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Hasselblad firmware update adds Distance Meter, improved Interval Timer features to its X1D II 50C, 907X 50C cameras

Hasselblad has released a pair of firmware updates for its X1D II 50C and 907X 50C medium format cameras that adds, amongst other improvements, an on-screen distance scale for measuring focus and improved intervalometer features.

Firmware version 1.4.0 for both the X1D II 50C and 907X 50C adds a new Distance Scale feature that effectively recreates the distance scale that’s traditionally on the lens and overlays it on the liveview display. It can be set to metric or imperial units and will work with any XCD lens updated to the latest firmware.

Hasselblad has also improved the Interval Timer feature, adding the option to capture up to 1,000 frames (previously, the limit was 99 frames or ‘No Limit.’ When shooting between 2 and 25 frames you can select any number; from 25–100 you can select intervals of five; and from 100–1,000 you can select intervals of 50. The ‘No Limit’ option also remains.

Hasselblad has also added the ability to meter the exposure for every shot. Previously, the first image captured served as the baseline by which all subsequent images’ exposure settings were shot at. Now, the cameras will be able to meter for each individual frame, which should help when capturing timelapses in varying lighting conditions.

The firmware updated also improves compataibility with Hasselblad’s Phocus Mobile 2 app, improving live view quality and addressing a bug that prevented the camera from changing its white balance settings when changed inside the app. Other changes include an array of unspecified bug fixes.

You can download firmware version 1.4.0 for the X1D II 50C and 907X 50C on Hasselblad’s website (at the bottom of the page — note you will need to be logged into your Hasselblad account).

Articles: Digital Photography Review (dpreview.com)

October 30, 2020
11 Easy Creative Photography Techniques You Can Try on Any Camera
The post 11 Easy Creative Photography Techniques You Can Try on Any Camera appeared first on Digital Photography School. It was authored by Simon Bond.

A lot of photography techniques can be complex and require a steep learning curve.

But in today’s article, you’ll learn 11 easy creative photography techniques you can start using today! The techniques described below all require minimal extra equipment and don’t require additional post-processing.

Read on to get the most creativity from your camera with these easy-to-use techniques.

1. Reflection

It’s worth getting down to a low angle for reflections.

This is an easy creative photography technique to learn and is popular among many photographers. The main requirement is finding a reflective surface, though this is not all there is to it. Consider the following, and you’ll be capturing amazing reflection photos in no time:
- Reflective surface: Look for surfaces that reflect (and there are many). Flat water works well, as does glass, marble, or even a regular mirror.
- Choose a main subject: A successful photo will match up a reflective surface with an interesting main subject. Consider going out after it’s rained, as a puddle in front of a famous monument may only be there after heavy rain.
- Find the angle: To get a better reflection, choose the correct angle. This often means getting right up against the reflective surface so the angle of reflection is shallow.
- Create your own: No reflective surface? No problem. Just create one! Use the surface of a smartphone, a small mirror, or perhaps a bucket that you use to spread water and create a puddle.
- A filter: The best way to control your reflection is by using a circular polarizing filter.
2. Silhouettes

Strong silhouettes work well against a horizon line.

The next option on this list of easy creative photography techniques is silhouettes.

Silhouettes occur when you photograph against the light. The key is to find an interesting shape, and then make sure the background is brighter than the object itself.

You’ll often need to get down to a low angle and then photograph up toward the sky; that way, you can ensure the silhouetted object stands out against the bright background.

Also, when photographing silhouettes, make sure you expose for the bright background. This will turn the subject into a dark silhouette.

3. Repetition

Lines and repetition can make for a strong composition.

A great design element to add to your frame is repetition.

This is something you’ll usually need to look for, but it’s sometimes possible to create your own repetition. There are possibilities for this both in nature and in the man-made world. Repetition may take the form of a line of trees, or of many bricks in a wall. The question, then, is how you’ll use this repetition.

Here are a few ways you can work with repetition to improve your photos:
- Create a texture photo: In this case, the high level of repetition forms a texture.
- Break the pattern: Here everything else is the same, with one variation. This works well to highlight that variation, which will then be the photo’s main subject.
- Use background repetition: Backgrounds with repetition work very well for portrait photos or still life images.
- Two or three: You don’t need to have repetition to infinity; two or three repeating objects, such as wine glasses, can work well.
4. Refraction

Wine glasses filled with water will produce refraction.

This is a form of photography that can be practiced with a camera as simple as a smartphone. You’re probably thinking of lensballs, but refraction photography can take many forms, including:
- A lensball: This is a large glass ball that creates a refracted image of the background inside it.
- A prism: A prism splits the light and can be used to produce a rainbow. You could either photograph the projected rainbow or photograph through the prism.
- Water drops: Get out after it’s rained, and you can produce refraction in things such as water drops on a spider’s web.
- A wine glass: Fill a wine glass with water, and you will see the refraction effect!
5. Contrast

Contrast with silhouettes works really well.

