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Posts Tagged ‘Video’

Video: Adobe teases Advance Color Grading tool coming to ACR, Lightroom and Lightroom Classic

28 Sep

Adobe has announced a new Advanced Color Grading feature will soon be available inside Adobe Camera Raw, Lightroom and Lightroom Classic.

The new Color Grading panel is inspired by the Lumetri Color panel used in Adobe’s Premiere Pro video editing software and replaces the previous Split Toning panel. Unlike Split Toning, which only allows you to adjust the highlights and shadows, the new Color Grading panel takes it one step further, allowing you to also adjust the coloring of the midtones.

In addition to adding midtones, the panel is also redesigned. It now uses a three-wheel system, not unlike the color wheels often seen in professional video editing programs. Each wheel works alongside a slider to provide complete HSL control for highlights, midtones and shadows. There’s also a global color wheel for more general adjustments, as well as a blending slider to help boost or reduce your adjustments, depending on the look you’re going for.

Adobe doesn’t mention when we can expect to see this filter in Adobe Camera Raw, Adobe Lightroom and Adobe Lightroom Classic, but does say it’ll be showing off more of this new panel at this year’s virtual Adobe Max conference, which is taking place on October 20–22.

Articles: Digital Photography Review (dpreview.com)

 
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Video: How Kodak became yet another victim of the juggernaut of changing technology

27 Sep

The Eastman Kodak Company, better known as Kodak, was co-founded by George Eastman and Henry A. Strong way back in 1888. In the more than 130 years since, the company has been through a lot. It once was a dominant force in the photography industry, at times being almost as synonymous with photography as the Apple iPod once was with respect to music. For all but the youngest in society, we have all heard the phrase, ‘Kodak moment.’

However, with the advent of digital photography, Kodak began to lose its place at the forefront of photography. Interestingly, Kodak itself patented the first handheld digital camera in 1978, eventually shelving the product in order to better preserve its film business. With the benefit of hindsight, we can see that Kodak created its own demise a few decades in advance.

Believing in the long-term viability of a predominantly analog photography industry, Kodak missed critical opportunities to diversify, a mistake Fujifilm didn’t make, as is evidenced by the Japanese company’s impressive lineup of digital photography cameras and lenses.

Kodak’s meteoric rise to near-total market dominance and the precipitous fall from grace is a fascinating story. The Wall Street Journal recently produced a short documentary covering the story of Kodak, which can be viewed below. The video begins with the origins of the company before ramping up to Kodak’s prime and its eventual decline.

In Kodak’s heyday, the company focused on creating simple and easy-to-use still and video cameras for everyday people. This goal, one the company had long met successfully, resulted in Kodak employing more than 145,000 people in 1988. It was Kodak’s best-ever year. At the time, Fujifilm was the biggest threat to Kodak’s business. In 1989, Fujifilm managed to capture an 11% share of the U.S. film market. The next few years saw Kodak’s position of power further eroded, and the company brought in a new CEO from outside in an attempt to right the slowly sinking ship.

Kodak’s digital camera shipments in the United States from 2008 through 2011. Image credit: The Wall Street Journal. Data credit: IDC.

Losses continued to pile up and jobs were cut as Kodak moved to a new CEO at the turn of the 21st century. Kodak continued to produce new digital photography product and jumped into new product sectors, such as printers, but Kodak was fighting a losing battle. The advent of smartphone photography added further difficulties for Kodak, as no longer were consumers as inclined to buy a dedicated camera to capture life’s most important moments. No longer was there a desire to create ‘Kodak moments.’

Kodak’s stock prices have trended very downward since 2014. Image credit: Wall Street Journal. Data credit: Factset.

Eventually, the financial challenges became too great and Kodak shuttered its camera business and filed for bankruptcy in 2012. However, the story of Kodak didn’t end there. Desperate times call for desperate measures. Kodak began licensing its very identity, resulting in the Kodak name being plastered on many different products. Kodak even made a cryptocurrency in 2018. However, its stock price kept falling.

With the ongoing coronavirus pandemic, Kodak found a new opportunity to pivot. On July 28, President Trump announced Kodak would receive a $ 765M government loan under the Defense Production Act. Kodak, a company long known for producing products using its chemical expertise, is poised to move into pharmaceuticals. Trump’s announcement sent Kodak stock skyrocketing. However, the deal is currently being held up as the US Securities and Exchange Commission (SEC) investigates the deal and Kodak itself for insider trading.

