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How to Do Digital Scrapbooking – A Fun Activity to do Indoors

24 May

The post How to Do Digital Scrapbooking – A Fun Activity to do Indoors appeared first on Digital Photography School. It was authored by Ana Mireles.

Have you heard of digital scrapbooking? It probably sounds a little weird because a scrapbook is associated with crafts and handiwork. But it’s also a way of preserving and displaying your memories with a specific look that can be recreated digitally.

It’s also a fun activity for the whole family, and you can do it indoors. Keep reading to learn how to do it and even keep the crafting involved if you like.

Prep work

Selection

As you would do with any kind of album, you need to go through your photos and select the ones you want to include. Sometimes it’s easier if you choose a topic for it, especially in scrapbooking as the embellishment will be guided by it. For example, you could choose your first trip to the beach.

Digital Scrapbooking indoor family activity

If you want to make the most out of this exercise, you can even organize all those files that you’re reviewing. There are many programs dedicated to this, some of the most popular are Lightroom or ACDSee.

Decoration

The most characteristic thing about scrapbooking is the embellishment.

You can add notes, frames, and all sorts of decorations around the photos. Digital scrapbooking is not different, what changes is the way you do it. However, if you want to keep some of the craftings, it’s also possible.

Let me give you some examples and ideas.

Stock Images: This is the fully digital version. You can buy or download images from different websites. Unsplash and Pexels are great sites for free stock images. If you’re just using Google, always keep an eye on the licensing permissions of each photo so you don’t infringe any laws.
Photograph objects around the house: This is not exactly crafty, but it does involve your own creativity. Do you have flowers, fruits, or any home decors that can match the topic you’re working on? Photograph them! Best if you can put it in a neutral and contrasting background, as you are going to cut them out later. This is great when you want to involve more people in the activity – that way everyone can go find their favorite objects to include.
Make your own: This is just like the one before, except that you don’t use things that you already have. Instead, you make them, especially for this project. You can do some origami figures or ‘age’ a piece of paper with tea and coffee stains to use as background. This version is the one that includes more crafting and stays closest to the original tradition. It’s especially fun if you have kids. Once you have everything done, photograph it to use in your digital scrapbook.

Digital Scrapbooking

I’m going to do my scrapbook in GIMP because it’s free software, and this way, anyone can follow. You can also use Photoshop as the main feature you need is to work with layers. Just keep in mind that the individual tools and effects would be different.

Get your images ready

Okay, now that you have the photos of your elements, you need to have them ready for use in digital scrapbooking. That means that each one is cut-out so that it can interact freely with others.

For this, you can do the work right inside GIMP, or you can use any of the many free tools to remove backgrounds that are on the market. I’ll show you how to do one here in GIMP.

Open your image and make a selection around your subject using any of the selection tools from the panel.

There is no right or wrong when choosing the tool; it depends on the image you’re working and your skills. For example, here, it’s easier to use the Rectangle because of the shape of the object. However, I could also use the scissors or the path tool to draw the edge manually.

Once you have it, go to Select > Invert so that it’s the background that gets selected. Then right-click on the Layers dock and choose Add an alpha channel from the menu to allow the transparency and finally go to Edit > Clear.

Now save your image in GIMP’s file extension by using Save As or Export to save as .png, which will make it available for other programs while preserving the transparency. Repeat the process for all the images you’re going to use and save them in the same folder for easy access.

Create your layout

To create the layout for your scrapbook, you need all the elements in the same document. To do this, you need to go to File > Open as Layers. Select all the files and click Ok. This will open one document with each photograph as an independent layer.

You can now use the Move, Scale, and Rotate tools to arrange your layout.

Keep in mind the order of your layers, as the ones on top will cover the ones below. So, if you want things to overlap, you can drag and drop the layers to change the order.

Once you’re happy, you can start adding notes, which is another important component of a scrapbook.

Add some text

There are many experiments you can do to play with your text. Here are a couple of simple ideas to get you going.

Use the Text tool to write a title, note, date, or whatever you want to include. If you click and drag, you can create a specific area where the text will fit. Then choose the font you like.

In my opinion, the ones that simulate handwriting are the best for digital scrapbooking.

You can later change the Blending Mode to incorporate it more naturally into the image or create different effects. You’ll find this menu on top of the layer panel.

