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Gear of the Year: Richard’s choice – Canon RF 800mm F11 IS STM

27 Nov

Dan Bracaglia

I wouldn’t usually consider myself a fan of long lenses, perhaps as the result of my early digital experiences coming on disappointing superzooms. Once I’d got over the novelty of being able to take pictures of something a long way away, I usually found I could take a better photo by simply getting closer. I’ve used long telephotos for sports shooting, of course, but in recent years my lenses of choice have been 35 and 85mm equivalents.

The Canon 800mm F11 seemed too interesting to not try, though. And that meant adapting my photography to suit the equipment. This may sound back-to-front: I spend much of my working life looking for cameras that require the least adaptation on the part of the photographer, the ones that just work.

But, restricting yourself to single focal lengths or shooting a mono-only camera can help provide inspiration, so you can push yourself to try something new. And I needed to find something that I could shoot with it.

My first thought was to play around with the compression effects you get from the greater shooting distances encouraged by long lenses. Shooting through the open patio doors, with me at the back of the common room and my subject on the far end of the roof deck, I was able to exaggerate the size of the Space Needle in my photo. Unfortunately, with a fixed F11 aperture, I didn’t have the option to stop down further to make it less diffuse.

What’s the big deal?

We’ve seen impressive things done with diffractive/fresnel optics before: Nikon’s 300mm F4 PF is an excellent lens, that I’m hoping will be re-created in the Z mount, but the Canon F11 pair is something a little different.

Think of it more like a modern alternative to the mirror lens: restrictive, in that it has a fixed aperture as well as a fixed focal length, but freeing in the sense that you can lift it and, to a much greater extent, afford it. And, unlike mirror lenses, the resultant images aren’t marred by strange doughnut-hole bokeh, which I personally find distracting (/revolting).

Add in the retractable design and light weight and the convenience of the package becomes clear. It’s not the most solid-feeling lens, by any means, but those weight savings are appreciated if you’re carrying it for more than a few hours. Ultimately, though, it’s the price of the 800mm that stands out most, to me. At F11 it lets in 1/4 as much light as the EF 800mm F5.6 IS L can, but its list price of $ 899 is less than 1/14th of the cost.

A (socially distanced) hike around the city suggested a better option. Our walk took us through the Union Bay Natural Area. At first it looked like a piece of low-lying scrubland overshadowed by a college football stadium: a messy adjunct to its gameday parking. But the more I stopped and looked around, the more interesting fauna I saw, and the more photographic opportunities.

So I went back, armed with the Canon 800mm F11, an EOS R5, took my time, wandered around, looking for things to shoot. I make no claims to being a nature photographer, and my first efforts were patchy, at best. But like all the best photography experiences, every half-decent shot I took convinced me that my next one could be better.

I tried to take photos of variety of subjects, but there were some kingfishers who would return to a number of vantage points, before diving for prey. Their speed made them a challenging subject, but one that would give me multiple opportunities, if I watched closely and waited long enough.

The need to get a diverse gallery of images in a short space of time is somewhat at odds with the patience required for good nature photos. Similarly, the diktat that we should keep ISO as low as possible for lens galleries probably left me skirting the line of motion blur, but even with imperfect results, I found myself wanting to go back and have another go. Which is the thing that I enjoyed most about the 800mm: finding myself able to try something new.

I’m not going to claim any of my shots were great, partly as a result of inexperience, partly due to basic moral failure. But I enjoyed myself and the 800mm had helped encourage me to do something I might not otherwise think to try.

You might well argue that the thing I enjoyed was being pushed to try something new, and I’d completely agree. But I think the Canon RF 800mm F11 puts that opportunity to try something new into more people’s hands. Hence it’s my pick for this year.

Yes, I should have got up earlier in the day, used faster shutter speeds, but it was an enjoyable experience. Thank you, Mr. Predictable Kingfisher.

Articles: Digital Photography Review (dpreview.com)

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iPhone mount converts an Apple Watch into a live viewfinder for selfies and vlogging

27 Nov

Apple’s iPhones have a front-facing camera for selfies and FaceTime, but the front camera’s performance and image quality pales in comparison to the rear cameras. For those wanting a high-quality selfie or to record video content of themselves, your options have long been to use the front-facing camera so you can see your phone’s display or to try your luck with the rear-facing camera and hope everything is framed properly. Ulanzi has a new product, the ST-09 Phone Tripod Mount for Apple Watch, designed to solve this exact problem.

By using a paired Apple Watch and the ST-09, you can mount your smartwatch to the ST-09 and clamp it onto your iPhone. With the accompanying Apple Watch app, your Watch’s face becomes a live viewfinder mounted to the back of your iPhone.

As Gizmodo says, it may ‘seem like a foolish use for the $ 200+ smartwatch strapped to your wrist. But as you think about it more, you realize the mount solves a problem that many amateur vloggers who rely on their smartphones for all of their productions needs run into: using the back camera to film yourself is all but impossible.’ The target audience is somewhat niche, perhaps, but the ST-09 is an inexpensive, simple solution. Provided you already have an Apple Watch, of course.

On the bottom of the mount is a tripod a 1/4″ hole for mounting a tripod. On the top of the mount is a cold shoe, which can be used for attaching a fill light, microphone or other accessories.

Ulanzi ST-09 product details. Image courtesy of Ulanzi. Click to enlarge.

If you’re worried about scratching your devices, Ulanzi states that the product features an anti-scratch silicone pad design for the Watch mount and the clamps which adjust to your phone. Speaking of which, the tension distance is 58-89mm, meaning it will fit most iPhones, including the latest iPhone 12 models. With respect to Apple Watch model compatibility, Ulanzi only mentions the Series 5, so Gizmodo observes that the ST-09 may only be compatible with the Series 5 and Series 6 Apple Watches.

The Ulanzi ST-09 can adjust from 58mm to 89mm in order to fit a variety of iPhones. Image courtesy of Ulanzi.

The problem Ulanzi is trying to solve has been tackled by different manufacturers over the years. Gizmodo recalls the DJI Osmo Action, an action camera with a front-facing camera. (You can check out our hands-on with the Osmo Action right here). GoPro followed suit shortly thereafter with the Hero9 action camera. Smartphone manufacturers, on the other hand, have not gone this route. Smartphone displays drain battery and a second display on the rear presents power, engineering and cost concerns.

The Ulanzi ST-09 can be ordered directly from Ulanzi for $ 19.95 USD. The accessory is current on sale from its regular price of $ 29.99.

(Via Gizmodo)

Articles: Digital Photography Review (dpreview.com)

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SLC-0L-05: Lighting’s Gateway Drug

26 Nov

Quick, guess the lighting.

If you said two lights, and use of high-speed sync to get the shallow depth of field, that's a pretty good guess.

If you said zero lights and a rigid high-efficiency reflector, that's an even better — and correct — guess.

When working with an inexperienced assistant — or looking to introduce someone to the world of off-camera lighting — a rigid/high-efficiency reflector is a fantastic and inexpensive place to start.

The Panasonic S1H and GH5 are the best cameras for videographers

26 Nov

You don’t need to spend a fortune to buy a camera that’s designed for videography. We took a look at the field and selected the Panasonic S1H and GH5 as the best cameras for serious videographers.

Articles: Digital Photography Review (dpreview.com)

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MIOPS launches Kickstarter campaign for Flex, its featured-packed smart camera gadget

26 Nov

MIOPS, makers of the Smart Trigger and Mobile Remote, is back on Kickstarter with another new product designed to make it easier than ever to capture unique images. The Flex is a ‘smart camera gadget’ photographers can use to create timelapse videos, capture photos of lightning strikes, breaking glass and more.

Flex attaches to your camera’s hot shoe and communicates wirelessly with an accompanying app for iOS and Android. Flex offers many different features and shooting modes, including:

Camera control
Lightning sensor
Sound sensor
Laser sensor
HDR bracketing
Geotagging
Live view framing
Holy Grail (day to night) timelapse
Basic timelapse
Long exposure timelapse
HDR timelapse
Time warper
Stormlapse
Cable release
Press and hold
Press and lock
Timed release
Self timer
Timed release with self-timer

As you can see, timelapse is an important aspect of Flex’s feature set. As MIOPS says, ‘Flex is one of the most powerful devices for making timelapse videos.’ A large part of what makes Flex such a promising tool for timelapse creation is that the application shows you a live preview of your timelapse video during the shooting process. When capturing a timelapse in changing conditions, Flex can automatically change your camera’s settings as well, allowing you to capture a ‘holy-grail timelapse,’ which is a timelapse with smooth day-to-night and night-to-day transitions. It’s a notoriously difficult type of timelapse to create.

