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Posts Tagged ‘Feature’

2019 Pulitzer Prize photography award winners announced for Breaking News, Feature Photography

17 Apr

Editor’s note: Some of the photographs in the winning selections are graphic in nature. We have taken the liberty to censor a few of the more graphic images and provide uncensored links in the gallery description, but even some of the uncensored images are tough to look at. Please keep this in mind when proceeding through the award-winning images.


The 2019 Pulitzer Prize winners have been announced, including two in their respective photography categories: the photography staff of Reuters for Breaking News Photography and Lorenzo Tugnoli of The Washington Post for Feature Photography. Both winners have been awarded $ 15,000 each.

The photography staff of Reuters was awarded a Pulitzer Prize for their ‘vivid and startling visual narrative of the urgency, desperation and sadness of migrants as they journeyed to the U.S. from Central and South America,’ it was announced. The photography staff of Reuters was awarded the Feature Photography Pulitzer Prize in 2018, as well. Below is a gallery of the winning photographs in the Breaking News Photography category:

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Reuters congratulated the winners on Monday. The publication’s Editor-in-Chief Stephen J. Adler said in a statement:

While it’s gratifying to be recognized for the work, public attention should be focused more on the people about whom we report than on us: in this case, the Rohingya and the Central American migrants.

In addition, Lorenzo Tugnoli of The Washington Post was awarded a Pulitzer Prize for his ‘brilliant photo storytelling of the tragic famine in Yemen, shown through images in which beauty and composure are intertwined with devastation.’ The work was moved from the Breaking News Photography to the Feature Photography category by the Pulitzer jury. Below is a gallery of the winning photographs in the Feature Photography category:

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Tugnoli was joined by Craig F. Walker of The Boston Globe and Maggie Steber and Lynn Johnson of National Geographic, who were nominated as finalists. In the Breaking News Photography category, the photography staff of Associated Press and Noah Berger, John Locher and Ringo H. W. Chiu of Associated Press were nominated as finalists.


Photo credit: Photos by their respective photographers/organizations, used with permission from the Pulitzer Prize organization

Articles: Digital Photography Review (dpreview.com)

 
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Instagram appears to be testing new video control feature

30 Mar

Nearly six years after launching video sharing on its platform, at appears Instagram is finally working on adding the ability to fast-forward through videos in your timeline.

Discovered by app researcher Jane Manchun Wong, the new feature makes it possible to skim through videos in your timeline. Until now, videos in your timeline timeline would simply play from beginning to end and repeat themselves. Now, it’s possible to effectively fast-forward through videos with a little swipe of your finger, as seen in Wong’s GIF below:

It’s perplexing it’s taken this long for Instagram to implement an otherwise common feature, but that seems to be the ongoing theme for Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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Apple Final Cut Pro X 10.4.6 update brings detect and convert feature for older media files

26 Mar

Apple has pushed out Final Cut Pro X update (version 10.4.6), that adds the ability to automatically detect and convert any legacy media files that will not be compatible with future versions of macOS, as well as numerous bug fixes and improved features.

Last year, Apple began warning its users that older video formats and codecs relying on QuickTime 7 would no longer be supported by future macOS releases due to the 64-bit transition. Though legacy media files remain compatible with macOS Mojave, updating a Mac system beyond Mojave in the future could prove problematic for filmmakers who have content in older formats.

In a note about this potential issue on its website, Apple warns users to convert their incompatible media files before upgrading to the next major macOS version after Mojave. The newly released Final Cut Pro X 10.4.6 simplifies this requirement by detecting and converting these files into a format that will remain compatible with macOS in the future.

In version 10.4.6, Final Cut Pro users who open a library or import content will see a window listing any incompatible media files the software found. Users can immediately convert these files by clicking ‘Convert’ in the window. Copies of the converted content are created in Apple ProRes format and stored in the library’s media storage location. Existing clips in the library are then relinked to the converted files.

There’s an exception for Motion projects, however, with Apple warning that Final Cut Pro won’t detect incompatible media files in these projects. Instead, users will need to open the project in Motion, after which point a message will appear warning if any incompatible media is present. In that case, the user would need to convert it using QuickTime Player or Compressor.

Media conversion aside, Final Cut Pro X version 10.4.6 brings several relatively minor bug fixes and improved reliability when sharing videos directly to YouTube.

Articles: Digital Photography Review (dpreview.com)

 
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Instagram rolls out Checkout payment feature, data handled by Facebook

20 Mar

Instagram has announced Checkout, a new feature that is not directly imaging-related, but should still be of importance to many users. Checkout will allow users to purchase goods and services from Instagram business accounts without leaving the app and finalizing the transaction in another app or browser.

After tapping on a product page users will be able to select sizes, colors, and other product characteristics and make payments inside Instagram. Previously they would have redirected to the retailer’s website for these actions.

Instagram says it will “securely” save your name, email as well as billing and shipping information after your first order. This information package will be stored and managed by parent company Facebook but only be used by Instagram for the time being.

Checkout is currently in closed beta and only available to users in the USA. Participating brands include Adidas, Burberry, H&M, MAC Cosmetics, Nike and Zara. The current list of brands will be expanded soon. Retailers are charged a selling fee by Instagram for the service.

Articles: Digital Photography Review (dpreview.com)

 
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Android TV ‘Photos’ feature disabled after bug reveals hundreds of user accounts

08 Mar

Following reports of a bug on Twitter, Google has temporarily disabled the Photos feature on Android TV. The decision was made in light of complaints from some Android TV users who say hundreds of strangers appeared under the platform’s ‘Linked Accounts’ menu. Though those users’ photos weren’t accessible, impacted Android TV owners could view their names and profile pictures.

The issue was first reported by Android Police, which points to a video shared by Twitter user ‘Prashanth.’ In the video, hundreds of Google Photos accounts are listed under the Google Home app’s Ambient Mode, which allows users to display a feed of their Google Photos images on an Android TV or Chromecast.

As part of the Ambient Mode feature, Google makes (made) it possible to enable displaying images from other Google Photos users by linking their accounts. This feature was intended to be used with other known users — friends and family, for example — but this surprise bug had apparently linked hundreds of unknown accounts.

Android Police has identified complaints related to the Vu LED TV 55SU134, which has Android TV built-in, as well as another related to the iFFalcon 32F2A Android TV from a TCL subsidiary. Prashanth told the site that he wasn’t able to replicate the bug on a Xiaomi Mi Box 3 running Android 8 Oreo; the Vu TV was still running the older Android 7 software.

The problem may only impact older hardware that hasn’t received the latest security updates.

Though he was able to view users’ names and profile pictures under Linked Accounts and the Ambient Mode feature, Prashanth did say in a tweet that wasn’t able to view the other users’ actual Google Photos images. Google is expected to bring back the feature with a bug fix in the future.

