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Posts Tagged ‘Video’

Video: Taking virtual portraits of Major League Baseball players under quarantine

20 Jun

Billie Weiss, the Senior Manager of Photography for the Major League Baseball team the Boston Red Sox, had to get creative for this year’s team portraits due to lock-down restrictions. So, as many photographers have, he resorted to FaceTime to capture team portraits of eight players from afar.

‘I was with the team in Florida covering the tail end of Spring Training when the initial Coronavirus outbreak hit in the United States,’ Weiss told DPReview. ‘Games and all other activity at the training facility pretty much shut down immediately, so I flew back home to Boston. Days later, we learned the start of the MLB season would be delayed, and since basically everything in Massachusetts besides the essentials were shut down, I ended up not really leaving the house or shooting much of anything for about 3 weeks.’

It was during this time, in calls with other members of the Red Sox content team, the idea of doing virtual portraits was brought up and agreed upon. Weiss said of the concept (emphasis his):

‘I think the idea came mostly out of a desire to shoot something after sitting at home for nearly a month and missing being able to do what I love — interact with people through photography. I felt like this was a way we could still do something creative involving photography that worked within the limits of social distancing, quarantine, and lack of sporting events.’

For his setup, Weiss gathered up as many Red Six items as he could from around his home and built a mini studio to use as the backdrop. With a basic backdrop ready to go, he arranged the various pieces of equipment and memorabilia, switching it up with each player he photographed. Weiss told us the following about the gear he used:

‘I shot these on a Nikon D5 with the Nikon AF-s Nikkor 105mm f/1.4E lens. For lighting, I used a combination of both a Dracast LED 1000 Pro Daylight continuous light panel with a Profoto B1 Air 500 watt strobe light covered with colored gels. I switched the props and used different color gels from player to player to give the series a bit more variety. Overall, it was a pretty modest setup, but without access to the rest of my gear stuck at the Spring Training facility in Florida, I worked with what I had!’

Weiss photographed eight players, which thankfully ‘thought the concept was strange but cool!’ He attributes the willingness of the players to participate with the relationships he’s built over the years with them. ‘Our relationship is at the point where they trust me with most of our shoots, even something as weird as this,’ he told us. Even better, the players were happy with the results and some even shared the images across their social media profiles.

As for his final takeaways, Weiss told us the following:

‘Overall, I wanted to shoot something with our players that was representative of this crazy time we’re living in, and hopefully this achieves that goal. I think it’ll be interesting to look back on these photos years from now and be reminded of what a strange time this was.’

You can keep up with Weiss and his work on Facebook, Instagram, Twitter, TikTok and his website. You can also subscribe to his Youtube channel for more behind-the-scenes videos.

Articles: Digital Photography Review (dpreview.com)

 
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Product Advisory: Sony says some of its SD cards are corrupting video files, offers free replacements

16 Jun

Sony has issued a product advisory for select SD cards in three of its SD card lineups, stating video captured with these cards could become corrupted without warning.

The product advisory, posted last Friday, says cards in Sony’s SF-M series, Tough SF-M series and Tough SD-G series are affected by an issue wherein ‘data on [the affected cards] may be damaged or data may not be recorded correction when shooting video on a camera in the video speed class mode.’ No further information is provided on what exactly is causing the problem, but Sony says it’s offering replacement cards through March 31, 2022 for SD cards currently under warranty.

Sony provides the below illustrations to help you deduce whether or not your card is affected by the issue, but you can tell at a quick glance by looking for a little star on the back of left-hand corner of the card — if you have a star, your card isn’t affected.

Sony: ‘To check whether your [SF-M] card is affected, look for a star mark and an alphanumeric on the lower corner on the back of the card. If your card has NO star mark and has an alphanumeric beginning with TV, your card is affected by this issue. (If your card has an alphanumeric beginning with TR, your card is not affected by this issue.)
Sony: ‘To check whether your card is affected, look for a star mark on the lower left corner on the back of the card. If your card has NO star mark, your card is affected by this issue.’

