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Posts Tagged ‘Control’

Alpa Silex unit offers electronic control of Canon and Nikon lenses on digital medium-format backs

17 May

Swiss camera and adapter manufacturer Alpa has introduced a new device that allows Nikon and Canon users to mount some of their lenses on digital medium format backs and have access to aperture controls. The Alpa Silex control unit works with the company’s 12 series bodies and brings aperture control to electronically operated lenses from Canon and Nikon, as well as Contax, Hasselblad and Rollei. All Canon EF lenses can be controlled but only Nikon E lenses, with electromagnetic diaphragm mechanisms, will work.

With a Silex in place compatible lenses can be used to record images on a wide range of digital medium format backs. The A12 cameras accept digital backs of a variety of ages, so users don’t necessarily need the latest, and the image area will depend on the size of the sensor used and the covering circle of the lens. 

The Silex not only allows aperture adjustments but also AF control in most Hasselblad H, Canon EF and Nikon E lenses, and web access means the device can be handled remotely over a server.

Initially presented at Photokina 2016 the Alpa Silex is available now for $ 3600/CHF3355. For more information see the Alpa website.

Press release

The control unit ALPA Silex is a brand new, central element of ALPA’s extended modular photographic system. Photographers and soon even videographers will be able to combine ALPA cameras with digital backs of various manufacturers and lenses from Canon, Contax, Hasselblad, Nikon or Rollei. A variety of functions and operating modes are available to the user.

Handy and flexible – Silex is the Swiss pocket knife of the control units. Under this claim, ALPA presented the product at the Photokina 2016. The name Silex itself, however, goes much further back: it reminds us of the material for the all-purpose tools of the stone-age. ALPA Silex is the new all-purpose tool in the ALPA system. It can be used to convert any model of the classic ALPA-12 series into an electronic camera.

The basis for the development of ALPA Silex is the ALPA 12 FPS, introduced at Photokina 2012, with electronically controlled focal plane shutter. The integrated controller was separated as a standalone module and all functions except for the slot shutter were taken over. All known digital components from Hasselblad, Phase One / Leaf and Sinar can be synchronized and the electromechanical diaphragms of Canon EF, Contax, Hasselblad H, Nikon E and Rollei can be controlled. The leaf shutter in Hasselblad HC / HCD (up to 1/800s, “orange” line even up to 1/1000s) and Rollei 6000 (up to 1/500s) can be used, as well as the focus control of many of the lenses from Canon, Hasselblad H and Nikon E. The integrated web server allows remote control in networks without software installation. The future support of Sinar eShutter systems is already prepared.

Together with existing camera models from ALPA, the photographer can use a vast number of third party lenses and, depending on the available image circle, also perform shifts (shifting and stitching). In the future, our back-end adapters will also make it possible to use ALPA cameras for video recording in conjunction with the corresponding digital backs.

Available now:

  • The control unit ALPA Silex,
  • The electronic lens adapter (ELA),
  • As well as the ALPA lens module Hasselblad fix (HAF).
  • Also, immediately available for download is the latest firmware version 4.03, which makes all new functions of ALPA Silex also available for the ALPA 12 FPS. Free as always – as an investment in the ALPA system is sustainable and the term ‘planned obsolescence’ is alien to ALPA. Even if the environment changes, an ALPA will persist.

Articles: Digital Photography Review (dpreview.com)

 
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How to Use a Neutral Density Filter to Control Depth of Field

28 Apr

If your photography isn’t focused around landscapes, there’s a fair chance you don’t have a set of neutral density filters. These accessories are mainly for landscape photographers as their use in long exposure photography is invaluable. Because they are most associated with slow shutter speeds, their application in other genres, like portrait photography, isn’t immediately apparent. A neutral density filter can, however, be vital to gain control over your depth of field in some situations.

This tutorial will show a quick and dirty tip for two scenarios in which to use ND filters to control the depth of field in your photography; one outdoors in natural light and the other in a studio environment.

What is a Neutral Density filter?

At its most basic, a neutral density filter is a piece of material (usually plastic, resin, or glass depending on the quality) you place between your lens and subject to reduce the amount of light entering your camera. This will result in a slower shutter speed being required, a larger aperture, or a higher ISO in order to achieve the correct exposure. The filters come in different strengths, usually ranging from a loss of one stop to three stops of light. For example; if you are metering an exposure of f/8 at 1/250th and you place a 1-stop ND filter on your lens, to compensate you will need to change either your shutter speed to 1/125th or your aperture to f/5.6.

