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iPhone XS, XS Max and XR cameras: what you need to know

16 Sep

Introduction

On Wednesday Apple launched its new iPhone models for 2018, the XS, XS Max and XR. The two XS devices come with OLED HDR displays, that offer a 60% improvement in dynamic range compared to the iPhone X. On the iPhone XS the screen measures 5.8″, on the Max variant it is 6.5″. Both devices come with a dual-camera setup that combines a wide-angle main camera with a 2x tele module.

The iPhone XR is a more affordable model and has to make do with a 6.1″ LCD display and a single-camera setup. The iPhone XS and XS Max will be available first, shipping September 21st in 64GB, 256GB and 512GB configurations. The XS starts at $ 999; the XS Max starts at $ 1099. The iPhone XR will ship October 26th starting at $ 749 with 64GB, 128GB and 256GB configurations.

At first sight the new cameras aren’t much different from last year’s iPhone X but improvements have been made in terms of hardware, software and features. On the following pages we take a closer look.

Camera hardware

The iPhone XS and its larger sibling XS Max share the same dual-camera setup. On paper the specifications look pretty much identical to last year’s iPhone X but there is an important change: the 12MP sensor in the wide-angle camera now comes with larger pixels (1.4 µm, up from 1.22 µm) for improved low light capabilities and dynamic range.

The F1.8 aperture on the 6-element wide-angle remains unchanged and the 12MP tele-module with F2.4 aperture is the same as before as well. The tele comes with six elements as well and both lenses are optically stabilized.

The most affordable of the new devices, the iPhone XR, comes with the same wide-angle camera as the XS and XS Max but has to make do without a tele-lens.

New Neural Engine and ISP

The new iPhone’s A12 Bionic processor has been upgraded in several areas compared to its A11 Bionic predecessor. It comes with faster and more efficient processing cores and a more powerful GPU. More importantly, though, the 8-core Neural Engine is now more directly involved in image capture and processing and strongly linked with the image signal processor (ISP).

For example, the Neural Engine helps improve facial recognition and image segmentation. The latter helps distinguish the subject from the background and plays an important role in Apple’s bokeh mode portrait images.

The processor’s additional speed also allows for more image information to be captured and processed. This has enabled the Apple engineers to create the new Smart HDR feature, which they claim is faster and more accurate than the HDR mode of previous iPhone generations. The company says that the device is capable of performing one trillion operations on each image that is captured.

Bokeh-effect in Portrait mode

A background-blurring bokeh effect has been available in the iPhone’s Portrait Mode for some time now. In the new models the feature has been refined, however, and now offers adjustment of depth-of-field for stills in the native camera app.

At launch, this will only work in post-processing after the photo has been taken, but a software update this fall will enable a real-time preview at the point of capture. You can set the aperture on a virtual slider on your screen from F1.4 to F16 and see the results instantly, allowing for easy optimization of that portrait look.

Thanks to the updated Neural Engine, Portrait mode is now also better at distinguishing subject and background. Advanced depth segmentation allows for a more realistic bokeh effect with fewer artifacts.

In the iPhones XS and XS Max the camera can also make use of the secondary tele lens to for subject segmentation. The iPhone XR has to make do with a single-camera setup but is still capable of generating a convincing portrait look.

On the XR the camera uses the sensor’s focus pixels for parallax and then segmentation masking. Thanks to the device’s processing power, the depth effect is still visible in real time but currently only works with faces.

Smart HDR

Smart HDR is another new camera feature made possible by the new iPhones’ beefier processor and updated Neural Engine. Smart HDR is quite similar to Google’s approach to HDR on its Pixel devices and continuously captures a four-frame buffer while the camera app is open. This means when the shutter is pressed the image is captured instantly, with zero shutter lag.

In addition, Smart HDR captures several interframes at different exposures and a long exposure for added shadow detail and intelligently combines all frames of the same scene. The system picks and blends the best parts of each frame in order to create the final image. This helps reduce ghosting artifacts on moving subjects and create a well-balanced HDR look with good detail in both highlight and shadow areas.

Video

The new model also come with improvements in the video department. As before, the new models can shoot 4K video at 60 frames per second and 1080p Full-HD at up to 240fps, allowing for smooth slow-motion footage with good detail.

When limiting the frame rate to 30 fps, the camera can extend dynamic range which will be specifically noticeable on the HDR10 enabled displays of the XS and XS Max. Thanks to the larger sensor in the main camera and increased processing power, low light performance has been improved as well, with lower noise levels and brighter exposures in very low light. In addition all cameras come with an all-new video stabilization system.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T3: what you need to know

06 Sep

The Fujifilm X-T3

The X-T3 is Fujifilm’s newest X-series camera, and potentially represents the largest jump in features and performance that we’ve seen in a new Fujifilm camera in quite some time. It boasts a new sensor, faster processor, a significantly improved autofocus system, and video specs that move it close to best-in-class territory.

In short, Fujifilm seems to have taken a no-holds-barred approach to designing this camera, and what the company has delivered is impressive both on paper and in your hands. Let’s take a look at some of the headline features worth knowing about.

Body and Controls

The X-T3 is visually similar to its predecessor, the X-T2, though it has a slightly redesigned handgrip. The top plate has the usual Fujifilm dials for ISO, shutter speed, and exposure compensation, and the rear features a tilting touchscreen.

The body includes both a microphone and a headphone jack, along with USB-C and micro HDMI-out ports. The door over these plugs can be completely removed when using the camera with attached cables so that it doesn’t get in the way or break, a nice nod to videographers who may want to use the camera rigged with microphones, headphones, or an external recorder.

On the opposite side of the camera are dual-SD card slots that support UHS-II and V60/V90 cards.

New X-Trans Sensor

The X-T3 uses a new 26.1MP X-Trans backside illuminated CMOS sensor. Although not significantly different in terms of resolution compared to the X-T2’s 24MP sensor, this appears to be a sensor we haven’t seen in other cameras, so we’re looking forward to our testing in order to learn more about its performance.

The new sensor now has a base ISO of 160, compared to 200 on previous Fujifilm models.

Fujifilm tells us that this new sensor has 10x faster readout than its original X-Trans sensor, which is particularly important for some of the camera’s new capabilities.

X-Processor 4

In addition to a new sensor, the camera includes a new quad core CPU, called the X-Processor 4. Fujifilm claims it’s 20x faster than the original X-Processor in the X-Pro1 and 3x faster then the X-Processor Pro found in the more recent X-H1.

The improved speed is apparent when using the camera as it’s quite responsive. Between the new sensor and the new processor, the camera is able to offer significant performance over its predecessors in both photo and video modes.

Autofocus

Fujifilm cameras don’t have a reputation for class-leading autofocus performance, but the X-T3 may be the camera that challenges that perception.

It has 425 phase detect autofocus points that provide 99% vertical and horizontal coverage when using single-point AF. Zone and wide tracking modes provide a slightly smaller 91% horizontal x 94.5% vertical footprint, but that’s still pretty impressive. AF points are split into 240 regions, and the system looks at regions both horizontally and independently (for textures). Phase detect AF works down to -3EV (lens not specified), which is two stops better than the X-T2’s -1EV.

In our initial use of the camera we’ve been been very impressed with the new autofocus system

Fujifilm says that improved processing speed, along with an entirely new focusing algorithm, allow the camera to focus 1.5x faster than the X-T2, enabling accurate autofocus even when photographing subjects that change speed or move erratically across the frame. It also claims to have improved face detection, supports eye-detection in AF-C mode, and says that new face/eye detection algorithms are 2x faster. Face detection is also available when shooting video. However, if there are multiple faces in a scene there doesn’t seem to be a way to tell the camera which specific face you want to track.

In our initial use of the camera we’ve been been very impressed with the new autofocus system, finding it to be fast and very effective at tracking subjects – in some ways very similar to the 3D tracking on Nikon’s DSLRs. We’ll have to do a lot more testing before we can provide a definitive analysis, but it’s fair to say that it’s a clear step up from the AF system on previous Fujifilm bodies.

Photos

At 26.1MP, the X-T3 has only a bit more resolution than its predecessor, though it’s not enough that you’ll notice a significant difference in image quality from that change alone. However, Fujifilm has made other improvements for still photography that are worth noting.

The camera continues to support all of Fujifilm’s excellent film simulation modes, but now includes the company’s Color Chrome effect. This was first introduced on the GFX 50S, and is designed to provide improved color gradation in shadow areas that can be difficult to reproduce – on vivid flowers with shadows, for example. There’s also a monochrome adjustment option that lets you apply a warm or cool tone to your black and white photos, with nine levels of adjustment in each direction.