Sony: ‘[Affected SF-M Tough] cards can be identified by the presence of V60, R:277MB/s, and W:150MB/s on the card frontside. To check whether your card is affected, look for a star mark on the lower left corner on the back of the card. If your card has NO star mark, your card is affected by this issue.’

If your card is one of the affected units, Sony requests you call their support line (239–768–7669) or connect with a representative through its online chat support. Sony specifically requests you not contact the retailer you purchased your card from. Dan Carr of Shuttermuse says he’s been through the process and was required to provide the following information when you speak with a representative:

  • SD card model number
  • SD card serial number
  • Date of purchase
  • Place of purchase
  • Shipping and contact information

You can read the full advisory on Sony’s support page.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Photographer Martin Henson shows the versatility of pinhole cameras from his backyard

11 Jun

UK-based photographer Martin Henson has recently published a video showcasing his pinhole photography process. An experienced film and digital photographer, Henson combined a 4×5-inch pinhole camera with Ilford FP4 film to capture a photo of flowers in his back garden. The result will show that one doesn’t need to travel far to capture beautiful images.

With his pinhole camera laying in the undergrowth and pointing toward the sky through the flowers in his garden, Henson also used an orange filter to darken the blue in the sky. The pinhole camera captures a wide field of view, so Henson must look down from above through the flowers to get a sense of how they will be arranged within the frame. After settling on the location for his camera, he must then determine the correct exposure.

When determining the correct exposure, Henson must consider that the Ilford FP4 film he’s developing is rated at ISO 200, but with the addition of the orange filter, he must compensate for an additional stop. Henson then places his light meter on top of his pinhole camera and meters at ISO 100. The reading states a 1/15s exposure at an F22 aperture. For Henson’s pinhole camera, he then had to convert this exposure time to an F216 aperture, which results in an exposure time of 6.5 seconds. Further, accounting for the reciprocity of Ilford FP4 film, the final exposure time is 12 seconds.

As you can see in the video above, after making his captures, Henson then slid the dark slide back in and developed the image. As he states, his video shows that the pinhole camera is a versatile photographic tool. It can be placed in positions and allow for compositions that would be ‘virtually impossible with a normal camera.’

The finished image, Chaos, is up for auction on eBay. There’s much more to learn about pinhole photography and analog photography in general. Henson has additional excellent resources. You can visit his large format photography forum and his black and white photography forum. He has recently published another pair of videos about pinhole photography on his YouTube channel, which can be seen above.

Articles: Digital Photography Review (dpreview.com)

 
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How Fujifilm could make its next X-H series camera the class leader for video

11 Jun

Introduction

The X-H1 appeared to be the start of a more video-centric line of cameras from Fujifilm. However, we’ve subsequently seen the release the X-T3 and X-T4, both of which provide similar or better levels of video performance.

Does the X-H series still have a future? In a recent interview with DPReview, Toshihisa Iida, General Manager of Fujifilm’s Optical Device and Electronic Imaging Products Division, confirmed that the company plans to keep the X-H line, stating only that ‘the concept will be very different to the X-T series.’

Assuming Fujifilm intends to keep the series video-focused, we decided to contemplate what features would be required to make the X-H2 the undisputed class-leading camera for video. The APS-C/Super35 format remains very popular among videographers for a variety of reasons: fast readout rates, less rolling shutter and relatively compact lenses among them.

Video scopes

Recent Fujifilm cameras delivered great video quality, but lacked important exposure tools designed for videographers. Histograms are great, but we’d like to see waveforms and vectorscopes.

Waveforms help visualize exposure across the entire frame. They tell you how many pixels have a given brightness value as well as where those pixels exist in the image, useful for judging exposure in a specific area of the frame, such as on a subject’s face. Vectorscopes can be used to assess hue and saturation, particularly important given that most video isn’t recorded in Raw format.

To really impress, Fujifilm could even add false-color overlays, which make it easy to quickly judge exposure anywhere in the frame at a glance. Equally important is a workflow that makes video scopes easy to use – accessible at the tap of a button for evaluating exposure.