How to Use a Neutral Density Filter to Control Depth of Field

Neutral density filters are a valuable tool in landscape photography, but they are also useful in other genres.

In terms of photographing landscapes in low light, you can probably see how they are useful. A 2-stop ND filter turns a 2-second exposure into an 8-second exposure. Alternatively, it turns an 8-second exposure into a 32-second exposure. If you’re trying to smooth out water or clouds on a windy day, an ND filter makes it a breeze.

For portraits, however, you will almost never want to reduce the shutter speed. If anything, you will often want to increase it. Why, then, would you want to put something on your lens that reduces the amount of light coming in? The answer is simple – when you have too much light in the first place.

Outdoors

If you’re taking photographs outdoors on a bright sunny day, you may find yourself limited to smaller apertures like f/11 and f/16. This is great for capturing a high amount of detail, not so much if you would like a shallow depth of field.

This is where a neutral density filter comes in. A 2-stop ND filter will turn an aperture of f/8 into f/4. A 3-stop ND filter will make it f/2.8, making it far easier to obscure a cluttered background with a shallow depth of field.

How to Use a Neutral Density Filter to Control Depth of Field

Both of these images were taken moments apart. Left: Shot at f/8 without an ND filter. Right: Shot at f/4 with a 2-stop ND filter.

In the studio

The idea behind using the ND filter in a studio environment is the same as it is outdoors. The main difference is that with natural light, you can always wait until later in the day. With high powered studio lights, that’s not always the case. If you’re aiming for soft light , you need to get your light source in close to your subject. If you have high-powered studio strobes, you may not be able to turn the power down low enough to use large apertures.

Again, a quick solution is to pop a neutral density filter on your lens. By doing so, you don’t have to sacrifice the softness of your light and you gain the benefit of complete control over depth of field.

How to Use a Neutral Density Filter to Control Depth of Field

Taken in a studio environment at f/8

How to Use a Neutral Density Filter to Control Depth of Field

Adding a neutral density filter reduced the aperture to f/4 without changing anything else in the scene.

Bonus round

Chances are that throughout this tutorial, the problem-solving side of your brain has figured out that all of these scenarios have a multitude of other methods to solve them. Outdoors, you could use a diffuser that cuts down exposure, or you could move to an area of open shade where the intensity of the light is reduced. In a studio, it’s often easy enough to move a light backward or to move your subject. Using an ND filter just adds another potential tool, and like most techniques, it is neither a be all or end all, nor is it required. It’s just another option.

That said, what do you do in a situation where you can’t control the intensity of your light and if you were to move it even an inch further away from the subject, everything in the frame would completely change? Same with diffusing it? I ran across this exact situation recently, as illustrated below, and it was a 2-stop ND filter that solved the problem.

How to Use a Neutral Density Filter to Control Depth of Field

Moving the light source in this instance, would have ruined the effect of the lighting. A neutral density filter allowed for a larger aperture while still allowing the camera to be handheld.

That’s it

In the end, if you want to have full control over your camera and the depth of field in your images, then neutral density filters deserve a place in your kit bag even if you never set eyes on a landscape.

The post How to Use a Neutral Density Filter to Control Depth of Field by John McIntire appeared first on Digital Photography School.


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Edelkrone launches SliderPLUS X and Motion Kit 4-axis motion control system

15 Apr

Accessory-maker Edelkrone has launched its latest motion control product for videographers. The SliderPLUS X & Motion Kit is a slider and motion head combo that offers 4 axes of control – slide, pan, tilt and focus, all controllable via a smartphone app. Edelkrone claims its new rig is the ‘world’s smartest and most portable 4-Axis motion control system.’

The system allows you to lock the lens and focus onto a subject for a slide. You can program complex motion by movements the head and slider manually to ‘record’ the motion and it’s possible to create looping sequences as well. Edelkrone is still working on a number of features that will be added at a later stage via app and firmware updates respectively. Eventually users will be able to convert programmed motion paths into time-lapse or stop-motion animations and the camera will be controllable during live recordings. You’ll also be able to program your lenses into the system, so focus calibration can be saved for future use.