Flex includes many timelapse features, including a live preview function on the Flex app. Image credit: MIOPS

For high-speed photography, such as capturing lightning strikes or capturing the perfect moment of action, Flex incorporates numerous helpful features. When photographing lightning, Flex automatically captures photos as soon as its sensor detects lightning. For photographing something such as a popping balloon, breaking glass, or a falling object, Flex includes a sound-activated shooting mode and it has a laser sensor that can be tripped to trigger image capture.

When using Flex, you can remotely control your camera, including adjusting settings and capturing images. Image credit: MIOPS

Flex includes new features for more traditional photography applications as well. From the Flex app, you can remotely adjust your camera’s settings and capture images. MIOPS says, ‘Go ahead – put your camera in hard-to-reach places to get that amazing angle.’ With customizable shutter speed control, Flex can also be used to capture very long exposure images, beyond what your camera can capture on its own. Further, you can see what your camera sees via live view from your smartphone.

Flex attaches to your camera’s hot shoe and is compatible with many cameras from Canon, Nikon, Sony and Fujifilm. Image credit: MIOPS

Flex is compatible with cameras from Canon, Nikon, Sony and Fujifilm, including both DSLR and mirrorless cameras from Canon, Nikon and Sony. For the full list of compatible cameras, click here.

Flex has already eclipsed its $ 50,000 goal with 43 days to go in the Kickstarter campaign. MIOPS expects to ship Flex to backers in June 2021. The Flex is available for $ 199 USD with the ‘Super Early Bird’ backer option, a $ 100 savings compared to the expected MSRP. For full details of the Flex and the various backer options, head to the Flex Kickstarter page. To learn more about MIOPS and its other products, click here.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

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The Best Black Friday Deals for Photographers in 2020

26 Nov

The post The Best Black Friday Deals for Photographers in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

If you’re looking for the best Black Friday and Cyber Monday deals for photographers, then you’ve come to the right place.

We’ve put together a huge crop of discounts, from incredible savings on cameras, lenses, photography courses, photo editing software, and more.

black friday deals for photographers in 2020

We’ve even included a few coupon codes, so our readers can have access to the best exclusive deals on the internet.

Here’s the bottom line:

If you want to level up your photography, then you need to take advantage of these deals while they’re still available.

So without further ado, let’s look at the current best Black Friday deals!

You can click below to go directly to the product category you’re interested in:

Special Deals and Courses
Cameras
Lenses
Software

Photzy’s Snap Cards (at 86% off!)

Have you ever been out taking photos and wished you could have your training materials open in front of you? Or, better yet, for a photography expert to be standing next to you, giving you advice as you choose your settings and press the shutter button?

Thanks to Photzy’s Snap Cards, it’s possible.

black friday deals for photographers in 2020 Photzy Snap Cards

Because the Snap Cards are designed by experts to do exactly that:

Tell you what you need to know about photography – when you need to know it. Not when you’re sitting in your room reading about photography, but when you’re actually out in the field taking pictures.

The Snap Cards consist of 44 printable cheat sheets, including all the key information about:

working with your camera
creating perfect exposures
arranging perfect compositions
photographing people
working with flash
and much more!

They’re easy to read, they offer quick solutions in the field, and they’re wildly effective. But don’t take our word for it; here’s what Snap Card customers have said about this one-of-a-kind product:

“I printed the set and laminated them straight away, took the applicable sets on specific shooting sessions, as designed. They helped remind me of details I had forgotten over the years.” – John M.
“Easy way to access good information during the learning process. I really enjoy the cards and the other emails I have received since buying the cards! ” – Ryan S.
“These are excellent, well-paced tips. Good for both beginners and advanced photographers. These cards reinforce known facts and add a lot more.” – Dilip R.

Normally, the Snap Cards cost $ 220 USD.

But for a limited time, you can grab the Photzy Snap Cards at an insanely low price:

Just $ 29 (or less than $ 1 per card).

Oh, and here’s another little tidbit:

Simply enter the code “BF20” during checkout, and you’ll get another 20% knocked off the price.

So make sure you grab the Snap Cards at this ultra-discounted price while you still can. Because the deal certainly won’t last!

Click here to get the Snap Cards at over 89% off, right now.

Contrastly’s Decoding Lightroom Video Course (Just $ 49)

If you’re looking to create stunning photography, then editing your images is essential. After all, editing is how you take a decent photo and turn it into a masterpiece.

Unfortunately, learning to edit can be overwhelming. Many photographers give up before getting anywhere at all. And they never manage to make their photos shine.

Fortunately, there’s an easy way forward:

Contrastly’s Decoding Lightroom Video Course.

It’s an instant-access online course, one that gives you everything you need to start editing your photos in Lightroom Classic (one of the most powerful photo editors on the planet!).

Decoding Lightroom video course from Contrastly

Simply sit back and watch as professional landscape photographer Adam Welch takes you through the ins-and-outs of Lightroom, explaining everything you need to know – from making colors stand out to making details pop to exporting your photos for printing. There are over five hours of videos, plus several helpful bonuses including Lightroom presets (for one-click edits that will instantly improve your photos).

Normally, you pay $ 129 for this course.

But for the next few days only, you can get it at over 50% off, for just $ 49.

To grab Decoding Lightroom before the deal disappears, just click here.

So get the course. Try it out. Once you’ve mastered editing in Lightroom, your photos will never look the same again.

Also note that Contrastly’s other products, including The Lightroom Mastery eBook and The Cameras in the Wild eBook, are also over 50% off during the Black Friday period, so I highly recommend you check them out.

Capture Landscapes’ Into the Light Landscape Photography Course (Over 24% Off!)

Do you wish you could take stunning landscape photos, day in, day out?

That’s what Capture Landscapes’ Into the Light landscape photography course will show you how to do.

Into the Light offers 9+ hours of instantly-downloadable video content, instructing you on camera settings, composition, gear, and more.

It even includes several post-processing videos, so you can learn how expert landscape photographers edit their images (and so you can start editing your photos like an expert, too!).

Plus, you get a whole bunch of bonuses, including vlogs, membership to a private Facebook group, and RAW landscape files to practice on.

The course is taught by the incredible William Patino, one of the best landscape photographers in the world – so don’t miss this opportunity to learn from a master.

While Into the Light generally goes for $ 169, it’s currently available for $ 127, at over 24% off.

You can purchase it here.

Also note that Capture Landscapes is currently offering a host of other Black Friday discounts, so make sure you check out their other courses and eBooks!

All Visual Wilderness Learn to Shoot Courses (50% Off)

Visual Wilderness offers nature photography tutorials by some of the best photographers around, which will show you how to:

use slow shutter speeds for breathtaking results
create jaw-dropping colors, consistently
nail focus (so your images are tack-sharp)
use your camera’s aperture setting to take your photos to the next level

And much, much more! There is literally days of nature photography video content just waiting to be watched, designed for beginners and advanced photographers alike. So why not take this opportunity to improve your photos?

For the next few days, dPS readers can get any of the Visual Wilderness Learn to Shoot video tutorials for 50% off. At checkout, simply enter the code “dps50” to claim your discount, and gain access to some of the most valuable nature photography instruction available today.

To see the Visual Wilderness Learn to Shoot courses, and to claim your 50%-off discount, click here.

SLR Lounge Premium Membership (28% Off)

If you’re interested in portrait photography, creative photography, engagement photography, or artificial lighting of any kind, then you need to take a look at SLR Lounge’s video courses.

Peek at the course catalog, and you’re bound to see something you’d love to watch. For instance, there are workshops on posing, headshot photography, flash photography, and much more.

black friday deals for photographers in 2020 SLR Lounge

Each course offers hours upon hours of high-quality, practical advice – which will jumpstart your photography and get you shooting on a whole new level, fast.

Now, you can purchase the courses individually; each one goes for around $ 100.

Or you can grab a Premium membership, which gives you access to all SLR Lounge courses. Normally, you pay $ 348 for a 12-month membership – but, as part of the SLR Lounge Black Friday sale, you can currently purchase a 12-month membership for $ 248.

Alternatively, you can buy a 6-month membership for just $ 178 or a lifetime membership for $ 598 (note that these two memberships aren’t available at other times of the year).

So click here to start your SLR Lounge photography education!

Cameras and Camera Bundles

Black Friday always comes with stellar camera deals, and this year is no exception.