Video-centric exposure settings

Exposure settings used for photography work fine for video, but they don’t always represent the best workflow for videographers.

We’d like to see an option to set shutter angle as an alternative to shutter speed. Of course, you can always set your shutter speed to replicate a 180° shutter, but each time you switch frame rates you’ll have to update the shutter speed as well. In contrast, a constant shutter angle means you’ll always get the appropriate shutter speed for the frame rate at which you’re shooting. (The ability to lock shutter angle to prevent accidental changes would also be welcome.)

A bonus would be explicit dual gain states, similar to what’s found on the Panasonic GH5S and S1H. This would allow users to expressly determine whether they want to prioritize the widest dynamic range or use the higher-gain step to reduce shadow noise at the expense of some dynamic range. It might also clear up confusion around ISO values that may appear to change when using different modes (e.g. Standard vs Log gamma) even when the underlying amplification remains the same.

A full suite of ports

Video work often requires cameras to be rigged with external accessories, so connection points are crucial.

We don’t expect the X-H2 to embrace the SDI connectors commonly found on pro video cameras, but do hope for a full size HDMI port. Standard HDMI cables are easy to find, and a full size port is going to hold up better over time than the small micro HDMI ports found on other Fujifilm bodies.

We’d also like to see dedicated 3.5mm microphone and headphone jacks. Recent Fujifilm models have relied on a 3.5mm-to-USB-C adapter for headphones, but on a video-centric camera we’d prefer a standard headphone port. Not only does it eliminate a potential point of failure, but we have some other high hopes for that USB-C port.

XLR microphone adapter

In many cases, a simple hot shoe mic with a 3.5mm connector to the camera is just what you need, but what if you want to record high quality audio, possibly from a couple different sources such as lavalier mics, straight into camera? For that, we may want XLR connections.

Panasonic provides a solution to this in the form of its XLR1 adapter (pictured above), which sits in the camera’s hot shoe and provides two XLR inputs with independent controls. Similarly, Sony has its XLR-KTM adapter for mirrorless cameras. It would be a strong statement to videographers if Fujifilm were to introduce a similar product alongside a future X-H2.

Improved video codec

When introduced, the X-H1 set a new bar for video on a Fujifilm camera, but its maximum resolution of 4K/30p, along with 4:2:0 8-bit color and reliance on the H.264 codec, is dated by today’s standards. In contrast, the newer X-T4 shoots internally up to 4K/30p All-I at 400 Mbps, with 4:2:0 10-bit color, using the H.265 codec. (And even goes to 4K/60p, albeit at a lower 200 Mbps.)

At a minimum, we’re hoping to see the X-H2 capture both 4K/60p and 6K/30p internally, with 4:2:2 10-bit color, a high bit rate, and using the H.265 codec.

There have even been suggestions that Fujiflm might use a rumored 8K-capable, 43MP Sony sensor in the X-H2 that’s capable of capturing video at high bit rates. Is it a stretch? It might be, but if true it would be a major differentiator between the X-H2 and Fujifilm’s other models, not to mention the rest of the APS-C mirrorless camera market.

Raw video options

Thanks to recent firmware updates, some mirrorless cameras support ProRes Raw recording when paired with a Atomos recorder. We would expect to see that on the X-H2 as well, but for truly class leading performance we’d like to see Fujifilm go further.

The often overlooked implication of Raw video is that output resolution should match sensor resolution, otherwise it’s necessary to line or column skip to capture a Bayer-like array of data (as occurs on the Nikon Z6). Raw video with an approximate resolution of 6K would closely match the 24MP or 26MP sensors used on recent Fujifilm bodies. If the rumors of a higher resolution, 43MP sensor turn out to be true, such an approach might be required.

Also, remember the USB-C port we didn’t want to use for headphones? How about using it to write Raw video directly to an attached SSD, similar to the Blackmagic Pocket Cinema Camera or Sigma fp? Design the body with a means to attach it securely and it would fit on a gimbal without fussy rigging.

