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Posts Tagged ‘Image’

Pixelmator Photo AI-powered image editing app for iPad will launch this year

02 Nov

Pixelmator has announced plans to release an image editing app called Pixelmator Photo for the Apple iPad. The new app utilizes Apple’s Core ML machine learning technology to power multiple features including ML Fix, an algorithm trained using 20 million professional images.

Pixelmator Photo is an AI-powered app offering non-destructive image editing with desktop-class adjustments on the iPad. The software features ML Fix, ML Crop, and ML Presets, all features that utilize machine learning to enhance images. ML Crop’s algorithm offers crop suggestions that fit the user’s desired aspect ratio, for example, while ML Fix intelligently adjusts color, white balance, and exposure.

The ML Preset feature, meanwhile, offers film emulation presets enhanced using machine learning. The presets are designed to imitate film products that include Ilford HP5, Kodak Porta, and Fujifilm Superia. The feature works by first adjusting an image’s colors and lighting, then applying the film preset.

Other Pixelmator Photo features include adjustment tools like Curves, Levels, Saturation, Exposure, and Brightness, as well as support for raw images from more than 500 cameras, cropping, grain adjustment, and the inclusion of a Repair tool.

The app will launch in the Apple App Store this year as an iPad exclusive. The price hasn’t yet been revealed.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic announces first 8K camera with its organic image sensor inside

30 Oct

Panasonic has announced its first camera to use the organic film sensor it announced in February. This comes five years after announcing a collaboration with Fujifilm and seven years after the technology was patented. The AK-SHB810 uses the technology to offer 8K resolution at 60p and ‘global’ shutter.

The camera comes in the form of a ‘head unit’ that attaches via fiber-optical cable to an offboard processing unit. It should be available in 2019 with the Japanese press release talking about providing an 8K broadcast system in time for 2020, when Tokyo will host the Olympic Games. Panasonic also mentions feature film production, which explains the use of the industry-standard ‘PL’ mount.

In a conventional CMOS sensor, the silicon acts as the light-sensitive medium, charge storage and readout circuitry: reading out the pixel ends the exposure, so the shutter behavior is determined by the readout rate. In the organic film/CMOS chip, the two processes are independent, so the exposure can be stopped for the whole sensor to give a global shutter, with readout occuring in the background.

As well as avoiding any ‘rolling shutter’ skewing effect, Panasonic highlights that a global shutter means that flashguns fired while recording won’t cause partial bright bands across the image (something that could be distracting in broadcasts of indoor sporting events).

In addition, the sensor design allows the sensitivity of the capture medium to be varied to give a continuously variable virtual ‘ND Filter’ effect. The company also promises wide dynamic range capture, though puts no figures on this.

This figure shows the stepless, electronically-controlled ‘ND filter’ effect of the Panasonic sensor.

All these features stem from a fundamental aspect of the new sensor: the separation of the light gathering function of the sensor from the readout process and its circuitry.

The global shutter can be achieved because the light sensitive layer can be turned on and off (or its sensitivity varied) by varying the charge applied to it. This means that the whole film layer can capture a frame and then be made inactive while the CMOS circuitry underneath reads-out. In turn, this means the capture pattern doesn’t have to be defined by the sensor’s readout rate: progressively working down the frame.

The ability to vary the sensitivity of the organic film layer by adjusting the charge applied to it provides the virtual ‘ND filter’ affect, which can mimic ‘whole stop’ NDs or be continuously variable.

Pricing is not mentioned in the press release.

Articles: Digital Photography Review (dpreview.com)

 
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Google promises software fix for Pixel 3 image saving issues

25 Oct

It’s not unusual to see one or two software bugs on a newly released smartphone, but it looks like some Google Pixel 3 and 3 XL units are infected with a particularly nasty camera-related problem. Many early adopters have reported a bug that occasionally prevents photos from saving after capture in the camera app.

The technical details behind the problem are not quite clear, but looking at discussions on Reddit appears older Pixel phones, and even Nexus devices, have had similar issues in the past.

The good news is that Google is now reacting and addressing the issue. A spokesperson talked to Android Police and provided the following statement:

“We will be rolling out a software update in the coming weeks to address the rare case of a photo not properly saving.”

The company has also confirmed that the bug will not only be fixed on the latest Pixel 3 devices but also on older Google Pixel 1 and 2 generation phones that are affected.

