The two capacities available in ProGrade Digital’s ‘Cobalt label’
ProGrade Digital has announced the release of its new CFexpress Type B memory cards, which offer higher capacities and improved speeds over previous-generation CFexpress cards.
The new CFexpress Type B cards use an NVMe host interface with PCIe Gen3 X2 to offer read speeds up to 1,700MB/s and burst write speeds up to 1,500MB/s — that’s 1.7GB/s and 1.5GB/s, respectively for the ‘Cobalt label’ cards. In addition to the ‘Cobalt label’ cards, ProGrade Digital is also launching a line of ‘Gold label’ CFexpress Type B cards that offers up to 1,700MB/s read speeds, but only guarantees a sustained write speed up to 400MB/s, depending on the card capacity.
The smallest and largest capacity CFexpress Type B cards in ProGrade Digital’s ‘Gold label’
On the topic of capacity, the ‘Cobalt label’ cards are available in 325GB and 650GB sizes, while the ‘Gold label’ cards come in 128GB, 256GB, 512GB and 1TB sizes. The cards are constructed of a metal enclosure for improved durability and heat dissipation and are both X-ray proof and shock-proof.
The ‘Cobalt label’ cards start at $ 400 for the 325GB model (Adorama, B&H) and the ‘Gold label’ cards start at $ 160 for the 128GB model (B&H). All cards come with a three-year warranty and can be found at authorized ProGrade Digital retailers.
As the year closes, it’s fun to go through the library and pick out my personal faves from the year… In no particular order, my favorite shots from ’09. Not necessarily my best or most commercially successful, just the ones that tickled my own fancy:
Tamron has issued a product advisory noting that select units of its 70–180mm F2.8 Di III VXD (Model A056) lens for Sony E-mount cameras were shipped without proper calibration of the internal floating optics, which could result in decreased image quality.
The internal floating optics are designed to correct for chromatic aberration when properly calibrated, but according to Tamron’s notice, ‘some lenses have already been shipped out without the value being optimized.’ Tamron says affected units that have shipped will be inspected and adjusted or exchanged for entirely new units.
Tamron doesn’t specifically say what set of serial numbers are potentially affected, but they have set up a dedicated website for entering your unit’s serial number to verify whether your unit is affected. Above is a graphic on where you can locate the serial number of your lens.
Tamron ends the notice saying it ‘sincerely apologize(s) to all users and potential purchasers for any inconvenience this issue may cause […] We appreciate your continued support for our products.’
Following in the footsteps of Canon, Panasonic has released an additional version of its USB tethering software that allows compatible Lumix cameras to be used for streaming to social media and video conferencing applications. Lumix Tether for Streaming (Beta) works in the same way as the standard version of Lumix Tether, but it includes a button that clears the AF box graphics and the control panel from the Live View pane so can be used for broadcasting.
A third-party broadcasting application, such as OBS, is needed to capture the Live View window as the camera’s feed isn’t detected by the computer. An external microphone built-in or plugged-in to the computer is also needed as the camera’s audio isn’t captured via this beta version of Lumix Tether for Streaming.
With Live View quality set to Fine, the feed to the window has a resolution of 1280 pixels on the longest edge, and the Lumix Tether control panels allow users to access many of the camera’s features to control the way the image looks.
The idea of the software, as we have seen recently from other manufacturers, is to offer a free way of streaming for Lumix users, and to allow them to improve the quality of their streaming video beyond that which is usually offered by built-in webcams. The idea will have been sparked by the rise in the number of people using video streaming for work and keeping on contact with family during the coronavirus pandemic.
Like the original version of Lumix Tether, this new beta streaming application is compatible with Lumix G9, GH5, GH5s and Lumix S cameras, but this time Windows 10 is required – there’s no Mac version. Lumix Tether for Streaming can be downloaded from the Panasonic support pages.
Press release:
Panasonic releases ‘LUMIX Tether for Streaming (Beta)’ software program for PC integrating new LIVE VIEW mode for live streaming purpose
Panasonic has today released a ‘LUMIX Tether for Streaming’ beta software program for Windows, following the conventional ‘LUMIX Tether’ (Version.1.7). The new beta program includes a new display option designed for live-streaming, and makes it easy for the user to self-stream.
Originally, the ‘LUMIX Tether’ software program was designed for tethered shooting and therefore its GUIs, such as the focus area mark or control panels, are displayed with live view images on the PC monitor during USB tethering. However, in response to feedback from customers that these graphic items become a hindrance when the software is used to capture camera view for live streaming, LIVE VIEW mode has been added on ‘LUMIX Tether for Streaming (Beta)’. This update enables the display of camera-view only, making it easy for the separate streaming software read. Users can now choose to show or hide these graphic items during USB tethering according to the usage purpose.
