject is blurry (unless, of course, you are trying to capture motion blur), so that means you need to use a fast shutter. And that often means embracing higher ISO values, especially when shooting indoors where there isn’t nearly as much light as outside.

Fortunately, Auto-ISO can take the guesswork out of your action shots.

You can set a minimum shutter speed and a maximum ISO value and let your camera take care of the rest. Most modern cameras look great up to ISO 6400, and many can go well beyond that while still maintaining enough color and detail to be usable.

Nikon D750, 80mm, f/4, 1/500 second, ISO 2000. A fast shutter speed might be overkill for people just walking, but I wanted to be absolutely sure they were tack sharp. Auto-ISO chose a value of 2000 which was perfectly acceptable.

My Auto-ISO settings for action are minimum shutter speed of 1/500 second (or 1/1000 second if my subjects are moving really fast) and maximum ISO value of 6400. You will need to experiment to find out what your comfort level is and what settings you prefer.

Shoot in Aperture Priority

This tip piggybacks on the last one, though just like back button focus, it might seem counterintuitive.

If you need a fast shutter speed to capture fast-action photos, why not shoot in Shutter Priority? Because Aperture Priority and Auto-ISO let you get the best of both worlds.

Using this technique, you can worry a lot less about getting a properly exposed shutter, free of motion blur. That way, you can concentrate on composing your shot while your camera does the rest.

Nikon D750, 35mm, f/4, 1/1000 second, ISO 100

When you shoot in Aperture Priority with Auto-ISO, you can set the aperture that gives you the right depth of field. That means you don’t have to think about other elements of exposure because your camera is going to stay within the shutter and ISO parameters you set.

If you know you are in a low-light situation, you can increase the aperture size or dial in a higher ISO value for Auto-ISO.

I shoot in Aperture Priority so I can control the depth of field while making sure I always get a tack-sharp photo. That’s because I know my shutter speed will never go below 1/500 second.

If you have never tried this when shooting action photos, you might be surprised at how well it works!

Nikon D750, 200mm, f/2.8, 1/1000 second, ISO 100. I used a large aperture to make the kids in the background blurry and focus the viewer on the child in the middle. My camera figured out the ISO and shutter speed based on my Auto-ISO parameters.

Adjust your viewpoint

When shooting any style of photos, you need to make sure you compose the scene in your camera from the proper point of view. That might mean kneeling, sitting, or even lying on the ground.

Sometimes you might find yourself sitting on top of a ladder or in the bed of a truck to get a higher vantage point. The goal, especially with action shots, is to take your pictures in such a way that they are dynamic, interesting, and help put your viewers in the middle of the scene.

Nikon D7100, 200mm, f/2.8, 1/350 second, ISO 100. I shot this so it looks like the disc is coming right towards the viewer.

When shooting fast-action photos, you can’t always control your surroundings, and in that case, you might need to move around.

There might be physical barriers like guardrails, fences, or other people in your way. One solution is to sit there and settle for whatever happens. However, a good action shooter will move around until they find the vantage point that works best for the shot. (Within reason, of course. Be polite about it, and certainly don’t do anything illegal!)

Nikon D750, 105mm, f/4, 1/1000 second, ISO 200. I should have scooted over to get that table out of the foreground. A simple adjustment on my part would have made for a better image.

One factor you can’t control when taking fast-action photos outdoors is light and weather.

It might be cloudy or sunny, windy or calm, rainy or clear, and there’s nothing you can do to change it.

What you can do is adjust your viewpoint accordingly to get the best shots. Position yourself such that your subjects aren’t backlit, and make sure to have protective gear for your camera if the weather is bad.

Take a lot of photos!

What’s the best-kept secret for capturing fast-action photos? Take a ton of pictures!

When you see a perfectly-composed shot of your favorite athlete on the cover of a magazine, there are a thousand similar images sitting unused on a hard drive that weren’t good enough.

If you want one great photo, you need to be willing to take a lot of mediocre photos and sort through to find the keepers.

All cameras can shoot in high-speed bursts. This is critical for action photos since you never know which picture will be just the right one.

Often the only limitation is the size of your camera’s internal buffer or the rate at which your camera transfers images can to a memory card.

Nikon D500, 200mm, f/2.8, 1/1500 second, ISO 100. The 10fps burst rate on my camera made this image possible. I shot about 30 images but this was the best one.

You will need to check your camera manual or do some online searching to find out how to enable burst mode on your camera. Just don’t think you can take a few pictures and get the perfect shot.

