RSS
 

Posts Tagged ‘into’

Look. Think. Click. Don’t Rush Into Taking Those Action Photos

27 Jul

How can you improve your action photography? Everything moves so fast that it is a real challenge to make decent action photos.

The best way to improve your high-speed action photography is to slow down. Don’t be mistaken that because your subject is moving rapidly that you must do the same.

Expert action photographers achieve their outstanding results by carefully anticipating and planning. Then they pick up their cameras to begin making photographs.

Hmong New Year kart racing - Action Photos

My best action photo. Sometimes it’s more than just good planning. My timing was lucky!

Here are three basic steps to improving not only your action photos but all of your photography. You can apply these principles each time you shoot, no matter your chosen subject.

Look First

Before you bring your camera to your eye, even before you turn it on, look carefully at what you have chosen to photograph. Look at:

  • Your subject
  • The background behind your subject
  • Foreground in front of the subject
  • Lighting
  • Weather
  • Obstacles – people, traffic, cows, etc. (Anything that might hinder you from taking pictures.)

Being observant is one of the key things photographers need to be experts at. You need to know what is around you and how it will help or hinder your photograph making process.

Hmong New Year top spinning - Action Photos

Then Think

Once you have chosen your subject and had a sufficient look at your surroundings, it’s time to piece together the picture you want to make.

Think about your shooting spot

One of the most important things to consider is where you will take your photos from. You need to think about how your subject will look from different angles and which one you will choose. You may need to take photos at a few different locations before finding one you are happy with.

For any action photography your subject will be moving, so your background may not remain the same. Ask yourself if you will get better photos if you are moving with your subject or if you are stationery.

Moving with your subject will be more difficult. There will be a greater risk of not getting any usable photos. It might pay to stay in one spot until you are confident you have some good pictures and then move with your subject.

Hmong New Year kart racing - Action Photos

Be conscious of others

If you are at a sports event you will need to be conscious of other people. Photographing your kid’s football game, there will be other parents on the sidelines that you will need to consider. They may not consider you and step in front of your camera ruining that shot where your kid scores.

So choose a location where you will not be hindered. Sometimes this will mean getting in front of others or getting further back.

Think about the light

Is it bright enough to achieve a fast enough shutter speed? If not you will need to raise your ISO to a higher setting.

Where is the light coming from? Will your subject be lit from the front or back? Maybe from the side? Maybe from multiple angles as they move around.

Looking at how the light is falling on your subject will help you choose a location at which to position yourself. Look and see at what angle the light is best for the type of photo you want.

Hmong New Year kart racing - Action Photos

Think about the weather

Photographing outdoors you may also have to give some thought to the weather. On clear sunny days or cloudy dull days when weather conditions are unlikely to change there’s not much to think about. When there’s a good wind blowing that might cause dust or sand to hinder you photo session you will need to be careful.

Clouds are the thing that you need to think about the most. On a day when clouds are moving across the sky and the sun is being obscured some of the time, you will need to pay attention. As the light changes your exposure will need to be altered and this may affect your shutter speed, depending on the settings you are using.

Think about your composition

Composition requires careful thought. So often people will try and take a quick snap of the action. They may be successful at capturing the decisive moment, but the composition is often terrible.

That is because it was unplanned. Choosing a good location and anticipating the action will also help you plan your composition.

Hmong New Year kart racing - Action Photos

Lastly, Click

Now that you have thought everything through you can start taking photos. The thinking stage does not always have to take long. It can happen very quickly at times. This depends on how familiar you are with your subject and the location you are shooting.

The more familiar you are with both, the easier and quicker it will be for you.

Camera settings

Setting your camera well for action photos is important. Your shutter speed and focusing mode are especially critical.

To stop the action you will need to chose a fast enough shutter speed. The faster the action the faster shutter speed you will need to freeze your subject.

Hmong New Year kart racing - Action Photos

To blur your subject the opposite applies. Choose a shutter speed sufficiently slow enough to let your subject appear blurred by their motion, but not so slow that you cannot recognize it anymore.

With really fast action I typically set my camera and lens to manual focus. I will pick a spot to focus on and only make photographs when my subject is within my focus zone. I do not practice a lot of action photography these days so I find this method suits me well. Of course, this technique will depend on the type of action you are photographing.

Most importantly with action photography, make sure to squeeze your shutter button and take your photos at the decisive moment when the action is at its peak.

