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This free, AI-powered Lightroom plug-in will automatically tag your photos with keywords

Powered by artificial intelligence, Imagga’s Wordroom is a plug-in for Adobe Lightroom that ‘sees’ images and recommends a list of up to 30 keywords based on attributes including objects, colors, shapes, emotions, timeframes, and events. With one click, keywords can be added to an image’s metadata so that it’s easily searchable. It was created for professional and hobbyist photographers who don’t want to spend long hours assigning individual keywords to hundreds of thousands of images.

Wordroom relies on machine learning algorithms that get smarter as more people use them. This means the more images it sees, the better it gets at accurately identifying keywords. Users can remove any keyword that doesn’t make sense for a specific image and manually add in as many as they wish. Once the ‘Add to keyword tags’ button is clicked, both automatic and manually entries will be displayed in Lightroom’s Keyword tags panel. Each photo with keywords will have a tag on its thumbnail.

To install Wordroom, select ‘Plugin Manager’ from Lightroom’s dropdown menu ‘File.’ Add the plug-in file stored on your computer, enable it, and click ‘Done.’ Next, select the dropdown menu ‘Library’ and click on ‘Plug-in Extras’ > ‘Auto-keyword.’ It will automatically display suggested keywords for the currently selected photo. Photos are analyzed in the cloud as small thumbnails, so users will need to be connected to the Internet when using it, but Wordroom claims images are not permanently stored.

You can use the plug-in without registering for the first 100 photos. After that, you’ll need to sign up for a free plan. Wordroom will remain free to use if you auto-tag 2,000 or fewer images per month. Any more than that will require a higher-tier plan that allows for up to 12,000 images per month at $ 14. To get started, all Imagga asks for is an email address so it can send you a download link.

Articles: Digital Photography Review (dpreview.com)

January 22, 2020
Voigtlander brings its Nokton 21mm F1.4 lens to Leica M-mount camera systems

Voigtlander has announced the release of its new Nokton 21mm F1.4 Aspherical VM lens for Leica M-mount camera systems.

The lens, which uses an identical design (mount aside) from its Sony E-mount counterpart, is constructed of 13 elements in 11 groups, has an aperture range of F1.4 through F16 and uses a 12-blade aperture diaphragm. It has a 62mm front filter thread, a minimum focusing distance of 50cm (20in) and features a rangefinder interlocking mechanism that Voigtlander says ‘enables severe focusing near the open aperture.’

The 21mm F1.4 features a Bayonet-type VM mount that can be used with Vessa and M-mount cameras (not including the Bessa L and R).

The Voigtlander 21mm F1.4 Aspherical VM lens has a suggested retail price of ¥150,000 in Japan, which currently puts it at around $ 1,350, despite there being no official U.S. pricing at this time. The Sony E-mount version of this lens is currently listed for $ 1,100 on B&H.

We have contacted Voigtlander to confirm the pricing and availability in other regions. We will update this article accordingly when we hear back.

Articles: Digital Photography Review (dpreview.com)

January 22, 2020

Canon RF 85mm F1.2L USM review

Introduction

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Since the launch of the EOS R line in 2018, Canon has mostly concentrated its attentions on high-end RF lenses. And the lens we’re looking at here is likely to be one of the most coveted RF-mount optics, partly because of its classic portrait-friendly focal length and super-wide aperture, but also because Canon bills it as having the finest optical performance of any autofocus-enabled 85mm lens the company has ever released. Quite a claim.

Naturally, all of this goes some way to explain why the RF 85mm F1.2L USM is among the costliest lenses in the RF lineup. It’s considerably pricier than the EF 85mm f1.2 L II USM, which can also be used with EOS R-series bodies via an adapter, and if you’re happy to slum it with an F1.4 option then you’ll find many more cost-effective options from other manufacturers to choose from. Nevertheless, the RF 85mm should prove a tempting option for early EOS R-series adopters with an appetite for fast glass and pockets deep enough to satisfy it.