While there are too many excellent camera discounts to list, here are a few that we think you’ll really love:

Canon EOS M50 With 15-45mm Lens (15% Off on Amazon)

The Canon EOS M50 is one of Canon’s most eye-catching mirrorless cameras, offering great handling, beautiful images, and 4K video – all in a tiny package. It’s perfect for photographers aiming to upgrade from their point-and-shoot models, as well as anyone looking for an affordable entry into mirrorless.

Thanks to the articulating screen and the recording capabilities, the Canon EOS M50 is also an excellent choice for vloggers, especially those that aim to shoot a mix of videos and photos.

Plus, in addition to a handful of EF-M lenses, Canon sells an adapter that lets you use the entire suite of EF lenses.

Not bad for an inexpensive mirrorless camera, right?

So if you want a nice little camera that packs quite the punch, give the EOS M50 a try. It’s currently selling at 15% off with a 15-45mm kit lens, which puts the price at just $ 549 on Amazon.

Canon EOS RP With 24-105mm Lens (29% Off on Amazon)

The Canon EOS RP is Canon’s cheapest full-frame mirrorless camera, but don’t let that fool you; it can go toe-to-toe with models that cost far more, thanks to its powerful image sensor (26 MP), fully-articulating screen, and 4K video capabilities.

For those who are thinking of going full-frame but aren’t sure where to start, the EOS RP is a perfect choice. Or if you’re a Canon user but haven’t made the jump to mirrorless, this EOS RP package has got you covered.

After all, you get the powerful EOS RP, plus the ultra-useful 24-105mm lens, which is perfect for all kinds of shooting (from street photography to landscape photography to walkaround photography and more).

So grab the Canon EOS RP plus the 24-105mm f/4-7.1 while it’s still on sale, because you can get it for an ultra-low $ 999 on Amazon!

Sony a6000 With 16-50mm and 55-210mm Lenses (15% Off on Amazon)

Are you thinking about getting your first mirrorless camera?

If so, then I highly recommend you consider this Sony a6000 package, which gives you everything you need to get started in mirrorless photography.

It offers a compact body, an electronic viewfinder, and excellent image quality, plus you get two highly-useful lenses. The 16-50mm is perfect for sweeping landscape and wider portrait photography, while the 55-210mm is the better option for tighter portraits, action photography, and the occasional street shot.

Usually, the Sony a6000 bundle goes for $ 999, but you can currently grab it for just $ 848 on Amazon.

Sony a7 III (15% Off on Amazon)

The a7 III is one of Sony’s most popular professional cameras, combining outstanding low-light capabilities, in-body image stabilization, class-leading autofocus, a 24 MP sensor, and 4K recording capabilities into one ultra-powerful package.

If you’re looking for a standout full-frame mirrorless camera that can do just about anything, the Sony a7 III is a great choice.

And it’s currently available for 15% off on Amazon, at just $ 1698 (versus the usual $ 1998).

Sony a7R IV (14% Off on Amazon)

The Sony a7R IV is a resolution monster, packing 61 megapixels into its gorgeously crafted full-frame sensor. It also includes a stunning electronic viewfinder, excellent autofocus, and a line of brilliant lenses that you won’t want to miss.

If you’re a landscape photographer or a commercial photographer in need of mind-blowing levels of detail, then the Sony a7R IV is the perfect pick, especially at its current discounted price:

$ 2998, versus its normal $ 3499 price tag.

Nikon Z50 Plus a 16-50mm Lens (10% Off on Amazon)

The Nikon Z50 is a user-friendly, high-performing APS-C mirrorless model from Nikon, perfect for photography beginners, casual photographers, and Nikon DSLR users looking to upgrade.

While the Nikon Z50 doesn’t include any true standout features, you get a very respectable 20 MP sensor, 4K video, a tilting touchscreen, and decently-fast shooting speeds.

And there’s also the 16-50mm lens, which offers a nice range of wide-to-standard focal lengths, so you can smoothly shoot landscapes, portraits, street photos, and much more.

Grab the Nikon Z50 plus the 16-50mm kit lens for just $ 896 on Amazon, down from its usual $ 996 price.

Fujifilm X-T30 With 15-45mm Lens (10% Off on Amazon)

The Fujifilm X-T30 is one of the best APS-C cameras to debut in recent years, and that’s saying something; Fujifilm managed to combine a beautiful design, a great shooting experience, excellent autofocus, and blazing-fast shooting speeds for a do-it-all camera that you won’t be able to put down.

If you’ve never tried a Fujifilm camera before, you’re going to be in for a treat. Honestly, it doesn’t matter if you’re a beginner, an enthusiast, or a professional – as long as you’re a fan of the retro design, then you’re going to love this model.

The Fujifilm X-T30 normally sells for $ 899 – but you can currently purchase it, with the excellent 15-45mm kit lens, for just $ 799 on Amazon.

Lenses

These are some of the best Black Friday lens deals that you’ll come across:

For Canon

Canon EF 70-200mm f/2.8L USM (7% off for $ 1249 on Amazon)
Canon EF 40mm f/2.8 STM lens (10% off for $ 179 on Amazon)
Canon EF-S 10-22mm f/3.5-4.5 USM (34% off for $ 429 on Amazon)
Canon EF 17-40mm f/4L USM (25% off for $ 599 on Amazon)
Rokinon 35mm f/1.4 for Canon (15% off for $ 339 on Amazon)

For Sony

Sony 70-200mm f/2.8 GM (5% off for $ 2398 on Amazon)
Sony FE 50mm f/1.8 (20% off for $ 198 on Amazon)
Sony 35mm f/1.8 (11% off for $ 423 on Amazon)
Sony 16-35mm f/2.8 (9% off for $ 1998 on Amazon)
Tamron 28-75mm f/2.8 for Sony (9% off for $ 799 on Amazon)

For Nikon

Nikon AF-S 70-200mm f/2.8E VR (19% off for $ 1896 on Amazon)
Nikon AF-S 14-24mm f/2.8G ED (23% off for $ 1347 on Amazon)
Nikon Z 14-30mm f/4 S (15% off for $ 1097 on Amazon)
Nikon AF-S 28-300mm f/3.5-5.6G VR (11% off for $ 847 on Amazon)
Sigma 35mm f/1.4 ART for Nikon (27% off for $ 656 on Amazon)

For Fujifilm

Fujifilm XF 16-55mm f/2.8 (25% off for $ 899 on Amazon)
Fujifilm XF 55-200mm f/3.5-4.8 (29% off for $ 499 on Amazon)
Fujifilm XF 50-140mm f/2.8 (19% off for $ 1299 on Amazon)

For Panasonic

Panasonic Lumix 45-150mm f/4-5.6 (41% off for $ 148 on Amazon)
Panasonic Lumix 35-100mm f/2.8 (18% off for $ 898 on Amazon)

Software

Every year, the Black Friday software deals just seem to get better and better. Check out the incredibly low prices on these powerful editing programs:

ACDSee

ACDSee Photo Studio Ultimate 2021 is an all-in-one post-processing program, offering cataloging, basic editing, and advanced editing in a single package. You get all the power you expect from a serious Lightroom competitor, plus the streamlined workflow that comes from using a single image editor with dozens of capabilities.

If you’re looking to enhance your images with post-processing and you’re tired of the hassle of going between Lightroom, Photoshop, and various plugins, then ACDSee is a fantastic choice – one that’s currently available for a fantastic low price.

Currently, you can buy the ACDSee Photo Studio Ultimate 2021 with ACDSee’s Luxea Video Editor for just $ 109.95 (normally priced at $ 229.98).

So don’t miss out on this excellent Black Friday opportunity from ACDSee; make sure to grab your Photo Studio Ultimate 2021 package before the deal disappears.

Adobe Creative Cloud

We all know Adobe’s products, but did you know that you can currently purchase Lightroom, Photoshop, and all the other Adobe CC apps for 25% off, at just $ 39.99 per month?

The deal includes both versions of Lightroom – CC and Classic – as well as Adobe’s industry-standard video editing apps, graphic design apps, and more.

If you’ve been on the fence about going all-in with an Adobe subscription, then now is the time to do it. Lightroom Classic is amazing, Lightroom CC is beautifully built, and Photoshop is on another level entirely. Plus, the video apps you’ll get as part of the full Creative Cloud subscription are perfect for vloggers, YouTubers, and videographers of all stripes.

So start taking your photos – and videos – to the next level, today. Click here to get your Adobe CC subscription!