Articles: Digital Photography Review (dpreview.com)

 
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Instagram ‘Public Collections’ feature discovered in Android app code

28 Feb
A view of the ‘Saved’ post section of the iOS Instagram app, also known as ‘Collections.’

Two years ago, Instagram released a feature called Collections that enables users to privately group posts together for organized safekeeping. The company now appears to be testing a new setting that would allow these users to make their Collections public. The discovery was made by software engineer Jane Manchun Wong, who has an excellent history with uncovering unannounced features in mobile apps.

The new public setting for Collections is not available to users, but Wong recently published a screenshot of what the feature currently looks like. Instagram told TechCrunch that it is not testing the feature, which indicates it is still in development. It’s possible the new option may appear for some users in the future when (if) public testing starts.

With the public option, Instagram users would be able to create curated Collections featuring a variety of content from different Instagram users. Based on the above screenshot, it appears Instagram would enable users to add contributors to their public Collections.

Public Collections would help address the issue of unauthorized content sharing via screenshots, as well as offering an alternative to Pinterest ‘boards.’ As with any unannounced feature, it’s possible the final product will differ from the version still in development. Likewise, Instagram may scrap the project and never release the ‘public’ Collections setting.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T30 offers most of the X-T3’s feature set for $900

14 Feb

Fujifilm has unveiled the X-T30, its latest APS-C mirrorless camera. The X-T30 provides many of the features found in the higher-end X-T3, including its 26.1MP X-Trans sensor and X-Processor 4 Quad Core-CPU, along with some autofocus improvements that will come to the X-T3 later via a firmware update.

The X-T30 offers a hybrid AF system with 425 points across the entire frame, and boasts faster face detection compared to its X-T20 predecessor. Eye detection AF can be used in AF-C mode, and phase detection AF is now usable in lower light conditions.

On the video front, the X-T30 offers a surprisingly robust feature set including 4K/30p and 10-bit 4:2:2 output via HDMI and 8-bit 4:2:0 internal recording. That’s one of a few key differences between the X-T30 and X-T3 – upgrading to the X-T3 gets you 10-bit 4:2:0 internal and 4K/60p.

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The X-T30 is an altogether smaller and lighter camera than the X-T3 (383 g / 13.5 oz compared to 539 g / 19 oz) and offers a smaller, lower-resolution viewfinder – 0.62x and 2.36M-dot to the X-T3’s 0.75x and 3.69M-dot EVF. A 3″ 1.04M-dot touchscreen tilts on one axis, and a single card slot is offered.

A new, lower native ISO of 160 is offered, and burst shooting with continuous autofocus tops out at 20 fps (8 fps with mechanical shutter). Bluetooth connectivity has been added on top of the Wi-Fi offered by the X-T20, and battery life sees a slight improvement over its predecessor as well – 380 shots versus 350 shots per charge (CIPA).

Official Fujifilm X-T30 sample images by Bryan Minear

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The Fujifilm X-T30 will go on sale in March for $ 899 body-only, $ 999 with XC 15-45mm F3.5-5.6 OIS Power Zoom or $ 1299 with 18-55mm F2.8-4. At launch the X-T30 will be offered in black or silver, with a handsome charcoal silver option to follow in June.

Press release:

FUJIFILM LAUNCHES THE NEW FUJINON XF16mmF2.8 R WR LENS AND THE FUJIFILM X-T30, A NEW MIRRORLESS DIGITAL CAMERA IN A UNIQUELY LIGHTWEIGHT AND COMPACT DESIGN

– Updates to FUJIFILM X Series lineup including the new the X-T30, which packs greater image quality and UHD 4K video-recording capability into its thin, lightweight body (just 13.51oz) (383g);
– The FUJINON XF16mmF2.8 R WR wide angle lens for X Series announced;
– Forthcoming firmware releases for FUJIFILM X-T3, FUJIFILM X-T100 and FUJIFILM X-A5;
– New version of FUJIFILM Camera Remote app available

Valhalla, New York, February 14, 2019 – FUJIFILM Corporation today unveiled several new announcements for the FUJIFILM X Series lineup, including the launch of the FUJIFILM X-T30 (X-T30), its new mirrorless digital camera that provides photographers of all levels with enhancements in image quality at greater speed and accuracy. Fujifilm also announced the FUJINON XF16mmF2.8 R WR wide angle lens with a compact, lightweight and weather-resistant design for its XF family of interchangeable lenses.

X-T30
The new system features Fujifilm’s X-Trans CMOS 4 Sensor. This 4th generation, 26.1 megapixel imaging sensor, is one of the highest resolution sensors among APS-C sensor digital cameras. The small, lightweight camera also takes advantage of Fujifilm’s new X-Processor 4 Quad Core-CPU, which provides content creators of all levels with fast auto-focus (AF), accurate face detection and enough power to create beautiful, high-resolution stills. The sensitivity of ISO 160 — previously only available as extended ISO — is now available as a regular ISO option and will serve to facilitate capturing moments in bright daylight outdoors.

The X-T30 also includes advanced features such as the Focus Lever which enables users to quickly and easily shift to a focus point, an intuitive touch-screen panel, and an ergonomic body design to ensure hand-held stability in versatile shooting conditions. At a weight of just 13.51oz, the compact and lightweight body is comfortable to hold even when it is mounted with a large lens, such as a telephoto zoom.

Evolved for video-recording capability, the X-T30 offers the ability to record ultra high-definition (UHD) 4K or Full HD 1080p video and high quality audio – without additional equipment – to accommodate the needs of a wide range of content creators.

  • Professional Performance: The 26.1MP BSI APS-C X-Trans CMOS 4 image sensor and X-Processor 4 quad-core CPU combination allows for reliable and accurate AF and Face Detection performance when capturing high-resolution stills or recording 4k video of moving subjects.
  • Advanced Image Quality: The new X-Processor 4 Quad Core-CPU doubles the speed of face-detection for moving people compared to the X-T20. Additionally, eye-detection AF now works in AF-C mode, which results in accurate focus-tracking for moving portrait subjects. The low-light limit for phase detection AF has been expanded even more from the conventional +0.5EV to -3EV, to allow for operation in a wide range of lighting scenarios.
  • Superior Video and Image Effects: Offers the ability to record 4K video at 30 frames per second or capture of 120 frames per second at 1080p to create super slow motion effects. Filmmakers needing high color fidelity can record 10-bit, 4:2:2 color through the camera’s HDMI port. Leveraging Fujifilm’s advanced color reproduction technology, users are able to record video in ‘Film Simulation’ modes. The X-T30 also incorporates numerous shooting functions, such as “monochrome adjustments” available for ACROS and Monochrome, and “Color Chrome” effect that produces uniquely deep colors and gradation in subjects with highly saturated colors, which are notoriously difficult to photograph.
  • Easy-to-Use Design: Offers 3 inch touch LCD with 2-way tilting and optimal touch screen to capture images easily in challenging situations. Provides advanced SR Auto mode –easily activated with a lever — to automatically choose the optimum shooting settings out of 58 presets for any given scene.
  • Mobility: Built-in Wi-Fi® and Bluetooth V.4.2 offers digital communication with the free FUJIFILM Camera Remote app to wirelessly control the camera or share images to smart devices.