If Fujifilm wanted to go all-in on video, it could even offer internal Raw recording with selectable compression, similar to the Blackmagic camera. It also raises an interesting question: whether it would make sense to use Apple ProRes Raw or BlackmagicRaw. A popular camera with internal Raw recording could tip the industry in one direction or another.

Improved autofocus

Though videographers often prefer to use manual focus, autofocus is becoming increasingly important. Recent Fujifilm models have demonstrated impressive autofocus capabilities, though important gaps still exist.

In particular, as improved as Fujifilm’s subject tracking is, there’s still no subject tracking in video. To achieve class-leading status, that’s a pretty important feature we’d want to see added. Additionally, the AF interface could use a revamp; the addition of a tap-to-track feature, similar to the the one found on many Canon cameras, would make the system even more useful.

Displays

It’s probably a no-brainer that we’d like to see a fully articulating screen on a video-focused camera. Fortunately, Fujifilm is already doing this on models like the X-T4 and X-A7, so it shouldn’t be a heavy lift to do it on the X-H2. What we’d really like to see is an even more innovative design, maybe along the lines of the one found on the Panasonic S1H, which puts the screen’s articulating hinge on a tilting platform. This allows it to tilt out and avoid interfering with the ports on the side of the camera.

Another upgrade we’d vote for is a move from the 3.69M dot panel found on the X-T4’s EVF to the newer 5.76M dot panel used by several other cameras. The extra resolution would be especially helpful when using tools like video scopes with the camera to your eye.

Improved 5-axis IBIS

Fujifilm introduced in-body image stabilization on the X-H1. While effective for stills, it had some quirks when shooting video. The system had a tendency to overcorrect for intentional movement, and when it hit the limit of its travel would reset in a clumsy way. Fortunately, Fujifilm was able to improve it through firmware.

The 5-axis system in the X-T4 can stabilize video effectively, particularly using its ‘Boost IS’ mode, which provides the maximum correction possible to compensate against any camera movements when taking a static a shot; it works well and can be tripod-like. However, the system still has difficulty distinguishing between intentional and unintentional camera movement, such as pans, resulting in hesitation or jerky video. It’s also noticeably less effective than the sub-full frame video leader, the Panasonic GH5.

We’d like to see a more refined image stabilization algorithm in a future X-H2 for best-in-class handheld video shooting.

Separate menus and settings for stills and video

Separate menus and settings for stills and video is another one of those problems that’s mostly been solved on the X-T4. It even has separate ‘My Menu’ tabs for stills and video. Fujifilm, just port this to the X-H2 and videographers will thank you.

Oh, and throw in a hardware switch between video and stills modes, like the X-T4, while you’re at it. Because it just makes sense.

Unlimited recording time

Wouldn’t it be great if the X-H2 had unlimited recording time?

It would be even greater if you could record continuously while powering the camera via the USB-C port.

Eterna in-camera LUT display

When shooting Log video, Fujifilm’s F-Log View Assist function lets users apply an in-camera F-Log to Rec.709 LUT, which displays an approximation of graded footage while recording in Log.

It would be great to see Fujifilm extend this functionality to include its Eterna film profile. Eterna has proved to be popular among videographers, and Fujifilm has a lovely F-Log to Eterna LUT. Making it available in the View Assist function would be a great addition to the camera.

Anamorphic lens support

Admittedly, we’re getting into niche stuff here. Most people probably won’t be shooting anamorphic lenses, so this is probably a nice-to-have rather than an essential feature. However, if Fujifilm wants to establish itself as a class leader in video, it’s an opportunity.

What does anamorphic support entail? Primarily, the ability to display a desqueezed image in the viewfinder while continuing to record a squeezed anamorphic image in-camera. Anamorphic support would ideally include full-sensor desqueeze, allowing one to use the entire surface area of the sensor when shooting video.

If the camera’s image stabilization could take anamorphic squeeze into account, it would join the Panasonic GH5 and S1H as the only stabilized platforms for anamorphic shooting. As most anamorphics are built for Super35 coverage, this would be a standout feature.