The X-T3 continues to use Fujifilm’s X-Trans sensor technology, as opposed to the more common Bayer pattern color filter arrays

Now that ISO 160 is part of the standard ISO range (on previous Fujifilm cameras it was available only as an extended setting) it’s also possible to capture photos using the DR400% mode for improved dynamic range at ISO 640 instead of ISO 800.

Also new, Raw files now have medium sized (13MP) JPEG previews embedded instead of small JPEG previews, which should make it easier for Raw shooters to review photo details in-camera.

The X-T3 continues to use Fujifilm’s X-Trans sensor technology, as opposed to the more common Bayer pattern color filter arrays found on most cameras. Suffice it to say, if you like X-Trans you’ll probably still like it on this camera as well. (Or vice versa.)

Video

Video is arguably the area where the X-T3 makes its most significant advances, with features and specifications that have the potential to put it into class-leading territory alongside models like the Panasonic GH5.

To start, the camera supports 4K/60p recording, including both DCI (4096×2160) and UHD (3840×2160) standards. Video can be captured at 4K/60p in 4:2:2 10-bit color via HDMI out, and in 4:2:0 10-bit color when recording internally. You also have the choice of using either H.264 or the newer H.265/HEVC codec, with data rates up to 400Mbps, and can choose between All-Intra or Long-GOP recording settings. Shooting video at 400Mbps will require cards that meet the V60 standard.

The X-T3 uses the full width of its sensor to record oversampled 4K video at frame rates up to 30p

Most of these settings can be mixed and matched, creating an impressive array of possible configurations, but there are some restrictions. (For example, 10-bit recording requires use of the H.265 codec.) It’s possible to record 4K/60p internally at up to 200Mbps while simultaneously recording externally over HDMI.

The camera uses the full width of its sensor to record oversampled 4K video at frame rates up to 30p. There’s a slight 1.18 crop when shooting 4K/60p, which Fujifilm tells us is done in order to maintain the fast scan rate on the sensor.

For slow motion work it can shoot up to 1080/120p, though this comes with a 1.29x crop of the sensor. This feature was also available on the recent Fujifilm X-H1, but that camera needed to upscale the image a bit in order to do so. In contrast, the X-T3 doesn’t have to upscale, but Fujifilm needed to use a slight crop of the sensor to avoid doing so.

According to to Fujifilm there’s also a new noise reduction algorithm, including 4K inter-frame noise reduction, and it claims the camera can capture up to 12 stops of dynamic range when shooting video.

Video

In addition to an impressive array of resolutions, data rates, and other options, the X-T3 offers a number of tools and features that should be popular among videographers.

The camera includes Fujifilm’s F-Log gamma profile, which can be used either via HDMI or for internal recording, as well as the very pleasing Eterna film profile, which we’ve found makes a great starting point for color grading if you don’t need to use F-Log. Since the X-T3 has a base ISO of 160, the minimum sensitivity for shooting F-Log has also been lowered to ISO 640, compared with ISO 800 on previous Fujifilm cameras.

Movie mode also includes the Silent Control feature found on the X-H1

Fujifilm says the sensor’s scan rate is a very quick 17ms, which should provide very good rolling shutter performance and puts the camera into similar territory as the impressive Panasonic GH5 (13ms).

Movie mode also includes the Silent Control feature found on the X-H1, which makes it easy to access video settings using the touchscreen, and also provides a method to retain separate settings for shooting stills and video.

The X-T3 does not include support for Hybrid Log Gamma (HLG) at launch, however Fujifilm says this will come in the form of a firmware update by the end of the year.

Electronic Viewfinder

The X-T3’s electronic viewfinder is built around a 3.69 million-dot OLED with 0.75x magnification. This is slightly lower than the 0.77x magnification found on the X-T2, but Fujifilm says they needed to drop the magnification a tiny bit because the new EVF panel is physically larger and requires slightly different optics.

The EVF has a native 60fps refresh rate, but can increase to 100fps in Boost mode without a battery grip attached, unlike the X-T2 which required a battery grip for full Boost mode. It has a 23mm eye-point, the same as the X-H1, and the diopter correction knob must now be pulled out in order to turn it, making it unlikely that it will be inadvertently moved by rubbing against something.

Metering and Focusing

The X-T3 is able to meter and focus at the same time by separating the phase detect AF measurements from the camera’s exposure control.

Different lines on the sensor are used to perform autofocus and exposure measurements, reading out at different rates and processing both sets of information in parallel without affecting one another. This gets around the need to switch back and forth between focusing and metering functions, which in certain cases can result in noticeable effects.

For example, when focusing in low light, many mirrorless cameras will briefly show an overexposed image while acquiring focus because they’re using the same pixels for AF and exposure measurements and need to increase sensor gain in order to acquire focus. In contrast, the X-T3 has no need to make this temporary adjustment as it’s using different pixels for each function.

We were able to see this in action through an informal test of the camera. We set the exposure low enough that the viewfinder was completely black, but the camera was still able to lock focus on a subject in the frame without any change in the viewfinder. This implementation contributes to a very pleasing user experience.

Sports Finder Mode

The X-T3 also has a Sports Finder mode, which can be useful when shooting things for which performance is a priority, such as sports or wildlife. A 1.25x crop effectively turns the X-T3 into a 16MP camera and the EVF provides clear frame lines to see the cropped area. You can still see outside the cropped area, however, and this can be very helpful as you’re able to see things that are slightly out of frame and anticipate their entry into the scene.

Sports Finder mode can be very useful for burst shooting and supports 10, 20, and 30fps burst modes, recording up to 33 Raw images or 60 JPEG images at 30fps, with an EVF blackout of 90ms. A pre-burst mode can also start shooting images as soon as the shutter button is half-pressed.

Performance

Fujifilm claims the X-T3 has the ‘highest performance in the history of the X-series’. In continuous shooting mode it can capture 11fps with continuous AF using the mechanical shutter, up to 36 frames, or 20fps using the electronic shutter, up to 34 frames. Neither requires the use of an additional battery grip.

Unlike the X-T2, it’s not necessary to have a battery grip attached to fully utilize Boost mode, which increases autofocus speed and increases the EVF frame rate to 100fps.

The X-T3 uses the same NP-W126S battery as other recent Fujifilm models and has a CIPA rating of 390 images, though as with most cameras we expect to get more in practice.

Battery Grip

A new battery grip, the VG-XT3, can be paired with the camera for those who want additional controls for vertical shooting or need additional battery power. It holds two additional batteries to increase the maximum number of shots to 1,100.

The vertical grip includes a shutter release button, focus lever, AE-L button, AF-L button, front and rear command dials, Q button and Fn button so that you have all standard controls available when shooting vertically. It’s dust and weather resistant and is rated to operate in temperatures as low as -10C/14F.

Additionally, there’s also a new metal hand grip which is designed to make the camera more comfortable to hold when using larger lenses. It’s designed so that you can replace both the battery and SD cards without removing it, and the base can be used as a quick release shoe when using a dovetail mount on a tripod.

Night Vision Mode

A new Night Vision mode shifts the display from its standard appearance to a predominantly red mode that’s easier on your eyes in low light conditions. It’s a bit of a specialized feature, but one that will likely be appreciated by those who shoot frequently in low light.

Pricing and Availability

The Fujifilm X-T3 is launched with an MSRP of $ 1499 body only, or $ 1899 with the included Fujifilm 18-55mm F2.8-4 R LM OIS kit lens, and will ship on September 20.

We’ve already started testing the camera and look forward to bringing you our full in-depth review soon. Until then, we encourage you to read our Fujifilm X-T3 First Impressions Review to see what we think so far.

Articles: Digital Photography Review (dpreview.com)

 
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What you need to know about Nikon’s new entry-level D3500

31 Aug

Everything you need to know about the Nikon D3500

Let’s face it: Entry-level DSLRs aren’t the most exciting cameras out there. That said, Nikon’s D3000-series have traditionally been very easy to use, very affordable and offered excellent image quality. Despite not having the latest and greatest technology, cameras like Nikon’s newest model, the D3500, serve a variety of purposes quite well.

Before we get into what’s new, here’s what’s not. The D3500 uses the same 24MP DX-format (APS-C) CMOS sensor as the previous-generation D3400 (and several other Nikon models) which has excellent resolution and Raw dynamic range. Its Expeed 4 processor allows for a top ISO of 25,600 and 5 fps burst shooting. The 11-point autofocus system is pretty dated, though it does offer Nikon’s 3D Tracking system. Just don’t expect D500-style performance.