Even if it only happens rarely, a lost photo in an important moment is every photographer’s nightmare. So it’s good to see Google’s is taking steps to fix the issue across all affected models.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS R image quality: it’s all in the details

19 Oct

Although Raw performance of the EOS R is very similar to the 5D Mark IV, Canon’s done some tweaking on the JPEGs – take a look at our studio scene to see for yourself.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T3 image quality: very competitive at low ISO

08 Oct

The Fujifilm X-T3 exhibits very good image quality overall, with excellent detail and color at low ISOs. Further analysis of the high ISO performance confirms it falls behind its predecessor, though.

Articles: Digital Photography Review (dpreview.com)

 
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The Importance of Getting the Image Right In-Camera

06 Sep

When you strive to get your images right in-camera at the moment you take them you’re going to reap many benefits that you might not even realize.

“Just Photoshop it” has become a recurring theme in photography when it comes to fixing image errors. Depending on who you talk to it can seem like Photoshop is a magic pill that will solve all manner of photographic problems. While it’s true that image-editing applications can help deal with a variety of issues, from correcting exposure to removing objects to swapping a cloudy sky for a sunny one, there’s a lot to be said for the philosophy of using as little editing as possible.

The Importance of Getting the Image Right In-Camera - butterfly on a red flower

I didn’t need Photoshop to get this image. Instead, I needed to get up early, know where the light was coming from, and understand how to use my camera equipment.

This is a tricky subject to tackle because there is so much wiggle room when it comes to defining what the term in-camera really means. To some, it means allowing for no post-production at all, even simple cropping. Others define it as getting things mostly correct at the time you press the shutter button, even though some basic adjustments such as straightening or exposure correction might be needed later.

There are photographers for whom getting it right in-camera means looking out for background obstacles, stray hairs, or wayward arms and legs that might otherwise ruin a good picture.

I don’t like to get caught up in the minutia of what in-camera means. But I will say that if you can strive to have more aspects of a picture correct at the time you make the image, the end result will be that much better.

This holds true for most types of photography save for the outlier examples like extreme focus stacking in macro photography or the types of artistic creations and collages that require post-processing.

two kids with arms around each other - The Importance of Getting the Image Right In-Camera

An ounce of prevention

There’s an old bit of wisdom you might have heard that goes like this:

“An ounce of prevention is worth a pound of cure.”

It applies to many areas of life and the same holds true for photography as well. If you can take a few seconds to fix problematic areas at the time you take a picture it will save you untold minutes or even hours back at your computer. This took me a while to learn when I first got started with portrait photography. But the more I operate by this philosophy the more efficient my workflow becomes.

portrait of 3 ladies - The Importance of Getting the Image Right In-Camera

Do you see the green recycle bin on the left side of the photo? It might not look like much, but if this is printed on a large canvas it would stick out like a sore thumb. Background distractions like that are much easier to fix by adjusting things during the session instead of spending time Photoshopping each image later.

Years ago the only things I knew to look for when taking pictures of clients were things like smiling faces and good posing. As such, I often found myself banging my head against my keyboard while going through my Lightroom catalog afterwards because of unwanted distractions in my photos.

Automobiles, pedestrians, trash cans, litter, animals, street lights, and a host of other imperfections can all be fixed in Photoshop but it’s so much easier to just make sure they don’t even show up in your photos in the first place.

portrait 3 ladies in trees - The Importance of Getting the Image Right In-Camera

Eventually, I did see the recycle bin so I altered my point of view just slightly, which took a few seconds but saved me a lot of post-processing time.

This works for other things too like stray hairs, bits of dirt and debris that can get blown around and land on clients, or unwieldy shirts that like to get un-tucked. These problems can all be solved to some degree or another using computer software but it’s never going to be as fast or simple as just dealing with them when they occur.

The trick to doing this is to be looking out for such things at the time of the photo shoot. That is what took me so long to really learn, and to be honest I’m still learning even now! There are so many things to look out for when taking pictures. That background flotsam or bits of rubbish on the ground might be the last thing on your mind, but they can easily ruin a photo or at the very least cause you to spend much more time eliminating them afterwards than you would like.

My best advice to you in this regard is to simply train yourself to be aware. Look at your surroundings in addition to your subjects, and work on seeing background elements and other distractions that might normally escape your eye.

