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Posts Tagged ‘Control’

The new BenQ SW271 27″ 4K monitor gives photographers full color control

02 Nov

BenQ has launched a new monitor designed for professional photographers who need both high resolution and extremely accurate colors: the 27″ SW271. This model builds upon the company’s previous SW2700PT display, offering support for HDR10 alongside a 4K 3840 x 2160 resolution and the maker’s AQCOLOR technology.

With the AQCOLOR tech, users are given total control over the display’s color via hardware calibration and the maker’s Palette Master Elements software. The inclusion of advanced hardware color calibration helps enable the SW271 to meet strict color accuracy standards, according to BenQ, which says its display is ideal for “color-critical applications.”

Users have the option of viewing content simultaneously in different color spaces via GamutDuo, plus there’s a Hotkey Puck for toggling between the monitor’s various modes, including: 99% Adobe RBG coverage, 100% sRGB/Rec. 709 coverage, 93% DCI-P3 coverage, plus a Black & White option.

Monitor connectivity includes DisplayPort 1.4 and HDMI 2.0; there’s also an SD card reader, USB-C, and a USB 3.1 port. The shade featured in the above image is included with the monitor and can be removed. The monitor is available now for $ 1,100 USD.

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Press Release

BenQ’s Dynamic SW271 Monitor Offers Professional Photographers Picture-Perfect Performance

New 4K HDR-Enabled Color-Accurate Display Comes Equipped With BenQ’s AQCOLOR™ Technology and USB-C™ Connectivity

COSTA MESA, Calif. — Nov. 1, 2017 — BenQ America Corp., an internationally renowned provider of visual display solutions, today introduced a new 27″ 4K UHD (3840×2160) monitor that offers professional photographers unprecedented color accuracy through new AQCOLOR technology, high specifications and picture-perfect performance.

Building on the success of its award-winning predecessor the SW2700PT, the SW271 sets a new benchmark for image quality. The HDR10-enabled monitor allows users to see their images and videos in a wider dynamic range than a typical monitor. The sleek display is user friendly and offers colors so true that it brings out the fine detail and creative essence of every photo, whether it’s been taken by a seasoned professional or an amateur hobbyist.

BenQ’s AQCOLOR technology allows users to have complete color control over images. AQCOLOR uses a combination of hardware calibration, BenQ’s signature Palette Master Elements software and Technicolor® Color Certification, which ensures the monitor meets the strict color accuracy standards used in Hollywood and the entertainment media.

“We are proud to present the SW271, which joins our full line of professional monitors developed for photographers,” said Steve Yang, Senior Director at BenQ America Corp. “The SW271 brings users specialized tools and advanced hardware calibration for color-critical applications. It also has USB-C™ connectivity for transmitting video and data signals using just one cable for convenience.”

With 99% Adobe RGB, 93%DCI-P3 and 100% sRGB/Rec. 709 coverage, users are given an unrivalled image performance for visual perfection in professional photo editing. The SW271 also features Delta E?2, with its true 10-bit IPS panel and advanced 14-bit 3D lookup table (LUT). GamutDuo enables users to view content simultaneously in different color spaces side-by-side, and a Hotkey Puck allows users to effortlessly switch between a variety of modes, such as Adobe RGB, sRGB and Black & White modes.

The monitor also features an SD card reader, USB 3.1, USB Type-C, HDMI 2.0, and DisplayPort 1.4 ports. A detachable shading hood is also included to reduce the monitor’s screen glare.

The BenQ SW271 monitor retails at $ 1,099. For more information on the SW271, see http://www.benq.us/product/monitor/sw271 and to view the full line of BenQ creative class monitors, visit http://www.benq.us/product/monitor/creative_class/.

Articles: Digital Photography Review (dpreview.com)

 
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The Control Room app lets you control Lightroom from your smartphone

10 Oct

Need to spice up your Lightroom editing experience on the desktop? No need to wait for whatever Adobe has waiting for us at AdobeMAX, you can try out the Control Room app instead. Available for both Android and iOS, the app lets you control all of your Lightroom sliders (and more) from your smartphone, allowing you to lean back and edit the photos on your desktop without touching a mouse or keyboard.

The app was created by software engineer and photographer Aaron Vizzini, who only recently decided to share his creation with the general public.

Using Control Room, you can both edit and manage (rate, flag, create rapid collections) your photos using your smartphone as the control pane. Any changes you make on your device will update in real time on the computer through a companion plugin. It’s exactly as seamless as it sounds:

Whether or not this will actually help speed up your Lightroom workflow is entirely dependent on you, but the idea, at least, is pretty neat. To learn more about Control Room or get the $ 4 app for yourself, head over to the iTunes App Store or Google Play, and then visit the Control Room website to download that plugin as well.

