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Posts Tagged ‘Video’

ISO Has NOTHING To Do With Exposure! What?! (video)

29 Feb

The post ISO Has NOTHING To Do With Exposure! What?! (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Off the back of one of our previously published articles about the exposure triangle, one of our readers shared his video with us stating that ISO has NOTHING to do with exposure! So technically, does it belong in the “Exposure” Triangle?

What? I hear you say.

Well, check out this video from dPS reader, Chris Lee, aka pal2tech.

?

Chris states that ISO has nothing to do with the light hitting the sensor. It is, instead, “amplifying the electrical charge in the sensor’s photosites…each photosite then sends the electrical charge into the camera’s analog to digital converter, which then turns the voltage into a digital value.”

What? I still hear you say?

Also, Chris states that ISO does not create “noise” but only amplifies what is already there in the image. Phew.

Just watch the video. It makes way more sense, and it has good humor!

Thanks, Chris.

We’d love to hear your thoughts on this. Please share them with us in the comments below.

You may also like:

  • What Your Camera Can’t See
  • Your Camera’s Metering System Explained
  • Image Resolution Explained – Seeing the Big Picture
  • RAW Files: Digital Manifestations of the Emperor’s New Clothes
  • Color Management Can Be Easy
  • Understanding the Basics of Color

The post ISO Has NOTHING To Do With Exposure! What?! (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Video: Three types of photographers, illustrated by the ‘The Grand Tour’ trio

28 Feb

During an episode in season three of The Grand Tour, hosts Jeremy Clarkson, Richard Hammond and James May take a moment to sit down and discuss the photography equipment they plan to bring to photograph wildlife in Columbia.

The exchange from the trio is right on course with what you’d expect from Jeremy, Richard and James, if you know them from their Top Gear days; the guys poke fun at three different kinds of photographers and the gear they bring along for photoshoots in a way only they can.

Richard opts for the full suite of Canon prime lenses and camera bodies, complete with strobes, filters, a ThinkTank photo belt and BlackRapid camera strap to carry it all. Jeremy, on the other hand, keeps it simple with what appears to be a Canon 5DS R attached to an EF 600mm f/4L IS II. James eschews the weight and debate by further streamlining his gear with a single Canon PowerShot G9 X Mark II.

All in all, the two-minute segment makes for a few good laughs.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Making cyanotype prints from 120-year-old glass negatives found inside a time capsule

26 Feb

Photographer, YouTuber and self-proclaimed weird lens aficionado Mathieu Stern is back at it again, this time with an interesting new video showing how he developed a number of 120-year-old photographs he found hidden within a time capsule in a family home.

In speaking with DPReview, Mathieu says he ‘found a box dating from around 1900 judging by the objects and the technic of the photos found inside.’ To help bring the negatives to life, Mathieu decided to develop the images using a time-appropriate method of making prints, cyanotype.

The six-minute video first walks through the discovery process of the time capsule and the items within. From there, Mathieu shows the process he used to create the cyanotype prints and concludes the video with an overview of all the images he found.

It’s an unassumingly touching video that shows how seemingly simple snapshots can oftentimes have some of the most profound emotions behind them.

You can find more of Mathieu’s work on his YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
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YouTuber uses AI to turn historic 1911 New York trip footage into colorized 4K/60p video

26 Feb

In 1911, Swedish company Svenska Biografteatern captured footage of a trip to New York, resulting in more than eight minutes of video that, in its original form, is quite low resolution with a low frame rate.

Various efforts over the years have attempted to improve the resolution, frame rate, colors and other details with different results, but one of the best edits thus far comes from Denis Shiryaev, who recently shared the edited video on Reddit.

