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Posts Tagged ‘Video’

Lume Cube 2.0 review: rugged, portable lights for stills and video

15 Mar

Way back in 2014, Lume Cube Inc. sailed past its fundraising goals when it launched its brand-new, eponymously-named LED lighting system on Kickstarter. Aimed both at still and video shooters, the original Lume Cube offered 1,500-lumen light output and Bluetooth wireless control in a remarkably compact package. And despite measuring just 4 x 4 x 4.5cm (1.6 x 1.6 x 1.75″), it was also both rugged and waterproof.

Enter the Lume Cube 2.0: as portable as ever with some key improvements under the hood. In short, we think it’s an incredibly handy little light with a robust ecosystem of accessories. See our condensed findings below and read on for the full analysis.

Key takeaways:

  • Compact, size, rugged and waterproof construction inspire confidence and use in a variety of situations
  • Excellent quality of light, with daylight white balance and a high CRI value
  • Optical sensor to act as a slave flash for stills shooting
  • Fine control over brightness
  • Impressive battery run-time, but longer charge times
  • Good max brightness for size, but still struggles under sunlight
  • Excellent, if pricey, accessory system

What’s new?

Although it’s exactly the same size as its predecessor and has the same light output as before, the updated Lume Cube 2.0 now runs for three times as long at full power, and is easier to recharge too. And the light it produces has improved noticeably in terms of its color rendition, coverage and evenness.

The new version also offers an added low-light mode with a 1-10% power range in 1% increments, controllable either from the smartphone app or the Lume Cube’s own physical controls. And the product bundle has been expanded, with a modification frame and two filters included as part of the base product bundle.

The standard Lume Cube 2.0 kit (left, $ 90) now includes the modification frame with diffuser and warming filters. The Pro Lighting Kit (right, $ 300) includes a carry case packing two lights with modification frames, a dozen filters, two grids, and a full set of barn doors, snoot and diffusion bulb for each light.

Who is it for?

As before, the Lume Cube 2.0 is aimed both at still and video shooters, regardless of whether they’re using a sizable interchangeable-lens camera rig, GoPro, smartphone or even a drone.

For standalone cameras, most functionality can be used without a smartphone at all, and the Lume Cube works either a continuous light source or an optically-triggered slave flash. Alternatively, multiple lights can be controlled individually or as a group using an Android / iOS app.

Smarter physical controls and a better-placed optical sensor

The Lume Cube 2.0 looks quite similar to predecessor, and its size and weight are unchanged. The biggest difference is that the optical sensor has moved from the front of the light to its top, sharing its location with the status LED. In its new home, it’s now easier to trigger from a wide range of angles.

It sits in between a clearly-labeled pair of opaque black buttons on the top deck which replace the translucent buttons of the original model. These together provide access to power control, brightness adjustment, optical slave flash, and low-light mode.

The non-swiveling hot shoe mount shown in this image is included in the standard bundle. The Pro Lighting Kit doesn’t include any mounts; the ball head mount shown atop this page costs $ 25.

Charging is quicker and easier, but waterproofing suffers

Around back, the charging port is now a modern, reversible USB-C connector, and is covered by a soft rubber flap. While it’s still a bit fiddly to pull open with recently-trimmed nails, it closes securely, stays in place, and it’s really nice not to have to worry about the lights being affected by rain. (And to be able to take them underwater too, if that’s your thing.)

While less bothersome than the screw-in cover of the original Lume Cube, it’s also easier for water to circumvent, though. As a result the new model is waterproof to a maximum depth of 9.1m / 30ft, down from 30.5 / 100ft for its predecessor. That’s still plenty for snorkeling and probably a pretty significant proportion of recreational scuba too, but if you’re planning on deeper dives you may want to stick with the earlier version.

Wider, more even and daylight-balanced light

On the inside, everything is new. The battery, LED and optics have all been replaced, and while it still has a light output of 1,500 lumens (750 lux at 1m), the Lume Cube 2.0 now has a 5600k daylight color temperature, down from the 6000-6500k of its predecessor.