Even more compact

The D3400 was already a small DSLR and the D3500 is even more compact. That’s because it uses almost the same body shell as the D5600, which is 6mm (0.24″) thinner than the D3400. We like the D5600’s design because it doesn’t sacrifice a decent hand grip as a trade-off for being small, which is the case with some of its peers. With the bundled AF-P 18-55mm F3.5-5.6 kit lens, the D3500 is almost as portable as the smallest Micro Four Thirds cameras.

While we’re looking at this view of the camera, it’s worth mentioning that the D3500 no longer supports the ML-L3 wireless remote, since there’s no infrared receiver. You can, however, use your smartphone for the same purpose.

Buttons for everything

One area in which the D3500’s design differs from that of the D5600 is the LCD. Where the D5600 has a larger, fully articulating touchscreen, the D3500 uses the same fixed 921k-dot non-touch display as the D3400.

The D3400 had five buttons that sat to the left of its display (playback, menu, zoom in, zoom out, i), and those have all been relocated to the opposite side. The D3500’s rear control layout is a little cluttered as a result, but everything you need is close at hand. Being an entry-level camera, it shouldn’t come as a huge surprise that there’s only one control dial.

The optical viewfinder on the D3500 is unchanged. It still offer 95% coverage and a magnification of 0.57x equiv., which is actually a bit larger than the D5600’s OVF.

Improved battery life

Despite using the same sensor, processor and display as its predecessor, the D3500’s battery life has increased by 30% (CIPA) compared to the model that it replaces. With a CIPA rating of a whopping 1550 shots, you should be able to go for days without replacing the battery. Nikon includes an external charger for keeping a spare topped up. The camera doesn’t support USB charging, unfortunately.

SnapBridge

The D3500 continues to offer a Bluetooth-only version of Nikon’s SnapBridge wireless system. With it, the camera can automatically transfer 2 Megapixel versions of photos to your smartphone as they are taken (since there’s no Wi-Fi there is no option for transmitting full resolution images.)

New to the D3500 is the ability to use the SnapBridge app as a remote shutter release.

Guide mode

Something that makes the D3500 one of the easiest-to-use cameras on the market is its Guide Mode, which is accessed via the mode dial. Guide Mode gives you basic options – essentially scene modes – and ‘advanced operations,’ where you can adjust shutter speed, aperture, white balance and exposure compensation without having to know what any of those are.

In ‘easy operation’ mode, you can select something like ‘moving subjects’ and the camera will do the rest. In ‘advanced operation’ mode you can, for example, choose from freeze motion (people), freeze motion (vehicles) and show water flowing. Once you’ve picked one, the camera will let you adjust the shutter speed, but with a detailed explanation of what the effects are. Once you’re happy just choose from shooting through the viewfinder or live view and off you go.

Truly advanced settings (by D3500 standards,) such as ISO sensitivity and Picture Controls are still available in Guide Mode, should you wish to access them.

Wrap-up

The Nikon D3400 was our favorite entry-level DSLR and the D3500 looks like it might supplant the older model in our affections. Unlike some of its competitors, it’s small, light, and very easy to use, without sacrificing ergonomics or image quality. The D3500’s 24MP sensor isn’t new, but it’s still one of the best APS-C sensors around.

The D3500 is a camera that beginners who pick it up from a big box store can take home and use immediately, simply by turning on Guide Mode and choosing something like ‘Moving Subjects’. When they want to dip their toes into manual controls they can use the ‘Advanced Operation’ half of the Guide Mode, which allows them to adjust the shutter speed with a helping hand. And, when these users are ready to take full control over the camera, the D3500 has everything the casual shooter needs.

The D3500’s 24MP sensor isn’t new, but it’s still one of the best APS-C sensors around

Nikon will be selling the D3500 in two kits: one with the collapsable AF-P 18-55mm F3.5-5.6 VR lens ($ 499) and another with that lens plus the un-stabilized AF-P 70-300 F4.5-6.3 tele-zoom ($ 849, though current street prices are below $ 600). As mentioned about, the D3500 is almost certain to appear in places like Costco during the holiday season, usually with a bag, extra battery and memory card thrown in.

Articles: Digital Photography Review (dpreview.com)

 
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What you need to know about DJI’s new Mavic 2 series drones

26 Aug

Two new Mavics

DJI’s orignial Mavic Pro became tremendously popular thanks to an impressive set of features shoehorned into a foldable drone that seemed almost purpose-built for travel. However, two of the most frequent requests from Mavic Pro users have been to upgrade the camera with a larger 1″ sensor, similar to the one found on the Phantom 4 Pro/Advanced twins, and to make a model with a zoom lens.

It appears that DJI was listening to its customers, offering its new Mavic 2 model in two versions: the Mavic 2 Pro includes a camera with a 1″-type sensor and the Mavic 2 Zoom ships with a 2x optical (4x digital) zoom lens, effectively delivering on both requests. Physically, the two models are identical except for the camera module and as a nice touch both include 8GB of internal storage: perfect for that time when you’ll eventually forget to bring a memory card with you.

On the following pages, we’ll take a look at what sets these two models apart, along with some of the headline features that they have in common.

Mavic 2 Pro

The Mavic 2 Pro will appeal to those who want a portable drone, but who have been waiting for a camera with a larger sensor. Its camera is built around a 20MP 1″-type sensor, similar to the one found on the Phantom 4 Pro/Advanced models. It uses a 28mm equiv. lens (compared to 24mm on the P4 Pro and 26mm on the Mavic Pro) with a F2.8-F11 aperture range.

This is the first DJI consumer drone to feature a Hasselblad-branded camera, which the company says was “co-engineered in partnership with Hasselblad.” (Though it’s not the first time DJI as put a Hasselblad on one of its aircraft.) We’re not sure to what degree Hasselblad was actually involved in the camera’s design, however we’re optimistic that the Hasselblad name means that DJI has set a high bar for image quality. DJI says it’s using Hasselblad Natural Color Solution (HNCS) technology to ensure good color accuracy.

The Mavic 2 Pro also has a couple features not found on the zoom model: 10-bit Dlog-M color profile and 4K 10-bit HDR support using hybrid log gamma (HLG) for use on HDR TVs and displays.

Mavic 2 Zoom

The Mavic 2 Zoom uses a 12MP, 1/2.3″ CMOS sensor similar to the original Mavic Pro, but adds a 2x optical zoom lens with an equivalent range of 24-48mm. If you need to zoom further, a 2x digital zoom extends the range to 96mm, though video is limited to HD resolution when it’s used.

DJI says that improvements in its hybrid AF system (phase detect + contrast detect) allow this model to focus up to 40% faster than previous models while still benefiting from improved focus accuracy.

The Mavic 2 Zoom’s lens also enables a couple features not found on the Mavic 2 Pro: Dolly Zoom mode and Super Resolution mode. We’ll take a look at those next.

Dolly Zoom

A dolly zoom is a camera technique you’ve probably seen in films before, and was popularized by directors like Alfred Hitchcock. It’s performed by physically moving the camera away from your subject while using the lens to zoom in at a rate that exactly offsets the camera’s movement. (Or vice versa.) It results in a shot in which the perspective shifts around an apparently unmoving subject.

The Mavic 2 Zoom includes a Dolly Zoom mode that coordinates the movement of the camera and zoom lens to automate dolly zoom moves, opening the door to produce some very creative shots.

Super Resolution

Above: Super Resolution image of New York City captured by the Mavic 2 Zoom. Courtesy of DJI

In addition to 12MP still photos, the Mavic 2 Zoom can also create ‘Super Resolution’ images. Using its optical zoom lens, the drone will automatically shoot 9 overlapping photos which it automatically stitches together to create a much more detailed 48MP image.

Of course, it’s possible to create your own Super Resolution images from any camera using a series of images and some post processing, but the extra telephoto reach from the zoom lens should allow the Mavic 2 Zoom to capture a bit more fine detail of distant subjects, while automating a process many users might not bother to do manually. We look forward to seeing how well this feature works.

Video

Despite having very different cameras, both Mavic 2 models share very similar video specifications. Both can capture UHD 4K (3840 x 2160) up to 30p, 2.7K up to 60p, and HD up to 120p, and video can be recorded using either H.264 or H.265 codecs at up to 100Mbps.

Noticeably absent is support for 4K/60p recording, which is available on the older Phantom 4 Pro/Advanced twins, as well as support for cinema DCI 4K (4096 x 2160), found on both the Phantom 4 Pro/Advanced and the original Mavic Pro.