Carrying on with the tradition of the FUJIFILM X-T10 (released in June 2015), and the FUJIFILM X-T20 (released in February 2017), the new model retains the X Series’ signature dial-based, manual controls and proprietary color reproduction technology, along with a complete range of shooting functions designed to attract a broad range of users from professional photographers and independent filmmakers to first-time beginners.

FUJIFILM X-T30 Specifications:

  • 26.1M BSI APS-C X-Trans CMOS 4
  • X-Processor 4 quad-core CPU
  • 100% phase detect AF across the entire frame
  • Excellent face and eye detection AF with new Face Selection option
  • 2.36M-dot OLED EVF
  • 3 inch 1.04M-dot 2-way tilting Touch LCD with smooth and fast drag controls
  • 4K/30p, Full HD 120fps, H.264 compression option
  • External HDMI recording capable of 4:2:2 10 bit quality
  • 1x SD UHS-I card slot • Built-in Wi-Fi® and Bluetooth V.4.2
  • Headphone Jack via USB-C Adapter (3rd Party)
  • USB-C
  • NP-W126S battery

FUJINON XF16mmF2.8 R WR Lens
Designed to deliver the high performance resolution from Fujifilm’s X-TRANS CMOS sensors through its precise optical design, the XF16mmF2.8 R WR adopts an internal focusing system and stepping motor to provide extremely fast and near-quiet auto-focusing. Although light and compact, the design incorporates metal components on the exterior of the lens, while interior is sealed around the barrel in nine different locations to ensure durability and weather-resistance to the surrounding environment. The XF16mmF2.8 R WR joins the collection of affordable, compact, and lightweight lenses within the FUJINON XF Lens System, making it the perfect companion to the XF23mmF2 R WR, XF35mmF2 R WR, and XF50mmF2 R WR lenses.

  • High Resolution Performance: Edge-to-edge sharpness from the center to the corners of the frame is achieved by the precise arrangement of 10 lens elements in 8 groups. This lens also includes two aspherical elements, which assist in suppressing the image degrading effects of chromatic aberration and field curvature imperfection.
  • Compact, Lightweight and Stylish design: Weighing in at 5.47oz (155g) and measuring just 1.79in (45.4mm) in length, this lens offers up the renowned image quality and refined style associated with the FUJINON XF family of lenses. With its metal exterior, precise click stops, and smooth dampening, this lens offers incredible image quality in a durable, aesthetically pleasing appearance.
  • Fast and Quiet Autofocus: The inner focusing AF system uses a stepping motor to move focusing elements into place through precise electrical pulses in order to achieve fast and near-silent autofocus performance.
  • Weather and Dust Resistant Durability: The lens is designed to operate in temperatures as low as 14° Fahrenheit and is sealed at nine points around the barrel, making it both weather and dust resistant.

FUJINON XF16mmF2.8 R WR Optional Accessories:

  • 49mm Front lens cap (FLCP-49)
  • 49mm Protect filter (PRF-49)

FUJINON XF16mmF2.8 R WR Specifications:

  • Lens construction: 10 elements, 8 groups (includes 2 aspherical elements)
  • Focal length (35mm format equivalent: f=16mm (24mm)
  • Angle of view: 83.2°
  • Max. aperture: F2.8
  • Min. aperture: F22
  • Aperture control
  • Number of blades: 9 (rounded diaphragm opening)
  • Stop size: 1/3EV (19 stops)
  • Focus range: 17cm and beyond
  • Max. magnification: 0.13x
  • External dimensions: Diameter x Length: Approx: ?60.0mm x 45.4mm
  • Weight (excluding caps, hoods): Approx. 155g
  • Filter size: ?49mm10

Availability and Pricing
The X-T30 digital camera body and kits are anticipated to be available in March 2019 in the popular black and premium silver for a suggested retail price of USD $ 899 and CAD $ 1,199.99. The X-T30 body with XC15-45mm lens kit will be available at a suggested retail price of USD $ 999 and CAD $ 1,299.99. The X-T30 body with XF18-55mm lens kit will be offered at a suggested retail price of USD $ 1,299 and CAD $ 1,699.99. All camera and kit variations of the new charcoal silver color will be available in June 2019.

The FUJINON XF16mmF2.8 R WR lens is expected to be available in black in March 2019 or silver in May 2019, at a suggested retail price of USD $ 399.95 and CAD $ 499.99.

New Firmware Updates for FUJIFILM X-T3
New firmware version [FUJIFILM X-T3 Ver. 3.00] for the FUJIFILM X-T3 will be released in April 2019 to strengthen the accuracy of the X-T3’s face/eye detection feature, and to provide enhanced AF performance and speed, and operability of the X-T3 touch screen.

  • Enhanced Accuracy of Face/Eye Detection and AF Performance: The X-T3 firmware update provides improvements in the X-T3’s AF algorithm, with face detection of the X-T3 enhanced by approximately 30%. Additionally, the firmware serves to make the AF tracking even more stable not only in still photos but also in video recording.
  • New “Face Select” Function: The new X-T3 firmware update adds a new “Face Select” function to provide priority auto-focus, tracking, and exposure on a selected subject when multiple faces are detected within a frame. X-T3 users can make a selection via the touch screen or focus lever.
  • Fast AF Speed: The X-T3’s new firmware update provides the camera with a new AF algorithm, which improves the AF speed from previous versions, regardless if the subject is located a short distance or farther away.
  • Intuitive Operability: The firmware update provides additional settings for the X-T3’s touch screen that provide enhanced ease-of-use when focusing.

New Firmware Updates for FUJIFILM X-T100 and FUJIFILM X-A5
Available starting February 2019, the new firmware FUJIFILM X-T100 Ver. 2.00, FUJIFILM X-A5 Ver. 2.00 for the FUJIFILM X-T100 and for the FUJIFILM X-A5, respectively, will include advanced features for shooting a variety of scenes.

  • New “Bright Mode”: Provides a brighter and more vivid image when using the “Advanced SR Auto” mode. It can be easily turned on and off with a single tap via the LCD touch-screen.
  • “Portrait Enhancer” Mode: The popular “Portrait Enhancer” mode is now available with customizations to meet a range of different skin tones.
  • New “Night+ Setting”: The “Night+” mode automatically adjusts ISO, brightness and vividness of the picture for enhanced quality in poor light situations.

