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Posts Tagged ‘More’

Yongnuo shares more details about its upcoming YN450 Android-powered mirrorless camera

07 Mar

Last October, Yongnuo teased the impending launch of a 16-megapixel Android-based mirrorless camera it called the YN450. Since then, not much has been heard about the device, but Yongnuo made an appearance at CP+ and brought along the unreleased device to show off in more detail.

In the video above, Cinema5D takes a closer look at the unreleased device to see just what Yongnuo has managed to pack inside the YN450 and what their goal is with the unique device.

The camera uses a 4/3 sensor and relies on a Canon EF mount for lenses. It’s powered by Android 7.1, features an 8-core Qualcomm processor and includes a 5-inch 1080p multi-touch display. The secret weapon, however, is an integrated 4G SIM card slot that will ensure the camera is as connected as a smartphone would be, with Wi-Fi and GPS to boot.

Based on the current information available, the camera will have 32GB of internal memory as well as a MicroSD card slot. However, Cinema5D believes that slot could be limited to 32GB cards and won’t support SDXC cards.

In addition to 16MP stills, the camera will shoot 4K/30p video, but details on the codec and other information are still unannounced. There’s also a front-facing 8MP camera that’s hidden next to the display. The device will feature a removable 4,00 may battery that’s said to power the camera for up to 4 hours of continuous use.


Photos by Cinema5D shared with permission

Articles: Digital Photography Review (dpreview.com)

 
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Dubble Film teams with film producer Revelog, renames products, tweaks price, and more

07 Mar

Film company Dubble Film has ended its partnership with KONO!, the German pre-exposed film producer, and instead teamed up with Revelog, the company has announced. Under the new partnership, Dubble Film has changed some of its product names, increased the number of exposures per film roll, lowered the cost per photo, and more.

Going forward, Dubble Film will sell its Moonstruck film under the new name Apollo, Monsoon under the name Pacific and Sunstroke under the name Solar. The company’s Jelly and Bubblegum film names remain unchanged, however. The new product names decrease confusion between the ‘Monsoon’ and ‘Moonstruck’ options and eliminate the negative association that comes with ‘Sunstroke.’

Below are a few sample images from Dubble Film’s various film stocks:

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Additionally, each film roll now features 36 exposures instead of 24, and though prices have increased, the overall cost-per-photo is lower than before. The new 36-exposure rolls are priced at £12 / $ 15.35 per roll compared to the previous £10.50 / $ 13.87, which works out to a per-photo price of £0.33 / $ 0.43 versus the previous approx. £0.42 / $ 0.55 cost.

According to Dubble Film founder Adam Scott, via Kosmo Foto, the new film products have better tint under the Revelog partnership. The previous Dubble Film from KONO! inventory is currently being sold at a discounted £8 / $ 10.53 rate by Analogue Wonderland.

Articles: Digital Photography Review (dpreview.com)

 
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The Ricoh Theta Z1 is a $1K 360 camera with Raw capture, improved optics and more

25 Feb

Ricoh Imaging has announced the launch of the Theta Z1, its latest flagship model of its 360-degree camera system. The Ricoh Theta Z1 can capture 23MP (6720 x 3360 pixels) still images and 4K/30p (3840×1920 pixels) 360-degree video on its two 1″-type backside-illuminated CMOS sensor with a maximum sensitivity of ISO 6400.

Behind the sensor is a new image processing algorithm and improved image capture support. Specifically, Ricoh has added a new HDR Rendering mode, Interval Composite mode for recording star trails, and a multi-bracket mode for capturing the same scene with different settings. In addition to JPEG still image support, the Theta Z1 now supports Adobe DNG Raw capture for more post-processing flexibility.

To compliment the 4K/30p video capture, Ricoh has added a 4-channel microphone that supports 360-degree spatial audio recording. The lens itself has also been updated to reduce ghosting, flaring and purple fringing. An improved aperture mechanism makes it possible to choose between F2.1, F3.5 and F5.6. The Theta Z1 also features 3-axis stabilization to keep stills and video smooth.

The Ricoh Theta Z1 (the black camera) compared to Ricoh’s other 360-degree cameras. Note the much larger lens size and OLED screen.

The camera itself features a familiar two-lens design with a single button on the front of the device and three additional buttons on the side: one for power, one for Wi-Fi pairing and one for selecting the camera mode. A 0.93-inch OLED screen is used to show various settings and navigate through the shooting modes.

Ricoh has also added additional plug-in support thanks to the AndroidTM-based system, including a new ‘Time-Shift Shooting’ plug-in that makes it possible to remove the person capturing the image from the frame. As with past Theta devices, the Theta Z1 can post media directly to various social media platforms including Facebook, Twitter, Tumblr, YouTube and even Google Maps.

The Ricoh Theta Z1 is listed on Ricoh’s online shop for $ 999.95, but the ‘pre-order’ button only takes you to a sign-up page where Ricoh says you will be notified via email when the Theta Z1 becomes available for purchase.

Press release:

RICOH THETA Z1 — a camera that can shoot 360-degree spherical images in a single shot

Achieving 360-degree still image photo shooting in high-quality 23MP resolution

TOKYO, February 25, 2019 ?RICOH Imaging Americas Corporation announced today the launch of the RICOH THETA Z1, the latest model from the family of cutting-edge 360-degree cameras. The RICOH THETA Z1 supports approximately 23-megapixels resolution (6720 x 3360 pixels) 360-degree still image photo shooting as a high-end model of the RICOH THETA camera series, which can shoot spherical images in a single shot, giving consumers the opportunity to adventure, discover and capture life in 360.