Kodak is far from the only company that has faltered in the digital age of photography. However, Kodak may be one of the most famous examples of how changing photographic technology can sink a company.

Articles: Digital Photography Review (dpreview.com)

 
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GoPro announces new HERO9 Black action cam with 5K30p video, Hypersmooth 3.0 and more

17 Sep

The GoPro HERO9 Black is here, with a tweaked design and improved specifications for getting more out of your action photos and video.

The new device retains an overall design similar to its HERO8 predecessor, but has a few new tricks up its sleeve. First off, the HERO9 Black is slightly wider — 4.7mm to be precise — than its HERO8 Black predecessor, likely due to the new front-facing live-view screen on the front of the action cam.

The HERO9 Black also features a removable wider-angle lens that can be swapped out for the new ‘Max Lens Mod’ that makes the field-of-view even wider for photos and videos (155º). When attached, the Max Lens Mod also offers GoPro’s Max Hypersmooth stabilization (limited to 2.7K60p), Max SuperView and Max Timewarp, which appear to be tweaked versions of the more standard versions, designed specifically with the wider-angle lens in mind.

Moving to the inside of the action cam, the HERO9 Black features a 20MP sensor that can video at 5K30p and 4K60p. GoPro is using its third-generation Hypersmooth 3.0 technology as well as improved versions of its Superphoto and HDR technology. Raw photo capture is still possible, as well as 1080p livestreaming, inclusion of data overlays in footage and plenty of slow-motion modes (1080p at 240 frames per second).

GoPro says the HERO9 Black will have 30% better battery life than the HERO8 Black and is waterproof down to 10m (33ft). The HERO9 Black is also compatible with over 40 of GoPro’s mods and accessories for decking out the camera to fit your photo and video needs.

The GoPro HERO9 Black is available today for $ 450 as a standalone purchase. If you purchase a year’s subscription to GoPro though — a subscription from GoPro that offers total camera replacement, unlimited cloud storage and discounts on gear — you can snag a HERO9 Black for $ 350.

The Max Lens Mod isn’t yet available for purchase, but the GoPro website says it will retail for $ 100 and offers an option to submit your email on the product page for more information when it becomes available.

Articles: Digital Photography Review (dpreview.com)

 
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Best video cameras for photographers

13 Sep

Most modern cameras will shoot video to one degree or another, but these are the ones we’d look at if you plan to shoot some video alongside your photos. We’ve chosen cameras that can take great photos and make it easy to get great looking video, rather than being the ones you’d choose as a committed videographer.


Focused on photos: Nikon Z6

The Nikon Z6 is an excellent stills camera that also does a good job of shooting video. The Sony a7 III is also a credible contender and has a bigger battery, but we tend to find the Nikon’s autofocus performs slightly better in video mode and that it offers better separation between stills and video settings, making it easier to jump back and forth between the two styles of shooting.

Another camera worth considering is the Canon EOS R6, which has great image and video quality, an excellent image stabilization system and very good ergonomics. Rolling shutter can be an issue though, and video record times can be unpredictable if you’re shooting stills as well.

A balance of both: Fujifilm X-T4

The Fujifilm X-T4 has a smaller sensor than the Nikon but offers a more extensive set of video features, if you’re equally interested in both disciplines. It can capture 10-bit video internally in a choice of modes including Log, HLG or the attractive and flexible ‘Eterna’ color profile. Built-in image stabilization and the option to totally de-couple stills and video settings make the X-T4 a great lightweight stills and video package.


We considered the cameras below when picking our winner, and even though we think the Nikon Z6 and Fujifilm X-T4 are the best choices overall, the cameras on our short list are also worth considering.

  • Focused on photos: Nikon Z6
  • A balance of both: Fujifilm X-T4

Also consider:

  • Canon EOS M6 II
  • Canon EOS R6
  • Olympus OM-D E-M5 III
  • Panasonic Lumix DC-G9
  • Sony a7 III
  • Sony a6600
  • Sony Cyber-shot DSC-RX10 IV
  • Sony Cyber-shot DSC-RX100 VII

Articles: Digital Photography Review (dpreview.com)

 
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Video: How to choose your focal length for landscape photography

06 Sep

Every landscape scene offers a collection of compositions just waiting to be framed by the proper focal length, but how do you choose what one to go with? While the answer will always be subjective, photographer Nigel Danson has shared a video showing how he goes about choosing the best focal length for certain scenes.