Professional action photographers will take thousands of pictures of a single game or event, and only a handful will be published.

The same holds true for you: if you want to get great action photos, you need to take a lot of photos.

What are some of your tips and techniques to capture fast-action photos?

Are there things that have worked for you that you would like to share with others?

Leave your thoughts in the comments below. And if you have some examples of action shots you would like to share, make sure to include them too!

The post Vital Tips to Capture Fast-Action Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Digital Photography School
February 23, 2020
10 Tips for Switching from Lightroom to Capture One Pro
The post 10 Tips for Switching from Lightroom to Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.

Capture One Pro 20 was launched recently, with improvements to the Basic Color Editor, noise reduction, and other tools and features. It offers improved DNG support and has added functionality with several cameras. If you’ve been thinking of switching from Adobe Lightroom to Capture One Pro, now may be the time.

Capture One Pro color grading tools are unparalleled and the ability to work in Layers gives you more options in your workflow.

If you’re nervous about the learning curve associated with yet another piece of software, don’t worry – knowing Lightroom will give you a great foundation for learning Capture One Pro.

The two programs basically work the same in that they allow you to make edits non-destructively by saving them in a database and keeping track where the images are stored.

Here are ten tips that will help you when switching from Lightroom to Capture One Pro.

1. Import your Lightroom Catalog

The fact that you can migrate your Lightroom catalog into Capture One Pro is a great nudge to make the switch. It’s a simple process that involves only a few quick steps.

Migrating will not have an impact on your Lightroom catalog, and you can continue to use it as you normally would.

One thing to note is that while edits such as Exposure, Highlights, Shadows, White Balance and Rotation will be imported seamlessly, every single adjustment might not translate. This is often the case with some color settings.

For a step-by-step guide on how to migrate your Lightroom Catalog into COP, go here.

2. Familiarize yourself with the Capture One interface

There is a big difference between the Lightroom and Capture One Pro interface.

While Lightroom has separate tabs for the various workspaces such as the Library and Develop modules, Capture One has an all-in-one workspace. Instead of jumping around from module to module for specific functions, all of the tools in Capture One (COP) are at your fingertips.

The various panels in COP are called Tools. They are organized under various Tabs.

One awesome feature is that you can actually mimic the Lightroom workspace until you familiarize yourself with the program and decide how you want your workspace to look.

To do this, simply go to Window->Workspace->Migration.

3. Customize your tools

The key to getting the most out of Capture One Pro’s awesome functionality is to customize your tools. The tools in COP are highly customizable, which is another bonus to switching from Lightroom.

You can move the tools around and you can set up a Tab containing only the tools you regularly use.

For example, you can move your White Balance Tool to the Exposure panel, similar to how it’s set up in Lightroom.

Right-click on the Tab to add a tool or remove it. You can also float your tools by dragging them onto the image itself.

4. Catalogs and Sessions

Capture One offers two management systems: Catalogs and Sessions. Both have their pros and cons.

As far as organization goes, a COP Catalog is similar to a Lightroom Catalog. Think of Sessions as being similar to Lightroom Collections, but with additional functionality.

Catalogs are most suitable for organizing large volumes of images, whereas Sessions are used for individual shoots.

Sessions provide a simple, folder-based workflow. They give you the ability to browse any folder on your computer without having to import images. Your adjustments are placed in a subfolder next to the images.

Sessions are great for on-set workflow and tethered shooting, and are generally seen as the more efficient option. Sessions allow you to store all the files from a single project together.

Once you have migrated your Lightroom Catalog into COP, you can build and structure your photos into sessions if you choose.

When you create a new Session, Capture One creates five folders on your hard drive. It creates a main folder with the name of your session. This folder contains the following:
- Capture: contains the RAW files
- Output: contains converted JPEGS, TIFFS, etc
- Selects: images you’ve marked as a “select”
- Trash: images you’ve deleted during capture.
Any images that you delete during your COP session will go into Trash, but won’t be deleted from your disk until you physically delete them from this folder.

I use both Catalogs and Sessions. My recommendation is to use Catalogs based on genre.

Or if you shoot only in one or two genres like I do, you might want to separate commercial work form editorial work, stock photography, or personal photos, for example. Create an organizational system that works for you.

5. Get to know the Color Editor

Many photographers who make the switch from Lightroom to Capture One Pro say that the color quality is unparalleled by any RAW editor out there, especially when it comes to natural-looking skin tones. In fact, it has its own editor for skin tones.

