The R6 need not necessarily be overshadowed by the R5
I’ve been guilty of it myself: describing the EOS R6 and R5 as the mirrorless successors to the 5D and 6D lines of DSLRs. Guilty because, while it might be literally true, it risks obscuring a subtle re-positioning of the two cameras. Personally, I think the R6 is a much more interesting camera than the 6D series DSLRs were and, consequently, more interesting than the R5.
Just in case it needs to be said: we’ve not fully tested the R6 yet and I’m not suggesting you should go out and buy one. But here’s why I think it’s the more interesting one, for more people.
It’s a higher-end camera
Yes, the price is higher than for the 6D series. Canon has always felt confident in pricing its cameras a little above its rivals, but the R6 goes beyond this. Obviously it was always going to look particularly expensive next to the relatively elderly Nikon Z6 and Sony a7 III which, as they approach what’s likely to be the end of their product life, are being sold for considerably less than their original prices, but the R6’s launch price is significantly above even that.
In the US, at least, the R6’s launch price is 25% higher than those of its closest peers (though only 8% up on the somewhat disappointing EOS R). But, then again, its specs are higher, too. It shoots faster, comes closest to offering full-frame 60p video capture and promises a greater degree of image stabilization than anything else can. It’s hard to find an obvious weak-point on the spec sheet: even in areas such as battery life and viewfinder resolution, where it is out-gunned, it’s still competitive with the majority of its rivals.
Differentiating without diminishing
It’s no R5, of course. Market segmentation and product differentiation are a fact of life. No one is going to give you all their best features in anything less than their range-topping model, not if they want to sell any of their flagship product. And not if they want to stay in business.
Placing them side-by-side showed how distinct the 5D and 6D series are: for example the 5D IV (right) has a more substantial rear dial and a joystick, while the 6D II (left) has an articulating touchscreen.
If you get segmentation right, it means enthusiasts don’t have to pay professional prices to get a camera that suits their needs. Get it wrong and it can start to look… well, petty. But, ultimately, the question is not necessarily ‘how many features can we squeeze out of this hardware?’ but a balance between ‘which features would these users appreciate?’ and ‘which features can we include without undermining the R5?’
From any reasonable perspective, the R6 gives you an awful lot of R5’s performance. Its IBIS system is supposedly a match for the more expensive model, including that headline-grabbing claim of up to 8 stops of correction. That in itself is a stand-out feature. Similarly, the R6 will shoot at the same rates as the R5, and will do so using the same AF system. This means non-pro photographers (and, no doubt, some pros) get most of the core capabilities of the much more expensive camera.
The R6/R5 differences are far fewer (the R6 is on the left). The R6’s construction isn’t quite as solid-feeling, it lacks a top LCD or the ability to add audio notes to images, but the handing is otherwise all-but-identical.
Most significantly, you get the same multi-dial-and-joystick user interface and shooting experience in the R6 as you do in the R5. It would have been easy to omit the joystick from the R6 (they use different exterior panel moldings), but instead you get a camera that’s every bit as usable.
This is a world away from the 6D series, which lacked the 5D’s joystick, 4K shooting and a host of other core features.
What’s missing
What you don’t get is resolution. Depending on what your current camera is, 20MP may well feel like a step backwards. 20MP is more than enough resolution for a lot of applications (including those at which the Canon EOS-1D X and Nikon Dx cameras are targeted). But you’re unlikely to be getting the most out of those exotic new RF lenses and, much as you might like to kid yourself, you’re unlikely to see any significant low-light benefit. Realistically though, it’s only a 10% reduction in linear resolution, compared to its 24MP peers so probably not worth losing sleep over.
It doesn’t shoot 8K and doesn’t have an All-I capture option but the in-body IS and more-than-competent video spec make the EOS R6 a reasonable option both for video and stills shooters.
The R6’s lower pixel count also highlights that the camera lacks the current feature du jour: a high-res pixel shift mode. The inclusion of stabilization means it should be possible, depending on how many patents surround the technology (most brands’ implementations are subtly different, which could suggest there’s IP being skirted around). But personally I’ve not found it very useful for much of my photography, since it is most effective for static or close-to-static subjects.
More than a mirrorless 6D?
I’m not a full-frame shooter, myself, but I have a lot of friends who take their hobby seriously enough that they’ve owned 5Ds over the years. Looking at the R6, I can imagine an awful lot of these 5D owners being happy with the R6, for considerably less money than they paid for their DSLRs. So although you could see the R6 as an overpriced 6D replacement, I think that, at least for some users, it might be a credible, more affordable substitute for a 5D.
The post Canon: Has The Sleeping Giant Awoken? appeared first on Digital Photography School. It was authored by Carl Spring.
The Canon camera and lens lineup is now looking formidable.
The recent Canon launch saw the release of two new cameras, the Canon EOS R5 and Canon EOS R6. We all already knew the specs, and they are huge.