Key specifications:

Focal length: 85mm
Aperture range: F1.2-16 (In 1/3 EV stops)
Filter thread: 82mm
Close focus: 0.85m (2.79 ft.)
Maximum magnification: 0.12x
Diaphragm blades: 9 (rounded diaphragm)
Hood: ET-89 round-shaped hood (supplied)
Length / Diameter: approx. 103.2 x 117.3 (4.06 in. x 4.62in)
Weight: approx. 1,195g (approx. 2.63lbs)
Optical construction: 13 elements in nine groups

Features

Aimed primarily at portrait, fashion, wedding and event photographers, the RF 85mm F1.2L USM brings together a handful of RF-specific technologies with those seen previously in the EF line.

Despite its size and weight, the lens has been designed with just 13 elements in nine groups, although some of these are necessarily quite large. They include a single ground aspherical element to keep spherical aberration and corner softness from being a problem, and an Ultra Low Dispersion element positioned just ahead of it to help combat chromatic aberration.

Canon’s Blue Spectrum Refractive (BR) element greatly refracts shorter wavelengths, ensuring blue wavelengths focus at the same plane as longer wavelengths like red and green. This increases sharpness and reduces longitudinal spherical aberration, commonly seen as color fringing.

Longitudinal chromatic aberration (LoCA), typically seen as purple and green fringing in front of and behind the focal plane, respectively, is further controlled through the use of a Blue Spectrum Refractive (BR) element, something we first saw three years ago inside the EF 35mm F1.4L II USM. Its purpose is to refract blue light – or rather, short wavelengths that correspond with what we see as blue – to a greater degree than conventional optics would manage. By doing so, it’s better able to focus all wavelengths to the same point, which in turn helps to quash longitudinal chromatic aberration and increase sharpness at the focal plane. Quite how well it can do so is something we’ll be digging into later on in this review.

Helping to keep flare and ghosting down are Canon’s conventional multi-coatings, while a single application of the more advanced Air Sphere Coating (ASC) deals with ill effects from light passing either parallel or near parallel to the optical axis. Nine diaphragm blades, meanwhile, promise to keep the diaphragm round for nicer out-of-focus highlights.

The lens accepts 82mm filters at its front and can focus as close as 85cm (2.8 ft) away from the subject, which is a 10cm reduction on the previous EF 85mm f1.2 L II USM. Helping to make its price tag a little easier to swallow, Canon has thrown a deep round lens hood into the box, as well as a pouch to keep it all protected when not in use.

What about the Canon RF 85mm F1.2L USM DS?

The lens on test is joined by a slightly more costly (+$ 300) ‘DS’ variant, and while the it adheres to the same basic formula and optical design as the non-DS version, the ‘DS’ suffix denotes the presence of Defocus Smoothing technology. This is a new coating on two of its elements that’s said to help smooth out the edges of out-of-focus areas, which the company claims is more necessary here given the more severe correction for chromatic aberration. The effect is similar to some specialized lenses from Fujifilm and Sony that contain comparable apodization elements.

While potentially very useful to dedicated portrait photographers, the fact that the DS technology comes at the cost of up to 1.5EV stops of light transmission, and also produces images with slightly deeper depth of field than the non-DS version explains why Canon has decided to give the photographer the choice of both options.

Articles: Digital Photography Review (dpreview.com)

January 22, 2020

Plugable launches 512GB version of its Thunderbolt 3 NVMe drive with read speeds up to 2,400MB/s

Back in November 2019, accessory manufacturer Plugable launched its 1TB and 2TB Thunderbolt 3 NVMe drives. Now, roughly three months later, Plugable has announced it’s now offering the same drive in a 512GB capacity for those who don’t need as much space or prefer to keep their content spread across multiple smaller drives.

Like its larger counterparts, the 512GB Thunderbolt 3 NVMe drive is powered entirely through its integrated Thunderbolt 3 cable and features sequential read speeds up to 2,400MB/s and write speeds up to 1,800MB/s. The drive works at full-speed with any Thunderbolt 3-compatible macOS or Windows computer and is backward compatible at USB-C speeds on computers without Thunderbolt 3.

The drive is constructed of aluminum and weighs just 173g (6.1oz).The 512GB Plugable Thunderbolt 3 NVMe drive will retail for $ 200, but is currently available for a launch-special price of $ 180 (when you clip the coupon code).

Articles: Digital Photography Review (dpreview.com)

January 22, 2020
BTS: A look at the incredible planning, camera work and editing that went into the WWI film ‘1917’

Movies Insider has released a ten-minute behind-the-scenes look at the Golden Globe-winning film ‘1917,’ showing the incredible amount of thought, planning, camera work and editing that went into the World War I film that’s made to look as though it was captured in one, continuous shot.