Another choice is to type directly in the background. Then use the Rectangle Select Tool and draw a selection around it. Then go to Filters > Light and Shadow > Xacht Effect which is a default script included in GIMP – 2.10, which is the latest to the time of this article.

This will create a 3D effect that simulates a tag for your text.

And there you go, add as much or as little as you like.

You can use it as a template and just change the image, or you can follow the same steps to create different layouts.

Have fun using digital scrapbooking to design albums, screensavers, wallpaper for your computer and so much more. I hope you enjoyed it!

Try digital scrapbooking out at home and share your results with us in the comments!

The post How to Do Digital Scrapbooking – A Fun Activity to do Indoors appeared first on Digital Photography School. It was authored by Ana Mireles.

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Video: Six DIY smartphone camera rigs made from household objects

24 May

The Cooperative of Photography, better known as COOPH, has released its latest YouTube video showing how to make the most of your smartphone footage by creating six different smartphone rigs using materials you likely have sitting around at home.

As you would expect for these rather primitive homemade solutions, the DIY rigs aren’t necessarily aesthetically pleasing but based on the resulting footage, hopefully your video will be. The six-minute video covers how to make a DIY gimbal, a DIY timelapse rig, a DIY stabilizer, a DIY automated slider, a DIY ‘spinning’ rig and a DIY Gorillapod-style tripod.

It’s quite the adventure, but considering there’s a good chance you’re still on some sort of lockdown or stay-at-home order, these DIY projects might be just what you need to keep your creative spirit alive in seclusion. You can find more videos from COOPH on their YouTube channel.

Articles: Digital Photography Review (dpreview.com)

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How to Create Sun Flares Using Luminar 4 and Photoshop (video)

23 May

The post How to Create Sun Flares Using Luminar 4 and Photoshop (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Anthony Turnham, you’ll learn how to create sun flares using Luminar 4, either standalone or as a plugin in Photoshop.

This effect can be a great addition to any landscape photo or portraits, especially if you feel your image is lacking something special. This effect can possibly give your image extra life and dynamic.

Anthony takes you through this tutorial in an easy-to-follow way, making it easy for you to create your own sun flare.

Try out this technique and share your resulting photos with us in the comments section.

Do you have other methods for creating sun flares? Share those with us too!

DPReview TV: Panasonic G9 vs. Olympus E-M1 Mark III – who’s the king of Micro Four Thirds?

23 May

Title fight! In one corner we have the new Olympus E-M1 Mark III. In the other is the Panasonic G9 – two years old, but sporting an impressive mid-life firmware update. Find out who wins the battle for Micro Four Thirds supremacy!

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Introduction
Handling
Displays
Stabilization
Intermission: bunny rabbits
Video features
Image quality
Autofocus and burst shooting
Bells and whistles
Which one is right for you?

Articles: Digital Photography Review (dpreview.com)

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Olympus OM-D E-M1 III added to studio test scene comparison

23 May

We’re continuing to test the Olympus OM-D E-M1 III, the latest iteration of the company’s sports-focused camera. It inherits a number of features from its big E-M1X sibling, including a 80MP high-res mode. There’s more work to be done on our full review of the E-M1 III, but in the meantime you can now compare its studio test scene results with those of its peers.

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Articles: Digital Photography Review (dpreview.com)

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Canon AE-1: the gear that changed my (photographic) life, again and again

23 May

The Canon AE-1 (Program) is by far the camera that has had the most impact on my life. Not that there’s anything particularly extraordinary about this classic film SLR, aside from its affordability, availability and reliability – ok, I guess that makes it a little special.

Over the years it’s a camera that I’ve come back to again and again as a means to hit reset, and recontextualize my love for photography.

I first picked mine up along with a “nifty fifty” for $ 200 at the end of my second year of high school (May, 2004). I’d been an avid film shooter for about four or five years prior, but hadn’t owned a fully-manual camera (coincidentally the AE-1 Program is one of the first mass-market SLRs with auto controls).

The September (2003) prior I’d launched a monthly zine with some of my friends, packed to the brim with skateboarding and rock & roll photographs, along with silly articles and band/artist interviews (creatively named, Dan’s Zine). I was the chief photographer/editor and took my role quite seriously (for a teenager, at least). We printed them on the B&W Xerox machines at my father’s office and distributed the copies by hand in school and at a local deli.