Articles: Digital Photography Review (dpreview.com)

 
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How to Use a Tilt-Shift Lens Creatively and for Perspective Control

14 Sep

When you hear tilt-shift lens or tilt-shift photography, there is a probability that an image looking like a miniature model crossed your mind. That is because, over the years, tilt-shift lenses have become synonymous with this style. The miniature look is interchangeably referred to as the tilt-shift effect and you can even recreate it in post-processing. These lenses though have quite a few other strengths that are worth considering.

tilt-shift lens - miniature effect

The miniature look that is affiliated with tilt-shift lenses.

So why use a tilt-shift lens?

The simple answer here is for perspective control. If you compare your regular lenses to a tilt-shift lens, you will notice they are built differently. The latter is designed to physically move (tilt, shift and rotate) independent of the camera and each other. This design feature gives you remarkable control over perspective and depth of field. In fact, a tilt-shift lens is also known as a perspective control lens.

How to Use a Tilt-Shift Lens Creatively and for Perspective Control

Left: Shot with the camera pointing up to capture the entire scene. Right: Lens shifted to minimize distortion.

Tilt Versus Shift

The tilt function gives you the ability to keep different elements of focus on different planes. Thus you can shoot two subjects at two different distances. With a regular lens if you want to shoot at a wide aperture, you usually have to make a focus choice of either the foreground or background. A tilt-shift lens allows you to have both your subjects in focus.

The shift function allows you to minimize distortion (common when using wide angle lenses) when you are shooting from a high or low angle. It also helps correct vertical line convergence (tilting buildings).

Tilt-Shift Lens Uses

Architecture

When photographing architecture, the shift function helps you maintain proper perspective. Ordinarily, when you want an entire building in your frame, you tilt your camera up. If you have ever tried this, you will be familiar with images where the buildings appear to be leaning backwards.

How to Use a Tilt-Shift Lens Creatively and for Perspective Control

Church shot at 24mm with a standard lens.

This skew is caused by the sensor plane of the camera being titled in relation to the building. Ideally, you want the sensor perpendicular to the ground and pointing straight ahead/centered. With a tilt-shift lens, instead of angling your camera upward, you “shift” the lens. Since the camera stays put and only the lens physically shifts, your building will be straight. This technique is very helpful when shooting interiors with high ceilings.

Church shot at 24mm with a tilt-shift lens.

Landscapes

In landscape photography, one of the primary uses of a tilt-shift lens is to minimize wide angle lens distortion. Another great way to use this lens is for panoramic shots. A common challenge with panoramas is after the shots are stitched together there is still some distortion to be corrected. When this distortion is corrected in post-production, you may lose part of your scene. By using the shift function of the lens, you can create high resolution distortion free panoramas with negligible post-processing work.

Creative uses of tilt-shift lenses

Miniatures

The tilt function of the lens is responsible for that miniature look you are likely familiar with. A miniature effect is when you take a life-sized scene and make it appear as if it’s on a miniature scale. The lens here is used to add blur to the photo which simulates shallow depth of field. This mimics the look you get when you use a macro lens to shoot a miniature scale model.

How to Use a Tilt-Shift Lens Creatively and for Perspective Control - miniature effect

The blur above and below creates a perception that your camera is only inches away from the scene.

To create this type of look, you need to be elevated at least 10 feet /3 meters (recommended higher if possible). Elevation gives you that same perspective as if you were looking down on a miniature model. So other than the subject, a high vantage point is key for these types of photos.

How to Use a Tilt-Shift Lens Creatively and for Perspective Control

The tilt function allows you to creatively add blur (in this image the blur is on the right side).

Note: Shooting wider gives you a better sense of place.

Portraits

Shooting portraits with a tilt-shift lens can be quite creative. At the very basic level, you are now able to capture in focus two subjects (or a group), even though they may be at different distances from the lens.

Another creative use is capturing someone walking towards or away from you. As you know, a moving person can quickly be out of focus. But with a tilt-shift lens, you have the ability to extend your plane of focus to the front and back of your walking subject so they stay sharp even at different distances.

Bonus: The Scheimpflug Principle

The Scheimpflug Principle is where more of your subject plane is in focus (from near to far) and refers to what looks like a near-infinite depth of field. To achieve this great “depth of field”, you tilt the plane of focus in the same direction as the plane of the subject – which puts the image in focus at various points along the subject plane.

By Fil Hunter at English Wikipedia – Transferred from en.wikipedia to Commons by Jacopo Werther., Public Domain

For example, if you are shooting a field of flowers going off into the distance and you want to have all of the flowers in focus. Shooting at a small aperture will work, but may (based on your lighting) increase your shutter speed – which reduces your chance of sharp flowers. By changing the plane of focus, your tilt-shift lens allows you to shoot at a wider aperture and still get all your flowers in focus.