‘LUMIX Tether for Streaming (Beta)’ is provided as a pre-release version that is currently still under development. Please note that this software is not eligible for operation warranty and customer support.
Editor’s note: This is the third article in a three-part series by guest contributor Vasily Zubarev. The first two parts can be found here:
Part I: What is computational photography?
Part II: Computational sensors and optics
You can visit Vasily’s website where he also demystifies other complex subjects. If you find this article useful we encourage you to give him a small donation so that he can write about other interesting topics.
The article has been lightly edited for clarity and to reflect a handful of industry updates since it first appeared on the author’s own website.
Computational Lighting
Soon we’ll go so goddamn crazy that we’ll want to control the lighting after the photo was taken too. To change the cloudy weather to sunny, or to change the lights on a model’s face after shooting. Now it seems a bit wild, but let’s talk again in ten years.
We’ve already invented a dumb device to control the light — a flash. They have come a long way: from the large lamp boxes that helped avoid the technical limitations of early cameras, to the modern LED flashes that spoil our pictures, so we mainly use them as a flashlight.
Programmable Flash
It’s been a long time since all smartphones switched to Dual LED flashes — a combination of orange and blue LEDs with brightness being adjusted to the color temperature of the shot. In the iPhone, for example, it’s called True Tone and controlled by a small ambient light sensor and a piece of code with a hacky formula.
Link: Demystifying iPhone’s Amber Flashlight
Then we started to think about the problem of all flashes — the overexposed faces and foreground. Everyone did it in their own way. iPhone got Slow Sync Flash, which made the camera increase the shutter speed in the dark. Google Pixel and other Android smartphones started using their depth sensors to combine images with and without flash, quickly made one by one. The foreground was taken from the photo with the flash while the background remained lit by ambient illumination.
The further use of a programmable multi-flash is vague. The only interesting application was found in computer vision, where it was used once in assembly schemes (like for Ikea book shelves) to detect the borders of objects more accurately. See the article below.
Link: Non-photorealistic Camera: Depth Edge Detection and Stylized Rendering using Multi-Flash Imaging
Lightstage
Light is fast. It’s always made light coding an easy thing to do. We can change the lighting a hundred times per shot and still not get close to its speed. That’s how Lighstage was created back in 2005.
Video link: Lighstage demo video
The essence of the method is to highlight the object from all possible angles in each shot of a real 24 fps movie. To get this done, we use 150+ lamps and a high-speed camera that captures hundreds of shots with different lighting conditions per shot.
A similar approach is now used when shooting mixed CGI graphics in movies. It allows you to fully control the lighting of the object in post-production, placing it in scenes with absolutely random lighting. We just grab the shots illuminated from the required angle, tint them a little, done.
Unfortunately, it’s hard to do it on mobile devices, but probably someone will like the idea and execute it. I’ve seen an app from guys who shot a 3D face model, illuminating it with the phone flashlight from different sides.
Lidar and Time-of-Flight Camera
Lidar is a device that determines the distance to the object. Thanks to a recent hype of self-driving cars, now we can find a cheap lidar in any dumpster. You’ve probably seen these rotating thingys on the roof of some vehicles? These are lidars.
We still can’t fit a laser lidar into a smartphone, but we can go with its younger brother — time-of-flight camera. The idea is ridiculously simple — a special separate camera with an LED-flash above it. The camera measures how quickly the light reaches the objects and creates a depth map of the scene.
The accuracy of modern ToF cameras is about a centimeter. The latest Samsung and Huawei top models use them to create a bokeh map and for better autofocus in the dark. The latter, by the way, is quite good. I wish every device had one.
Knowing the exact depth of field will be useful in the coming era of augmented reality. It will be much more accurate and effortless to shoot at the surfaces with lidar to make the first mapping in 3D than analyzing camera images.
Projector Illumination
To finally get serious about computational lighting, we have to switch from regular LED flashes to projectors — devices that can project a 2D picture on a surface. Even a simple monochrome grid will be a good start for smartphones.
The first benefit of the projector is that it can illuminate only the part of the image that needs to be illuminated. No more burnt faces in the foreground. Objects can be recognized and ignored, just like laser headlights of some modern cars don’t blind the oncoming drivers but illuminate pedestrians. Even with the minimum resolution of the projector, such as 100×100 dots, the possibilities are exciting.
