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Posts Tagged ‘TECH’

Leak claims Apple will use sensor-shift stabilization tech in some 2020 iPhone 5G models

21 Dec

Taiwanese tech publication Digitimes has published a new report claiming that the 2020 iPhone model featuring 5G network support will feature ‘sensor-shift stabilization technology.’ This alleged new feature will only be available on select iPhone 5G models, according to the report, potentially offering better image quality over models that only feature optical image stabilization.

Optical image stabilization (OIS) works by shifting the lens whereas sensor-shift stabilization works by shifting the sensor. Though OIS is now a common feature on flagship smartphones, sensor-shift stabilization technology has been largely relegated to dedicated digital cameras, something Digitimes claims Apple will change starting next year.

Past leaks allege that Apple plans to release four new iPhones in 2020, including cheaper base tier models and more expensive higher-end models. On the high end of that scale, the 2020 iPhone is expected to feature a new 3D camera system for augmented reality applications.

It’s unclear whether the inclusion of sensor-shift stabilization technology would be limited to these higher-end models and whether the tech will play a role in Apple’s alleged AR ambitions. Digitimes itself has a mixed track record in regards to its consumer gadget leaks, though it has accurately published unreleased iPhone details in the past.

Articles: Digital Photography Review (dpreview.com)

 
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Sony forms new AI organization to develop new tech for cameras and more

27 Nov

Sony has announced it’s consolidating its artificial intelligence work under a new organization called Sony AI. Sony AI will focus on the ‘fundamental research and development’ of artificial intelligence; it will have offices located in Japan, the US, and Europe.

According to Sony, its new Sony AI organization will initiate ‘multiple world-class flagship projects,’ among other things. The division will launch with projects involving Sony’s Imaging & Sensing Solutions division, as well as its Gaming division and the field of gastronomy. Sony already uses AI in a variety of products, including to power its Eye AF feature.

Sony says the new organization will ultimately create new AI technologies that will be ‘critical’ for its sensor business. The organization will work closely with other Sony business units on its projects, but the company hasn’t provided details about specific R&D initiatives at this time.

Articles: Digital Photography Review (dpreview.com)

 
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Google brings its impressive camera tech to new mid-range 3A, 3A XL smartphones

08 May

Google has unveiled the Pixel 3a and 3a XL, a pair of mid-range phones that put the best parts of its flagship devices—namely the cameras—into more wallet-friendly packages.

Announced today at Google I/O, the phones feature 5.6″ and 6″ 1080p OLED displays (respectively), Snapdragon 670 processors, 4GB RAM, 12.2-megapixel rear cameras and 64GB of storage. Both units have USB-C charging (no wireless charging), fingerprint readers, 3.5mm headphone jacks and Google’s Active Edge technology, which summons ‘Hey Google’ with a quick squeeze of the phone.

The two new devices look similar to Google’s more powerful Pixel 3 and Pixel 3 XL devices, but come in slightly taller, feature a downward-facing bottom speaker and feature a spot on the top for the 3.5mm headphone jack. There’s no notch on either phone.

Diving into the camera details, the Pixel 3a and 3a XL use the same award-winning main rear camera found inside the Pixel 3 and 3 XL, with a 12.2MP Sony IMX363 1/2.55″ (1.4?m pixels) dual-pixel sensor and an F1.8 lens (76-degree FOV, 28mm equiv.). Missing is the 19mm equiv. wide-angle ‘group selfie’ front camera found on the original Pixel 3 phones, but this is mitigated by the wider FOV (84-degree FOV, 24mm equiv.) of the traditional 8MP F2.0 (1.12?m pixels) front-facing camera on the 3a. All the smarts packed into the Pixel 3 camera, like Night Sight, Super-Res Zoom, and learning-based Portrait Mode, are all available on the new devices.

Video capabilities remain the same, with a maximum specification of 4K/30p, and steadycam-like footage thanks to a combination of optical and electronic stabilization.

What’s powering the cameras inside the 3a and 3a XL differs, for obvious cost-cutting reasons. Rather than the Qualcomm Snapdragon 845 and Adreno 630, the Pixel 3a and 3a XL use the older, less powerful Qualcomm Snapdragon 670 and Adreno 615. The Pixel 3a and 3a XL also lack Google’s custom Pixel Visual Core processor, meaning all image processing is done on just the CPU and GPU.

The Pixel 3A and 3A XL are available in black, white and a new color Google calls ‘purple-ish’ for $ 399 / £399 and $ 479 / £469, respectively.

Articles: Digital Photography Review (dpreview.com)

 
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Apple patent application details tech to improve mobile underwater photography

29 Mar

Underwater photographers and cameras have to deal with less than ideal conditions. Light levels are low, water can be murky and add color casts to your images. Underwater modes on rugged cameras and (waterproof) smartphones are not new but now a patent application filed by Apple suggests mobile users could soon benefit from a more sophisticated version and achieve better underwater imaging results in the future if the system is ever implemented.