ON1 Photo RAW 2021

ON1 Photo RAW 2021 is an easy-to-use, feature-packed alternative to Adobe Lightroom Classic. It combines streamlined image organization with pretty much all of Lightroom Classic’s editing functionality, plus a beautiful interface to boot.

There are die-hard Lightroom fans out there who won’t want to consider ON1 Photo RAW, but the fact is that the software is genuinely great. ON1 Photo RAW 2021 is a pleasure to use, mostly because it just feels right, thanks to ON1’s focus on user experience over advanced editing functions.

ON1 Photo RAW 2021 could easily take the place of Lightroom, and it’s way cheaper, too:

Normally $ 99.99, and now – thanks to Black Friday – just $ 79.99. So click here for the deal!

Oh, and for those who are interested in really taking your ON1 Photo RAW 2021 software to the next level, you can also grab the ON1 Professional Plugin Bundle (including ON1 HDR, ON1 Resize, ON1 Effects, and ON1 Portrait AI) for just $ 59.99.

Affinity Photo

These days, Serif’s Affinity Photo is the most popular Photoshop alternative available. It goes toe-to-toe with Adobe’s advanced photo editor in pretty much every way, packing an incredible amount of power for a surprisingly cheap price ($ 50).

And that cheap price just got even cheaper, thanks to Serif’s Black Friday sale, which makes Affinity Photo available for an ultra-low $ 34.99.

Honestly, I can’t think of any reason you shouldn’t buy Affinity Photo at that price. At the very least, I recommend you grab the free trial to see what you think, because the program truly is exceptional.

You can purchase Affinity Photo, or download the free trial, right here.

The Best Black Friday Deals for Photographers: Conclusion

I encourage you to grab these great discounts while they still exist.

Because while there are plenty of amazing deals, they won’t stick around for long. Pretty soon, Black Friday will be over and prices will go back to normal.

So take advantage of these deals while you still can!

Know of any fantastic Black Friday deals for photographers that we missed? Share them in the comments!

The post The Best Black Friday Deals for Photographers in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Fujifilm adds a 400MP capture mode to its GFX 100 camera with 3.00 firmware update

26 Nov

Fujifilm has announced a firmware update for its GFX 100 camera that adds Pixel Shift and Multi-Shot functions to its flagship camera, which work alongside Fujifilm’s new Pixel Shift Combiner software to stitch together up to 16 Raw photographs into a single 400MP Raw image.

The new 400MP image capture mode in firmware version 3.00 combines the capabilities of the GFX 100’s 102MP sensor, its in-body image stabilization and the X Processor 4 inside. To achieve this level of resolution, the GFX 100 will first capture a the base shot, before shifting the sensor one pixel left, right and down for a total of four images. The camera will then repeat this process with each of these four images for a total of 16 Raw photographs.

This method ensures each pixel records image data in red, green and blue, which helps to increase color reproduction accuracy with minimal false color. To get the final result, users will need to rely on Fujifilm’s new Pixel Shift Combiner software, which will automatically stitch all 16 Raw images together to create a single 400MP Raw image (DNG), which can then be edited in the program of your choosing.

The high color accuracy and resolution make this an obvious choice for digital archiving and art preservation, but also for commercial photographers who need resolution and accuracy, as showcased with this image of the one-off Koenigsegg Agera RS ‘Draken’ from Dan Kang:

This first image is the standard image as captured by the GFX 100:

The full-resolution version of this image came in at 51.5MB

This second image is a 100% crop of a photo captured with the new 400MP Pixel Shift Multi-Shot mode:

The full-resolution version of this image came in at 204.9MB

Firmware version 3.00 for the Fujifilm GFX 100 also addresses a few smaller changes. Now, when rating images captured in the [JPEG + Raw] mode, both the JPEG and Raw file will keep the rating. Fujifilm has also fixed an issue that caused its EF-X500 to incorrectly fire other flash groups when using it as a commander in multi-flash scenarios. Eye AF performance has also been improved and a number of smaller bugs have been addressed as well.

You can download firmware version 3.00 for the GFX 100 as well as the new Pixel Shift Combiner program (macOS and Windows) on Fujifilm’s website.

Image credit: Photographs used with permission from Koenigsegg and Dan Kang.

Articles: Digital Photography Review (dpreview.com)

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Our favorite gear, rewarded: DPReview Awards 2020

25 Nov

DPReview Awards 2020

How is it nearly the end of the year already? Not that any of us are keen for 2020 to last much longer. To say the least, this has been a strange and difficult few months for people all over the globe, and one that we can’t wait to put behind us. The photo industry (like most industries) was impacted by the COVID-19 epidemic this year, but a lot of great products were released nevertheless, even if launch schedules were a little more erratic (and access to samples a lot more disrupted) than normal.

At the end of every year we get together as a team to recognize the standout products of the past 12 months in our annual DPReview Awards. Normally we do that in a room, but hey – contentious multi-participant discussions about which products a bunch of very opinionated professional reviewers like best are what video calls were invented for!

Without further ado, take a look through this article to find out which products made our list of the best gear of 2020.

Best accessory

Shortlist:

Apple iPad Air (2020 version)
DJI Mavic Air 2
DJI Pocket 2
GoPro HERO9 Black

Runner up: GoPro HERO9 Black

‘Go big or come home,’ is a phrase we can only assume is often spoken (or shouted?) at GoPro HQ. And with the new flagship HERO9 Black, GoPro really did go big.

The HERO9 Black offers up to 5K/30p or 4K/60p video from a new 23.6MP sensor; the former gives room to crop-in in post, assuming you’re outputting in 4K. It also features GoPro’s impressive HyperSmooth 3.0 video stabilization, which is easily the best in the action camera class.

Still images are captured at 20MP, up from 12MP on the HERO8 Black. And a new accessory wide angle attachment (sold separately) adds increased versatility to the unit. Long gone are days of confusing button combinations: The HERO9 Black offers a rear touchscreen as well as a front-facing ‘live’ screen. It’s also waterproof, without the need for a case and provides 30% improved battery life over its predecessor. That’s good enough to make it our runner-up for best accessory of the year.

Winner: DJI Mavic Air 2

The DJI Mavic series has likely done more to popularize drone photography than any other product, but in 2020 DJI really hit the sweet spot with the Mavic Air 2. It’s a true Goldilocks product that’s not too little or too much – it’s just right. In our review we called it ‘The best all-round drone for most people’.

While not the smallest drone on the market, the Mavic Air 2 still fits in the palm of your hand. Despite its compact size, it features a camera with a 1/2″ CMOS sensor to deliver better image quality than models with smartphone-style sensors. It captures impressive 4K/60p video and photos in JPEG or Raw, includes HDR and panorama modes, and packs useful features like an obstacle avoidance system and impressive subject tracking. Most important, it’s fun to fly and makes it easy to capture great photos and videos, earning it our photo accessory of the year award.

Best smartphone camera

Shortlist:

Apple iPhone 12 Pro Max
Google Pixel 5
Huawei Mate 40 Pro
Samsung Galaxy S20 Ultra 5G

Runner up: Samsung Galaxy S20 Ultra 5G

Sitting at the top of Samsung’s Galaxy S20 lineup, the Ultra earns its name in multiple respects, starting with its massive 6.9” OLED screen. But what stands out most to us is its impressive camera hardware. It offers a large 1/1.33″ 108MP sensor in its main camera module, complemented by a 12MP ultrawide and depth-sensing time-of-flight sensors. An additional 48MP telephoto camera features a 103mm periscope configuration with an f/3.5 aperture, making it a native 4x optical zoom. A 10x “hybrid optic zoom” mode is offered that combines data from both the 108MP wide and 48 MP telephoto modules, and you can go up to 30x with some software upscaling wizardry. All but the ultrawide module offer phase-detect autofocus.

This phone was announced in February of this year and at the end of 2020 it’s still unrivaled in terms of raw camera specs. It’s large main sensor, 8K video, and its Nonacell and Tetracell technologies in the main and tele- modules that allow for higher quality images in low light thanks to hardware binning, to name a few.

In recent history, smartphone camera advancements have largely come from more sophisticated software. To be sure, the S20 Ultra has plenty of software tricks up its sleeves, but Samsung also went big on hardware in this device. For this unique combination of cutting-edge software and hardware, it earns our Best Smartphone runner up.