When you see things, take corrective action and even let your clients in on what’s going on. I have paused many photo sessions to say things like, “Oh no, there’s a street sign in the way behind you. Let’s all take a few steps this way…” and every time it has been appreciated by the people who are paying me to do a good job. It sends a message that you know what you are doing and care enough to get the shots right.

portrait of tweens - The Importance of Getting the Image Right In-Camera

A more extreme version of this, but one that’s just as important, is to take note of problematic points that cannot be altered in Photoshop and deal with them at the time of the photo session.

Issues like sign posts sticking out of heads, heads turned in the wrong direction, hands in awkward places, or having people with complementary outfits in close proximity to one another can easily ruin an otherwise outstanding photo session and are all but impossible to fix in post-production. The more you look for these problems and fix them on the spot, the better your photography will be.

Lighting and exposure

Years ago with early digital cameras, it was crucial to get the exposure just right at the time you took a photo. But today’s digital cameras have such incredible dynamic range that you can clean up a great deal of exposure issues in post-production. However, this should be used as a last resort and not relied on as a general rule, almost like a safety net below a trapeze artist.

When shooting in RAW you can lower highlights, raise shadows, and adjust color all day long to get just the right look you are aiming for. This is a huge benefit if you are doing work for clients. It’s even useful if you just want to squeeze the most out of your shots as a casual photographer. This type of exposure correction has saved my bacon more times than I can count when doing work for clients.

expecting couple in silhouette - The Importance of Getting the Image Right In-Camera

This couple was severely backlit which made for a very challenging photo situation.

Despite the flexibility of the RAW format and the editing possibilities offered by many photography applications such as Lightroom, Photoshop, and Luminar – you will find that it’s best to mitigate potential exposure and lighting issues at the time you take the photo instead of on your computer.

It’s not that you can’t fix exposure issues in post-production later, but that if simple exposure adjustments can make them disappear before you even take a picture then why would you want to spend time fixing it later?

The Importance of Getting the Image Right In-Camera

It took a lot of editing to wrangle a good result from the RAW file, but I could have just adjusted my exposure settings on the spot and saved myself a lot of time afterwards.

Your time is valuable

The more time I spend as a photographer the more valuable I realize my time really is. Even if you are a working professional who makes 100% of your income from photography, the less time you have to spend editing your images to fix exposure issues means more time doing other things that would help you hone your craft or grow your business. Or time you can spend with your family!

Even though you can fix a host of photographic issues ex post facto there’s no substitute for doing what you can to get it right in-camera and make sure those issues never even happen in the first place. Aside from saving yourself untold hours of time fiddling with sliders and layers on your computer, you will also be growing your skills as a photographer.

It will take some practice as you learn to reduce unwanted distractions and get accurate exposure settings when you press the shutter button. But you will reap rewards in terms of knowledge, confidence, and sheer experience. In the end, the result will be better photos taken by a better photographer, and that’s the kind of benefit you just can’t get by moving sliders around in Lightroom.

The post The Importance of Getting the Image Right In-Camera appeared first on Digital Photography School.


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Nikon’s Z 7 mirrorless camera has full-frame 45MP sensor, in-body image stabilization and hybrid AF

23 Aug

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After years of speculation and a month of teasers, Nikon has lifted the curtain on its new Z-series full-frame mirrorless system. The system will initially comprise two bodies – the flagship Z 7 and midrange Z 6 – alongside three lenses and an F-mount adapter. The Z 7 and Z 6 are physically almost identical, with the main differences being internal: pixel count, number of autofocus points and maximum burst rate.

The Z 7 is a 45.7MP camera with built-in 5-axis image stabilization. It can shoot at up to 9 frames per second and capture 4K video or output a 10-bit 4:2:2 Log video stream over HDMI.

“We aim to become number 1 in full-frame mirrorless cameras in the future”
– Nobuyoshi Gokyu, Senior VP, Imaging, Nikon Inc.

The Z-mount is the largest full-frame mirrorless mount on the market with a diameter of 55mm, allowing it to support lenses as fast as F0.95. The flange distance is just 16mm, the shortest of any full-frame mirrorless system. The Z-mount has a 65% smaller flange and 17% larger diameter than the legacy F-mount, which, fundamentally, has remained more or less unchanged since the 1950s.

The Z 7 is the flagship model and has a lot in common with the D850, both in terms of core features and price. It features a Nikon-designed 45.7 BSI-CMOS sensor, 5-axis in-body image stabilization and a hybrid autofocus system with 493 phase-detect points.