The R5 has all the headlines, 8K internal recording, and 4K 120p. But the R6 shares so much of its DNA, such as 8-stop in-body image stabilization and a blazing autofocus system.
Canon is back. The sleeping giant has awoken.
Canon has always been a name synonymous with photography. Ask a non-photographer to name a camera brand, and they will probably say Canon. Even if they don’t, they will possibly refer to photographers at sporting events with the big, white lenses.
Canon changed the game with the 5D Mark II. But since then, releases have been less groundbreaking and have offered more incremental upgrades. Canon felt like a giant who was happy plodding along because nobody was really challenging it.
Even now, Canon still has a monopoly on camera sales. However, in 2019, Canon’s sale value fell by 11%, whereas Sony saw a 14.5% increase in sale value in the same period. Sony’s sales success came in the form of their high-end mirrorless cameras.
Along came mirrorless
Canon (like Nikon) seemed to almost bury their head in the sand as mirrorless cameras came to overtake the DSLR.
Canon’s release of the EOS R and RP seemed to be a reactive move. A way to get something out so they had a mirrorless camera, rather than a way to remind the industry who’s the boss. This complacency allowed Sony to not only gain a foothold but, in the eyes of many, to become the dominant player.
It was Sony who released the new, exciting products. Sony’s sensors were the cream of the crop. Meanwhile, Canon felt like the old-school company that was sure mirrorless was just a fad. When reality (and the figures) hit them, they were ill-equipped to react. The EOS R felt like a product that was thrown together, rather than a genuine contender to Sony’s mirrorless crown.
It’s not that Canon EOS R is a terrible camera; it isn’t. But the lack of a second card slot (yes, we can argue about the importance of this in the comments), combined with an autofocus system that was nowhere near as competent as Sony’s, meant that many people started to be lured away. Sony pushed the boundaries of technology and became the company the others all had to chase. And it wasn’t just Canon; Nikon’s trajectory felt incredibly similar.
With the research and development of a new camera taking years, Canon’s only plausible response was to begin to put out lenses, which is exactly what they did. This glass was amazing. Canon now had some of the best glass out there for mirrorless, but they simply didn’t have a body that many pros could see themselves using, or one that was as good as what the competition was offering. People began to move away to other systems.
But then the rumblings started.
The R6 does not feature the top-line specs of its bigger brother. But, to quote Han Solo, “She’s got it where it counts, kid.”
They’re coming
Rumors started about Canon working on a new mirrorless. A true 5D replacement.
Then spec leaks began, and it seemed there would be a lot more than simply dual card slots.
8K? No way!
4K 120? Not going to happen (or at least not to a usable standard).
IBIS? 45 Megapixels? There had to be a catch.
It felt like the photo community had become used to Canon doing something to ruin things (Motion JPEG codec, anyone?). These comments showed how far Canon’s reputation had dropped.
Even so, people were excited. Many were hopeful. Could it be happening? Would Canon realize the errors of its recent past and actually release a groundbreaking camera?
As it turns out: Yes, they did. But why release one amazing new camera when you can release two?
8K, yeah, right! Oh, wait, the rumors were true.
The champ is here
When the R5 and R6 were announced, we saw Canon launch themselves back toward being king of the industry. The spec rumors were all true, and despite a launch that felt cringe-worthy at times (it can’t just be me), Canon was taking mirrorless seriously.
This launch felt, to many, like the 5D Mark II did all those years ago.
Now, this praise is based on reading pre-production reviews, and obviously those who were given these models to test are not going to bite the hand that feeds them.
But the R5 and R6 look good. Actually, scratch that; they look amazing.
Amazing IBIS stabilization, those Canon colors, and amazingly fast autofocus that includes impressive face and eye detection.
8K video. (Okay, for most there is absolutely no need for 8K, but like in the megapixel wars, video resolution looks to be going towards the bigger is better mantra). Not only 8K, but internal 8K.
This is before you get to the R6. A camera that appears to share a sensor with the flagship 1DX Mark III and shares IBIS and AF systems with its more expensive bigger brother. 20MP may not wow in the megapixel race, but the potential for low light performance is huge. You only need to look at the revised DxO scores for the 20MP 1DX Mark III for proof of this.
If you were to ask for the perfect camera in 2020, at least some of the specs are featured on this one. For many (me included), it felt like an exciting camera, a game-changing camera, and one that will surely bring anyone who was thinking of switching brands back to the Canon fold.
The professional glass has been here a while. Now the cameras match up to it.
What took you so long?
It didn’t take long for the negativity to start, though.
Canon EOS R5 overheating issues, based on leaked documents and pre-production models, are popping up everywhere. When Peter McKinnon spoke about overheating in his YouTube video, it saw social media explode. The R5 instantly became unusable for video professionals, another example of Canon getting it wrong, etc. That’s before I even mention the 20MP sensor on the R6.