New Version of the FUJIFILM Camera Remote App
Fujifilm will also launch the newest version of the FUJIFILM Camera Remote (Ver. 4.0) app to connect smart devices to Fujifilm’s wireless-equipped digital cameras to enable seamless transfer of photos and remote-control shooting features. The newly designed interface of the new FUJIFILM Camera Remote app allows for a quicker pairing process and an “album” function to quickly arrange photos imported from the camera. The new version will be available in the App Store for iOS™ devices in March 2019 and available in the Google play store for Android™ devices in May 2019.

Fujifilm X-T30 specifications

Price
MSRP $ 899 (body only)
Body type
Body type SLR-style mirrorless
Body material Metal
Sensor
Max resolution 6240 x 4160
Image ratio w:h 1:1, 3:2, 16:9
Effective pixels 26 megapixels
Sensor size APS-C (23.5 x 15.6 mm)
Sensor type BSI-CMOS
Processor X-Processor 4
Color space sRGB, Adobe RGB
Color filter array X-Trans
Image
ISO Auto, 160-12800 (expands to 80-51200)
Boosted ISO (minimum) 80
Boosted ISO (maximum) 51200
White balance presets 7
Custom white balance Yes (3 slots)
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG (Exif v.2.3)
  • Raw (Fujifilm 14-bit RAF)
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 425
Lens mount Fujifilm X
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3
Screen dots 1,040,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.93× (0.62× 35mm equiv.)
Viewfinder resolution 2,360,000
Photography features
Minimum shutter speed 4 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/32000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Scene modes
  • SR Auto
  • Portrait
  • Portrait Enhancer
  • Landscape
  • Sport
  • Night
  • Night (tripod)
  • Fireworks
  • Sunset
  • Snow
  • Beach
  • Underwater
  • Party
  • Flower
  • Text
Built-in flash Yes
Flash range 5.00 m (at ISO 100)
External flash Yes (via hot shoe)
Flash modes Auto, on, slow sync, manual, commander
Flash X sync speed 1/180 sec
Drive modes
  • Single
  • Continuous H
  • Continuous L
  • Bracket
Continuous drive 30.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Average
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±5 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264
Modes
  • 4096 x 2160 @ 30p / 200 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2160 @ 25p / 200 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2160 @ 24p / 200 Mbps, MOV, H.264, Linear PCM
  • 4096 x 2160 @ 23.98p / 200 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 200 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 200 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 200 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 120p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 200 Mbps, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-I supported)
Connectivity
USB USB 3.1 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth 4.2
Remote control Yes (via wired remote or smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description NP-W126S lithium-ion battery & Charger
Battery Life (CIPA) 380
Weight (inc. batteries) 383 g (0.84 lb / 13.51 oz)
Dimensions 118 x 83 x 47 mm (4.65 x 3.27 x 1.85)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Adobe Lightroom February update adds AI Enhance Details feature, HDR and HDR Panos

13 Feb

Adobe has updated Lightroom CC, Lightroom Classic CC, and Adobe Camera Raw with a new AI-powered feature called Enhance Details. The feature is made possible by Sensei, Adobe’s artificial intelligence and machine learning platform, and it works on nearly any raw image file to improve fine detail and color rendering, as well as resolving issues that some users with Fujifilm X-Trans cameras have reported.

The new Enhance Details feature utilizes a convolutional neural network (CNN) that was ‘extensively trained,’ according to Adobe, to deal with issues like zippering and false colors while improving the overall quality of fine details. The feature ‘works well’ on X-Trans and Bayer raw mosaic files, which can have their resolutions increased by up to 30%. Adobe digs into the technical details here.

An example panorama stitched together using the updated Lightroom CC application. Provided by Adobe.

In addition to the Enhance Details feature, Adobe has updated Lightroom CC for Windows and Mac with new HDR, Pano, and HDR Pano merge tools, histogram clipping indicators, and a Target Adjustment tool. The HDR and Pano features support both raw and non-raw images, though the company points out that merged raw files retail the adjustment benefits inherent to the file type.

A screenshot of HDR exposures ready to be stitched together into a panorama. Provided by Adobe.

The HDR and HDR Pano tools are best used with a camera’s auto exposure bracketing mode, which captures images with varying exposure. Lightroom automatically merges the images for HDR and, in the case of panoramas, automatically adjusts alignment and corrects distortion. These features are joined by the Target Adjust Tool for precisely controlling an image’s tonality and color, as well as the histogram clipping indicators.

As far as mobile is concerned, the update enables users to create ad-hoc photo shares on Lightroom CC for iOS. Finally, Lightroom Classic users received improved Nikon camera tethering stability and performance. The updates are available now.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic S1 will cost $2499 body-only and feature oversampled 4K/30p

02 Feb

Following a Photokina 2018 development announcement, Panasonic has released full details for its Lumix S1 full-frame mirrorless camera. The company previously estimated that the S1 would be 70% used for stills and 30% geared toward video, and indeed it puts up some impressive video specifications.

The S1 uses a 24.2MP sensor and on the video front, captures oversampled 4K/30p video from the full width of the sensor, or 4K/60p from an APS-C region. The S1 will also offer 180 fps 1080 video capture, output as 1/6th speed footage at 29.97p.

S1 users will also have the option to pay for an upgrade to add Log capabilities and the ability to output or capture 10-bit 4:2:2 footage. The standard camera only shoots 10-bit in its HLG high-dynamic range video mode. Pricing and availability date of the upgrade has not yet been announced.

The S1 and S1R use the L-mount standard, introduced first by Leica and now developed in collaboration with Panasonic and Sigma. Both cameras offer robust weather-resistance and in-body 5-axis image stabilization that will work in combination with Lumix lenses equipped with optical stabilization.

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Autofocus is contrast-based and relies on Panasonic’s DFD (Depth From Defocus) technology to speed up focus acquisition. This latest iteration of the feature incorporates machine learning to better identify subjects and improve tracking performance.

The S1 offers a multi-shot High Resolution mode able to create 96MP images. Standard burst shooting is offered at up to 9 fps with single AF, or 6 fps with continuous AF and live view. Additionally, Panasonic’s 6K and 4K Photo modes are present for high-speed capture, allowing extraction of 18MP images from 30 fps bursts, or 8MP images from APS-C region 60 fps bursts.

Like its higher-resolution sibling, the S1 provides an OLED electronic viewfinder with market-leading 5.76M-dot resolution, offering 60 fps or 120 fps selectable refresh rate. It’s also equipped with a touch-sensitive 3.0″ 2.1M-dot LCD that tilts on three axes. The camera also provides a top panel status LCD.

The Panasonic Lumix DC-S1 will be available in early April for $ 2499 body-only or $ 3399 with the co-announced 24-105mm F4 lens.