Since RICOH launched the world’s first 360-degree consumer camera*1 in 2013, the company has stayed at the forefront of this emerging technology as it continues to evolve, and become an integral tool for the burgeoning industries of virtual reality (VR), social media, business, real estate + more. Exceptional imaging and sleek design come together to deliver unique, expected visuals; a seamless integration into any element of everyday life – business or pleasure.

The RICOH THETA Z1 is the flagship model of this series, with RICOH deploying exceptional optical and image processing technologies, cultivated through years of high-performance camera development, to pursue its highest resolution and quality to date. The compact main body is equipped with a 1.0-inch back-illuminated CMOS image sensor, enabling approx. 23MP resolution 360-degree still images. It supports a diverse range of shooting modes, such as aperture priority, allowing users to take high-quality images regardless of the setting: outdoors, nighttime, indoors, tropical beaches or snowy mountain views – nothing is off limits. Moreover, it is possible to shoot considerably smooth and immersive 360-degree videos in 4K (3840×1920 pixels) and 30 frames per second (fps) thanks to powerful 3-axis rotational stabilization to compensate for rotational shake.

The main body of the camera, with a 0.93-inch organic EL monitor and a Function (Fn) button, grants users access to a multitude of information at a glance, including number of possible shots, exposure settings, and more, thus greatly improving the operability of the camera itself. In addition to JPEG, RICOH THETA Z1 now supports Adobe® DNG format (RAW) so that users can enjoy professional image editing as with a general digital SLR camera. Basic performance improvements are most evident in the AndroidTM-based system, which now offers flexibility in number of expansions one can add to the Z1 through the installation of additional plug-ins. The overall functionality of the latest model from RICOH not only meets the high demands of serious photographers, offers an optimal performance for professionals and amateurs alike.

Opportunities to use 360 images in innovative ways are increasing at a rapid pace. RICOH THETA is heavily utilized in business use cases around the world. Advanced services leveraging RICOH THETA V in real estate and construction are offered by Ricoh Tours, Zillow 3D Home, Matterport Capture, and HoloBuilder JobWalk, and future integrations with these partners services and the new RICOH THETA Z1 are planned.

RICOH’S THETA Z1 will be available to preview up ahead of its official release at the RICOH Imaging booth during CP+ 2019, the world’s premier show for Camera and Photo Imaging held at PACIFICO Yokohama this February 28, 2019.

*1 As a mass-produced consumer product capable of capturing the scene around, above and below the device in a fully spherical image (as of October, 2013, based on RICOH research).

Articles: Digital Photography Review (dpreview.com)

 
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Open source image editing program digiKam now has video support, new export tools and more

22 Feb

digiKam is an open-source photo management application that runs on Linux, Windows, and MacOS platforms and comes with tools for importing, managing, editing, and sharing photos and raw files.

Now version 6.0.0 of digiKam has been released after a 2-year development phase and comes with a heap of new features and improvements.

The biggest news is that the software can now also handle video files, offering many of the importing, sharing and editing functions that are also available for still image. Videos can also be played back without the need for an external player.

In addition import/export web-service tools are now available across all modules in digiKam – LightTable, Image editor and Showfoto. The same is true for other tools, such as metadata and geolocation editors, allowing for a more seamless user experience.

There are also new tools to export your images directly to Pinterest as well as the Microsoft OneDrive and Box cloud storage services, and the Raw engine has been updated to process images from a long list of new cameras and smartphone.

In addition to the new features the digiKam team says it has been able to clean the applications code in order to simplify application compilation, packaging and maintenance for the future.

For a full list of new features and supported cameras, download links and more detail about the work that has gone into the update, head over to the digiKam website.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma has done more for enthusiast APS-C than Nikon, Canon and Sony combined

16 Feb
There’s no reason APS-C can’t be a good enthusiast format, with the right lenses.

Full-frame is being touted as the future of enthusiast as well as professional photography. But I’d argue that APS-C is still a highly capable format and one that makes sense for a lot of people. That could be true for an even broader group if it was properly supported as an enthusiast format. And, I’d contest, one company has consistently done more to support the big brand’s users than the camera makers themselves.

The past few years have seen a wave of full-frame launches and, from the original EOS 5D through to the Sony a7 series and EOS RP, the falling prices of full-frame cameras have made them accessible to an ever-wider number of people. This focus on relatively profitable models (and lenses) is only likely to continue as the camera market contracts back to catering for a core of dedicated photographers, rather than trying to sell to everyone. But what does this mean for APS-C?

While all the buzz is around full-frame, the industry still sells more APS-C cameras and there are many, many times more of the smaller-chipped cameras in circulation than there are full-framers. Should these countless millions of cameras be seen as a temporary aberration, now being corrected, or can APS-C still be a good fit for enthusiasts?

The aberrant puny stepchild camera

Sony’s new a6400 camera has an APS-C sensor and some of the best autofocus performance around. It’s also got a decent lens on it in this photo, but it’s a lens that costs just as much as the camera itself.

There’s an argument that APS-C is simply a quirk of history: that camera makers only embraced it because it was the largest format they could manufacture affordably enough to actually sell, and that they were always going to revert to ‘full-frame’ as soon as it became cost-effective. But, while much of this is true, it that doesn’t mean that APS-C is too small or can only be a stop-gap. After all, there’s nothing intrinsically optimal about full-frame*.