As mentioned previously, the Mavic 2 Pro also includes a 10-bit Dlog-M color profile and supports 4K 10-bit hybrid log gamma. The Mavic 2 Zoom includes DJI’s D-Cinelike color mode.

HyperLapse Mode

Creating cinematic camera moves with a drone can be challenging without a lot of practice, which is why intelligent flight modes can be so useful. The Mavic 2 drones introduce a new HyperLapse feature designed to show the passage of time, and includes four different ways to direct the motion of the drone.

‘Circle’ mode automatically flies the drone in a circular pattern around your subject, ‘Course Lock’ keeps the camera fixed on a subject as the drone flies in a straight line, and ‘Waypoint’ allows you to plan a flight path using both GPS coordinates and altitudes to set up complex shots. Finally, there’s a ‘Free’ mode in which the pilot can fly the drone manually while it takes photos.

DJI says HyperLapse shots can be shared immediately to social media, but the drone also saves the JPEG and Raw files in case you want to do your own processing later.

ActiveTrack 2.0

The Mavic 2 series also benefits from DJI’s ActiveTrack 2.0, the newest version of its autonomous subject tracking system, which works in conjunction with the obstacle avoidance system to prevent collisions.

ActiveTrack 2.0 uses the main camera and front dual vision cameras to create a 3D map of the area in front of the aircraft, and it analyzes motion to predict the path of a subject up to three seconds in advance, which should improve tracking accuracy. DJI claims the system will even continue to follow your subject if it’s temporarily blocked from view by something else in the frame.

Smarter flying

The Mavic 2 models have an updated version of DJI’s FlightAutonomy system that uses 10 sensors around the drone which combine to detect obstacles in any direction, and an improved version of DJI’s APAS (Advanced Pilot Assistance System) analyzes the environment surrounding the aircraft so that it can fly without stopping. This should allow users to focus more on the creative process, such as framing a shot, without the drone drifting into something.

There’s also a new bottom auxiliary light that activates automatically when landing in low light situations, such as dawn or dusk, to ensure safe landings under such conditions.

OcuSync 2.0

DJI has also updated its OcuSync video transmission system to version 2.0. According to DJI, OcuSync 2.0 is more effective at resisting interference, supports both 2.4 GHz and 5.8 GHz bands, and includes auto-switching capability. It can even use the different frequencies to separate uplink and downlink data streams.

OcuSync 2.0 allows the Mavic 2 to transmit live 1080p video up to a claimed distance of 8km, and thanks to this improved transmission users will have immediate access to full HD video clips from the cache in the DJI app. It’s also possible to save original resolution JPEG files directly to your mobile device for immediate sharing, without needing to transfer image files from the aircraft.

Hardware and performance

Above: The Mavic 2 (left) next to the Mavic Air (right).

The original Mavic Pro became popular thanks to its compact size and weight. The new Mavic 2 models weigh in higher than the original (907g/2lb vs. 734g/1.6lb). However, DJI says that the new design also reduces body drag by up to 19% compared to the Mavic Pro. In fact, despite being slightly larger, the Mavic 2s have a respectable flight time of 31 minutes.

Both models can fly up to 72 kph (44 mph) in sport mode, making them useful for following some quickly moving subjects, though maybe not that Ferrari you’ve been meaning to shoot.

DJI claims that the Mavic 2s also use a more efficient, quieter propulsion system and noise reducing propellers to keep noise to a minimum. This is good news, especially since noise has been a bit of a sore point for some users of DJI’s recently released Mavic Air.

Price and availability

The Mavic 2 Pro retails for $ 1499, while the Mavic 2 Zoom is $ 1199. That’s still more than the current prices for the older Mavic Pro ($ 999) and smaller Mavic Air ($ 799), and more in line with the Phantom 4 Pro V2.0 ($ 1499) and Phantom 4 Advanced ($ 1199), both of which have 1-inch type sensors, but lack the compact foldability of the Mavic 2s.

Assuming you need some additional accessories, it’s probably worth considering DJI’s ‘Fly More’ kit, which includes two additional batteries, a multi-battery charging hub, a car charger, a battery to power bank adapter, extra props, and a case for $ 319. Extra batteries on their own will cost you $ 119 each.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z 7: what you need to know about Nikon’s first mirrorless full-frame ILC

25 Aug

Nikon Z 7: what you need to know about Nikon’s first mirrorless full-frame ILC

The Nikon Z 7 is a full-frame mirrorless interchangeable lens camera built around a 46MP full-frame sensor – likely very similar to the sensor inside the D850. In fact, despite a 26% weight difference, the Z 7 and the D850 have quite a lot in common.

But the differences run deeper that the removal of the mirror. The Z 7 is a camera designed from the ground-up to always work in live view mode. So what does that mean for the camera as a whole?

Body and design

Nikon will probably hate me saying this, but the Z 7 looks a lot like the Sony a9, with the grip from a D850 glued onto the side of it. And that’s not a bad thing, to be honest. The Z 7 is very comfortable to hold, and generally speaking it works in much the same way as the D850 from its twin control dials down to its near-identical menu system.

Nikon claims that the Z 7 offers the same durability as the D850, which should reassure its loyal user-base, and while we don’t have specific details we’d expect it to be sealed against dust and moisture incursion at all major seams and control points. The Z 7 certainly feels well-built, and while more angular than Nikon’s current DSLRs, it should feel pretty familiar to any seasoned Nikon DSLR user. The Z 7 even has a nice high-contrast OLED top-plate information display.

Unfamiliar to some Nikon DSLR users will be the Z 7’s card format. Nikon is breaking from the past and only including a single XQD card slot in the Z 7, with support for next-generation CF Express media (which shares the same form factor) coming later, via a firmware update.

Body and design

It is clear that Nikon has made every effort not to alienate its existing DSLR userbase with the Z 7, even down to the battery that the new camera uses. The Z 7 ships with an EN-EL15b battery, which is the same basic shape as the EN-EL15a that’s used in the D850 and D7500. As such, the same batteries can be swapped between all three cameras (and any other EN-EL15-compatible DSLR) although in-camera USB charging is only available with the new EN-EL15b.

To make it easier to tell between the batteries, the ‘b’ version is more angular than the previous versions. The general rule is that the ‘a’ and ‘b’ versions, with grey cases will work well in the the recent cameras, but the original version in the black case may not.

The Z 7’s CIPA rating is a middling 330 shots per charge, but as usual this is likely to prove extremely conservative in normal use. On a recent video shoot, we managed more than 1600 images and several 4K video clips on the Z 7 with a single EN-EL15b before the battery started blinking red, so it’ll depend to a large extent on how you shoot.

Sensor

At the heart of the Z 7 is a 45.7MP BSI-CMOS sensor, based on the sensor used in Nikon’s popular D850. As such, it’s most likely fabricated by Sony Semiconductor from a Nikon design. ISO sensitivities range from 64-25,600 and at ISO 64 we’re expecting the Z 7 to offer the same class-leading detail and dynamic range as its DSLR cousin. For JPEG shooters, the Z 7 offers a grand total of six sharpening levels for fine-tuning sharpness, plus a new ‘mid-range sharpening’ setting for even finer control.

One major difference between the Z 7 and D850’s sensors is of course the addition of on-sensor phase-detection autofocus pixels in the mirrorless camera. These give the camera an understanding of subject distance that a DSLR would gain from its dedicated autofocus module. They underpin the camera’s ability to assess distance changes and also allow it to drive adapted F-mount lenses in the same manner as a DSLR would.

Autofocus

The Z 7 offers 493 PDAF points, which cover a total of 90% of the frame both horizontally and vertically. Outside of this area (and for added precision within it), contrast-detection autofocus comes into play. With F2 and faster lenses, the Z 7’s autofocus system is rated down to -3EV, provided that you’re shooting wide open (more on that in a minute).

In briefings with DPReview, Nikon representatives have told us that autofocus performance should be broadly comparable to the D850. A direct comparison is impossible given that the Z 7 is launching wth only three native lenses, but it’s certainly true that with fast-aperture F mount lens attached via the FTZ adapter, autofocus response is impressive.

When it comes to keeping your subjects in focus, the Z 7 offers highly effective face-detection, and very ‘sticky’ object tracking. It’s a shame though that the vocabulary of the Z 7’s various AF modes is different to what we’re used to in Nikon’s DSLRs. The functionality of subject tracking is different too – unlike the 3D AF Tracking systems in Nikon’s DSLRs, the Z 7 doesn’t provide as easy a method for initiating tracking on a subject, nor changing subjects to track. There’s also no easy way to instantly activate any of the company’s other AF modes with a single button press.