At the same time, the quality of its light has improved, with a Color Rendering Index score of 95. The Lume Cube 2’s new lens is also less prone to hot spots, and has a wider 80-degree coverage, up from its predecessor’s 60-degree beam angle.

Here’s a view from the rear, with the Lume Cube on its optional ball head mount atop my personal Pentax K-3. This mount is much better than the basic one included in some kits, as it lets you aim the light in almost any direction.

Smarter firmware and new features

The Lume Cube 2.0 has also received some smart updates in the firmware department. Perhaps most importantly, it now requires a three-second long press of the power button to switch on. This ensures that unlike its predecessor, it won’t switch itself on in your camera bag and drain its battery right before it’s needed.

The new firmware also allows brightness to be adjusted in either direction using the Lume Cube 2.0’s physical controls, unlike the original version which could only increase brightness to its maximum before looping back around to its minimum brightness setting on the next step.

And a new mode accessed with a long press of both buttons at once allows a much narrower 1-10% brightness range with a more precise 1% step size, rather than the full range in 10% steps as is the default. It’s handy if you’re shooting long exposures but still need just a little illumination.

Same accessories and mounting system, but now it’s in the bundle

A wide selection of filters and accessories can be attached to the Lume Cube 2.0 using the exact same modification frame attachment as before, allowing owners of the original Lume Cube to upgrade their lights or add new ones while keeping the rest of their gear.

A wide variety of optional mounts are available, including this spring-loaded smartphone clip ($ 20) to which I’ve attached the ball head and a Lume Cube 2.0 with bulb diffuser.

The frame itself now ships even in the base product bundle along with a pair of warming and light diffusion filters. Each of these uses name-brand LEE filter materials from the company’s LED-specific Zircon line. The level three warming filter drops the color temperature to 4,500 kelvin, and the diffusion filter is the lowest strength available.

Incredibly portable yet decent battery life too

The Lume Cube 2.0 is very solidly built, with not a hint of creak or flex anywhere. It’s also impressively small. Even with a modification frame attached it’d fit in looser pants pockets, and you could easily bring two or three in a jacket pocket and almost forget they were there until you needed them.

Given the compact size and relatively powerful output, I was really impressed by battery life, which is a huge improvement on the previous iteration’s 25 minutes. At 100% brightness, I could manage anywhere from 62 to 90 minutes on a charge, depending on whether or not Bluetooth was enabled, meeting the manufacturer spec precisely.

Battery life impresses, and you can charge the lights while using them

And by dropping to 50% brightness, I managed an average of three hours, 38 minutes per charge with Bluetooth active. That absolutely demolishes not only the original Lume Cube’s runtime, but also the spec sheet, which promises only 2.5 hours!

I must say it surprised me that controlling the lights via Bluetooth decreased the battery life as much as it did, though. The good news is that the Bluetooth radio does eventually go to sleep if the light is left inactive for a while. Once fully asleep, it needs to be woken back up with a physical button press before it’ll respond via Bluetooth again.

Fast charging requires a fast, modern USB-C charger and cable

The only place I didn’t come near the manufacturer spec was recharging. Lume Cube’s documentation promises around 45-60 minutes for a full charge, but using the supplied USB-C to USB-A cable and a wide variety of different chargers capable of up to a maximum of 18 watts per port, I was never able to recharge in less than two hours, 49 minutes.

I used three Lume Cubes for this shot. One was unfiltered on a mini-tripod near the bottom front of the cage, and another with bulb diffuser was pointed straight down from a bit above and in front of the birds. Finally, a third was just out of frame right and, in turn, was aimed to bounce off a small folding reflector just out of frame left.

To get near the claimed time you’ll likely need a recent, high-powered USB-C charger with Power Delivery support, as intended for charging laptops and the like, plus a Power Delivery-compatible USB-C to C cable. Unfortunately, I haven’t one to test with myself to confirm the claimed charging time.

Recharge and use your lights at the same time

The good news is that you can charge and use the lights at the same time if you’re within reach of a power outlet. This can potentially extend run times a lot, especially if you can switch off entirely or dial the brightness down significantly while setting up and between groups of shots.

I did just that while working to get the shot of my pet parakeets above, avoiding having to stress the birds any more than was necessary.