The SliderPLUS X & Motion Kit will set you back $ 3,700, $ 1,000 for the slider and $ 2,700 for the Motion head. That’s a serious investment, but given the rig might help set your videography apart from the competition it could well be worth it from a business point of view. More information can be found on the Edelkrone website and in the video below. 

Articles: Digital Photography Review (dpreview.com)

 
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Cinetics announces new Lynx camera slider and motion control system

07 Mar

Cinetics has announced Lynx, its next generation camera slider and motion control system for photographers and filmmakers. It claims that Lynx is designed to set up and use quickly and easily, incorporates advanced motor control for very precise camera slides, pans, and tilts, and also allows users to program and operate the system through a mobile app.

The company is turning to Kickstarter for preorders, following successful Kickstarter campaigns for other products.

Lynx will be available in three kits: a Base Slider kit, which allows for manual moves, a Motorized Slider kit, which adds a slider motor and controller, and a Three Axis Slider kit, which adds motorized pan and tilt head.

A $ 499 Kickstarter pledge will secure you the Basic Slider Kit, a $ 999 pledge will get you the Motorized slider kit, and a $ 1499 pledge put you in line for the full Three Axis Slider kit. Final non-Kickstarter pricing was not announced.

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Press Release

Cinetics Announces Lynx: Camera Slider and Multi Axis Motor Control System That Masters Timelapse and Video Moves

Fourth Kickstarter Campaign Offers World Class Motion Control System Made Possible by Feedback and Support from Engaged Customer Base

Austin, TX. – March 07, 2017 – Cinetics, designers and manufacturers of lightweight and portable cinematic systems for videographers and filmmakers, is adding a next generation product to its arsenal of motion control, dolly, and tripod systems for photographers, filmmakers and videographers. Lynx™ is an ultra-smooth camera slider and multi axis motor control system that masters the art of timelapse and is capable of making precision video moves. Following the overwhelming success and community support of three previous Kickstarter campaigns, Cinetics will once again turn to Kickstarter for preorders of Lynx and offer its loyal community of photographers, filmmakers, and videographers a discount on the new system.

“Lynx is our 4th motion control project, and it’s our very best. It’s a compact camera slider built with input from an amazingly engaged customer base,” explains Justin Jensen, founder of Cinetics. “It’s a ready-to-run, three axis motion control kit that sets up quick and easily, is strong, fast and quiet, and can be driven by a mobile app. We are confident that Lynx will consistently perform as well as other, more expensive, compact motion control systems on the market.

Lynx is manufactured using the finest materials and incorporates the latest in motor control technology to enable precise, quick and quiet slides, pans and tilts. A beautifully-designed mobile app allows easy and intuitive remote system control while its joystick design and accelerometer controls take live camera movement to an entirely new level. Lynx is designed for fast and easy set up, can run preset programs or be configured creatively to perform complex moves for incredible cinematic results.

Lynx is available in three primary kits: Base Slider, Motorized Slider and Three Axis Slider.

The Lynx Base Slider allows users to create manual video moves. The motor control can be added to the slider at any time.

The Lynx Motorized Slider kit includes the manual slider plus the slider motor and controller for a complete linear motion control system.

The Lynx Three Axis Slider includes the complete Lynx motorized slider and motorized pan and tilt head.

Articles: Digital Photography Review (dpreview.com)

 
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Cinetics Lynx motion control system review

07 Mar

As an astronomer and visual artist, I use the arts to communicate science. My main way of doing this is through a series of Science & Symphony films that get presented with orchestras in concerts around the world. Since 2008 I have been shooting time-lapse sequences of the night sky and incorporating them into many of these films. My stills and sequences of observatories in Chile, the U.S., and the South Pole have also been featured in many science documentaries.

One way of giving time-lapse sequences a more cinematic look is by using a motion control system. These programmable systems move your camera with high precision as you shoot your scene. I have used several of them since 2008, so I was quite happy to preview this brand new system introduced by Cinetics. 

The Cinetics Lynx is a light, portable and compact (yet sturdy) system that lets you program precise three-axis moves for video, stop motion, and time-lapse sequences. Its main components (slider, motors and motion controller) have their own soft cases for easy portability. You can even carry the slider preassembled in its own case to save time when working in the field. The standard length of the slider is 24 inches (61 cm), but the system comes with an additional set of carbon fiber rails, stored in their own carrying case compartment, for a total extended length of 48 inches (122 cm). The total weight of the system is under 13 lb (5.9 kg).