You can understand some of these concerns, but they are not new and really should not be unexpected. 8K means putting a huge amount of information through a tiny camera (with no fans) constantly. To record 53 minutes of 8K raw footage, you will go through one terabyte of storage. That being possible on a camera the size of the R5 is mind-blowing. Yet some people seem to be complaining that you can’t do unlimited recording on it. The fact you can do it at all is a feat of amazing technical expertise.
Canon hate is now strong in some parts. Canon now must appeal to those who moved away to (mainly) Sony. Switching to a different camera system is something that people really don’t do lightly. Those who moved to Sony from Canon are now facing the reality that Canon just gave them what they wanted, but it is too little too late.
It goes deeper than that, though. Those who moved away from Canon, the team they once loved, will always tend to be harsher critics. Not simply because of their newfound loyalty, but also the fact that they had their hearts broken.
That is not in any way to say Sony hasn’t released some amazing cameras. They have, but people will always struggle to cheer for a brand they just left. There are also a lot of big YouTube influencers on Sony’s payroll, which will definitely result in a certain narrative from a portion of the photo community.
Let’s look at the R5 specs
If you were looking for a high-end camera and it did the following, what more would you want?
45 Megapixels
8K RAW
4K/120 fps
Autofocus in all video modes
Beautiful high-resolution viewfinder
Animal, eye, and face detection autofocus that is as good as, if not better than, any current camera
Up to 8 stops of image stabilization
12 fps shooting with the mechanical shutter (20 fps with the electronic shutter)
5 GHz WiFi
Gigabit Ethernet (via the optional grip)
New sensor with the ability to resolve greater detail than the previous 50-megapixel camera
These are the specs of a camera that is looking to take down all competition in 2020.
You may feel the price tag seems high, but this is a flagship mirrorless camera that has everything most professionals will want in a camera for the next five-plus years.
When fitted with the optional grip, the R5 gets Gigabit Ethernet.
The bigger picture
With this release, Canon now has a formidable line-up of cameras (not to mention lenses) at the top of their range.
Canon 1D X Mark III
An amazing DSLR for sports and news professionals. Yes, it’s 20 megapixels, but for many professionals, that is a perfect number. A true professional workhorse.
Canon EOS R5
An amazing mirrorless option for portrait and wedding photographers. Add in the crazy video specs and you will have the ultimate hybrid camera which will find its way into huge numbers of camera bags.
Canon EOS R6
A low-light powerhouse and another amazing all-rounder. For those who aren’t consistently printing at huge sizes, the lower megapixel count will free up hard drive space and allow older computers to hang on for longer. You also get 4K video that is perfect for the majority of people, so there really is a lot to love here.
Canon’s current lineup easily rivals Sony’s offerings, and really has put Canon back in the position of pushing camera technology to the limit.
But there’s still a lingering question.
Although the megapixel count is lower than some, do not underestimate the R6.
Is there an Achilles’ heel?
Will these cameras live up to the hype?
We will only know for sure when production models make their way into the hands of reviewers and the public. On paper, the cameras look outstanding, but only time will tell. I personally can’t see Canon dropping the ball here.
The more obvious issue so far is also one of the most important: battery life. The giant may be back, but it seems to have spent a lot of energy getting here. The R5 is limited to only 320 shots, much fewer than the 530 shots that the Sony A7R IV can manage.
You can lower the screen refresh rates and get up to 490 shots per charge, but Canon has gone for backward compatibility with the 5D Mark IV and EOS R over pure battery power.
The ability to use older batteries (with fewer shots per charge) will ease the transition of those using the 5D Mark IV, which is a huge target for Canon with this camera. However, battery life is essential for many, and not matching Sony’s battery capabilities is a small misstep.
So is Canon back on top?
The question is:
Are these new cameras enough to win people back to Canon?
And honestly, I don’t think they are. The new cameras are amazing, and don’t doubt that Canon, the sleeping giant of the last few years, has awoken. It seems hungry to flex its muscle and eager to destroy those young upstarts that have been stealing its thunder.
However, time has passed, people have moved on, and while this is an amazing pair of releases that will keep Canon shooters happy, many have already left.
Tired of waiting for the Canon launch that would finally bring them hope, people left for different shores.
And as wonderful as these releases are, I can’t see many turning around and sailing back.
The post Canon: Has The Sleeping Giant Awoken? appeared first on Digital Photography School. It was authored by Carl Spring.
The M10-R is Leica’s newest rangefinder camera. It’s also the first M-series model to push resolution beyond 24MP, making the jump to a 40MP sensor. We take a look at what’s new – and what stays the same – in our hands-on review.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
Intro
Flower sample photos
Similarities to the M10-P
Displays
Visoflex issues
File size and buffer
Stability
Street photography
Shutter
Battery life
Image quality
Who's it for?