Read more about the Samsung Galaxy S20 Ultra

Winner: Apple iPhone 12 Pro Max

Apple reserved its most impressive imaging specifications for the iPhone 12 Pro lineup, with telephoto lenses, LiDAR scanners that enable night portrait mode images, and up to 4K/60p Dolby Vision video. In fact, iPhone 12 phones are the only devices in existence that allow you to capture, edit and display video in the 10-bit Dolby Vision HDR format all on the smartphone itself.

But the iPhone 12 Pro Max takes things a step further, introducing a 47% larger sensor with bigger pixels to the device’s main camera, which in conjunction with the F1.6 main lens aperture allows the Pro Max to capture nearly twice as much light as the previous generation phones. Sensor-shift stabilization has also been added to the main camera for the first time in an iPhone, allowing for better night mode photographs.

While this may not sound like a big deal considering the 1/1.33″ sensors we’ve seen in competitors, it’s the total package that makes the 12 Pro Max our winner. It’s the only smartphone not just capturing but displaying HDR in both stills and video, in more hands than ever before. Yet also doing so also with a large sensor, sensor-shift stabilization and the image processing many have come to know and love of Apple. And seeing HDR photos and videos is believing – it’s one of the next big steps forward in image capture and display, and the 12 Pro Max is going to turn a lot of people into believers. Especially if you set your screen brightness to max!

Best zoom lens

Shortlist:

Nikon Nikkor Z 14-24mm F2.8 S
Nikon Nikkor Z 70-200mm F2.8 VR S
Olympus 150-400mm F4.5 TC1.25x
Sony 12-24mm F2.8 GM

Runner-up: Nikon Nikkor Z 14-24mm F2.8 S

The third and final member of Nikon’s Z-mount ‘Holy Trinity’ is an impressive lens – the Z 14-24mm F2.8 S. This one had a hard act to follow, vying to replace the very well-liked AF-S 14-24mm F2.8 in the kitbags of Nikon mirrorless upgraders.

Instead of simply adapting and re-housing the older optical design for the new Z-mount, Nikon’s engineers went back to the drawing board, creating a fast wideangle zoom that manages to be smaller, lighter and more practical than its F-mount predecessor, without sacrificing optical quality and, actually, improving on it. This is a wonderfully sharp lens, and very practical too, weighing in at less than 1.5 lbs, with the option of screw-in filter compatibility via an included hood adapter. This is a lens which – like one of its main competitors this year, Sony’s FE 12-24mm F2.8 GM – really shows what optical designers can do with a short flange-back distance.

Read more about the Nikkor Z 14-24mm F2.8 S

Joint-winner: Nikon Nikkor Z 70-200mm F2.8 VR S

A good 70-200mm F2.8 equivalent seems to be essential in any system which wants to be taken seriously. Nikon announced the Z 70-200mm F2.8 VR S way back in January (which feels like years ago) but disruption caused by the COVID-19 pandemic has meant that even now, it’s hard to get hold of.

Assuming you’re lucky enough to get your hands on one, you’ll find a lot to like about the Z 70-200mm F2.8 VR S. Perhaps the sharpest of the current (all very sharp) range of similar lenses for competitive mirrorless systems, this powerful telezoom features a very good minimum focus distance, excellent customization, and the ability to accept teleconverters. While it doesn’t have quite the same magic bokeh as the AF-S Nikkor 70-200mm F2.8E FL ED VR, the cross-frame sharpness and flare-resistance of this native mirrorless lens is superb, making it a very capable companion for users of Nikon’s Z-mount, and the joint-winner in this year’s DPReview Awards for best zoom lens.

Read more about the Nikkor Z 70-200mm F2.8 VR S

Joint-winner: Sony 12-24mm F2.8 GM

In the end we couldn’t choose between the Nikon Z 70-200mm F2.8 VR S and this one. The Sony 12-24mm F2.8 GM is a very different kind of lens, but equally excellent in its way. Aimed at landscape and astrophotographers alike, it’s a lens that can replace a handful of primes thanks to its optical performance. It’s tack sharp wide open, and three extreme aspherical (XA), two Super ED and three ED (extra low dispersion) elements help the lens achieve little to no lateral or longitudinal chromatic aberration. Stars and city lights are faithfully rendered thanks to minimal coma, and the precision of XA element grinding ensures smooth bokeh with no onion-rings.

The Sony 12-24mm F2.8 GM is impressively lightweight at 847g, only 6.5% heavier than the compact Sigma 14-24mm F2.8 DG DN Art lens. It accepts rear-mount gel filters, and is fast to focus thanks to four extreme dynamic (XD) linear motors that allow it to keep up with the 20 fps frame rate of the Sony a9 cameras. A newer Nano anti-reflective coating allows for lower flare and ghosting. Video shooters will be pleased by the linear focus response, lack of focus breathing, focus shift, and axial shift while zooming.

Read more about the Sony 12-24mm F2.8 GM

Best prime lens

Shortlist:

Nikon Z 20mm F1.8 S
Sigma 105mm F2.8 DG DN Macro
Sigma 85mm F1.4 DG DN Art
Sony FE 20mm F1.8G

Runner-up: Sigma 105mm F2.8 DG DN Macro

Another in a line of excellent ‘DN’ (Digital Native) lenses from Sigma, the 105mm F2.8 was designed specifically for full-frame mirrorless cameras, and delivers excellent results on the latest Sony E-mount and Panasonic/Leica/Sigma L-mount bodies.

Medium-telephoto macro lenses like this one are excellent for closeup work of smaller animals and plants, where you want to be able to maintain a reasonable camera-subject distance. They’re also handy as portrait lenses, where the longer focal length and sharpness wide-open help compensate for the relatively slow maximum aperture compared to a conventional portrait prime. As one of (still) very few native macro options for full-frame mirrorless shooters, the Sigma 105mm F2.8 DG DN Macro earns its runner-up spot in this year’s DPReview Award for best prime lens.

Read more about the Sigma 105mm F2.8 DG DN Macro

Winner: Sony FE 20mm F1.8G

The Sony 20mm F1.8G takes the top spot in our awards for prime lens of the year thanks to the fact that it’s nearly optically flawless. It’s sharp enough wide open to pair with the high-resolution 60MP a7R IV, with nearly no lateral or longitudinal chromatic aberration to speak of – particularly impressive for a lens of this type. Bokeh is smooth with no onion rings or bright edges. Nine aperture blades ensure smooth out-of-focus highlights even as you stop down, and for astrophotographers, there’s minimal sagittal flare or coma.

Autofocus is extremely speedy thanks to XD (extreme dynamic) linear focus actuators. Distortion and vignetting are also well-controlled and easily fixed in post-processing. The only flaw we can find really is a tendency to flare and ghost, but that’s excusable for a lens of this type and considering its lack of other optical aberrations.

As the most well-corrected lenses of this type that we’ve ever seen, the Sony 20mm F1.8G easily wins our prime lens of the year.

Best compact/fixed lens camera

Shortlist:

Fujifilm X100V
Nikon Coolpix P950
Sony ZV1
Zeiss ZX1

Runner-up: Nikon Coolpix P950

In a year with few highlights, testing the Nikon Coolpix P950 was definitely among them. Maybe the perfect camera for shooting during quarantine, if you can’t find some interesting photographic perspectives with a 24-2000mm zoom range, it’s time to find another hobby.

It’s all too easy to sneer at ‘big lens, small sensor’ cameras like this, but do so at your peril. The Coolpix P900 sold like hotcakes, and the P950 is a better camera, and nicer to use, too (thanks to Raw mode and a better EVF, respectively). If you respect its limits, the P950 will reward you with images that would be near-impossible to get with any other comparably-priced setup. A good camera removes obstacles to creativity, and for that reason the Nikon Coolpix P950 earns its runner-up spot in our category for compact / fixed-lens camera this year.

Winner: Fujifilm X100V

And the Nikon Coolpix P950 would probably have won outright, were it not for this pesky kid. The Fujifilm X100V is the fifth camera in the company’s perennially-popular X100 range, and brings far more substantial changes compared to previous iterations. Featuring a new 26MP BSI-CMOS sensor, flip-out, touch-sensitive rear-screen and redesigned lens, the X100V is a significantly better camera than its forebears.

We’ve always loved the X100-series, and it was very good to see Fujifilm’s engineers really grasp the nettle this year and make some bolder updates to the concept. And while some photographers might still consider the X100V’s fixed 35mm equivalent lens to be limiting, it’s worth noting that the redesigned lens makes the company’s wide and tele-converters perform a lot better than they did on some previous X100-series models. For everyday photography the X100V is a reliable and enjoyable companion, and as such it takes the top spot in our 2020 DPReview Award for best compact/fixed-lens camera.