The Lynx motion control system at its standard 24-in (61 cm) length. (Photo courtesy of Cinetics)

It’s apparent that a lot of thought was put into designing a system that takes only minutes —and a single hex key— to assemble. Extending the slider with the second set of rails and replacing the belt with a longer one takes approximately 5 minutes. The slider comes with a set of built-in legs to rest it on the ground or against a wall (when inclining it). The legs spread out at a series of pre-determined positions, which avoids having an uneven slider.

The motor units are very compact and each one requires a single screw to install. The motion controller can be attached to the pan motor via an ingenious snap-on attachment and the system battery is conveniently housed inside the motion controller. These two features avoid the need for installing additional support accessories and contribute to the simplicity and compactness of Lynx. 

Motion controller snapped onto the pan motor. (Photos courtesy of Cinetics) Pan and tilt motors with motion controller. 
Slider and adjustable legs. Slider motor.

When assembled to the 24 inch length, the system can easily be installed on a single tripod without the unit tipping over, even when the camera is at either end of the slider. My first test in the  studio was to see how the system behaved using a single but sturdy tripod/head configuration. I used a Gitzo systematic tripod and ball head with hydraulic lock.

Despite the sturdiness of the system, images taken at either extreme of the slider – when mounted on a single tripod – may need to be rotated slightly in order to align them. For a load of 5.7 lb (2.6 kg) the images needed to be rotated ±0.6 degrees with respect to an image taken at the center of the slider. This can be corrected in post-processing by key framing image rotation and letting software interpolate the rotation angles.

I extended the Lynx slider to its 48in. length and took it to the Chicago Lakefront to shoot for a new film I’m producing. With two Gitzo carbon fiber tripods easily attached, I leveled the slider, and proceeded to program the system. Lynx includes an Arca-Swiss style camera plate to quickly set your camera and, on the Cinetics website, you can choose from a comprehensive list of cables to control the shutter.

The Lynx system extended to 48 inches (122 cm) in length and supported by two Gitzo carbon fiber tripods. The leveling tripod on the left has an adjustable center column while the other one has a ball head. These make leveling or inclining the slider fairly easy. Location: Sundial Plaza, Adler Planetarium, Chicago

Once set up, it’s easy to program the motion controller. You simply slide the camera to the first position, adjust the pan and tilt as desired, and save the position as your first keyframe. Then, you slide it to the second position, adjust the pan and tilt, if necessary, and set your next keyframe. Once the beginning and ending keyframes are established, you can program the parameters for your time-lapse sequence, including duration between keyframes (time), shutter speed, and the interval between shots.

The Lynx motion control system at its standard 24-in length (61 cm). From L to R on the slider: slider motor, tilt motor, pan motor with controller snapped on and a Nikon D5 with an Arca-Swiss style camera plate.

The controller’s display shows you the total number of resulting shots. One thing that impressed me about the Lynx motion controller is that it not only lets you set up at least 5 keyframes, but it lets you program a different set of sequence parameters between each pair of keyframes! For example, you could program sets of keyframes in order to progressively change the exposure and interval times throughout a time-lapse – useful if you know that the lighting conditions are going to change during the sequence.

There are two motion modes available: shoot-move-shoot (S-M-S) mode and continuous mode. In S-M-S mode the camera is moved only between shots. In continuous mode, however, photographs can be taken as the system moves. This is useful for taking video or time-lapse sequences that incorporate motion blur. You also have the option of ramping up and down the motion speed when shooting video and time-lapse in continuous mode. (The S-M-S time-lapse mode has a built-in ramp, but unfortunately, it is not adjustable at this point.) Each segment of the programmed motion can have its own kind of motion. For example, you can have an S-M-S segment followed by one with continuous motion. 

Once you have programmed a motion you have the ability to save it as a preset for later recall. When you’re ready to start the sequence simply choose Run, step back, and voilà!

Finally, you also have the ability of continuing a sequence by reversing the motion (called bounce) as many times as you want. This is a great feature, but I wish it were possible to bounce the motion after a sequence has started, since this is something you might decide to do once shooting is in progress. Other systems let you do this, and also give you the ability to tell the camera to continue shooting even after it has reached the last keyframe.