The Z 7 does not offer an equivalent of the excellent Eye-AF modes that we’ve come to appreciate in Sony and Olympus ILCs

Sadly, the Z 7 does not offer an equivalent of the excellent Eye-AF modes that we’ve come to appreciate in Sony and Olympus ILCs. And like Sony’s a7-series and a9 cameras, the Z 7 follows Nikon’s old DSLR live view logic, by stopping down the lens to your shooting aperture (or F5.6 – whichever is wider) all the time. This has the advantage of always offering an accurate preview of depth of field during shooting (at least down to F5.6) but it also starves the camera’s autofocus system of light.

While perhaps not a particularly common use-case, this means that if you’re shooting stopped-down in dull conditions, you will see AF performance drop compared shooting wide-open. We’re really hoping that this is fixed in firmware, to allow the Z 7’s autofocus system to take advantage of the maximum amount of light coming through the lens, before stopping down at the point of exposure. Compounding this issue is the lack of the red-grid autofocus assist when using the company’s own on-camera flashes. The only option is a bright green LED on the front of the Z 7 itself.

In-body stabilization

In a first for Nikon, the Z 7 features in-body image stabilization, which is effective up to a claimed 5EV. With Z-mount lenses, the camera can compensate for movement in five axes (rotation in three dimensions and translational movement up/down and left/right).

With adapted lenses, this drops to three axes, with only rotational movement: pitch, yaw and roll being corrected. When a VR-equipped F-mount lens is attached via the optional FTZ adapter, the 3-axis system hands off pitch and yaw correction to the lens, with the body dealing with roll. As such, a VR-equipped F-mount lens should offer superior stabilization on the Z 7 compared to a DSLR (where roll cannot be corrected).

Our initial impressions of VR performance are very positive with the native Z lenses, in both stills and video shooting. We’ll be thoroughly testing this feature as soon as we get hold of a reviewable camera.

Viewfinder

In on and off-record conversations with Nikon over the years, one thing has always been clear – the company did not feel comfortable replacing optical viewfinders with electronic versions until it could guarantee a truly comparable shooting experience.

It’s reassuring, then, that the Z 7 offers one of the best electronic viewfinders we’ve ever seen. A Quad VGA (3.6m-dot) OLED display and 0.8X magnification (compared to 0.75X in the D850) is augmented with a complex optical assembly within the finder (which includes aspherical elements and fluorine coating). The result is a bright, crisp and extremely detailed viewfinder image, even when shooting in low light.

Unlike the other cameras we’ve seen using comparable viewfinder panels, there’s no difference in perceived resolution when in preview and playback modes or during burst shooting and focusing, suggesting the Z 7 is making better use of its display by always displaying the sensor’s full resolution.

Touch-sensitive rear LCD

Like the D850, the Z 7 has a touch-sensitive rear screen, but the Z7 makes much more extensive use of touch control than any Nikon DSLR, with AF point positioning and all menus now touch sensitive. This includes a revised and now customizable version of the camera’s ‘i‘ menu. The touch panel can also be used in playback mode to zoom in, navigate around and scroll between images.

What’s missing, though, is the ability to use the rear screen as a touchpad to position the AF point when the camera’s held to your eye. This might not sound like a big deal, since the Z7 has the same AF point joystick as the D850 but its absence becomes an issue because of the way the Z 7 handles AF tracking.

The screen itself is lower resolution: with 2.1M dots rather than the 2.36M dots of its predecessor, but that doesn’t quite tell the whole story. The Z 7’s screen is 3:2, rather than the taller 4:3 aspect ratio. This allows the camera to be smaller but is also a match for the camera’s sensor. This means the Z 7 ends up giving the same 1024 x 680 pixel resolution for its live view display as the D850, it just overlays the settings on top of the preview, rather than having a stripe of settings taking up the bottom of the screen.

High-speed shooting

The Z7 isn’t being marketed as a sports and action camera, and it can’t compete with the likes of the Sony a9 for pure speed, but at a maximum burst rate of 9fps (12-bit Raw, with AE locked after the first shot) it offers decent high-speed performance.

Drop to 5.5fps and autoexposure will update between frames, and you’ll get a live preview in between shots, but the buffer depth only allows for around 23 compressed 12-bit Raw files. This isn’t terrible, but don’t go selling your D5s quite yet.

4K video

Nikon’s 4K-equipped DSLRs have a small but quite loyal fanbase among enthusiast videographers, but the Z 7 is Nikon’s first really convincing video camera. Full-width 4K video is possible at up to 30p, and in the DX crop mode (roughly equivalent to Super 35mm in filmmaking terms) full-pixel readout should offer optimal 4K quality. The ‘FX’ mode footage is produced by line-skipping, so will have a resolution and noise cost.

Unlike the D850, the Z 7 can offer focus peaking in 4K mode; we’re hopeful that this can be used at the same time as highlight warnings, but we were unable to test this on our pre-production loaner. As well as 4K, HD video capture is also an option, at up to 120fps.

In video mode, the Z 7’s in-body VR system is augmented by electronic VR, to help further smooth out vibration in hand-held footage.

Perhaps the biggest news for committed videographers is the camera’s 10-bit 4:2:2 ‘N-Log’ output over HDMI. This higher bit depth greatly increases the processing flexibility of Log footage and is a feature matched only by Panasonic’s GH5 models. This and the addition of timecode suggests Nikon is taking video pretty seriously.

Connectivity

The Z 7 comes with Nikon’s latest iteration of its SnapBridge suite of wireless features. These include 802.11ac + Bluetooth, and there’s now an option to Wi-Fi transfer images direct to a PC instead of just a smart device. The WT-7 wireless adapter can still be used.

Nikon Z 7: what you need to know about Nikon’s first mirrorless full-frame ILC

The Nikon Z 7 will be available at the end of September, body-only or in a kit with the new 24-70mm F4, for $ 3299 and $ 3999, respectively. As always, let us know what you think in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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What you need to know about Panasonic’s LX100 Mark II

23 Aug

Hands-on with the Panasonic DC-LX100 II

Up until now, the Panasonic LX100 has been one of those cameras for which people have been long awaiting a successor – the Ricoh GR II is another example. While a GR III has yet to arrive, the LX100 II is here.

Panasonic hasn’t messed with success here, keeping the design, lens and trademark multi-aspect feature the same, while improving image quality and usability via a new sensor and touchscreen LCD, respectively.

Here’s a look at what’s changed – and what hasn’t – on Panasonic’s LX100 II enthusiast compact.

17MP from a 20MP Four Thirds sensor

The biggest improvement on the LX100 II is its new Four Thirds sensor, borrowed from the GX9 mirrorless camera. On the GX9 you get an effective resolution of 20.3MP, but on the LX100 II you only ever get to use a cropped region, giving you up to 17MP.

That’s because the LX100 II retains the hallmark feature that traces back to the DMC-LX3: the ability to shoot at multiple aspect ratios without changing the diagonal field of view. Whether you’re at 3:2, 16:9 or 4:3 ratio, the wide end of the lens will always be 24mm equiv. The aspect ratio can be quickly changed using a switch just behind the lens control ring, which makes it more likely that people will use this feature.

While we’re yet to test the LX100 II, you can get a feel for what its sensor can do by viewing the GX9 studio scene. Besides the increased resolution, Panasonic says that the LX100 II’s JPEG color rendering is improved, and based on some samples we’ve seen and our experience with the company’s recent models, that appears to be the case.

24-75mm equiv. F1.7-2.8 lens

Keeping with the ‘why mess with success’ theme, the lens on the LX100 II is the same as on its predecessor, and that’s good news. This is one of the fastest lenses on an enthusiast compact, with a maximum aperture range of F1.7-2.8 through its 24-75mm equiv. focal range. The lens has a total of 11 elements, including two aspherical ED and five ‘regular’ aspherical.

The advantage of having a large sensor and fast lens means that the LX100’s equivalent aperture is consistently 1/2 to 2/3-stop faster than its competitors. The benefits of that are more control over depth-of-field and less need to increase the ISO, since more light is reaching the sensor, helping to keep noise levels lower.

Direct controls

If you want a camera with traditional controls, the LX100 II is it. No more pressing buttons to change the aperture, shutter speed or exposure compensation – as with the original LX100, there are dedicated dials for each of those on the camera. The control ring around the lens can be used for adjusting other things besides focus, including zoom, ISO and white balance.