The magnesium alloy body is fully weather-sealed to the same level as the D850. It features an ultra-high-resolution electronic viewfinder with 3.6 million dots and 0.8x magnification, along with a 3.2″ 2.1M-dot tilting touchscreen display on the rear of the camera. On the top plate is an OLED display showing current camera settings. The Z 7 has a single XQD slot, which will support CFexpress via a firmware upgrade in the near future.

The camera’s in-body Vibration Reduction system can reduce shake by up to 5 stops and, when used with the optional F-mount adapter, provides 5-axis stabilization for VR-equipped lenses and 3-axis for those without VR.

The camera’s in-body Vibration Reduction system can reduce shake by up to 5 stops

The autofocus system features 493 PDAF points with 90% vertical and horizontal coverage. While the camera can detect faces, it lacks an equivalent to Sony’s useful Eye AF. Naturally, the Z 7 offers subject tracking (though it doesn’t behave in the same way as the 3D Tracking system that we enjoy in Nikon’s DSLRs) and it’s sensitive down to -3EV on lenses with apertures of F2 and faster.

The Z 7 can shoot bursts at 9 fps with full autofocus but with exposure locked on the first shot, or at 5.5 fps with with continuous exposure and focus. The Z 7’s buffer fills up after about 18 14-bit compressed and 23 12-bit lossless compressed Raws. Battery life is rated at 330 shots per charge (CIPA) and a battery grip will be available in the future.

Video features are plentiful. The camera captures UHD 4K video at 30p and 24p using the full width of the sensor. When using a Super 35/DX crop of 1.5x, the camera uses all the pixels in that region to produce its video. There are 435 phase-detect points available when capturing video, with both in-body and electronic VR available to reduce shake.

The Z 7 supports 10-bit N-LOG (4:2:2) when output over HDMI as well as the ability to simultaneously output video (8-bit 4:2:0) while recording to the memory card. There’s also live focus peaking, zebra stripes, adjustable AF tracking speeds, time code while in 4K mode.

The Nikon Z 7 will be available body-only
for $ 3399

The Z 7 uses the latest version of the company’s SnapBridge wireless system, which includes 802.11ac Wi-Fi and Bluetooth. Users can transfer JPEGs and Raws direct to a PC and, of course, remotely control the camera from a smartphone. The currently available WT-7A wireless transmitter set is also compatible, allowing Wi-Fi transfer outside the SnapBridge system.

The Nikon Z 7 will be available body-only for $ 3399 or bundled with the 24-70mm F4 S lens for $ 3999 when it ships in late September.

Press Release

NIKON INTRODUCES THE NEW NIKON Z MOUNT SYSTEM, AND RELEASES TWO FULL-FRAME MIRRORLESS CAMERAS: THE NIKON Z 7 AND NIKON Z 6

MELVILLE, NY (AUGUST 23, 2018 AT 1:01 A.M. EDT) – Nikon Inc. is pleased to announce the release of the full-frame (Nikon FX–format) Nikon Z 7 and Nikon Z 6 mirrorless cameras, as well as NIKKOR Z lenses, featuring a new, larger-diameter mount to enable the next generation of ultimate optical performance.

Mirrorless Reinvented

The new Nikon Z mount system is comprised of mirrorless cameras and compatible NIKKOR Z lenses and accessories. This system has been realized through the pursuit of a new dimension in optical performance. It has inherited Nikon’s tradition of quality, superior imaging technology, intuitive operability and high reliability, all innovated from its digital SLR cameras.

At the heart of the Z mount system is the new, larger-diameter mount, which unlocks further possibilities of lens design. The Z mount system will offer a variety of high-performance lenses, including the fastest lens in Nikon history, with f/0.951. Additionally, the new mount adapter will enable compatibility with NIKKOR F mount lenses, adding to the range of choices for photographers.

The letter “Z” represents the culmination of Nikon’s relentless pursuit of ultimate optical performance, and a bridge to a new chapter. It is about redefining possibilities to provide image makers with tools to pursue greater creativity.

Nikon will expand the value of mirrorless cameras through the pursuit of a new dimension in optical performance, and by upholding Nikon’s tradition of quality while responding to the evolution of imaging technology. By providing image makers with stimulating new products, Nikon will continue to lead imaging culture.

Z 7, Z 6 Product Overview

The Z 7 and Z 6 are equipped with a new backside illumination Nikon FX-format CMOS sensor with built-in focal-plane phase-detection AF pixels, and the latest image-processing engine, EXPEED 6.