Note, though, that it’s not recommended to go above brightness level 80 while also charging. This is likely due to heat concerns, as after extended periods at 100% power, the Lume Cubes can get uncomfortably hot to the touch even without charging at the same time. (Not enough to burn instantly, but enough that you couldn’t persuade me to hold my finger on it.)

So long as you’re not in direct sunlight, the Lume Cube 2.0 is sufficiently bright for daytime use at shorter distances. Compared to the unlit shot (left), a Lume Cube at arm’s length (right) not only fills in shadows, but is strong enough to cast its own.

Best for smaller subjects or in lower ambient light

The Lume Cubes’ small size is great in terms of portability, but it comes at the expense of daytime usability. For what they are, these are pretty powerful lights but they’re simply no match for full sunlight, where they struggle to fill in shadows even at full power from just a couple of feet away.

A small reflector would be a better choice here, using the sun’s own power to provide light where it’s needed. In full shade or even indirect sunlight, though, even just a single Lume Cube can make quite a noticeable difference, so long as it can be kept fairly close to the subject.

That makes it quite well-suited to things like head-and-shoulders portraits, selfies and talking head video capture, and so on. And once you take the sun out of the equation, shooting indoors or at night the Lume Cubes really shine, if you’ll pardon the pun.

This image required just a single Lume Cube. I positioned the camera directly above the cash, then put a sheet of glass at a 45-degree angle in between. I bounced the light from a single unfiltered Lume Cube off this, and shielded the subject from direct lighting.

Up next, let’s take a look at the Lume Cube 2.0’s accessory mounting system, and its Android / iOS app experience, before wrapping up with a final conclusion.

Articles: Digital Photography Review (dpreview.com)

 
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A Look at the Fujifilm X100V in Action for Street Photography (video)

14 Mar

The post A Look at the Fujifilm X100V in Action for Street Photography (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Moment, Taylor takes the puts the new Fujifilm X100V in action on the streets to see how well it performs.

For street photography, the camera is the perfect size and weight to carry with you anywhere you go. The flip screen allows you to shoot from the hip – which is a great advantage when shooting street photography less obtrusively.

The fixed 23mm lens on an APS-C sensor is the equivalent of a 35mm lens on a full-frame camera.

Also, the famous Fujifilm film simulations are another great feature of this little camera.

So check out some of the images that come from this camera.

You may also like:

  • Your Guide to the Fujifilm JPG Film Simulations (with Sample Images)
  • 1 Year with the Fujifilm X-T3 – Was It Worth Buying?
  • Best Fujifilm X-Series Kit for Urban Portraits
  • The Fujifilm X-Pro 3: Marvellous or Mistake?
  • The Best Fujifilm X-Series Kits for Travel Photography
  • Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You?
  • Street Portraits vs Street Photography: What is the Difference?
  • The dPS Top Street Photography Tips of 2018
  • How to Avoid Distracting Backgrounds in Street Photography

Have you got your hands on this camera yet? If so, share your thoughts with us in the comments.

The post A Look at the Fujifilm X100V in Action for Street Photography (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Canon confirms the EOS R5 will capture internal 8K/30p video, offer ‘advanced animal AF’

14 Mar

In an uncharacteristic move, Canon Australia has published a press release revealing a number of new details pertaining to the specifications of its upcoming EOS R5 mirrorless camera, in what appears to be an effort to quiet the ongoing speculation regarding what ‘8K’ capabilities the camera will offer. Spoiler alert: Canon’s video-limiting days may be over.

Canon confirms in the press release the EOS R5 will offer 8K internal video recording using the full width of the sensor at up to 30 frames per second (fps). In addition to no crop shooting, Canon notes all 8k modes for the EOS R5 will support Canon’s Dual Pixel CMOS AF technology.

Canon also says the R5 will support ‘advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible.’

Historically, Canon has been suspected to limit the video capabilities of its non-cinema camera products in order to minimize cannibalization, a name given to the problem of losing sales within a company’s own product lineup by putting what’s considered premium features and capabilities in lower-cost products.