Conclusion

The perspective control that tilt-shift lenses offer will save you a lot of time in post-processing and is also a great way to correct for depth of field limitations of most lenses. These lenses also give you a lot of depth without the need to use smaller apertures. So besides straightening tall buildings, what have you used, or hope to use tilt-shift lenses for?

Here are some other creative ideas for you. Please share your tilt-shift images in the comments below.

The post How to Use a Tilt-Shift Lens Creatively and for Perspective Control by Nisha Ramroop appeared first on Digital Photography School.


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Fujifilm X-E3 offers 24MP sensor and extensive touch control

07 Sep

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Fujifilm has announced the X-E3, sporting a 24.3MP X-Trans sensor and 4K video capture. It updates the X-E2S, which was itself a fairly minor update to the X-E2, so brings a number of welcome upgrades.

The X-E3 borrows much of its hardware from the X-T20, including a 325-point AF system with a handy new AF Area All option that activates various modes as the AF point size is changed. The camera also uses and updated subject tracking algorithm that claims better success tracking smaller and faster objects. Its predecessor’s built-in flash has been omitted, but an EF-X8 accessory flash is included in the box.

Video recording at 4K/30p is offered, taken by the full width of the sensor. Full 1080 HD can be had at up to 60p. The X-E3 continues to offer Wi-Fi, and adds the option for a constant Bluetooth low energy connection to a smartphone.

The X-E2S’s fixed 3″ 1.04M-dot LCD has been upgraded to a (still non-articulated) touchscreen in the X-E3, and a new feature called Touch Function puts additional customizable touch controls at the user’s fingertips. The camera’s rear control panel loses the directional navigation buttons in favor of touch control, but gains an AF joystick.

The Fujifilm X-E3 is expected to arrive in September in three kit configurations: body-only for $ 900, with 18-55mm for $ 1300, or with 23mm F2 R WR for $ 1150.

FUJIFILM ANNOUNCES NEW ULTRA-COMPACT X-E3 WITH 4K VIDEO, TOUCHSCREEN, UPGRADED AF TRACKING AND BLUETOOTH CONNECTIVITY; NEW FUJINON XF80MMF2.8 R LM OIS WR MACRO LENS

Latest development of the X Mount Lens Roadmap unveiled; new Firmware Updates for FUJIFILM X-Pro2, X-T2, X100F and X-T20 coming soon

Valhalla, N.Y., September 7, 2017 – As a leader in advanced digital camera technology, FUJIFILM North America Corporation today announced the new FUJIFILM X-E3 rangefinder style mirrorless digital camera with outstanding image quality and enhanced handling. The X-E3 features the latest 24.3MP X-Trans CMOS III image sensor and the X-Processor Pro high-speed image processing engine, along with a new image recognition algorithm in an ultra-compact body.

Also announced today is the new XF80mmF2.8 R LM OIS WR Macro Lens, the first 1.0x magnification mid-telephoto macro lens in the X Series lineup of interchangeable lenses. The lens features a focal length equivalent to 122mm (in the 35mm format) and a maximum aperture of F2.8 for beautiful bokeh.

Exceptional Autofocus Tracking and High-Speed Response
The FUJIFILM X-E3 features a large phase detection autofocus (AF) area and provides photographers with enhanced tracking performance for moving subjects. Equipped with a newly developed image recognition algorithm, the X-E3 is able to track moving subjects half the size, or moving twice as fast as previous models.

The X-E3 supports both Full HD and 4K video recording. Videos can be shot with Film Simulations in-camera to easily produce creative high-resolution footage.

The compact and lightweight X-E3 is perfect for quick snapshots, boasting high-speed response times including a start-up time of just 0.4 seconds, shooting interval of 0.25 seconds, shutter time lag of 0.05 seconds and autofocus speed as fast as 0.06 seconds.

Enhanced Connectivity and Intuitive Touchscreen Control
The X-E3 is the first X Series model to feature Bluetooth® low energy wireless communication. Providing photographers with enhanced connectivity, this feature offers the ability to pair the camera with a smartphone or tablet for easy transfer of pictures via the free FUJIFILM Camera Remote application.

The X-E3 features a high-resolution 3.0 inch 1.04M-dot static touchscreen LCD monitor to provide users with easy, intuitive operations in a variety of shooting and playback modes. When shooting with the X-E3, the touchscreen can be used to select the focus area, or focus on a specific point before taking a picture. For playback, users can enjoy the ability to swipe or scroll through images, double-tap to enlarge, drag an image once enlarged, along with pinch-out and pinch-in sizing. A new Touch Function feature will also be available on the X-E3, enabling users to create customized camera functions by swiping left, right, up and down on the touchscreen panel.