Press release:

Panasonic Launches New LUMIX S Series Full-frame Mirrorless Cameras LUMIX S1R and LUMIX S1

Newark, NJ (February 1, 2019) – After the development announcement at Photokina 2018, Panasonic is now proud to introduce the full specifications of its long-awaited first full-frame Digital Single Lens Mirrorless cameras, the LUMIX S1R and S1, with a 35mm full-frame CMOS sensor. The new cameras are based on the L-Mount standard, which boasts a well-balanced, large inner diameter and compact dimensions for a flange focus to realize optimum size and performance as a mirrorless camera system.

The LUMIX S Series aims for unprecedented image quality with high resolution, rich gradation and superior color reproduction. A high-speed, high-precision AF system based on advanced control technology over the lens, the sensor, and the new Venus Engine enable the user to capture the target in sharp focus without fail. The LUMIX S Series also boasts industry-leading video recording performance (4K 60p/50p*1), intuitive control, a rugged design for heavy field use, durability, and expandability.

The LUMIX S1R integrates a 47.3-megapixel full-frame CMOS sensor (36mm x 24mm), which gives it the industry’s highest level of resolution in the full-frame mirrorless cameras*2, to pursue the ultimate power of expression. In addition to the precise reproduction capability in detail, this sensor achieves a high S/N ratio by taking advantage of its high light-condensing efficiency despite the large number of pixels. The LUMIX S1R features a High Resolution mode for the first time as a mirrorless full-frame camera to enable 187-megapixel ultra-high precision photo shooting.

The LUMIX S1 comes with a 24.2-megapixel full-frame CMOS sensor (35.6mm x 23.8mm) that provides a wide dynamic range and excellent performance at high sensitivity in addition to a natural yet sharp image description thanks to sufficient light condensation per pixel. The LUMIX S1 supports professional use in videography by taking advantage of the stunning expression performance that a full-frame camera can offer. It records smooth 4K 60p video and enables full-pixel readout of signals in 4K 30p/25p*1 to save truly beautiful footage. Furthermore, the LUMIX S1 will comply with 4:2:2 10-bit 4K 30p/25p*1 internal video recording and 4K 60p HDMI output as well as V-Log, with a software upgrade key (to be sold separately) following soon in 2019.

Panasonic’s advanced Contrast AF system with DFD technology has evolved through the development of numerous mirrorless cameras to make the AF system of the LUMIX S1R/S1 even more practical. It achieves not only the industry’s fastest level of focusing speed but also a tracking performance that is made possible by the adoption of advanced AI technology that accurately recognizes moving target subjects. The LUMIX S1R/S1 incorporates a Body I.S. (Image Stabilizer) to effectively compensate for the hand-shake movement. Combining the Body I.S.(5-axis) and the O.I.S. (Optical Image Stabilizer, 2-axis) in the LUMIX S Series lenses, the Dual I.S. 2*3 boasts even more powerful compensates for virtually any types of blur. Equipped with a high-resolution Real View Finder, triaxial tilt rear monitor and high performance shutter unit with high durability, the rugged design LUMIX S1R/S1 provides the professional photographers with high reliability.

Drawing on the vast expertise of the L-Mount Alliance with Leica Camera and Sigma, various interchangeable lenses are available for the LUMIX S Series. On the other hand, the LUMIX PRO service*4 has also launched to support professional work globally.

As a pioneer of the Digital Single Lens Mirrorless camera, Panasonic has pursued innovations in technology under the vision of “Changing Photography.” Crystallizing all these digital and optical technologies, Panasonic is committed to introducing an unparalleled full-frame camera system without compromise for professional photographers and videographers.
*1 PAL area only
*2 As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.
*3 5-Axis Dual I.S.2 can be used with the lens S-R24105 and S-R70200 as of February 1, 2019.
*4 Service is not available in some countries.

1? High picture quality made possible by the first LUMIX full-frame mirrorless camera Unprecedented picture quality and high descriptive performance LUMIX S1R
The LUMIX S1R incorporates a new 47.3-megapixel CMOS sensor without LPF (Low Pass Filter) to realize high resolution and descriptive performance. This sensor adopts an aspherical lens for the on-chip micro lens to enhance light condensation. Together with the optimum design to concentrate more incoming light onto the photodiode, it achieves both high resolution and highly efficient light condensation performance. This results in the realization of the industry’s highest level of 47.3-megapixel resolution* in the full-frame mirrorless cameras at high S/N ratio and maximum ISO 25600 high sensitivity. The large amount of digital signals is processed by the new high-speed, high-performance image processor Venus Engine to render images with breathtaking description in both photo and video.
* As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.

High image quality, high sensitivity performance LUMIX S1
The LUMIX S1 employs a 24.2-megapixel CMOS sensor. The new Venus Engine, which is exclusively tuned for the full-frame camera, and its Multipixel Luminance Generation and Intelligent Detail Processing realize natural, high-resolution expression while suppressing color moiré. Three-dimensional color control improves the color reproduction of both bright and shadow areas. This results in natural, true-to-life images from low to high sensitivity. Taking advantage of sufficient light condensation, the LUMIX S1 boasts a wide dynamic range and reproduces sharp images with exceptional clarity. Noise is minimized even when shot at maximum ISO 51200 high sensitivity. It is an ideal camera to use especially in low-light situations.

An AR coating applied on the sensor of both LUMIX S1R/S1 minimizes ghost and flare even in backlighting. In combination with the high-quality LUMIX S Series lenses based on the L-Mount, this further enhances the potential of the camera.

Plus, the LUMIX S1R/S1 integrates the Body I.S. (Image Stabilizer) for powerful handshake correction. Panasonic developed an algorithm that precisely calculates shake information acquired not only from a gyrosensor, but also from the image sensor and accelerometer sensor. This enables more accurate shake detection and compensation, making it possible to use a 5.5-stop slower shutter speed*1. Combining the Body I.S. (5-axis) in the camera and the O.I.S. (Optical Image Stabilizer, 2-axis) in the LUMIX S Series lens, the 5-axis Dual I.S. 2 compensates for larger movements that were conventionally uncontrollable. Maximizing both O.I.S and B.I.S. is highly beneficial in telephoto shots and in adverse situations, such as in low-light or with one-handed shooting with a 6-stop slower shutter speed*2. The 5-axis Dual I.S. 2 works for both photo and video recording, including 4K. The Body I.S. compensates for camera movement even when other L-Mount lenses without O.I.S. are used.

Taking full advantage of its high-resolution sensor, the LUMIX S1R/S1 provides a High Resolution mode that faithfully reproduces precise details to be saved as beautiful, highly realistic RAW images. Eight consecutive images are automatically shot while shifting the sensor using the Body I.S. (Image Stabilizer) mechanism and synthesized into a 187-megapixel equivalent (16,736 x 11,168-pixel) image for LUMIX S1R and 96-megapixel equivalent (12,000 x 8,000-pixel) image for LUMIX S1 by the new Venus Engine, which boasts high-speed signal processing. This mode is suitable for taking natural landscapes or fine arts with delicate details. This magnificently high resolution photo is ideal for landscape photography of stationary subjects using a tripod. However, it can also be used in situations where moving subjects are included in the scene, by switching the sub mode.