Apple’s patent application is titled ‘Submersible Electronic Devices with Imaging Capabilities and describes a system that automatically detects when the shutter button is pressed under water and makes the necessary adjustments to optimize image quality.

The device uses a range of sensors to detect if it is underwater and determines what steps are required to improve image results. A color ambient light sensor could be used to measure ambient light spectra above and under water and help calculate how much light is absorbed by the water. Depth, distance, pressure, and orientation sensors can be deployed to measure the water´s murkiness as well as the distances to the surface and subject. Backscattered light could be measured as well to find out how it affects the image.

With the data from all sensors collected, the system would then make adequate adjustments to camera settings and image processing, for example modify the white balance to avoid greenish color casts, or enhance exposure and texture rendition on the subject in murky conditions with low visibility.

As usual, there is no way of knowing if the patent ever makes it into a final product but given most of the sensors mentioned in the document are already present in current iPhone models, the system could probably be pretty easily implemented via a software update.

Articles: Digital Photography Review (dpreview.com)

 
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What is a Tech Scout and Why You Need to Do One

03 Feb

The post What is a Tech Scout and Why You Need to Do One appeared first on Digital Photography School. It was authored by Darina Kopcok.

When talking about photography, a Tech Scout is a term borrowed from the film industry. It refers to finding a location that will match the setting or scene of a story.

LIke filmmakers, photographers need to do tech scouting (also referred to as a location scouting or a location recce).

The importance of a tech scout is often underestimated. Sure, you may find the most amazing location to photograph a newly engaged couple, but if you’ve overlooked some potential problems, it can end up ruining shoot day.

ech Scout-Darina Kopcok-DPS

Why you need to do a tech scout

As a photographer, a big part of your job is making sure you’re prepared. Cameras stop working, software crashes, and you realize that you forgot to charge the batteries for your Speedlites.

Unfortunately, technical difficulties are a part-and-parcel of the job. However, many various other issues can crop up when you’re on location. That location can even be a studio that you’ve never worked at before.

It’s part of your job as a photographer to ensure that the environment you’ll be shooting in is conducive to getting the desired results for you and your clients.

For example, as a photographer who shoots food, I always make sure that there is a kitchen in any studio I rent out for my jobs. Doing so narrows down the available studios that I can shoot in quite a lot. Food stylists work in all sort of conditions and can sometimes make do with a hot plate. However, why not rent a studio with a kitchen if it’s as easy as renting one without it?

Whenever I have to shoot on location, such as in a restaurant, I do a tech scout too. I visit the restaurant beforehand to find out where I’ll be able to shoot as unobtrusively as possible. I also want to see if there is enough natural light coming in from some windows. If not, I plan to bring in a strobe or a speedlight.

Becoming familiar with the environment you’ll be shooting in will help you not only plan your lighting accordingly but also anticipate potential snafus that can prevent your shoot from going as smoothly as expected.

ech Scout-Darina Kopcok-DPS

Working with clients on a tech scout

If you shoot retail photography, for example, families or couples, you don’t necessarily need to share details or images of the chosen location or locations beforehand. Perhaps your client may be familiar with the setting or has suggested it themselves.

For commercial clients, however, you may be responsible for scouting several locations and presenting them to the client for their decision.

The client will approach you with a creative brief or some ideas of what they are looking for, but it’s up to you to find the ideal location. Your job is to present at least two or three locations based on the brief or mood board or other consultation from the client. It may mean coming up with a list of possible options before narrowing it down to the ones you will actually go check out and photograph.

Tech Scout-Darina Kopcok-DPS

How to do a tech scout

To do a successful tech scout, you need to define the scope of the project.

Be clear on the following:

* who and or what are you shooting?
* how many images are required?
* how and where are they to be used?
* what is the budget to shoot these images?
* what does the client intend to achieve?

You may have some locations in mind, or you might have to start with a virtual scout, a search using Google Maps and street view. You can use Google to search for iconic buildings, structures or other important locations.

Once you have feedback from the client, visit each location with your camera and take some pictures. If possible, do your scout at the same time of time you’d be shooting the final images. An app like Sun Seeker or Sun Surveyor can help you determine where the sun will be at that time, which may be a big factor in your decision-making process.

Send the client a gallery of some of the best images with a color treatment that somewhat reflects the desired results.

Tech Scout-Darina Kopcok-DPS

Potential pitfalls

There are some potential problems that can get in the way of your shoot. Some may be disastrous for you if you haven’t thought ahead, especially on a commercial production where the budget is high.

