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Western Digital announces My Passport Wireless Pro

21 Jun

Western Digital has announced its new My Passport Wireless Pro hard drive, a Wi-Fi enabled portable storage device designed for photographers and videographers who want to backup, access, and edit photos or video in the field without using a computer. In addition to Wi-Fi, the drive includes an integrated SD card slot and a USB port that can be used to connect external devices, such as a CFast or XQD card reader. It can also be plugged directly into a computer for standard operation.

This is the second generation of Western Digital’s My Passport Wireless series. The company told us that they received a lot of feedback from photographers following the product’s initial release in 2014, and that much of that feedback has been incorporated into the new Pro edition. The Pro version includes a faster SD card slot with transfer rates up to 75MB/s, up from 10MB/s, as well as upgraded 802.11ac Wi-Fi with speeds up to 20MB/s, improved from 9MB/s. It also features a larger 6400mAh battery, compared to 3400mAh on the original model, which WD says can last up to 11.5 hours in the field, including 6 to 8 hours of operation under ‘hard use.’ Unfortunately, the USB port for connecting external devices appears to be of the USB 2.0 variety.

WD has also made improvements to the product’s companion My Cloud app for iPad. The company told us that while photographers loved the ability to view images stored on the drive from an iPad, they didn’t want to be restricted to using a proprietary app. The updated app makes it possible to export photos to the camera roll for easy sharing or editing with other iOS apps. It also integrates with Adobe’s Creative Cloud, facilitating transfer of photos directly to a user’s Creative Cloud account.

Finally, WD told us that about 50% of customers using the original product used it primarily as a device to stream content. To better support these users the company has added a PLEX media server to the device.

We recently received a demo unit from Western Digital and look forward to taking it for a spin (pun intended). We look forward to letting you know how it works.

The My Passport Wireless Pro comes in two capacities: a 2TB model which lists for $ 229.99, and a 3TB model which lists for $ 249.99. The company also announced a new My Cloud Pro Series NAS device, which you can read about in the press release below.

Press Release:

My Passport Wireless Pro and My Cloud Pro Together

Provide Fast, Reliable Back-up and Transfer While on a Remote Shoot or in the Studio

IRVINE, Calif. – June 21, 2016 – Western Digital Corporation (“Western Digital”) (NASDAQ: WDC), a global storage technology and solutions leader, today introduced the WD Pro Series: My Passport® Wireless Pro Wi-Fi® mobile storage and My Cloud® Pro Series network attached storage (NAS). Designed specifically for the creative community, the WD Pro Series enables seamless transfer of content between devices, with classic WD reliability and speed, regardless of whether users are on a remote shoot, in the studio or editing at home. The products use the My Cloud mobile app – the new version of the app will be launched with the My Passport Wireless Pro and My Cloud Pro Series and be compatible with the Adobe® Creative Cloud®. In addition, both the My Passport Wireless Pro and My Cloud Pro Series devices are also compatible with the Plex™ Media Server and My Cloud OS 3 software for easy editing, streaming and sharing of content.

“Portability, reliability, capacity, speed and interoperability are crucial for creative professionals, whose very livelihoods rely on the strength of the technology they use to store their life’s work,” said Sven Rathjen, vice president of marketing for content solutions at WD. “We created the WD Pro Series as a comprehensive, feature-rich storage solution designed to fit seamlessly into their workflow, regardless of where the work actually happens, so storage, transfer, back-up, editing and even streaming options are readily available.”

My Passport Wireless Pro

My Passport Wireless Pro Wi-Fi mobile storage lets creative professionals and enthusiasts leave the laptop behind when on a shoot. Using the direct Wi-Fi connection, creators can automatically backup files from compatible cameras, as well as save, edit and transfer work seamlessly from up to eight other devices connected to the drive. Tethered connections are also available for faster transfers and include a built-in SD card reader as well as a USB 3.0 port.

Available in capacities up to 3TB, the My Passport Wireless Pro device also features up to 10 hours of battery life* and a built-in battery pack that can even be used to charge phones and other devices like digital or video cameras.

To ensure creative professionals can continue to work while in the field, My Passport Wireless Pro devices include compatibility with Adobe’s Creative Cloud for mobile photo and video editing, as well as compatibility with Plex Media Server, which is capable of playing up to four streams of content while on-the-go.

