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Samsung announces S20, S20+ and S20 Ultra smartphones offering up to 108 megapixels, 100X zoom and 8K video

12 Feb

Samsung took the stage at its Galaxy Unpacked 2020 event to unveil its latest Galaxy smartphone lineup, which includes the Galaxy Z Flip, Galaxy S20, S20+ and S20 Ultra. The new S20 range offers some pretty incredible pixel-counts, topping out at an eye-popping 108MP, plus 8K video. Meanwhile, you can probably guess at the defining feature of the ‘Galaxy Z Flip’.

Let’s talk about the headline features up front:

  • 1/1.33″ main camera sensor (S20 Ultra)
  • 108MP capture (S20 Ultra)
  • ‘Lossless’ digital zoom thanks to high resolution sensors
  • 100x zoom thanks to 4x optical zoom, 48MP sensor and super-resolution (S20 Ultra)
  • 120Hz refresh rate displays
  • 240Hz touch input for responsive touch interface
  • Capture all camera zooms and modes with one shutter press, choose later

Let’s start by talking about the new S20 lineup.

Galaxy S20, S20+ and S20 Ultra

Samsung’s S20, S20+ and S20 Ultra smartphones all vary in size and specifications, with increasing screen sizes and capabilities, respectively.

Before diving into the differences though, let’s take a look at what all of the devices share. The first thing you’ll notice is the familiar design, with the S20 lineup constructed of glass on the front and back with an aluminum alloy metal band around the edges. Aside from a slight bump up in weight and height compared to the S10 lineup, the only major visual difference from the device’s respective predecessors is a new camera bump that’s now rectangular in design.

Each of the new devices features a 120Hz OLED display, currently putting them at the front of the pack in terms of refresh rates (for OLEDs, at least). The S20, S20+ and S20 Ultra all have the same resolution (3200×1440 pixels), but the screen sizes across the devices do differ: 6.2-inches, 6.7-inches and 6.92-inches, respectively.

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Moving onto the cameras, the S20 devices drop the dual-front-facing camera the S10 series had and opts for a single 10-megapixel camera on the S20 and S20+, while the S20 Ultra gets a ridiculous 40-megapixel front-facing camera. On the back of the devices, you’ll notice each model features increasingly-larger camera units, with more modules available on the larger models. The S20 has a 12-megapixel main sensor, a 12-megapixel ultra-wide, and a 64-megapixel 3x telephoto camera.

Below is a video breakdown from Android Central showing how the new camera systems work on the S20 lineup:

The S20+ has all of those cameras as well as a time-of-flight (ToF) camera for depth data. As you might expect, the S20 Ultra takes the entire setup to a whole other level; it offers a 108-megapixel main camera with a whopping 1/1.33″ sensor, the second largest sensor size we’ve ever seen in a phone (right behind the 1/1.2″ sensor in the well-respected Nokia 808 41MP camera). The extra pixels allow for ‘lossless’ digital zoom, which is further aided using super-resolution techniques. Also on-board: a 12-megapixel ultra-wide, and a 48-megapixel 4x telephoto (with 10x ‘lossless’ digital zoom and 100x ‘Space Zoom’ thanks to a unique combination of optical and digital zoom and super-resolution), as well as a ToF camera. All of the phones feature 8K video recording.

The S20 models are all IP68 water-resistant, include wireless charging and feature an in-screen ultrasonic fingerprint reader. Oh, and the headphone jack is gone.

The S20, S20+ and S20 Ultra are set to ship in the United States for $ 1000, $ 1,200 and $ 1,400, respectively.

Galaxy Z Flip

The Galaxy Z Flip is a second-generation folding phone from Samsung. Unlike the Galaxy Fold, which opened up side-to-side like a book, the Galaxy Z Flip opens up vertically, similar to clamshell-style phones of yesteryear.

However, instead of a keyboard at the bottom and a screen at the top as was standard nearly a decade ago, the Galaxy Z Flip features a 6.7-inch AMOLED display, which folds along the hinge of the phone. What’s interesting is that instead of the plastic being used for the screen, Samsung is instead using an ultra-thin glass—this should help to make the screen much more durable than its predecessor, which quickly gained a bad reputation for scratching easily.

The outside of the device also features a 1.06-inch secondary display that can display the current time, show the battery status, show notifications and even be used as a screen for taking selfies using the exterior camera.