Panasonic has added more customizable buttons on the LX100 II, with a total of five physical and five on-screen. If you can think of the setting, you can probably assign to one of those buttons.

LCD and EVF

The electronic viewfinder on the LX100 II is the same as the one on the original model. It has an equivalent resolution of 2.76 million dots, which sounds high, but it isn’t really any better than a typical 2.36M-dot EVF, since it uses a field sequential system. Some people find field sequential displays irritating due to color tearing, which creates a ‘rainbow effect’ when you blink or pan the camera. The EVF has an equivalent magnification of 0.70x, which is quite large for an enthusiast compact.

The 3″ LCD has received some notable improvements. First, the resolution has been bumped from 0.92 million to 1.24 million dots. More importantly, it’s now a touchscreen, and Panasonic’s touch features are some of the best. They include touch-to-focus, menu navigation, image review, pinch-to-zoom and Touchpad AF. This last feature lets you use your thumb to adjust the focus point with your eye to the finder. A tab on the side of the screen holds five additional customizable ‘soft’ buttons.

4K video

As you might expect from a Panasonic, the LX100 II offers 4K video capture. This comes in the popular 16:9 UHD aspect ratio and shoots at up to 30 frames per second. A 43mm filter thread on the front of the lens allows the use of screw-on ND filters.

Sadly, the use of the processor from the GX9 means this footage is taken from a native 3840 x 2160 pixel crop of the sensor. This not only narrows the camera’s field-of-view to give a roughly 32-100mm equiv lens range, but also means using a slightly smaller sensor region than the 1″-type sensor found in rivals such as the RX100 V. Video quality, particularly in low light, will be reduced accordingly.

Video is limited to 15 minutes per clip to protect against overheating.

Special effects

The original LX100 has received the latest Photo Styles added on other modern Panasonic cameras. The one that stands out is L.Monochrome D, which is a high contrast black and white mode. If you wish, you can add a film grain effect that is quite convincing, as it uses a pseudo random pattern.

The 4K Photo feature has also been updated with the Auto Marking, Sequence Composition, Post Focus and Focus Stacking features.

For the first two, the camera captures a short video clip which is broken up into 8MP stills. Auto Marking looks for areas with a lot of motion, which it considers the interesting part of the burst. You can jump to those moments quickly using the touchscreen or dials. Sequence Composition lets you select stills from the 4K Photo burst and combine them into a single image, like so.

Post Focus and Focus Stacking work in a slightly different way. The camera again takes a short 4K video, this time scanning the entire focus range. Post Focus lets you pick the area that you want in focus, while Focus Stacking combines frames to bring the entire image into focus.

However, since these modes all come from the camera’s 4K capability, they’re all subject to the same significant crop (and consequent loss in quality).

Performance and Ports

Panasonic has provided the LX100 II with additional buffer memory, allowing it to take up to 33 Raws in a row, compared to 9 shots on the LX100. The burst rate remains the same: 11 fps with AE and AF locked, and 5.5 fps with continuous autofocus.

The LX100 II continues to use Depth from Defocus contrast-detect autofocus, which has proven itself to be responsive and reliable. We’ll see how it perform when we review the camera.

Despite having 4K video capability, the only two ports on the camera are for USB and HDMI. No external mic socket here, much less a headphone socket for monitoring audio.

Bluetooth and Batteries

The LX100 had Wi-Fi and the LX100 II offers Bluetooth as well, for a constant connection between smartphone and camera. The Panasonic Image App has an ‘Easy Remote Control’ which will wake up the camera for you, and it can also take advantage of Bluetooth to automatically transfer photos you’ve taken.

The DMW-BLG10 battery is the same on both the LX100 I/II. Battery life is up by about 10% compared to the original model to 340 shots/charge, which is good for an enthusiast compact.

Included external flash

There’s absolutely no room on the LX100 II for a built-in flash, so Panasonic includes a compact external flash. The flash has a guide number of 10 meters (33 feet) at the camera’s base ISO of 200 but cannot be redirected or bounced. If you want a more powerful or flexible flash, Panasonic has a couple of options available.

Wrap-up

The Panasonic DC-LX100 Mark II’s impressive combination of a large sensor and fast, 24-75mm equiv. lens makes it an appealing enthusiast compact. It’s not pocket-sized like the RX100 V and Canon PowerShot G7 X Mark II, but that’s the trade-off for the sensor and lens.

The LX100 II will be available in October at a price of $ 999. That’s the same price as the Sony RX100 V and $ 100 more than the MSRP of the original LX100, by the way.

Look for a full review of the LX100 II in the not-too-distant future.

Articles: Digital Photography Review (dpreview.com)

 
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4 Less Popular Types of Lighting Every Photographer Should Know

20 Aug

How can you, as a photographer, best use lighting to your advantage? Working with different kinds of light can be a challenge for even the most seasoned photographers. This often leads to a common suggestion: “Point your shadow at the subject.” Yet certain underutilized less popular types of lighting can actually enhance your photographs.

macro photography bokeh flower dahlia - Types of Lighting

In this article, you’ll get tips for working with four different types of natural lighting, including shade, overcast light, and strong backlighting. Hopefully, you’ll come away with the know-how and inspiration to start using more creative lighting in your own photographs.

macro photography bokeh flower tulip - Types of Lighting

1. Shade plus front light

By “shade plus front light” I’m referring to the lighting situation when the sun is behind you (and coming over your shoulder), but the subject is shaded. That is, the sun would normally front light the subject, but it is blocked by an object.

macro photography bokeh flower trout lily - Types of Lighting

I shaded this trout lily with my body, resulting in a shaded subject and a well-lit background.

Many photographers like to ignore shaded subjects. However, I love this lighting situation for a few reasons.

The first is that it is easier to expose for a shaded subject. You don’t have to deal with intense highlights and shadows. Instead, you can rest easy knowing that the range of lights and darks in your image will be rendered properly by your camera’s sensor.

purple flower - Types of Lighting

Another shaded but front lit situation. Notice the brighter background here.

The second is that this lighting scenario offers up wonderful backgrounds. This is an especially powerful technique when shooting during the “golden hours”, the time just after sunrise and just before sunset.

If you can position the subject so that the sun falls behind it, you can take images with rich, warm background colors. The key is to expose for the main subject (i.e., meter off it), and let the background remain bright. Use a wide aperture to ensure that the background is thrown out of focus.

macro photography bokeh flower cosmos - Types of Lighting

Shading this cosmos flower allowed me to produce a more subtle looking subject with a beautiful background.

Shaded subjects can make for great photographs if you know how to use them!

2. Shade plus backlight

To continue with the “shade” theme, let’s discuss another underutilized type of light: shade and backlight.

By this, I am referring to a situation with a shaded subject where the sun is positioned behind that subject so that you are pointed toward the sun. In this situation, you cannot do the shading yourself. Instead, you have to rely on environmental features to block the light.

macro photography bokeh flower - Types of Lighting

This flower was shaded by some nearby grasses. I was able to get these background highlights by including the edge of the sun in the frame.

What does this type of lighting offer you? Similar to a shaded and front lit subject, a shaded but backlit subject is easier to expose.

If you’re struggling to photograph a brightly colored flower, for instance, it might be beneficial to find a similar specimen in a shaded area. This will help prevent you from blowing out the highlights on the flower’s petals.

macro photography bokeh flower aster - Types of Lighting

Another compelling reason to use this particular type of lighting is that it can create beautiful bokeh. I’m not really talking about bokeh in the sense of that smooth, creamy look that we photographers love (for that, go back to shade plus front light).

Rather, I’m referring to those beautiful geometric shapes that occasionally appear in the background of photographs.

macro photography bokeh flower tulip - Types of Lighting

Notice the slight highlights in the background, created by the shade-sun combination.

How do you do this?

In a backlit environment, the light is often filtered through the surrounding greenery. These are often leaves, but also grasses, shrubs, branches, tree trunks, etc. The rays of the sun are broken up into small points of light, which are then rendered in that geometric fashion when incorporated into your images.

This is a beautiful effect that can add an extra punch to your photographs.

3. Overcast lighting

This type of lighting is more commonly used than the two mentioned above, but overcast light (i.e., light on cloudy days) deserves a mention.

macro photography bokeh flower aster - Types of Lighting

I photographed these flowers on a cloudy afternoon.

You might think that the camera should stay inside on overcast days. After all, the subjects aren’t very well lit, and everything seems a bit gloomy and bland.