Ultra-Compact and Lightweight Body for Portability and Practicality
Making it the perfect companion for everyday shooting and travel photography, the new FUJIFILM X-E3 is the most compact and lightweight model with a viewfinder within the X Series interchangeable lens camera range. The X-E3 also features a Focus Lever positioned on the rear side of the camera that allows photographers to use joystick-type operations in eight directions to easily select a focus area.

The top plate features two precision-milled aluminum dials, giving the camera a premium feel and allowing users to easily adjust the shutter speed and exposure compensation while maintaining focus on taking a picture. The Exposure Compensation Dial now has the C position for exposure compensation up to ±5 stops. The new X-E3 is also equipped with an Auto mode selector lever for selecting the fully-automatic Advanced SR Auto mode where the camera can automatically select the optimum settings for a given scene.

FUJIFILM X-E3 Key Features:

  • 24.3MP APS-C X-Trans CMOS III sensor
    o X-Processor Pro
    o Start-up time of 0.4sec
    o Ultra-fast AF speed of 0.06sec
    o Offers 5.0fps live-view shooting
    o Shutter time lag of 0.050sec
    o Shooting interval of 0.25sec
  • 3.0 inch 1.04M-dot static TFT color LCD touchscreen monitor
  • Upgraded AF tracking performance
    o Newly developed image recognition algorithm to track moving subjects up to half the size, or moving twice as fast as previous models.
  • 4K video can be recorded at [3840 x 2160] 29.97p, 25p, 24p, 23.98P, 100Mbps
  • Continuous recording: up to approximately 10min
  • Full HD video can be recorded at 59.94 fps, 50 fps, 29.97 fps, 25 fps, 24 fps and 23.98 fps, and with Film Simulation effects
    o Video can be outputted to external monitor via the HDMI port and input audio from an external microphone
    o Easily connect to external HDMI monitor and turn on HDMI Rec Control to automatically enable a clean HDMI output when the camera’s shutter release button is pressed
    o Touch AF to change the focus area and refocusing according to subject movement functions in video recording
  • 25 high-performance FUJINON X Mount lenses for ultimate versatility
  • Bluetooth® low energy wireless communication to pair the camera with a smartphone or tablet device for easy transfer of pictures
  • Free FUJIFILM Camera Remote app for Remote Control function

FUJIFILM X-E3 Accessories:

  • X-E3 Metal Hand Grip (MHG-XE3)
  • X-E3 Bottom Leather Case (BLC-XE3)

FUJINON XF80mmF2.8 R LM OIS WR Macro Lens
The new XF80mmF2.8 R LM OIS WR is a lightweight, mid-telephoto macro lens designed to deliver the very best results from Fujifilm’s unique X-Trans CMOS sensor. Capable of achieving high quality macro shots, the XF80mmF2.8 R LM OIS WR features an optical construction of 16 elements in 12 groups, including one aspherical lens, one Super ED lens and three ED lenses. As the first in the X Series interchangeable lens series to have a 1.0x magnification factor, the XF80mmF2.8 achieves high resolving power and beautiful bokeh, making it a perfect lens for capturing stunning macro images.

The XF80mmF2.8 R LM OIS WR has enhanced AF capabilities utilizing a Floating Focus System that suppresses aberration. The lens also supports handheld shooting with Optical Image Stabilization. A fluorine coating has been applied to the front lens element, making it less susceptible to smudges, water and dirt, further improving its durability. The lens is also designed to be weather and dust resistant, and operates in temperatures as low as 14°F/-10°C.

FUJINON XF80mmF2.8 R LM OIS WR Lens Key Features:

  • FUJIFILM X Mount is compatible with all FUJIFILM X Series interchangeable system cameras
  • Weather-sealed at eleven points around the barrel for weather and dust resistance; operates as low as 14 degrees Fahrenheit / -10 degrees Celsius
  • 16 lens elements in 12 groups including one aspherical ED lens, one Super ED lens and three ED lenses
  • Uses Floating Focus System for improved AF
  • Optical Image Stabilization system achieves 5-stop image stabilization
  • Focus lens driven by a linear motor for fast and near-silent autofocus performance
  • Fluorine coating applied to front lens elements for improved durability
  • Compatible with XF1.4x and XF2.0x teleconverters

Updated X Mount Lens Roadmap Unveiled
Also announced is the latest development of the X Mount Lens Roadmap for developing interchangeable lenses for the X Series line of mirrorless digital cameras. The latest roadmap adds two new lenses: the ultra-wide angle zoom lens XF8-16mmF2.8 R LM WR and the telephoto prime lens XF200mmF2 R LM OIS WR. With the expansion of the high performance X Mount lens lineup, Fujifilm covers more focal lengths from ultra-wide to telephoto to support a wide range of photography styles and shooting scenarios.

