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  • Google’s ex-lead of computational photography Marc Levoy to build new imaging experiences at Adobe

    Marc Levoy1, Google’s former computational photography lead and arguably one of the founding figures of computational approaches to imaging, has joined Adobe as Vice President and Fellow, reporting directly to Chief Technology Officer Abhay Parasnis. At Adobe, Marc will ‘spearhead company-wide technology initiatives focused on computational photography and emerging products, centered on the concept of a universal camera app.’ He will also work closely with Photoshop Camera, Adobe Research, and the machine-learning focused Sensei and Digital Imaging teams.

    The imaging sphere was taken by surprise a few months back when Marc left Google where he helped spearhead a revolution in mobile imaging with the excellent success of Pixel phones and their stills and video capabilities. Marc and his colleagues at Google developed HDR+, which uses burst photography alongside clever exposure and merging techniques to increase dynamic range of capture and reduce noise. His work, in conjunction with Peyman Milanfar, also helped Pixel cameras yield visible photos in the dark using Night Sight, and even capture super-resolution data that captured far more detail in ‘zoomed-in’ shots than competitors, despite limited hardware. Google’s burst mode techniques even allowed its cameras to forego traditional demosaicing processes, yielding more detailed images than even competitive cameras with similar sensor sizes.2

    Marc Levoy… [is] arguably one of the founding figures of computational approaches to imaging

    Marc also championed the use of machine learning to tackle challenges in image capture and processing, leading to better portrait modes, more accurate colors via learning-based white balance, and synthetic re-lighting of faces. Marc helped push the boundaries of what is possible with limited hardware by focusing heavily on the software.

    At its core, Adobe is a software company, and so Marc’s expertise is at once relevant. At Adobe, Marc will continue to explore the application of computational photography to Adobe’s imaging and photography products, with one of his focuses being the development of a ‘universal camera app’ that could function across multiple platforms and devices. This should allow Marc to continue his passion for delivering unique and innovative imaging experiences to the masses.

    Marc has a knack for distilling complex concepts into simple terms. You can learn about the algorithms and approaches his teams spearheaded in the Pixel phones in our interview above.

    More on Marc Levoy

    Marc Levoy has a long history of pioneering computational approaches to images, video and computer vision, spanning both industry and academia. He taught at Stanford University, where he remains Professor, Emeritus, and is often credited as popularizing the term ‘computational photography’ through his courses. Before he joined Google he worked as visiting faculty at Google X on the camera for the Explorer Edition of Google Glass. His work early on at Stanford with Google was the basis for Street View in Google Maps. Marc also helped popularize light field photography with his work at Stanford with Mark Horowitz and Pat Hanrahan, advising students like Ren Ng who went on to found Lytro.

    Marc also developed his own smartphone apps early on to utilize the potential of burst photography for enhanced image quality with apps like SynthCam. The essential idea – which underpins all multi-imaging techniques today employed by smartphones – is to capture many images to synthesize together into a final image. This technique overcomes the major shortcomings of smartphone cameras: their sensors have such small surface areas and their lenses have such small apertures that the amount of light captured is relatively low. Given that most of the noise in digital images is due to a lack of captured photons (read our primer on the dominant source of noise: shot noise), modern smartphones employ many clever techniques to capture more total light, and in intelligent ways as well to retain both highlight and shadow information while dealing with subject movement from shot to shot. Much of Marc’s early work, as seen in SynthCam, became the basis for the multi-shot noise averaging and bokeh techniques used in Pixel smartphones.

    Marc is also passionate about the potential for collaborative efforts and helped develop the ‘Frankencamera’ as an open source platform for experimenting with computational photography. We look forward to the innovation he’ll bring to Adobe, and hope that much of it will be available across platforms and devices to the benefit of photographers at large.

    Footnotes:

    1Apart from being well renowned in the fields of imaging and computer graphics, Marc Levoy is himself a photography enthusiast and expert, and while at Stanford taught a Digital Photography class. The course was an in-depth look at everything from sensors to optics to light, color, and image processing, and is available online. We highly recommend our curious readers watch his lectures in video form and also visit Marc’s course website for lecture slides and tools that help you understand the complex concepts both visually and interactively.

    2Our own signal:noise ratio analyses of Raw files from the Pixel 4 and representative APS-C and four-thirds cameras show the Pixel 4, in Night Sight mode, to be competitive against both classes of cameras, even slightly out-performing four-thirds cameras (for static scene elements). See our full signal:noise analysis here.

    Articles: Digital Photography Review (dpreview.com)

  • What you need to know about the new Nikon Z5

    What you need to know about the new Nikon Z5

    The Nikon Z5 is an entry-level full-frame mirrorless camera that looks a lot like the Z6, handles a lot like the Z6, and offers a lot of the same features. So what makes it different, and why is it cheaper? Read on to find out more.

    All images provided by Nikon USA and used with permission.

    24MP CMOS sensor (not BSI)

    The Nikon Z5 uses a 24MP CMOS sensor, paired with an Expeed 6 processor, but it is not the same BSI-CMOS chip that we’ve seen in the Z6 (and likely also the Sony a7 III). The Z5’s sensor is probably closely related to the last-generation sensors in the likes of the Nikon D750. For practical purposes, this means that image quality in a normal ISO sensitivity span is likely to be excellent, but the Z6 will probably have the edge at very high ISOs.