My Cloud Pro Series network attached storage

When the shoot is over and it’s time for editing or studio work, the My Cloud Pro Series NAS device takes the reins seamlessly. Offering up to 32TB of storage, the My Cloud Pro Series NAS are optimized to import from cameras/memory card readers and other USB storage with a simple one touch backup button. Simply connect your cameras and compatible USB storage devices, press a button, and your new files are easily backed up/imported.

In addition to giving creative professionals and enthusiasts a reliable place to store their files, this fast, high capacity drive features a hardware accelerated video processor. Its powerful transcoding capabilities mean the My Cloud Pro Series NAS can ingest, edit, store and stream content to and from popular formats, including 4K video. These capabilities compliment a robust, integrated application suite, which includes compatibility with Plex Media Server for storing and optimizing media libraries and compatibility with Adobe’s Creative Cloud for editing and finalizing them.
The My Cloud Pro Series NAS gives the creative community significantly more control while they are away from their workstation, using WD’s My Cloud app and MyCloud.com remote access, and despite its professional caliber, is still easy to set up and use.

Pricing and Availability

My Passport Wireless Pro Wi-Fi mobile storage is available today in the WD store at wdstore.com and at select retailers, including Amazon.com and distributors. My Passport Wireless Pro storage has a Manufacturer’s Suggest Retail Price (MSRP) ranging from $ 229.99 up to $ 249.99 depending on capacity. The My Passport Wireless Pro storage will offer a 2-year limited warranty. Terms and conditions of WD’s limited warranty may be found on the WD website.

My Cloud Pro Series NAS devices are also available at Amazon.com, B&H and the WD Store. Manufacturer’s Suggested Retail Price (MSRP) begins at $ 399.99 up to $ 1,649.99 depending on configuration and capacity. The My Cloud Pro Series will also offer a 2-year limited warranty for diskless models and 3-year limited warranty for populated models. Terms and conditions of WD’s limited warranty may be found on the WD website.

About Western Digital

Western Digital Corporation (NASDAQ: WDC) is an industry-leading provider of storage technologies and solutions that enable people to create, leverage, experience and preserve data. The company addresses ever-changing market needs by providing a full portfolio of compelling, high-quality storage solutions with customer-focused innovation, high efficiency, flexibility and speed. Our products are marketed under the HGST, SanDisk and WD brands to OEMs, distributors, resellers, cloud infrastructure providers and consumers.

*Based on streaming HD 720p, 3 Mbps video to one device over Wi-Fi 2.4 GHz single band only. Actual battery life depends on file size, type, format, bitrate, devices connected, Wi-Fi connectivity, settings and other factors.

Articles: Digital Photography Review (dpreview.com)

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Western Digital acquires SanDisk as more data moves to solid state memory

27 May

Hard disk drive giant Western Digital has completed its acquisition of flash manufacturer SanDisk in a deal that will create a partnership that WD hopes will help it leap into the future of computer memory. The company announced plans to buy SanDisk last fall.

Western Digital’s reliance on spinning disk technology in a world that is swiftly moving towards solid state drives has been a cause for concern for the company that currently claims 44% market share for HDDs. Acquiring the world’s largest producer of NAND flash memory should settle some nerves.

Western Digital is said to be interested in cloud storage and computing solutions as PC sales continue to decline, so SanDisk’s know-how in flash data center technologies that provide more capacity in a smaller space, with less heat and faster communication have proven attractive.

All told, the deal cost Western Digital $ 17 billion in cash and shares, $ 2 billion short of initial estimates. The company expects to be able to make significant savings through economies of scale, expecting combined revenue of almost $ 20 billion with a better position to compete against Samsung and Micron.

For more information visit the SanDisk and Western Digital websites.