Conclusion

We don’t expect to see all these features on a new X-H2: it’s a pretty big list, and even we’ll admit that some of the items are a bit of a stretch. However, if Fujifilm is serious about putting a stake in the ground with video enthusiasts, this would be a heck of a way to do it.

Of course, it’s entirely possible that Fujifilm has a completely different vision for the X-H series in mind. As we mentioned, there are rumors that a future X-H2 might use a higher resolution (43MP?) sensor. This would allow Fujifilm to significantly differentiate the X-H2 from the rest of its product line for still photography as well, similar to the Nikon Z6/Z7 or Panasonic S1/S1R models. That it might also allow for 8K video would be a significant upside for video enthusiasts.

Anything’s possible, but since the X-H1 had a video bent our gut tells us that, whatever form the camera takes, video will be a significant focus. We’re holding our breath as we wait to find out.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Netflix makes its Platon documentary episode free on Youtube

08 Jun

Although Netflix uploaded the video back in April, we’ve only now discovered the Platon episode of its ‘Abstract: The Art of Design’ miniseries is now available to view for free on YouTube.

The 2017 docuseries consists of two series and features a total of 14 45-minute episodes that cover the work of some of the best artists across the globe in their respective fields, from architecture and automotive design to stage design and typography. For its ‘Photography’ episode, Netflix features Platon Antoniou, more commonly known by his mononym Platon, a renowned portrait photographer whose portfolio features some of the most prominent and powerful figures the world over.

While the other episodes require a Netflix subscription, the Platon episode is now free to view on YouTube. Throughout the 45-minute episode, we get an inside look at the man behind the camera and follow along as he captures a portrait of Colin Powell, former National Security Advisor and retired four-star general.

It’s a fantastic watch from beginning to end. If you have a Netflix subscription, we also suggest watching some of the other episodes in the series.

Articles: Digital Photography Review (dpreview.com)

 
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Let it roll: why camera makers are going to keep adding video

07 Jun
A lot of the pre-launch hype around Canon’s EOS R5 has focused on its video prowess, but why do features like 8K keep getting added to stills cameras?

Some of the most dramatic improvements in recent cameras have been in the realm of video, leaving many stills photographers unimpressed. But there are some good reasons why cameras keep getting better video, some equally good reasons we’re unlikely to see many ‘pure photography’ cameras in future, and even if we did, there’s very little reason to think such a camera would be any cheaper.

Why the focus on video?

One of the main reasons it seems all the camera makers are focused video is because it’s an area where there’s clear room for improvement. Image sensors are now very, very good: efficiency is very high and read noise is very low, meaning we’re unlikely to see the big steps forward in generational image quality that we saw in the earlier days of digital photography.

Instead, most of the progress being made is in terms of readout speed and processing power. We’re seeing these manifest as better autofocus performance, multi-shot camera modes and improved video. This is also why we spend more time discussing AF and video in our reviews: because they’re areas of significant progress and difference between models.

Understandably, we see a lot of stills photographers saying they don’t want to have to pay for features they don’t need. But it’s not that simple:

You’re already paying for the hardware

Pitched as ‘The Ultimate Photo Shooting Camera’ at launch, the Panasonic G9 gained a major mid-life video upgrade, to broaden its appeal.

The faster readout and processing that help provide higher-res and better bitrate video are the same technologies that underpin the faster, more subject-aware autofocus improvements we’ve seen in the past few years. The same is broadly true of the multi-shot high res, focus stacking and re-focus modes that have been added: so you won’t lower the hardware costs by leaving video out.

You may not be paying for the development

On top of this, the very reason manufacturers are committing development resources to video is because they hope it will broaden a product’s appeal beyond the (declining) market for traditional stills cameras. YouTube and social media have made video sharable, which makes video capability more desirable. If adding video features means more cameras get sold, then each buyer shoulders a little less of the development cost.

Also, some realms of professional photography now demand high-end video capabilities, so much of the development work is being conducted for that audience, and is then trickling down.