    1/8000sec min shutter and ‘silent’ shooting

    Despite its entry-level positioning, the Z5 offers a minimum exposure time of 1/8000sec, which enables wide-aperture shooting in bright conditions. As well as mechanical and electronic first-curtain modes, a ‘silent’ shooting mode is also available. In ‘silent’ mode the shutter is fully electronic and – literally – silent.

    Because there is no mechanical action associated with fully-electronic exposures, this is potentially also a good option for highly critical macro and extreme telephoto work, where you need to minimize vibrations. The downside is an increased likelihood of distortion when shooting moving subjects.

    273-point PDAF and 4.5fps continuous shooting

    The Z5’s autofocus system appears at least very similar if not exactly the same as that found in the Z6 and Z7, and benefits from the feature additions that Nikon has made to those models via firmware. As such, you get human and animal eye-detection, and a tracking mode which operates a little more like 3D AF Tracking in Nikon’s DSLRs. Coverage from the Z5’s 273 autofocus points is 90% vertically and horizontally.

    The Z5’s maximum continuous shooting rate of 4.5fps is OK for this class, but probably not fast enough for serious sports or action photography.

    5-axis in-body stabilization

    Unlike Nikon’s entry-level (and currently sole) DX-format Z-series model the Z50, the Z5 offers 5-axis in-body stabilization. This system is rated for up to five stops of correction, which (again) is comparable to the Z6 and Z7.

    5-axis in-body stabilization

    With a VR-enabled F-mount lens mounted via the FTZ adapter, or a Z-series lens like the forthcoming Z 70-200mm F2.8 S, the system becomes 3-axis, handing off pitch and yaw correction to the lens, with the body dealing with roll. The stabilization rating with a VR lens increases slightly, to 5.5EV (per CIPA) but as always with such things, you might get greater or less benefit depending on the situation (and focal length).

    Same size and weight, similar ergonomics to Z6

    The Z5 is an unusual entry-level model in being exactly the same size and weight as the model above it in the lineup. We’re told that this was a deliberate decision to make manufacturing more economical. The only major ergonomic change to the Z5, compared to the Z6, is the migration of an exposure mode dial to the right of the viewfinder, in place of the small status LCD which sits on top of the higher-end model.

    Same size and weight, similar ergonomics to Z6

    The 3.2″, 1.04M-dot LCD on the rear of the Z5 is the same size as that found in the Z6 and Z7 (but lower-resolution), and like those models it is also touch-sensitive and can be tilted for waist-level shooting and video work.

    Whereas the Z6 and Z7 use an almost all magnesium-alloy body chassis, the Z5 economizes slightly with plastic on the back and the base of the camera. We’re told that despite the different construction, the Z5 is sealed to the same extent as the Z6/7 against dust and moisture. From what we know about the build quality of those models, this is really good news.

    3.6M-dot Quad VGA EVF

    Also good news is that the Z5 shares the same electronic viewfinder as the Z6/7. While we’ve seen the 3.6M-dot Quad VGA EVF out-resolved recently, it remains one of our favorite finders, offering fine, crisp detail and excellent contrast, without offering the 100fps+ feed of some competitive models. The EVF assembly features an automatic switch, to de/activate the viewfinder when your eye modes between finder and rear screen.

    The image above shows an EVF module from the Z6/7 being inspected at Nikon’s factory in Sendai. Read the full factory tour here.

    Dual UHS-II SD cards

    Before the Z6 and Z7 were announced, whoever would have thought that card slots could cause such controversy? The Z5 splits from its higher-end stablemates by offering two card slots, both of which support the cheaper and more readily available SD format, up to UHS-II.

    Video

    When the Z5 is compared against the Z6 on specs, the main area of differentiation is in video. Nikon has moulded the Z6 into its current top-end video camera, but the Z5’s video feature set is much more pared-down. Although you can shoot 4K footage at up to 30p, there’s a 1.7X crop.

    Overall the Z5 offers a solid feature set for its price, without being class-leading. Full HD video can be recorded without a crop (at up to 60p) but you won’t find a lot of the Z6’s more pro-oriented features, such as N-Log recording and output that can be encoded as Pro-Res Raw. The Z5 does offer focus peaking though, and zebra stripes. It also has sockets for a microphone and headphones.

    New EN-EL15C battery

    The Z5 ships with a new ‘c’ variant of the venerable EN-EL15 battery, but it remains compatible with previous versions, provided you don’t need in-camera charging (only offered by ‘b’ and ‘c’ variants). The new ‘c’ type battery offers a modest increase in capacity, giving an overall rating (per CIPA) of 470 shots using the rear monitor, and 390 shots using the EVF. It also supports USB power, via the optional optional UC-E25 cable.

    New 24-50mm F4-6.3 kit lens

    The Z5 might have basically the same body as the Z6 and Z7, but you can keep its overall size and weight down with the new 24-50mm kit zoom. The 24-50mm measures just 51mm (2″) long when retracted and weighs only 195g (0.43lb). The tradeoffs for such a small, lightweight lens are its relatively limited focal length range, and slow maximum aperture, but if it’s as sharp as previous Z-series zooms, this might be a worthwhile compromise for casual everyday photography.