Sample gallery from this episode
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The Associated Press (AP) has announced it’s partnering with Sony to make the Japanese electronics manufacturer the sole supplier of photo and video equipment for its visual journalists around the globe.
This massive undertaking will see visual journalists in more than 250 locations across 100 countries supplied with Sony cameras, lenses and accessories to capture the more than 3,000 photos and 200 videos submitted every day. AP says ‘A wide variety of Sony’s imaging solutions products will begin delivery immediately, including the full-frame mirrorless Alpha cameras, FS series professional video cameras and an assortment of Sony’s 57 E-mount lenses including G Master models.’
To find out more about the collaboration, we had a conversation with AP’s Director of Photography, J. David Ake. In the interview, he explains why the partnership happened now, how long it’s taken to get this collaboration together and what it means for the hundreds of AP visual journalists around the world.
Our interview with AP’s Director of Photography
Press release:
AP to Equip all Visual Journalists Globally with Sony Imaging Products
Sony Electronics to become AP’s exclusive global imaging provider for photo and video journalism
July 23, 2020 – SAN DIEGO, CA – Sony Electronics Inc. a global leader in imaging, and The Associated Press, the trusted global news organization, announced today a new collaboration that will make Sony the exclusive imaging products and support provider for AP news photographers and video journalists around the world.
With journalists in nearly 250 locations in 100 countries, AP provides factual, compelling journalism in all formats, including 3,000 photos and 200 videos each day. The news agency has a distinguished history of powerful visual journalism, winning the 2020 Pulitzer Prize for Feature Photography — AP’s 54th Pulitzer and 32nd for photography — and garnering recognition from the Royal Television Society for excellence in video.
A wide variety of Sony’s imaging solutions products will begin delivery immediately, including the full-frame mirrorless Alpha™ cameras, FS series professional video cameras and an assortment of Sony’s 57 E-mount lenses including G Master™ models.
“We are extremely honored to announce this collaboration with The Associated Press, an organization with an incredible history in journalism that continues to raise the bar for global news reporting and delivery,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “The Associated Press is a universally trusted brand for news information in the world. We are honored to equip AP’s journalists with our technology and support, giving them the opportunity to capture, transmit and deliver imagery in ways they never could before.”
“Sony’s history of innovation aligns well with AP’s, and with our vision for the future of visual journalism,” said Derl McCrudden, AP deputy managing editor for visual and digital journalism. “AP is committed to providing the best imagery to our member news organizations and customers across the globe. Adopting Sony’s cutting-edge equipment and technology allows us to do that, by enabling our photographers and video journalists to be faster and more flexible, ultimately creating better visual journalism.”
When the transition to Sony is complete, AP’s video journalists and photographers will for the first time be equipped with the same brand of cameras, allowing for seamless collaboration among the news agency’s journalists as they tell the world’s stories in whatever medium is right for the moment.
AP visual journalists will be able to share Sony cameras and lenses, as well as the images they capture, to produce a news report unhindered by technical limitations.
“The new mirrorless technology in Sony’s cameras allows for a completely silent operation, meaning our photojournalists can work in environments without interrupting the scene around them,” said AP Director of Photography J. David Ake. “This is a huge leap forward in photojournalism.”
In addition to delivery of product, AP and Sony will work together to improve workflow and efficiency of field operations, including testing of 5G capabilities.
Sony offers 5G through its Xperia™ product line, which uses technology from its professional monitors, cameras and audio devices.
J. David Ake, Director of Photography at The Associated Press.
One of the world’s largest and oldest news agencies, The Associated Press, has just announced that it is switching to Sony for all of its photography and videography equipment. We spoke to AP’s Director of Photography, J. David Ake, about why the agency decided to make the switch, why it chose Sony, and what it means for AP staff photographers and videographers.
The following interview has been edited lightly for clarity and flow.
Thanks for joining us, David – what do you do at AP?
I’m the Director of Photography at The Associated Press, I’m responsible for stills photo reporting worldwide. That’s a team of a few hundred staff photographers, fifty or so photo editors, and we produce about 3,000 images a day from around the globe. I’ve been at the AP for 20 years, and previously I was a photographer for UPI, Agence France-Presse, and Reuters.
Is it a coincidence that this announcement coincides with what would have been the opening week of the planned 2020 Olympic Games in Tokyo?
Actually, yes, this just happened to be when we could get the dotted line signed! COVID-19 slowed things down a little bit, we were actually hoping to do this a little bit earlier.
How long have you been working with Sony on this project?
The AP has been thinking about switching to mirrorless on the stills side for a couple of years. We like the advantages [like silent shooting] which means we can be whisper-quiet in places where a DSLR shutter sound is disturbing. We like the super-fast autofocus and we like the light weight of the cameras.