Today, you can’t surprise a kid with a car with a controllable light.
The second and more realistic use of the projector is to project an invisible grid on a scene to build a depth map. With a grid like this, you can safely throw away all your neural networks and lidars. All the distances to the objects in the image now can be calculated with the simplest computer vision algorithms. It was done in Microsoft Kinect times (rest in peace), and it was great.
Of course, it’s worth remembering here the Dot Projector for Face ID on iPhone X and above. That’s our first small step towards projector technology, but quite a noticeable one.
Dot Projector in iPhone X.
Vasily Zubarev is a Berlin-based Python developer and a hobbyist photographer and blogger. To see more of his work, visit his website or follow him on Instagram and Twitter.
The post Tips for Doing a Backyard Photo Safari appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Have you ever thought about taking a trip to the other side of the world to get beautiful shots of exotic locations? You certainly can, and traveling is one of the best things you can do to take your photo skills to the next level. If flying across the world isn’t an option, what about stepping out of your door? A backyard photo safari is just a few meters away instead of a thousand miles, and you can take some beautiful photos without expensive gear too.
Nikon D7100, 50mm, f/2.8, 1/2000 second, ISO 100
While you could just drop what you are doing and head outside right now, it helps to do a bit of planning first. If you keep a few tips and techniques in mind, it will save you some frustration and give you a few ways to approach your very own backyard photo safari that will help produce the best possible results.
Timing is everything
Familiar places can take on dramatically different appearances depending on the time of day. It’s not just about the quality of light but the type of things you are likely to find – especially in your backyard. In the morning, plants are covered in dew, and bugs and insects are seizing the day. You might also find familiar sights shrouded in fog. Revisit the same patch of earth in the evening, and the scene will be dramatically different.
Nikon D750, 50mm, f/8, 1/90 second, ISO 800. This frog wasn’t just in my backyard. It was on my back door! I shot this after the sun went down after a rainy day.
You already know your own backyard well, but have you ever gone out in the early hours of the morning, or as the sun was setting, or even late at night? It’s not the same place at all. You will quickly notice things that you just don’t see during the day. Familiar objects take on a whole new appearance when photographed in the early morning or late at night.
You can even take great shots after the sun goes down by using a long shutter speed.
Fuji X100F, 23mm, f/8, 15 seconds, ISO 1250. I took this from my back porch very early on fall morning. It was only a few feet away from where I shot the photo of the frog!
It’s not just time of day that matters, but the time of year as well. Revisiting familiar places, even your own backyard, throughout the year can reveal amazing photo opportunities that were hiding right before your very eyes.
Act fast though! When you see an interesting picture idea, take the shot. Waiting even one day can change everything and suddenly your beautiful photo is nothing more than dust in the wind.
Nikon D7100, 50mm, f/2.8, 1/1000 second, ISO 100. I saw a photo opportunity on a Saturday morning right as the sun came up, so I ran outside barefoot to get the shot. The very next day, the leaves had all blown away!
Spring, summer, winter, fall – everything changes throughout the year, and this has a profound effect on the photos you can take in your yard.
Rich greens in spring, deep colors in summer, browns and yellow in the fall, and shades of gray in the winter.
Even if you think you’ve seen it all, try revisiting familiar spots in your own yard at different times of the year. The result may surprise you and give you some interesting photo ideas.
Nikon D7100, 85mm, f/4, 1/30 second, ISO 800. Composite of several shots of a lunar eclipse I took from my back yard over the course of two hours.
Look at the light
No matter the time of day or season of the year, it’s essential to look for where the light is coming from.
Then think about how you can use the light to make a more interesting or compelling composition.
Most objects look great with standard front-lighting – that is, with the main source of light positioned behind you, the photographer. You might need to scoot around or shift your position to make this happen, but your photos will be better off for your efforts.
Nikon D200, 50mm, f/2.4, 1/80 second, ISO 100. This sunflower was right by my back porch, with the sun positioned behind my shoulder so the flower was evenly lit.
Backlighting is a fun technique to use also, especially on a backyard photo safari where you get fun and interesting colors. This involves placing the main source of light behind your subject, which can create really fun effects and make ordinary objects take on a whole new appearance.
It’s loads of fun if you have flowers. Even ordinary, run-of-the-mill flora that you probably have in your own yard.
Nikon D7100, 50mm, f/2, 1/3000 second, ISO 100. These crocuses show up for a few days every spring, and each year I enjoy taking their picture. I didn’t plant them, but I sure enjoy having them while they bloom for a few days. I used backlighting to make it seem like they were glowing.