After all, there’s nothing intrinsically optimal about full frame

You could equally make the opposite argument: that full-frame is an arbitrary reference point for comparisons that remained in the imagination because of the popularity of the film format it’s based on, not any inherent ‘rightness’ of it. But, I’d argue, it’s also because the SLR makers didn’t want to give up on all the money they’d invested in designing extensive lineups of lenses for film, so never really committed to APS-C as a serious format.

Serious support?

Way back, photographers could get a Nikon 17-55mm F2.8 ‘pro’ lens for APS-C cameras like the D80. Today, users can get the same lens or newer and more ambitious offerings from Sigma. (And the 35mm F1.8 DX seen here is one of only four DX primes Nikon has ever released.)

To make the most of any format, you need bright lenses. And that will mean different things to different photographers. I’m going to argue that what you really need is a choice of bright primes and F2.8 (or faster) zooms if you’re going to make a format useful to a range of enthusiasts.

Look across the ranges of Nikon and Canon and you’ll see a smattering of APS-C-specific lenses: a pro-grade 17-55 F2.8, a wide-angle zoom with a moderate maximum aperture and perhaps a macro or two. That’s often the extent of the support for enthusiasts. Sure there’ll be countless kit-zooms, maybe a mid-market 18-one-hundred-and-something and an 18-200mm for the all-in-one crowd. But look for a decent prime and chances are your options are limited to full-frame lenses.

To make the most of APS-C you really need
a choice of bright primes and
F2.8 (or faster) zooms

Want an 85-90mm equiv portrait lens? Shush! Buy a 50mm and learn not to frame so tight, or accept that you’ll have to use something longer, buy an 85mm and SPEAK UP A BIT so your subject can here you. Looking for a 24mm equiv prime (hardly the most exotic request)? Well, sorry about that.

And it’s this lack of lens support, rather than any shortcoming of the format that I’d argue has always undermined it. Which is odd, as Nikon has, with the D300/D500 and D7000 series cameras, made some very nice enthusiast models. Likewise Canon with its EOS X0D models. But the net effect is the implication that full-frame is the ideal end-point and that APS-C isn’t suitable for enthusiasts: it’s purely a stepping-stone.

S for sufficient?

What’s that? An 85mm F1.8 equivalent prime? Fujifilm’s lens lineup lets you get ‘full-frame image quality’ when you need it, without having to lug full frame lenses round all the time.

But APS-C can be a highly capable format. Like Micro Four Thirds, it can be small and affordable when you want it to be, but you can extend its capability considerably if you add a bright lens where you need it. Image sensors have improved to an amazing extent over the lifespan of APS-C, with technology improving to push both low light performance and dynamic range to new limits. And, while full-frame chips have gotten better by a similar amount, there’s no reason to think that people’s needs and expectations have become more demanding at the same rate.

APS-C can be a highly capable format. Like Micro Four Thirds, it can be small and affordable when you want it to be, but you can extend its capability considerably if you add a bright lens where you need it

If APS-C has exceeded ‘good enough’ for a lot of applications, then what does it matter that full-frame has gotten even better? (I’ll concede that reviews can contribute to this: we can show which camera is better, but can’t tell you whether you, personally, need that improvement). Finally, it’s worth nothing that in the era of mirrorless, there’s no direct connection between sensor size and viewfinder size/brightness, so there are fewer downsides than ever to APS-C.

Sigma to the rescue

Lenses like the Sigma 56mm F1.4 give you great low light performance and subject separation on crop-sensor cameras like Sony’s a6500.
ISO 1000 | 1/100 sec | F1.4

But in the end, you just need lens support. And I’d argue that Sigma has done more to support APS-C as an enthusiast format than the big camera makers have. Fujifilm should get some recognition: having picked APS-C as its enthusiast format, it’s built the most comprehensive lineup there’s ever been (and perhaps Canon’s 32mm F1.4 for EF-M is the beginning of something interesting for that system) but Sigma deserves credit not just for its commitment but also for its innovation.

Fujifilm has built the most comprehensive APS-C lineup there’s ever been

As a third-party lens maker, Sigma offered some affordable alternatives to the camera makers’ own, such as its 17-50mm F2.8, but it also branched-out to offer lenses that neither of the big two made. Its 50-150mm F2.8 remains one of my favorite lenses of the period: it offered the coverage of a 70-200mm had on film, but was smaller, lighter and cheaper, giving it a real advantage over an actual 70-200. (Pentax also deserves credit for its 50-135mm F2.8, part of the most complete own-brand APS-C lens lineups for DSLR).

But in recent years, Sigma’s commitment to APS-C has been redoubled: creating lenses that extend what you can expect the format to do. The 18-35mm F1.8 is a lens that lets APS-C cameras match the depth-of-field and low-light performance of a full-frame camera with a 27-52mm F2.8 zoom, obviating the need to upgrade, perhaps. On top of this, it’s made a 50-100mm F1.8, letting APS-C match a full-framer with a 75-150mm F2.8. Again, this lets an enthusiast who likes to dabble in sports gain ‘full-frame image quality’ for their sports shooting, without having to bear the weight and cost of full-frame when they’re shooting other subjects.

And onward

Sigma’s 16mm F1.4 is a fantastic lens for Sony E-Mount (and, of course, Micro Four Thirds)

Sigma’s continued this trend into the mirrorless space. Sony started its E-mount system with a 16mm F2.8 prime: exactly the sort of lens I was saying was always missing from the DSLR lineups (even if that particular lens is a case of ‘be careful what you wish for’). It’s produced a couple of interesting primes since then but now seems to have totally shifted its attention to full-frame. This again risking the door being closed on APS-C as an enthusiast format. But, again, Sigma has stepped in.