We tested cameras from several manufacturers in really harsh zones from the Arctic to the rainforest, to hostile environments, to hurricanes. The overwhelming response from the photographers was that they really liked the Sony equipment: the way it worked, the way it felt, and the image quality.
The Sony Alpha a9 Mark II is a camera that Sony says was made specifically to meet the needs of professional photographers in demanding environments, and at major sporting events. The relatively few major hardware updates from the a9 were almost all intended to cater to this demographic.
Then we started talking to our video colleagues who were about ready to do a change-up of their gear too, and we started thinking “well if we went to Sony for video and stills, what would that do for our visual storytelling?” We liked the idea of having the color quality and the image quality being close to the same between stills and video equipment. So if a stills photographer helped out a video colleague with a little filming, or B-roll, it would fit in the edit. And if we were to pull a frame grab from a 4K video camera it would have the same basic feel as a photograph from a stills camera.
And the lens mounts are the same, so if a videographer was working with a stills photographer, he or she could borrow a 600mm f4, or a stills photographer could try a cine lens to get a certain look. It just gives us some unique opportunities.
Up to now, has AP been using a mixture of different platforms, from different manufacturers?
Yes, we have. We used one manufacturer for stills, and a different manufacturer for video. And we’ve been happy with those brands, we’ve used them for years, and they’ve supported us with their equipment. It was really the thought that we wanted to go mirrorless that took us down this path, and then we found that the synergy between video and stills could be really good, and Sony could support both of those at the level that we needed. And maybe that could open up some opportunities for visual storytelling in future that we hadn’t previously recognized.
It’s probably going to take us a little over a year to complete this switch
I’m excited, because both teams now can really work together well.
How many photographers and videographers will start using Sony equipment?
We have a few hundred staff photographers around the world, and about that many video cameras [in our equipment pool]. And probably into the thousands of freelancers, regular and occasional. This switch to Sony applies only to the staff photographers and videographers.
The freelancers are independent contractors, what they use is up to them.
Can you give us an idea of the scale of this investment, in terms of camera bodies and lenses?
Well if we’re kitting each photographer and videographer out with four or five lenses and a couple of camera bodies, that’s a large investment. It’s probably going to take us a little over a year, maybe a year and a half, to complete this switch worldwide. We’ve got photographers in some places that are very difficult to get gear to!
Sony is currently the only manufacturer to offer native mirrorless long-telephoto prime lenses. Lenses of this kind are a prerequisite for professional sports, although Canon and Nikon’s latest mirrorless cameras can accept EF and F-mount lenses via adapters.
Do you have a sense of the ratio of a9-series to a7-series cameras that you’re going to be onboarding?
The vast majority of the stills photographers will get a9 Mark IIs. We will get some a7R IVs for the videographers, and a couple for some of our entertainment shooters who do a lot of portraits. But the standard kit will be an a9 Mark II.
On the video side there are six different cameras that might become part of the kit, from broadcast cine cameras all the way down to small palm-sized cameras, depending on the assignment. But we have six cameras spec’d-out on the video side.
What convinced you that Sony could provide that level of support your photographers and videographers might need at major events?
Well Sony has committed to us that it will. And we have done some tests, we’ve done events where they did provide the level of support that we needed. This is not new for Sony. On the video side, Sony has been supporting its cameras in the field for a really long time. They’ve shown us that they’re committed to doing it, and so far we’ve been happy with the level of commitment.
The proof is in the pudding of course, once we’ve got this all rolled-out, but we’re confident that they can deliver.
Tokyo 2020 never happened, but by this time next year, AP photographers and videographers in Japan will be shooting the proceedings on Sony equipment.
You mentioned the logistical challenge of replacing all of your stills and video equipment, are you planning to introduce a training program for your staff?
Yes. Our goal is to get photographers together, collect their old gear, issue them with new gear, and give them a day or so with Sony technicians to run through the menus, how to clean the sensors, how the cameras work and so on, before we put them out in the field.
What are the first big events that you expect AP photographers will be covering with Sony equipment?
The US elections in November, followed by the Olympic Games.
What’s the biggest shift you’ve seen during your career in photography?
For me personally it was film to digital. I got one of the very first digital cameras in 1995. It was a huge shift, and very enlightening – there was a sense of freedom. It changed the world for photojournalism. And I think mirrorless is going to turn out to be a really big change, too. The fact that these cameras are very fast, very quiet and very light will allow us to go places and do things that we haven’t done before.
Editors’ note: Barnaby Britton
The news that The Associated Press – one of the world’s oldest and best well-known news agencies – is switching to Sony is highly significant.
For decades, whether or not a brand could be considered ‘professional’ has been defined in part by whether organizations like AP purchased its cameras and lenses for their staff photographers. While the number of salaried photojournalists working in agencies around the world today is relatively small, it’s hard to overstate the PR value for any brand of having its cameras and lenses appear in the hands of pros on the sidelines at events like The Olympic Games, watched by millions of people all over the world.