Press release:

WESTERN DIGITAL COMPLETES ACQUISITION OF SANDISK, CREATING A GLOBAL LEADER IN STORAGE TECHNOLOGY

Western Digital® Corporation (NASDAQ: WDC) today announced that its wholly-owned subsidiary Western Digital Technologies, Inc. has completed the acquisition of SanDisk Corporation (NASDAQ: SNDK). The addition of SanDisk makes Western Digital Corporation a comprehensive storage solutions provider with global reach, and an extensive product and technology platform that includes deep expertise in both rotating magnetic storage and non-volatile memory (NVM).
The Company also indicated that the debt financing associated with this transaction has been consummated and that the previously obtained funds from this financing have been released from escrow to Western Digital Technologies, Inc.

“Today is a significant day in the history of Western Digital,” said Steve Milligan, chief executive officer of Western Digital. “We are delighted to welcome SanDisk into the Western Digital family. This transformational combination creates a media-agnostic leader in storage technology with a robust portfolio of products and solutions that will address a wide range of applications in almost all of the world’s computing and mobile devices. We are excited to now begin focusing on the many opportunities before us, from leading innovation to bringing the best of what we can offer as a combined company to our customers. In addition, we will begin the work to fully realize the value of this combination through executing on our synergies, generating significant cash flow, as well as rapidly deleveraging our balance sheet, and creating significant long-term value for our shareholders.”

The integration process will begin immediately through the joint efforts of teams from both companies. As previously announced, Steve Milligan will continue to serve as chief executive officer of Western Digital, which will remain headquartered in Irvine, California. Sanjay Mehrotra, co-founder, president and chief executive officer of SanDisk, will serve as a member of the Western Digital Board of Directors, effective immediately.

“As a combined company, we will be best positioned to address the demands for data storage, which is growing exponentially every year,” said Sanjay Mehrotra. “Growth and change go hand in hand, and we couldn’t be happier to grow and change together with Western Digital. I look forward to contributing to realizing the potential of this combination as a member of the board.”
Under the terms of the transaction, each outstanding share of SanDisk common stock was converted into the right to receive $ 67.50 per share in cash and 0.2387 shares of Western Digital common stock.

SanDisk shareholders looking for information with regard to the payment of the merger consideration should review the Public FAQ available in the Investor Relations section of our website at investor.wdc.com or click here.

Articles: Digital Photography Review (dpreview.com)

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Leica launches M-D (Typ 262) digital rangefinder with no rear screen

29 Apr

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German camera manufacturer Leica has announced a new M digital rangefinder that has no LCD panel. The Leica M-D (Typ 262) will be almost exactly the same as the existing M (Typ 262) but without a rear screen for reviewing images and working the menu. The company says it has produced a camera with only the ‘essentials of photography’, or ‘Das Wescentliche’, and that it will help photographers concentrate on the important elements of image making rather than getting distracted with the camera functions.

This isn’t the first time Leica has produced a digital M with no rear screen, as the company launched the limited edition M Edition 60 to mark the sixtieth anniversary of its rangefinder camera system. Leica made only 600 of these models, and they sell for about $ 18,000/£12,000, but the M-D (Typ 262) will be the first full production model without a rear LCD.

This new model will feature the standard 24MP CMOS sensor, will have an ISO range of 200-6400, and will have brass base and top plates. The viewfinder has a magnification of 0.68x and offers bright-frame markings for 35/135mm, 28/90mm and 50/75mm lenses. The body has no traditional red dot as Leica says it wants the camera to be discrete, and the single frame mode uses a particularly quiet shutter cocking system.

Users will have control only of aperture, shutter speed and ISO settings, and the camera records in DNG Raw format only.

The Leica M-D (Typ 262) will go on sale in May with a price of $ 5995/£4650. The M (Typ 262), which does feature a rear screen, actually costs less, at $ 5195/£4050, but it doesn’t have the quiet shutter or brass top and bottom plates.

For more information visit the Leica website.

Press release:

Leica M-D: The return of anticipation

New digital Leica rangefinder focuses on the absolute essentials of photography, and excludes an LCD screen

Leica Camera has extended its iconic rangefinder camera series with a new model: the Leica M-D (Typ 262). The fifth product in the Leica M range, the Leica M-D joins the Leica M and M-P (Typ 240), the Leica M (Typ 262) and the Leica M Monochrom (Typ 246), offering a greater choice for photographers looking for specific functionality from their rangefinder camera.