The behind-the-scenes video shows how meticulously Cinematographer Roger Deakins (The Shawshank Redemption, Fargo, A Beautiful Mind, Skyfall and Sicario) and director Sam Mendes (American Beauty, Skyfall, Spectre) worked together to plan each and every shot, down to the second. From creating miniature dioramas to plan out the paths of the actors, cameras and lights to the vast array of gimbal and camera setups used, the video covers it all with great snippets of pre-production footage and interviews with the film’s creators.

Do yourself a favor and set some time aside to see the cinema magic that went into this Oscar-contender film.

Articles: Digital Photography Review (dpreview.com)

January 22, 2020
Paris Musées launches online portal with thousands of historic photographs

Eugène Atget (Jean Eugène Auguste Atget, dit) (Libourne, 12–02–1857 – Paris, 04–08–1927), photographer

Paris Musées, the public institution that manages all of the museums in Paris, has launched a new Collections portal that offers the public access to more than 100,000 high-resolution digital reproductions of classic artwork and photography. All of the content offered in the Collections portal is available under a CC0 license.

In addition to high-resolution images of artwork from such notable names as Rembrandt, the online collection also includes a portal with more than 62,000 high-res photo scans showcasing some of the nation’s earliest photography from photographers that include Pierre Emounts ou Emonds, Eugene Atget, Ernest Charles Appert, Hippolyte Blancard and Roger Henrard.

Maison de Balzac, 16th arrondissement, Paris. Eugène Atget (Jean Eugène Auguste Atget, dit) (Libourne, 12–02–1857 – Paris, 04–08–1927), photographer

Because the photos are all under a CC0 license, anyone can download high-resolution copies of the images alongside documents with full details on the photos, including when and where they were taken, which museum they’re located at and the materials and techniques used to produce each print. The institution will also make copyrighted images from its museums available as low-resolution previews.

In its announcement of the new online collection, Paris Musées explains that it receives a large number of requests from students and others who want to view and/or use some of the images from its museum collections. This portal now makes it possible for anyone to quickly locate and download the content.

Articles: Digital Photography Review (dpreview.com)

January 22, 2020
The Fujifilm X-T4 to be Announced in Early February (With IBIS)

The post The Fujifilm X-T4 to be Announced in Early February (With IBIS) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

It might come as a bit of a surprise, but it looks like we’re getting a Fujifilm X-T3 successor earlier than expected:

The Fujifilm X-T4.

(While the “X-T4” moniker isn’t official, we’re definitely talking about a successor to the X-T3.)

According to Fuji Rumors, the X-T4 will drop in March, with an official announcement on February 4th. This breaks the common two-year upgrade cycle that Fujifilm generally follows; the Fujifilm X-T3 was released in late September 2018, and the Fujifilm X-T2 was released just over two years prior, in early September 2016.

It’s possible that this faster upgrade indicates only minor changes between the two cameras. But I find this unlikely, given the high expectations Fujifilm has created for itself after producing the phenomenal X-T3.

So while the details are sparse, let’s talk about what we know (or suspect) will be present in the Fujifilm X-T4.

First, the most persistent rumor addresses what might be the biggest complaint regarding the X-T3:

In-body image stabilization.

The Fujifilm X-T4 will have IBIS, according to Fuji Rumors. To date, the only Fujifilm camera with IBIS is the Fujifilm X-H1, which sacrificed a compact build in order to include the IBIS tech. Hold the Fujifilm X-H1 and you get a DSLR-like experience, compared to the compact, travel-ready build of the X-T3.

Fortunately, it seems that we won’t see a Fujifilm X-H1 build for the X-T4. Instead, Fuji engineers have likely compacted the IBIS tech, so the X-T4 will feature IBIS will little-to-no increase of size.

As for other Fujifilm X-T4 features, while nothing has been confirmed, we can predict a modest upgrade in resolution (perhaps from the current 26 MP to a 28 MP or even 30 MP sensor). And we can expect at least equivalent continuous shooting speeds (30 fps with 1.25x crop, 20 fps with the electronic shutter uncropped, 11 fps with the mechanical shutter) to the X-T3, as well as dual card slots, impressive autofocus, and (maybe) a fully-articulating touchscreen.