Contrast is a great concept to use in your photography.

The most obvious way to use contrast is by emphasizing dark and light areas of your photo through things such as silhouettes and shadows. But this is not the only way contrast can be used in your photography; anything that has an opposite can be used. You might choose to contrast something old with something new, for example.

6. Framing

Natural frames such as cave entrances are good frames.

The world is full of frames, from pictures on the wall to window frames. These frames can be used in photography, which is another easy creative photography technique.

You can achieve a great framed photo with any kind of camera. Good options for this include doorways and windows. You can even become more creative and make your own frame using objects that contextualize the scene behind it.

7. Panning

Bikes are the easiest moving object to try panning with.

Panning is a form of intentional camera movement. The technique involves following the motion of a moving object and using a slower shutter speed to blur the background behind it.

As long as your camera allows you to use a slow shutter speed, this is a technique you can try. Those using a smartphone should download an app that allows you to use a slower shutter speed to take a photo.

8. Point of view

A worm’s-eye view can look amazing. This example also shows how lines and repetition can work in a photo.

Changing your angle can give you dramatically different results, and it doesn’t matter which type of camera you use for this technique.

It’s easy to photograph from a standing position, but try some of these alternative angles:
- Low angle: With this angle, you’ll get low to the ground. Things look different from down there!
- Worm’s-eye view: This angle involves looking straight up. It can be even more dramatic when you get right down to the ground.
- Bird’s-eye view: The easiest way these days to take a bird’s-eye view image is with a drone. However, find a high vantage point from a tall building and you can achieve a similar result.
9. Lines

This photo shows several lines converging in the left third of the frame.

Using powerful lines in your photos will almost always give you a strong composition. The trick, of course, is to utilize those lines correctly using the focal length available to you.

Here are some of the lines that can be used in your photography:
- Leading lines: A leading line leads the eye to the main subject of your photo. This line might take the form of a road or a river meandering through your frame.
- Horizon lines: Many photographs have horizon lines in them, which is a strong line running through the middle of your frame. Look to position it at the top or bottom third of your photo (using the rule of thirds).
- Converging lines: In some photos, many lines converge at one point: the infinity point. This can be compositionally very strong. Look for lines of trees or a tunnel for this type of photo.
10. Shadows

The shadow in this photo shows an element of repetition, as well.

Photographing shadows requires a strong light source. This can be the sun, but an external flash is another option.

The best time of the day to photograph shadows is therefore when the sun is at a low angle: an hour after sunrise or an hour before sunset.

Shadows can be formed and used in different ways. You might photograph a person’s shadow, shadows formed from trees, or the way shadows emphasize the shapes of hills.

11. Minimalism

This minimalist photo uses a bird’s-eye view taken from a bridge.

Keeping your composition nice and clean is the key to a good photo. This means that one of the best easy creative photography techniques is minimalism.

You can create minimalism even in the most cluttered environment as long as you frame your photo correctly. This style of photography requires that you give your subject some room to breathe. Focus on the main subject and position it in front of an uncluttered background.

Try out these easy creative photography techniques, yourself!

There are so many ways to be creative with photography. Which techniques do you like to use? Are there any simple-to-apply techniques you’ve tried that didn’t make this list? Share your thoughts in the comments!

And if you have any photos that illustrate these techniques, share them in the comments, too!

Then get photographing with these easy creative photography techniques!

The post 11 Easy Creative Photography Techniques You Can Try on Any Camera appeared first on Digital Photography School. It was authored by Simon Bond.

Digital Photography School
October 29, 2020
DPReview TV: Canon EOS R6 firmware update 1.1.1 – Did they fix the overheating?
Canon recently announced an EOS R6 firmware update to address overheating issues. Does firmware 1.1.1 improve the camera’s video performance? Quite a bit, it turns out.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
- Introduction
- Our previous R6 experience
- Continuous recording test
- The 'ice pack' test
- Intermittent recording test
- Key takeaways
- Our real fake promotion!
Articles: Digital Photography Review (dpreview.com)
October 29, 2020
The Insta360 ONE X2 is an image-stabilized 5.7K 360-degree camera that fits in your pocket

Insta360 has announced the ONE X2, a new waterproof 360-degree camera that features stabilized 5.7K recording, a round touchscreen display and built-in editing tools.

The overall shape of the ONE X2 is similar to the Insta360 ONE X, but instead of a black and white OLED display, the ONE X2 features a full-color display that can be used to both compose your shots and navigate through the camera’s settings.

The ONE X2 features four shooting modes: 360, Steady Cam, InstaPano and MultiView. In 360 mode, the camera will capture and stitch together a 5.7K 360-degree video. Steady Cam makes it possible to compose your shot — from the whole 360-degree view — and capture digitally-stabilized video that’s ready to share off the bat. InstaPano is a new mode that captures full panoramas of a scene with a single tap. Lastly, MultiView allows you to capture two angles at once, enabling you to capture both the scene in front of you as well as yourself in two separate videos.