    New 24-50mm F4-6.3 kit lens

    Nikon describes the lens as ‘dust and drip resistant,’ though not fully weather-sealed. The 24-50mm F4-6.3 will be available in a kit with the Z5 for $ 1699, or on its own for $ 399.

    Articles: Digital Photography Review (dpreview.com)

  • Introduction and Creative Uses for the Snapseed Double Exposure Feature

    The post Introduction and Creative Uses for the Snapseed Double Exposure Feature appeared first on Digital Photography School. It was authored by Ana Mireles.

    Snapseed double exposure feature uses and tips

    Do you have a different app for doing collages, and compositing, and another for changing backgrounds? Then this article is for you. I’ll show you how to use the Snapseed double exposure feature so you can do all of this inside one free app. Let’s get started.

    Snapseed Double Exposure Uses

    Double Exposure

    The double-exposure technique comes from film photography. It’s created by shooting multiple times in the same frame. This can create compositions, collages, or superimposed ghosts on a scene and used for many things. Fortunately, it carried over into digital photography.

    Snapseed Double Exposure

    There are different ways to achieve double exposures. You can do it in-camera, by editing on your computer or using your smartphone. This last one is what I want to show you.

    Snapseed editing app

    There are tons of editing apps to choose from. I particularly like Snapseed because you can do most of your post-production in it, it’s free and available for iOS and Android.

    Snapseed Interfase

    In general, Snapseed is very intuitive, but if you want to have more control over your editing, it’s not always clear how to access the tools for fine-tuning. This is the case of the Snapseed double exposure feature.

    Basic Double Exposure

    For the basic use of the Snapseed double exposure feature, I’m going to show you how to add a bokeh background to your subject.

    When you launch the app, you’ll be immediately prompted to open your image by clicking anywhere on the screen. This will open the browser for you to access your gallery. Choose the one with your subject and tap on it.

    White Background Subject

    Next, open the Tools menu by tapping the pencil icon. Scroll down until you find the Double Exposure tool and tap on it.

    Snapseed Double Exposure Tool

    Here you’ll find three tools. Choose the one with the plus sign (+) on it. This is the ‘add image’ button. It will give you access to your gallery again to add the photo you want to overlap. In this case, the bokeh image.

    Snapseed Double Exposure

    Blending modes

    Now that both images are superimposed, you can modify the effect.

    Start by tapping the middle icon – it represents the different layers. Here you can adjust the way they interact with each other. If you are familiar with Photoshop Blend Modes, it will be fairly easy. If not, just tap on each choice to see how they change the results.

    When you’re happy, tap on the check icon to apply.

    Snapseed Double Exposure Blending

    Opacity

    Now, go to the third tool, the one that looks like a drop. With this one, you can open a slider that controls the transparency of the layer. Move it until you like the final result.

    Add Bokeh Background

    If it’s still not perfect, you can always mask away specific parts of your layer. I’ll show you how to do this in the next section by doing a simple composite.

    Advanced editing

    Pretty good right? But not exactly a lot of control. That’s why the Snapseed double exposure feature offers the possibility to mask. However, these tools aren’t so easy to find as a first time user.

    First, make your composite with the basic tools as explained in the previous section. Once you’ve decided on the blending mode and transparency, accept the edits by tapping on the check sign.

    Snapseed Double Exposure Composite

    Next, tap on the back button that you can find on the top right. Usually, you wouldn’t do that unless you were unhappy with your results, and this is why these advanced tools are not apparent at first glance. This will open a menu that gives you the choice to Undo, Revert, and View edits. This last one is where you want to go.

    Snapseed View Edits

    This will open a list with every edit you’ve done.

    In this case, there’s only the double exposure, but if you also adjusted perspective, exposure, etc, it would show up here to access again for further edits.

    Snapseed Double Exposure Advance Editing

    Click on the Double Exposure step to open its menu. The sliders icon on the right takes you back to basic tools if you want to make any changes. The icon in the middle takes you to the advanced edits.

    Masking

    Here, you can mask your images to reveal or hide different parts of it. Use your finger as a brush and just paint away. With the eye icon, you can make the mask visible.

    Snapseed Double Exposure Masking

    Use the arrows to increase or decrease the opacity. If you made a mistake and painted over the wrong part, tap the arrow down to 0 and paint again to make visible again the underlying layer.

    Fine tune brushing

    If you need to be precise, you can zoom in and out using two fingers. When you’re happy just tap on the check button and save your image.

    Conclusion

    The Snapseed double exposure feature gives you control over the effect you’re applying while still being easy to use without previous training.

    And, by the way, it’s not just double but multiple exposures. You can add as many layers as you want. Just repeat the process to add more images.

    Get creative and show us your results in the comments section!

    Snapseed Multiple Exposure

    The post Introduction and Creative Uses for the Snapseed Double Exposure Feature appeared first on Digital Photography School. It was authored by Ana Mireles.


    Digital Photography School

  • Go on a 4K video tour of Mars with images captured by NASA’s Mars rovers

    ElderFox Documentaries has compiled a 4K UHD video tour of Mars using ultra-high resolution images and photo mosaics captured by NASA’s Mars rovers. It’s a stunning look at the Martian landscape and a great way to view another world nearly 34 million miles away.