For at least forty years, Canon and Nikon have owned the sidelines, and along the way, both companies have developed a sophisticated systems to support professional photographers at major sporting events. Can Sony compete with these well-established companies when it comes to service and pro support (not to mention reliability)? Apparently AP is pretty confident in Sony’s (and its gear’s) performance so far, but as Mr Ake says, ‘the proof is in the pudding’.
Sony is still the only company to offer both a truly photojournalism-oriented mirrorless camera and a range of native mirrorless fast telephoto prime lenses
There is no doubt, however, that Sony is very serious about competing in the professional market. The a9 Mark II is arguably the best sports camera in the world right now, and two years after Canon and Nikon joined the full-frame mirrorless party, Sony is still the only company to offer both a truly photojournalism-oriented mirrorless camera and a range of native mirrorless fast telephoto prime lenses. Apparently, for AP, the cross-compatibility of E-mount lenses between a large number of Sony’s stills and video cameras was another point in the company’s favor.
From a sales and revenue standpoint, the fact that Sony just sold a few hundred cameras and lenses is probably not all that significant. But the AP contract is a huge vote of confidence in the brand from an agency synonymous with professional photojournalism, and one that Sony has been working for years to earn. Canon and Nikon just got put on notice.
Adobe has pushed live security updates for its Bridge, Photoshop and Prelude applications that patch a number of critical vulnerabilities, including a few that could enable threats to execute code on Windows computers.
While Adobe’s vague ‘Security Updates’ changelog brushes on the patches, security site ThreatPost offers a more detailed look at what Adobe has done to address 12 common vulnerabilities and exposures (CVEs) in Adobe Bridge, Adobe Photoshop and Adobe Prelude, which were first discovered by Mat Powell of Trend Micro’s Zero Day Initiative.
ThreatPost says each of the 12 ‘critical flaws stem from out-of-bounds read and write vulnerabilities, which occur when the software reads data past the end of — or before the beginning of — the intended buffer, potentially resulting in corruption of sensitive information, a crash, or code execution among other things.’ Specifically, five flaws were addressed in Adobe Photoshop, three in Adobe Bridge and four in Adobe Prelude.
According to Adobe, no known uses of these critical bugs have been reported in the wild, but you’re going to want to make sure all of your programs are up to date if you don’t have automatic updates installed. You’ll want to make sure you’re running versions 20.0.10 and 21.2.1 for Photoshop CC 2019 and Photoshop 2020, respectively. Adobe Bridge and Adobe Prelude should be running versions 10.1.1 and 9.0.1, respectively.
All updates can be downloaded via the Creative Cloud desktop app for macOS and Windows computers.
In a video shared to YouTube yesterday, Ricoh offered more information on its upcoming Pentax APS-C DSLR. The video, embedded above, is the latest in a series that Ricoh is creating ‘to reinforce its commitment to DSLR photography.’
The 24-minute video, which offers embedded translated subtitles in English, is a dialogue between professional photographer Keita Sasaki and Wakashiro Shigeru of Ricoh’s Product Planning department.
The pair give a little hands-on with the new camera and lenses and discuss many facets of the upcoming Pentax APS-C DSLR. Here are a few of the highlights from the conversation:
The new optical viewfinder will be brighter and clearer than the one found in the Pentax KP; it uses a new high-refraction glass pentaprism first developed back in 2017.
It will be compact and offer a new grip for ‘increased comfort.’
The camera will have a joystick on the back (for autofocus and more) and use larger buttons for better tactile feedback
The shutter release will use the same ‘leaf switch’ mechanism found in the Pentax 645Z and Z-1.
The rear LCD display will be ‘extra large’ (no specific size is shared, however).
The new sensor will be improved across the board, at lower and higher sensitivities
Shigeru also reveals the camera will come in silver (alongside the standard black version) and have a set of silver lenses to match (a 70–210mm F2.8, 50mm F1.4 and 85mm F1.4). A silver version of the K-1 Mark II will also be released in the near future alongside the silver D FA 21mm lens announced back in May.
The post How to Make the Ordinary Look Extraordinary in Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
A good subject does not make a good photo, a good photographer does. How can you photograph ordinary things to make them look extraordinary? This is a question I am sure many people are contemplating as they are confined to their homes.
In and around our homes, we are familiar with the environment and what’s in it. These things are ordinary to us, and often we don’t think about photographing them. The exception may be after we buy our first camera. Then everything is interesting to photograph.
I love what British photographer Martin Parr says about his work. He says he aims to make the ordinary look extraordinary. This is a relevant challenge for many photographers who cannot get out and photograph the things you typically point your camera at.