Powering the image stabilization in both the 360 and Steady Cam shooting modes is Insta360’s updated FlowState technology, which is now ‘better than ever’ with improved stabilization performance. Also new is Deep Track, a new algorithm-powered feature that makes it easy to track subjects with a voice command or tap of the screen. Once the video is offloaded into the Insta360 app or Insta360 Studio, the program will automatically adjsut the video to track humans, animals and other moving objects, keeping them in the center of the frame.

Insta360 has also improved the Shot Lab functionality inside its app, making it easier to create videos with a single tap using built-in templates such as Dolly Zoom, Stop Motion and more.

The ONE X2 is IPX8 rated, meaning you can use it without a case down to 10m (33ft) and down to 45m 9148ft) with the optional Dive Case. To help improve the quality of underwater images, Insta360 has included AquaVision, a specialized shooting mode that auto-balances colors to create a more natural-looking scene. For low-light situations, the ONE X2 features PureShot, a mode that will capture and merge multiple images to increase dynamic range and reduce noise.

Insta360 has packed inside a larger (compared to the Insta360 ONE) 1630mAh battery, which is rated for shooting up to 80 minutes.

Being we’re still in the middle of a global pandemic, Insta360 has also added a webcam option for video conferencing apps such as Zoom, Google Hangouts and more. The usual live video streaming features for Facebook, YouTube and other platforms is also available.

The Insta360 ONE X2 is available to order today through Insta360’s online shop and authorized retailers (Adorama, B&H) for $ 430.

Articles: Digital Photography Review (dpreview.com)

October 29, 2020
Fujifilm releases major 4.00 firmware update for X-T3, bringing dramatic autofocus improvements

As it said it would at the beginning of October, Fujifilm has released a firmware update for its XT3 camera that it claims will dramatically improve autofocus performance.

Firmware version 4.00 for the XT-3 claims to triple the autofocus speed from 0.06 seconds down to 0.02 seconds, bringing it in line with the autofocus speed of the newer X-T4. The algorithm that predicts the location of subjects has also been improved, according tot he changelog.

Overall autofocus tracking performance has been doubled (compared to firmware version 3.30), with faster and more accurate subject acquisition. Both Eye AF and Face Tracking have also been given a performance boost with this firmware, doubling the tracking speed according to Fujifilm.

As noted in its initial announcement, this firmware also allows for autofocus performance down to -7 EV when using the new Fujifilm XF 50mm F1 and adds a focus limited option for pre-determining specific focus ranges.

Although much less exciting, the Fujifilm X-H1 has also received a firmware update (version 2.11) that addresses minor bugs.

You can download and find out more information about firmware version 4.00 for the Fujifilm X-T3 and firmware version 2.11 for the Fujifilm X-H1 on Fujifilm’s website.

Articles: Digital Photography Review (dpreview.com)

October 29, 2020

A photo history quiz tests the impact of color on guessing when images were captured

Does how we place an image in history depend upon its presentation? A new quiz (and experiment) by Matt Daniels and Jan Diehm aims to test this question. The quiz, published on The Pudding, shows users a series of five images captured in the United States during the last century and asks you to estimate the year the photo was taken.

We recommend taking the quiz before reading the rest of this article to preserve the integrity of the data results.

The quiz shows some images in color, and others in black and white. In some cases, the black and white image has been digitally altered from its original color presentation. Daniels and Diehm want to know if users estimate the age of the same image in black and white as being older than that image in color.

The pair were inspired to construct the experiment after reading this tweet from Hannah Beachler, Academy Award Winning production designer. In her tweet, Beachler shared a series of color photos from the Civil Rights movement and posited that showing this important period in American History as digitally altered black and white images leads people to believe it took place longer ago than it did, which may very well impact the general societal conception of the movement, particularly among a younger generation.

Daniels and Diehm write, ‘How we view history is largely defined by the aesthetics we associate with each period. When you were dating the photos, you probably looked for context clues — what people were wearing, if there were any familiar buildings, and if you recognized any faces. You were probably also looking at color…we wanted to test how color does or does not warp our perception of time.’

On the results page, you see the five photos you were shown again, this time with the color original and black and white versions. You then see how your guess compares against the average guesses for both the color and black and white versions. For example, one of the images I was shown in color was captured in 1987. In this case, users shown the same photo in black and white guessed that it is seven years older than it is. This same gap was present in another photo I was shown in color.

You can also view an additional series of images others saw when they took the quiz. In some cases, users guessed that the black and white versions were upwards of 14 years older than the same image in color. In the case of every image, participants guessed that the black and white version was older.

The photo, typically visible to the left in color (top) and black and white (bottom) has been removed. Here we can see that the average guess when presented the black and white version of the image is seven years older than the same image in color. While the difference varies, this pattern is consistent.

Color photography has been around for a long time, since the 19th century in fact, but its mainstream adoption lagged far behind for decades. While The Milwaukee Journal first printed a color image in 1891, many newspapers were very slow to follow suit. Even in 1993, when The New York Times wrote ‘newspapers’ adoption of color nearly complete,’ there were still newspapers in North America printing exclusively in black and white.