Hmong New Year - Action Photos

Conclusion

If you just grab a few frames without first looking and then planning before you shoot, your results will often be lacking. Being ready when the action happens will more often lead to better action photos.

The more familiar you are with your subject and surroundings the easier is will be. So, if you are just starting out and trying some action photography, picking a subject you know well might mean you have early success.

The photographs I have used in this article are all from a Hmong New Year celebration I photographed a few years back. The day features various sports activities that individuals and village teams compete in. There’s always loads of action and tons of fun.

Please check out this video for some more tips on looking, thinking, and clicking your way to improved photography.

?

The post Look. Think. Click. Don’t Rush Into Taking Those Action Photos appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Look. Think. Click. Don’t Rush Into Taking Those Action Photos

Posted in Photography

 

NVIDIA researchers can now turn 30fps video into 240fps slo-mo footage using AI

20 Jun

NVIDIA researchers have developed a new method to extrapolate 240fps slow-motion video from 30fps content using artificial intelligence.

Detailed in a paper submitted to the Cornell University Library, NVIDIA researchers trained the system by processing more than 11,000 videos through NVIDIA Tesla V100 GPUs and a cuDNN-accelerated PyTorch deep learning framework. This archive of videos, shot at 240fps, taught the system how to better predict the positioning differences in videos shot at only 30fps.

This isn’t the first time something like this has been done. A post-production plug-in called Twixtor has been doing this for almost a decade now. But it doesn’t come anywhere close to NVIDIA’s results in terms of quality and accuracy. Even in scenes where there is a great amount of detail, there appears to be minimal artifacts in the extrapolated frames.

The researchers also note that while there are smartphones that can shoot 240fps video, it’s not necessarily worth it to use all of that processing power and storage when something that will get you 99% of the way there is possible using a system such as theirs. ‘While it is possible to take 240-frame-per-second videos with a cell phone, recording everything at high frame rates is impractical, as it requires large memories and is power-intensive for mobile devices,’ the researchers wrote in the paper.

The research and findings detailed in the paper will be presented at the annual Computer Vision and Pattern Recognition (CVPR) conference in Salt Lake City, Utah this week.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on NVIDIA researchers can now turn 30fps video into 240fps slo-mo footage using AI

Posted in Uncategorized

 

Video: Diving into the demise of Kodak

14 Jun

The story isn’t new to anyone in the world of photography. Kodak, once the undeniable leader of the industry, has since been turned into a sad shell of its former self.

What isn’t so clear is how exactly Kodak went from photo giant to a name that can be licensed and slapped on seemingly anything and everything if enough money is thrown its way.

As part of its Company Declines series, YouTube channel Company Man has shared a biography of sorts detailing the demise of Kodak. Throughout the 12-minute video, the narrator provides a brief history lesson of Kodak and its beginnings before diving into what we now know as the decline that ultimately led to bankruptcy in January 2012.

As the video notes, Kodak’s downfall can’t simply be attributed to its efforts to eschew digital photography, as seems to be the consensus in most circles. Instead it was a matter of Kodak not putting enough emphasis on digital camera technology when the time came around, the narrator argues.

Ultimately, there are more factors than we’ll even know behind the demise of Kodak. But this biopic of sorts does a great job summarizing the problem and looking at it from a different perspective.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Video: Diving into the demise of Kodak

Posted in Uncategorized

 

Instant Magny 35 is a film back that turns SLRs and rangefinders into instant cameras

13 Jun

NINM Labs has launched a Kickstarter campaign for Instant Magny 35, a film back that transforms rangefinders and 135 SLR cameras into instant film cameras. The film back supports Fujifilm Instax Square film and doesn’t require any camera modifications. The instant film back is described as ideal for rangefinders and SLRs from Pentax, Leica, Olympus, Canon, and Nikon.

The Instant Magny 35 film back replaces the original camera back, featuring a total of three attachable components. Once connected, the camera with instant film attachment can be used normally. According to NINM Labs, Magny features an aluminum lens barrel, enlarging optics film back, and an ejection unit.

Features include a built-in dark-slide, on-off switch to prevent accidental shots, automatic film feed, a film ejection button, and an LED film counter. The film back is powered by four AAA batteries. Without the batteries or film, the Instant Magny 35 weighs about 485 grams / 1lbs.

NINM Labs is seeking about $ 50,000 on Kickstarter, where a single Instant Magny is offered for pledges that start at 778 HK$ / $ 99 USD.