The Leica M-D is the first serial production model of the digital M family to be made without an LCD monitor screen. The standard location of the screen on the back of the camera is taken by the ISO sensitivity setting dial – one of the few, but essential, features of the camera. Although the Leica M-D embodies the entire range of technical developments perfected over decades for the Leica rangefinder system, it intentionally omits all but the most vital features. Concentrating entirely on the key parameters required for photography: shutter speed, aperture, distance and ISO sensitivity, the Leica M-D focuses the user on the most essential aspect – the picture they are taking – and brings back the anticipation of discovering the results later in the process, as when shooting with film.

Jason Heward, managing director, Leica UK, said, “With the exclusion of the ubiquitous LCD screen, photographers must return to the principles of photography when shooting with the Leica M-D: accurate framing and composition, selecting the appropriate parameters and settings, and ensuring that they capture the decisive moment with the thought and consideration that has always been necessary in analogue photography. This unique rangefinder camera also brings back the fascination and expectation associated with film – returning photography to its origins during the capturing process, whilst maintaining the obvious convenience and benefits of digital technology.”

Principally, the technical features of the Leica M-D are based on those of the Leica M (Typ 262). As with all other digital Leica M cameras, the Leica M-D (Typ 262) features a high resolution CMOS full-frame sensor, which has been designed exclusively for rangefinder photography, and supports neither video recording nor Live View. Its 24 megapixel resolution delivers exceptional image quality and extreme sensitivity, making it perfect for available light situations. At the same time, the camera’s Maestro processor guarantees fast processing of image data. Exposures are captured exclusively as RAW data in DNG format, enabling photographers to apply the required adjustments in post-processing software.

Leica’s focus on ‘Das Wesentliche’ (the essentials of photography) is immediately recognisable in the design of this camera. The Leica M-D expresses purely functional, formal clarity, and features characteristics such as a brass top plate with a ‘step’ at the end, referencing the design of the Leica M9. The Leica ‘red dot’ logo has been omitted from the front of the camera for ultimate discretion.

Furthermore, the barely audible shutter of the Leica M-D ensures the camera is inconspicuous when shooting: an invaluable advantage in scenarios where the photographer wishes to remain unobtrusive. As an aid to this, the camera features a shutter cocking system that is particularly quiet in single exposure mode, and enables a shutter release frequency of up to two frames per second. In continuous mode, the Leica M-D has the same sequential shooting speed as its sister model and shoots up to three frames per second.

The Leica M-D is available in a black paint finish, and includes a real leather carrying strap in full-grain cowhide.

Articles: Digital Photography Review (dpreview.com)

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How to Choose the Right Digital Camera for a Specific Type of Photography

19 Apr

Are you overwhelmed with the many digital camera options available in the market? This article will help you determine the right camera for your specific photography need. Whether it’s portrait, landscape, travel, sports and adventure, or aerial photography that you want to get into, you can’t just settle for the most popular. So before you go checking out what the Continue Reading

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4 Things You Can Learn From Film and How to Apply Them to Your Digital Photography

15 Apr

Since the introduction of digital cameras, photography is becoming more and more popular amongst everyone. This is largely due to the fact digital has dramatically reduced the cost of taking photos, as they no longer required to be developed, and the recording media (SD or CF cards) can be reused. Another fantastic advantage of digital, is the instant replay it gives you of the photo just taken, giving you the option to correct any flaws in the image. This is something that could not be done with film, and each photo taken would cost money; regardless of how great it was, or was not.

Digital Film

Digital technology has come so far in the last several years that it is out-performing film on almost every level; for example, camera’s can now go up to ISO 3.2 million – an ASA (film equivalent to ISO) level that was never even considered during the films days.

But does this mean that film is useless, and has nothing to offer? Absolutely not. Regardless of whether film is making some sort of a resurgence or not, there are still many things that film can teach you about photography, that digital simply cannot. Here are some thing that shooting with film can teach you better than what digital capture can do:

1. SELF CONFIDENCE

With the immediacy of the feedback that digital cameras provide you, it is all too easy and tempting to continually check your camera’s LCD to see how your photo has turned out. This tendency to keep looking at the LCD is often referred to as chimping. You may chimp for various reasons, ranging from ensuring your photo is correctly exposed (the most common reason), in focus, or seeking self-gratification that you’ve done a good job.