Given the results of the quiz, it appears that the presentation of an image does impact how users place the photograph in historical context. Further study, repeated testing and peer review are needed to produce definitive conclusions, but Daniels and Diehm intend to build analysis in the future.

Articles: Digital Photography Review (dpreview.com)

October 29, 2020

A visual and auditory journey through the shutter sounds of vintage film cameras

Photographer Ace Noguera has published a video highlighting not only the great style of vintage cameras but also their distinct shutter sounds. It’s a satisfying watch and listen.

Of his video, Noguera told DPReview, ‘The video came from an idea I’ve had for a while, to simply showcase how shutter sounds and technology has changed over the years. I thought it would be cool and entertaining to put it in a visual format and share with others how not only designs have changed over the years, but how we’ve been able to integrate electronics to help automate how we take photos.’

In total, the video below showcases the look and sound of nine cameras, dating back to the 1940s. The cameras come from Noguera’s collection with some additions from his friend, Patch Agan. It’s fascinating to hear how shutter sounds have changed over the years. There’s something particularly satisfying about the Olympus Trip XB3 from 1996.

While the video isn’t overly comprehensive in the cameras it covers, Noguera assures us there are more shutter sounds on the way, telling us, ‘I do plan on making another video that will also include some digital cameras as well as just further show the advancement in the tech and design of cameras. I plan to somewhat pick up where this video left off and showcase the next 20 years of sounds and cameras.’

Noguera hopes to record medium format cameras as well. He continues, ‘I think it would be awesome to be able to record some medium format cameras like the iconic Pentax 67 or even the modern medium format like Hasselblads as well.’ Hopefully, some photographers near Noguera in Atlanta will be able to help him out.

To see more from Noguera, follow him on Instagram and check out his YouTube channel. On his YouTube channel, you will find tutorials, lens reviews and much more.

Do you have a favorite camera shutter sound? Do you miss the physical shutter sound when using an electronic shutter in many modern cameras? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

October 28, 2020

Field review: The Olympus M.Zuiko 12-100mm F4 IS Pro goes to Oz

84%

Overall score

Jump to conclusion

The Olympus 12-100mm F4 IS Pro is a rugged, professional-level zoom lens with a focal length range that can cover almost any everyday situation. It also focuses impressively close, only adding to its versatility. It’s the kind of one-lens solution that might tempt you for travel photography in particular, but these types of lenses often trade convenience for outright image quality – so is that the case here? Let’s find out.

Jump to:

Handling | AF and stabilization | Image Quality | Conclusion | Samples

Key specifications:

Focal length range: 12-100mm (24-200mm, 35mm equiv.)
Stabilization: Up to seven stops with Olympus bodies
Filter thread: 72mm
Close focus: 1.5cm (0.6″) at 12mm; 27cm (10.6″ at 100mm)
Maximum magnification: 0.3x at wide end of zoom (0.6x 35mm equiv.); 0.21x (0.42x 35mm equiv.) at tele end
Diaphragm blades: seven
Hood: LH-76B (included)
Weight: 561g (1.24 lb)
Optical construction: 17 elements in 11 groups

The Olympus 12-100mm F4 is pretty much up for anything. Like a good Port Douglas sunrise.
ISO 200 | 1/6400 sec | F4 | 47mm

Back in 2018, which feels more like two decades ago instead of two years, I took the Olympus 12-100mm F4 on a vacation to Australia for three weeks as my main lens alongside a single bright prime. Mounted on an OM-D E-M1 Mark II, it seemed to me to fit the bill of a reasonably sized solution for just about everything I’d want to photograph. Plus, I knew from prior experience that the Olympus kit would stand up to just about anything mother nature could throw at me.

Full disclosure: I organized and paid for this personal trip on my own, and the choice to bring Olympus gear was my own as well.

All images edited in Adobe Camera Raw 13 with adjustments limited to white balance, exposure, highlights, shadows, white and black levels. Sharpening at ACR defaults; noise reduction at 25 luminance, 25 chroma.

Handling and design

The M.Zuiko 12-100mm F4 joins Olympus’ Pro lineup of prime and zoom lenses, offering top-notch build quality, with claims of dust-proof, splash-proof and freeze-proof construction. It has a manual focus clutch mechanism, giving the feel and very nearly the response of a mechanical focus ring, even though it’s technically a focus-by-wire system. The large, metal-ribbed zoom ring has just the right amount of resistance to it.


The manual focus clutch mechanism in its pulled-back position	The stabilization switch and customizable L-Fn button

There’s no denying it, hold this lens in your hand and it just oozes quality. Nearly everything is metal, though even the plastic IS switch on the side of the lens doesn’t so much ‘snap’ into place as ‘thunk’.