    The video is technically a slideshow, as there are massive technical constraints limiting NASA’s ability to record and transmit high-resolution video from Mars to earth. As NASA points out, it can take about 20 hours to transmit 250 megabits directly back to earth. There is an eight-minute window during each Martian day (sol) in which the rover can send the same 250 megabits of data to the Mars Reconnaissance Orbiter as it passes overhead. As ElderFox Documentaries notes, at those transmission speeds and considering that ‘nothing really moves on Mars,’ it makes more sense to send images back home rather than video files.

    In the video above, we see images captured by three different NASA Mars rovers: Spirit, Opportunity and Curiosity. In the bottom left corner of the video tour, ElderFox has noted the Mars rover used to capture the images and the location on Mars in which they were captured.

    If you want to see more of Mars, we have a lot more to show you. In March, NASA shared the highest-resolution panoramic image of Mars ever captured by its Curiosity rover. You can see a video NASA published below. In July 2017, Curiosity captured images of clouds above the Martian landscape. Earlier that year, space enthusiast Jan Fröjdman turned NASA anaglyph images into a simulated flight video using 33,000 reference points and NASA’s own depth information. You see that incredible video here.

    Articles: Digital Photography Review (dpreview.com)

  • Slideshow: Winning photographs of the 2020 iPhone Photography Awards

    Winning photographs of the 2020 iPhone Photography Awards

    The winning photos of the 2020 iPhone Photography Awards (IPPA) have been announced, showcasing incredible imagery from around the world captured on iPhone devices.

    Founded in 2007, the IPPA was the first and is the longest-running iPhone-specific photography competition. This year marks the 13th annual contest, which drew images from thousands of photographers from across the globe.

    In the following gallery, we’ve rounded up the the Grand Prize winner and the first place winners for each of the 19 categories (Abstract, Animals, Architecture, Children, Floral, Landscape, Lifestyle, Nature, News & Events, Other, Panorama, People, Portrait, Series, Still Life, Sunset, Travel and Trees). The Grand Prize winning photograph in the following slide, ‘Flying Boys,’ also adorned photographer Dimpy Bhalotia as winner of the Photographer of the Year award.

    You can find the rest of the runner-up images on the IPPA website, as well as a collection of the winning photographers. You can also sign up for the 2021 iPhone Photography Awards contest.

    Image credit: All photos used with permission from IPPA.

    Grand Prize Photographer of the Year Winner

    Flying Boys — Dimpy Bhalotia

    Location: Banaras, India

    Gear: Shot on iPhone X

    First Place Abstract Winner

    Untitled — Tu Odnu

    Location: China

    Gear: Shot on iPhone 7 Plus

    First Place Animals Winner

    Horses in the Storm — Xiaojun Zhang

    Location: Iceland

    Gear: Shot on iPhone X

    First Place Architecture Winner

    Duomo di Milano — Haiyin Lin

    Location: Milan, Italy

    Gear: Shot on iPhone X

    First Place Children Winner

    Cotton Candy — Ekaterina Varzar

    Location: Vorontsovsky Park, Moscow

    Gear: Shot on iPhone 6

    First Place Floral Winner

    Untitled — Peiquan Li

    Location: China

    Gear: Shot on iPhone 8 Plus

    First Place Landscapes Winner

    The Wave — Liu Dan

    Location: Marble Canyon, Arizona

    Gear: Shot on iPhone XS Max

    First Place Lifestyle Winner

    Culture Fusion — Audrey Blake

    Location: Cancun, Mexico

    Gear: Shot on iPhone X

    First Place Nature Winner

    The Surface of the Alien Planet — Lisi Li

    Location: Skógafoss, Iceland

    Gear: Shot on iPhoen 7 Plus

    First Place News & Events Winner

    Demons Lighting the Sky — Fernando Merlo

    Location: Paterna, Spain

    Gear: Shot on iPhone X

    First Place Other Winner

    Beach Chair — Danielle Moir

    Location: Westhampton Beach, New York, USA

    Gear: Shot on iPhone 6

    First Place Panorama Winner

    Plaza de Toros de Las Ventas — Bojan Pacadziev

    Location: Madrid, Spain

    Gear: Shot on iPhone 8

    First Place People Winner

    Knitting to Heal Wounds — Omar Lucas

    Location: Ayacucho, Peru

    Gear: Shot on iPhone 4

    First Place Portraits Winner

    Beautiful Isolation — Mona Jumaan

    Location: Ouarzazate, Morocco

    Gear: Shot on iPhone XR

    First Place Series Winner

    Tattooed Women — Liu Dan

    Location: Mindat, Myanmar

    Gear: Shot on iPhone 11 Pro Max

    First Place Still Life Winner

    The Wine Bottle and the Seven Chouric?os — Joao Cabaco

    Location: Santa Maria dos Olivais, Portugal

    Gear: Shot on iPhone XR

    First Place Sunset Winner

    Nightfall at the Dolomites — Leo Chan

    Location: Auronzo di Cadore, Italy

    Gear: Shot on iPhone 11 Pro

    First Place Travel Winner

    Free from the Past — Kristian Cruz

    Location: Varanasi, India

    Gear: Shot on iPhone X

    First Place Trees Winner

    Alone — Glenn Homann

    Location: Queensland, Australia

    Gear: Shot on iPhone 11 Pro

    Articles: Digital Photography Review (dpreview.com)

  • Periscope tele cameras are coming to iPhones in 2022, according to Analyst

    The iPhone 11 Pro Max camera relies on a 54mm (2x) tele lens.