According to the video’s description, as well as a comment left by Shiryaev on Reddit, the project involved four neural networks, including DeOldify. In all, the various neural networks managed to increase the framerate to 60 fps, increase the resolution to 4K, bump up sharpness and even colorize. This is one of multiple videos Shiryaev has upscaled and improved; other examples include a video from the Apollo mission and ‘Arrival of a Train at La Ciotat’ from 1896.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Mathieu Stern says LomoMod No.1 is the ‘worst camera’ he’s ever tested

24 Feb

Photographer Mathieu Stern, the creator of the Weird Lens Museum and unique DIY lenses like the ice lens, has published a review of Lomography’s LomoMod No.1 featuring the Liquid Lens. The review is not kind, with Stern stating bluntly that LomoMod No.1 is the ‘worst camera’ he has ever tested.

The LomoMod No.1 is a build-it-yourself medium format cardboard camera that features a unique liquid-filled lens. Photographers can inject their own preferred liquid into the lens, such as tea, in order to create the effects they’re seeking. The DIY nature of the camera makes it seem like it would be a good fit for Stern given his lens projects.

Stern explains that though he likes to create his own lenses, building the LomoMod No.1 was ‘not a fun moment,’ and that the entire process took around two hours because some of the pieces didn’t fit properly. Among other issues, Stern shows in the video that his cardboard camera’s back wouldn’t close properly.

He had more luck assembling a second camera kit but encountered other issues. In addition to producing poor image quality, the film advance wheel — which is made of cardboard — broke, leaving him unable to use the device. ‘I was really p*ssed for spending two hours building a camera and only [getting] 10 minutes [to use] it,’ Stern explains in the video.

The reviewer was able to replace the broken wheel with the wheel from the first camera kit, but it, too, broke in a short period of time. Ultimately, Stern explains that while he liked some of the images shot with the liquid lens, the camera itself was ‘one of the worst things I [have] ever used.’

Articles: Digital Photography Review (dpreview.com)

 
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Video: How Lewis Hine’s photos helped shed light on child labor in the US

24 Feb

As part of its ongoing series ‘Darkroom,’ Vox has published a video showing how the work of photographer Lewis Hine helped bring to light the injustice of child labor across the United States.

The roughly seven-minute video not only shows the meticulous work of Hine, but also contextualizes the significance of his photography, which was captured at a time when 1.75 million children aged 10–15 were at work in factories, mines, plantations and other dangerous work environments. In total, more than 5,000 photographs were captured, each of which is accompanied by a detailed caption of its subject(s).

It’s a brilliant breakdown and well worth a watch. You can find more videos from Vox’s ‘Darkroom’ series on Vox’s YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Photographer Sean Tucker on recoloring images using Photoshop

22 Feb

Photographer and filmmaker Sean Tucker has published a new video teaching viewers how to accurately recolor their images using Gradient Maps in Adobe Photoshop. The process involves selecting the objects to be recolored using the Pen Tool, then using the Gradient Maps to choose the target colors and transform the selections.

The new tutorial, which is approximately 20 minutes long, joins Tucker’s other videos, which include everything from discussions on ‘law and ethics in street photography’ to tutorials related to street photography, editing portraits in Photoshop, color grading footage and more.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Panasonic demonstrates viewfinder to correct color-blindness

20 Feb

Panasonic has developed a special electronic viewfinder that corrects color-blindness as part of a campaign to promote equality of vision. The viewfinder, built into a Lumix DC-G95, has adjusted color saturation and color-shifted pixels to enable color-blind people to see in the same way as those with regular vision.

The company, in partnership with Indian marketing company Dentsu Aegis Network, created the new viewfinder specifically to help Indian photographer Hizol Chodhury see colors accurately for the first time. Previously Chodhury had needed assistants to explain the hues he was looking at and to ensure colors were correct in his images, but the new viewfinder compensates for the chromatic defects in his vision so he can see color clearly – through the camera.

It isn’t clear exactly how this has been achieved, though we might assume his color vision was tested and the viewfinder designed to present more strongly the colors he has trouble seeing. The press release only mentions that they used a ‘Lumix camera fitted with a customized viewfinder that saturates and balances pixels to allow colorblind photographers to see colors just like everyone else.’

It is also unclear whether this technology will become more widely available in the future to help other color impaired people. Presumably, the degree of correction would vary person to person so the solution created for Chodhury probably wouldn’t suit everyone.