Not only has Sigma made a F1.4 16mm for Sony’s APS-C E-mount, it’s also created a 30mm and a 56mm F1.4. It hasn’t made any fast zooms for mirrorless, but this trio of primes again allows APS-C shooters to squeeze the most out IQ of their cameras, if they don’t need full-frame performance all the time. Something worth considering if you’re thinking about switching systems.

Another thing to consider might be that the standout lenses for the fledgling full-frame mirrorless cameras are often the 24-105mm and 24-70mm F4s: lenses that could be matched in capability by a 16-70mm F2.8 on APS-C. If anyone feels like making one. Hint, hint.


*Anyone saying it allows an ideal compromise between image quality and lens/camera size clearly hasn’t been keeping track of the increasing bulk of the lenses for the latest mirrorless full-frame cameras.

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Pocket Cinema Camera 4K update adds pixel remapping, better battery life, more

06 Feb

Blackmagic Design has released Blackmagic Cameras 6.1, the latest firmware for its Pocket Cinema Camera 4K camera. The update includes better audio recording, improved battery performance, a new pixel remapping feature and other updates.

On the audio front, Blackmagic has implemented a new audio processor that ‘analyzes incoming audio from the dual microphones on each side of the camera to dramatically lower the noise floor, resulting in quieter recordings than possible before.’ Audio latency has also been reduced for more accurate syncing with video footage and improved real-time monitoring.

Screenshot of the menu area dedicated to the new pixel remapping feature.

A new in-camera calibration tool has also been added that lets users recalibrate pixels in the camera to fix brightness variations that can occur over time. ‘The new pixel calibration feature allows the camera to realign the light output of each pixel resulting in a smooth clean image under changing environmental conditions,’ says Blackmagic.

Other features and improvements include more accurate autofocus, a new media formatting interface designed to prevent accidental formats, 2:1 monitoring frame guides, and new power savings and efficiency fixes that Blackmagic claims improves battery life 10-15%.

Blackmagic Cameras 6.1 is available as a free download for existing Blackmagic Pocket Cinema Camera 4K customers on Blackmagic Design’s website.

Blackmagic Design Announces Blackmagic Cameras 6.1 Update

Major update adds new features for Blackmagic Pocket Cinema Camera 4K including better audio recording and improved battery performance.

Fremont, California, USA – February 4, 2019 – Blackmagic Design today announced Blackmagic Cameras 6.1 which is a new update for the Blackmagic Pocket Cinema Camera 4K. This update adds quieter audio recording, a new pixel remapping feature, new 2:1 monitoring frame guides, improved battery performance and much more.

Blackmagic Camera 6.1 update is available now as a free download from the Blackmagic Design website.

The new Blackmagic Cameras 6.1 significantly improves audio recording when using the built in microphones on the Blackmagic Pocket Cinema Camera 4K. The new processing now analyzes incoming audio from the dual microphones on each side of the camera to dramatically lower the noise floor, resulting in quieter recordings than possible before. In addition, latency has been reduced for audio monitoring, audio and video synchronization has been fine tuned, and the 3.5mm audio input selection interface is now more intuitive, making it faster to use.

Blackmagic Cameras 6.1 also improves auto focus performance. Auto focus now responds quicker and more accurately so that lens hunting is greatly reduced when the camera is locking on to the focal point. There’s also a new media formatting interface that helps prevent customers from accidentally formatting media cards. Once the camera is updated, customers will need to tap and hold the media format confirmation button for 3 seconds before a card will be erased and reformatted.

This update also includes a new in-camera calibration feature which allows customers to recalibrate pixels in the camera. Over time some pixels can change in brightness and create small variations across the sensor. The new pixel calibration feature allows the camera to realign the light output of each pixel resulting in a smooth clean image under changing environmental conditions. Blackmagic Camera 6.1 update also features 2:1 monitoring frame guides, which is another creative composition tool for filmmakers to frame shots. In addition, new power savings and efficiency enhancements improve battery runtime by 10-15% and give customers a more accurate indication of remaining battery power.

“The Blackmagic Pocket Cinema Camera 4K is an incredible success and it’s been very exciting watching the adoption of digital film workflows by a much wider range of people,” said Grant Petty, CEO, Blackmagic Design. “This update is exciting because it adds even more great new features to the camera and it’s an exciting way for us to say thank you to all the people who have purchased a Blackmagic Pocket Cinema Camera 4K and who have taken the time to discuss ideas for the future with us. We can’t wait to see what customers will produce next!”

Blackmagic Cameras 6.1 Update Key Features

Adds support for pixel calibration in camera. Improves auto focus performance. Improves signal to noise ratio performance of the camera’s internal microphone. Improves power efficiency for improved battery life. Adds 2:1 monitoring frame guide. Improves media formatting user interface. Improves audio monitoring latency performance. Improves 3.5mm audio input selection interface. Improves AV sync performance.

Blackmagic Cameras 6.1 is available as a free download for all existing Blackmagic Pocket Cinema Camera 4K customers from www.blackmagicdesign.com/support.

Articles: Digital Photography Review (dpreview.com)

 
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ON1 Photo RAW 2019.2 brings AI-powered masking improved performance and more

30 Jan

ON1 has released an update to its ON1 Photo RAW 2019 photo editing and management software. Version 2019.2 comes with a new AI-powered masking tool, general performance enhancements and support for new camera models.

ON1 says the Quick Mask Tool lets you create high-quality masks with very little user guidance and uses color, tone, and textures to identify boundaries. You can see a demo in the video below.