What you get in exchange for this feeling of solidity, though, is some heft. At 561g (1.24 lb), it’s very nearly the weight of an Olympus E-M1 Mark III, and significantly weightier than the E-M5 Mark III and E-M10 Mark IV. That said, the larger grips of the E-M1 Mark III and E-M1X mean it actually balances quite well on those bodies.

Autofocus and stabilization

Autofocus on the Olympus 12-100mm F4 is extremely quick, whether you’re shooting close-up or far away. The bokeh isn’t half-bad either, considering that’s fencing in the background. A more in-depth look at bokeh is coming up later in the review.
ISO 200 | 1/250 sec | F4 | 100mm

The Olympus 12-100mm F4 racks through the entirety of its focus range really quickly. It’s perhaps not quite as quick as some Panasonic lenses designed to take advantage of those cameras’ Depth-from-Defocus technology, but it’s more than fast enough for any wildlife I encountered, both inside and outside the Australia zoo.

The rapid AF speeds also make it easy to use the lens when you’re near minimum focus distance, allowing for easy capture of close-ups without necessarily needing to resort to manual focus.

Great stabilization with slower shutter speeds helped to keep my ISO values low a lot of the time, even when working around the F4 max aperture.
ISO 250 | 1/3 sec | F4.5 | 12mm

The stabilization promised by the combination of the 12-100mm F4 and the E-M1 Mark II was part of the reason I could see past this lens’ F4 maximum aperture for general use. It wouldn’t be great for shooting fast action in failing light, but it was perfect for images like this travel snap of a crazy-colored hostel under warm sunset light.

And really, the nice thing about the M.Zuiko 12-100mm F4 is that unless you need to stop down for depth of field or another reason, the lens is more than sharp enough to just shoot wide-open all the time.

Image quality

Olympus’ line of Pro lenses has a history of being renowned for their great image quality, and the M.Zuiko 12-100mm F4 is a strong performer in most respects.

Sharpness

The lens maintains a great level of sharpness throughout the zoom range, and it doesn’t get hazy or fall apart if you’re close to your subjects. So while there were times on this trip where I stopped the lens down, it was usually to get more depth of field, not to increase sharpness.

Things stay nice and sharp even at 200mm (equiv.), and with a relatively close distance to the subject.
ISO 200 | 1/200 sec | F4 | 100mm

On the wider end of things, the 12-100mm is more than a match for the 20MP sensor in the E-M1 Mark II even at F4. This is great news for users that might be leery of a Micro Four Thirds lens that ‘only’ opens up to F4, as well as those users that want to take advantage of the high-res shot mode.

Wide open, the Olympus 12-100mm is plenty sharp across the frame for the 20MP sensor. Click-or-tap-through for the full-size image.
ISO 200 | 1/2500 sec | F4 | 12mm

Vignetting and distortion

As is the case with most lenses designed for mirrorless systems, the M.Zuiko 12-100mm F4 Pro has some non-optional software corrections built into its design. These are applied automatically to the Raw files. So while characteristics like vignetting and distortion appear really well-controlled, it’s likely that software is partly responsible. You can see in the image above that there’s still some vignetting in the extreme corners, but it clears up somewhat as you zoom in.

There’s a bit of vignetting at the wide end of the zoom, but it’s not too objectionable.
ISO 200 | 1/5 sec | F4.5 | 12mm

Again, likely due to built-in software corrections, there’s not much to complain about with regards to distortion either. There looks to be a small amount of barrel distortion at the wide end of the zoom, and without much in the way of pincushion distortion at the longer end of the zoom. Check out the vertical lines present in the two images below to get a sense of how the lens’ distortion will (or won’t) impact your images.


At longer focal lengths, there’s not much in the way of distortion at all. ISO 200 \| 1/500 sec \| F5.6 \| 80mm	Click through to see a small amount of barrel distortion in this image at wide-angle. ISO 1250 \| 1/10 sec \| F4 \| 12mm

Bokeh

While this lens was never going to be a bokeh machine owing to its F4 maximum aperture, you can absolutely get some subject isolation depending on your distance to subject and focal length.

For snapshot portraiture, you can get some subject isolation even in the middle of the zoom range.
ISO 200 | 1/250 sec | F4 | 54mm

In most cases, the bokeh is nice and smooth. You’ll struggle to really blur the background fully away unless you’re real close to your subject and at near maximum zoom. Unfortunately, if your background is full of lots of out-of-focus highlights, you may sometimes notice it looks a bit ‘busy’, with rings around the outsides of the ‘bokeh balls’ and in some cases some ‘onion ring’ effects.


I found the bokeh in this image to be a bit ‘busy’ for my taste. ISO 200 \| 1/800 sec \| F4 \| 100mm	For smaller subjects, you can get close and zoom in for nice isolation. ISO 640 \| 1/60 sec \| F4 \| 70mm

Flare and sunstars

Flare and loss of contrast aren’t serious issues on the 12-100mm F4, even with the sun in the frame. What I was never really sold on, though, were the sunstars. They just didn’t ‘sharpen up’ even as I stopped down further, which then softened up the rest of the image due to diffraction.