Via: DIY Photography

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Instant Magny 35 is a film back that turns SLRs and rangefinders into instant cameras

Posted in Uncategorized

 

Video: Astronaut forgets to insert SD card into GoPro before spacewalk

22 May

An unnamed NASA astronaut stationed on the International Space Station recently ran into an issue during a spacewalk: he forgot to check whether his GoPro camera had an SD card installed before embarking on a spacewalk. We’ve all been there, right?

The astronaut, who may have been Andrew Feustel, was featured in a spacewalk livestream on NASA’s Twitch account last Wednesday. During the livestream, viewers were treated to a brief conversation that started with the astronaut asking, “Hey, Houston, I gotta ask a question about the GoPro real quick.” The astronaut explains that he sees a “No SD” warning on the GoPro’s display when pushing a button.

“Do I need that to record?” he asks, referring to the SD card. “And if it’s recording, is there supposed to be a red light on?”

After a long moment of silence, Houston clarifies that the red light should appear while recording if the SD card is inserted, and that the “No SD” message likely meant the camera didn’t have a media card installed. The astronaut ultimately abandoned his plans to use the camera during the spacewalk.

Clarification about the SD card’s whereabouts was not provided, but if we had to guess, it’s probably floating (in this case literally) around in the bottom of Feustel’s camera bag alongside a half-eaten protein bar and a few extra lens cleaning cloths.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Video: Astronaut forgets to insert SD card into GoPro before spacewalk

Posted in Uncategorized

 

Viral KFC ad campaign turns fried chicken into flames with Photoshop

20 Apr

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2884277713″,”galleryId”:”2884277713″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

New York City-based advertising agency Ogilvy and Mather’s latest ad campaign for KFC Hong Kong is on fire… so to speak. Tasked with advertising the release of KFC’s Hot & Spicy chicken, the agency created a clever collection of images that morphs the flaky breading and orange tint of crispy chicken into smoke and flames.

The clever Photoshop jobs include compositions of the spicy chicken with space shuttles, power rangers (we think?) and a rocket-toting drag racing car, but the concept has taken on a life of its own as all good memes do. A few Twitter users around the world have started Photoshopping their own versions of fried-chicken-as-fire.

The series of advertisements picked up attention from the Post-Production Ads Reference Awards for the clever campaign—a well -eserved accolade. Below are a list of contributors to the campaign, as seen on the Ogilvy and Mather agency’s Behance collection.

Agency: Ogilvy & Mather Hong Kong

Client: KFC Hong Kong

Chief Creative Officer: Reed Collins

Creative Director / Business Partner: John Koay

Creative Director: Matt Nisbet

Associate Creative Director: Kai Fung Chan

Art Director: John Koay

Account Manager: Stella Fung

Project Manager: Jennifer To

Photographer: Illusion, Bangkok

Illustrator: Illusion, Bangkok

Retoucher: Illusion, Bangkok

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Viral KFC ad campaign turns fried chicken into flames with Photoshop

Posted in Uncategorized

 

The FlyJacket soft exoskeleton turns your body into a drone controller

19 Apr

Researchers with Switzerland’s École Polytechnique Fédérale de Lausanne (EPFL) have developed a soft exoskeleton that enables its wearer to control a drone using their upper body. Called FlyJacket, the exoskeleton is a human-robot interface (HRI) that offers “natural and intuitive control of drones,” according to the university, enabling inexperienced individuals to operate them.

Typical drone controls involve a touchscreen and/or joysticks, which researchers say are “neither natural nor intuitive” for operators. As an alternative, FlyJacket places motion sensors on the operator’s body, requiring them to spread their arms like wings (with supports to prevent fatigue) and move their upper body as if they’re flying to control the drone, while a VR headset provides a first-person perspective from the UAV’s camera.

Explaining the usefulness of the technology, the research paper states:

The development of more intuitive control interfaces could improve flight efficiency, reduce errors, and allow users to shift their attention from the task of control to the evaluation of the information provided by the drone. Human-robot interfaces could be improved by focusing on natural human gestures captured by wearable sensors. Indeed, the use of wearable devices, such as exoskeletons, has been shown to enhance control intuitiveness and immersion.

The team has tested FlyJacket using a Parrot Bebop 2 quadcopter. A smart glove expands the user’s abilities by recognizing certain finger gestures to trigger actions. Touching the thumb to the middle finger, for example, triggers the system to set a point of interest, which could be useful during search and rescue missions. The researchers are working to add additional controls to FlyJacket, including the ability to adjust the drone’s speed, according to IEEE Spectrum.