A separate, still-only variant would cost more, not less

Don’t fall into the trap of assuming you could make a cheaper model with these extra features missed off. Designing and developing two versions of a product would cost more, even if they only differed in terms of firmware, since you’d have to conduct the testing and quality assurance on two versions of the firmware, then continue to develop them in parallel in the event of updates.

A camera with fewer features wouldn’t be cheaper. Even post-purchase firmware would add to costs: would you be willing to pay to have video removed?

Each additional camera model then incurs marketing expenses, to tell the world that it exists and to communicate the differences. It then adds to production planning and supply chain complexity: you need to balance production capacity between the two models, then make sure that the right number of stills-only and hybrid models end up going to each region and each retailer.

We’ll still see stills-only models

Not every new camera will have video, but those that don’t will be in the minority: Leica has some high-end video capability in models where it makes sense.

Despite all these factors, we’ll still see some stills-only cameras. For instance, Leica is likely to continue to offer stills-only rangefinder cameras (even though some models have featured video), and adding high quality video isn’t likely to be a priority for Phase One’s medium format backs.

There’s a mixture of factors at play. Adding video might reduce, rather than broaden, appeal for a product where focus – whether it’s photographic tradition or ultimate stills quality – is a selling point. And this goes beyond the question of whether a video-enabled version would be a satisfying (or even satisfactory) video camera.

Let it roll

But outside these rarefied niches, video is here to stay. Hence Leica’s SL cameras tout pretty impressive video specs and Panasonic’s more stills-focused G9 received a major boost to its video spec, mid-life, to expand its appeal.

If well implemented, video features need not get in your way, allowing a more streamlined stills experience than in recent generations of camera.

At which point, rather than rail against the (almost) inevitable, you may find it more productive to argue for better video implementation, so that the video features don’t get in your way. Or perhaps, you could give video a try. Who knows? You might enjoy it.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Mathieu Stern uses beet juice to create an ‘anthotype’ prints

05 Jun

Photographer Mathieu Stern is often using interesting camera gear, lenses and even trying unusual photographic processes. His latest project was to create an ‘anthotype’ print, also known as a phytotype. This photographic process was invented all the way back in 1842 by Sir John Herschel.

To create an anthotype print, you must use photosensitive material from plants. Materials ranging from flower petals, fruits and vegetables can be used. A sheet of paper is coated with the photosensitive material and then partially covered with an object or a photo positive before being exposed to light. The area of the paper which was not covered is essentially bleached, leaving color behind only in obscured areas of the image. There is no fixer used in this photographic process, so the paper remains sensitive to light.

As you can see in Stern’s video below, for his anthotype print, Stern used beetroot juice. After filtering the juice, Stern applied it to a piece of paper and let it dry. He then repeated the process for a second and third coat. After preparing his paper, Stern placed one of his transparent positives over the paper and placed them both in a wooden frame. He then left the positive and beetroot paper in the sun for a week. You can see the full process and result in the video below.

If you are looking for a fun project to try at home, creating an anthotype is a neat option. Stern also recently tried his hand at the cyanotype photographic process. You can learn how this went by clicking here.

To view more of Mathieu Stern’s work, be sure to visit his website. If you’d like to see his videos, you can view them on his YouTube channel. There you can find a lot of interesting experiments, including Stern creating a lens using ice, adapting many old lenses to his modern mirrorless cameras and much more.

Returning to Stern’s inspriration, the creator of the anthotype photographic process, Sir John Herschel, led a very interesting life. Born in the late 18th century in England, Herschel spent time as a mathematician, astronomer, chemist, inventor and experimental photographer. Herschel also invented the cyanotype photographic process, which became the blueprint. His contributions to science were many.

With respect to photography, Herschel made numerous contributions. In addition to creating cyanotype and anthotype photographic processes, Herschel is credited as the first person to use the term ‘photography’ itself in 1839 and the first to use the terms ‘positive’ and ‘negative’ within the field. Also in 1839, Herschel’s fixing agent was used by his friend, Henry Fox Talbot as Talbot raced against Daguerre to perfect a photographic process using negatives. That same year, Herschel himself made what is considered to be the first glass negative.