The HLG*3 Photo mode is a whole new style of photo expression that Panasonic proposes. It provides a wider dynamic range to reproduce light and shadow with more natural contrast. The HLG Photos can also be produced as an HSP file*4 with compressed high-brightness signals in stunning 8K resolution (7,680 x 4,320 in 16:9, with LUMIX S1R) or its full resolution (5,888 x 3,312, in 16:9, with LUMIX S1) in addition to JPEG/RAW files. It excels in the expression of lights, such as sparkling starlight or glaring sunlight. The user can playback these vibrant images on the latest Panasonic HLG-compliant 4KTV via HDMI cable connection or other HLG-compliant devices. It is also ideal for photo presentations by photographers.

The high-precision shutter unit offers the highest shutter speed at a maximum 1/8000 second to capture spur-of-the-moment, fast moving subjects and to use a high-speed lens with a fully open aperture even outdoors for impressive defocusing. The external flash can be synchronized with the industry’s fastest shutter speed of a maximum 1/320 second.*5*6
*1 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=50mm, when S-X50 is used.]
*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when S-R70200 is used.]
*3 “HLG (Hybrid Log Gamma)” is an international standard (ITU-R BT.2100) HDR format.
*4 “HSP” is an HDR picture format using HLG format video technology.
*5 The guide number decreases when the shutter speed is set to 1/320 of a second.
*6 As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.

2. High-speed, high-precision AF system LUMIX S1R LUMIX S1
Panasonic has achieved a high-speed AF with its advanced control technology over the major devices – lens, sensor and imaging engine. The lens and sensor communicate at a maximum 480 fps. Combining the Contrast AF with DFD technology, the LUMIX S1R/S1 realizes an ultra-high-speed, high-precision AF of approximately 0.08 sec*1. The LUMIX S1R/S1 also boasts high speed burst shooting at 9 fps (AFS) or 6 fps (AFC). With its high subject tracking performance, the LUMIX S1R/S1 never loses the target subject. As a camera that excels in low-light shooting, the LUMIX S1R/S1 boasts -6EV*2 luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. The face/eye detection technology makes it possible to capture people in crisp focus, the Eye AF even detects the pupil of the eye and precisely focuses on it for impressive portrait shooting. The LUMIX S1R/S1 also incorporates advanced AI technology that detects specific subjects – humans and fast-moving animals, including dogs, cats and birds. The camera keeps tracking these subjects even when they turn their back to the camera.

For more continuous burst shooting, 6K PHOTO*3 makes it possible to capture unmissable moments at 30 fps by extracting the frame with the best timing out of a 6K burst file (in 4:3 or 3:2 aspect ratio) to save as an approximate 18-megapixel equivalent high resolution photo. The 4K PHOTO enables 60-fps high-speed captures in approximate 8-megapixel equivalent resolution. In 6K PHOTO /4K PHOTO, three exclusive modes can be chosen from depending on the situation; 6K Burst/4K Burst, 6K Burst (Start/Stop)/4K Burst (Start/Stop) and 6K Pre-burst/4K Pre-burst. Users can choose the most suitable burst shooting mode in addition to the regular consecutive shooting mode in full resolution depending on the situation.
*1 11EV, at wide-end with S-R24105 (CIPA) in LVF120 fps setting.
*2 At ISO100, F1.4, AFS
*3 6K PHOTO’ is a high speed burst shooting function that cuts a still image out of a 4:3 or 3:2 video footage with approx.18-megapixel (approx. 6000 x 3000 effective pixel count) that the 6K image manages.

3. Operability from ingenuity for intuitive control LUMIX S1R LUMIX S1
The LVF (Live View Finder) is the key factor for completing the ultra-high-speed response of the camera. The LUMIX S1R/S1 has the largest level of Real View Finder which boasts the world’s highest 5,760k-dot resolution.* The 0.78x magnification ratio can be switched to 0.7x or 0.74x according to the shooting situation. Adoption of a high-speed, high-precision OLED (Organic Light-Emitting Diode) for the LVF achieves smooth display at 60 fps/120 fps (switchable) and high-speed response with minimum time lag of less than 0.005 sec as well as 10,000:1 high contrast for exceptional visibility. With minimum distortion and high optical performance, this Real View Finder provides a natural view as seen with the naked eye. It is always sharp and clear from the center all the way to the corners.

The 2,100K-dot high resolution monitor in 3:2 aspect ratio has adopted a triaxial tilt moving element to secure both durability and operational ease. It also has a touch control system. Live View Boost is another practical feature that makes it possible to check the composition even in total darkness by boosting the sensitivity just for live view. It also incorporates a night mode that provides mild backlighting. It lets the user watch the subject comfortably even after viewing the monitor in a dark situation for a long time. The LUMIX S1R/S1 includes a largest-in-class Status LCD on the top, allowing users to check the settings at a glance.

To make the camera just like a part of the photographer’s body, the LUMIX S1R/S1 provides a firm grip, making it easy to hold for long periods. The control buttons and dials are located based on an ergonomic study to enable the user to concentrate on shooting. The adoption of an 8-directional joystick and refined UI (User Interface) also supports quick operation during shooting. In addition, illuminated buttons can be of help in low-light situations. An operation lock lever prevents unintentional operation, and the user can choose which operation to lock.
* As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.

4. Rugged design, reliability and expandability LUMIX S1R LUMIX S1
To be tough enough to withstand heavy field use, the main structure is composed of a magnesium alloy full die-cast front/rear frame. Robust construction and a sealing for every joint, dial, and button make the LUMIX S1R/S1 not only splash resistant* and dust resistant,* but also freeze resistant down to -10 degrees Centigrade. The shutter unit is also durable for approximately 400,000 cycles.

The LUMIX S1R/S1 is equipped with a double memory card slot compatible with SD (UHS-II) or XQD memory cards for high-speed, high-capacity continuous data recording. Users can flexibly choose the recording method from Relay Recording, Backup Recording or Allocation Recording using the double slots. It will also be compatible with CFexpress in the near future. The 7.4-V 3,050 mAh high-capacity battery can be quickly charged via USB PD (USB Power Delivery) using the bundled USB3.1 Type-C cable. And it also realizes high-speed data transfer.

A variety of new accessories are available for the LUMIX S1R/S1, including Remote Shutter (DMW-RS2),?Eyecup (DMW-EC6), Battery Grip (DMW-BGS1) and Battery Charger (DMW-BTC14). The Battery Charger also complies with USB PD and enables quick power charging in approximately 2 hours. The camera can be used while charging via this adaptor. The conventional External Flash (DMW-FL580L / FL360L / FL200L) can also be mounted on the LUMIX S Series cameras.
*Dust and Splash Resistant does not guarantee that damage will not occur if this camera is subjected to direct contact with dust and water.