One such pitfall is permits and licenses. People take images in public all the time, but as soon as you put a tripod down, or have a crew with you, you’ll likely be asked to move along if you can’t provide the proper permits.

Make sure you have the required equipment to shoot in the conditions you’ll be working. This can mean having the right accessories to protect you and your gear from the rain, and even having a large enough vehicle to transport bulky equipment like c-stands.

Parking is another issue you should determine ahead of time. Are you and your crew or the client going to be able to access the location easily, or you will have to walk a bit. If so, how are you going to transport your gear?

Lastly, if you’re shooting outside all day, what are you going to do about bathroom breaks? It may sound funny, but you won’t be able to leave thousands of dollars of equipment and the talent sitting around while you search out a loo. This is a scenario where having an assistant is a must.

Bathroom breaks and meals/snacks are something that needs pre-planning.

ech Scout-Darina Kopcok-DPS

In Conclusion

Hopefully, you’ve learned more about how useful it is to do a tech scout and the best way to approach one.

Proper planning can make or break a photo shoot. No matter how small your shoot or who you’re shooting for (even if it’s for yourself), checking locations out beforehand can save you a lot of headaches in the long run.

 

The post What is a Tech Scout and Why You Need to Do One appeared first on Digital Photography School. It was authored by Darina Kopcok.


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Video: A look at the gear and tech used for crash test photography

01 Feb

The nonprofit U.S. organization Insurance Institute for Highway Safety (IIHS) published a video that gives viewers a brief look behind-the-scenes at its vehicle crash test photography. During the five minute video, which was published in 2015, IIHS VP of Media Operations and Production Pini Kalnite walks viewers through how the organization produces its high-quality crash footage and images, including everything from its custom-built lighting array to its high-speed cameras.

Kalnite explains the IIHS’ Vehicle Research Center (VRC) is ‘more than a scientific laboratory,’ also doubling as ‘a specialized production facility where we produce footage and pictures’ for engineers. The nonprofit created its VRC with the intention of producing high-quality content.

The VRC is similar to a Hollywood sound stage, according to Kalnite, who explains that the facility includes a grid ceiling capable of holding a custom-built light system that outputs 750k watts of diffused light. The organization uses high-speed digital cameras with cinema-quality lenses to capture ultra-slow-motion videos and still images.

In addition to the high-speed video cameras, IIHS also uses high-resolution cameras to capture images of the crashed vehicles, as well as digital cameras that record footage at regular speeds. Though Kalnite doesn’t detail any of the models used in the production, the video briefly reveals a Hasselblad camera as the source of the VRC’s crash action shot and post-crash photos.

‘The images we produce are more than just tools to help engineers understand what happens in a crash test,’ Kalnite explained. ‘They’re also a vital part of our communications effort.’ The organization’s content has appeared in major movies, news broadcasts, and advertisements.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung to acquire smartphone camera tech company CorePhotonics

29 Jan

According to sources familiar with the matter, Korean smartphone maker Samsung is close to acquiring Israel-based technology company CorePhotonics. The deal could be worth $ 150 million.

CorePhotonics isn’t a company end consumers are too familiar with, but it has been one of the pioneers of the multi-camera trend in smartphones. Most notably it was the company behind OPPO’s 5x zoom module and was likely also involved in the creation of OPPO’s latest 10x zoom camera. It’s unknown at this point what the acquisition would mean for the relationship with OPPO.

The CorePhotonics name also appeared in the news when the company filed several law suits against Apple for patent infringement. The legal dispute is still ongoing.

Zoom reach is one of the very few areas where smartphone cameras still can’t keep up with stand-alone compact cameras and is likely going to be an important differentiator for brands when launching the next generations of smartphones. In this context the acquisition makes a lot of sense for a manufacturer like Samsung.

Articles: Digital Photography Review (dpreview.com)

 
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Report: FAA to test new pilot programs to speed up remote drone identification tech

08 Jan

In 2017, news surfaced the Federal Aviation Administration (FAA) had taken the first steps toward establishing drone identification rules, which would require a drone to remotely identify itself to law enforcement. The remote ID system could help identify drones operated in restricted airspace, such as drones over airports, but multiple reports have indicated there could be a significant delay.

In November, the Wall Street Journal reported the FAA was ‘significantly behind’ schedule on establishing drone identification rules, something necessary for the large scale commercial use of drones. As well, law enforcement and government officials have increasingly expressed concerns over illegal drone operation and their inability to rapidly identify these UAVs.

In its most recent update, the WSJ has revealed a Federal Register notice from December that details pilot projects aimed at speeding up remote ID system testing. According to the report, the FAA wants to create up to eight prototype projects financed by private companies in order to test different identification options.