The high-resolution Z 7 has 45.7 effective megapixels, and supports a standard sensitivity range of ISO 64–25600. In combination with NIKKOR Z lenses, the camera achieves an outstanding level of sharpness and detail, all the way to the edges of the image.

The versatile Z 6 is an all-purpose FX-format camera with 24.5 effective megapixels, and supports the wide sensitivity range of ISO 100–51200. With superior performance at high ISO sensitivities and full-frame 4K UHD video capture with full pixel readout, the Z 6 responds to a variety of needs, such as shooting in dimly lit environments and high-quality movie recording.

These two models combine legendary Nikon reliability and a familiar interface with the benefits of a mirrorless, including rapid FPS, hybrid AF, silent shooting and advanced multimedia capabilities.

Primary Features of the Z 7 and Z 6

  1. Equipped with a new backside illumination Nikon FX-format CMOS sensor with focal-plane phase-detection AF pixels

A backside illumination CMOS sensor without an Optical Low Pass Filter, with focal-plane phase-detection AF pixels, has been adopted for both the Z 7 and the Z 6. The Z 7 has 45.7 effective megapixels, and supports ISO 64–25600 range of standard sensitivities (reduction to the equivalent of ISO 32 and expansion to the equivalent of ISO 102400 is also possible). The Z 6 has an effective pixel count of 24.5 megapixels, and supports a broad range of standard sensitivities, from ISO 100–51200 (additional reduction to the equivalent of ISO 50 and expansion to the equivalent of ISO 204800).

  1. A fast and accurate hybrid AF system with focus points covering approximately 90% of the imaging area

The Z 7 has 493 focus points2 and the Z 6 has 273 focus points2, enabling broad coverage of approximately 90% of the imaging area both horizontally and vertically. This hybrid AF system uses an algorithm optimized for the FX-format sensor, to automatically switches between focal-plane phase-detection AF and contrast-detect AF when focusing to achieve focus. Newly-designed NIKKOR Z lenses take full advantage of this system, providing faster, quieter and with increased AF accuracy than previously possible for both still images and videos.

  1. The new EXPEED 6 image-processing engine for sharp and clear imaging, and new functions that support creativity

The Z 7 and Z 6 are equipped with the new EXPEED 6 image-processing engine. Employing the superior resolving power of NIKKOR Z and NIKKOR F mount lenses, subjects are rendered more sharply than ever before. Noise is also effectively reduced.

Additionally, a mid-range sharpening option has been added to Picture Control sharpness parameters. This option, along with existing sharpening and clarity parameters, allows users to make various textures within the screen sharper or softer, for both still images and video3. The cameras also offer 20 options of Creative Picture Control, supporting creative imaging expression. The effect level is adjustable from 0 to 100.

  1. An electronic viewfinder that utilizes Nikon’s superior optical and image-processing technologies to offer a clear and natural view

The electronic viewfinder adopted for the Z 7 and Z 6 is comfortable and easy to use, comparable to optical viewfinders. Both cameras are equipped with an electronic viewfinder for which an approximately 3690k-dot OLED panel has been adopted. The electronic viewfinder has frame coverage and magnification of approximately 100% and 0.8×, respectively, as well as an approximately 37.0° diagonal viewing angle. It draws on Nikon’s superior optical technologies and image-processing technologies, ensuring a clear and comfortable view, with reduced aberration and minimum eyestrain, even during extended shoots. Furthermore, a fluorine coat that effectively repels dirt has been applied to the eyepiece protection window. In addition, the <i> menu can be displayed in the electronic viewfinder, allowing users to quickly view and adjust a variety of shooting settings, including ISO sensitivity, AF-area mode, and Picture Control, all while looking through the viewfinder.

  1. An ergonomic design unique to Nikon that enables intuitive and familiar operation

The Z 7 and Z 6 have inherited the superior operability that Nikon has cultivated over the years through its development of cameras. The bodies are compact, while boasting a firm grip that is easy to hold, and the sub-selector and buttons such as AF-ON, ISO, and exposure compensation are all placed so that they can be operated swiftly and easily. Additionally, a display panel has been placed on the top plate of the camera, where information about settings can be displayed, similar to high-end digital SLR camera models.