After all, F11 on Micro Four Thirds is F22 equivalent for full-frame systems, so if you’re stopping down to the same aperture you would on 35mm to get better sunstars, your sharpness will drop off a cliff. Admittedly, I did put up with some diffraction to get some fantastic sunstars with the M.Zuiko 17mm F1.2 on this trip, so it seems like this is just a slight weak point of the 12-100’s design.

Flare is pretty well controlled, but I’m not super sold on the sunstars; stopping down might help more, but on Micro Four Thirds, that’s guaranteed to soften the image. (And apologies for those couple specks of dust, as well).
ISO 200 | 1/800 sec | F8 | 13mm

Lateral and longitudinal chromatic aberration

The M.Zuiko 12-100mm F4 does a pretty good job keeping chromatic aberrations at bay. If you look closely, though, you will see some fringing in challenging situations. The bottom-left corner of the below image shows some residual fringing around the leaves; the built-in corrections look to have taken care of much other fringing, but left the purple behind. At least this type of CA (lateral) is easy to remove.

Less easy to deal with is the bit of fringing around the slightly out-of-focus sticks just to the right of the center of the frame; this is longitudinal CA, and you can see a bit of it in as green/cyan fringing in the reptile image earlier in the review. So it’s there, but we’ve definitely seen worse.

Bats. So. Many. Bats.
ISO 200 | 1/200 sec | F4 | 100mm

But jumping back to bokeh for a moment, I think the biggest issue with this image (other than the subjects, if you’re not a fan of bats) is the severe onion-ring bokeh in the highlights behind the flying mammals.

Conclusion

What we like	What we don’t
Sharp across the zoom range Built like a tank Resistant to flare Incredibly versatile range Very good stabilization Low distortion	Bokeh can be busy Sunstars aren’t the best Some CA present, even with built-in corrections Heavy Expensive

And so, as happens occasionally on this site, I will be forced to eat some of my previously published words. I’ve said before that I don’t need a zoom on vacation. And I said I like cameras that are small and light, maybe even pocketable. Well, it turns out that I may have become a convert to zooms, depending on the destination.

If I myself was in the Olympus ecosystem, this is a lens I’d strongly consider. Also, this is the beach on which I got sunburned through my shirt. That Australian sun is no joke.
ISO 200 | F9 | 1/320 sec | 20mm

The M.Zuiko 12-100mm F4 provides such a versatile range in such a well-built package that I really did feel ready for anything. From dimly lit church interiors and landscapes to portraits and wildlife, the 12-100mm can handle pretty much anything. No, it won’t blur backgrounds to oblivion most of the time, and when you do get some subject isolation, the backgrounds will occasionally look a bit busy. Sunstars aren’t the best (nor the worst), and some people will have trouble accepting an F4 zoom on a Micro Four Thirds body.

On the other hand, the stabilization offered by this lens (when mounted to a compatible body) is pretty insane, which allowed me to keep my ISO values lower much of the time. I also love being able to hand-hold images at 1/10th of a second to get some motion into a scene while the surrounding environment stays tack sharp.

ISO 200 | 1/160 sec | F4 | 28mm

I think the biggest knock against this lens is the price; with an MSRP of $ 1299, it’s a costly proposition. There are a few Olympus options that fall within this focal range that are less expensive and built similarly well, but that’s just the nature of this particular offering.

If you want solid image quality and don’t want to be fumbling around and changing lenses on a beach next to a sweltering Australian rainforest, the M.Zuiko 12-100mm F4 IS Pro is well worth considering.

Scoring

Olympus M.Zuiko Digital ED 12-100mm F4.0 IS Pro

Category: Superzoom Lens

Optical Quality

Build Quality

Autofocus

Image Stabilization

Ergonomics and Handling

Value

PoorExcellent

Conclusion

The Olympus M.Zuiko 12-100mm F4 Pro IS is a solid option for travel and generalist photographers using the Micro Four Thirds system. It doesn't grant you the blurriest backgrounds nor the most compact dimensions available among other Olympus lenses, but it's well-built, offers excellent stabilization and gives a great zoom range to match almost any situation you find yourself in.

Good for

Travel and generalist photography, including landscape and architecture work.

Not so good for

Situations where you need a fast aperture as well as a fast shutter speed to freeze the action, as in low-light sports imagery.

84%

Overall score

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Articles: Digital Photography Review (dpreview.com)

October 28, 2020

Color Management in Affinity Photo: The Ultimate Guide
The post Color Management in Affinity Photo: The Ultimate Guide appeared first on Digital Photography School. It was authored by Glenn Harper.

In terms of color management, no photo software is more complete than Adobe Photoshop. It’s easy to take this for granted until you switch programs (which you might do to escape subscription costs).

That’s why this article looks at color management in Affinity Photo, a popular standalone alternative to Photoshop.

Affinity Photo welcome screen.