    Space constraints in thin smartphone bodies mean it’s challenging to design and use camera lenses with long focal lengths, significantly limiting the tele capabilities of even the best smartphones when compared to conventional cameras.

    In order to bridge this gap, manufacturers like Huawei, Samsung and Oppo have been using vertically installed periscope-style camera modules that use prisms to divert incoming light onto the image sensors. In its current state, this technology allows for 35mm-equivalent focal lengths of up to approximately 240mm, for example on the Huawei P40 Pro+.

    The Huawei P40 Pro+ camera array includes a periscope tele with a 35mm-equivalent focal length of 240mm.

    However, one manufacturer has notably not yet jumped on the periscope-bandwagon: users of Apple’s current top-end iPhone 11 Pro Max still have to make do with a 2x optical tele (52mm equivalent).

    This is not expected to change with the upcoming 2021 generation, but according to new reports the 2022 models are likely to feature periscope tele lenses and therefore improved zoom power.

    Oppo periscope tele lens design

    According to a new report by Apple analyst Ming Chi Kuo, Korean lens supplier Semco and the Chinese company Sunny Optical will be providing iPhone lenses in the coming years. They will replace the current Taiwanese supplier Genius Electronic Optical.

    More interestingly Ming Chi Kuo also believes that in 2022 a large proportion of the lenses supplied by Semco will be of the periscope variant.

    Apple design for a ‘folded’ lens with mirror

    With its major competitors going down the periscope lens route it was arguably only a question of time before Apple would follow suit.

    The company already filed a patent for a periscope lens design in 2016. The documents describe a design that channels light into the camera through a primary lens and bounces it off a mirror into a secondary lens that moves up and down to provide zoom functionality. Apple calls the design a ‘folded telephoto camera lens system’.

    This concept is quite similar to the design presented by O-Film earlier this year. Unlike the currently commercially available solutions which all combine a fixed-focal-length periscope lens with computational processing to provide zoom, the O-Film and Apple solutions offer true optical zoom which should provide a boost in zoom image quality.

    Articles: Digital Photography Review (dpreview.com)

  • Canon EOS R5 sample gallery: from the mountains to the sound

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    As soon as we got our hands on a production Canon EOS R5, we set off to visit some of our favorite photo spots around Washington State to see what it can do. We put its all-new 45MP sensor to work photographing mountain towns, sunset over Puget Sound and a comet making its appearance in the night sky. Our testing has just begun, but for now take a look at some of our first sample images.

    Articles: Digital Photography Review (dpreview.com)

  • Canon EOS R6 added to studio test scene

    As we charge ahead with our full review of the Canon EOS R6, we’ve had a chance to see how it performs in front of our studio test scene. See for yourself how its 20MP sensor stacks up, and let us know what you think in the comments.

    Our test scene is designed to simulate a variety of textures, colors and detail types you’ll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

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    Articles: Digital Photography Review (dpreview.com)

  • Nikon Z50 gets Animal Detection AF, Z6 and Z7 get minor improvements via firmware updates

    In addition to a new camera, a pair of teleconverters and a compact zoom lens, Nikon has also released firmware updates for its Z50, Z6, Z7 cameras and FTZ adapter.

    Nikon Z50 firmware version 2.00

    The most substantial firmware update is firmware version 2.00 for the Nikon Z50. In addition to support for the new Z-mount teleconverters and the ability to update older F-mount lenses via the FTZ adapter, firmware version 2.00 brings Nikon’s Animal detection autofocus (AF) as a custom AF mode. Nikon says this mode can detect the eyes and faces of dogs and cats when shooting stills (only faces will be detected when shooting video).

    Additional improvements, taken from the changelog, are listed below:

    • Changed some of the f/-number values displayed when exposure is adjusted in steps of 1/3 EV (f/1.2 is now displayed as f/1.3). As of July 21, 2020, this applies to NIKKOR Z 58mm f/0.95 S Noct lenses.
    • The bracketing increment is now properly applied to photos taken with exposure locked during AE bracketing in Continuous H (extended) release mode.
    • Release-priority is now enabled if AF-S Single AF is selected for Focus mode when AF-ON is assigned to the AE-L/AF-L button.
    • The following improvements have been made to subject tracking:
      • Users can now switch between the auto-area AF and target selection displays using a custom control such as the Fn1 button.
      • The behavior of subject tracking when AF-C is selected during still photography now more closely resembles that for 3D-tracking on digital SLR cameras.
    • The conditions for displaying the prompt suggesting the use of the flash have been reviewed and the prompt is now displayed under more appropriate conditions.
    • Fixed the following issues:
      • The crop selected for “tall” (portrait-orientation) pictures using PictBridge would not be accurately reflected in the printed image.
      • In rare circumstances, autofocus would not engage if a NIKKOR Z DX 16–50mm f/3.5–6.3 VR lens was extended at the same time the camera was turned on.

    You can download firmware version 2.00 and find installation information on Nikon’s support page.