Actually, overcast days are fantastic for photography. Especially if you go out toward the middle of the day when the sun is high in the sky (and blocked by clouds), you’ll find wonderfully diffused lighting.

The clouds act as a giant softbox, subtly lighting the entire landscape. This results in colors that are deeply saturated. Macro photographers such as myself love overcast lighting because our flower photographs become much more colorful.

macro photography bokeh flower tulip - Types of Lighting

Another advantage to shooting on overcast days is similar to that of shaded lighting in that the subjects are easier to expose well. There is no bright sunlight to create harsh shadows and unpleasant highlights.

Therefore, overcast days can be a great choice for photographing brightly colored subjects.

4. Direct backlighting

Direct backlighting refers to situations where the sun is directly behind the subject (and therefore directly in front of the photographer).

macro photography bokeh flower tulip - Types of Lighting

The sun is just out of the frame here, above the tulip.

This type of lighting is difficult to work with. Photographers often come away with unwanted flare and a drastically underexposed subject. However, using backlighting is simpler than you might think. Just remember a few key guidelines.

The first thing to note is that I don’t like to use direct backlighting unless the sun is low in the sky. Otherwise, instead of achieving a charming, warm look, you’ll find yourself with a harsh, contrasty image. Sunrise and sunset are your windows, so you’ll need to work quickly and efficiently.

Second, don’t put the sun in the image itself. This will result in a nearly impossible lighting situation. Instead, block the sun with your subject. Move around a bit. Get down low. If you do decide to include the sun in the image, put it at the very edge of the frame (as I did in one of the photos above).

macro photography bokeh flower bleeding heart - Types of Lighting

Backlighting (the sun was in the background on the right-hand side) produced some really interesting bokeh in this bleeding heart photograph.

Third, make sure that your subject stands out against the background. I often try to compose with the subject against the sky.

Fourth, expose for your main subject. Don’t worry about the bright background. Then, once you’ve settled on an accurate exposure for the subject itself, feel free to raise or lower the exposure. Lower it for a slightly darker, more dramatic look (and if you lower it a significant amount, you’ll end up shooting a silhouette). Raise it for a slightly brighter, in-your-face type image.

While there are certainly variations in backlighting conditions, these four guidelines will get you well on your way to shooting some creative backlit images.

Conclusion

While it can be difficult to think outside the box and take risks when it comes to lighting, the rewards can be great.

Try using some of the lighting scenarios discussed above: shade and front light or backlight, overcast light, or even direct backlighting.

Your images will become far more diverse and a lot more impressive!

macro photography bokeh flower aster - Types of Lighting

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Five things to know about the Samsung Galaxy Note 9’s camera

10 Aug

Five things to know about the Samsung Galaxy Note 9’s camera

The Samsung Galaxy Note 9 made its debut today at a high-profile launch event in New York. While we knew not to expect any new camera hardware thanks to numerous leaks, we still found a few interesting new features under the hood.

It has a two stabilized cameras, one of which is dual aperture

First: the hardware. The Note 9 seems to be basically using the S9+’s camera (flipped sideways of course) and that’s not a bad thing. Both lenses are stabilized (a tradition the Note 8 started) and are coupled to a 12MP sensor. The wide-angle camera carries over the F1.5/2.4 dual aperture feature Samsung introduced in the S9+, which isn’t terribly useful in real-world shooting. Based on our experience with the S9+, we expect very nice image quality from the wide-angle camera, and slightly disappointing results from the telephoto side.

It tells you when you took a bad photo

While there’s no new hardware to speak of, the Note 9 camera boasts some new AI. A feature called ‘Flaw detection’ can be toggled on and off in the camera settings menu, and presents the user with an on-screen indication when it detects a photo is too blurry, backlit or a subject is blinking. In our quick test the feature worked as advertised, and the notification isn’t too obtrusive.

It will optimize image settings based on scene detection

Another intelligent feature is Auto Scene Optimization, shortened to just ‘Scene optimizer’ on the menu screen pictured above. Samsung says this mode identifies subject matter and sorts the photo into one of 20 categories automatically. Saturation, white balance, brightness and contrast are adjusted accordingly.

It can automatically correct distorted faces

Here’s one we found in the camera settings menu: automatic distortion correction for faces. We don’t know anything more about it other than the feature can be toggled on and off in the camera settings menu. If the results look natural it could be a nice feature, especially when using the camera’s wide-angle lens with subjects positioned toward the edge of the frame – speaking from personal experience, you can take a really unflattering selfie that way.

It comes with a remote trigger

Now that the S-Pen supports Bluetooth Low Energy it can double as a remote shutter trigger. A single button press will take a photo, and a double button press will switch between cameras. The pen now needs a battery, of course, but Samsung says it charges in under a minute in the phone.

Articles: Digital Photography Review (dpreview.com)

 
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You probably don’t know what ISO means – and that’s a problem

06 Aug

Whatever camera or phone you have, it’ll report the ISO value it used to take its photos. Despite its ubiquity, ‘ISO’ probably doesn’t mean what you think it does. Worse still, it may be holding your camera back, both in terms of the images it takes and in the tools it provides you. This means it’s potentially holding your photography back, too. Part of the problem stems from the fact that ISO sounds like something you were already familiar with.

At first glance, ISO settings look just like the sensitivity ratings used for film (to the extent that there are some people who still refer to ASA: the US standard incorporated into the ISO standard for film). But ISO in digital isn’t the same as film. it’s essentially a metaphor for the way film sensitivity worked, if you got it processed in a minilab machine. This is a problem.

It causes confusion

The apparent familiarity and simplicity of ISO setting leads to a number of common misunderstandings. Despite what you may have heard or read, changing the ISO of your camera does not change its sensitivity.

ISO changes the lightness of the final image but it doesn’t change the fundamental sensitivity of your sensor. Nor is it an indicator of amplification being applied: although many cameras do increase their amplification as you increase the ISO setting, this isn’t always the case.

“Why can’t I use ISO 100 in Log mode?” The answer is that a log gamma curve is so flat that it requires very little light to achieve middle grey, which means it’s considered a high ISO. Strictly speaking, though, you can’t really calculate an ISO value for log at all, since the standard is based on a different colorspace and gamma. It’s a similar story for Raw.

This may sound like semantic nit-picking, but it causes a lot of misunderstandings. It’s widely thought that the additional noise in high ISO image comes from the ‘background hum’ of the sensor’s amplifiers. This feels right: we’ve all heard more hum if we turn up the volume on an audio amplifier. Unfortunately it’s simply not true: most noise actually comes from the light you’re capturing, so it primarily depends on your shutter speed and aperture*.

The ISO standard doesn’t specify that amplification needs to be used, nor does it specify what happens in the Raw file

The ISO standard doesn’t specify that amplification needs to be used, nor does it specify what happens in the Raw file. All it does is relate initial exposure to output JPEG lightness, however that is achieved. The only sure difference at the Raw level from an increase in ISO is that the change in ISO setting almost certainly led to less exposure, which means less light and therefore more noise for each tone from the scene.

There’s an ISO standard that’s slightly more pertinent to Raw files, which looks at when the sensor becomes completely saturated, but this doesn’t correspond to the standard used by your camera. So next time you see a graph comparing ‘Manufacturer’ and ‘Measured’ ISO, what you’re actually looking at is the ‘JPEG ISO’ vs ‘Saturation ISO.’ Any differences between the two mainly tell you how many stops above middle grey the manufacturer’s JPEG tone curve is designed to deliver.

It encourages poor exposure

As well as giving a false sense of simplicity, ISO’s increasingly tenuous attempt to mimic film ratings can mean making poor use of sensor response.

Film (particularly negative film) has a very distinctive response curve that gives lots of latitude for recovering highlights. Digital is very different: it offers a much more linear response but with a hard, unrecoverable clipping point in the highlights. And no, your favorite software doesn’t really recover completely clipped highlights from your Raw file**.

This graph shows the signal-to-noise ratio (essentially the noisiness) at different brightness levels of film and digital. The film response peaks and then gradually declines, with plenty of scope for recovering highlights from the right-hand side of the curve. The digital response rises to much higher levels than the film, then cuts-off abruptly. So why would you expose these two media in the same way?

Illustration based on DxO’s analysis

And yet, despite these differences, the digital ISO standard is based around ‘correctly’ exposing JPEG midtones***. A 2006 update to the standard gave manufacturers some flexibility in terms of how many stops of highlights they wanted in their JPEGs above middle grey****, but it still encourages exposure based on midtones, with a pre-set number of stops above this for highlights.