  1. Video functions such as 10-bit N-Log that enables wide dynamic range, and timecoding that respond to professional needs

The Z 7 and Z 6 support recording of not only full-frame 4K UHD (3840 × 2160)/30p movies using the FX-based video format, but also Full-HD/120p movies. Sharper 4K UHD movies are made possible, using the full-pixel readout4. Additionally, Active D-Lighting, electronic vibration reduction, and focus peaking can be used with 4K UHD and Full-HD movie recording. Nikon’s original N-Log color profile can also be used with 10-bit5 HDMI output. The N-Log setting utilizes extensive color depth and twelve-stop, 1,300% dynamic range to record a wealth of tone information from highlights and shadows for more effective color grading. Timecode support makes synchronizing video and sound from multiple devices easier. Additionally, the control ring built into NIKKOR Z lenses can be used to quietly and smoothly adjust settings such as aperture and exposure compensation.

  1. Nikon’s first6 in-camera vibration reduction with approx. 5.0-stop7 effectiveness

The Z 7 and Z 6 are equipped with in-camera vibration reduction (VR). The VR unit provides compensation for movement along five axes. The effects of vibration reduction are equivalent to a shutter speed up to approximately 5.0 stops6. This function can also be used effectively with NIKKOR F lenses, including those not equipped with a VR function, with the Mount Adapter FTZ (sold separately)8.

  1. Other features
  • Same level of strength and durability, as well as dust- and drip- resistance, as the Nikon D850, offered in a compact body
  • A 3.2-in., approximately 2100k-dot touch-sensitive LCD monitor, with a tilting mechanism
  • Silent photography function eliminates shake and noise caused by shutter release,
  • Peaking stack image function9 enables confirmation of the area in focus after shooting using focus shift, which is convenient for focus stacking10
  • High-speed continuous shooting (extended)11 at approximately 9 fps (Z 7) and 12 fps (Z 6) captures fast motion
  • Interval timer photography that makes 8K (Z 7) time-lapse movie creation10 possible
  • An extended low-light metering range12 allows users to easily capture scenes such as the transition from sunset to starry night sky, using aperture-priority auto exposure
  • Built-in Wi-Fi® for direct connection to a smart device using SnapBridge
  • Built-in Wi-Fi® makes the transfer of images and movies to a computer possible
  • Support for existing digital SLR camera accessories such as the EN-EL15/a/b batteries, WT-7/A/B/C Wireless Transmitter (available separately) for transferring images and movies at high speed over a wired or wireless LAN, and radio-controlled/optical controlled Advanced Wireless Lighting, which makes flexible multi-flash photography possible

Development of the MB-N10 Multi-Power Battery Pack

The MB-N10 Multi-Power Battery Pack that is currently in development will hold two EN-EL15b, effectively increasing the number of shots possible and/or movie recording time by approximately 1.8×. It will provide the same level of dust and drip resistance as the Z 7 and Z 6, and will support USB charging using the EH-7P Charging AC Adapter. Information regarding the release of this product will be announced at a later date.

Price and Availability

The Nikon Z 7 will be available September 27 for a suggested retail price (SRP) of $ 3399.95* for the body-only configuration, or for $ 3999.95* SRP as a kit with the new NIKKOR Z 24-70 f/4 S lens. The Nikon Z 6 will be available in late November for the $ 1995.95* SRP for the body only configuration, or for the $ 2,599.95* SRP with the NIKKOR Z 24-70mm f/4 S lens kit. For more information on these and other Nikon products, please visit www.nikonusa.com.

  1. Within interchangeable lenses for Nikon SLR cameras and Advanced Cameras with Interchangeable Lens.
  2. With FX (36×24) image area and single-point AF enabled.
  3. Mid-range sharpness adjustment is only possible at “High quality” movie setting.
  4. DX-based movie format with the Z 7.
  5. Simultaneous recording of 4K UHD movies with 10-bit output to the camera’s memory card is not possible.
  6. Among interchangeable-lens cameras.
  7. Measured in accordance with CIPA standards (using the NIKKOR Z 24-70mm f/4 S, with zoom set at the maximum telephoto position)
  8. The level of compensation achieved when a NIKKOR F mount lens is used is not as high as that of a NIKKOR Z lens
  9. Can only be confirmed using the camera with which focus shift was performed.
  10. Third-party software is required.
  11. Continuous H (extended) in 12-bit RAW, JPEG, or TIFF format.
  12. With interval timer shooting or time-lapse movie recording with silent photography and exposure smoothing enabled.