Beneath the screen is an array of components that, as noted by Android Authority, are almost identical to those found inside the Galaxy S10e. Specifically, the phoen is powered by a Snapdragon 855 Plus SoC, 8GB of RAM, 256GB UFS 3.0 storage and a 3,300mAh battery (2,000mAh more than the S10e).

The pair of cameras on the rear of the device include a standard 12-megapixel camera and an ultra-wide 12-megapixel camera, while the front-facing selfie camera is 10-megapixels. The device also features 15W wired charging, 9W wireless charging and a side-mounted fingerprint sensor.

The Galaxy Z Flip will be available in Mirror Purple, Mirror Black and Mirror Gold (in select countries) starting February 14, 2020 for $ 1,380.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe releases February update for its suite of photography-centric applications

12 Feb

Adobe has announced the release of its February updates for its collection of photography programs, including Adobe Camera Raw, Lightroom Classic and Lightroom for macOS, Windows, iOS, iPadOS, Android and ChromeOS.

Adobe Camera Raw and Lightroom Classic

Starting with Adobe Camera Raw and Lightroom Classic, Adobe has improved the Raw Default setting. Specifically, Adobe has made it easier to configure the default develop settings within the ‘Preferences -> Presets’ submenu. The default options can be applied universally or customized based on the camera model and serial number.

In a similar vein, Adobe has made it easier to use the picture styles or profile settings within your camera when editing images, rather than using the Adobe Color profile that was previously standard. Adobe says ‘With the new raw default settings, you can now use Camera Settings as the default to preserve the “as shot” look and reduce your edit time.’

Both Adobe Camera Raw and Lightroom Classic have also received performance improvements. Now, both programs have full GPU acceleration for Lens Correction and Transform adjustments, and Enhance Details can now make use of external GPUs (eGPUs) on macOS 10.15 ‘Catalina.’

Lightroom Classic has also added support for PSB files. Starting with this update, you can import, catalog and edit Large Document Format (.psb) files within Lightroom Classic. Other improvements specific to Lightroom Classic include improved secondary display selection tools, auto-sync improvements and the ability to import Photoshop Elements 2020 catalogs into Lightroom Classic.

Lightroom for Mac, Windows, Android, iOS, iPadOS, and ChromeOS

Moving onto Lightroom for Mac, Windows, Android, iOS, iPadOS, and ChromeOS, Adobe has brought a number of features to various platforms and overall improved the performance across nearly all devices.

Now, on Lightroom for Mac and Windows, you can export images in the DNG format. Previously, this functionality was limited to Lightroom on Android and iOS. Lightroom for Mac and Windows also receives improved Shared Albums support, which allows you to control what metadata is shared when uploading photos to other shared albums and allows you to export photos from other contributors who have uploaded photos to a specific shared album.

Other changes to Lightroom for Mac and Windows include dedicated shortcuts for creating HDR (Ctrl + Shift + H) and Panorama (Ctrl + Shift + M) images via Photo Merge and improve importing options that include the ability to import to a specific album using drag-and-drop functionality.

Moving onto mobile, Lightroom for Android and iOS have an improved ‘Learn and Discover Content’ views that make it easier to browse through various artwork. Lightroom for Android has also gained the ability to import presets and profiles; Adobe says Lightroom for iOS will gain this functionality ‘soon.’

Lightroom for iPadOS has also gained support for split-screen view that makes it possible to browse, sort, edit and export photos while also having another application open on the screen of your iPad.

You can read more about all of the updates on Adobe’s blog post. The updates should be available through the Creative Cloud desktop app and the respective app stores for Android and iOS.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung announces Galaxy Z Flip, S20, S20+ and S20 Ultra smartphones

12 Feb

Samsung took the stage at its Galaxy Unpacked 2020 event to unveil its latest Galaxy smartphone lineup, which includes the Galaxy Z Flip, Galaxy S20, S20+ and S20 Ultra.

Galaxy Z Flip

Before diving into the more standard S20 lineup from Samsung, let’s first take a look at the Galaxy Z Flip, a second-generation folding phone from Samsung. Unlike the Galaxy Fold, which opened up side-to-side like a book, the Galaxy Z Flip opens up vertically, similar to clamshell-style phones of yesteryear.