To speed up your workflow the software now taps into the GPU for frequently used processes, such as returning to Browse, copy/pasting layers and masks as well as some exporting and plug-in tasks. In addition the ON1 Photo RAW now supports the Leica D-Lux 7 and Panasonic DMC-TZ101 cameras, offers tethered shooting support for the Nikon Z 6, Z 7 and D850 and comes with bunch of new lens correction profiles.

ON1 Photo RAW 2019.2 is available now for $ 99.99. Owners of any ON1 product can upgrade for $ 79.99. Alternatively the new software is available as part of an ON1 Plus Pro membership ($ 129.99/year) which includes a perpetual license of ON1 Photo RAW plus a post-processing and photography education package.

You can try ON1 Photo RAW 2019.2 for 30 days free of charge by signing up on the website.

Articles: Digital Photography Review (dpreview.com)

 
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7 Easy Ways to be More Creative Every Day

20 Jan

The post 7 Easy Ways to be More Creative Every Day appeared first on Digital Photography School. It was authored by Anthony Epes.

I have been a photographer for as long as I can remember. As a visual person, I get excited when I see beautiful light and love to explore the world with my camera and create interesting images from this vast, magnificent world.

I suspect you are the same.

There is something about taking photos that is so enriching to our lives. Connecting us more closely to our surroundings, showing us how to observe the world in a deep and meaningful way.

And yet, it is so easy to be pulled away from the things that we love to do, and which are most likely listed in our minds as ‘not essential.’

Our explorations with our cameras aren’t our jobs, nor is looking after our children or cleaning our houses.

As a father to two young kids and running a more than full-time photography business, it can feel almost decadent to spend an afternoon on my own just wandering around, exploring and taking photos. After all, there are always more important things to do, right?

But I counter that, actually, taking photos is essential for our lives. It is what we are called to do.

Making something, whatever it is that you are passionate about, is what we are alive for, surely?

So with our busy lives, how do we become more creative?

Here are 7 Easy Ways to be More Creative Every Day

1. At any moment we can refine our ability to see the world around us

Taking photos isn’t just about taking photos – it’s about taking all of the experiences we have on a daily basis and turning them into an expression of how we think and feel about the world.

As photographers, we want to observe the world by looking at the moments of life. Even if it’s just for that one moment. After all, if we are not seeing the moments of our lives, you could say we are not seeing our lives at all.

When we wake early in the morning and see the light eagerly streaming into our room, between all the little gaps between the curtains and the wall, we stop and we watch. We pay attention, we don’t always rush off.

And when are driving home late from work. The night is so dark, so enveloping, as we meander through the city, with bursts of light and activity every now and again, around stop lights, or rows of shops or outside restaurants.

Beyond that, it’s just meditative darkness, with tiny flares of soft light along the road. The darkness is closing us into our car.

We don’t allow our minds to race off into thoughts of the day. We pay attention. Looking at the darkness, we feel it. We notice.

These are all sensations in our daily life that we can pay attention to. This all helps with the art of seeing, or as it could also be called, the art of paying attention to our environment.

It sounds very strange to say this, but unless you are consciously cultivating being present – or are naturally good at it – then it’s likely you spend most of your day totally lost in busyness.

There is nothing wrong with that. However, in order to create something you need to carve out time and space.

Don’t just wait until you have time. Because either it won’t come – there are always more things to do – or when you get time, the pressure to instantly create will be too great.

Spend time every day developing a practice of being present, of looking around you, of seeing what is really there. Then, when you actually pick up your camera, it will be easier to cultivate the mood within you of a creative, relaxed, present flow state.

2. Reject perfectionism

“Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life.” Anne Lamott

One of the major barriers to being creative is the most insidious, painful and stressful emotion – perfectionism.

I call it an emotion because it envelops and paralyzes us when getting started with a project. It’s very hard to get up, push past perfectionism and get out the door.

For me, perfectionism can take many forms that seem logical, until I consciously pierce a hole in the flimsy argument. It used to be that I would become obsessed with having new gear. I couldn’t start a project until I had a new camera or lens, or the help of an assistant.

Then I realized this was the ultimate in procrastination. Either I did the project with the kit I had, or if that didn’t work, I found another project. I don’t mind buying new kit, in fact, I love it. However, I never buy a new kit because I am in a fit of perfectionism anymore.

Now perfectionism often comes to me in the form of: I have nothing unique to say about this place I want to photograph. It has been photographed so many times before by better photographers. What can I say that is new?

When I get emails from my students they often say: I don’t know enough about my camera/composition/ technique to take any good photos!

Even with very experienced amateurs, I see people who don’t believe in their skills and abilities with photography. They want just that little bit more advice or feedback. When really, they just need to keep taking photos.

As humans, we seem to have an innate ability not to recognize what we are doing well, and instead focus attention on the negative aspects of our skills.

Well, focusing on the negative is not going to get you very far. Like the writer, Anne Lamott says in the quote above, it will keep you oppressed your whole life.

It’s time to throw off the shackles of all that you are not and instead try to live with the ideas of imperfection instead.

If we are not trying to be perfect, we can just get started and not worry about being amazing.

We can go out and have some fun with our photography. We won’t worry if our shots are great – we’ll just practice, shoot, and have a good time.

The new mantra here is accepting imperfection. Celebrate it even. We are all on a journey, are all developing, and will never arrive at total perfection. It doesn’t exist.

So unhook yourself from the idea of perfection and do what every major artist, entrepreneur and anyone who creates anything for a living says: just go create.

3. Lower your expectations

Think about nurturing your photography as it needs to be nurtured. Think about your creativity as a journey, one in which you will keep persevering, weaving it into your life for as long as it engages you.