Skateboarding was my earliest photographic obsession. I shot this in 2004 for a cover of Dan’s Zine, a monthly publication I published with some friends. Will Best, Taildrop.

What started out as mostly a joke blossomed into a full-blown amateur journalistic/photographic obsession. By the time May rolled around, we were printing at least 50+ copies an issue (eventually closer to 150+). With the school year coming to a close I was eager to learn more about photography. Up until that point I’d only really paid attention to composition, but suddenly the idea of exposure control and handling my own film seemed like a brave and exciting new world.

The idea of exposure control and handling my own film seemed like a brave and exciting new world

So I enrolled in a summer darkroom photography course at the local community college. And much to my excitement, a fully-manual camera was at the top of the list for course materials.

That summer accelerated my love for photography at lighting speed. I quickly became a creature of the darkroom, monitoring it on the weekends for modest pay and volunteering to assist other students. I spent hours, often alone, making prints or hanging out by the drying racks reading stacks of old photo magazines from the 60’s, 70’s and 80’s.

A selection of “Dan’s Zine” master copies from our 36-issue run.

I also fell in love with my Canon AE-1 that summer; I’d spend the next two years of high school bringing it with me everywhere I went including many solo train trips to Hoboken, New Jersey, where I’d shoot street photography along the waterfront. I also used it to shoot the next 28 issues of Dan’s Zine, which came to a close with issue #36 as I prepared to head off to college (summer, 2006).

I’d acquired a shiny new D300 and all things film photography became an afterthought. My AE-1 would remain untouched for many years to come

I’d spend the next four years studying photojournalism and immersing myself in digital photography and its workflow – first as a photographer for our daily student newspaper, The Daily Targum and later in a variety of editor positions including photo editor. It was there I first handled a DSLR and became hooked on digital.

By my second year in college I’d acquired a shiny new D300 and all things film photography became an afterthought. My AE-1 would remain untouched for many years to come.

I picked back up my AE-1 after a 5 year break to document my transition from college to young adulthood while living in New York City. From a personal project titled Analog 3086.

But then when I needed it most, it reemerged: I was a year out of college and working as an assistant magazine editor, commuting daily from New Jersey to midtown Manhattan. At the time, my life revolved around all things photographic, though I had almost no time on-the-job for actual photography. It was around this point I began to feel a creative emptiness bubble inside me along with all sorts of existential dread.

You can’t force creative passion, so instead reconnect with what made you fall in love with photography in the first place

Perhaps it was the realization that my best years were seemingly behind me (haha) and I’d be spending the next 40-something years working; or perhaps it was a lack of personal creative stimulation. But I needed help, and so I turned to a trusted colleague who advised me that “You can’t force creative passion, so instead reconnect with what made you fall in love with photography in the first place.”

And so I brushed off my dusty AE-1 and start shooting film again, with no real objective other than to try and spark passion. And boy did it.

For me, film is a more intimate medium to work with than digital. From a personal project titled Analog 3086.

I’d spent the next couple years working on personal project, part self-documentation, part observation, called “Analog 3086.” The sole purpose of the project was to foster a stronger relationship between myself and photography.

At the time, I considered most of the images nothing more than snapshots. But as I’ve gotten older and wiser, I now see them as historical records – vivid depictions of a young man finding his way through early adolescence. These are images that otherwise would never had existed, had I not turned back to film.

The rekindling of love for my AE-1 sparked a deep and nerdy interest in film cameras as a whole

That rekindling of love for my AE-1 not only reignited my creativity and passion for photography, it also sparked a deep and nerdy interest in film cameras as a whole. I’d soon begin to buy and sell them with regularity and still do. Years later, my collection would swell to numbers I care not admit.

But even as heavy-hitters like the Leica M6 joined my collection, I’d still find myself picking up the AE-1 in moments where I simply wanted to enjoy photography, without the noise (people see a Leica in the wild and want to talk your ear off). And for many years it remained my go-to photographic decompressor.

Another “Dan’s Zine“-era shot from around 2005. John Mullen, noseblunt slide.