However, instead of a keyboard at the bottom and a screen at the top as was standard nearly a decade ago, the Galaxy Z Flip features a 6.7-inch AMOLED display, which folds along the hinge of the phone. What’s interesting is that instead of the plastic being used for the screen, Samsung is instead using an ultra-thin glass—this should help to make the screen much more durable than its predecessor, which quickly gained a bad reputation for scratching easily. The outside of the device also features a 1.06-inch secondary display that can display the current time, show the battery status, show notifications and even be used as a screen for taking selfies using the exterior camera.

Beneath the screen is an array of components that, as noted by Android Authority, are almost identical to those found inside the Galaxy S10e. Specifically, the phoen is powered by a Snapdragon 855 Plus SoC, 8GB of RAM, 256GB UFS 3.0 storage and a 3,300mAh battery (2,000mAh more than the S10e).

The pair of cameras on the rear of the device include a standard 12-megapixel camera and an ultra-wide 12-megapixel camera, while the front-facing selfie camera is 10-megapixels. The device also features 15W wired charging, 9W wireless charging and a side-mounted fingerprint sensor.

The Galaxy Z Flip will be available in Mirror Purple, Mirror Black and Mirror Gold (in select countries) starting February 14, 2020 for $ 1,380.

Galaxy S20, S20+ and S20 Ultra

With the flagship flip phone out of the way, let’s talk about the new S20 lineup. Similar to in the past, Samsung’s S20, S20+ and S20 Ultra smartphones all vary in size and specifications, with increasing screen sizes and capabilities, respectively.

Before diving into the differences though, let’s take a look at what all of the devices share. The first thing you’ll notice is the familiar design, with the S20 lineup constructed of glass on the front and back with an aluminum alloy metal band around the edges. Aside from a slight bump up in weight and height compared to the S10 lineup, the only major visual difference from the device’s respective predecessors is a new camera bump that’s now rectangular in design.

Each of the new devices features a 120Hz OLED display, currently putting them at the front of the pack in terms of refresh rates (for OLEDs, at least). The S20, S20+ and S20 Ultra all have the same resolution (3200×1440 pixels), but the screen sizes across the devices do differ: 6.2-inches, 6.7-inches and 6.92-inches, respectively.

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Moving onto the cameras, the S20 devices drop the dual-front-facing camera the S10 series had and opts for a single 10-megapixel camera on the S20 and S20+, while the S20 Ultra gets a ridiculous 40-megapixel front-facing camera. On the back of the devices, you’ll notice each model features increasingly-larger camera units, with more modules available on the larger models. The S20 has a 12-megapixel main sensor, a 12-megapixel ultra-wide, and a 64-megapixel 3x telephoto camera.

Below is a video breakdown from Android Central showing how the new camera systems work on the S20 lineup:

The S20+ has all of those cameras as well as a time-of-flight (ToF) camera for depth data. As you might expect, the S20 Ultra takes the entire setup to a whole other level; it offers a 108-megapixel main camera, a 12-megapixel ultra-wide, a 48-megapixel 10x telephoto (which is being marketed as a 100x ‘Space Zoom’ camera thanks to a unique combination of optical and digital zoom with a little AI magic tossed in there for good measure) and a ToF camera. All of the phones feature 8K video recording.

The S20 models are all IP68 water-resistant, include wireless charging and feature an in-screen ultrasonic fingerprint reader. Oh, and the headphone jack is gone.

The S20, S20+ and S20 Ultra are set to ship in the United States for $ 1000, $ 1,200 and $ 1,400, respectively.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Photographer Alan Schaller offers seven tips for black and white street photography

12 Feb

Cooperative of Photography (COOPH) has published a new video featuring London-based photographer Alan Schaller, who introduces viewers to seven tips for shooting black and white street photography. The video packs the seven tips into five quick minutes.

Schaller’s tips are relatively straightforward, including the recommendation that photographers should go out and shoot in black and white on purpose, should focus on what makes black and white photography interesting and that they should change their perspective.

As well, Schaller recommends that budding black and white street photographers learn to adjust to the lightning situation, ‘make good use of’ their environment, shoot images with a ‘good range of contrast’ and, finally’ to ‘edit wisely.’

Articles: Digital Photography Review (dpreview.com)

 
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Sony releases Software Development Kit (SDK) for remote camera access

11 Feb

Sony has released a new software development kit (SDK) that allows third-party developers to control some selected Sony cameras. The SDK will offer remote access to key camera controls and still image data, including adjustment of shooting parameters, shutter release and a live view image.