The video is a longer watch, coming in at just under 27-minutes, but through it, Danson explains how he chooses a specific focal length and shares example photos captured at different focal lengths to show what tends to work best with different lenses, from a 14mm ultra-wide-angle lens to a 200mm telephoto lens.

It’s a fantastic deep dive into the selection process for landscape photos and even Danson was surprised when he looked through what his most-used focal length was — 24mm. He notes this focal length is likely the most used due to it being difficult to capture portfolio-worthy shots at ultra-wide-angle focal lengths, leaving him ‘more disappointed than pleased,’ upon returning home to cull and edit the captured frames.

Despite his most-used focal length, Danson says his favorite focal lengths to shoot with are at either extreme — either ultra-wide or telephoto — due to the ability to ‘create something more dramatic […] and creative,’ despite it ‘not being easier.’

You can find more videos from Danson on his Youtube channel, follow him on Instagram and visit his website to view his portfolio of work and purchase his new 2021 calendar.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Do the Panasonic S5’s updated subject recognition and DFD improve autofocus in video?

04 Sep

The Panasonic S5 includes important upgrades to its autofocus system, but how much do those improvements extend to video? We put it to the test, shooting side-by-side against the S1H, to find out.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Articles: Digital Photography Review (dpreview.com)

 
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Video: A look at Yasuhara’s unique Nanoha macro lens with built-in LEDs

02 Sep

Photographer and YouTuber Arthur Reutov has published a new video showcasing the Nanoha Super Macro lens from Japanese company Yasuhara, which claims this product is the only microscopic lens available for cameras. The Nanoha is, as Reutov notes, quite unique in that not only is it a powerful macro lens, but it also features built-in LEDs for illuminating the subject.

The Yasuhara Nanoha is a 5x magnification macro lens designed for use with mirrorless cameras. The company says its lens is capable of microscopic imagery, enabling photographers to get unique up-close shots without using a microscope. The Nanoha name is inspired by the word nanometer, referencing the lens capabilities.

According to Yasuhara, the effective F-number for its Nanoha lens at 5x magnification is F11. The company says that its macro lens exceeds the brightness of the Canon MP-E65mm F2.8 macro lens, which has a magnification range from 1x to 5x. With Nanoha, the lens must be around 11mm (0.4in) from the subject in order to focus.

The most notable aspect of the lens is its integrated lighting system, which includes a battery, multiple LEDs, and a USB connector for recharging the battery. The inclusion of this lens light eliminates the need to use an external light, which could introduce shadows that are difficult to get around with such a minuscule focus distance.

Yasuhara provides a gallery of sample images captured with Nanoha, showing off what its lens is capable of. Here to provide a better look at the offering is Reutov, however, who presents the model, details its build quality and quickly goes through the lens features.

‘This is super crazy, unique, it is a lens unlike any I’ve ever used,’ Reutov said, demonstrating how he captures images with the Nanoha. The shallow focus distance means the lens must be placed flat on a surface above the subject in most cases, which is where the plastic housing and integrated LEDs come in.

Ultimately, Reutov notes that the macro lens won’t work for every photographer, pointing out that capturing live insects, for example, would be essentially impossible with Nanoha due to the focus sensitivity and need for, in some cases, focus stacking. Ultimately, though, Reutov notes that Yasuhara’s offering is ‘a very fun lens to use … it’s pretty cool to see how much it magnifies. It’s like having a microscope attached to your camera.’

The Yasuhara Nanoha Macro lens is available now in Sony E, Canon EF-M and MFT mounts from Yasuhara and B&H Photo for $ 399.99.

Articles: Digital Photography Review (dpreview.com)

 
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Video: What it’s like to photograph Formula 1 in 60 seconds

31 Aug

It’s not just hockey that’s seeing sports photographers change the way they have to operate during events. Like many other sports during this global pandemic, the Formula 1 season is quite different than usual, with an altered schedule and different race tracks than expected, but as with all sports, there are still photos that need to be taken.

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Who’s ready for another episode of My Job in 60 Seconds? ? This week meet Steve, our team photographer since 2010! From Schumacher to Senna, Hamilton to Hakkinen, Steve’s photographed all the greats in @f1 during his impressive career!