Press release:

This Republic Day, Panasonic Lumix and C Lab give #RightToColour by empowering Colourblind Photographers!

Celebrating India’s 71st Republic Day, Panasonic Lumix and C Lab, the entertainment and sports marketing arm of Dentsu Aegis Network India has empowered colourblind photographers with the #RightToColour through a specially designed viewfinder lens that helps to saturate and balance colour. Bringing the gift of colour, the digital campaign #RightToColour aims to promote equality by making everyone able to experience colours in the same way.

About 300 million people worldwide and around 8% of the country’s population suffers from some degree of colour blindness and this impacts their everyday life depending on the severity. While somebody with normal vision can identify 150 hues, a colour blind aspirant can distinguish only as many as 20 hues. However, in recent times, technology has created innovations that can transform the everyday experiences of the physically challenged. The #RightToColour campaign showcases the struggles of colour blind photographers while narrating true life experiences of an Assam-based photographer, Hizol Chodhury who wishes to see his photographs as the world sees them. The film highlights how Hizol has to rely on his team for colour correction and saturation of his work and the challenges he faces in the personal and professional life. Panasonic Lumix and C Lab makes his wish come true by giving him the right to colour through a Lumix camera fitted with a customized viewfinder that saturates and balances pixels to allow colourblind photographers to see colours just like everyone else. The film captures the sheer happiness and confidence that this innovation has given Hizol, as he feels connected to his work like never before.

Talking about the campaign, Shirish Agarwal, Head, Brand and Marketing Communications, Panasonic India said, “Nearly 8% of people in India suffer from some degree of colour-blindness, there only dream is to be able to see the world as we all see it. Through this campaign we wanted to bring alive the spirit of Republic Day by enabling those affected with the right to colours. Technology has always been at the core of our business and #RightToColour serves as a remarkable example of how innovative solutions can improve the lives of our customers.”

Haresh Nayak, Group MD, Posterscope – South Asia said, “At C Lab we believe in creating solutions that enhance a consumer’s experience and subsequently, their lives. This builds brand advocacy and loyalty. Every time we work on a project, we are enthralled to see how technology is bringing solutions that one could only dream of. Our effort to bring colour back into the lives of colourblind photographers is an example of what technology can do.”

Adding to this Gurbaksh Singh, Chief Creative Technologist, Dentsu Webchutney said, “We researched around the deficiency and found a simple solution to solve this problem – a special viewfinder for the camera. This allows a colourblind photographer to see the frame in rich vibrant colours before the shot is captured, subsequently boosting the confidence to capture the subject being photographed. There’s a huge community of colourblind photographers in India and this technology is a testament to their dedication and passion.”

Talking about the Lumix, Sandeep Sehgal, Business Chief, Imaging Business Group, Panasonic India & SAARC said, “Lumix as a brand celebrates photography as a medium to enable both the photographer and the subject to break away from any limitation and express themselves freely. Through this campaign, we are delighted to bring the gift of colour to colour-blind photographers. We are committed to making a difference by empowering people through our technologically advanced offerings and this is a testament to the same.”

Articles: Digital Photography Review (dpreview.com)

 
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The Canon Rebel T8i/850D Revealed With 7 FPS Shooting and 4K Video

18 Feb

The post The Canon Rebel T8i/850D Revealed With 7 FPS Shooting and 4K Video appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

canon-rebel-t8i-revealed

 

Canon hasn’t given up on its DSLRs yet.

While we’ve seen the imaging giant shift its resources to mirrorless tech in recent years, it seems that Canon still plans to keep its DSLR lineup going.

At least for a little while.

Because the Canon Rebel T8i, also known as the Canon EOS 850D, was announced just days ago, along with specifications that give us a good idea of what the camera will offer and who it’s for.

If you’re an entry-level Canon DSLR shooter or a vlogger, then the T8i looks to be a fine (though not thrilling) option. You get an APS-C, 24.1-megapixel sensor with the potential to shoot up to ISO 25600 (ISO 51200 when expanded). You also get a DIGIC 8 processor, 7 frames-per-second continuous shooting, a 45-point AF system, and 4K/24p video.