These new details don’t confirm Canon has taken an entirely altruistic approach to its EOS R camera development, but it does show Canon is getting serious about video in its mirrorless lineup and is determined to make a statement in the market compared to the likes of the Sony’s a7 III and Nikon’s Z7, two full-frame mirrorless cameras that have, until now, been above and beyond what Canon has offered with its EOS R and RP mirrorless cameras.

Sydney, AUSTRALIA, 13th March 2020: Canon INC has today released further development specifications for its recently announced Canon EOS R5, the next-generation full-frame interchangeable lens camera in the company’s EOS R System. These additional details come exactly one month since Canon released the development announcement of the EOS R5 and shut down speculation that some of its revolutionary specifications are ‘a fantasy’.

Signalling a new phase of Canon 5-Series imaging and a revolution in the mirrorless full camera category, Canon’s EOS R5 will offer every photographer – not just professionals – access to high-quality imaging, cutting-edge 8K movie recording, new approaches to in-body image stabilisation, and revolutionary subject detection and tracking performance features.

New possibilities for movie performance
Unleashing new possibilities, Canon Inc. confirms the EOS R5’s video capabilities will exceed that of competing cameras on the market1. With its ability to internally record 8K using the full width of the sensor at up to 30p, the latest Canon EOS R camera is set to redefine mirrorless with its market-leading features. In addition, in all 8K modes the EOS R5 will support Canon’s renowned Dual Pixel CMOS AF.

A beast for subject detection and tracking performance for animals and people
Canon Inc. also confirms the EOS R5 supports advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible.

Jason McLean, Director – Consumer Imaging & Services, Canon Australia, said: “Our EOS 5-Series was developed fifteen years ago to make full-frame cameras accessible to consumers, not just professional shooters. Today, that purpose remains steadfast as we continue achieving the ‘impossible’ to deliver the hybrid needs of content creators who are demanding uncompromised performance to generate more still and motion visual content than ever before.”

“With its game changing 8K movie capabilities, new approaches to image stabilisation, revolutionary subject detection, and compatibility with Canon’s full suite of EF2 and RF lenses, the EOS R5 represents a category revolution as opposed to product evolution in the interchangeable-lens camera market.”

The EOS R5 specifications previously confirmed by Canon include:
• The EOS R5 offers a step-change in performance with an incredible 12fps using the mechanical shutter and the electronic shutter offering 20fps
• The EOS R5 takes Canon’s cutting-edge image stabilisation technology to the next level, by including a newly Canon-developed, in-camera image stabilisation system – which works in combination with the lens stabilisation system
• With content delivery just as important as image and video capture, the EOS R5 supports automatic transfer of image files from the device to the image.canon cloud platform3
• The highly anticipated EOS R5 will feature dual card slots
• Upon launch, the Canon EOS R5 will also be supported by Canon Australia’s 5-year warranty when purchased from an authorised local dealer4.

To stay up to date with the latest news and information regarding the EOS R5, register here: www.canon.com.au/preference-and-settings/in-focus.

1 As of 13th March 2020
2 When used with Canon’s EF-Series lens mount
3 Automatic file transferring, available for cameras equipped with the automatic file transfer function, beginning with the currently-in-development EOS R5 (announced on 13 February 2020), requires users to connect the camera to a Wi-Fi access point that has been registered in advance
4 For full details on Canon Australia’s 5 year warranty, visit https://www.canon.com.au/support/warranty

Articles: Digital Photography Review (dpreview.com)

 
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Video: Fotodiox tutorial transforms portable scanner into a 4×5 digital camera back

14 Mar

Photography gear company Fotodiox has published a new video showing viewers how to turn a portable scanner into a 4×5 digital scanner back for use with large format cameras. The video tutorial is based on a concept published by Randy Sarafan on Instructables.

In Fotodiox’s version of the project, the team uses a Flip-Pal Mobile Scanner, which costs around $ 180 on Amazon; other models could also be used, video host Sean notes in the tutorial. The scanner is paired with a CameraDactyl 4×5 camera ($ 200) and a 5×7 Fresnel sheet ($ 5).

Sean notes that the digital back cannot provide the same level of quality as 4×5 film, but he says that it’s ‘such a cool idea, I had to try it.’