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As part of its ‘My Job in 60 Seconds’ series the team hosts on Instagram, Mercedes-AMG Petronas F1 Team photographer Steve Etherington shares what it’s like to photograph the pinnacle of motorsports at a time when team personnel and fans are limited due to the COVID-19 pandemic.

Throughout the video, Etherington shares what it is he does on a race weekend, how the social ‘bubbles’ put in place have changed how he shoots and more. It’s a great, albeit quick look into shooting Formula 1 — something Etherington has been doing every race weekend for 28 years.

You can find more of Etherington’s work on his website.

Articles: Digital Photography Review (dpreview.com)

 
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Video: What it’s like to photograph hockey games inside the NHL ‘bubble’

29 Aug

Like many professional sports, the National Hockey League (NHL) is playing its playoff-only season in a containment bubble to minimize the risk of spreading COVID-19 amongst its ranks. In addition to the players, this bubble also requires all team personnel, photographers included, to quarantine and work inside empty arenas that would normally be filled with fans.

To highlight how this looks for the photographers and editors inside their respective bubbles, the NHL has published a behind-the-scenes video showing what goes on before, during and after a game.

Throughout the six-minute video, we hear from NHL Images Senior Manager, Kara Bradley, as well as NHL photographers Chase Agnello-Dean, Mark Blinch and Dave Sandford. Each of them share their experiences thus far, showing that while not much different than shooting a regular game from a capture standpoint, the sheer number of games played back-to-back makes it difficult to get images turned around and remote cameras set up.

Here are a few fun stats from the video:

  • Photographers usually operate five cameras at once: two handheld (typically one wide-angle and one telephoto) and three remote cameras (usually one at center ice and one at each net)
  • The photographers average 15,000 steps a day, many of which are up and down stairs and rafters to set up remote cameras and strobes
  • Around 3,000 images are taken in low-scoring games while high-scoring games can see upwards of 7,000 images captured
  • So far most of the photographers have shot around 46 games in just 21 days

Having shot plenty of hockey games myself, I know how challenging even a single game in a night can be. To be shooting two a day — in addition to auxiliary shots before and after the game — for nearly a month straight is absolutely absurd. In the words of Dave Sandford from the video, ‘it’s like groundhog day here.’

Articles: Digital Photography Review (dpreview.com)

 
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Canon releases FW 1.1 for EOS R5, with bug fixes and improvements to video shooting time

27 Aug

Canon has released firmware 1.1 for the EOS R5. Alongside a flurry of minor bug fixes, the new firmware also promises to improve video shooting times. We’ve had the new firmware for a few days, and prepared a test.

Check out Jordan’s take on the new firmware in the video, above, and see below for Canon’s official description of the changes in FW 1.1 and a link to download it.

Download firmware 1.1.0 for the Canon EOS R5 (Canon USA)

Press release:

Firmware Version 1.1.0 incorporates the following fixes and enhancements:

  • Useful messaging is now displayed when [HDMI display?Camera+External monitor] and [Overheat control: on] settings are enabled.
  • When using certain RF lenses for movie shooting, the in-lens image stabilization mechanism has been improved.
  • Fixes a phenomenon in which the “Slow Synchro” setting screen is not accurately displayed, when the language is set to English.
  • Fixes a typo displayed on the communication setting screen, when the language is set to Korean.
  • Connectivity during FTP transmission has been improved.
  • Fixes a phenomenon, in which the card access time may take longer, when using certain CF express cards.
  • Temperature detection and shooting time control in video shooting have been improved. In addition, the total shooting time when the short-time recording and power-on/off are performed repeatedly at room temperature is improved.
  • The phenomenon in which the movie recording time available is not correctly displayed when the Date/Time/Zone is not set has been corrected.

*The firmware scheduled for release in early September will incorporate the following improvements for the RF100-500mm F4.5-7.1 L IS USM.
-Supports 6-stop image stabilization. (CIPA-compliant)
-Improves IS capabilities when performing continuous shooting under specific conditions.

Firmware Version 1.1.0 is for cameras with firmware up to Version 1.0.0. If the camera’s firmware is already Version 1.1.0, it is not necessary to update the firmware.

Articles: Digital Photography Review (dpreview.com)

 
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