These days, I still use my AE-1 from time to time for sentimental reasons, but it’s largely been retired (replaced by a Nikon FM2). Fortunately, the lessons it’s taught have been well-learned, and I don’t just mean exposure values. It’s taught me how to slow down and reconnect with my childhood photographic curiosity, the one that sent me careening down my present career path some 17 years ago.

It’s taught me how to slow down and reconnect with my childhood photographic curiosity

Ultimately, we all have a story about what got us here, to the point of being photo/camera-obsessed. And mine’s no more or less special than anyone else’s, just as my AE-1 is no more or less special than the 254 currently for sale on Ebay. But you know what is special? The fact that most of us never got into photography because of the gear, we got into because of a feeling: a feeling of joy, curiosity and satisfaction that comes from the first few times you hear that shutter “click”.

It’s a wondrous feeling and one well-worth reconnecting with.

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Articles: Digital Photography Review (dpreview.com)

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Black and White Photography Exercises to Help You Improve Your Skills

23 May

The post Black and White Photography Exercises to Help You Improve Your Skills appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

dps-black-and-white-photography-exercises

Black and white photography exercises can help you gain an understanding of how it differs from color photography. Concentrating on black and white images helps develop your photography in many ways.

“Color is descriptive. Black and white is interpretive.” ~ Eliott Erwitt

Boy calling in a market. — © Kevin Landwer-Johan. Nikon D700, 120mm, 1/800 sec, f/2.8, ISO 400, Manual Mode, Spot Metering.

Thinking in black and white

Loading a black and white film into your camera forced you to think in black and white. This is different with digital photography because it’s easy to convert a color image to monotones.

There are plenty of tools to help you do this. The Nik Software Silver Effects Pro is a superb Photoshop plug-in for converting color images to black and white.

Purposefully photographing in black and white is different than converting during post production. A photographer must think differently when their intention is to create photos without color. You see in color, so you must learn to disregard the color and think in black and white. Good black and white photography is not about taking the colors out of a photo.

Black and white photography relies on contrast and tone range and how these relate within your compositions. You must learn to look at the tones, not the colors, as you compose your photos.

Light has a huge influence on the tones in a photograph. The camera records reflected light to make photos. The amount and quality of the light used defines how a subject will appear when you take a photo of it. Hard light or soft light will produce very different results. This is the same with color, but it’s more pronounced in black and white photography.

One of the best ways you can learn to do this is by practicing black and white photography exercises.

Portrait of a man in the studio — © Kevin Landwer-Johan. Nikon D800, 35mm f/1.4, 1/100 sec, f/4, ISO 100, Manual Mode, Spot Metering.

Choose one subject for these black and white photography exercises

Find one or two interesting subjects to photograph for these exercises. You may even choose to set up a small still life scene with various objects you have around the house. This will allow you to make comparisons and see differences.

You need to find things you can move around and place in different locations.

Look for things that are not all black or all white. A mixture of tones will produce the most helpful results. If you photograph something(s) with white, black and mid-tones you’re going to be able to see the effects more clearly in your photos.

The main aim of these black and white photography exercises is to help you develop a better understanding of tone. Don’t try to make masterpiece photos that you’ll hang on your living room wall. If you do, that will be a bonus.

black and white photography exercises example one — Soft light, outdoors on a cloudy day using Averaged light metering. Nikon D800, 55mm f/3.5, 1/800 sec, f/8, ISO 400, Manual Mode, Pattern Metering.

Lighting for black and white photography exercises

The reason you need to photograph something you can move is so you can photograph it in different locations and lighting conditions.

The type of light you photograph your subjects in, directly affects how they will look. Using hard light will produce very different-looking black and white photos than when you use soft light.

Strong light creates high contrast, no matter what tone your subject is. Soft light makes an even exposure much easier. Think about the quality of light and how it affects the look and feel of your photographs as you work.

Hard light

Place your subject in a location with hard light. Outside on a sunny day is ideal because you’ll be able to see where the shadows fall.

If you can’t manage that, using an on-camera flash with no diffuser will produce a hard light. You’ll need to take test images and study them to see where the shadows fall.