5?Outstanding video recording performance in a full-frame camera 4K 60p video recording for more creative freedom LUMIX S1R The LUMIX S1R is a camera designed and developed to boast exceptional performance in photography, yet is capable of 4K 60p video recording.*2 To elevate the video expression even more, a variety of effects are available for video recording.

Exceptional video recording performance for professional videographers LUMIX S1
The LUMIX S1 features outstanding video performance for professional videography with 4K 60p recording. It realizes a crop factor of 1.0x in 4K 30p/25p*1/24p, which means that the user can record video in the original viewing angle of the lens. There is no recording time limit*3 for both 4K 30p/25p*1/24p and Full-HD video. Notably, the CMOS Sensor with high sensitivity on the LUMIX S1 achieves full-pixel readout for an excellent S/N ratio. The HDR (High Dynamic Range) video recording is available, which reproduces both the bright parts and dark parts of an image, making it look just like human eyes see it. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and you can now choose Hybrid Log Gamma (HLG) in Photo Style. The LUMIX S1 further expands its potential with a firmware update including 4:2:2 10-bit 4K 30p internal video recording and 4K 60p/50p HDMI output as well as V-Log, with a Software Upgrade Key (to be sold separately) following soon in 2019.

As a camera from Panasonic that has been overstepping the limit of video performance in digital cameras, a host of functions are available on the LUMIX S1R/S1. The High Speed Video lets users record slow motion video in 4K (maximum 60 fps and FHD (maximum 180 fps).

For the terminal, an HDMI Type A is provided. Plus, a cable lock holder for the HDMI cable is included in the LUMIX S1R/S1 to prevent unplugging trouble on location. LINE input is also supported by a 3.5-mm microphone jack. This makes it possible to input sounds from an external audio device, for more efficient video production. A 3.5-mm headphone jack is also available. In addition, it complies with the Microphone Adaptor DMW-XLR1 (sold separately), which is a plug-in type adaptor for an XLR microphone to record high-quality stereo sound. It is ideal for lip-sync recording. Dedicated switches allow direct, quick control. MIC, LINE and CONDENSER MICROPHONES are switchable.
*1 PAL area only.
*2 Maximum 15 minutes in 4K60p and unlimited recording time in Full HD until the SD Memory Card becomes full or the battery runs out.
*3 Maximum 29 minutes 59 seconds in 4K60p until the SD Memory Card becomes full or the battery runs out.
– When the ambient temperature is high or continuous recording is performed, the camera may stop the recording to protect itself. Wait until the camera cools down (*2*3).

6. Other Features LUMIX S1R LUMIX S1

  • Photo Style Featuring a New Flat Mode
    To shorten post-processing work, JPEG photos can be adjusted precisely according to the photographer’s intention. The LUMIX S1R/S1 also provides a Flat mode that features a plain finish with less contrast and saturation for versatile use.
  • Variable Aspect Ratios With New 65:24 and 2:1
    In addition to the standard 3:2, 4:3, 16:9 and 1:1, 65:24 (Film Panorama) and 2:1 (6 x 12 cm) aspect ratios are available for photo shooting.
  • I.S. Status Scope
    The user can consciously remove the cause of shake by checking a pointer that indicates the camera’s shaking condition. It is available while the viewfinder or rear monitor blacks out even during a long-time exposure.
  • Flicker Decrease
    When the flickering of a fluorescent light is detected, the camera indicates it and releases the shutter when its effect is the least to suppress the discontinuity of exposure or color across a sequence of photos.
    *Not available in 6K PHOTO, 4K PHOTO and Post Focus.
  • Highlight Weighted Light Metering Mode
    The Highlight Weighted Light Metering Mode meters light with the priority on highlighted parts, to prevent it from washing out.
  • New AWBw Auto White Balance Mode
    In Auto White Balance, a new AWBw that retains a reddish tint is available in addition to conventional AWB (standard) and AWBc (bluish tint). AWBw reproduces healthy, rosy skin color even under fluorescent light.
  • Bluetooth 4.2 and Wi-Fi 5GHz (IEEE802.11ac)* / 2.4GHz (IEEE802.11b/g/n)
    Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. The settings of a LUMIX S1R/S1 camera can also be copied and transmitted wirelessly to other S1R/S1 cameras when using multiple S1R/S1 cameras*1. Also, Wi-Fi 5GHz (IEEE802.11ac)*2 is effective in addition to 2.4GHz (IEEE802.11b/g/n.) This provides even secure and stable connection not only with a smartphone/tablet but also with other devices on location for smooth remote control. Transmission speed of photo/video data is also increased up by using the 5GHz-band*2.
    *1 The Settings of LUMIX S1R can be copied to S1R only and the settings of LUMIX S1 can be copied to S1 only.
    *2 5GHz Wi-Fi is not available in some countries.
  • Lumix Tether
    This software enables tethered shooting via USB. Users can control the camera by connecting it to a PC via USB. It lets you view the image on a large PC screen while shooting, which is helpful in commercial photoshoots of portraits, products and more, where continuous confirmation is required. You can use [6K PHOTO] [4K PHOTO] and start and stop video recording with tethered shooting. It is also possible to choose the folder to save the image files in the PC.
  • Lumix Sync
    Lumix Sync is a new application for iOS/Android devices, which enables photo transmission to a smartphone or tablet via easy wireless connection. It also allows remote control of the camera using a smartphone or tablet.
  • Leica is a registered trademark of Leica Microsystems IR GmbH.
  • L-Mount is a trademark or registered trademark of Leica Camera AG.
  • Android and Google Play are trademarks or registered trademarks of Google Inc.
  • IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license.
  • XQD is a trademark of Sony Corporation.
  • All other company and product names are trademarks of their respective corporations.
  • Some accessories are not available in some countries.
  • The use of recorded or printed materials that are protected by copyright for any purpose other than personal enjoyment is prohibited, as it would infringe upon the rights of the copyright holder.
  • Design and specifications are subject to change without notice.

Articles: Digital Photography Review (dpreview.com)

 
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Feature: Diving with Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

21 Jan

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

Above: A diver holds out the subject to observe discrepancies in buoyancy | Photo by Moe Lauchert

Moe Lauchert is a professional commercial photographer whose growing client list includes the likes of Nikon, Henry Repeating Arms and Backcountry.com. Now a full-time photographer, Lauchert’s previous work experience includes being a dive instructor in the Cayman Islands and Diver at NASA’s Neutral Buoyancy Laboratory (NBL) in Houston, Texas.

It was there at NASA’s NBL that he decided to embark upon a project that he had been planning for some time — to capture underwater photographs of astronauts and divers at work in the giant pool that serves as a venue for simulated Extravehicular activity (EVA) missions, also known as spacewalks.