Articles: Digital Photography Review (dpreview.com)

 
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Hasselblad firmware includes video and focus bracketing for X1D II, 907X cameras

05 Jun

Hasselblad has released new firmware updates for its X1D II and 907X medium format cameras that will allow users to shoot video for the first time. The firmware also offers a focus bracketing feature that will help when an extensive depth-of-field is required in landscape or macro photography.

Firmware version 1.2.0 brings 2.7K 2720×1530 pixel video at 29.97p in 4:2:0 8-bit color, with a 1920×1080 option for those wanting FHD. The X1D II camera has had a video icon on the dial since it was launched, so now it can be made active.

The firmware also a white balance sampling tool and an Auto White Balance option for use on already captured images. The cameras already have a WB picker for sampling neutral areas of a scene in live view mode before the picture is taken, but these new options allow stored images to be used as a reference. The purpose of this is to allow the picker and AWB features to work when flash is being used, as sampling flash during live view isn’t possible – unless you are very quick. White balance settings also now display their color temperature and tint values to make matching light sources easier.

A new ratings system for captured images has been added to the playback menu to allow users to select favorites and to order images in-camera with a system that transfers in the EXIF data to image manipulation software. The press release doesn’t specify which software but we can safely assume that Hasselblad’s Phocus application will be able to read and display the ratings.

The focus bracketing feature allows users to specify the number of shots taken and the incremental differences between the focus positions. There’s also the facility to delay the first exposure to allow all vibrations from the camera to subside before the sequence begins.

A separate release sees new firmware for the XCD 45P lens that will make it compatible with the new focus bracketing feature and fixes an issue which saw the AF being cancelled if the user was holding the focusing ring of the lens.

For more information see the Hasselblad website, and download the firmware here.
There’s also a Firmware 1.2.0 walk-through video on YouTube

Press release:

HASSELBLAD BRINGS POWERFUL UPDATES FOR EXPANDED CREATIVITY TO X1D II 50C, 907X SPECIAL EDITION AND XCD 45P

Introducing its largest firmware update to any Hasselblad camera at one time, Hasselblad launches Firmware Update 1.2.0 for both X1D II 50C and 907X Special Edition medium format cameras, in addition to Firmware Update 0.1.24 for the XCD 45P lens. A multitude of powerful features are added to the X1D II 50C and 907X Special Edition, including 2.7K/29.97 Video Recording, Focus Bracketing with all XCD lenses, Image Rating for simple image sorting and selection, White Balance Picker Tool, and more, resulting in further enhanced digital medium format camera systems that provide a wider breadth of creative possibilities. With the latest update to XCD 45P, Focus Bracketing can now be enabled on all X System cameras and 907X Special Edition cameras in addition to improved stability of auto focus and manual focus. Constantly striving to improve its camera systems with new updates and enhanced features, Hasselblad is determined to create even more powerful medium format shooting experiences for all types of visual artists.