Now, imagine you were photographing with film. You would not be able to see your photos straight away; you’d have to wait a week or even two! You would not be able to see if the photo was correctly exposed, or pat yourself on the back about getting a great frame – at least not right away!

Film taught photographers to read the light and tones within their environment, and to learn how to use their tools correctly. This built confidence within photographers to trust in their own abilities and decisions. It meant that photographers would worry less about receiving positive reassurance on the photo they’d just taken; they knew that they had exposed and focussed correctly and kept going. There was no ,”Hold on, I’ll just check to make sure your wedding dress is correctly exposed”, or “I missed that shot because I was checking my exposure.”

By Fredrik Holmberg

So why is chimping a bad habit? Because it says that you are not that confident in your own abilities and judgement, and you need the constant reassurance that you are doing a good job. It results in you potentially missing a great opportunity for a photograph, as your attention has now shifted from your subject to your camera. Wedding, sport, and action photographers may miss a critical moment, a defining moment, if they are always looking at their screen. If you’re looking at your screen, you’re not ready for the moment and you most certainly are not taking photos.

For portrait photographers, taking your camera way from your eye breaks that connection between yourself and your subject. It also says that you’re more interested in the result than you are them.

Apply this to your digital photography

To increase your confidence in your own abilities, I challenge you to only look at your LCD once or twice the next time you’re out photographing. These times should really only be to help you achieve the exposure you wish. If the lighting conditions are consistent, there is no reason you should need to look at your LCD again.

2. PUSH YOURSELF MORE

All too often you may see an outstanding result on the back of your camera. You stop taking photos because you are convinced that it cannot be bettered; only to see your friend take a better image right next to you. The instant replay of your work on the back of your camera can often prevent you from pushing yourself just that little bit further, and getting that great shot. That instant replay didn’t exist on film cameras, so photographers didn’t know if they had “the shot” or not; they had to keep pushing themselves to ensure that they did get it.

By calvinnivlac

If you’re tempted to keep looking at your screen, I’d encourage you to turn preview or replay to off in your camera menu. If you are still tempted to press play and have a sneaky peek, tape a little piece of paper or card over the screen so you cannot see the image.

Apply this to your digital photography

Do not be tempted to keep looking at your screen, and being satisfied with what you see after the first one or two frames. Keep going. Perhaps you could try different angles, settings, lighting etc., but you should always keep pushing a little further to get a better shot. Even if it is just three or four additional frames.

3. YOU THINK MORE

Taking a photo with digital cameras costs nothing; just the minuscule amount of electricity the camera needs to operate and a little bit of storage. Memory cards can hold thousands of photos – far more than the 36-exposure roll of film. But that limitation of 36 exposures can teach you something that digital cannot – discipline.

By John Goode

Think about the last time you went out taking photos. How many did you come back with? I would bet that you might have hundreds of photos to go through, maybe even thousands. Now, divide that number by 36. That’s how many rolls of film you went through. When you have such a limited number of exposures until you have to change your roll (which takes a lot more time than switching memory cards, by the way), you don’t just take photos every time you see something you like. You look at the subject or scene and consider it more carefully. In doing this, you evaluate if it is indeed worth taking a photo of or not.

Apply this to your digital photography

Try shooting with a smaller memory card like 1gb, or even smaller if you can find some old cards. Limit yourself to 36 shots per day or per outing. Do not delete images as you go, only fill the card or your limit of shots and no more. It will help you be more intentional with your shooting. If you are always deleting images, that defeats the purpose of having a smaller card!

4. GREATER VARIETY IN YOUR WORK

Have you ever gone through photos that you’ve taken and realized that you took so many images of the same thing, with little or no difference between many of them? Do you find it boring going through your photos sometimes because there is such little variation in so many images? With film, each frame cost more money than digital, so photographers made each frame count.

By Phil

Apply this to your digital photography

Do you really need 10 photos of the same object, from the same angle? No, you don’t – those 10 frames are all the same, so therefore are really just one photo taken ten times. You can still have 10 photos of the same subject, but vary them; try different angles, focal length, exposures. Even try photographing it with a different lens (wide angle versus telephoto). Make each frame different to the next, and make each frame count. Not all the images will work out, but you will have much more variety in your work from the same number of subjects. It will also help you greatly in the future when deciding on what approach to take for your next subject.