DPReview spoke with Lauchert about how the project came to be, what tools were used, and what it took to capture astronauts preparing for upcoming missions. Below is a transcribed interview from the conversations and above is a gallery of images shared with permission from Lauchert.

You can find more of Moe Lauchert’s incredible work on his website and follow him on Instagram.

Why did you start this project and how did it come to fruition?

I was looking to get back into film. I’ve been flowing in and out of film since college and I wanted to do a fun project to get back into it, especially since I knew I was leaving the Neutral Buoyancy Laboratory for a job in the creative field. So, I figured a good way to rework and re-experience that creative flow was to do this project, because the opportunity was readily available and an interesting subject matter.

I started it mainly as an opportunity to think creatively and critically about photography. So, a few factors played into that, particularly my desire to use film. I was thinking about what mediums would fit this and it just didn’t feel right to shoot with some high-polished DSLR, so film was an obvious choice, especially with NASA’s rich history of astronauts using Hasselblad cameras in the past. I wanted to shoot a day in the life of a divers, because most people don’t know NASA employs divers or what they even do, so this was a two-fold project to be creative and try to bring about this story of divers that most people don’t know exist, but are an incredibly important part of astronauts train-up period for EVAs (spacewalks).

The gear I decided to use was — well, money was a big factor, but limitations breed creativity. I didn’t have a lot of money to work with, or have a lot of experience with underwater film cameras, but after a lot of searching and researching I ended up landing with the Nikonos 5 film camera. It’s a 35mm film camera, developed by Jacques-Yves Cousteau and Nikon. It’s a completely waterproof unit — no housing or anything.

I used that with a 15mm underwater-specific lens (doesn’t focus above water) and an underwater eyepiece that helps reconcile being underwater and framing shot. I used Ilford HP5, which I ended up having to do some funky development with, as well as my regular dive gear. The reason for choosing the gear I did was sort of twofold: one, because underwater housing for digital is expensive and film — and the film look — is both nostalgic and ties in with NASA’s rich history with film. Overall, it fit the creative criteria for the shoot.

I was also influenced by the Nikonos Project. It was a wealth of knowledge as I was getting this project going.

What challenges did you come across during this project?

Shooting underwater during a suited operation. All photos were actually taken on my very last day as a diver. I couldn’t have them stop and do something again or get different lighting or anything like that. It was pure documentary photography. It was challenging, but also one of my favorite ways to shoot. If I miss my chance, it’s totally up to me to be prepared. And to be a diver on top of that, you can’t think about diving, you can’t worry about your dive skills when you’re trying to do this, so your abilities have to be pretty dialed in.

Another challenge is the pool — it’s 200ft long, 100ft wide and 40ft deep, so the lighting was very challenging. I had to get creative with how I developed the film. There was hardly any lighting and no strobes to work with, so the black and white film helped facilitate that. I had to get extremely creative with how I composed things and approached the tonality when it came to the divers and certain areas of the pool.

Another challenge was developing and scanning. I had very minimal experience developing film and zero experience scanning, so I was very hesitant to try. I did a lot of test rolls and at one point I even considered having it sent out, but I wanted to have the experience and have my hand in every step of the process, so I just had to gather up all the courage I had and develop the film in my tiny bathroom in my place in Houston. I mixed my own chemistry and everything. I lost 4 frames on the second roll because I was getting a little aggressive in my agitation, so a few negatives stuck together. Another challenge of the developing process was to just gather up the nerves to just do it, because nobody else has these negatives, so it was scary in that way.

The initial idea behind the project was to show a day in the life of a diver, but I also wanted to show more. I wanted to show the collaboration between the NASA crew members and the divers and show the symbiosis between the two, because without the help from one another there isn’t really a successful program. Even post-dive the astronauts would be asking the divers what they could be doing better and what the better path was during the walk.

I guess you could say the divers have the second-most EVA experience being they also have to know everything about the ISS, translation paths, tools, modules and everything that could be bolted, changed, replaced or moved. So you have these insanely smart and driven astronauts asking you for help and it just shows how collaborative that environment actually was. These astronauts have multiple PhDs, incredible amounts of life experiences, but they still manage to stow that ego and those accomplishments because without the collaboration it would be a lot harder to have success on these spacewalks. So to photograph and show that was awesome.

Final Thoughts

It hasn’t even sank in that this project even happened, because it was just a part of my life. It was like bringing my camera into work and taking photos of your coworkers and friends. The team down there is the most driven, interesting group of individuals and it makes for an incredible experience.


Editors note: This interview was transcribed and edited for clarity and brevity

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

Divers assist NASA crew members as they egress the airlock and begin translation to the worksite | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

Making their way down the main truss segment of the ISS, a NASA crew member is assisted by divers to ensure a smooth transition in simulated flight-like conditions | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

Both NASA crew members and their divers (eight in total) continue work on the truss to complete their assigned tasks | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

As the NASA crew members continue their objectives, the NBL divers monitor their condition as well as maintain the worksite while keeping constant vigilance | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

The NBL divers each have a specific job to monitor as the NASA crew members make their way to the worksite | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

A NASA crew member begins the first task of the suit operation | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

A diver assists a NASA crew member in attaching the articulating portable foot restrain (APFR) to SSRMS (The Arm) | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

The Dive op team assist in the removal of the lo-fi APFR in exchange for a high fidelity version | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

A NASA Crew member adjusts the APFR to a predetermined setting | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

NASA crew member and diver work together during a suited op. Shot from inside the Truss | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

Divers begin a preliminary check before suit operations can begin | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

Divers begin a preliminary check before suit operations can begin | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

Divers begin a preliminary check before suit operations can begin | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

Divers swim the NASA crew member over the truss to the downline for descent | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

Divers swim the NASA crew member over the truss to the downline for descent | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

A NASA crew member accompanied by divers navigates the downline for weigh-out | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

A diver begins the weigh-out process to achieve three-axis neutral buoyancy which simulates zero-gravity conditions | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

A diver begins the weigh-out process to achieve three-axis neutral buoyancy which simulates zero-gravity conditions | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

A diver holds out the subject to observe discrepancies in buoyancy | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

A diver holds out the subject to observe discrepancies in buoyancy | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

On non-suited operation days divers maintain the pool and it’s various structures | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

On non-suited operation days divers maintain the pool and it’s various structures | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

On non-suited operation days divers maintain the pool and it’s various structures | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

On non-suited operation days divers maintain the pool and it’s various structures | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

On non-suited operation days divers maintain the pool and it’s various structures | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

Even at 15mm and 101ft away the ISS mock up exceeds the frame | Photo by Moe Lauchert

Diving deep with a Ilford HP5 and a Nikonos 5 at NASA’s Neutral Buoyancy Laboratory

Over/Under shot post dive operations | Photo by Moe Lauchert

Articles: Digital Photography Review (dpreview.com)

 
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