A paper detailing the technology is available from EPFL here.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on The FlyJacket soft exoskeleton turns your body into a drone controller

Posted in Uncategorized

 

PolarPro expands into pro market with new QuartzLine camera filters

11 Apr

Lens filter manufacturer PolarPro is breaking into the professional lens filter market this week with the launch of its new QuartzLine Camera Filters for DSLRs, mirrorless and cinema cameras.

As the name suggests, PolarPro’s new filters are made of 99.9% pure fused quartz wrapped inside a brass frame. PolarPro says the use of quartz sets, “a new bar for light transmission and purity as the rare, fused quartz element delivers an extremely low refractive index compared to traditional filters.”

PolarPro QuartzLine ND Filter

QuartzLine Filters will be offered in ultraviolet, circular polarizing and multiple neutral density varieties. They come in 37mm, 46mm, 67mm, 77mm and 82mm thread sizes, with optional step-up rings available. Below is the entire collection of filter options and step-up ring sizes:

  • Filter Options: UV, CP, ND8, ND8/PL, ND16, ND16/PL, ND64, ND64/PL, ND1000, ND1000/PL, ND100000
  • Step-up Ring Options:
    • Step 52mm, 55mm and 58mm lens to 67mm filter
    • Step 62mm, 67mm and 72mm to a 77mm filter
    • Step 62mm, 67mm, 72mm and 77mm lens to an 82mm filter

PolarPro has also released a pair of Kanga Camera Filter Cases to keep either three or six filters safe and sound when traveling. They feature a soft microfiber lining and a magnetic opening for quick and quiet access. Like PolarPro’s filters, these come with a lifetime warranty.

PolarPro’s QuartzLine filters start at $ 60 and go up to $ 250, depending on the size and filter style. The three- and six-filter Kanga Camera Filter Cases retail for $ 40 and $ 50, respectively. You can find the full lineup of filters and cases on PolarPro’s website.

Press Release

PolarPro Leaps into Professional Lens Filter Market with Launch of QuartzLine Filters

PolarPro, long-trusted for its high-quality action camera and drone lens filters will bring new industry-leading glass to professional photographers and cinematographers with the full frame QuartzLine Filters.

Costa Mesa, C.A. – April 9, 2018 – PolarPro, developer of products inspired by adventure, announced today it is expanding its line of lens filters to professional photography and cinematography cameras. Well known for its industry-leading action camera and drone filters, PolarPro is continuing its tradition of quality with the new professional-focused QuartzLine Camera Filters for DSLRs, mirrorless and cinema cameras. The QuartzLine Filters range from $ 59.99 to $ 249.99 depending on size and filter style, for more information and specific pricing on the new PolarPro QuartzLine Lens Filters, please visit us here.

Constructed of 99.9% pure fused quartz, the QuartzLine Filters set a new bar for light transmission and purity as the rare, fused quartz element delivers an extremely low refractive index compared to traditional filters. A new optical coating method reduces surface reflectivity to less than one percent and increases surface hardness, all while maintaining a perfectly neutral color profile. The QuartzLine Filters will offer circular threaded UV, polarizers and neutral density filters from ND8 to ND100K, as well as hybrid single element ND/polarizing lens filters ranging from ND4/PL to ND1000/PL. With the filters running from 37mm, 46mm, 67mm, 72mm and 82mm, and an optional assortment of step-up rings, these stunning new optics will help adventure seeking creators capture perfection. All QuartzLine Filters can also be paired with PolarPro’s rugged construction Kanga Camera Filter Case to ensure they can go anywhere.

“As we have worked to establish PolarPro as the preferred option for drone cinematographers, we’ve also been working behind the scenes to make the QuartzLine Filters into an extremely precise and consistent filter for professional photo and video creators,” said Austen Butler, Co-Founder of PolarPro. “With QuartzLine, we wanted to create a rugged camera filter in line with our obsession over image quality. After testing 29 different materials we landed on a fused quartz glass element, with hyper neutral coatings to reduce reflectivity, increase scratch resistance, and most importantly, delivery a consistently neutral color profile.”

Ideal for professional photographers and cinematographers looking to ensure the most accurate representations of their creative vision, the QuartzLine Camera Filters combine PolarPro’s Death Valley-tested precision coatings with some of the most premium materials available.