Summary

So there you have it, some simple and practical things that shooting with film can teach you better than digital. If you have a film camera laying about collecting dust, why not pick it up, put a fresh roll of film in (extra points if you shoot on slide film) and start using it? It will be quite a strange sensation using a film camera and the the images you take may not be that fantastic to start. Should you stick with it, it will help you on your journey to improving you photography and in my experience, nothing is more satisfying that nailing a photo on film over digital.

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3 Reasons Why Mirrorless Cameras are Better than Digital SLRs for Focusing

30 Mar

Mirrorless cameras and focusing

A lot has been written about the drawbacks of autofocus performance from mirrorless cameras. Most of this focuses on the tracking of moving subjects – an area where the phase detection autofocus found in digital SLRs is still superior (although the gap is closing).

But when it comes to focusing on still subjects, the mirrorless camera is a better tool. Surprised? If you’ve never used a mirrorless camera, you may be. Let’s take a look at the reasons why.

1. Phase detection versus contrast detect autofocus

Mirrorless cameras have a different autofocus system than digital SLRs.

In a digital SLR most of the light coming through the lens is reflected up by the mirror, into the pentaprism and through the viewfinder. A small part is deflected downwards to a dedicated autofocus sensor. It uses a system called phase detection autofocus to calculate the camera to subject distance, and tell the lens where to focus.

The red lines in this diagram show the path that light takes through an SLR camera with the mirror in the down position. Most of the light is reflected into the pentaprism and the viewfinder. Part of it is reflected downwards towards the autofocus sensor.

The advantage of phase detection autofocus is that it’s fast (generally speaking – but it also depends on which camera you have) and very good at tracking moving subjects. It’s the best system anyone has managed to come up with for an SLR camera.

However, phase detection autofocus has a significant weakness – lack of accuracy.

There are two main reasons for this. The first is that most digital SLRs have a combination of cross-type and single line autofocus points. Cross-type autofocus points are the most accurate, and should always be used when focus is critical (for example, when using a prime lens at its widest aperture), otherwise the camera may not focus where it is supposed to. Your camera’s manual will tell you which of its AF points are cross-type.

Whenever you use a non cross-type autofocus point, you cannot rely on the camera to focus accurately. This is fine when using small apertures, which give you plenty of margin for error, but not when focus and accuracy is critical.

The second reason is to do with camera and lens calibration. Even when you use a cross-type autofocus point your camera may not focus exactly where it is supposed to. For accurate focus, every part of your camera setup – from the autofocus sensor, to lens and autofocus motors that tell the lens where to focus – must be working in perfect harmony. It only takes a small degree of misalignment to throw the accuracy of the system out.

Most of the time you won’t notice, because there is sufficient depth-of-field to make the focusing inaccuracies irrelevant. But if you use a wide aperture, especially with a telephoto lens, then depth-of-field is measured in millimetres, and accurate focus is essential.

For example, if you are taking a portrait then it is conventional to focus on the model’s eyes. If you miss focus, and her eyes are soft, then people will notice and the portrait will lose its impact.

I made this portrait with an EOS 5D Mark II and 85mm lens set to f1.8. With this camera it is necessary to measure and calibrate the autofocus system to ensure accurate focus at wide apertures.

Most mid-range and high-end digital SLRs have a feature that allows you to measure and compensate for inaccurate focusing. Manufacturers have different names for this – Canon and Sony use the term Autofocus micro-adjustment, Nikon calls it Autofocus fine tune, Pentax uses the term Autofocus adjustment and Olympus Autofocus focus adjust. It’s bit of a long winded process – you have to test your lenses by focusing on a ruler, or a purpose made scale, to see if the focus is accurate, and make adjustments if it isn’t.

You can also get your camera and lenses calibrated at a service centre. This is the only way to calibrate an SLR camera that doesn’t have the above feature built-in.

That was bit of a long explanation, but crucial if you are to understand why phase detection autofocus is not as accurate as it should be.

How are mirrorless cameras different?