Nikon Z 7 specifications

Price
MSRP $ 3399 (body only), $ 3999 (w/24-70 F4 lens)
Body type
Body type Rangefinder-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 8256 x 5504
Other resolutions 5408 x 3600 (DX crop), 6880 x 5504 (5:4), 5504 x 5504 (1:1), 8256 x 4640 (16:9)
Image ratio w:h 1:1, 5:4, 3:2, 16:9
Effective pixels 46 megapixels
Sensor photo detectors 47 megapixels
Sensor size Full frame (35.9 x 23.9 mm)
Sensor type CMOS
Processor Expeed 6
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 64-25600 (expands to 32-102400)
Boosted ISO (minimum) 32
Boosted ISO (maximum) 102400
White balance presets 12
Custom white balance Yes (6 slots)
Image stabilization Sensor-shift
Image stabilization notes 5-axis
CIPA image stabilization rating 5 stop(s)
Uncompressed format RAW
JPEG quality levels Fine, normal, basic
File format
  • JPEG
  • Raw (NEF, 12 or 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 493
Lens mount Nikon Z
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3.2
Screen dots 2,100,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.8×
Viewfinder resolution 3,690,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/8000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash modes Front-curtain sync, slow sync, rear-curtain sync, red-eye reduction, red-eye reduction with slow sync, slow rear-curtain sync, off
Flash X sync speed 1/200 sec
Continuous drive 9.0 fps
Self-timer Yes (2, 5, 10 or 20 secs)
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 144 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 120p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 100p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types XQD card
Connectivity
USB USB 3.1 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11ac + Bluetooth
Remote control Yes (via MC-DC2 or smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description EN-EL15b lithium-ion battery & charger
Battery Life (CIPA) 330
Weight (inc. batteries) 675 g (1.49 lb / 23.81 oz)
Dimensions 134 x 101 x 68 mm (5.28 x 3.98 x 2.68)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Smartphone image sensors are low in supply

21 Aug

In May we reported that CMOS sensor sales were at an all time high and record numbers were expected for 2018.

It appears the strong sales have not slowed down at all over the summer, and we’re now in a situation where CMOS sensors are in short supply. Industry news publication IFNews quotes a number of Chinese sources that refer to an article in the Taiwan Economic Times, reporting that image sensors are now in short supply.

Big suppliers like Sony and Omnivision are increasing their prices for image sensors

This is largely due to dual and triple cameras becoming more commonplace on smartphones, with even mid-range models often featuring dual-setups now, sometimes at front and back.

As a result big suppliers like Sony and Omnivision are increasing their prices for image sensors. Smaller smartphone manufacturers who don’t get the same priority access to the big suppliers as major manufacturers are diverting orders to smaller sensor makers, such as Pixart and Silicon Optronics (SOI) to keep component cost under control.

The trend for multiple cameras and sensors on smartphones is unlikely to stop any time soon, so be prepared for increased sensor prices having a minor knock-on effect on final device retail pricing. On the plus side, as this development mainly affects the smaller sensor implemented in smartphone cameras, the impact on the market for the larger units used in DLSRs and most mirrorless system cameras should be minimal.

Articles: Digital Photography Review (dpreview.com)

 
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Viewfinder Image Blurry? You May Need to Adjust Your Camera’s Diopter – Here’s How

23 Jul

Have you ever looked through a camera’s viewfinder and only been able to see a blurry image even after focusing? If you are always seeing a blurred image the diopter is not set correctly for your eyes. This happens every time I pick up my wife’s camera. She is near-sighted and I am far sighted.

Demonstration of diopter blur photo - Viewfinder Image Blurry? You May Need to Adjust Your Camera's Diopter - Here's How

What your viewfinder looks like when the diopter is not set correctly for your eye.

What is a diopter?

The diopter is a small lens in your camera’s viewfinder. It allows you to match the focus of your viewfinder to your eye. So before I can see anything clearly through the viewfinder on my wife’s camera I must focus this small lens. She has to do the same when she uses my camera.

If your eyesight is good and you are using a camera that’s had the diopter adjusted, you will see a blurry image in the viewfinder. You will need to adjust the diopter to correct this so you can see a sharp image.