And if you’re like me, that’s probably your whole life.

We take so many photos now with digital that I think our expectations of the number of fantastic photos we should be getting is way higher than if we were shooting film.

When Ansel Adams said, “Twelve significant photographs in any one year is a good crop” he was talking obviously in the time of film when we were so much more careful with our shots. Making sure that we didn’t waste them unnecessarily.

The idea of expecting a small number of excellent shots is both realistic and freeing.

I spend a lot of time editing down hundreds, and sometimes thousands of photos after a shoot. To make sure that I get the few that are my very, very best.

When you lower your expectations about how many shots you should be getting, it means you can experiment and do things you might not normally do because the end result is unknown.

You can chase that strange light and see what your camera does with it. You can try lots of different subjects and shoot people/things/places that totally fascinate you – without thinking just about results.

It means you can practice perfecting your technique. Remember, when you are improving your technique – starting to shoot on manual for example – it is vitally important to constantly practice.

Practice takes time. Practice is about making mistakes and missing shots. But the more you do it, the better your understanding of your camera will get.

4. Use the power of silence

We all know the spiel that technology is ruining our lives, right? Well, I don’t totally agree. Technology has brought incredible things to my life. It has allowed my wife and me to become digital nomads. It has made photography truly accessible – no longer do you need a $ 3000 camera to get you started in photography.

Like everything fun and absorbing. However, moderation is key. When we check our emails 134 times per day (a statistic I read recently) instead of enjoying a beautiful sunrise, a great concert or a beautiful moment with our child, we rush to capture it instead of being in the moment. In that case, technology has become out of hand in our lives.

The downside to so much tech activity is you start to get lost in the constant stimulation of the world. You are so busy thinking and responding to that world that you leave your brain no space to…create anything new.

You will continue with the same habits, the same thoughts, and routines unless you consciously create space in your life.

Focusing on bringing more silence into your life is a beautiful way to allow new ideas in. It also helps to ‘clear the clutter’ of excessive thoughts in your mind. It cleanses your thinking a little, so you can turn your attention away from doing to creating.

What I like to ask my students sometimes is when they last listened to, and were totally absorbed, by silence.

And when I say absorbed, I mean totally aware and present for the silence. They weren’t thinking about what they were making for dinner, or their annoying work colleague or how much money they spent last night.

So it’s not just being surrounded by silence – it’s being actively absorbed by it. Listen to it and feel how the absence of noise affects your body.

For me, taking photographs is a total sensory experience. It’s not just about what I see, because all of my senses are heightened. Entering into silence is a way to connect more with my senses.

It’s feeling the different way that silence stimulates your senses, such as the feeling of melancholy on an empty high street on a grey winter’s day. Or the comforting nostalgia of a clear, cold autumn evening, with the smell of wood smoke wafting in the air.

Or the heady beauty of a spring morning full of the opulent perfume of flowers and the feeling of scorching, rich sunshine on your skin.

I know that it’s hard to pull your mind away from its busy thinking and doing. I get that being human means that thoughts endlessly appear in our mind, taking our attention and energy.

When this happens and you become conscious of it happening, take your attention gently back to the moment. Wrestle control from the thoughts and bring your mind back to what’s here in front of you. I like to say to myself – I’ll think about that later.

That way you can actually appreciate the life that you have in the moment, and you will develop seeing and awareness in your photography, regardless of where you are. Whether it be on your way to work, at the playground with your kids or even doing your shopping.

This awareness is a powerful catalyst for your creativity and will find you reaching for your camera more and more often because you have learned to listen to the silence and connect to the world around you.

5. Fear

Fear is certainly in the category of things that inhibit creativity in our lives. But if you can learn to work with fear, then you’ll automatically feel more inspired and confident to create and take photos.

There are two major fears I see in photographers at my workshops.

Firstly, fear of photographing their subject. This applies to street photography a lot. You very much want to take a photo of that magnetic looking stranger, or that strange event unfolding before your eyes, but you are gripped by fear.

You know you want to bring your camera up, you want to move closer to your subject but something stops you. You end up walking away without the shot and feel annoyed with yourself.

The second type of fear response I see in my students is a deep self-consciousness about shooting for too long in front of strangers.

Think about this scenario. You are walking along a busy city street on a rainy day when all of sudden a ray of golden sunshine bursts through the grey clouds, creating stunning reflections and patterns around you.

It’s mesmerizing! You want to shoot everything that this beautiful light is reflecting off. You start to shoot, but after a few minutes, you are hit by a wave of self-consciousness.

There are people everywhere. People shopping, coming home from work, tourists chatting, kids running. And here you are crouching down on the ground photographing puddles!

I’ve noticed that when this wave of self-consciousness hits, most people stop shooting and move on because it feels weird to be doing something that no one else is.

Now fear is normal in these situations. I think most photographers experience fear in certain situations. We know that our bodies produce a chemical response to new situations, which can make us want to run away.

Instead, we need to examine how to deal with this situation so that fear doesn’t overpower us. So how can I dispel my fear and get those great shots?

First, accept that like clouds, fear comes and goes. You will never live a life where fear disappears. You wouldn’t be human otherwise.

Even if you are a super-experienced photographer, there will always be times when you will be dogged by fear.

Secondly – allow it! This might seem counterintuitive, but I have found that if I try to run away from fear, or suppress or ignore it, it starts to get bigger and bigger until I am almost paralyzed by dread.

So I allow the fear. I just say – Ok, here is some fear. Welcome. OK, I don’t say welcome. I’m not that zen. But you get what I mean? I don’t fight it.