Take a series of photos from the first angle you think of. Expose some normally. Use averaged metering and set your exposure so the meter reads zero, or let your camera choose the setting if you use an auto mode.

black and white photography exercises example two — Hard light, outdoors on a sunny day using spot metering from the highlight on the steel jug. Nikon D800, 55mm f/3.5, 1/800 sec, f/11, ISO 400, Manual Mode, Spot Metering.

Next, expose for the highlights.

Take a light meter reading from the brightest part of your composition.

To do this, set your camera’s meter to spot and point the spot at the bright area to take your reading. If you use live view, your camera may display the way your photo will look when you use manual mode. This way, you can adjust the exposure for the highlights based on what you see on your monitor. On many mirrorless cameras, the viewfinder will display the exposure the same as this when you are set to manual mode.

After taking a few photos with these settings, use the same technique to set your exposure so the shadow areas will be exposed well. Take another series of photos.

black and white photography exercises example three — Hard light, outdoors on a sunny day using spot metering from the darkest area on the black jug. Nikon D800, 55mm f/3.5, 1/250 sec, f/11, ISO 400, Manual Mode, Spot Metering.

If you’re finding this exercise valuable and you have time, repeat this process.

Move around your subject and make compositions from different angles. Remember, the first angle you think to take a photo from is the most obvious, but not always the most interesting. Look at the way the light is falling on your subject and how the shadows look. Repeat the process and take photos at the three different exposure settings.

Soft light

If you’re photographing outdoors in the sun, move your subject into a shady area. Find somewhere outside where there’s still plenty of daylight.

If you’re inside and have been using your flash, take this next series of photos without using your flash. You may need a tripod if there’s not much light.

black and white photography exercises example four — Soft light, outdoors on a cloudy day using spot metering from the highlight on the steel jug. Nikon D800, 55mm f/3.5, 1/2500 sec, f/8, ISO 400, Manual Mode, Spot Metering.

Repeat the same series of exposures as you did when you were photographing in hard light. Think about the tones in your composition when you are making your exposure readings and looking at the results.

If you’ve been photographing outdoors, move your subject inside and away from any windows or other strong light and repeat the whole process. This lower contrast situation will produce different results again. The variation will be subtle, but it’s interesting to see.

During this process, make notes about what you are doing and your thought process. You don’t need to record your camera settings as these are included in the EXIF data. Instead, write down what you are observing with the tones, light and shadows. Why did you take photos from these angles? How has the light and tone affected the way you’ve chosen to compose your photos?

Black and White Photography Exercises to Help You Improve Your Skills — Soft light, outdoors on a cloudy day using spot metering from the darkest area on the black jug. Nikon D800, 55mm f/3.5, 1/80 sec, f/8, ISO 400, Manual Mode, Spot Metering.

Make the most of shadows

Especially in hard light, shadows have a major impact on black and white photography exercises.

Think about where the light is coming from in relation to where you are with your camera. How does this change the way the composition looks when you move around your subject? How does it change when you move your subject?

This is easier to see when you are working with the sun as your light source. Using flash, you’ll need to refer back to your monitor often to see the variations. Look at the differences in the shadow areas in the different sets of photos. How different do they look when you exposed for the shadows and when you exposed for the highlights?

Woman sewing with an old machine — © Kevin Landwer-Johan. Nikon D800, 35mm f/1.4, 1/200 sec, f/3.2, ISO 160, Manual Mode, Pattern Metering.

Think creatively

Once you’ve uploaded the photos to your computer. Select one image from each setup and each exposure setting. Simply desaturate all of these photos. This is not an ideal means for converting your photos to black and white, but it will suffice for this exercise.

Now look at these and compare them. Think about the way they look and the differences between the exposure settings. Consider how the various light has had an effect on the tone of your subjects.

Under hard light and soft light, you’ll notice the tone of your subjects looks different. Each set of photos taken at the various exposure settings will produce very different results. This is particularly noticeable with those taken under hard light.

Worker at the street market — © Kevin Landwer-Johan. Nikon D800, 50mm f/1.4, 1/400 sec, f/4, ISO 250, Manual Mode, Pattern Metering.

Choose one photo from each set to make some further post-processing adjustments. Work with the sliders for:

contrast,
shadows,
blacks,
highlights
and whites.

Experiment with these various settings. Play with them. Discover how much impact post-processing has on these black and white photography exercises. What you can do with post-processing monotone images is beyond the scope of this article, so just have some fun with it.