Fused Quartz Glass At 99.9% pure, fused quartz is one of the purest glasses available. It’s this purity that allows the QuartzLine Filters to be extremely durable while delivering stunning optics and optimal clarity. The fused quartz glass also helps to ensure QuartzLine Filters have an extremely low refractive index of only 1.46 giving the filters increased stability and temperature resistance (from -50F up to 130F), so content creators can bring the true-life colors to their final product from the most extreme locations on the planet.

Color and Image Accuracy Light transmission in the QuartzLine Filters is perfectly neutral from the UV spectrum all the way across the IR spectrum, which gives photographers and cinematographers the confidence to stretch the boundaries of their creative vision while ensuring color and image accuracy. Unique among filter manufacturers, PolarPro leverages its new advanced coating technologies to eliminate any color cast or color inconsistency throughout the spectrum. The single-element QuartzLine Filters are available in a wide array of ND and ND/PL filters so photographers or cinematographers do not have to stack glass to achieve the desired effect, while also allowing wide-angle shots without fear of vignetting.

Precision Coatings The QuartzLine Filters rely on PolarPro’s advanced coating technologies to eliminate color shift, reduce flaring and ghosting, and to increase surface hardness for the already-durable fused quartz glass. Unlike other filters on the market, QuartzLine receives advanced coatings to eliminate color-casting or inconsistencies throughout the color spectrum. Each of the QuartzLine Filters feature:

Neutral Density Coating – Precisely applied to reduce the desired light transmission without incurring color shifts, PolarPro’s ND coatings have been tested in the most demanding conditions possible from the workshop test bench to sun-blasted skies around the world.

• Anti-Reflective Coating – Reducing the reflectivity of the lens filter eliminates hot spots in the frame, and PolarPro’s coating technology allows the 3.45% native reflectivity of the fused quartz to be reduced to a negligible 0.455%.

• Anti-Scratch Coating – Protecting the coatings and base glass while hardening the filters surface, PolarPro’s anti-scratch coating has stood up to the demands of the most adventurous downhill thrashings possible.

• Hydrophobic Coating – Increasing surface hardness, while making for easy cleaning and water resistance, PolarPro’s hydroscopic coating provides the external layer on the QuartzLine Filters.

Durable Brass Frames The durable four-part frame which houses each QuartzLine Filter has been over-engineered to ensure it threads onto each lens perfectly. Wanting to use the absolute best materials possible, PolarPro eschewed the traditional aluminum frames in favor of the more durable, yet lightweight, brass frames. With the unique production demands of professional photographers and videographers in mind, the QuartzLine showcases the brass exterior portion of the frame while the interior is coated in a matte back to prevent unwanted reflections.

Comprehensive Product Range The QuartzLine Filters will be available for a wide array of lens sizes and a series of optional step-up rings will allow QuartzLine to accommodate most professional lenses. The range of UV, circular polarizing filters, traditional neutral density and hybrid neutral density/polarizing filters is detailed in brief below, or on the QuartzLine product page, here.

  • Filter Thread Sizes: 37mm, 46mm, 67mm, 77mm, 82mm
  • Filter Options: UV, CP, ND8, ND8/PL, ND16, ND16/PL, ND64, ND64/PL, ND1000, ND1000/PL, ND100000
  • Step-up Ring Options:
    • Step 52mm, 55mm and 58mm lens to 67mm filter
    • Step 62mm, 67mm and 72mm to a 77mm filter
    • Step 62mm, 67mm, 72mm and 77mm lens to an 82mm filter
  • PolarPro Kanga Camera Filter Cases: Available in 3-filter or 6-filter storage sizes, the PolarPro Kanga Camera Filter Case features a magnetic opening for quick and easy filter access, plush microfiber interior lining, and a pull-tab system for streamlined filter selection. The PolarPro Kanga Cases retail for $ 39.99 and can be purchased here.

For more information about the new PolarPro QuartzLine Camera Filters, retail availability and pricing, please visit our website.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on PolarPro expands into pro market with new QuartzLine camera filters

Posted in Uncategorized

 

NiSi jumps into lens game, unveils five full-frame cinema prime lenses

07 Apr
Credit: NiSi

With NAB 2018 just a few days away, the video gear news is coming fast and furious. Atomos shared some exciting news for Panasonic EVA1 shooters, Apple revealed the new ProRes RAW format, Adobe’s video apps got some major updates, and now the more unexpected of them all: NiSi, the camera filter company, has released a set of cinema primes.

If this news had come out on April 1st, it would have been suspect. Alas, it’s April 6th, and the new NiSi F3 cinema lenses are very much real.