New Firmware Updates Coming Soon
Fujifilm will release new firmware updates for the FUJIFILM X-Pro2, X-T2, X100F and X-T20 X Series cameras in November and December 2017 to add new functionality and improve operability. These updates will include new support for FUJIFILM X RAW STUDIO, dramatic improvements to the AF-C tracking algorithm in zone and tracking AF mode, addition of 4K video support and computer tethering functions and enhancements to touch panel operations.

FUJIFILM X-Pro2: V.4.0 Key Features

  1. Addition of 4K video mode using Film Simulation modes (excluding HDMI output for recording).
  2. Supports tether shooting via USB or Wi-Fi using compatible software* to enable transfer of images to a computer, or to control camera from the computer.
    *Requires FUJIFILM X Acquire and Tether Shooting Plug-in PRO/ Tether Shooting Plug-in (Adobe® Photoshop® Lightroom® 6 or CC is required).
  3. New AF tracking algorithm enhances AF-C to track moving subjects half the size, or moving twice as fast as previous models.
  4. Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  5. Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
  6. Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.

FUJIFILM X-T2: V.3.0 Key Features

  1. New AF tracking algorithm enhances AF-C to track moving subjects half the size, or moving twice as fast as previous models.
  2. Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  3. Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
  4. Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.

FUJIFILM X100F: V.2.0 Key Features

  1. Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.
  2. Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  3. Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.

FUJIFILM X-T20: V.1.1 Key Features

  1. Touch panel operation while looking into the electronic viewfinder.

Availability and Pricing
The new FUJIFILM X-E3 will be available in three versions in late September 2017.
The X-E3 Body, Black or Silver will be available for USD $ 899.95.
The X-E3 Body with XF18-55mm Lens Kit, Black or Silver will be available for USD $ 1,299.95.
The X-E3 Body with XF23mmF2 R WR Lens Kit, Black or Silver will be available for USD $ 1,149.95.

The new FUJINON XF80mmF2.8 R LM OIS WR lens will be available in November 2017 for USD $ 1,199.95.

Fujifilm X-E3 Specifications

Body type
Body type Rangefinder-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 6000 x 4000
Image ratio w:h 1:1, 3:2, 16:9
Effective pixels 24 megapixels
Sensor size APS-C (23.6 x 15.6 mm)
Sensor type CMOS
Color space sRGB, Adobe RGB
Color filter array X-Trans
Image
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG (Exif v2.3)
  • Raw (Fujifilm RAF, 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 325
Lens mount Fujifilm X
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Fixed
Screen size 3″
Touch screen Yes (Four-way controller functions replaced by 'swiping' on display)
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder resolution 2,360,000
Photography features
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Built-in flash No (Small external flash included)
External flash Yes
Self-timer Yes
Videography features
Microphone Stereo
Speaker Mono
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth LE
Remote control Yes
Physical
Battery Built-in
Battery description NP-W126S lithium-ion battery & charger
Other features
Orientation sensor Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Luna Display turns the iPad into a second screen, adds touch control to the Mac

24 Aug

The makers of the Astropad, an iOS app that turns your iPad into a graphics tablet for the Mac, have announced Luna Display, the first and currently only hardware solution that turns an iPad into a wireless second display for your Mac computer.

Luna is available for USB-C or Mini DisplayPort and works with your existing WiFi. The device allows you to use your Mac directly from the iPad with full support using external keyboards, Apple Pencil and Apple touch interactions including pinching, panning and tapping.

Its makers say that Luna, unlike software-based solutions, can tap into the processing power of your Mac’s GPU, allowing for a virtually lag-free user experience and images without glitching, artifacting or blurriness.

The team behind Luna is funding the project on Kickstarter where you can pre-order the device for $ 69. Delivery is expected for May 2018. The crowdfunding project has already reached its goal multiple times over, so production and shipping should go ahead as planned.

Articles: Digital Photography Review (dpreview.com)

 
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Demo: Gudsen adds ‘Mimic Motion Control’ to Moza Air gimbal

22 Aug

Chinese gimbal manufacturer Gudsen has released new firmware update for its Moza Air that offers new ways to control the motion of the head, as well as better timelapse features for long exposures. The Moza Air—which is designed for cameras ranging from CSC bodies to high-end enthusiast DSLRs—now allows operators to control the direction and angle of the head remotely just by moving a small handlebar-mounted control unit.

With the supplied thumb controller attached to a set of handle bars, the Bluetooth-paired head mimics the motion of the bars so that the mounted camera can be moved by small increments without the user even touching the gimbal.

Pitch, Roll and Yaw movements can be controlled while a read-out on the thumb controller’s screen lets you know the exact position of the head.