I am surprised by the number of people who join our workshops here in Thailand that tell me they never see anything sharp in their viewfinder. After a quick adjustment, they are often surprised by how sharp the image is appearing in their viewfinder.

sharp photo illustrating diopter setting - Viewfinder Image Blurry? You May Need to Adjust Your Camera's Diopter - Here's How

When your diopter is adjusted properly you will see a sharp image and a sharp information display.

The easiest way to see if your diopter needs adjusting is to look at the information and guidelines you see in your viewfinder. If you cannot clearly see the numbers and lines sharply this means your diopter is not set correctly for your eyes.

How to Adjust the Diopter

DSLR cameras with optical viewfinders and mirrorless cameras with electronic viewfinders all have diopters.

Diopter Adjustment Wheel - Viewfinder Image Blurry? You May Need to Adjust Your Camera's Diopter - Here's How
Locate the Diopter Adjustment Control

The diopter adjustment control will most likely be a small wheel or slider close to your camera’s viewfinder. Most diopter controls are labeled with + and – signs.

Mount Your Camera

When you want to adjust the diopter it is best to have your camera mounted on a tripod or somewhere it will not move. You want to do this where you have a scene with good contrast. Something that your camera can autofocus on easily.

Focus Your Camera

Focus your camera using the autofocus. If you are using a camera or lens without autofocus you will need to look at the focus indicators in the viewfinder to ensure the lens is in focus. If your diopter is adjusted incorrectly for your eyes you will not see a sharp image in the viewfinder at this point.

photo of an eye - Viewfinder Image Blurry? You May Need to Adjust Your Camera's Diopter - Here's How
Adjust Your Diopter

Start to turn the diopter wheel or move the slider. As the image comes into focus keep adjusting until you see a blurred image again. Now dial back your control so you see a sharp image (go back and forth until it’s as sharp as you can get). Now your diopter should be set correctly.

If you cannot see a sharp image in your viewfinder at any point of the adjustment you need to look at the display information. The exposure display in the viewfinder will come into focus at some point. If the display info is sharp in your viewfinder but the image is still blurry, you have a different problem.

The problem may be with the camera’s autofocus system or the lens. Here are a few suggestions for what to do in this situation:

  • Try changing lenses or zooming.
  • Make sure your lens is set to autofocus.
  • Attempt to focus manually.
  • Check focus using your camera’s LCD screen and Live View
  • Take your camera for repair.

Chinese Woman Photographer - Viewfinder Image Blurry? You May Need to Adjust Your Camera's Diopter - Here's How

Wearing Glasses or Contacts

If you normally wear glasses or contact lenses you can adjust your diopter to suit.  If you prefer wearing glasses while using your camera, adjust the diopter with your glasses on.

But if you prefer not to wear your glasses while using your camera’s viewfinder, make the adjustments while you are not wearing them. If your eyesight is quite bad you may not be able to adjust your diopter sufficiently though and may need to keep your glasses on.

Add-On Diopter Accessories

If your diopter will not adjust to give you a clear image in your viewfinder you might need an add-on accessory diopter. Not all camera models will accommodate these so you will need to check your camera manual.

Boy with glasses - Viewfinder Image Blurry? You May Need to Adjust Your Camera's Diopter - Here's How

Diopter adjustment is simple but can make a significant difference to your photography enjoyment. It is always good to see a sharp image when you look through your viewfinder.

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Kandao Raw+ is an automated image stacking tool for Raw files

17 Jul

Kandao, a maker of professional-grade 360° cameras has launched a new software product called Kandao Raw+. The tool was designed to boost image quality of the company’s own camera models Obsidian and QooCam, but also works with most DSLRs and other Raw-capable cameras that are supported by Adobe Camera Raw.

Kandao Raw+ uses computational photography techniques, similar to what we are seeing in many high-end smartphones, to create images with increased detail and dynamic range, as well as lower noise levels. To achieve that it combines a burst of Raw images into one single DNG file that can then be further edited with a Raw converter of your choice.

The software aligns shots automatically which means there is no need for shooting on a tripod. It is also capable of minimizing blur on any moving subjects in the scene. You can import up to 16 frames images of a burst into Kandao Raw+. You then pick one image as a reference for the auto-alignment.

The rest of the process is fully automated and will get you a DNG file with a 16-bit color depth and dynamic range that (theoretically) has been increased by almost 4EV, offering much more latitude in post-processing.

Best of all, Kandao Raw+ is free to download and use. You can find more information, technical detail and download links on the Kandao website.

Articles: Digital Photography Review (dpreview.com)

 
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