Another thing I would like to see in a future software update is the ability to quickly preview the entire run in continuous mode. Even when the intent is to take a time-lapse sequence one could quickly preview the motion by shooting video and tweaking the motion, if necessary.

501 one-second exposures (F4, ISO 100 at 18mm) with an interval of 2 seconds during a total shooting time period of 16.7 minutes. Since these scenes were shot during the changing illumination conditions of the blue hour, the white balance and exposure values were keyframed and interpolated using Lightroom and LRTimelapse. All sequence images were taken with a Nikon D5 and Nikkor 14-24mm f/2.8 and rendered as 24-fps videos. (ISO 100, F4, at 18mm)

I decided to use the Lynx to take a time-lapse sequence by centering the field of view on Henry Moore’s sundial in Chicago, moving my camera from the left all the way to the right end (over a period of 17 minutes), while panning my camera to the left so I could keep the sundial at the center of the frame. The combination of slide and pan resulted in the illusion of the camera moving along an arc around the sundial when the displacement motion was actually along a line.

I then set up a time-lapse of Anish Kapoor’s Cloud Gate (the reflective sculpture nicknamed The Bean) in Millennium Park. Have in mind that the farther your main subject is from the camera, the harder it will be to notice parallax (the displacement in the apparent position of an object viewed along two different lines of sight).

The Lynx system extended to 48 inches (122 cm) in length and supported by two Gitzo carbon fiber tripods. Location: Millennium Park, Chicago

Nevertheless, for the particular composition I had in mind, I avoided getting too close to the sculpture. I slid and panned the camera to the right while tilting it up (in order to end up with less ground and more blue-hour sky) over a period of 20 minutes. Taking advantage of the dark blue that remained in the sky, I also placed the system right in front of Cloud Gate and simply tilted the camera up over a period of 8.4 minutes.

For the first sequence of Cloud Gate at Millennium in Chicago, I combined 604 one-second exposures with an interval of 2 seconds over a period of 20 minutes. I programmed Lynx to slide, pan, and tilt.  (D5 and Nikkor 14-24mm F2.8; ISO 125, F4, at 16mm).

For the second Cloud Gate sequence, I took 254 one-second exposures with an interval of 2 seconds over a period of 8.5 minutes, and simply tilted the camera upward (D5 and Nikkor 14-24mm F2.8; ISO 400, F4.5, at 16mm).

Note that the Lynx system can be used vertically or inclined, though when inclined you can only point the camera along the direction of the slider if you want to avoid an unleveled horizon. If, for example, you wanted to shoot perpendicular to the direction of an inclined sliding motion then you would need a leveling wedge (not included) to compose your shot.

One has the option of programming the Lynx motion controller via Bluetooth with a smartphone app. Having two options for programming the unit is very welcome but, surprisingly, I thought that programming the controller using the app was less straightforward and somewhat confusing, but the app’s GUI was re-designed after I tested it. There’s definitely room for improvement in future versions of the Lynx app. Having said that, I like that on the app one can control the exposure values to a fraction of a second and use the smartphone’s IMU (a combination of accelerometers and gyroscopes) to slide the cart.

In conclusion, the Lynx is a light, portable, and sturdy three-axis motion control system that can be set up very quickly. Its relatively light weight and compact design lets you carry it around in the field very easily, and its smooth and precise motion can be programmed with multiple keyframes. I can definitely recommend this motion control system and I look forward to future firmware and app updates.

Pros:

  • Light and compact
  • Quick and easy set up
  • Lets you program at least 5 keyframes, each with independent set of parameter values and motion modes
  • Ability to save presets

Cons:

  • Leveling wedge is not included

Updates I’d like to see:

  • Ability to preview motion in continuous mode
  • Ability to edit parameters in saved presets
  • Ability to adjust ramping on S-M-S time-lapse mode
  • During a sequence in progress, ability to decide what to do once the camera has reached the last keyframe

José Francisco Salgado, PhD is an Emmy-nominated astronomer, science photographer, visual artist, and public speaker who creates multimedia works that communicate science in engaging ways. His Science & Symphony films have been presented in 175 concerts and lectures in 15 countries.