To make the ordinary look extraordinary, you have to think outside the box. Don’t rely on what you normally do. Push beyond the rules and techniques you may typically follow and think about how you can photograph things differently.
Pick the best time of day to photograph some flowers in your garden. Then, tomorrow, photograph the same flowers at a different time – perhaps from a different angle. Compare your results. Don’t limit your thinking to what you’ve learned is the correct time or the right way to photograph flowers. Get yourself out of that mindset.
Observe how the light changes during the day. What’s it like in the morning, midday and in the evening? Challenge yourself to find things to photograph during a time you normally would not because you think the light is no good.
If you’re not used to being at home in the middle of the day, pick up your camera while you take your lunch break. Press yourself to find interesting light somewhere in your home to take some photos.
The very first photography assignment I completed was simple. I was taking a night school class on black and white photography shortly after purchasing my first camera. The task assigned was to photograph ordinary things. Something that we were familiar with.
We had to take one roll of film. Yes, it was a while ago! The choice was ours to load a 12, 24 or 36 exposure film. I made 36 exposures of my bicycle. I photographed it from every conceivable angle.
I loved riding my bike (and still do), so it was not difficult to photograph 36 times. Each frame was different. Some were close up, others were from further back.
Photographing something you love will make it easier because of the connection you have with it. Your mind will imagine the type of photos you can make of it because you love that thing.
When I photographed my bike, I did so all in one session. You could do this too, or spread out the challenge and make a series of photos of your chosen subject(s) over a period of time. I have done this too. For the past 37 years, I have been photographing bicycles.
Ever since that first assignment to photograph ordinary things, I have loved taking pictures of bikes. You never know how a simple assignment might grow on you.
Try many different styles of photography. Practice new things. Improve on techniques you are already familiar with.
If you are someone who generally only photographs things once, now is the time to push beyond this. Challenge yourself to photograph ordinary things over and over again. How can you keep making interesting photos of the same stuff? It’s not about the subject or your camera. It’s up to your imagination.
Change the lighting. Move the thing you’re photographing to another place. Use a lens you’d never before consider using for this subject. Press beyond your preconceived ideas of the ‘right’ way to do things. There is no right or wrong way when you are a creative photographer.
Come at your subject from every imaginable angle. The first angle you think to take a photograph from is not always the best. Move around. Lie on the ground. Stand on a chair. Look at your thing from as many interesting angles as you can think of.
Attach one prime lens to your camera and leave it there. Force yourself to use just one focal length on your favorite zoom lens.
By experimenting with one lens you will come to know it better. The more you use this lens, the better feel you will develop for it. Taking photos of the same subject, with the same lens may seem limiting – and it is, in a way – but this limitation will hopefully press you to develop your creative thinking.
Photograph ordinary things using the most basic equipment. This is a sure method to encourage your creative thinking. The best thing you have to rely on is your imagination.
Take the lead from Martin Parr and use your flash more. Either on or off-camera, add flash to photos when you normally would not.
By adding artificial light to what you have chosen to photograph, you will see it in a whole new light. This is a fabulous way to become more proficient with your flash. By using it at times when you typically would not, you will discover new possibilities. It may give you the boldness to use flash more frequently in the future.
Take your time and try using your flash in different ways. Fixed to your camera’s hot shoe, you’ll get very direct, harsh lighting. Tilting the flash head so that it points at the ceiling or a nearby wall, will add a softer light to your subject. Taking your flash off-camera, you can add light from a fresh perspective.
I’ve mentioned Martin Parr a few times in this article. He’s known for his somewhat garish captures of normal, everyday objects. He can photograph ordinary things and make them grab our attention. It’s his way of seeing that he shares with us.
Look at how your favorite famous photographers photograph ordinary things. You will find that many of them do. Irving Penn’s still life images are exquisite. Edward Weston’s photo of a pepper is somewhat iconic. Man Ray came up with all manner of wonderfully experimental images of things from within his environment.
Conclusion
Focus on what is around you. Challenge yourself to take photos of things you normally would never consider worthy of a picture. I am sure you will surprise yourself a few times with what you come up with when you put your mind to it.
Use this time to learn to photograph ordinary things. Inspire yourself out of the rut of thinking that ordinary is boring. Make great photos of ordinary things, or at least have fun trying.
And when you’re done post-processing your photos, share a few of them in the comments below and let us know your thought process behind them. This way, you can encourage others to become more diverse in their creative photography.
The post How to Make the Ordinary Look Extraordinary in Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
The post The Photography Skill Progression that Stunned Us appeared first on Digital Photography School. It was authored by Darren Rowse.
If you’re still stuck on auto mode and struggling with all the settings on your digital camera, this story of photography skill progression is for you. You may wonder, “Just how long does it take to become a better photographer? 3 days? 31 days? Two years?
In this feature of one of our students, the answer was all three.