Best stills / video camera

Shortlist:

Canon EOS R6
Fujifilm X-T4
Panasonic Lumix DC-S5
Sony a7S III

Runner up: Canon EOS R6

The EOS R6 risks being overshadowed by the 8K-capable R5 (and the initial concerns about how it recovers from overheating), but its a hugely capable stills / video camera.

The ability to record in 10-bit, either as Log or PQ HDR footage, is impressive, as is the option to shoot 4K/60p, but its appeal goes beyond that. Its stabilization is excellent, its autofocus is reliable and the video and stills settings are kept separate to a good degree, making it easy to switch back and forth. A firmware update that improves recovery times means it’s primarily its rolling shutter that counts against it. But even with this taken into account, there are few cameras at the price that make it easier to shoot genuinely excellent video.

Winner: Sony a7S III

Instead of chasing headline specs, Sony told us its priorities for the a7S III centered around reliability. In that spirit, it stuck with a 12MP sensor to capture native 4K, but its an all-new BSI sensor with dual gain architecture and fast rolling shutter performance. As a result, the camera can capture 4K/60p using the full width of its sensor, and up to 4K/120p with a slight (1.1x) crop, all in 4:2:2 10-bit color.

The a7S III also benefits from updated codecs, including a new All-I ‘intra-frame’ option, 16-bit Raw video output over HDMI, and dual-twin card slots that support both SD and CFexpress Type A. It’s also the first a7-series camera to feature a fully articulating screen in addition to Sony’s class-leading AF system, and it can record 4-channel audio with a new XLR adapter. the a7S III’s biggest drawback is that it’s stuck at 12MP for stills. Native 4K may result in slightly less detail than the oversampled video found on competitors, but it’s still the most impressive stills/video hybrid we’ve seen this year unless you really need more than 4K resolution.

Best entry-level ILC

Shortlist:

Canon EOS Rebel T8i
Fujifilm X-S10
Fujifilm X-T200
Olympus OM-D E-M10 IV

Runner-up: Olympus OM-D E-M10 IV

The Olympus OM-D E-M10 IV is one of the dark horses of the current photography market. Introduced this year without much fanfare, on the surface the E-M10 IV might look like an iterative update to the venerable E-M10-series, and in some ways of course it is. But iteration is good! With the Mark IV, Olympus has created arguably its most competitive consumer ILC yet.

With a 20MP Micro Four Thirds sensor (an upgrade from the rather long-in-the-tooth 16MP sensor used in the last generation) and built-in IBIS effective for ~4.5EV, the OM-D E-M10 IV is a more powerful tool than its predecessors. It’s fairly fast (max shooting with AF is possible up to 4.5fps) and offers a decent electronic viewfinder, a flip-down touchscreen on the back, and 4K video. While its menu system and GUI can be overwhelming at first, the amount of features and technology that Olympus has packed into the E-M10 IV make it an excellent option for a keen beginner.

Read more about the Olympus
OM-D E-M10 IV

Winner: Fujifilm X-S10

The Fujifilm X-S10 is one of our favorite cameras of the year (spoiler alert). It uses the same sensor, processor and AF system as the flagship X-T4, and is only the third Fujifilm X-series camera to offer built-in stabilization, using a newly-developed compact IBIS mechanism. Meanwhile the deep handgrip recalls the popular X-H1.

Far from being a ‘parts bin’ camera, the X-S10 brings something genuinely new to Fujifilm’s lineup, offering a more conventional (less dial-driven) interface with a PASM exposure mode control which will be familiar to anyone who has used an entry-level camera from another manufacturer. Its performance, both in terms of autofocus and speed, is excellent, as is image quality in stills and video modes. While just on the cusp of ‘midrange’ considering its price, if you have the money, the Fujifilm X-S10 is one of the best entry-level ILCs on the market, and takes first place this year in our DPReview Awards.

Best midrange ILC

Shortlist:

Canon EOS R6
Fujifilm X-T4
Nikon Z5
Nikon Z6 II

Runner-up: Fujifilm X-T4

Fujifilm’s flagship APS-C format camera, the X-T4 is a model that we find ourselves recommending to friends and family quite often. There was apparently some debate within Fujifilm about whether to call this the ‘X-T3S’ but it was decided that enough had been changed to justify an entirely new model name.

We tend to agree. While the X-T4 looks a lot like the X-T3 (and the X-T2… and the X-T1…) it’s a better and more competitive camera. Now featuring a powerful in-body stabilization system (effective up to an impressive ~6.5EV) and 4K/60p video, the X-T4 is a highly versatile tool. We’ve seen the 26MP BSI-CMOS sensor before in the X-T3 and X100V, but it’s still among the best (if not the best) of its type on the market. Pound for pound and dollar-for-dollar, the Fujifilm X-T4 offers fantastic value, and it’s a lot of fun to shoot with, too.

Winner: Canon EOS R6

Now that full-frame mirrorless cameras have joined APS-C models in all market segments, it’s harder than ever to divide products up into categories. As you’d expect, the full-frame Canon EOS R6 costs a lot more than the APS-C Fujifilm X-T4, but it’s aimed at essentially the same kind of customers: advanced amateurs and enthusiast photographers, and perhaps professional photographers looking for a second, video-capable body.

It’s hard to imagine a camera better suited to this constituency of users than the Canon EOS R6. It’s fast, powerful and offers excellent autofocus. It’s a great stills camera, which produces very nice JPEGs and offers good (while not class-leading) dynamic range in Raw mode. The R6 also provides one of the sharpest and most responsive electronic viewfinders on the market, and offers an impressive video feature-set, in addition to stills. As a ‘do everything’ camera for enthusiast photographers the Canon EOS R6 is very hard to beat and is likely to remain competitive for a long time. As such, it’s a worthy winner of our 2020 DPReview Award for best midrange ILC.

Best high-end ILC

Shortlist:

Canon EOS R5
Canon EOS-1D X Mark III
Nikon D6
Nikon Z7 II

Runner-up: Canon EOS-1D X Mark III

Announced in early January this year, the Canon EOS-1D X Mark III was meant to be Canon’s ‘Olympics’ camera, for the games originally planned in Tokyo this summer. We all know how well that worked out of course, but sports isn’t the only thing that the EOS-1D X Mark III is good for. Despite being a ‘Mark’ update, the Mark III brings a lot of new and impressive technology to Canon’s pro market segment. Blazing speed and extreme durability are a given, but in the Mark III, Canon created the nearest thing to a true ‘hybrid’ camera we’ve seen to date.

In DSLR mode the EOS-1D X Mark III is a conventional pro camera, albeit an extremely good one. But with the mirror locked up in live view mode, it offers many of the advantages of a high-end mirrorless ILC. These include near full-frame autofocus coverage, sophisticated AF tracking courtesy of an advanced Dual-pixel CMOS autofocus system and silent shooting with a maximum frame-rate of 20fps. Oh, and up to 5.5K/60p Raw video. The vast majority of photographers won’t need many of this camera’s features, but for those that do, the EOS-1D X Mark III is up there with the best of the pro bodies currently available.

Read more about the Canon EOS-1D X Mark III

Winner: Canon EOS R5

The R5 is a more costly and pro-focused camera than the R6, and at the time of its announcement, the big news was its unique ability (among cameras of this type) to shoot 8K video. Arguably, though, 8K video is the least of the reasons to be interested in the EOS R5. Much more useful to most photographers is its excellent resolution, highly effective autofocus system (closing the gap substantially with Sony’s best-in-class implementation in the a9/II) and photographer-friendly ergonomics. As a stills and video tool for serious professional photography, the EOS R5 has a lot to offer, even if overheating concerns did take the shine off some of its headline video features (something which, to Canon’s credit, has been improved via firmware since its release).

It seems strange to talk about any company having ‘a good year’ given the unmitigated chaos of 2020, but for Canon it’s actually kind of true. Alongside the EOS-1D X Mark III and several excellent lenses, this was this year that Canon made its most convincing entry into serious full-frame mirrorless imaging with the winner of our 2020 DPReview Award for best high-end ILC – the EOS R5.

DPReview innovation award

Shortlist:

Canon EOS R5
Canon RF 600 & 800mm F11 IS STM
DJI Mavic Air 2
iPhone 12 Lineup

Runner-up: Canon RF 600/800mm F11 IS STM

While neither of these lenses will challenge more conventional, brighter-aperture telephoto primes for ultimate image quality, they’re unique in that they bring true, practical telephoto shooting into range for amateur and enthusiast photographers. Considering their reach, both lenses are relatively small and lightweight, and while F11 can be limiting, autofocus support (including even using the RF 2X converter on the EOS R5 and R6) and built-in image stabilization make them surprisingly versatile.