The second part of the update adds improved timelapse functionality, ensuring the head is still during long exposures. It does this by using a ‘move-stop-shoot-move’ process rather than a continuous moving path across the programmed points. The timelapse interface on the Moza Assistant app has also been updated, allowing more control in a clearer design.

For more information, visit the Gudsen website.

Articles: Digital Photography Review (dpreview.com)

 
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Edelkrone launches SurfaceONE 2-axis smart motion control system

11 Aug

Edelkrone has launched the SurfaceONE 2-axis motion control system which, according to its branding, is “the world’s smartest 2-axis motion control system.” The system is designed to capture straight, curved (targeted) and panning shots, all of which can be combined with a timelapse mode for smooth motion sequences.

The SurfaceONE is controlled through an Android or iOS app, and Apple Watch support will be available soon as well. Subjects can be targeted independent of distance and the system can be used as an endless slider or for automatic pans with angular speed adjustment.

When shooting timelapses with the SurfaceONE, speed, shooting interval and other parameters can be set in the app. Once set up, your camera is supported by a flexible tilting head, which allows for easy fine-tuning of the lens angle and keeps the rig stable. Edelkrone also says the SurfaceONE motor is very silent and should therefore not be audible in video clips.

More information is available on the Edelkrone website, where you can order the SurfaceONE for $ 690.

Articles: Digital Photography Review (dpreview.com)

 
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How to Take Control of Contrast Using Curves and Levels in Photoshop

07 Aug

Have you ever found your photos flat? The colors are muted and it just looks dull? That’s because it lacks contrast. Sometimes regardless of your best exposure skills, the conditions are not suited to get a wide range of tones. Not to worry though, it can be fixed in post-processing. I’ll show you my workflow for how you can take control of contrast in your images using Curves and Levels in Photoshop.

Of course, there are many ways to adjust the contrast on Photoshop, there’s even a tool called Brightness and Contrast, however, it doesn’t give you much control. What I like to do is to manipulate Curves and Levels. In this article, I’ll explain to you why and how I use these tools to boost contrast.

The issue of low contrast

Low contrast can happen for many different reasons; bad weather for example or photographing through glass. In any case, the resulting image doesn’t show a wide range of tones, in other words, there’s not enough difference between the lights and the darks.

I find this problem occurs especially while traveling, because you can’t go back to the location when the weather is better, or because you are seeing things through a pane of glass. For example, the image I will use for this tutorial was taken through the window while traveling on a tour bus.

How to Take Control of Contrast Using Curves and Levels in Photoshop

How do you know it’s low contrast?

I chose an image where the contrast is clearly low so that you can easily see the effects of every step. However, in some cases, it won’t be as obvious, but you can always review the histogram to know the tonal range of your image.

A typically correct exposure should have a histogram that reaches from black (left) to white (right) evenly spread, with the highest values in the middle. Please note that this can change if you are going for a different effect like low key or high key where you purposely choose a specific range to work with, so I am just talking about the average image here.

As you can see, in this case, all the information is concentrated in the middle tones, but it doesn’t reach the black or the white side (see histogram below). This is why the image has no contrast.

How to Take Control of Contrast Using Curves and Levels in Photoshop

Using Curves

First, we are going to manipulate the Curves tool. Remember to do it on an adjustment layer and not directly on your original (this is non-destructive editing), that way you won’t loose any information and you can always go back and start again if you don’t like the results. To do this go to the menu then: Layers > New Adjustment Layer > Curves and a new window will pop up.

Curves

You can also get to Curves on the Adjustment panel.

Curves adjustment

Inside that, you’ll find a graph with the histogram on it. The line that crosses the graph controls the contrast; the steeper it is, the greater the contrast.

Curves- How to Take Control of Contrast Using Curves and Levels in Photoshop

You can fix anchor points along the line that you can move up or down to adjust the contrast of the image. Add as many anchor points as you need. The higher right quadrant controls the highlights and on the lower left one, you have the dark tones.

Curves Anchors - How to Take Control of Contrast Using Curves and Levels in Photoshop

If you want to increase contrast, as we do in this case, add one anchor point in the lower left quadrant and slowly pull it down. Watch how it affects the dark areas of the image. Move it until you’re happy with the result. Then add another anchor point in the upper right quadrant and pull it up slowly until the highlights are bright enough for your preference. By making the straight line into more of an s-curve you will add contrast to the image.

Note: if you have an image with too much contrast the opposite can work. Pull down the highlights, and push up the dark areas on the curve to get an inverted s-curve.

After fixing the curves for the overall image, this tool allows you to fine-tune by channel. The step we did before was working on RGB, however, if you click on the drop down menu you can choose each channel to work with separately.

In this case, let’s start with the Blue channel. If you pull up an anchor point from the highlights (the upper right quadrant) you are making the sky, which is the lighter part of the picture bluer. In the left lower quadrant (the shadows) pulling the anchor a little bit down allows you to remove some of the color cast.