Today I wanted to share with you the story of Marie Costanza. Marie grew up in Rochester, NY – the home of Kodak. So it’s no surprise she grew up taking photographs with her Kodak Instamatic camera.
Prior to starting our course 31 Days to Becoming a Better Photographer in February 2018, Marie described her experience being at the novice level.
“I was enthusiastic about taking photos and some of my images were decent, but I was not able to explain what I did to cause some of my images to be decent and many of them to be mediocre.”
Marie Costanza
She shared with us a sample of photos she took a few years before doing the course with instructor, Jim Hamel.
Children playing in water – Marie Costanza (before the course)
Birds at the zoo – Marie Costanza (before the course)
Sunset – Marie Costanza (before the course)
She wasted no time getting stuck into the course and extracting value from Jim. Here are the first images she shared with the group, after just 3 days.
And how right Jim was when he said . . .
Nice work. And this is only the beginning.
Jim Hamel
By “Day 7” Marie was experimenting more and starting to get shots like these:
And Jim’s response:
Prior to Jim’s course, I only shot on Automatic mode. I was completely intimidated by Manual and I did not fully understand the relationship among ISO, Shutter Speed or Aperture. I did use Aperture priority occasionally, and I was starting to understand that mode slightly. Jim’s Day 3 lesson was like a revelation for me. Being able to understand how to meter and how to use the Manual Mode opened up a whole new world of photography.
Let’s compare some of her more recent photos with the ones she shared earlier:
Children Playing in Water – Marie Costanza (Before and After the course)
Birds – Marie Costanza (Before and After the course)
Sunset – Marie Costanza (Before and After the course)
But by far our favourite progression has been what our team like to refer to as “Marie’s Duck Progression”! It certainly caught our attention and it’s the reason we wanted to feature her photography today.
Duck – Marie Costanza (Before the Course)
Duck – Marie Costanza (During the Course)
Duck – Marie Costanza (After the Course) Define the subject…for this challenge, I went back to my duck subject….those of you who have known me since we began the 31 Days course back in 2017…you might recall my original duck and then my post course duck. I love using ducks for my subject! This guy is called, “Late for an Important Date.” I used the following settings: ISO 1000, 380 mm, f6.0, 1/2000. I was using my Tamron 150-600 lens, hand held.
In addition to Day 3 (Metering), Marie also said Day 9 (Making Images Tack Sharp) was very beneficial in improving her duck photos because it helped her understand the impact of the shutter speed. Day 15 was helpful because learning about the importance of simplification helped her to understand that it’s important to eliminate distractions and to fill the frame with the subject. You can really see the impact of that in her second photo.
And the final photo, taken this year is a culmination of everything she has learned and practiced. Marie says, “Prior to the course I had just begun to play around a bit with Lightroom, so all of Jim’s lessons where he took us through the process of editing an image really helped me to understand the power of post processing.”
We asked what advice she’d give other aspiring photographers considering 31 Days to Becoming a Better Photography course.
The best part of this course was the fact that there was daily interaction between the student and instructor as well as all the new people we met in the Facebook Group. Anyone considering a course like Jim’s, should make sure this aspect is included. The helpful suggestions were invaluable and practical. Getting immediate feedback, which included positive elements as well as suggestions for improvement, made me eager to try the techniques.
Marie Costanza
And Marie and thousands of students since have received amazing attention from Jim like this reply to her very first post in the group:
Marie also had the following to say about Jim’s teaching style:
Having been an educator for over 37 years I am able to recognize effective teaching and the successful learning that is directly related. (For 15 years I was in charge of the Career in Teaching Program in the Rochester City School District, and I observed/provided feedback to countless teachers.)
Jim’s method of teaching is why the course is so successful. He teaches one concept at a time, has the student practice the new techniques, and then he provides feedback immediately.
The videos were the right length, which enabled me to effectively process the concepts/skills. When a teacher gives too much information or presents too many tasks/concepts, the learner has cognitive overload, resulting in the learner being unable to process the information.
Jim is highly skilled at knowing just how much information to present in order to challenge the student without forcing the student into cognitive overload. He is a highly effective teacher!
Marie Costanza
Marie’s photos star in our course promotions, along with photos from fellow students. Real photos, real students. Join them for the final class intake and save $ 100 when you sign up now.
Learn More
We love what Marie has achieved with her photography since doing the course. She has joined her local photography club and has even won some awards for her photos. Here are some more of our favourite photos she has taken – a world apart from her earlier snaps.
Moon Composite – Marie Costanza
Sunflowers – Marie Costanza
Pier – Marie Costanza
Bee – Marie Costanza
If you’d like to experience improvement in your photography like Marie, please check out our final class intake for 31 Days to Becoming a Better Photographer and save $ 100 when you join before 31 July.
The post The Photography Skill Progression that Stunned Us appeared first on Digital Photography School. It was authored by Darren Rowse.