The company says the decision to offer an SDK was made after ‘extensive interest in their camera lineup from commercial customers.’ Sony also believes this kind of camera control capabilities should appeal to companies from a variety of sectors, including security and entertainment.

‘The customer’s voice is absolutely critical to all aspects of our business,” said Neal Manowitz, Deputy President of Sony Imaging Products and Solutions Americas. “After receiving many requests, we’re excited to finally be able to open our platform in this manner. Companies will now be able to custom develop applications to control our cameras remotely, allowing them to take full advantage of the many innovations in Sony’s lineup including industry-leading autofocus, shooting speeds and much more. Ultimately, this gives professional clients the ability to create new and different imaging experiences unlike anything that’s been done before.’

Telemetrics Inc. is a company that specializes in robotics and camera control systems and one of the first to use the new SDK. One of its products is a weather-resistant camera housing unit on a remotely controlled pan/tilt head that is compatible with some of Sony’s full-frame mirrorless cameras. Customers include users in broadcast, production, sports and education companies.

To start with the SDK supports Sony’s Alpha 7R iV and Alpha 9 II high-end camera bodies but the company says it is planning to expand support in the future. Users of the current Camera Remote API will have to switch to the new SDK or look for other alternatives as Sony will close it down.

Press release:

Sony Electronics Announces New Camera Software Development Kit (SDK) for Third Party Developers and Integrators

New SDK Enables Remote Control of Sony Cameras for a Variety of Professional and Commercial Application

SAN DIEGO – Feb 11, 2020 – Sony today has announced the release of a new software development kit (SDK) that enables third party developers and integrators to access control of Sony cameras.

Sony, the industry leader in both full-frame and mirrorless cameras, is releasing the SDK based on extensive interest in their camera lineup from commercial customers.

“The customer’s voice is absolutely critical to all aspects of our business,” said Neal Manowitz, Deputy President of Sony Imaging Products and Solutions Americas. “After receiving many requests, we’re excited to finally be able to open our platform in this manner. Companies will now be able to custom develop applications to control our cameras remotely, allowing them to take full advantage of the many innovations in Sony’s lineup including industry-leading autofocus, shooting speeds and much more. Ultimately, this gives professional clients the ability to create new and different imaging experiences unlike anything that’s been done before.”

With the new SDK, key camera controls and still image data captured will be available for remote access, including adjustment of camera settings, shutter release and live view monitoring. These control capabilities are appealing to the workflow of a wide variety of industries including security, entertainment and many others.

One of the companies that have a high expectation of Sony’s SDK is Telemetrics Inc., a company that specializes in robotics and camera control systems, selling complete packages including a weather resistant housing unit on a remotely controlled pan/tilt head compatible with select Sony full-frame mirrorless cameras. Telemetrics, Inc. sells to a wide variety of clients including broadcast, production, sports and education companies.

“Combining our expertise in robotics and camera control with the impressive capabilities of Sony’s Alpha camera technology will allow us to create some especially unique solutions for capturing live sports entertainment, which include the newly introduced PT-CP-S5 Compact Pan/Tilt Head and the WP-HOU-A9 Camera Housing unit,” said Michael Cuomo, Vice President of Telemetrics, Inc. “We’ve been thrilled with the results and are extremely excited at the potential for future integration with our systems.”

Initially, the Camera Remote SDK will support Alpha 7R IV and Alpha 9 II bodies, with plans to gradually expand the lineup of supported cameras hereafter[i]. The Camera Remote SDK is available now and can be downloaded from https://support.d-imaging.sony.co.jp/app/sdk/en/index.html on Sony’s website.

The current Camera Remote API’s provision will be closed following this new release of the new Camera Remote SDK and its support will be terminated[ii].

Articles: Digital Photography Review (dpreview.com)

 
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Which is best for you: the Fujifilm X-T200 or X-T30?

11 Feb

Fujifilm X-T200 vs X-T30

Prior to January 23rd, 2020, choosing between Fujifilm’s entry-level X-T100 and its step-up model, the X-T30, was easy. The X-T100 was sluggish, its autofocus sub-par and 4K ‘video’ was limited to 15 fps.

Fujifilm really raised the bar with the X-T200 , which offers dramatically improved performance and autofocus, a massive LCD with a clever touch interface and proper 4K video.