Those familiar with the T7i/EOS 800D will undoubtedly notice the lack of major differences between the T8i and the T7i, because it seems that Canon went for a minor set of changes rather than a moderate upgrade.

That said, three key differences are:

  • 7 frames-per-second shooting (7.5 fps in Live View) versus 6 frames-per-second shooting in the T7i
  • A new processor (DIGIC 8 versus the T7i’s DIGIC 7). This is responsible for the improved continuous shooting speed.
  • 4k video

Probably the biggest among these changes is the added 4K video, as many reviewers lamented its lack of inclusion in the T7i. But the T8i’s 4K video comes with a big qualification: Canon’s fantastic Dual Pixel autofocus, which performs extraordinarily well in Live View, won’t work. Instead, you must shoot at 1080p for access to Dual Pixel AF; otherwise, you’re stuck with contrast-detection AF, a system that’s historically much slower than its Dual Pixel counterpart.

In terms of image quality, we can expect something very similar to the T7i, which performed well but hardly managed to astonish. And while the 24-megapixel count is enough for most enthusiasts, I can’t help but wish Canon had pushed the T8i a bit further. We know that they can, having seen the 32.5 MP resolution capabilities produced by the APS-C Canon 90D.

As for speed, the extra frame per second probably won’t matter much to the average user of this camera. Either you’re doing more serious action work, in which case a frame-per-second more can be the difference between a failed shot and a nailed shot, or you’re an entry-level consumer or enthusiast in this camera’s target market, in which case the minor speed upgrade doesn’t matter much.

While the Canon Rebel T8i doesn’t yet have a release date, the camera should drop for $ 900 (including an 18-55mm kit lens), or $ 750 USD (body only).

So what do you think of the new Canon Rebel T8i/850D? Are you satisfied? Were you hoping for something more? Or do you want Canon to focus entirely on mirrorless? Share your thoughts in the comments!

The post The Canon Rebel T8i/850D Revealed With 7 FPS Shooting and 4K Video appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Video: How much does an anti-aliasing filter affect image quality?

16 Feb

Some digital cameras currently on the market don’t have a traditional optical low pass filter (OLPF), or anti-aliasing feature, in front of the sensor. Manufacturers claim this makes images sharper though it comes with an increase in moiré patterns. Does this significantly affect image quality? New Zealand-based wedding photographer Richard Wong wanted to find out. In the video, above, he displays side-by-side comparisons of images taken with similar full-frame mirrorless cameras. One has an anti-aliasing filter while the other leaves it out.

By zooming in on images taken with a Panasonic S1, which leaves the anti-aliasing filter out, and a Panasonic S1H, which contains an OLPF, Wong illustrates some subtle differences. Both cameras boast a 24MP sensor and photos were captured with the same lens, a Lumix S 24-105mm f/4, with an aperture setting of f/8. While it might be easy enough to correct minor flaws in the post-production process for photos, it gets a bit more complicated with video.

Even when zooming in 200%, it’s difficult to tell the difference between the images taken with the two different cameras.

“If there are two cameras out there that are pretty much identical, and the only difference is that one camera doesn’t have the anti-aliasing filter and one has it, if you want to maximize the image sharpness and don’t worry too much about moiré patterns, then definitely go for the camera that doesn’t have the anti-aliasing filter because that will give you the best image sharpness,” explains Wong.

“On the other hand, as you can see from the comparison photo, even when I zoom in and look at the photo side-by-side at 100% zoom level, I can’t really tell the difference,” Wong continues. “I have to zoom in to 200% or 400% before I can actually see the difference between the two photos.”

By zooming in 400% to 800%, differences become more defined. You can see discoloration or false colors on the balcony with the S1 while the S1H is slightly more blurry in the details.

One final note: Wong recommends you watch this comparison video from a full screen instead of a smartphone to see the subtle differences. What do you think? Would it be worth upgrading to a camera like the S1H, which contains an anti-aliasing filter, if you were using it for video as well?

Articles: Digital Photography Review (dpreview.com)

 
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