    Nikon Z6, Z7 firmware version 3.10

    Firmware version 3.10 for the both the Nikon Z6 and Z7 adds support for Nikon’s new teleconverters, as well as the ability to update Nikon F-mount lenses when attached to the cameras via Nikon’s FTZ mount adapter. Other updates for the cameras, taken from the changelog, are listed below:

    • Changed some of the f/-number values displayed when exposure is adjusted in steps of 1/3 EV (f/1.2 is now displayed as f/1.3). As of July 21, 2020, this applies to NIKKOR Z 58mm f/0.95 S Noct lenses.
    • The bracketing increment is now properly applied to photos taken with exposure locked during AE bracketing in Continuous H (extended) release mode.
    • When an external recorder compliant with Atomos Open protocol is connected, movie recording can now be started and stopped using camera controls if all the following conditions are met:
      • The camera is in movie mode and the recorder is connected via HDMI.
      • A memory card is inserted.
      • The following are selected for HDMI > Advanced in the SETUP MENU:
        • External recording control > On
        • Output data depth > 10 bit
        • N-log setting > Off
      • 3840×2160; 30p/25p/24p is selected for Frame size/frame rate in the MOVIE SHOOTING MENU.
    • Fixed the following issues:
      • The camera monitor would exhibit a green cast when the camera was connected to an external display via HDMI if:
        • Adobe RGB was selected for Color space in the PHOTO SHOOTING MENU,
        • Shutter-release button > Record movies was selected for Custom Setting g2 (Custom control assignment) in Group “g” (Movie) of the CUSTOM SETTING MENU,
        • 10 bit was selected for HDMI > Advanced > Output data depth in the SETUP MENU,
        • On (cannot record to card) was selected for HDMI > Advanced > N-Log setting in the SETUP MENU,
        • On was selected for HDMI > Advanced > View assist in the SETUP MENU, and
        • movie mode was selected with the photo/movie selector.
      • The crop selected for “tall” (portrait-orientation) pictures using PictBridge would not be accurately reflected in the printed image.
      • In rare circumstances, autofocus would not engage if a NIKKOR Z DX 16–50mm f/3.5–6.3 VR lens was extended at the same time the camera was turned on.

    You can download firmware version 3.10 for both the Z6 and Z7 on Nikon’s support pages.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon to offer beta webcam utility software in August

    Camera manufacturers were quick to recognize that a pandemic-induced rise in video conferencing would spark interest in higher-quality webcam footage. Soon, Nikon shooters will also be able to get in on the fun. The company will release its own free webcam utility software – in beta form – to Windows 10 users for starters. Nikon says the software will be compatible with ‘many’ of its Z-series cameras and DSLRs. Head to Nikon’s site for more details.

    Press release

    EMBARK ON THE FULL-FRAME MIRRORLESS JOURNEY: NIKON UNVEILS THE Z 5, AN INNOVATIVE AND FEATURE-RICH MIRRORLESS FX-FORMAT CAMERA FOR EMERGING CREATORS

    Nikon Expands the NIKKOR Z Lens Lineup with the Addition of the Extremely Compact and Versatile NIKKOR Z 24-50mm f/4-6.3 as well as the new Z TELECONVERTER TC-2.0X and TC-1.4X; Nikon Also Announces Free Webcam Utility

    MELVILLE, NY (July 21, 2020) – Today, Nikon Inc. announced the Z 5, the new full-frame (FX-format) entry-point into its award-winning lineup of Z series mirrorless cameras. The Nikon Z 5 combines sophisticated features inherited from the Z 7 and Z 6 with the benefits of Nikon’s next generation Z mount at an unprecedented value. For those new to mirrorless or creators looking to push the limits of their craft with the power of full-frame, the compact Z 5 will exceed expectations. With an incredibly robust feature set, including in-camera vibration reduction (VR) image stabilization (IBIS) and the perfect balance of seamless automation and full manual control, creators can effortlessly share their artistic passions, travel adventures and so much more.

    Nikon also unveiled the new NIKKOR Z 24-50mm f/4-6.3, the shortest, lightest and most affordable full-frame zoom lens in the NIKKOR Z lineup. Designed for on-the-go creators, the 24-50mm lens is the ideal companion for Z series users who want to capture it all – from vast landscapes and cityscapes, to street photography and striking portraits.

    “The Nikon Z 5 offers the next generation of creators a gateway into the full-frame Z series lineup, opening the door to the limitless possibilities of mirrorless photo and video capture, while providing the means to share their creativity with others,” said Jay Vannatter, Executive Vice President, Nikon Inc. “With the addition of the NIKKOR Z 24-50mm f/4-6.3, Nikon is introducing the smallest full-frame NIKKOR Z lens to date, providing an extremely lightweight, versatile option to help users pursue all creative endeavors, regardless of which Z series camera they use.”

    Nikon Z 5: The Full-Frame Journey Starts Here
    As the new entry point to Nikon’s full-frame mirrorless lineup, the Nikon Z 5 offers a lot of power and capabilities at an attractive price, empowering the next generation to begin their journey with the confidence to learn and grow as creators.