Choosing a working color space in Affinity (Photo Persona)

The working color space you use in an editing program is a bit like a box of crayons. You are defining how big a box you use to describe your photos. Even if you can’t see all the colors inside that “box” on your screen, sometimes there is good reason to use them.

Choose your working space based on the likely output for your images. For example:
- sRGB = publishing and printing online
- Adobe RGB = CMYK/inkjet printing
- ProPhoto RGB = archiving and top-quality workflows
Each choice has its own pros and cons.

The ability to make this choice seems mundane until it’s taken away. Some programs force you to use sRGB as the working space, for instance, which means you forfeit many of the colors digital cameras can capture.

So what does Affinity give us here?

Setting the working color space in Affinity is simple, though it’s not labeled a “working space” as such. You simply go to Preferences>Color>RGB Color Profile. By default, this is set to sRGB. You can change it to suit your photography and the purpose of your photos, as detailed above. Do the same with the 32bit RGB Color Profile setting.

Color preferences in Affinity Photo.

Other color preferences

For most of us, the color preference settings in Affinity can be left alone, except perhaps for the RGB Color Profile option at the top.

That said, you’ll generally want black point compensation switched on. You also won’t want the software to convert all open files to the working color space. And it’s better to be warned if a photo without an embedded profile is being assigned the working profile. This gives you a heads-up that the color may display incorrectly.

Note that each of the above options can be ticked on and off in the Color Preferences window.

Monitor profile

Affinity Photo accesses the default monitor profile assigned in your operating system. Unlike Photoshop CC (but like Lightroom), I don’t believe you can confirm the prevailing profile via Affinity itself. Past and present monitor profiles appear in drop-down menus, but you should never select these; the monitor profile is automatically applied.

Your monitor profile is a key component of color management in Affinity Photo.

Windows color management display settings. (You wouldn’t want to use sRGB as a display profile except for diagnostic purposes.)

Soft proofing (Photo Persona)

Soft proofing lets you preview the output color of your photos, whether the output is an inkjet printer, an RGB printer like those often used in minilabs, or even a specific audience (e.g., color-blind individuals). Soft proofing is available in Photoshop CC and Lightroom, but isn’t offered by many other programs. What about Affinity Photo?

In Affinity Photo, soft proofing comes in the form of an adjustment layer. You won’t find it among the menus at the top of the screen like in Photoshop. This is quite handy, because it’s so easy to flick layers on and off to see the effect of soft proofing and edits.

Soft proofing using a photo lab’s profile.

Color blindness settings in Affinity are located among the built-in LUT adjustment layers. The LUTs help you visualize colors as seen by three types of dichromats: protanopes, deuteranopes, and tritanopes.

Tritanope LUT for visualizing a type of color blindness.

Simulating dynamic range

The simulate paper color option you get in Photoshop is already applied in Affinity. You can’t switch it off.

But you do have the option of switching on black point compensation. This reduces the dynamic range of your screen image to mimic the look of paper and ink. It makes the on-screen photo look duller. That’s why professional photographers sometimes avoid showing clients the comparison.

Blocked shadows caused by a lack of black point compensation (BPC). Usually, the effect is less drastic than with this Newsprint profile. Note that BPC has more effect with a relative colorimetric rendering intent. It has less of an effect or no effect with other rendering intents.

Gamut differences

The Gamut Check option in Affinity Photo shows you which colors are not reproducible with any given output. You can fiddle with the color of the photo until all color is in gamut, but you’ll often do more harm than good.

It’s better to rely on the rendering intent setting if you want colors to be as close as possible to the original. The relative colorimetric rendering intent keeps colors looking relatively accurate and shifts non-reproducible colors back into gamut, but you’re free to pick the rendering intent that looks best to you.

The gray area tells me which area of red will be out of gamut (i.e., not reproducible on output). This is the Gamut Check option in Affinity soft proofing. Its practical use is somewhat limited, since you’ll often do more harm than good by trying to edit colors into gamut.

Creating a duplicate

When soft proofing, you may want to work on duplicate images side by side, so you can reference the original color and tone. In that case, create a duplicate image in Affinity by hitting Select All>Copy>New from Clipboard.

You can make adjustments to the soft-proofed image by adding extra adjustment layers to the background layer.

Having a duplicate image is useful if you want to get your output looking similar. A relative colorimetric rendering intent does most of this work for you.

Convert and assign ICC profile settings

As with Photoshop, color management in Affinity Photo includes the ability to assign or convert ICC profiles. The distinction between these two is important. You’d assign a profile if the photo you open has no embedded profile; you give it one that looks okay. This only becomes permanent if you save changes to the image.

By assigning the wrong profile to this image, I’ve oversaturated the color and started to lose textural detail.

When you convert from one profile to the other and know what color space the image is in, use Convert ICC Profile. One way of confirming the current profile is to look for it in the drop-down list. It should be highlighted:

The highlighted profile in the Convert ICC Profile window is the one currently embedded in the image.