Next is green channel so that you can get a wider tonal range out of the forest and nature of the scene. The adjustments are very subtitle because when you are working in such detail the tools become very sensitive. Move around the graph until you are happy with the result.

Remember different light sources have different colors;  a sunset has warmer colors than at noon, artificial light can be more yellow than natural light, etc. Apart from correcting any color bias, it works to add some special effects and get creative. In the next example, you can see what happens when the graph gets completely inverted in the red channel. You can also achieve this by playing with the different presets, in this case, color negative.

 

Using Levels

Next, you want to manipulate the Levels, also using an adjustment layer. You can do this by going to the menu > Layers > New Adjustment Layer > Levels (or you can find it on the Adjustments panel just to the left of Curves). Again a new window will appear with a different graph, this represents the darkest parts of the picture (0) to the lightest parts (255).

Levels - How to Take Control of Contrast Using Curves and Levels in Photoshop

You can manipulate contrast by dragging the sliders underneath the graph, however, you will have much more control if you use the eyedroppers. This is how to work with them:

First, choose the white eyedropper (bottom one next to the graph) and click on the lightest part of the image that still has information or detail. You’ll notice how your entire image becomes lighter and brighter. Don’t worry about getting it right on the first try, you can click around on the image until you are satisfied with how it looks.

Levels white eyedropper

Levels White - How to Take Control of Contrast Using Curves and Levels in Photoshop

Then pick the black eyedropper and click on the darkest part of the image with detail. Same as the white one, try it until you get it right. You can always do some final adjustments with the sliders as well.

Levels Black - How to Take Control of Contrast Using Curves and Levels in Photoshop

Finally use the gray (mid-tones) eyedropper to set the ambiance or mood of the scene, as it will change depending on where you click. Here some examples:

 

In Levels, you can also do the selective adjustments by channel if you need.

Before and after

And there you go, when you are satisfied with your results, flatten the image by going to the menu Layers – Flatten Image. See how the histogram has a much wider range now, and the final image has more impact.

How to Take Control of Contrast Using Curves and Levels in Photoshop

Before image.

Before - How to Take Control of Contrast Using Curves and Levels in Photoshop

Before adjustments for reference.

Histogram After - How to Take Control of Contrast Using Curves and Levels in Photoshop

Histogram after Curves and Levels adjustments.

after - How to Take Control of Contrast Using Curves and Levels in Photoshop

After image.

Handling reflections – example

Remember that when you are photographing through glass there might be reflections, and when you boost the contrast these reflections will be much more noticeable. So think about that before shooting, when you are composing your image.

In order to demonstrate this for you, I made a photo while enjoying a panoramic view from a skyscraper in Milan. It was a 360 degrees glass wall, so I was bound to have a reflection. In order to use it to my advantage, I decided to place my foot strategically so that its reflection would be in between two buildings and entitled the photo “Stepping into Milan”.

Skyscraper Before - How to Take Control of Contrast Using Curves and Levels in Photoshop

Before processing.

Skyscraper After - How to Take Control of Contrast Using Curves and Levels in Photoshop

After processing, notice my foot in the lower left corner?

Dull weather – example

As I mentioned before, it’s not only shooting through glass that can give you low contrast scenes. Here I have another example that had to do with the weather. It was a very cloudy day so there were no shadows, everything looked kind of gray and the light was very flat. This too can be fixed with Curves and Levels following the previous steps.

Canal Before - How to Take Control of Contrast Using Curves and Levels in Photoshop Canal After - How to Take Control of Contrast Using Curves and Levels in Photoshop

Conclusion

Now you know that a low contrast photo doesn’t mean you’ll end up with a flat or dull image, so shoot away! I hope you found this helpful and if you have any doubts or tips about contrast, please share them with us in the comments section below.

The post How to Take Control of Contrast Using Curves and Levels in Photoshop by Ana Mireles appeared first on Digital Photography School.


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Voyager is a waterproof, smart LED light stick that you control with a phone

23 Jul

A new Indiegogo campaign is seeking funding for Voyager, a waterproof smart light stick made with LEDs, a diffuser tube, integrated battery, remote controller, and animation controller.

Voyager is the brainchild of Digital Sputnik, which says it packed all the features from its other DS products into this light stick. The company plans to offer Voyager in both 2ft / 61cm and 4ft / 123cm lengths, each version with slightly different specs.

The 2ft Voyager has a weight of 2.4lbs / 1.1kg, a resolution of 39 pixels, built-in 45Wh battery and 20 watt power draw. Compared to that, the larger 4ft Voyager has a 4.9lbs / 2.2kg weight, 83 pixels resolution, 90Wh battery, and 40 watt power draw. Both models allow photographers to use their own diffusion filters via two installation slots, and both can be used under water at depths of up to 2m / 6.6ft for up to 30 minutes at a time. A special version capable of greater depths will also be offered.