Carry on taking the photograph – and just let the fear be there. Eventually, like a cloud in the sky, it will leave. Fear always leaves! Maybe it will take a few seconds or a few minutes. Maybe longer.

Yet, the more you allow fear to be there, the quicker it seems to evaporate.

The good thing to understand is that the more you practice being in such situations as photographers, the more you will get used to these fear responses. They won’t overpower you and stop you from shooting.

If you suffer greatly from fear, then I suggest you practice getting comfortable being with your camera, so you can focus on the actual photography!

6. Stop consuming and start making

I don’t know why, but a day spent creating is a day that feels much more satisfying to me than a day spent consuming.

When I think about consuming, it’s not just buying things – it’s the endless stream of social media, checking Facebook, 24/7 news, and endless discussions about the politics of the day.

When we are just consuming, we definitely aren’t making anything.

To stop mindlessly consuming was an important realization for me to make in my life. Instead, I think to myself – what can I accomplish today?

7. Get started

With something as enjoyable and satisfying as taking photos, you should never be in a state of I should be doing my photography!

You don’t want to create a situation where photography is one of many things you should be doing – like going to the gym or eating less of your kids’ candy.

And yet, sometimes we need a push to get us out the door. We are all responsible humans beings and we are all keeping various plates spinning. And so taking time out can induce guilt.

But think about it: every single day of our lives is a day we will never experience again. And in every single day of our lives, we are given a choice of how to spend our time. We do the things we have to do but then we weave in the time to do the things we are passionate about.

If we don’t do it now, then when?

Taking time to cultivate our photography practice pays dividends across our lives too. Great by-products of a strong photo practice are that we are more present when we are in other spheres of our lives, we are more engaged and excited in life because of our inspirational photo practices.

I have to say I am a more interesting, inspired and happier person to be around when I have taken time out to do my personal photography. And in that, everyone in my life benefits!

I really hope you enjoyed those ideas about how to be more creative every day. They are ideas I feel passionate about and hope that you will too. I would love to know if these ideas have helped you, so do let me know in the comment box below.

The post 7 Easy Ways to be More Creative Every Day appeared first on Digital Photography School. It was authored by Anthony Epes.


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Olympus teases upcoming sports-oriented camera once more

17 Jan

Olympus has released teaser number three for the sports-oriented camera the company is releasing in a week. The previous teasers only gave a quick glimpse of the camera, instead focusing on what it can do: sports.

In this latest episode, the camera is seen out in nature (including the rain). We’ll have a lot more on this intriguing new camera when it launches on the 24th!

Articles: Digital Photography Review (dpreview.com)

 
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Nikon’s new Z6 Filmmaker’s Kit saves you $650 on external recorder, mic, gimbal and more

08 Jan

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Nikon has introduced its Z6 Filmmaker’s Kit, which includes just about everything the budding videographer needs for more advanced movie-making. In the box with the Z6 and Nikkor S 24-70mm F4 S lens you’ll find:

  • FTZ Adapter
  • Atomos Ninja V 4K external recorder
  • Rode VideoMic Pro+
  • MOZA Air 2 3-axis hand-held gimbal
  • Extra EN-EL15b battery
  • Coiled HDMI cable
  • 12 month Vimeo Pro membership
  • Online course for making music videos, featuring Nikon Ambassador Chris Hershman

One thing not included is an XQD card, so that’s an additional expense.

The Filmmaker’s Kit will be priced at $ 3999 and will be available in late January. We did the math on what all of this would cost separately and came up with $ 4650, so you’re definitely saving some money if you need all of that gear.

Press Release

NIKON UNVEILS THE NEW NIKKOR Z 14-30MM F/4 S ULTRA-WIDE-ANGLE ZOOM LENS, THE WORLD’S FIRST1 FULL-FRAME 14MM FILTER-ATTACHABLE LENS

Nikon Also Debuts Z 6 Filmmaker’s Kit: An Immersive Toolkit for the Modern Multimedia Creative

LAS VEGAS CES BOOTH #14006 (January 7, 2019 at 9:01 P.M. EST/6:01 P.M. PST) Today, Nikon Inc. announced two new products, including the NIKKOR Z 14-30mm f/4 S, the first ultra-wide zoom lens to take advantage of the amazing capabilities of the next generation Nikon Z Mount. This newest S-Line NIKKOR lens is a popular focal length for landscape, travel, event and architecture photographers, offering a combination of performance and portability that’s only possible with Nikon’s revolutionary new Z Mount.

Featuring a new optical design, the compact and lightweight NIKKOR Z 14-30mm f/4 S delivers the high level of optical performance that still and video creators expect from the NIKKOR name. By utilizing the larger diameter and technological benefits of the Z Mount, Nikon was able to design an ultra-wide-angle lens that delivers superior optical performance and maximizes the potential of high pixel-count digital cameras such as the 45.7-megapixel Nikon Z 7. Additionally, the design features a nearly flat front lens element, making the NIKKOR Z 14-30mm the world’s first filter-attachable ultra-wide-angle zoom lens covering a focal length from 14mm.

Nikon Inc. has also announced the Nikon Z 6 Filmmaker’s Kit. Featuring a selection of popular video equipment for the Z 6, the kit allows video creators to take full advantage of the Z 6’s industry-leading video features. Included accessories such as the Atomos Ninja V 4K HDR 5” Monitor Recorder and MOZA Air 2 3-Axis Hand-Held Gimbal Stabilizer make the new Filmmaker’s Kit an enticing value for those ready to explore the Nikon Z 6’s stellar video capture and multimedia potential.