The project kicks off with Sean grinding the scanner’s glass using 600 grit silicon carbide and a small piece of glass. This transforms the panel into ground glass, which is then paired with the sheet of Fresnel glass for more even light distribution. The ground glass is reattached to the projector and the Fresnel is attached to it using ordinary duct tape.

The camera was then duct-taped to the projector, as well, with Sean noting that he used the CameraDactyl model partly because it is very lightweight.

After opening the aperture and focusing the image, Sean covered the back of the camera with a dark object to keep light out, then hit the ‘scan’ button on the digital back. The scanning process took about 20 seconds and the result was a ‘4×5 film look’ from a digital scanner.

As far as downsides go, Sean notes that this scanner arrangement can’t capture color images and that the image is captured off the ground glass, which means the texture from the glass results in grainy images. Photographers may also have to deal with scan lines in some images.

Ultimately, though, Sean explains: ‘I get a really shallow depth of field. It just has this really nice vintage 4×5 film look.’

Articles: Digital Photography Review (dpreview.com)

 
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Video: Ferrari sports cars, Formula 1 cars captured on-track with a Super 8 cameras from the 1960s

12 Mar

Nick Shirrell, a motorsport filmmaker known for using old school film cameras to capture auto races, recently received an invitation from Ferrari to travel to Italy and film a race using 50-year-old Super 8 cameras with 8mm film. The result is a 10-minute video featuring a retro production style and classic voiceover narration that recently went viral on the /r/Formula1 subreddit.

DPReview spoke with Shirrell to ask about his experience with Ferrari and the gear he used to capture the race, as well as the events that led up to this moment. The project wouldn’t have been possible without support from Reddit, according to Shirrell, who explained that his first Super 8 race video went viral on the /r/cars subreddit, resulting in articles from publications like Jalopnik and, eventually, a private message from Ferrari.

Following the initial video, Shirrell filmed an IndyCar video at Road America, which likewise was popular on Reddit and with automotive media. He explains:

‘Not long after the IndyCar video went viral, I got DM’d on my Instagram by Ferrari asking if I’d like to talk to them about doing some filming. Little did I know the phone call that would follow would be an invitation to Italy to make the great film released this week! Ferrari was amazing to work with and they made it clear they wanted no hand in the creative process or in the final content, they only wanted to enable me to create something amazing and give me the opportunity to do what I do with these films.’

Shirrell used a variety of gear to capture the race, including three Super8 cameras: a 1966 Canon 814, 1968 Canon 1218 and a 1971 Beaulieu 4008 ZM2 with Kodak Vision3 50D and 200T motion picture film stock. These models were joined by a RadioShack-brand Realistic 14-1029 handheld mini-cassette recorder featuring a Smith-Victor supercardiod condenser shotgun microphone.

Shirrell said his narrator Alan Baxter used a modern microphone to record the voiceover, which was later edited using software. As well, he relied on the natural lighting available at the filming locations. Shirrell explained:

‘For post-processing the voiceover audio, I use EQ and distortion filters within Adobe Premiere Pro to mimic the sound of an older microphone recording onto tape as accurately as I can. For ambient track sounds of V10s, Challenge cars, etc recorded onto mini-cassettes the old fashioned way I didn’t have to add any filtering.’

As for processing the film, he said:

‘I do develop my own 35mm and medium format still photos with C-41, E-6, and black and white chemicals, but for a professional project like for Ferrari I didn’t trust myself to not ruin the film on my first ever attempt at developing 8mm. 8mm is challenging to develop because it’s 50 feet long and very small and fiddly compared to a roll of 35mm or 120 film that is 4-6 feet in length.’

This isn’t the end for Shirrell, who has plans for other projects involving his retro equipment:

‘For what I want to shoot next, I’d love the opportunity to film Formula 1 if the opportunity presents itself, but I also have ideas for shooting drag racing, rally, and other motorsports.’

Shirrell’s work can be found on his YouTube account and on Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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The Fujifilm X-T4 is a portable, powerful 4K video rig

11 Mar

I recently had an opportunity to shoot a short video while on vacation in New York, so decided to take the X-T4 with me. It’s a pre-production unit but one we’ve been told is close enough to final spec that we can show the video from it, so it seemed like a chance to put in some hours on the camera as we await a fully reviewable model.