These prototype projects would be used both to gather real-world data and verify that the remote identification technologies work while speeding up the overall time it will take the FAA to establish the new rules. Neither timelines nor project costs have been revealed at this time, but assuming that a rule proposal in made in the next few months, final regulations may be established in the next year or two.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down Canon’s 50mm F1.2 RF lens to reveal new optics, tech and surprises

13 Dec
Photo kindly provided by Lensrentals

For the latest edition of LensRentals gets down and dirty with camera equipment, Lensrentals founder Roger Cicala tore down Canon’s new 50mm F1.2L RF lens to reveal what tech and construction is lurking inside.

‘Usually, I start tear down posts with a joke about “those of you who are following along by disassembling your own lens at home”,’ reads one of the introductory paragraphs of Cicala’s teardown blog post. ‘Well, no joke today; this is not a home disassembly project. I’m not really sure it’s even a Lensrentals disassembly project. But we got out tools out and boldly went where we probably shouldn’t have gone.’

The unusual screw arrangement is seen tucked inside the front barrel assembly of the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

Right off the bat, Cicala came across something he had never seen in a lens before — a unique screw arrangement on the front part of the lens barrel. Figuring the unique arrangement ‘was some kind of binary code for “Do Not Enter”,’ Cicala instead flipped the lens over and started to disassemble it from the rear.

With each new layer peeled back, new surprises awaited Cicala. There was wiring, rather than simple ribbon cables (which Canon has almost always preferred), a denser PCB, and a little extra electrical shielding.

Cicala noted the denser PCB and wiring (visible bottom-right) inside the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

The teardown also confirmed Canon is using the same USM motor for the 50mm F1.2L RF as it is for its much, much larger 400mm F2.8L IS III lens, which Cicala teases as Lensrentals’ next teardown. Near the USM motor, Cicala noticed an interesting tensioning spring, but it remains unknown what purpose it serves.

Photo provided kindly by Lensrentals

Eventually, Cicala turned the lens back over and removed the front lens barrel. After a little work, what he ended up with was the stripped down optical core of Canon’s 50mm F1.2L RF lens. ‘Like a shaved cat, it’s always kind of shocking how small the core of the thing is,’ says Cicala.

The stripped-down optical core of the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

Other details revealed in the teardown include a piece of electrical discharge tape that seemingly leads to nowhere, additional sealing felt and a collection of springs that serve an unknown purpose.

Photo kindly provided by Lensrentals

All in all, Cicala was impressed with the lens, going so far as to say that this lens, and this lens alone, makes him lust for Canon’s EOS R system. Cicala concludes his assessment saying ‘One thing that is very clear […] Canon has invested very heavily into developing the lenses of the R system. This level of engineering didn’t all happen in the last year, they’ve been working on this for quite a while.’

To read and see the entire teardown, head over to the Lensrental blog and set aside a good ten minutes or so.

Articles: Digital Photography Review (dpreview.com)

 
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Researchers develop low-power HD streaming tech for wearable cameras

26 Apr
Dennis Wise/University of Washington

Wearable cameras, such as the type found in Snap Spectacles, are often limited to low-resolution video streaming due to their tiny batteries and small size. But now, researchers with the University of Washington in Seattle have developed a solution to that problem, one that involves offloading the processing burden to a nearby smartphone in order to stream high-definition content from the wearable camera.

The new low-power HD video streaming method utilizes backscatter technology and works by transmitting pixel intensity values via an antenna directly to the user’s smartphone. Unlike the wearable camera, which by its nature is small and lightweight with limited hardware resources, a smartphone offers way more processing power and a much larger battery.

When used as part of this new system, the phone receives the pixel information from the wearable camera, then processes it into a high-definition video for streaming. The prototype system was tested using a 720p HD YouTube video, which was successfully fed into the backscatter system and streamed at 10fps to a smartphone located 14ft / 4.2m away.

The wearable camera features only a small battery and uses between 1,000 and 10,000 times less power than existing streaming methods; however, the researchers plan to go a step further and develop a battery-free camera system with potential applications outside of smart glasses and body cameras.

Security systems, for example, could benefit from this technology, which would eliminate the need to either plug the cameras into a power source or frequently recharge internal batteries. Instead, the video data would be transmitted via antennas from the cameras to a central processing unit connected to a large battery or wired powered source.

As study co-author Joshua Smith explained:

Just imagine you go to a football game five years from now. There could be tiny HD cameras everywhere recording the action: stuck on players’ helmets, everywhere across the stadium. And you don’t have to ever worry about changing their batteries.

If the idea of “tiny cameras everywhere” also sounds mildly disturbing and like a privacy nightmare to you, you’re not alone… but we digress.

The full paper detailing this technology is available here.

Articles: Digital Photography Review (dpreview.com)

 
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