It’s not all about sunlight either. There are other sources of light that you can keep in mind when looking for photo opportunities right where you live.
Streetlights can cast an eerie, moody glow over everyday streets and sidewalks. Passing cars can make really fun motion trails. You can even create amazing artwork right in your yard with nothing more than a tripod and a flashlight – all it takes is a little creativity!
Nikon D200, 50mm, f/16, 15 second, ISO 200. This is looking down the street from my driveway on a calm, foggy morning.
Adjust your angle of view
Most of the time, we see the world around us, especially our own domicile, from the same point of view. Our eye-level remains roughly the same throughout the day, altering between three to five feet off the ground, depending on whether we are standing or sitting. To really find some interesting photo opportunities, particularly in your backyard, try getting low to the ground. Really low. A whole new world awaits you if you have eyes to see it.
Nikon D750, 85mm, f/1.8, 1/200 second, ISO 125. I had to position my camera very low to the ground to get this shot, but it was worth the effort.
Lots of interesting things start to show up when you change the angle from which you see the world around you. Even familiar settings can be transformed with a simple change in perspective. While you could get some really good shots by getting up high and shooting with a ladder, I find that it’s a lot more fun to literally crawl around on my hands and knees when looking for photos in my backyard.
Nikon D200, 50mm, f/1.8, 1/3000 second, ISO 400. I put a few of my kids’ toys on the ground, laid down on my stomach, and photographed them in my own backyard. This picture isn’t going to win any awards, but I had fun taking it.
It might not be the most glamorous or flattering photographic pursuit, but photography can be a messy hobby. And if you’re more worried about how you look when taking pictures instead of the pictures you are taking, it might be time to reevaluate your priorities!
Nikon D7100, 50mm, f/1.8, 1/1500 second, ISO 280. My kids were blowing bubbles in the front yard. I had to practically lay on the ground to get this shot but the result was worth it.
Look for wildlife
I live in a small town in middle America. The most exotic animal I’m likely to see on any given day is what we call a Texas Speed Bump. (Think of what happens when an armadillo crossing the road meets a pickup truck.) It might seem like any attempt to take wildlife photos on a backyard photo safari would be an exercise in futility. However, while you might not have lions, giraffes, or gazelles out your front door, you probably have more interesting animals than you realize. You just have to look for them.
Nikon D750, 50mm, f/8, 1/180 second, ISO 5600. Shot with a +4 close-up filter. This was right outside my garage door. Cue the Lion King song “The Circle of Life”
Bugs, insects, worms, and other multi-legged creatures might give you the willies, but they can be fascinating photography subjects. The same goes for bees, butterflies, or anything with wings.
If you look closely and have a bit of patience, you can find all sorts of wildlife right where you live.
Nikon D7100, 50mm, f/4, 1/125 second, ISO 400. Shot with +10 close-up filter. This wasp was hanging out on the lid of my trash can on a chilly autumn morning.
I’m no entomologist or zoologist, and when I’m out in my backyard looking for photo opportunities, I don’t even know what most of the animals are that I’m photographing. If it’s interesting to look at, and if the lighting is good, then I’ll take a picture. Sure I get a little grossed out from time to time, but I get some really cool images too.
Nikon D200, 50mm, f/1.8, 1/750 second, ISO 200. I don’t know what this thing is, but it was hanging out in a pine tree in my front yard and it made for a really interesting photo.
You don’t just have to think small when taking pictures of animals on a backyard photo safari. Rabbits, squirrels, snakes, and birds – you probably have lots of animals come through your property that would be fun to photograph. The trick is to keep your eyes open, and it helps to have the tiniest sense of adventure too.
You don’t have to just look for small things either. Always keep your camera ready in case something larger comes your way! It might not be especially exciting, but it’s fun to get shots of everyday wildlife like rabbits, squirrels, birds, or other critters that call your backyard home.
Nikon D500, 200mm, f/2.8, 1/400 second, ISO 1600. A little patience was all it took to capture this photo of a male cardinal on my backyard fence.
Every now and then, you might see something a bit more exotic too. When those moments strike, it can be supremely rewarding to attempt a shot. Even if you don’t get the photo, you will at least have a fun story to tell.
Nikon D200, 50mm, f/4, 1/160 second, ISO 200. My wife saw this snake slithering across our front yard, so I grabbed my camera and a broom. After I got a few photos I gently encouraged it to vacate the premises.