With the X-T200 priced at $ 799 and the X-T30 at $ 999 (both with a 15-45mm kit lens, as of February 2020), potential buyers will want to know if it’s worth spending the extra dollars on the more advanced model.

In this article we’ll break down the similarities and differences between the two cameras – but your decision should come down to the type of photographer you are, and where you are on your photographic journey. The X-T200 is, after all, billed as the more user-friendly model, while the X-T30 gives hands-on photographers more control at their fingertips. Let’s take a closer look.

Sensor

One of the upgrades on the X-T200 is its 24MP sensor. The former had aluminum wiring, while the latter uses copper. Fujifilm says that the new sensor can be read out 3.5x faster than its predecessor, which should reduce rolling shutter. Since we’ve yet to test a production-level X-T200 we can’t comment on its image quality, but we expect it to be better than its predecessor.

The X-T30, on the other hand, uses the same 26MP X-Trans CMOS sensor found on X-T3. Fujifilm’s X-Trans color filter both reduces moiré and exhibits less color noise at high ISOs. The sensor is excellent, with low noise levels at high ISOs and Raw files with plenty of room for brightening shadows and other adjustments. We didn’t find rolling shutter to be a major problem.

Autofocus

The X-T200 has essentially the same AF system as the X-T30, though how you operate them is a bit different. Their shared hybrid AF system has 425 phase-detect points that cover 100% of the frame and offer single-point, zone and wide/tracking AF area modes.

Both cameras offer face and eye detection, and Fujifilm says that the X-T200 has the company’s latest algorithms. It’s too early to draw conclusions about AF performance, but it seems competitive with the X-T30 at first glance.

When it comes to selecting subjects on which to focus, the X-T200 is more touchscreen-based, which isn’t surprising given its target audience. The more experienced users that the X-T30 leans toward will spend more time with the joystick and may want to fine-tune settings more than a beginner.

The X-T30 can shoot bursts quite a bit faster than its less-expensive sibling: 20 fps vs 8 fps

For example, the X-T30 lets you choose how the camera functions when using continuous AF, either by selecting a preset option or tweaking the settings yourself. This is important when the default AF settings aren’t the right fit for shooting things like sports.

Speaking of action photography, the X-T30 can shoot bursts quite a bit faster than its less-expensive sibling: 20 fps vs 8 fps. It also lets you access playback mode and the menus while the camera is writing to the card, unlike the X-T200.

One very frustrating thing about the AF system on both cameras is that you cannot set the focus point whenever the camera detects a face in the scene, though this could change with firmware sometime down the line (but don’t count on it).

Design

When viewed from the front, the X-T200 and X-T30 look quite similar. The X-T30 has a control dial and AF mode switch on the front, while the X-T200’s control dials are all on the top plate, and there’s no AF mode switch.

The X-T30 is all about dedicated dials, which isn’t surprising, given that it leans in the enthusiast direction. Some may say that it has too many dials, but that’s purely subjective. There are dedicated dials that allow you to adjust exposure compensation, shutter speed and drive mode without ever entering a menu. It offers an 8-way joystick for setting the focus point, which is poorly placed and a bit fiddly, in our opinion (the X-T200 has the same issue).

Being the entry-level model, the X-T200 has a limited number of direct controls and leans heavily on a well-designed touch interface via its enormous fully articulating LCD. The camera still offers dual control dials and some customization, though not nearly to the extent of the X-T30.

Given the price difference, it shouldn’t come as a huge surprise that the build quality of the X-T30 feels superior in your hand, with more metal and less plastic. The X-T30 isn’t weather-sealed, though: you need to go up another step to the X-T3 for that.

Both cameras offer USB Type-C ports (with USB 3.1 speeds) and support in-camera charging. They also use the NP-W126S battery, which you’ll find on many other Fujifilm cameras. While battery life is a reasonable 380 shots per charge on the X-T30 using the LCD, the X-T200 will last for only 270 shots (according to CIPA methodology). In reality you’ll get more life out of both cameras, but the X-T30 should still come out on top.

LCD and EVF

Let’s not beat around the bush: the X-T200’s touchscreen display is fantastic and competitive with modern smartphones – this camera’s target audience. It’s 3.5″ in size (diagonally) and has 2.76 million dots worth of resolution. It’s fully articulating, making it good for ground-level photos as well as vlogging. The display’s 16:9 aspect ratio makes it ideal for video, though a lot of its real estate is wasted when shooting 3:2 stills.