FIRMWARE UPDATE 1.2.0: NEW FEATURES FOR BOTH X1D II 50C AND 907X SPECIAL EDITION

  • Video Recording: Expanding the imaging options of the X1D II 50C and 907X Special Edition, 2.7K (2720 x 1530) & HD (1920 x 1080) video capture has been added. Video can be recorded at 29.97 fps with 4:2:0 8-bit colour. The 2.7K resolution option delivers improved capture of detail, whilst balancing the storage space.
  • Focus Bracketing: Expanding the feature set of the?X1D II 50C and 907X Special Edition even further, Focus Bracketing allows a photographer trying to capture a subject with very limited depth of field, such as in macro or product photography, to capture a series of exposures of their chosen subject at a fractionally different focus point in each and then combine these captures in their chosen stacking software. The photographer will have full control over the number of frames in the sequence, the step size between each capture and an initial delay to allow any support system vibration to diminish. Note: Requires lens firmware?0.5.33 or later for all XCD lenses excluding XCD 45P. XCD 45P requires firmware 0.1.24 or later.
  • Image Rating: Image Rating can now be applied to all still image captures in camera, making image sorting and selection much easier when the captures are transferred to the user’s computer system. When in image playback mode, with the capture details overlay on screen, the photographer simply presses the star button or presses the displayed stars. All ratings are stored in the metadata of the captured image.
  • 2/3 stops added in Exposure Bracketing: The Exposure Bracketing function step options have been expanded to support 2/3 stops steps in addition to the existing steps.
  • Expanded White Balance Tools: The menu organization and selection of White Balance presets has been improved with display of colour temperature and tint at each setting. For the most precise colour, a Picker has also been added where the photographer can sample a neutral portion of the image to balance colour.
  • Auto White Balance based on captured image: Auto White Balance is now based on the captured image which means that AWB can also be used when shooting in Manual Quick Mode (Manual Quick Mode specific to X1D II 50C only). It also solves the issue when working with flash in tungsten lighting where, previously, the correct white balance showed in either Live View or the captured image – now the correct white balance is present in both Live View and the final still image.
  • New language: Traditional Chinese has been added to language options.

FIRMWARE UPDATE 1.2.0: NEW FEATURES SPECIFIC TO X1D II 50C

  • EVF proximity sensor settings: It is now possible for users to adjust the sensitivity of the EVF proximity sensor. The improved setting accommodates users whose typical handling style does not always engage the sensor or prefer to disable the EVF completely.
  • Reset custom buttons option: A menu option has been added that will allow the custom buttons to be returned to factory defaults.

FIRMWARE UPDATE 1.2.0: NEW FEATURES SPECIFIC TO CFV II 50C DIGITAL BACK IN 907X SPECIAL EDITION

  • Additional camera support: Cable-free operation with CFV II 50C Digital Back on 2000-cameras and unmodified 200-cameras added. Note: some cameras may not fully work due to mechanical tolerances of old cameras.
  • Auto White Balance: It is now possible to automatically set White Balance for captured images.

FIRMWARE UPDATE 0.1.24 FOR XCD 45P

  • Support for Focus Bracketing: Focus Bracketing is now available on the X1D II 50C and the 907X Special Edition. Firmware update 0.1.24 enables Focus Bracketing to be used on the XCD 45P.
  • Improved stability of AF & MF: Full time Manual focus input sensitivity has been modified, to reduce the possibility of AF stopping when holding the lens.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe’s new video series offers helpful Lightroom CC, Mobile tips in 60 seconds

31 May

Adobe has started up a new video series on its Adobe Photoshop Lightroom YouTube channel called In a Lightroom Minute that condenses helpful Lightroom CC and Lightroom Mobile tips into tutorials that are roughly 60 seconds in length.

Similar to its previous Lightroom Coffee Break and Photoshop Magic Minute series, In a Lightroom Minute covers a variety of small tips and tricks, from How to Save Edits as Presets in Lightroom to How to Leverage Interactive Edits in Lightroom.

Currently, there are ten videos in the series, but it’s likely we’ll see more added in the near future. Below are just three you can start with:

How to Create a Preset in Lightroom

How to Get Contextual Help While Using Lightroom

How to Discover Guided Tutorials in Lightroom

You can view the full playlist and subscribe to the Adobe Photoshop Lightroom channel on YouTube.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Six DIY smartphone camera rigs made from household objects

24 May

The Cooperative of Photography, better known as COOPH, has released its latest YouTube video showing how to make the most of your smartphone footage by creating six different smartphone rigs using materials you likely have sitting around at home.

As you would expect for these rather primitive homemade solutions, the DIY rigs aren’t necessarily aesthetically pleasing but based on the resulting footage, hopefully your video will be. The six-minute video covers how to make a DIY gimbal, a DIY timelapse rig, a DIY stabilizer, a DIY automated slider, a DIY ‘spinning’ rig and a DIY Gorillapod-style tripod.

It’s quite the adventure, but considering there’s a good chance you’re still on some sort of lockdown or stay-at-home order, these DIY projects might be just what you need to keep your creative spirit alive in seclusion. You can find more videos from COOPH on their YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
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