I’d love to see some of your best results and know what you learned by doing this exercise. You can share your photos and thoughts in the comments section below.

The post Black and White Photography Exercises to Help You Improve Your Skills appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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OnePlus is disabling the near-infrared ‘Color Filter’ camera on its 8Pro smartphone over privacy concerns

23 May

OnePlus has announced it’s working on an update for its OnePlus 8 Pro smartphone that will disable the 5MP near-infrared camera that was able to see through certain materials, including some clothing, when used with a ‘Photochrom’ mode in the native camera app.

The Color Filter camera onboard the 8 Pro has been known since the smartphone’s announcement back in April. However, not much was shared about the particular camera module at the time. It wasn’t until 8 Pro units started hitting the front doors of reviewers when it became clear what the 5MP near-infrared camera could see.

Last week in particular, a number of high-profile reviewers and pundits shared examples of just how much the Color Filter camera onboard the 8 Pro could reveal. Most notably, the below video, shared by YouTube channel Unbox Therapy, showed that beyond being able to see through the plastic IR shields built into numerous electronics, it could also see, at least to some degree, underneath certain clothing when stretched unusually thin.

Unsurprisingly, the see-through capability of the 8 Pro brought up privacy concerns, not unlike those that led to Sony recalling more than 700,000 ‘HandyCam’ camcorders back in 1998 when it was revealed the ‘Nightshot’ mode on its TRV 615 XR camcorders was revealing more than the general public was comfortable with.

Today @OnePlus decided to temporarily disable the ‘Color Filter’ camera functionality through software update in the coming week.

In order to eliminate the impact on users privacy under possible extreme circumstances and eliminate everyone’s concerns.https://t.co/uk3gn9iXvU

— Ben Geskin (@BenGeskin) May 19, 2020

OnePlus heard the response loud and clear and in an effort to get ahead of any further controversy, OnePlus announced, via Weibo, that it is temporarily disabling the Color Filter camera via a software update within the next week. In the post, OnePlus writes (machine-translated, edited with brackets for clarity):

‘When planning the [color] filter lens of OnePlus 8 Pro, we hope[d] to use this lens to perceive the characteristics of infrared light to provide users with a unique texture photography style effect. But recently, based on user feedback, we have found that under very specific environmental conditions, the filter lens may have a slight perspective effect on special materials at very close distances […] In order to eliminate the impact on user privacy under possible extreme circumstances and eliminate everyone’s concerns, we decided to temporarily disable the filter function through software upgrades.’

OnePlus doesn’t elaborate on how temporary this solution is or what the long-term fix will be, but it’s a start. It’s also unknown whether this will be a forced update or something optional users can opt out of to keep the near-infrared capabilities.

Articles: Digital Photography Review (dpreview.com)

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ProRes Raw video capture delayed for Lumix S1H, but firmware v2.0 still set to ship next week

23 May

Videographers waiting to be able to record 5.9K ProRes Raw video footage from the Lumix S1H to their Atomos Ninja V will have to wait a bit longer as statements from both camera and recorder manufacturers have confirmed that while the expected firmware release will go ahead on Monday, May 25, Raw video won’t be included.

Atomos says a technical issue is the cause and that the delay will be ‘slight,’ while Panasonic concentrates on the other new features firmware v2.0 will bring to users. Both companies say they’re working together to rectify the problem.

There’s no indication what the problem is, but only that it cropped up in beta testing and that both companies want to ensure recording quality is at its best before the firmware is released. A new release date for the raw video feature will be announced ‘shortly.’

Firmware V2.0 for the Panasonic S1H adds ProRes Raw video capture capability when paired with an Atomos Ninja V recorder.

While the v2.0 firmware won’t have its headline feature when released on Monday, it will still offer these new features:

LUMIX S1H Firmware Version 2.0 (*RAW video data output function is not included.)