We’ve seen collapsing mechanisms in lenses before, and we’ve seen diffractive optics used to reduce the weight and complexity of telephoto lens designs. It’s the combination of the two technologies which makes the Canon RF 600mm and 800mm F11 IS STM so innovative, and so special.

Read more about the Canon RF 600mm and 800mm F11 IS STM

Winner: iPhone 12 Lineup

This year we’re awarding the entire Apple iPhone 12 lineup for our Innovation of the Year award, because it brings HDR to the masses. No, not the overly tone-mapped, flat HDR you’re thinking of. We’re talking about high dynamic range (HDR) display of both images and video. Like the previous two generations of iPhones, the iPhone 12 captures a wide dynamic range and tonemaps this large range into the final image. Under SDR viewing conditions (like your web browser) this can lead to high dynamic range images appearing somewhat flat. However, these very images viewed directly on iPhones with OLED displays appear quite the opposite of flat, with very bright brights (skies, clouds, lights) and dark shadows, thanks to HDR playback. HDR playback (like Dolby Vision/HDR10/HLG for video) tries to preserve the contrast between brights and darks to produce more realistic results, so that sunlit grass actually looks radiant compared to grass in the shadows, for example.

This year, down to its cheapest iPhone 12 Mini, Apple has included an HDR OLED display and Dolby Vision video. Apple has been displaying HDR stills since the iPhone X, but this is the first time it’s doing so across its entire lineup, and for video as well with Dolby Vision, a format that optimizes scene dynamic range on a frame-by-frame basis. Add to that the wide P3 color space used for both stills and video, and you have some of the nicest looking imagery from any device. Not to mention one you can carry in your pocket.

Read more about the Apple iPhone 12 line

DPReview product of the year 2020

Shortlist:

Canon EOS R6
Fujifilm X100V
Fujifilm X-S10
Sony 12-24mm F2.8 GM

Runner-up: Fujifilm X-S10

The Fujifilm X-S10 might not bring much to the X-series lineup that’s genuinely ‘new’, but the way that its various features are packaged is extremely impressive – and very appealing. Built around a newly-designed compact IBIS system, the X-S10 breaks with Fujifilm’s traditional ‘traditional‘ control layout, offering a slightly more streamlined experience, more in line with competitive models.

These tweaks – plus a large, comfortable grip and a very attractive stills and video feature-set – make the X-S10 a seriously compelling camera for its price. The competition for our ‘Product of the Year’ award is always very tough, but the Fujifilm X-S10 beats out stiff competition to take the runner-up spot thanks to its uncommonly attractive suite of features, coupled with a great handling experience that make it a pleasure to shoot with.

Winner: Canon EOS R6

The Canon EOS R6 is one of relatively few cameras we’ve seen over the years which can genuinely be described as ‘multi-purpose’. While not class-leading in terms of resolution, 20MP is enough for most applications, especially when paired with such a powerful autofocus system, which rivals or outclasses the best of the R6’s competition at this price-point.

Designed as a ‘do-everything’ camera for both stills and occasional video shooters, the R6 offers a suite of advanced features in both modes. But arguably none of this would matter so much if it weren’t such a nice camera to use. The Canon EOS R6 is one of the most photographer (and videographer)-friendly cameras of its type, with performance that means it’s equally comfortable shooting sports and wildlife as it is covering weddings and events. It’s this combination of features, performance and excellent handling which make the Canon EOS R6 such a compelling camera, and the winner of this year’s DPReview Award for product of the year.

Lightroom Color Grading: An Easy Way to Supercharge Your Photos

25 Nov

The post Lightroom Color Grading: An Easy Way to Supercharge Your Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

The October 2020 update to Lightroom Classic introduced a feature called Color Grading, which puts an advanced color-correction tool in the hands of everyone who uses Lightroom.

For newcomers who have never tried this technique, it can feel a bit overwhelming.

But with a bit of practice, you’ll get the hang of Lightroom color grading in no time at all. And you’ll be able to give your photos the Hollywood treatment you never knew you could achieve!

young man portrait — Nikon D7100 | Nikon 85mm f/1.8G | 85mm | 1/2000s | f/1.8 | ISO 200

What is color grading?

While color grading is often associated with film productions, it applies to photography just as easily.

Color grading refers to the process of changing global attributes of an image to give it a specific look or feel. It’s a subjective, stylistic process that can involve many different types of edits, but generally involves changing the appearance of the highlights, shadows, and midtones of a picture. This allows a photographer to create a mood or tone, and convey a certain emotion to the viewer.

In a strict sense, any stylistic adjustments to an image could be considered color grading. Adjusting the HSL/Color panel or tweaking the tone curve are both valid color grading techniques.

However, when most editors talk about color grading, they are referring to the way a specific tint is applied to the shadows, highlights, and midtones.

A common color grading technique in movies, for instance, involves giving shadows a teal color and making midtones more orange. This gives a more intense, cinematic feel to films and the same is true for photos.

kids walking without color grading — Nikon D750 | 200mm | f/2.8 | 1/250s | f/2.8 | ISO 220. Ungraded.

kids walking with color grading — The same image as above, but with color grading applied in Lightroom. The shadows are slightly more teal, the highlights are slightly more yellow, and the midtones are just a bit more orange.

Color grading vs split toning

The Color Grading tool replaces a tool called Split Toning, which was available as its own panel in the Develop module in earlier versions of Lightroom.

Split Toning was like a beta version of Color Grading, in that it let users adjust the tint of shadows and highlights, but not the midtones. While this was certainly useful, the omission of midtone editing was a frustrating sore spot that dramatically limited the value of the tool.

Lightroom color grading split toning — The Lightroom Split Toning panel, which let users adjust the hue and saturation of only the highlights and shadows. The Color Grading tool does everything that Split Toning did and much more.

Color Grading contains all the functionality of Split Toning – and much more. In fact, any photos that were edited using Split Toning will have their adjustments completely intact thanks to the Color Grading tool.

In addition to midtone editing, the Color Grading tool introduces the vastly more useful color wheels in place of linear sliders:

The Lightroom Color Grading tool: a step by step guide

While the color grading tool has incredible depth, accessing it and getting started could hardly be easier.

Open Lightroom and click on the Develop module.

Then open the Color Grading panel on the right side, and you’re all set.

The Lightroom Color Grading panel consists of three color wheels in the middle, a line of icons at the top, and two sliders at the bottom. Each of the color wheels lets you change the tint of its respective range: midtones, shadows, and highlights.

Click and drag anywhere on one of the color wheels and you will immediately see the edit applied to your image. As you drag the slider, note that the distance from the center adjusts the saturation of the color grade, while the position of the slider around the circle adjusts its hue.

You can also click and drag the inner circle to adjust only the saturation and use the outer circle to adjust the hue. The slider at the bottom can be used to change the overall luminance of the midtones, shadows, or highlights, depending on which color wheel you are using.

Click and hold the eye icon just below and to the right of a color wheel to temporarily remove the tint adjustment, and then release the mouse button to re-engage the adjustment. Double-click anywhere inside a color wheel to reset the tint if you want to start over.

The Blending slider at the bottom of the Color Grading panel lets you adjust how much the midtones, shadows, and highlights blend together.

The Balance slider lets you customize the overall balance of highlights and shadows; values greater than 0 make the highlight edits more pronounced, while values less than 0 increase the presence of the shadow edits.

Lightroom Color Grading blending balance — Move Blending to the left to keep your shadows, midtones, and highlights separate from each other. Move Blending to the right to make your edits blend in with one another. Slide Balance to the left to make your edits to the shadows apply to more of the image. Slide it to the right to make your highlight edits more prominent. Or just leave these sliders alone and you’ll probably be just fine.

Look closely at the top of the Color Grading panel and you will see a strange-looking row of circular icons. The first appears to be some kind of alien hieroglyph, while the rest look like circles with different shading patterns. These switch between the different modes within the Color Grading panel.

The first icon, with three small circles, shows all three editing options at once: Highlights, Midtones, and Shadows. The others let you adjust a single parameter at a time. The final icon is a global Hue/Saturation/Luminance adjustment.

If you want more fine-tuned adjustments, you can click on one of the icons that show a much larger version of any of the three adjustment parameters. This can help you select your adjustments with pinpoint accuracy and give you greater control over precisely how your edits are implemented.