I don’t regret that choice. Traveling for four days to a considerably colder city meant my carry-on luggage was already full, so any camera gear I wanted to take needed to fit under the seat in front of me on the plane. I’m 1.85m (6’1″) tall, so I’m already a bit pressed for legroom on US domestic flights, but I was able to fit the camera, a lens, my laptop and an SSD in a small, slim camera bag – everything I need to shoot and edit – and slot it vertically between my feet.

I was able to fit the camera, a lens, my laptop and an SSD under the seat in front of me on the plane

Much as I was impressed by the Panasonic S1H, I couldn’t have fitted it in my bag: not with an appropriately flexible lens. The same is true of the X-T3: adding either a tripod or a gimbal would have meant paying bag fees on my trip.

The camera, lens, mics, filters, SSD and laptop all fitted in a small, under-seat camera bag

In general, the footage lives up to the standard I’ve come to expect from the X-T3: very, very good. I shot the whole video in a combination of Eterna or F-Log, for the higher contrast scenes, safe in the knowledge that I had Fujifilm’s F-Log-to-Eterna LUT saved on my laptop to get a good color match with minimal effort.

The shoot itself went pretty smoothly, with no temperature concerns (no single clip is longer than 10 minutes but I shot around 30 minutes of footage essentially back-to-back). I remembered to pack the headphone dongle, so was able to monitor the audio, meaning I noticed when interference between the radio mic’s transmitter and receiver threatened to interrupt the interview recording.

With the ability to capture 10-bit footage internally and less need for a tripod or gimbal, the X-T4 ends up being a pretty self-contained video package.

The camera’s stabilization is really rather good, too. There’s none of the ‘grabbiness’ that was apparent the last time I shot with the X-H1, and it was my lack of technique, rather than the camera, that undermined some of the movement in the final video. At least on the pre-production camera, I didn’t see an appreciable improvement in the IS when I switched the ‘Boost’ mode on. Here I’d expect the camera to try more vigorously to maintain the original framing, but I found any difference hard to notice. I’ll try Boost IS again with ‘In-body + Digital IS’ on a future project.

Assessing exposure

One big thing I did notice, though: a camera that shoots video this good really needs better exposure tools. It’s got zebras, to let you interpret when things are clipped or near clipping, but not much more than that. With a bit of fiddling you can set them to check skin tones or a grey card but they can’t be set below 50%, and in F-Log mode your middle grey is supposed to be below 50%. Still, the new F-Log Assist function meant I was able to make a reasonable assessment by ‘eyeing’ the corrected preview, which was hugely useful. Having got used to using waveforms on the GH5S and S1H, I found myself really missing them here.

Similarly, I found myself wanting the ‘shutter angle’ option from those cameras. Having to manually navigate from 1/48 sec shutter speed to 1/120 sec every time I switched from 24p to 60p shooting was an extra step that I wouldn’t have to make on the Panasonics. And an extra opportunity to get something wrong.

I was only shooting video on this occasion, but that dedicated stills/movie switch helps de-clutter the menus, whichever mode you’re using, which made the camera faster to operate.

As I always try to make clear, I’m learning as I go along, and this inevitably means making mistakes. Perhaps the most important lesson I learned on this project was to bring more memory cards than you think you need. I thought a 64GB card would be sufficient for a two minute video, but then decided to shoot the interviews from two different angles, doubling data requirements.

Perhaps the most important lesson I learned on this project was to bring more memory cards than you think you need

It was enough to force me to drop down to use the camera’s 200 mbps Long-GOP compression, rather than the maximum 400 mbps ALL-I mode. Apparently the difference is enough that you can begin to risk macro-blocking compression artifacts in high data scenes (F-Log scenes with finely textured suiting are more data-intensive than I realized).

One of these days I’ll get everything right. One of these days I’ll even remember to capture some ‘room tone’ to plug the gaps in between subjects talking. But for now I’ll keep enjoying the learning journey – a journey on which the X-T4 makes for a supportive traveling companion. I certainly look forward to having it with me on my next trip.