If you’re used to the HSL sliders in Lightroom, the color tools are an area that will feel very new to you and may require some getting used to.

Color Editor – Tool Icon

You can use the Color Editor with masks. It’s split into three tabs: Basic, Advanced, and Skin Tone.

The Basic Tab is divided into eight color ranges, represented by a color wheel, and one that encompasses the whole spectrum. Here you can use sliders that affect Hue, Saturation, and Lightness.

To work on a certain color, click on the Eyedropper Tool and then click on the color in your image you want to edit. Sliding vertically on the area will affect the Saturation. Sliding horizontally affects the Hue.

In my image below, I worked individually on the oranges without altering anything else. This comes in handy when you’re working on a photo with various hues of the same color, by helping you target only those colors you want to alter.

6. Practice working with Layers

One of the best features that Capture One Pro has to offer is the ability to work in Layers.

These layers are similar to the layers in Photoshop in that they work with masks, but they function like targeted adjustments in Lightroom.

Masks determine where on the layer your adjustments will be applied. You can create masks in multiple ways. For example, you can brush them in, just like with the Adjustment Brush in Lightroom.

Click on the brush and paint over the area you want to work on. By default, the area will be indicated in red. It will only show up when you’re painting unless you hit the shortcut “M” to keep it on permanently.

You can use the shortcut key “E” to erase any areas that you want to subtract.

You can make changes to exposure, contrast, clarity, saturation etc.

Be sure to name each layer when working with multiple layers to keep track of the various edits you’ve made to your image.

To do this double-click on the Layer name and type in a new name.

7. Play around with creating style

Are you used to working with Presets? Capture One Pro offers the same capability – another reason not to hesitate about switching from Lightroom.

What you know as a Preset in Lightroom is called a Style in Capture One Pro.

Capture One Pro also has “presets,” but they include only one Tool and are accessible from within that Tool. Styles contains several Tools to create a pre-determined look.

The same way you can purchase presets from various third-parties, you can also purchase Styles from Capture One Pro/Phase One.

To test out some free sample Styles, go to this link from Capture One Pro.

8. Copy your adjustments

You can copy your adjustments from one image to another, just like you can in Lightroom.

Go to the upper-right-hand corner of the interface and click on the arrow up icon.

Click the arrow down icon to paste them to your images.

9. Try Process Recipes

Process Recipes are similar to Export presets, but you can select several at one time. Once you set them up, they can make your workflow a lot quicker and more efficient. No more tinkering with dialog boxes!

Each recipe includes the output file format information and location information. There are also options for watermarking, metadata, and sharpening, etc.

You can create a specific process recipe for images that you want to export for social media use, with lower resolution and optimal pixel dimensions for social sharing.

Or you can create a recipe for printing your images for your portfolio or for postcards to send as promotional pieces. You can even export multiple recipes at the same time by checking off their respective checkboxes.

You can find Process Recipes under the Output Tool Tab noted with green in the screenshot below.

Note that COP has created some Process recipes to get you started.

To create a new Process Recipe, click on the arrow in the lower right-hand side of the panel. Rename it with any name you like – for example, “Instagram.”

It will give you all the options for exporting the photo, as seen in the first picture, including the Output Location and Output Naming conventions.

10. Try shooting tethered

One of the best things about switching from Lightroom to Capture One Pro is the outstanding tethering ability.

Although Lightroom has improved its tethering capabilities in the last couple of years, it’s still buggy and has a tendency to crash. COP leads the way in tethering in the photographic industry with its instant tethered capture technology.

With tethered capture in Lightroom, your camera also goes to sleep when you’re not using it. This is a massive pain if you’re working in a studio with a client. COP stays open as long as you keep the tethering session open.

You can also use Live View and Layout Overlays. This is really handy if you’re shooting a magazine cover or product packaging where you have to work around the placement of text.

Lightroom doesn’t have Live View functionality unless it’s paired with camera proprietary software, such as Canon EOS Utility. Capture One Pro, on the other hand, allows you to use Live View with natural light or strobes at the click of a button.

Conclusion

Hopefully, these tips have given you a better idea of how easy it is to make the switch from Lightroom to Capture One pro.

Only you can decide which RAW editor is for you. However, with its reputation for color quality, all-in-one workspace, and tons of ways to keep you organized and make an efficient workflow, Capture One Pro is totally worth checking out.

You can try a 30-day free trial to help you decide.

The post 10 Tips for Switching from Lightroom to Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.

Digital Photography School
February 12, 2020