So, how do mirrorless cameras differ? As they don’t have a mirror, there is no way of deflecting light to a dedicated autofocus sensor. The solution is to take a reading from the sensor. The camera looks at the point on the sensor which is meant to be in focus, and adjusts the lens until maximum contrast is achieved. This is called contrast detect autofocus.

This system is slower, because the camera has to move the lens first one way, then the other, to find the sharpest point. But, it is much more accurate (for still subjects).

With a mirrorless camera autofocus micro-adjustment is redundant. You don’t need it, and you will never have to measure or calibrate the camera’s autofocus system. It also doesn’t matter which autofocus point you use, as they all work equally well. That is why, for still subjects, autofocus in mirrorless cameras is superior to that of digital SLRs.

I made this portrait with a 56mm lens at f/1.2 with my Fujifilm X-T1 mirrorless camera. With this camera it is easy to focus on the model’s eye. There is no need to calibrate the camera’s autofocus system.

2. Manual focusing

Mirrorless cameras are also a better tool for utilizing manual focus lenses.

Modern digital SLRs are not designed to be helpful with manual focus lenses. The split prism focusing screens of the past are gone, and assistance is limited to a light that comes in the viewfinder when the subject underneath the selected AF point comes into focus.

Mirrorless cameras are different. They have a tool called focus peaking, which is specifically designed to help you manually focus a lens. The camera highlights the parts of the scene that are in focus, so that you can see which areas are sharp. You can also magnify the image at the touch of the button, making it even easier to see whether the subject is sharply focused.

This feature works best when using lenses at wide apertures. Both tools take advantage of the camera’s electronic viewfinder, a feature that most digital SLRs don’t have.

This mock up shows how focus peaking works. I made the portrait with a Helios 58mm manual focus lens at its widest aperture setting of f/2. The red lines indicate how focus peaking shows you what is in focus.

3. Hyperfocal distance

Fujifilm cameras have another tool that will be of interest to landscape photographers as it helps you instantly find the hyperfocal distance without referring to tables or smartphone apps.

The viewfinder has a depth-of-field scale that shows you the point you are focused on and the area in focus on either side, according to the selected aperture. If you move the focusing ring until the depth-of-field scale touches the infinity mark at one end, you have found the hyperfocal distance point. It’s quick and easy.

To be honest, I don’t know if this feature is available in any brand of mirrorless camera other than Fujifilm. I’d be grateful if Sony/Olympus/Panasonic, etc., owners would let us know.

This diagram shows how the depth-of-field scale works. The bar shows the point the lens is focused on (white), and how much of the scene is in focus (blue). The lens is focused on the hyperfocal point in this made-up example.

Since buying my first Fujifilm camera a little over 18 months ago, I’ve been pleasantly surprised by what a great tool mirrorless cameras are for photography. They are much better than my old digital SLR for focusing on still subjects, or for using manual focus lenses.

The difference is so great that I predict that one day most photographers will use mirrorless cameras, and digital SLRs will be a niche item built for photographing sports and wildlife.

But what do you think? Please share your thoughts, or ask any questions about focusing, in the comments below.

Mastering Lenses

If you want to know more about lenses and autofocus check out my ebook Mastering Lenses: A Photographer’s Guide to Creating Beautiful Photos With Any Lens.

The post 3 Reasons Why Mirrorless Cameras are Better than Digital SLRs for Focusing by Andrew S. Gibson appeared first on Digital Photography School.

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How Thinking Film and Shooting Digital Can Improve Your Photography

27 Mar

Film is not dead. But since the advent of digital photography, about 20 years ago, film has certainly taken a back seat. Since just over a decade ago, when digital cameras were widely available to the masses, film has almost been completely replaced. However, there’s a lot to be learned from the disciplines of analog days, before the ability to take photos so instantly, and at a phenomenal rate and remarkable quality, was made accessible to everyone with a digital camera.

think film shoot digital creative project_0000

Back in film days, we only had a limited amount of frames we could shoot on one roll. Often the camera sat for days and weeks until we had shot all the frames on the roll of film. We then carefully rewound the film and packaged it off to the film developers, then we wait…hours, days, weeks before we even saw the images we shot. Shooting film was no doubt a methodical exercise in process and patience.