    • Incredible Image Quality: Featuring a powerful FX-format 24.3-megapixel CMOS sensor, the Z 5 is the gateway to the benefits of full-frame, helping creators to capture intensely detailed images, ultra-shallow depth of field and clean low-light shots with unrivaled consistency. From portraits that flatter, nighttime landscapes that astound and street shots that impress, the gorgeous tones, faithful colors, minimal noise, and revered Nikon color science all play a part to help users capture images that are true to their vision.
    • High Speed Performance and Processing: Engineered with the EXPEED 6, Nikon’s fastest image processor to date, the Z 5 is a dependable, high-performance tool designed for content creation. EXPEED 6 allows for a boost in processing power and energy efficiency while rendering subtle textures and small details with amazing results.
    • Stellar Low-Light Performance: With an ISO range up to 51,200 (expandable to 102,400), the camera effectively reduces noise, maintaining both high sensitivity and resolution to excel in low-light situations, making it ideal for shooting everything from low-light events to an all-nighter under the Milky Way.
    • Capture with Speed: With shutter speeds up to 1/8000, the Z 5 can capture fast-moving subjects with clarity including fast-action sports and wildlife. This higher maximum shutter speed enables photographers to better tame even the brightest mid-day light to unleash the potential of fast-aperture NIKKOR glass. When the moment strikes, the camera can also capture full resolution bursts at 4.5 fps with full AF/AE.
    • Silent and Smooth: The combination of the camera’s silent photography mode and In-Body 5-Axis VR stabilization provides quiet, stable shooting to document sensitive moments without distractions.
    • Vast Lens Selection: Whether shooting glamorous portraits from a studio on the sidewalk, long-distance wildlife, epic wide landscapes in the field or street photography, the growing lineup of NIKKOR Z lenses provides Z 5 users the versatility to capture incredible shots with sharpness across the frame and superior light gathering in any situation. For even more flexibility, the vast array of traditional F-mount NIKKOR lenses can be used via the Mount Adapter FTZ to enhance images with a unique focal length or beautiful bokeh, while gaining the benefits of in-body stabilization.
    • Dual UHS-II SD Card Slots: Equipped with two UHS-II card slots for overflow, backup or separating RAW and JPEG photos, the Z 5 enables photographers to shoot with extreme confidence when using widely available consumer SD cards.

    Simple Yet Sophisticated for Expanding Creativity
    A great option for emerging creators getting started, the Nikon Z 5 is packed with powerful tools and user-friendly controls to help users explore and capture their artistry with ease.

    • Focus Anywhere: The Z 5 boasts 273[1] on-sensor AF points, to quickly and accurately track subjects throughout the frame, while Eye-Detection AF capabilities help precisely capture the eyes of humans and animals. The wide array of AF points covers nearly the entire frame, and multiple AF modes allows the user to have pinpoint control or fully automatic assurance to easily lock onto a subject.
    • Easily Shift Gears: The Nikon Z 5 offers the ability to effortlessly switch between manual mode for the ultimate in control, as well as a large variety of automatic creative modes to help mirrorless users capture truly distinct images and video.
    • Creativity Built-in: Equipped with 20 Creative Picture Controls, and advanced features like Focus Shift Shooting and multiple exposure mode, users can compose unique images, produce extraordinary depth of field, or combine several shots and layer images on top of each other with the in-camera image overlay function.
    • Advanced Video Capture: The Z 5 makes it easy to document any creative vision in 4K UHD/30p[2] or in 1080/60p (full-frame). When recording video, the PDAF system is rapid to react, allowing users to quickly lock critical focus on subjects, and is fully customizable to fit any production style. In-camera VR image stabilization and electronic VR reliably eliminate the shake when shooting video, plus users get the added benefit of focus peaking and the ability to capture stills while recording.
    • Flexible Recording Modes: In addition to the traditional interval timer and in-camera time-lapse modes, the Nikon Z 5 is equipped with a new Time-Lapse Movie mode that gives users the best of both worlds for more streamlined movie making – the ability to use images from interval timer mode and create a time-lapse in-camera.
    • Unique Lighting Options: For enhanced creative control, the camera features a hot shoe, and is fully compatible with the Nikon Speedlight wireless lighting system.
    • Get Connected: The Nikon SnapBridge[3] app makes it easy to remotely control the Z 5 or seamlessly transfer and share content to a smartphone, tablet, Mac, or PC thanks to built-in Wi-Fi[4] and Bluetooth[5] connectivity.

    Rugged Reliability and Engineered for Versatility
    In addition to providing high-quality imaging capabilities, the Nikon Z 5 is compact and comfortable in-hand while promising the rugged reliability as well as innovative features and controls that Nikon is known for.

    • Legendary Nikon Build: Designed with a durable, weather-sealed exterior for worry-free use, the Z 5 employs the same magnesium alloy shell and robustness as the Z 6 and Z 7. Both the camera and NIKKOR Z 24-50mm f/4-6.3 lens are built with consideration for dust and drip resistance and are ready to tackle the next adventure.
    • Functional Operability: The camera sports a powerful, high-resolution 3.2-inch LCD monitor with the capabilities to tilt, touch, tap, swipe, and pinch for an intuitive and flexible user-experience. Meanwhile, the 3.6M-dot Quad-VGA EVF ensures users can see exposure, ISO, white balance and creative picture controls in real time, making the transition from optical viewfinders seamless for new mirrorless shooters.
    • Packed with Power: Powered by the new EN-EL15c battery, the Z 5 offers significant advancements in the number of shots per charge and is the first Nikon camera to enable constant power through the USB port, even with select portable USB power banks[6]. For added power and grip, the camera is also compatible with the MB-N10 hot-swappable battery pack.
    • Webcam Ready: When connected via the USB-C cord, the Z 5 can be used as a webcam, making the camera a great option for modern vloggers, influencers and gamers looking to improve their livestreaming capabilities.