“The NIKKOR Z 14-30mm lens demonstrates the optical superiority of the Z system, taking advantage of the newest high-performance lens technologies while maximizing compactness and portability,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The Nikon Z series is a powerfully capable camera system for all types of video production, and with the Z 6 Filmmaker’s Kit, we’re giving videographers and content creators the gear they need to begin capturing high-quality videos with the most compelling hybrid camera on the market.”

The NIKKOR Z 14-30mm f/4 S: An Exceptional Combination of Portability and Performance

The new 14-30mm lens was designed for photo and video shooters looking for a sharp ultra-wide zoom lens with which to seek out gorgeous landscapes or cityscapes on their next travel adventure, and is an excellent choice for capturing interiors, architecture or events. It’s a lens for those who need to pack light without sacrificing image quality – an ultra-wide-angle lens that delivers portability and performance that pushes the boundaries of what is optically possible in a lens of its size.

  • Lightweight and Ultra-Portable: At just 3.5-inches long when retracted, and weighing only 485g/1.07lbs, the NIKKOR Z 14-30mm f/4 S is approximately 28.6% lighter and 32% shorter than the popular AF-S NIKKOR 16-35mm f/4G ED VR, and approximately 51.5% lighter and 35% shorter than the tried-and-true AF-S NIKKOR 14-24mm f/2.8G ED for the F mount.
  • Uncompromising Optics: Featuring a new optical formula that utilizes four Extra-Low Dispersion (ED) elements and four aspherical elements, the 14-30mm f/4 offers unparalleled control of distortion and chromatic aberration. Additionally, the use of Nikon’s anti-reflective Nano Crystal Coat effectively reduces ghosting and flare, delivering clearer images that maintain contrast in challenging lighting situations.
  • Filter Attachable: For the first time on a 14mm FX-format (full-frame) lens1, photographers will be able to attach various types of screw-on filters (82mm) to the front of this ultra-wide-angle lens, infinitely expanding the creative possibilities of the NIKKOR Z 14-30mm f/4 S for landscape and cityscape photographers, videographers and more.
  • Stepping Motor Technology: Featuring the latest Nikon Stepping Motor (STM) technology, the new lens provides smooth, fast and quiet AF performance—ideal for photographers shooting in sensitive environments, as well as videographers who must avoid focus noise in productions.
  • Control Ring: As with the rest of the S-Line of NIKKOR Z lenses, the 14-30mm f/4 includes a customizable control ring that can be assigned to manual focusing, exposure compensation or aperture control depending on personal preference or shooting situation, maintaining different custom settings when in photo and video mode.
  • Fully Compatible with In-Camera 5-Axis VR: To help ensure the sharpest possible images and most stable video, the new NIKKOR Z 14-30mm f/4 S is fully compatible with the in-body 5-axis VR found in the Nikon Z 6 and Z 7, providing up to 5 stops2 of image stabilization without adding to the size or weight of the lens itself.
  • Optimized Video Performance: In addition to the speedy and near-silent stepping motor technology and customizable control ring, the lens reduces focus breathing, preventing the angle of view from changing unintentionally when adjusting focus.
  • Reliability: The NIKKOR Z 14-30mm f/4 S is designed with consideration to dust and drip resistance, and features a fluorine coat that effectively repels dust, water droplets, grease and dirt.

The New Nikon Z 6 Filmmaker’s Kit

For users who are looking to take full advantage of the Nikon Z 6’s industry-leading video capabilities, this powerfully cinematic camera is now available as part of a new Filmmaker’s Kit. The bundle includes a range of equipment that helps users unlock the Z 6’s advanced video features and powerful potential.

The kit includes: a Nikon Z 6 camera, NIKKOR Z 24-70mm f/4 S lens, Mount Adapter FTZ, Atomos Ninja V 4K HDR 5” Monitor Recorder3, Rode VideoMic Pro+, MOZA Air 2 3-Axis Hand-Held Gimbal Stabilizer, an additional EN-EL15b battery, a coiled HDMI cable, 12-month Vimeo Pro membership, and The Art of Making Music Videos Nikon School online course featuring Nikon Ambassador Chris Hershman.

The Z 6 ushers in a new era in high-quality video capture for Nikon shooters. The camera’s fast and accurate autofocus, full-frame 4K/30p recording with full-pixel readout, zebra stripes, timecode and focus peaking offer users a professional-grade shooting experience. With the Z 6 Filmmaker’s Kit, users can access the advanced video features, like 10-bit HDMI output and N-Log video recording, while capturing gimbal-smooth video and crystal-clear audio. The kit provides filmmakers, vloggers and YouTubers with all the equipment they need to begin capturing high-quality 4K footage right away.

Price and Availability

The NIKKOR Z 14-30mm f/4 S lens will be available in the spring for a suggested retail price (SRP) of $ 1,299.954.

The Nikon Z 6 Filmmaker’s Kit will available in late January for a suggested retail price (SRP) of $ 3,999.954.

  1. Among FX-format (full-frame) compatible interchangeable lenses for digital cameras, available as of January 8, 2019. Based on Nikon research.
  2. Based on CIPA Standard. This value is achieved when FX-format compatible lenses are attached to a FX-format digital SLR camera and zoom lenses are set at the maximum telephoto position.
  3. Batteries and SSD sold separately.
  4. SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

– Specifications, equipment and release dates are subject to change without any notice or obligation on the part of the manufacturer.

– MOZA is a trademark of Gudsen Technology Co., Ltd, registered in the U.S. and other countries

Other trademarks and trade names are those of their respective owners.

Articles: Digital Photography Review (dpreview.com)

 
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