Unlike some competing lighting products, Digital Sputnik explains that Voyager utilizes LightGrading software that eliminates the need for technicians to manually adjust every light on a set, instead offering complete control from a smartphone. Assuming the Indiegogo campaign hits its $ 500,000 stretch goal, Digital Sputnik plans to add an integrated WiFi router to Voyager, enabling one unit to act as a router for other units on the set.

The Voyager campaign has thus far raised approximately $ 320,000 in funds, exceeding its $ 300,000 goal with 22 days remaining. Interested consumers can pledge at least $ 290 USD in exchange for a single 2ft Voyager unit or $ 440 USD for a single 4ft Voyager unit. Shipping to these backers is estimated to start in December 2017.

To learn more or put down a pledge of your own, head over to the Indiegogo campaign.

Articles: Digital Photography Review (dpreview.com)

 
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Photomatix Pro 6 launched with more color control and realistic-looking results

13 Jun
Example picture by Ron Pepper

UK software company HDRsoft has released version 6 of its Photomatix Pro imaging application with the promise of more realistic HDR images and better control of picture characteristics. A key new feature allows users to blend an unedited version of a picture with its HDR counterpart so that the overall effect of the process can be moderated if needed.

The software now includes a tool called Tone Balancer that offers a wider range of choices in the render that assist in making HDR images that look less manipulated than usual, while a new brush tool provided the means to select and adjust color values in local areas. Lens and perspective corrections can also be made in this version with new facilities to deal with distortion, and HDRsoft says it has made the workflow easier to manage and follow.

Photomatix Pro can be used to blend multiple images to create HDR images, and it offers controls for removing ghosted moving objects and to correct small movements in the camera between exposures. It can also be used to optimise the dynamic range of single image files. The package can be used as a standalone application or as a plug-in for Adobe’s Lightroom and costs $ 99 for new users. Owners of Photomatix 5 can upgrade for free, while those using earlier versions can get version 6 for $ 29. A free trial is available. For more information see the HDRsoft website.

Press release

HDRsoft announces the release of Photomatix Pro version 6

The latest version of their software application that helps photography pros and enthusiasts create HDR (High Dynamic Range) photos in a large range of styles, from realistic to artistic.

Key benefits in the new release include:

  • More style choice for realistic results. A new HDR rendering method called Tone Balancer adds more options and presets for realistic looking results. It is well-suited to real estate and natural style landscapes.
  • Refining with more control over color. With the new interactive brush tool, users can make color changes to just parts of the image, by painting over those areas. They can also fine-tune the saturation, hue, and brightness of individual colors in a photo. This control is especially useful for removing color casts and enhancing skies and other image features. Images can also be cropped to easily remove distractions or to improve their composition.
  • Avoiding overdoing it. For a more realistic look, users can blend an original photo with the rendered image, either globally or by using a brush to select specific areas.
  • Removing distortion from your photos. A new distortion correction tool makes it easy to straighten photos that aren’t level and fix perspective issues where lines don’t look parallel when they should. These are particularly helpful features for architectural and landscape photographers.

A more intuitive workflow. Both new and experienced users will find it easier to load their images and develop them in Photomatix Pro with a guided workflow. A user can quickly open their images and move through the development process to achieve their results.

Photomatix Pro merges photographs taken at different exposure levels into a single HDR image with options for automatically aligning hand-held photos and for removing ghosts or visual artifacts when moving objects are present in the scene. Merged images can then be adjusted with a range of precise controls and settings or with one-click presets.

Photographers can quickly get the look they desire from natural-looking results to painterly images, from surreal and dreamy photos to ultra-realistic images with increased details.

Photomatix Pro can also be used to enhance a single photo to boost its shadows and enhance its highlights. The program includes a plugin for Adobe Lightroom for users who want to integrate Photomatix Pro into their Lightroom workflow.

“What’s unique about Photomatix Pro is the full range of styles it offers to render HDR photos, and version 6 makes this even better,” said Geraldine Joffre, HDRsoft Managing Director. “Unlike other apps which rely on one HDR rendering algorithm, Photomatix comes with several. Each algorithm can give an entirely different look with enhancing tones and details or fusing multiple exposures together. Photographers will find it useful to have several alternatives for processing HDR photos as things change with different subjects or lighting conditions.”

AVAILABILITY
Photomatix Pro 6 is available now for $ 99 USD for a single-user license. Customers who purchased Photomatix Pro 5 will receive a free upgrade. Earlier versions of Photomatix Pro can be upgraded for $ 29 USD.

Articles: Digital Photography Review (dpreview.com)

 
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