José Francisco is a seasoned night sky and aurora photographer and filmmaker. If you would like to view, photograph, and learn about the Northern Lights then you can inquire about his Borealis Science & Photo Tours in Yellowknife, Canada.

You can follow him on: Flickr, Instagram, 500px, Facebook,  and Twitter

Articles: Digital Photography Review (dpreview.com)

 
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CamFi launches Matrix software for multiple camera control

10 Jan

The maker of remote camera controller and image transmitter device CamFi has announced a new software package that allows CamFi users to control and trigger multiple cameras at the same time.

CamFi Matrix is an application for Windows PCs that communicates via a Wi-Fi or cabled network with certain Canon and Nikon DLR cameras and which can be used to preview a shot via Live View. A control panel allows camera settings to be adjusted and focus points to be selected, and once the shutter is tripped remotely the images can be downloaded and viewed. The system allows an unspecified number of cameras to be controlled at the same time, though the company recommends a high-performance router for simultaneously controlling more than ten, and a cabled connection for more than 20. The company suggests that using multiple-camera set-ups will be useful for creating virtual reality images, 3D product shots and panoramas.

To operate with the Matrix software each camera in the system needs its own CamFi unit, and connection is made via a router or cabled Ethernet rather than directly between the PC and the camera – so an existing network is required.

The CamFi units have existed for some time and have previously been used to link cameras to phones and tablets as well as PCs, but only one camera at a time. The software is free for owners of CamFi units.

For more information and to see a list of compatible cameras visit the CamFi website.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm launches ‘Pro’ tethered shooting plug-in for Lightroom with live view and remote control

03 Nov

Fujifilm X-T2 owners will soon be able to shoot tethered to Adobe’s Lightroom image manipulation software application using a new plug-in that will be sold through the Adobe Add-ons website. Tether Shooting Plug-in Pro is an upgrade from the existing version of the company’s Tether Shooting plug-in that is now compatible with the X-T2 as well as the X-T1. The new version brings a Control Panel display that allows users to check their imported images more quickly and to preview the image in live view mode while at the same time being able to control the camera’s settings.

The plug-in features two shooting modes that allow the user to control settings at the camera or via the computer screen, with both modes allowing the captured images to be transferred directly to the computer by USB connection.

The X-T1 and X-T2 cameras both need the relevant firmware to be able to operate with the plug-in, and Fujifilm has announced that v1.10 for the X-T2 will be available on 8th November. This firmware also makes the camera compatible with the standard version of Tether Shooting Plug-in and Tethered Shooting Software HS-V5.

The camera firmware will be free to download, but the Tether Shooting Plug-in Pro will cost $ 79.

For more information visit the Fujifilm website.

Press release:

Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom®

PC tethered shooting support for FUJIFILM X-T1/X-T2

FUJIFILM Corporation (President: Kenji Sukeno) is pleased to announce the launch of “Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom®” to enable tethered shooting of FUJIFILM X-T1(hereafter X-T1) and FUJIFILM X-T2(hereafter X-T2)* to a compatible computer.

“Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom®” is a tethering software plug-in that allows Lightroom users to connect X-T1 / X-T2 to a computer via USB cable for direct saving of captured images onto computer, and controlling the camera from the computer**.

“Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom®” will be available from Adobe Add-ons website*** for US$ 79. The launch of the Mac OS X / macOS Sierra version*4 is scheduled for release around the beginning of November 2016, and the Windows version*5 is scheduled for release around the beginning of December 2016. The detail launch schedule will be informed on this page.

(1) Featuring the “Camera Mode” and “PC Mode” to control shooting on camera or from computer
In Camera Mode, the camera is held in hand or set up on a stand. The images taken will be transferred directly and saved onto computer for use in Lightroom. Adjustment of exposure and other shooting settings as well as the shutter release is carried out on the camera. In PC Mode, users can check the viewfinder image of a remotely-setup camera in the LIVE VIEW window, operate the camera and adjust its settings on the computer screen. The user can also take images and have them transferred directly and saved onto a computer for use in Lightroom. Adjustment of exposure and other shooting settings and the shutter releases are carried out from the connected computer.

(2) Featuring the “Control Panel” to check captured image and to control camera
In addition to the features of “Tether Shooting Plug-in for Adobe® Photoshop® Lightroom®” (standard version)*6, “Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom®” has Control Panel which can check captured images and to control the camera. The Control Panel PREVIEW window allows users to check transferred images in quicker than before.