Down converted output over HDMI during [6K]/[5.9K]/[5.4K] video recording is available.
In Creative Video mode, it is now possible to disable the operation of starting/stopping video recording by pressing a shutter button.
In Creative Video mode, it is now possible to set [Rec Quality (My List)] from the control panel.
The value of noise reduction in [V-Log] in Photo Style has been expanded to [-1], designed to suppress ghosting or afterimages that could have previously occurred in some situations.
It is possible to prevent the enlarged view window of MF Assist to be output over HDMI.
There were cases where colour banding appeared in 4:2:0/10-bit video recording in some situations. This bug has been minimised.
There were cases where the REC RUN time code did not count up when the video was not recorded on an SD Memory Card but was recorded on an external device over HDMI. This bug has been fixed.
It is now possible to set [AF+MF] in AFC mode.
It is now possible to assign functions to the lens’ Fn buttons when the Panasonic LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is mounted.
It is now possible to assign function to the Fn buttons of Sigma L-Mount interchangeable lenses.
When attaching a lens using the Sigma MC-21 mount converter and [Image Stabilizer] > [Lens] is set to ON , Body I.S. (Image Stabiliser) suppresses roll movement.
[Backlight Illumination Period] has been added to the menu of Status LCD. [ON1] prevents the LCD backlight to be turned off.
It is now possible to select the card slot to save the JPEG images developed by in-camera RAW processing.
[0.5 SEC] has been added for an option of [Duration Time (photo)] in [Auto Review].
[Off (Disable Press and Hold)] can be assigned to the Fn button. It disables operation when the button is long-pressed.
The Fn button can be used for checking aperture effect while the button is pressed.
To prevent improper operation, touch-control is disabled for [Delete All] operation in playback mode. Only cursor buttons can be used for [Delete All] operation.
There were rare cases where the camera froze during [Segmented File Recording] or during recording at 400 Mbps under a particular set of conditions including the type of SD Card used. This phenomenon has been improved.
Aperture and shutter speed can be controlled using front/rear dials when the rear monitor is set to OFF.
There were cases where F stop value control failed depending on the maximum F stop value when non-Panasonic L-Mount lens is mounted. This bug has been fixed.

The new firmware will be downloadable for free via the Panasonic Japan support pages.

Atomos press release:

Atomos Ninja V and LUMIX S1H RAW firmware delay

The firmware updates enabling the much-anticipated Atomos Ninja V and Panasonic LUMIX S1H RAW over HDMI combination have unfortunately been slightly delayed from the original 25th May release schedule, to ensure the highest possible level of RAW recording.

An unforeseen technical issue has come to light in the final rounds of beta testing that needs rectification prior to shipping. The companies are working together to complete the development as soon as possible. We apologise to our mutual customers waiting for the functions this release enables.

Please note that Panasonic will be releasing Ver 2.0 firmware on May 25th with various improvements to camera functions, however will not include the planned RAW HDMI output feature. Atomos will release its Ninja V AtomOS for LUMIX S1H HDMI RAW in-line with Panasonic’s RAW output firmware.

Articles: Digital Photography Review (dpreview.com)

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Weekly Photography Challenge – Window Light

23 May

The post Weekly Photography Challenge – Window Light appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Since many of us are still limited to where we can go, this week’s photography challenge topic is the WINDOW LIGHT!

window light reflected on walls — The window light here has cast shadows on the floor. I also made this black and white and boosted the contrast. © Caz Nowaczyk

Window light is the way that the sunlight comes through a window or glass door and creates interesting light-play on walls, floors and other surfaces. It creates shadows, it can sometimes create colors. Anyway, get your cameras out and capture the way the light falls through your windows.

You can also play with them in post-processing if you like – make them black and white, or boost contrast. The possibilities are endless.

I look forward to seeing your shots!

Weekly Photography Challenge – Window Light — Morning sunlight streams through my front glass door, which has an ornate metal pattern. It creates interesting shapes in the shadow on the wood paneling. I decided to boost the contrast and make this one black and white too. © Caz Nowaczyk

Check out some of the articles below that give you tips on this week’s challenge.

Tips for photographing WINDOW LIGHT

How to Achieve Great Black and White Photos in Editing

How to Use Color Temperature in Black and White Conversions

How to Create Silky Split Toned Black and White Photos Using Luminosity Masks

12 Tips For Indoor Natural Light Photography

How to Split Tone Black and White Photos in Lightroom

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSwindowLight to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Window Light appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School

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Weekly Photography Challenge – Window Light

Tips for photographing WINDOW LIGHT

Share in the dPS Facebook Group

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