The choice of rendering intents when converting between ProPhoto RGB, Adobe RGB, and sRGB working color spaces is usually moot. By default, these matrix profiles use a relative colorimetric rendering intent. The same situation exists in Photoshop.

Embedding profiles

The process of embedding ICC profiles is uncomplicated: You just check a checkbox. This is true whether you’re using Save As in Photoshop or exporting files from Affinity. In Affinity Photo, the Embed ICC Profile option is under the More heading when exporting. It’s checked by default.

There aren’t many instances when you’d deliberately leave the ICC profile out of images. Ironically, photo libraries and gallery websites might do this because the profile adds a couple of kilobytes to each file. In those instances, it’s an economical choice. In the past, photographers removed profiles to avoid confusing minilab printer drivers.

Photos in large color spaces generally look okay in browsers as long as the profile is embedded. In Affinity, just as in Photoshop, embedding a profile is merely a matter of checking a box. Or not unchecking it.

Many people’s color woes when publishing photos online stem from not embedding the profile. This is less critical when publishing sRGB images, but photos in larger color spaces will often look dull unless the profile is present.

Simple features, such as the ability to embed or remove ICC profiles, are often absent in photo-editing programs. But here, Affinity keeps pace with Adobe.

Affinity RAW processing color (Develop Persona)

The Affinity Photo Develop Persona assigns the ROMM RGB color space to RAW files. ROMM RGB is the original name for ProPhoto RGB. This color space encompasses the output of a digital sensor, whereas smaller spaces such as Adobe RGB and sRGB do not.

Histogram comparison

In Lightroom, the histogram is in Adobe’s proprietary “Melissa RGB” space. This is the same as the Affinity histogram, but with an sRGB tone response curve applied, which adds slightly more editing headroom in the shadows. Extra marks to Adobe for cleverness.

The Affinity RAW histogram is more akin to that of Adobe Camera RAW. If you convert to ProPhoto RGB or ROMM RGB in Affinity, the histogram should stay the same.

The sRGB profile here has pushed magenta hues off the left side of the RAW histogram. This is one reason to use larger color spaces when creating inkjet prints.

Recent versions of Lightroom enable users to preview the output histogram by turning on soft proofing. In other words, you’ll see which colors will be clipped, if any, in your destination color space. This might influence the edits you make prior to converting the file or even the color space you select. Does Affinity allow this?

If you select an output profile in Affinity Photo’s Basic panel, the histogram changes accordingly. With certain colors, you’ll see sRGB pixels move to the edges of the histogram. This tells you they are nearly or completely clipped. Running the cursor along the histogram shows you how many pixels are present at any level. ROMM or ProPhoto RGB is especially useful for preserving detail in bright yellows.

Neither sRGB nor Adobe RGB can contain the yellows in a photo like this.

A common misconception

You needn’t convert RAW files to the same profile as your working RGB space in the Photo Persona. This is a common misconception. Affinity can open and handle images in any color space, just like Photoshop. The working space only represents your most commonly-used color container.

Color management in Affinity Photo: Conclusion

I’ve used many photo-editing programs, and some are more frustrating than others in terms of their color preferences and controls.

Color management in Affinity Photo differs from that in Photoshop, but it doesn’t cut any major corners that I’ve found. So use it with confidence!

And if you have any questions at all, be sure to leave them in the comments section!

The post Color Management in Affinity Photo: The Ultimate Guide appeared first on Digital Photography School. It was authored by Glenn Harper.

Digital Photography School
October 28, 2020
FeiyuTech releases new AK2000C gimbal with 2.2kg (5lbs) payload, 7-hour battery life

Hot on the heels of DJI releasing its latest gimbals, Chinese gimbal manufacturer FeiyuTech has released the AK2000C, its latest three-axis handheld gimbal for mid-sized camera systems.

The AK2000C is a lightweight handheld gimbal that can hold just shy of 2.2kg (5lbs) worth of camera gear and run for up to seven hours on a single charge. This payload would be enough to hold recent cameras, such as the Canon EOS R/R5/R6, Fujifilm X-T3, Nikon Z6/7 and Sony a7 III with standard primes and zoom lenses attached.

The frame of the gimbal is constructed of an aluminum alloy and, much like DJI’s gimbals, it features quick-release locks on all three axes for keeping everything secure when packed away. The gimbal comes in at just over 1kg (2.5lbs) and folds up to 69mm (2.7”) x 208mm (8.1”) x 348mm (13.6”).

FeiyuTech says the AK2000C is powered by its W7 algorithm, which includes pre-programmed shooting modes, such as timelapse, 360 pans, selfie mode, vertical shooting and more. Both camera and gimbal settings can be controlled right on the gimbal using its new OLED touchscreen (FeiyuTech doesn’t specify what specific cameras work with the gimbal though).

The AK2000C is currently avaialble to purchase through FeiyuTech’s online store, Amazon and authorized FeiyuTech retailers for $ 229.

Articles: Digital Photography Review (dpreview.com)

October 28, 2020