That’s not the best way to expose digital. The best results are achieved by giving as much exposure as possible without clipping the brightest tones you care about: a process called ‘exposing to the right.’ This maximizes the amount of light, and hence signal which, in turn, optimizes the signal-to-noise ratio (essentially ‘noisiness’).

And yet, by worrying about the JPEG middle grey, cameras end up giving every image the same number of stops for highlights, even though this is wasted in low DR scenes (that highlight space isn’t used and exposure is lower than optimal) or insufficient in high DR situations: the lovely colors of the sunset you’re shooting are lost, unrecoverably, to clipping.

ISO200 (DR 100)

ISO 400 (DR 200)

ISO400 (DR 100)
Fujifilm’s DR modes essentially give you a choice of amplification and tone curve combinations that include different amounts of highlight information. These end up being rated as different ISO settings.

The ISO 200 / DR 100 example on the left has the least noise. The ISO 400 / DR 200 image has a shorter exposure, bringing more noise, despite having the same amount of amplification as the ISO 200 image. This low level of amplification means it has retained more highlight information than the ISO 400 / DR 100 image on the right, which used the same exposure but more amplification.

This problem isn’t easily solved: there are times that exposing-to-the-right will result in noisier midtones than you want. In these situations, you have to let the highlights go. However, fixating on JPEG midtones isn’t helpful.

It warps camera development

This brings us to the biggest problem with using a clumsy metaphor for film sensitivity as the way of setting image brightness in digital: it means we aren’t given the tools to optimally expose our sensors.

ISO ends up conflating the effects of amplification and of tone curve, meaning you have to do your own research to find out what your camera’s doing behind the scenes, and what the best way to expose it is.

We aren’t given the most basic tools: Raw histograms or Raw clipping warnings that would help optimize exposure

The preview image your camera gives, the histograms it draws and the exposure meters and guides it offers are all based on JPEG output and their midtones, because ISO says that’s what matters. This means we aren’t given the most basic tools we need: Raw histograms or Raw clipping warnings that would help optimize exposure. It means no development has been done to create more sophisticated tools that would help you judge the quality implications of exposing to the right, and when to let the highlights go.

In short, ISO is an increasingly shaky metaphor that promotes misunderstanding, obscures what your camera is doing and robs us of the tools we need to get the most out of our cameras. Isn’t it time for something better?

Thanks to Bobn2 for feedback and fact-checking

* This misunderstanding possibly stems from another misunderstanding. The hum you hear when you turn up the volume on an audio amplifier isn’t caused by the amplifier itself, it’s the hum of the mains electricity, made audible. [Return to text]

** Highlight recovery sliders usually rely on only one of the color channels having truly clipped, and try to guess the value of the clipped channels, based on the remaining, unclipped one, so tend to be limited in their effectiveness. [Return to text]

*** We put the word “correctly” in inverted commas because the more you think about it, the harder it becomes to pin down what ‘correct’ exposure might be. If you’re certain that you know what ‘correct’ exposure means, then you should probably check through the assumptions that underpin it. [Return to text]

**** This change is why the JPEG ISO ratings used by manufacturers don’t need to coincide with clipping-based Raw ISO numbers. We’ve previously written an article about how it works. [Return to text]

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Coolpix P1000: what you need to know

11 Jul

Nikon Coolpix P1000: what you need to know

Nikon’s new Coolpix P1000 boasts an extraordinary zoom range and a suite of powerful stills and video features in a (relatively) compact body. We loved the original P900 for its sharp lens and effective stabilization, but its unimpressive EVF and lack of Raw capture mode made it less fun to use than it could have been.

The P1000 addresses both issues and greatly expands the zoom range, which now caps out at 3000mm (equivalent). Take a look through this slideshow for a detailed overview of this powerful compact’s key features.

All images supplied by Nikon and used with permission.

125X optical zoom (24-3000mm equivalent)

The headline feature of the P1000 is undoubtedly its zoom lens, which covers an astonishing (but no longer incredible) range of 24-3000mm (equiv). That’s wide enough to capture landscapes or interiors at the wide end, and closeup shots of the moon at the telephoto setting.

Notice we said closeups of the moon. The shot above (supplied by Nikon) was taken at ~2600mm (equiv) and as you can see, the moon almost fills the frame, even before the zoom is racked in to its maximum extent. Just to really hammer the point home, Nikon has even included a dedicated ‘moon mode’ on the main exposure mode dial.

125X optical zoom (24-3000mm equivalent)

Optical construction of this complex zoom is composed of 17 elements in 12 groups (including five ED lens elements and one super ED lens element) but there are tradeoffs. A decidedly slow maximum aperture of F8 at the long end is the most obvious one, and we’d also expect diffraction to take a significant bite out of sharpness towards the long end of the zoom (alongside heat haze and the effects of atmospheric pollutants when shooting distant objects).

Still though – the moon. That’s pretty cool.

The lens can be zoomed with a conventional W-T rocker switch surrounding the shutter release, or with a video camera-style switch on the lens housing itself (not visible in this image). This shot shots off the P1000’s generously-sized grip – a near-necessity for a camera with such a long zoom. At full extension, the P1000’s lens almost doubles the total length of the camera.

1cm macro focus

As well as the ability to shoot celestial bodies, the P1000 offers a 1cm minimum focus distance for macro shots. Such a short minimum distance is of limited use in most situations (the shadow of the lens becomes an issue at very close distances) but such a close focusing range should open up some fun creative possibilities for closeups.

Dual Detect Optical VR

You can’t really have a 24-3000mm equivalent zoom without stabilization, and the P1000 boasts a claimed 5 stops of stabilization thanks to its Dual Detect Optical VR (Vibration Reduction) system, inherited from the P900. Dual Detect Optical VR uses accelerometers and corrective elements in the lens and analyzes the scene recorded by the camera’s sensor to reduce the effect of camera shake.

16-megapixel BSI-CMOS 1/2.3″ sensor

Like the P900, the Coolpix P1000 uses a small, 1/2.3″-type BSI-CMOS sensor. We don’t expect miracles from sensors this small (1/2.3″ used to be the standard format for pocket and travel-zoom compact cameras) but image quality from the P900 wasn’t bad, and aside from the possibly issues caused by an even longer lens, we’d expect the P1000 to be capable of delivering decent images in favorable conditions.

The addition of Raw mode (using the .NRW format) to the P1000 is very welcome, but it remains to be seen just how much extra resolution it’s possible to eke out of the camera’s Raw files. It’s likely that all of that glass – especially diffraction and haze-related issues at the long end of the zoom – will place a hard limit on absolute sharpness.

4K UHD video

The P1000 can shoot video as well as stills, at a maximum resolution of 4K UHD (3840 x 2160 pixels) at 30p. A stereo microphone is built in, and there’s a socket for an accessory mic if you need better sound.

Video can be recorded in clips up to 4GB in size or 29 minutes in length – whichever comes first. If a clip exceeds 4GB, another will be created, allowing uninterrupted filming (up to a total of 29 minutes), though Nikon warns there’s a possibility the camera may overheat before that 29 minute limit is reached.

EVF and LCD

The Nikon Coolpix P1000 is a DSLR-style compact, of the kind that we used to call ‘bridge cameras’ (since they represented a ‘bridge’ between conventional compact cameras and SLRs). As such, it features a 2.3 million-dot OLED electronic viewfinder in addition to a rear-mounted, 3.2″ 921k-dot LCD.

The EVF is a significant upgrade compared to the 921k-dot viewfinder of the older P900, but the P1000’s rear screen is unchanged compared to its predecessor. It’s fully articulated, which should prove very handy for all those macro and astro shots you’ll be taking, but it is not touch-sensitive. Also visible in this shot is the P1000’s conventional cluster of rear controls, and the shoulder-mounted rear control dial.

Size, weight and battery life

Despite its tiny sensor, the Coolpix P1000 is a big camera, even alongside its predecessor (shown here on the right). Weighing in at 1,415g (3 lb, 2 oz) it’s pretty weighty, too, tipping the scales at about nearly half a kilo (~one pound) heavier than the older P900 (and around $ 400 pricier at launch). That’s reassuring in a way (clearly there’s a lot of expensive and heavy glass inside that massive lens!) but it could make the P1000 a less enjoyable travel companion unless you really need its extraordinary zoom range.

A CIPA rating of 250 shots per charge is about what we’d expect from a camera of this type, and USB charging is always a welcome feature.

We’re looking forward to getting hold of a reviewable P1000 in the coming weeks, and in the meantime we’d be interested in hearing your thoughts – let us know what you think in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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