The Control Panel also allows users to check shooting angles with LIVE VIEW, to set shooting conditions from computer, to operate interval/bracketing shootings and to backup/restore all the camera settings*7.

* * X-T1 and X-T2 must be upgraded to the tethering-compatible firmware (X-T1: Ver. 3.10 or later, X-T2: Ver.1.10 or later). Internet connection is required for downloading compatible firmware.
* ** Adobe® Photoshop® Lightroom® 6 or CC is required.
* *** https://creative.adobe.com/addons/
* *4 The compatible OS is same as that of Lightroom. To use on macOS Sierra, Lightroom should be upgraded to 6.7 or later / CC 2015.7 or later.
* *5 The compatible OS is same as that of Lightroom.
* *6 The current version (Ver.1.2) of “Tether Shooting Plug-in for Adobe® Photoshop® Lightroom®” (standard version) is compatible only with X-T1. X-T2 will be supported with upgraded version (Ver.1.3) or later.
* *7 Backup/restore is only compatible with X-T2.

Articles: Digital Photography Review (dpreview.com)

 
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Bowens introduces Generation X studio and portable flash heads with TTL radio control

07 Oct

UK flash manufacturer Bowens will use the PhotoPlus Expo to launch its new range of Generation X flash heads in the USA. The new range has a completely new design and features a portable model that is powered by an in-body rechargeable battery.

There are four heads in the new range: the XMT 500, XMS 500, XMS 750 and XMS 1000, all of which offer radio controlled triggering and control via new on-camera transceiver XMSR Trigger. The XMS mono-block heads are designed for indoor and in-studio use while the XMT 500 takes a removable lithium ion cell that the company claims delivers up to 500 full power bursts per charge. This portable head also offers TTL control for Canon, Nikon and Sony users.

All of the new heads have a high speed sync mode that allows shutter speeds as short a 1/8000sec, and the XMSR radio remote allows such high speed shooting with any brand of camera. The XMT 500 has a minimum flash duration of 1/10,309sec, and the XMS heads have shortest durations of 1/5180sec, 1/4800sec and 1/4400sec, which makes them all suitable for freezing action and moving subjects.

The XMS 500 has 7 stops of adjustable power, while the XMS 750 and XMS 1000 offer 8 stops. The XMT can manage 9 stops and has a lowest output of just 2Ws. The battery-operated head has recycle times of between 0.01 and 2 seconds, and the XMS 1000 can also recover from a full power burst in 2 seconds. Bowens claims each of the heads has a flash-to-flash consistency of +/-30°K and +/-0.05 stops.

Bowens is particularly proud of a new adjustment lever that allows the heads to be tilted very quickly without the user having to wind open a bolt. The new lever just flips open to allow the angle of the head to be adjusted and then flips back to lock the head in position.

XMT 500            $ 1,799.99/£1199
XMS 500            $ 1,099.99/£799
XMS 750            $ 1,299.99/£899
XMS 1000          $ 1,499.99/£999
XMSR Trigger    $ 289.99

For more information see the Bowens website.

Press release

Bowens Launches Game Changing Generation X Flash Range

Upper Saddle River, N.J. (October 5, 2016) – Manfrotto Distribution, Inc., distributor of Bowens products in the United States, proudly announces the launch of the new Generation X flash range by Bowens. These innovative units will debut in the U.S. at PhotoPlus Expo in New York City later this month and mark a renaissance for the legacy lighting manufacturer.

Generation X comprises two new flash systems: XMT – an all-in-one battery unit for location lighting and XMS – engineered to be the go-to system for photographers who need a function-rich and completely reliable flash in the studio.

Announcing the launch, David Hollingsworth, Marketing Manager, said, “Generation X is just the first step in relaunching Bowens to the imaging world. These barrier-breaking new products combine state-of-the-art technology and cutting-edge design and are the result of many months of very intense market research and product development. They will be the vanguard of our plans for ongoing and regular new unit roll-outs in coming months and years.”

Added Hollingsworth, “We believe these are simply the best lights in their class available on the market today. New-look Bowens is creating beautifully designed and engineered products, tailored to our customers’ needs.”