Designed to cover full-frame sensors, the NiSi F3 lenses will come with interchangeable PL, Canon EF, and Sony E mounts. There are five lenses in all—25mm T2.1, 35mm T2, 50mm T2, 75mm T2, and 100mm T2—and each is built within an identical housing for maximum convenience when fitting lens accessories. NiSi plans to add an 18mm lens to the lineup in mid-2018, but here’s a closer look at current lineup, followed by a detailed spec breakdown:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2685281427″,”galleryId”:”2685281427″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Regarding the F3 lens line’s performance, NiSi promises that the lenses’ “apochromatic optical design […] results in excellent Axial aberration and Transverse aberration performance. It gives a natural and pure color with almost no purple/green fringing both within focus and in bokeh.”

The company also claims “the lenses contain a unique optical coating design which controls dispersion perfectly while retaining rich details.” This allegedly results in “stylized flare and contrast enhancement.”

Credit: NiSi

The lenses are currently live for pre-order on the NiSi website, where you’ll need to put in a deposit of $ 1,000 per lens. Shipping is expected to start on June 1st, and you can see the retail prices listed below:

  • NiSi F3 25mm T2.1 – $ 3,000
  • NiSi F3 35mm T2 – $ 2,500
  • NiSi F3 50mm T2 – $ 2,500
  • NiSi F3 75mm T2 – $ 2,500
  • NiSi F3 100mm T2 – $ 3,000
  • Full Set of Five Lenses – $ 12,000

Note that if you pre-order before April 30th, you can take advantage of a $ 500 discount on each individual lens, or the full set of five. That means that, for the next 24 days, it’s actually cheaper to buy all five lenses individually because of the $ 2,500 in total discounts you’d be getting.

To learn more about the Nisi F3 cinema prime lenses or pre-order a set for yourself, head over to the NiSi website.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on NiSi jumps into lens game, unveils five full-frame cinema prime lenses

Posted in Uncategorized

 

SonyPixelShift2DNG combines a7R III Pixel Shift shots into DNG files

10 Mar

One of the useful features baked into Sony’s latest flagship mirrorless full-frame camera—the Sony a7R III—is the Pixel Shift Multi Shot mode in which the camera captures four consecutive images, shifting the sensor one pixel for each.

This allows the camera to sample each point in the scene with each of its four color filters (R, G, B, G2). Those images are then combined in post to produce files with improved ‘crispness’, color resolution, noise and dynamic range. It’s essentially meant to overcome the limitations of the Bayer color filter array.

The process looks something like this:

We discussed Pixel Shift in detail here, but if you read our full Sony a7R III review then you know that one of our main complaints about this feature is Sony’s limited support for Pixel Shift files. Basically, you’re stuck using Sony Imaging Edge to process the files—a rather limited (and slow) Raw converter that’s probably not on anybody’s “favorite photo software” list.

Well… you were stuck. Enter LibRaw, LLC’s SonyPixelShift2DNG beta.

As the name implies, this piece of software combines the four ARW files captured by your Sony a7R III in Pixel Shift mode and spits out a DNG on the other side, allowing you to process the result in the Raw editor of your choice. What’s more, it’ll automatically detect the 4-image Pixel Shift sets, ignoring any non-Pixel Shift files (as long as you select ‘Analyze + Convert All’), generating single DNGs for each set. It’ll even name the DNG sensibly, indicating the original ARW files it was generated from.

Finally, Any Pixel Shift ‘quartets’ (Sony ARQ files) you’ve already created with Sony Imaging Edge can also be converted to DNG.

The software is still in Beta, but we gave it a test drive and found it fast, easy and nearly effortless. We threw an entire directory of Pixel Shift and non-Pixel Shift files at it and it worked flawlessly. This essentially eliminates any worries we had about compatibility or convenience when it comes to capturing and editing Sony a7R III Pixel Shift files. As far as we’re concerned, until and unless Sony releases something similar itself (and we wouldn’t hold our breath) this is a must have for Sony a7R III users who use the Pixel Shift function.

To learn more about the software or download it for yourself—there are versions for both Mac or Windows—head over to the FastRawViewer website. Don’t wait too long to try it though, the free beta version at that link expires on May 1st, 2018.

And check out LibRaw’s other excellent software while you’re at it: FastRawViewer allows you to quickly evaluate, sort and do more with your Raw files, and we use the RawDigger app to perform technical analyses of Raw files on a daily basis.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on SonyPixelShift2DNG combines a7R III Pixel Shift shots into DNG files

Posted in Uncategorized