Fujifilm put an easy-to-use touch interface on the X-T200, which makes it operate more like a smartphone than a camera. If you’re a beginner, you can adjust a ‘depth control’ slider to blur the background. If you’re more experienced, the camera has the usual manual exposure options and two control dials to adjust settings. Customization options are limited, but then again, this is an entry-level camera.

The X-T30’s 3″ display is more conventional. It has 1.04 million dots and can tilt upward by a little over 90° and downward by 45°. While it has the usual tap-to-focus and image playback touch functions, there’s no simple interface and only the Q.Menu can be navigated by touch (the X-T200 can do that as well as the main menu).

The two cameras have the exact same electronic viewfinder. They’re both OLED and have 2.36 million dots and a magnification of 0.62x, which is a bit on the small side.

Fun with Film Simulation modes

A feature that makes Fujifilm cameras stand out from the pack are its Film Simulation modes. These aren’t ‘pop color’ filters; most are recreations of film stocks that were available in the days of analog photography.

The Film Simulation modes on the two cameras are largely the same, though the cheaper X-T200 does miss out on a few favorites: Acros and Eterna. Eterna is popular with video shooters, as it produces pleasing footage with low saturation that’s easier to grade in post-production. The X-T30 also has the ability to add a film grain effect. We think it’s a (very) safe bet that the X-T200 lacks these features for product segmentation.

Fujifilm came up with a clever way of selecting a Film Simulation mode on the X-T200. When you turn the left-most dial on the top plate, it opens up a screen with the current Film Sim mode on one side and the other options on the right. A slider lets you expand or contract the viewing area of the before or after sides. This feature is much easier to show rather than explain, so have a look at the video below (from the X-A7) to see how it works.

Video

The X-T200 is no slouch when it comes to video, but if you’re a serious videophile who wants to take more control over their camera, then the X-T30 is the better choice.

First, here’s what the X-T200 offers. It can capture UHD 4K footage at 30p, 24p and 23.98p, as well as their PAL equivalents. The footage is oversampled and uncropped, though there is a 15 minute recording time limit. The X-T200 offers a ‘Digital Gimbal’ feature for reducing large mounts of shake, plus an HDR video mode. It doesn’t offer F-Log support like the X-T30, but that’s not exactly a point-and-shoot kind of feature. It has both 3.5mm mic and headphone sockets (the latter requires an included adapter) and a good number of controls over audio levels.

The X-T30 also records 4K/30p video, but supports the wider DCI 4K format in addition to UHD. It offers selectable bit rates of up to 200Mbps, while the X-T200 is fixed at 100Mbps. The 4K recording limit is less than that of the X-T200: 10 minutes.

There are considerably more video capture aids on the X-T30 if you’re getting more hands-on. It offers zebra stripes, time code support and tools for making focusing easier. The camera supports F-Log and can also output 10-bit 4:2:2 video to an external recorder while saving 4:2:0 8-bit footage to its memory card. A ‘movie silent control’ option allows you to use the touchscreen to adjust exposure while recording, so sound from the control dials is not picked up.

Like the X-T200, the X-T30 has an input for an external mic, but it’s 2.5mm and will require an adapter. Speaking of which, you can attach headphones via the USB port with an adapter that’s not included.

Wrap-up

The two most significant factors which differentiate the X-T200 and X-T30 the most are their physical controls and video capture tools. Thus, whether it’s worth spending the extra $ 200 on the X-T30 comes down to how much control you want over the camera, and how hardcore of a video shooter you are.

If you want a simpler, more smartphone-like shooting experience, then the X-T200 is the smarter choice. The 3.5″ display is the best in this price range (and above it), and the touch-based interface is easy to use. The X-T200’s updated sensor and autofocus system should perform well, and we expect that its oversampled, un-cropped 4K video will look very good. The built-in mic and headphone (via USB-C) connectors are a big plus. The camera’s main downside is its battery life, which is below average.

For those who want to take more control over their camera, the X-T30 is the better of the two. It has several dials for controlling exposure and is highly customizable. It also uses Fujifilm’s newest sensor, which we’ve found to be excellent. Like the X-T200, it captures un-cropped 4K video, and offers the wider DCI aspect ratio, F-Log, zebra stripes, and 10-bit 4:2:2 output with simultaneous internal recording. Its battery life is quite a bit better than the X-T200’s, as well.