    NIKKOR Z 24-50mm f/4-6.3: Portable, Yet Powerful
    The NIKKOR Z 24-50mm f/4-6.3 is the latest addition to the rapidly expanding lineup of NIKKOR Z lenses and is the smallest FX-format NIKKOR Z lens yet. Optically designed to take advantage of the advancements of the wide Z mount, this lens delivers sharpness across the entire frame and a versatile zoom range for everyday use. The 24-50mm is less than three inches long when retracted, making it the perfect lens for shooters seeking a versatile yet compact option for lightweight travel and street photography. When used together, the Z 5 and 24-50mm lens are the ideal discrete travel kit that can easily be packed and carried for all-day adventures. This compact NIKKOR Z lens is also an enticing option for Z 6 and Z 7 users who want a small all-around lens for portraits, landscapes, and street photography.

    New Z Teleconverters Take NIKKOR Z Lenses to New Lengths
    Designed for photographers and videographers who need more telephoto reach in their kit, the new Z TELECONVERTER TC-1.4X and Z TELECONVERTER TC-2.0X bring added versatility with 1.4x and 2.0x magnification to select NIKKOR Z lenses. These lightweight teleconverters are great tools for those photographing sports, wildlife and aviation, reducing the need to crop images and allowing for tighter compositions with maximum resolution.

    The new TC-1.4X and TC-2.0X teleconverters maintain superior rendering performance and minimize various lens aberrations, while retaining focusing speed, VR functionality and minimum focusing distance. As an added benefit, the new teleconverters allow Nikon Z series cameras to retain functionality on all focus points up to f/11, making it easy to focus on and track subjects throughout the entire frame. Featuring the same robust construction as NIKKOR Z lenses, the teleconverters are designed with a fluorine coating on the front and rear elements to resist dirt and smudges, and offer a durable, weather-sealed body to protect against the elements.

    When the teleconverters are used with the NIKKOR Z 70-200mm f/2.8 VR S (availability scheduled for late August), the focal length on the telephoto end is extended to 280mm (1.4x) or 400mm (2.0x) producing a significant expansion of this telephoto lens’ shooting range. These new teleconverters will also be compatible with applicable interchangeable lenses for Nikon Z mount mirrorless cameras that Nikon will release in the future.

    New Webcam Utility Software for Nikon Cameras
    In August, Nikon will release a beta version of the Webcam Utility software for many Nikon DSLR and Z series mirrorless cameras, including the new Z 5. Initially available for Windows 10, the free software will allow compatible Nikon cameras to be used as webcams. When connected via USB, this free software will provide users with incredible sharpness, clarity and flattering depth of field for all of their livestreaming needs including teleconferencing and gaming.

    For more information on how to use your Nikon camera as a webcam, please visit https://www.nikonusa.com/en/learn-and-explore/live-streaming-with-nikon-cameras.page

    Pricing and Availability
    The Nikon Z 5 will be available in August in several configurations, including body-only for a suggested retail price (SRP) of $ 1,399.95*, a one-lens kit with the new NIKKOR Z 24-50mm f/4-6.3 for an SRP of $ 1,699.95* and a one-lens kit with the NIKKOR Z 24-200mm f/4-6.3 VR lens for an SRP of $ 2,199.95* for those seeking extra reach when photographing wildlife or travel adventures. Also available in August, the NIKKOR Z 24-50mm f/4-6.3 lens can be purchased separately for an SRP of $ 399.95*. The new Z TELECONVERTER TC-1.4X and TC-2.0X will have an SRP of $ 549.95 and $ 599.95 respectively and will be available in late August.

    For more information on the latest Nikon products, including the new Z 5 and NIKKOR Z 24-50mm f/4-6.3 lens, as well as the full Nikon Z mount system, please visit?www.nikonusa.com.

    Specifications, equipment, and release dates are subject to change without any notice or obligation on the part of the manufacturer.

    *SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

    1. With recording of still images using the FX-format image area and single-point AF. 231 focus points with movie recording.

    2. When using this mode, the frame is cropped approx. ×1.7.

    3. Using the SnapBridge App System Requirements:

    a. Android 5.0 or later or 6.0.1 or later
    b. A device with Bluetooth 4.0 or later (i.e., a device that supports Bluetooth Smart Ready/Low Energy) is required.
    c. The SnapBridge app is available for compatible iPhone®, iPad® and/or iPod touch®, and for smart devices running the AndroidTM operating system. The app can be downloaded free of charge from Apple’s App Store® and GooglePlayTM. SnapBridge can be used only with compatible cameras.

    4. This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera.

    5. The camera’s built-in Bluetooth® capability can only be used to connect the camera to a compatible smart device running the SnapBridge app, and to take advantage of SnapBridge features.

    6. Anker PowerCore+ 26800 PD 45W is the recommended portable charger. Use a USB cable with two Type-C connectors supplied with the portable charger. For more information about the portable charger, please visit the manufacturer’s website: Anker.com/support

    Articles: Digital Photography Review (dpreview.com)