Articles: Digital Photography Review (dpreview.com)

 
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8 Important Composition Tips for Better Photos (video)

07 Mar

The post 8 Important Composition Tips for Better Photos (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Jamie Windsor, he explores composition tips for better photos.

As Jamie states in his video, sometimes a new photographer can be overwhelmed by all the so-called “rules” of photography. Those, such as the rule of thirds, Fibonacci spiral, and the phi grid. Jamie breaks it down for you, using some classic images by renowned photographers, such as Annie Leibovitz, Sally Mann, Steve McCurry, and Bruce Gilden as examples. While this helps to visualize the points that he is making, it is also great to see many of these fantastic images.

  1. Get your position right
  2. Use your phone to practice composition
  3. Beware the Rule of Thirds
  4. Squint or blur your eyes
  5. Think conceptually as well as aesthetically
  6. Keep it simple
  7. Keep the edges clean
  8. Work in post-processing

You may also like:

  • How to Use Radial Composition in Photography to Create Awesome Images!
  • Four Rules of Photographic Composition
  • Composition Checklist for Beginners
  • 4 of the Most Common Composition Mistakes In Photography
  • How to Make Brilliant Black and White Photos with Dramatic Composition
  • The S-Curve: A Landscape Photography Composition Technique
  • How to Break the Rules with a Central Composition

The post 8 Important Composition Tips for Better Photos (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Video: Olympus shows off incredible photos from its 150-400mm F4.5 lens, hint at further lens developments

06 Mar

CP+ might’ve been cancelled due to COVID-19 concerns, but Olympus has improvised and shared its presentation on YouTube instead. The 44-minute video covers a variety of topics, but two specific moments stand out.

The first is a demonstration Olympus shared showing just how much zoom you can get out of the Olympus 150–400mm F4.5 lens. One demonstration, seen in the above screenshot from the video, shows a photograph captured with the sun setting over Mount Fuji, captured a ridiculous 67km (42 miles) away, at Olympus’ Ishikawa facility. To capture the shot, Olympus used the 1.25x converter inside the lens as well as the MC-20 2x converter to achieve a 2000mm (35mm equivalent) focal length.

A screenshot from the presentation contextualizing just how far away the photograph and timelapse images were captured from.

The next demonstration with the lens was a hand-held shot of the moon, seen in the below screenshot from the video, captured with the exact same camera setup.

In addition to both images, Olympus also shows a short timelapse video of the sunset over Mount Fuji (the section on the 150–400mm F4.5 lens starts at roughly 36:00).

The above captions in the image are auto-translated via YouTube.

Olympus representatives also note later on in the video that more lenses are in development. However, no further information was given.

Articles: Digital Photography Review (dpreview.com)

 
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How to Elevate Your Photography Portfolio With Video Collage Creation in SmartSHOW 3D

05 Mar

When it comes to photography software, the most common names that come up are Adobe Lightroom, which is often used to work with RAW images, and Adobe Photoshop, which is often used to perform retouching tasks like smoothing out skin, removing blemishes, and fixing exposure. While these programs are fantastic for the editing process, photographers tend to be left to Continue Reading

The post How to Elevate Your Photography Portfolio With Video Collage Creation in SmartSHOW 3D appeared first on Photodoto.


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Video: Lensrentals announces it’s hit the 1,000,000 order milestone, shares the history of the company

03 Mar

Lensrentals has announced it’s shipped its one millionth order, an incredible feat that took just 13 years to achieve after Lensrentals founder, Roger Cicala, decided to rent out gear to sustain his photography hobby.

To celebrate the occasion, Lensrentals shared the above video, an accompanying blog post and shared a 45-minute podcast episode (Apple Podcasts, Spotify, Google Podcasts, YouTube) that goes into the history of the company and the work it took to hit the monumental milestone.

If you can find the time, be sure to read, watch and listen to the history of Lensrentals to see how Roger and his team have crafted an incredible success story in an industry that continues to struggle. And, of course, from all of us here at DPReview, congratulations to Roger and team for the monumental achievement. We look forward to many more humor-riddled teardowns.

Articles: Digital Photography Review (dpreview.com)

 
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