Overall, we think that the X-T200 is a great option for more novice users, and they can put that $ 200 savings into a lens like the new XC 35mm F2. But if you’re already a photographer and looking to get a new camera, the level of control the X-T30 gives you really does make a difference, and you’ll enjoy the camera that much more for it.

Articles: Digital Photography Review (dpreview.com)

 
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How to Create Beautiful, Artistic Photos Using a Book

11 Feb

The post How to Create Beautiful, Artistic Photos Using a Book appeared first on Digital Photography School. It was authored by Ramakant Sharda.

how-to-create-beautiful-artistic-photos-using-a-book

Photography is an art, and every photographer is an artist who uses his or her imagination to create a beautiful work of art. A real artist can take anything and convert it into breathtaking artwork. In this tutorial, we are going to do the same thing. We’ll create beautiful, artistic photos using a book and an LED light.

how-to-create-beautiful-artistic-photos-using-a-book

What you need to create beautiful, artistic photos using a book:

To create beautiful, artistic photos using a book, you need a camera. Any camera, including your mobile camera, will work. A tripod is a “must” to hold the camera. A shutter release cable is also required. You’ll also need an LED torch. Again, the LED light of your mobile will work perfectly for this shoot. You may also use a torch, a bulb, or any other light source – even flash.

Of course, you also need a book. It should be big and have thick, glossy pages so that it will reflect the light well. I used Guinness World Records; if you have this book, you can do the same.

You need a dark room, so it’s better to do this shoot at nighttime.

Setup:

This shoot doesn’t require a complicated setup. Simply open your book from the center and fold over 10 pages, like in the following picture.

How to Create Beautiful, Artistic Photos Using a Book

To find the center, divide the total number of pages by 2; whatever figure comes up, open to that page number.

Now place the book at the edge of a table. Put a light behind the book at a lower angle so that it won’t show in the photo.

You can put a black glass below the book to show the book’s reflection.

Camera settings:

To create beautiful, artistic photos using a book, set your camera on Aperture Priority mode. Set your ISO to 100 and aperture to f/11 or f/16. With these settings and a mobile LED light, you’ll get a shutter speed of between one and two seconds. Because our subject is still, you won’t have any problems.

Fix your camera on the tripod. Set the frame, focus manually, and leave it. Your aperture is too narrow, so you’ll get a deeper depth of field, and the entire book will be in focus.

Don’t forget to switch your camera to manual focus mode.

Workflow:

Now you need to throw light from the back and take the shot.

Play with different angles of light to get different shots, but remember that the light will always be at a lower angle.

Once you get enough shots, change the camera position. Set it a bit lower or higher to get different results.

How to Create Beautiful, Artistic Photos Using a Book

How to Create Beautiful, Artistic Photos Using a Book

Method two

We have created pictures using LED light. Now we are going to create some different kinds of shots.

For this, you need a big monitor or TV and some abstract images. This method is quite simple. Display abstract images on your monitor or TV and place the book in front of it. There should be some distance between the book and the abstract images so that the abstract images become blurred in the picture.

You’ll need to widen the aperture, so set it to f/4 or f/5.6.

how-to-create-beautiful-artistic-photos-using-a-book

Method three – multicolor book

This method is a little hard and requires some post-processing work, but it’ll give you wonderful results. You should have a basic knowledge of Photoshop and an idea about layer masks.

It requires the same LED light setup.

You are going to take a series of pictures with different-colored lights and merge them in post-processing. You’ll need to use gels or colored gelatin paper to get colorful light.

Take five shots with different-colored lights like white, orange, red, blue, and green. Make sure that you don’t move your camera in between the shot.

Now you’ll use these photos to create a multicolor picture.

how-to-create-beautiful-artistic-photos-using-a-book

Putting it together in Photoshop

  • Open all five photos in Photoshop and stack them into layers.
  • Now select one layer.
  • Press ‘Alt’ and add a layer mask. This will add a black layer mask and hide everything. Do the same with all five layers.
  • Now take a soft brush and make sure that the foreground color is white. Set both brush opacity and flow to 50%.
  • Paint on the layer masks randomly. Change the brush size randomly. Increase and decrease the brush opacity randomly. You can also use special-effect brushes to get different results.

After some time and practice, you’ll get a photo like this.

how-to-create-beautiful-artistic-photos-using-a-book

So, postpone all the programs for tonight and create these artistic photos using a book to get some masterpieces. Then, share them here. If you have any problems, just comment on this post, and I’ll help you solve them.