Get a set of close-up filters
One of the best things you can do if you’re looking for a way to get great shots of the world around you is to buy a set of close-up filters. When you think of going on a wildlife safari, you might imagine huge camera rigs and giant telephoto lenses. Close-up filters are the opposite: they let you get very close.
Close-up filters are extremely inexpensive and screw on to the front of your camera lens. They take a bit of patience to learn, so make sure to plan some time to get acquainted with how to get the best results in order to avoid frustration when the moment strikes. Once you get the hang of it, close-up filters make even the most ordinary backyard subjects appear majestic and even otherworldy. In other words, they’re perfect for a backyard photo safari.
Nikon D7100, 50mm, f/11, 1/200 second, ISO 400. Shot with a +4 close-up filter.
Flowers, mushrooms, berries, leaves, sticks, even blades of grass take on a whole new appearance when shot up close.
These stationary objects work really well for macro shots because they allow you to try different focal lengths and experiment with manual focus.
When you’re ready for something a bit more challenging, you can combine close-up filters with bugs and insects. This involves a lot more skill, practice, and patience (as well as mastering the back-button focus technique, which I recommend for best results) but you will never look at your own yard the same way again.
Nikon D500, 50mm, f/5.6, 1/250 second, ISO 360, shot with +4 close-up filter. It took nearly a hundred shots over two days to get this image of a bee in my back yard, but it was worth the effort.
If you can find a bug that is relatively slow-moving, you can combine all the techniques in this article to get some really amazing shots. For this final image, I went out in the evening, looked at the angle of the sun, adjusted my own point of view accordingly, and used a close-up filter. I’m not even sure what kind of bug or insect this is, but I really like the photo.
Nikon D750, 50mm, f/1.8, 1/100 second, ISO 900. Shot with a +4 close-up filter.
Conclusion
This list is really just scratching the surface of what’s possible when you go on a backyard photo safari. You don’t need a lot of expensive equipment, and you don’t need to hire a tour guide. These few simple tips will be enough to get you started, and then it’s up to you. How far will your creativity and sense of exploration take you when you’re right in your own yard? It could be a lot farther than you think.
Share your tips, tricks, and backyard safari photos in the comments below!
The post Tips for Doing a Backyard Photo Safari appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
This year for the birthday, did a fantastic 2 week trip to San Francisco and Sonoma. Lots of touristy stuff, lots of wine drinking, and lots of photos… Cameras were the GF1 and a Holga – this was my my first “real” outing with the GF1 and it absolutely lived up to my expectations. Was able to carry the body with kit lens and 20/1.7 in the corner of my daybag with room for the rest of my assorted junk. Never missed carrying the big SLR one bit!
“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”
The ongoing COVID-19 pandemic and its economic fallout have impacted everyone, including photographers. Many photographers have lost revenue due to canceled jobs, fewer events to photograph and potential clients, including commercial clients, not having the revenue to spend on photography. Stock photography website Dreamstime has launched multiple initiatives to help photographers and others impacted by the COVID-19 pandemic, including a newly announced increase in royalties.
As of June 1st, Dreamstime is rewarding contributing photographers with a 10% increase in the royalties value for all downloads, including those with exclusive or non-exclusive status. As Dreasmstime points out, this means that a download that previously would have awarded 50% royalties will now award the photographer 55%. Dreamstime itself has been impacted by the economic downturn resulting from the COVID-19 outbreak, so while they aim to offer the increased royalties for as long as possible, they are unable to make any guarantees about the eventual timeframe.
‘This means that financial aid will be now employed for a more community-centered strategy. For you, this means that all purchases beginning with June 1st will reward an extra 10% increase in the royalties value for all downloads, regardless of the exclusive or non-exclusive status.’ – Dreamstime CEO, Serban Enache
In addition to offering photographers increased royalties, Dreamstime has also worked on creating new tutorials and guidelines for photographers trying to stay financially secure during these trying times. Clients have also been offered relief in the form of a free two-month pause on subscriptions.
Further, Dreamstime has been contributing 5% of its sales to the World Health Organization’s Solidarity Response Fund since March. Additionally, active non-government organizations in need of visual content can contact Dreamstime for a free subscription.
As PetaPixel pointed out, the timing of the royalties increase is interesting. In late May, competing stock photo company Shutterstock announced a new earnings structure for its contributors and the response was very negative.
For comparison, Dreamstime’s new structure has been met with a very positive response. In the comment section on the company’s announcement blog post, many users have not only expressed gratitude, but some have even mentioned specifically that they have either shut down their Shutterstock accounts in response to its change in royalty structure.