How to use the Color Grading tool for great results

As you make adjustments, keep in mind that there is no one correct way to use the Color Grading panel. It’s merely another tool in your arsenal to help you get your images looking the way you want.

That being said, if you want to get your feet wet but aren’t sure how to start, let’s walk through a color grading edit so you can see firsthand how it can be used to give your pictures an extra bit of punch and visual impact.

kids running in an alley with no color grading — Nikon D7100 | Nikon 50mm f/1.8G | 50mm | 1/180s | f/4.0 | ISO 1250. Original photo without any color grading applied.

For a scene like the one above, with a lot of tonal variety, I like to start by editing the shadows first. Rather than using the all-in-one adjustment option with all three circles showing, I prefer to use the larger circles to edit each parameter individually. I like the fine-grained control this gives me.

I recommend you start by adjusting the Luminance slider, which will make the darkest portions of the image even darker when pushed to the left, or brighter when pushed to the right. For this example, I’m going to make shadows punchier by decreasing the luminance.

Then click and drag on the color wheel to add a teal tint to the shadows; this will start to give the photo a more cinematic feel. Your shot might look a little weird with only the shadows adjusted, but it will come together after you customize the highlights and midtones.

kids running in an alley — Color grading applied to the shadows.

Next, click the Highlights option and adjust the Luminance slider to make the brightest portions of the photo lighter or darker. Some people prefer to adjust the Luminance before doing any color editing, but this is up to you.

Once you have the Luminance adjusted, click on the wheel to add a bit of orange. This will make the brightest portions of the image really stand out from the darkest portions of the image, since teal and orange are on opposite sides of the color wheel.

At this point, the example image is starting to come together. It has a grittier, cinematic feel compared to the original, thanks to a touch of teal in the shadows and orange in the highlights.

After the highlights and shadows are edited, head to the Midtones wheel to give your image a warmer or cooler feel overall. Instead of changing the appearance of the brightest or darkest portions of your image, the Midtones wheel affects everything between those two extremes.

Midtone adjustments are useful for giving your entire picture more of a warm or cool feeling. Adjust the Luminance slider, then click and drag the dot to orange or red to make your photo warmer, or blue to make it cooler.

At this point, the image is nearing completion, and you can see the results below. It’s a far cry from the original, which feels flat and boring by comparison.

Lightroom Color Grading kids running alley — The shadows, highlights, and midtones have been adjusted. But the image isn’t quite done yet.

After editing the shadows, highlights, and midtones, it’s time to tweak the Blending and Balance sliders.

As I explained above, blending refers to how much each of the three parameters stays within its own range. It has a default value of 50, which results in a relatively smooth color grade overall.

Sliding Blending to the left means the edits to shadows are confined almost exclusively to the darkest portions of the shot, and the edits to the highlights are confined almost exclusively to the lightest portions of the shot. A balance of 0 essentially makes each of the edits stay in its own lane and not affect the rest of the picture. And bringing the Balance slider to the right will increase how much each tonal area overlaps with one another. The result is often quite subtle, but can have a noticeable impact when applied carefully.

Now, the Balance slider determines how much of the picture is treated as shadows and how much is treated as highlights. Moving the slider to the left takes whatever adjustments you made to the shadows and applies them to more of the picture overall. The same happens to the highlight edits when you move the slider to the right.

If you have applied a certain tint to the shadows but want that tint to affect more of the picture, move the Balance slider to the left. Likewise, if you want your highlight adjustment to apply to more than just the brightest portions, adjust the Balance slider to the right.

Tips and tricks for Lightroom color grading

The key to color grading is to remember that there is no one magic solution. Don’t think of color grading as a search for the right way to adjust your image, but as a doorway to infinite possibilities that can be used however you see fit.

The best way to learn about color grading is to click around on the color wheels and experiment on your own. Lightroom is non-destructive, so you can always revert back to your earlier image. And in the meantime, you just might find a new way to edit your pictures that you never thought of before.

sunset on a lake without color grading — Fujifilm X100F | 23mm | 77 seconds | f/16 | ISO 200. Edited, but not color graded.

That being said, these tips will send you on your way to improving your color grading skills:

Edit your image to have an even exposure prior to using the Lightroom Color Grading tool. Use the Basic panel for highlights/shadows adjustments.
Give your shadows a richer look by adjusting them to be teal, blue, or purple
Contrast the highlights with the shadows by making them yellow, orange, or red
Adjust the midtones a little, but not too much. The midtones should complement the highlights and shadows, not compete by standing out.
For subtle tweaks, use the Blending slider to control how your graded colors meld together
Click the eye icon next to one of the color wheels to toggle between a before and after view

Sunset on a lake with color grading — The same image as above, but color graded. The shadows are blue, the highlights are orange, and the midtones are yellow-orange.

Lightroom color grading: conclusion

You should now have enough to get started with Lightroom color grading. Just remember that the goal here is the same as it is with most editing: You want to end up with an image you like! Color grading is just another tool you can use to make that happen.

Lightroom is a non-destructive editor. That means you can always undo your changes, so experiment with color grading as much as you want. And feel free to share your before and after images in the comments below!

The post Lightroom Color Grading: An Easy Way to Supercharge Your Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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Fujifilm Introduces FUJIFILM GFX100 IR for 100MP infrared imaging

25 Nov

Image shows standard Fujifilm GFX100

Fujifilm has announced a special version of its 100MP GX100, for infrared imaging. Photography is possible at up to 400MP, courtesy of a new ‘Pixel Shift Combiner’ feature The new camera will be available for special order in early 2021.

Press release:

Fujifilm Introduces FUJIFILM GFX100 IR (Infrared) Large Format Mirrorless Digital Camera

Valhalla, N.Y., November 25, 2020 – FUJIFILM North America Corporation is pleased to announce the launch of FUJIFILM GFX100 IR digital camera (GFX100 IR), a uniquely specialized version of its GFX100 large format mirrorless digital camera, now with infrared image-making capabilities, which can be produced upon order for professionals in forensic, scientific, and cultural preservation fields. Infrared images can now be made at 100MP – and even at 400MP through GFX100 IR’s new Pixel Shift Multi-Shot function – to reveal intricate details within a subject or scene that can only normally be seen through the infrared spectrum.

GFX100 IR also includes the ability to:

Make images in the infrared spectrum at an incredible 100MP or 400MP of resolution

Images made of a subject within the infrared spectrum can reveal details that a regular (non-IR) digital camera or the naked eye cannot see. For example, in the field of forensics, this can be an important tool in helping to identify counterfeit documents. For individuals working in cultural preservation, GFX100 IR can be used to analyze pigments in works of art and historical artifacts, even if they have degraded over time. Using the Pixel Shift Multi-Shot feature on GFX100 IR can create 400MP images with incredible detail and little-to-no color fringing.

“Using GFX100 IR with the Pixel Shift Multi-Shot feature is invaluable for cultural research because reviewing images in infrared could lead to unlocking the secrets of some of history’s most treasured artifacts,” said Victor Ha, senior director of marketing and product development for FUJIFILM North America Corporation. “It can also be an incredibly powerful tool for researchers using the images to evaluate works of art or pieces of evidence.”

Use special filters to make images within specific wavelengths

Different IR filters in front of the camera lens can be used to make images at various wavelengths, which can reveal different details within a subject. However, using the appropriate IR cut filter will allow GFX100 IR to be used normally (i.e. in the same manner as the standard FUJIFILM GFX100 digital camera) to make regular, color images within the visible spectrum.

Additionally, when the camera is set in a fixed position and paired with Capture One or a similarly compatible software application to engage tethered capture functionality, users can create images with the same angle of view. This enables them to maintain a simple capture to output workflow for maximum efficiency.

Availability

GFX100 IR is designed for forensic, scientific, and cultural preservation applications, and the product will not be made available to general photographers or customers for personal use. GFX100 IR will only be offered by specific, Fujifilm authorized retailers, and sales of GFX100 IR will be subject to a GFX100 IR User Agreement, which sets out the specific terms of use for the camera. GFX100 IR is currently expected to be available in the first quarter of 2021.

Articles: Digital Photography Review (dpreview.com)

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What is color grading?

Color grading vs split toning

The Lightroom Color Grading tool: a step by step guide

How to use the Color Grading tool for great results

Tips and tricks for Lightroom color grading

Lightroom color grading: conclusion

Fujifilm Introduces FUJIFILM GFX100 IR (Infrared) Large Format Mirrorless Digital Camera

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