The post How to Create Beautiful, Artistic Photos Using a Book appeared first on Digital Photography School. It was authored by Ramakant Sharda.


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News: Fujifilm X100V Promotional Video Disturbs Fans, Gets Deleted

11 Feb

The post News: Fujifilm X100V Promotional Video Disturbs Fans, Gets Deleted appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

fujifilm-x100v-promotional-video

Last week Fujifilm launched its X100V, an update to the popular X100 compact camera lineup. It includes a 23mm f/2 lens, a 26.1 BSI sensor, and fast autofocus for professional-quality images.

It also includes both an electronic viewfinder and an optical viewfinder, which you can toggle between by way of a switch on the camera body. You’re also free to view both the EVF and OVF at once, by working with an electronic viewfinder that appears as part of the optical viewfinder display.

With the X100V launch came a series of promotional videos, including one that featured the work of Tatsuo Suzuki, a street photographer who uses…unusual methods.

The promotional video shows Suzuki approaching people while out in public, then shoving his X100V in their faces in order to capture a photo.

Nearly all of Suzuki’s subjects look uncomfortable with the encounter, with many of them holding up their hands or ducking to the side to avoid his camera.

 

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Tokyo

A post shared by Tatsuo Suzuki / ?? ?? (@tatsuo_suzuki_001) on

 

View this post on Instagram

 

Tokyo

A post shared by Tatsuo Suzuki / ?? ?? (@tatsuo_suzuki_001) on

After this promo video dropped, many viewers became disturbed and angry, which culminated in Fujifilm deleting the video from their YouTube channel.

Note that Fujifilm seems to have done more than just delete the video. Recent reports suggest that the company has removed Suzuki as an ambassador, presumably as a response to protests.

But while some have expressed deep offense at Suzuki’s methods, others find his work impressive or even inspiring.

Many have compared Suzuki to the celebrated American street photographer, Bruce Gilden, who is known for his forceful approach; Gilden’s shooting style involves marching straight up to a subject and shoving a camera, as well as an off-camera flash, in their face.

Which begs the question:

Are Suzuki’s methods acceptable?

On the one hand, Suzuki’s photos are undeniably powerful. His style is intimate and unique.

On the other hand, if Suzuki is causing such discomfort, are the shots really worth the cost? Do the ends justify the means?

There are also other costs to consider. For instance, the more unpleasant experiences the public has with street photographers, the less likely they are to engage with street photographers in the future, potentially ruining opportunities for the rest of the community.

In truth, I find it curious that Fujifilm didn’t recognize this problem with their footage from the beginning. Even if the company doesn’t have a problem with Suzuki’s style of shooting, it was inevitable that not all viewers would appreciate his approach.

What do you think? Do you have an issue with Suzuki’s methods? And should Fujifilm have dropped him as an ambassador?

Share your thoughts in the comments!

The post News: Fujifilm X100V Promotional Video Disturbs Fans, Gets Deleted appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Nikon D780 gallery updated with fresh samples, Raw conversions

11 Feb

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We’ve been busy as heck putting the Nikon D780 to the test, both in our lab and in the field. And the camera’s proving to be a great all-arounder, regardless of our subject matter or lighting conditions. What you’ll find here is an updated gallery with many additional samples as well as a wide selection of Raw conversions.

See our Nikon D780 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Tamron reveals it has three new, unannounced mirrorless lenses planned for 2020

11 Feb
The relevant section (the teal section, middle-right) of the above graphic has been altered to include the translated text.

Buried within Tamron’s full-year financial report was a little detail that hints at Tamron revealing three new, unannounced lenses for mirrorless cameras in 2020.

The new information can be seen in the above graphic within the presentation that shows Tamron has five models planned for 2020, two of which have already been announced: the 20mm F2.8 lens for Sony E-mount cameras (Adorama, B&H) and a compact 70–180mm F2.8 lens for Sony E-mount cameras that’s currently in development.

It’s unknown what the three new lenses will be, but Sony Alpha Rumors is reporting all three will be E-mount lenses.

Other details in the report include a statement claiming Tamron expects ‘the sales of own-brand [mirrorless lens] models is expected to increase the sales compare to the previous year’ and confirmation its 17–28mm F2.8 lens should no longer be backordered by the end of February.

Articles: Digital Photography Review (dpreview.com)

 
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