John Gass, Technical Director said, “Generation X is the result of highly-focused analysis of our customers’ feedback through the years. These new units are revolutionary products which we believe are absolutely unbeatable in their class in terms of functionality, aesthetics and cost.”

He added, “For decades, customers have frequently described our products as ‘workhorses’ in the studio and on location. Now the workhorse has been transformed into a stallion; we tested the XMS at full power every five seconds over consecutive days and we couldn’t force this product to overheat.”

Generation X – at a glance:
The all-new 500Ws XMT boasts TTL and high speed sync functionality (up to 1/8000s) compatible with Canon, Nikon and Sony cameras: 9-stops of flash power adjustment; flash durations as short as 1/10309s: faster recycle times than ever before (as rapid as 0.01s): easy swap lithium-ion battery provides up to 500 full power flashes per charge: rear curtain sync; sync delay and strobe mode allow creative set-ups on the move.

The XMS, available in 500,750 and 1000Ws models (all fully controllable via the XMSR 2.4 Ghz radio control and trigger) features multi-voltage operation. These units offer outstanding specification with faster recycling times and flash durations. The XMSR model includes groundbreaking Bowens ‘Sync Offset’ functionality, enabling photographers to embrace any brand of camera to shoot at high sync speeds – up to 1/8000s.

The following models will be available this fall:
XMT 500 $ 1,799.99
XMS 500 $ 1,099.99
XMS 750 $ 1,299.99
XMS 1000 $ 1,499.99
XMSR Trigger $ 289.99

For additional information or to learn more about Bowens products, visit: https://www.manfrotto.us/bowens.

Articles: Digital Photography Review (dpreview.com)

 
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Garmin VIRB Ultra 30 4K action cam unveiled with voice control

03 Sep

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Garmin has introduced the VIRB Ultra 30, a rugged action camera capable of recording 4K/30fps footage. Despite its small size, Garmin packs a bunch of sensors and features into the camera, including GPS, voice control to start recording, a touchscreen display and a high-sensitivity microphone. The VIRB offers what Garmin calls 3-axis image stabilization, but it’s available up to 1440/60p, which leads us to believe it’s digital.

In addition to 4K footage, the new VIRB action camera can record 720p/240fps slow motion video and can capture 12 megapixel still images. Content is stored on a microSD card. The touchscreen display works when the camera is enclosed in its waterproof case, as does the microphone, according to Garmin. That waterproof case includes an anti-glare coated and water-repellant lens.

In addition to changing settings via the touchscreen display, the VIRB Ultra 30 supports Sensory TrulyHandsfree voice control. Commands like ‘OK Garmin, remember that’ for tagging moments and ‘OK Garmin, start recording’ are supported. Additionally, the camera can be controlled remotely using the VIRB app on a tablet or smartphone. The VIRB app is complemented by the Garmin VIRB Edit desktop software for post-processing.

The Garmin VIRB Ultra 30 is available in the U.S. now for $ 499, and will be available in the UK for £449 in Q3 2016.

Via: Garmin Blog

Articles: Digital Photography Review (dpreview.com)

 
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Cascable remote control app adds support for 50 cameras

13 Aug

Cascable, a Wi-Fi-based camera remote control app for Apple devices, has been updated to version 2.0. This update is a major one, adding both new features and additional support over the previous version. Most notably, Cascable 2.0 now supports 50 camera models from Sony, Canon, Nikon and Olympus. It also adds a new Night Mode dark theme, faster image previews and better photo management.

According to Cascable, user feedback indicated that version 1.0’s photo preview method was too cumbersome. To remedy this, Cascable 2.0 automatically provides a preview of a shot as soon as it is taken, though at a lower resolution than the original photo. Photo management has also been improved by showing the most recent photos first, and any photo can now be quickly previewed using Force Touch or a tap.

Finally, Cascable says the latest software version has better handling of RAW + JPEG workflows, namely via the elimination of duplicate images. Users can zoom into images at a 1:1 resolution, and metadata with a histogram is now presented during fullscreen photo viewing.

Cascable 2.0 uses a different payment structure compared to the 1.x versions, being made available as a free base app with ‘Pro’ feature packs that cost $ 9.99 individually (there are three total) or $ 24.99 as a bundle. The update is free to all existing customers. Cascable 2.0 is available to download now from iTunes.

Via: Cascable Blog

Articles: Digital Photography Review (dpreview.com)

 
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