There’s also a possibility of 6K/60p video, which would be a clear step up from the 4K/60p offered by the X-T3.

Regardless, we don’t have long to wait.

So keep your eye out for further updates on the X-T4, which is bound to be an incredible addition to Fujifilm’s already-formidable APS-C mirrorless lineup.

The post The Fujifilm X-T4 to be Announced in Early February (With IBIS) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

January 22, 2020
Edelkrone launches JibONE motion control with mobile app and motorized head support

Edelkrone has launched a new app-controlled jib called JibONE that can be used with the HeadONE and HeadPLUS motorized heads for capturing a variety of shots. The jib supports 50cm (19.6in) of horizontal, vertical and diagonal motion in any direction, including looping motion. Despite its capabilities, Edelkrone says the model is compact enough to store in a backpack.

The JibONE is made from CNC machined aluminum and stainless steel; it measures 61 x 17 x 15cm (24 x 6.7 x 5.9in) when folded and weighs 5.5kg (12lbs) when used with the 1kg (2.2lbs) counterweight. Edelkrone recommends that users keep their setup load to less than 5kg (11lbs). The company says that all DSLR models are compatible with the JibONE.

HeadONE and HeadPLUS motorized heads used with the JibONE.

Operators have two different battery options to choose from for powering the JibONE: LP-E6 and NP-F batteries. Battery life varies based on which are used, but when the JibONE is powered with two Canon LP-E6 14.4Wh batteries (for a total of 28.8Wh), users can expect two hours of continuous operation at full speed or up to 12,000 still images when used in time-lapse mode.

Connectivity comes in the form of Bluetooth LE which enables users to control the jib using an iPhone running iOS 11 or newer or an Android handset running version 5.0 or later. The mobile app offers a simplified interface for recording poses, setting up motion loops, adjusting speed and more. Users can also program camera motions with the jib by manually adjusting the device.

The JibONE is available from Edelkrone now for $ 1000.

Articles: Digital Photography Review (dpreview.com)

January 22, 2020
Confirmed: Venus Optics working on new line of ultra-fast ‘Argus’ F0.95 lenses

Update (11:30 EST, January 20): Venus Optics has confirmed to DPReview that it’s working on not just one, but multiple F0.95 lenses. A Venus Optics spokesperson says Venus Optics does ‘not have further information about these lenses’ at this time and concluded their statement saying ‘As usual, we are just trying to create something unique, good quality and affordable for photographers.’ The headline of this article has been changed to reflect this confirmation.

According to a report from FujiAddict, Venus Optics, manufacturer of the Laowa lens brand, is working on a new ultra-fast F0.95 lens for DSLR and mirrorless full-frame and APS-C camera systems.

FujiAddict’s report, which says the lens will be denoted by the ‘Argus’ moniker, is substantiated by an image posted to Chinese social media platform Weibo that claims to show a frame from a presentation that simply shows the words ‘Laowa F0.95.’ At this time, no information is given regarding the focal length or specific mounts this purported lens will be available for. However, FujiAddict claims ‘Many are speculating it will be wide and my contact says they expect it to be between 20–35mm.’

As noted in the report, Venus Optics isn’t the first third-party lens manufacturer to create an ultra-fast prime lens. In addition to the legendary Leica Noctilux F0.95 lens, SLR Magic has a slew of ‘HyperPrime’ lenses for both still and cinema photography.

We have contacted Venus Optics in an effort to confirm this report. This article will be updated accordingly if we hear back.

Articles: Digital Photography Review (dpreview.com)

January 21, 2020
DIY Photography: How to Make Your Own DIY Lightstick for Cool Photos!
The post DIY Photography: How to Make Your Own DIY Lightstick for Cool Photos! appeared first on Digital Photography School. It was authored by Simon Bond.

In this article, you’ll learn how to make your own DIY lightstick.

You’ll be able to use this to create fascinating light paintings, and the best thing is, you can do it on a budget!

The simple DIY lightstick is made with easily available household objects and a set of fairy lights. Once it’s made, you’ll be able to create beautiful light patterns during long exposure photos.

Using a light stick for light painting can transform a scene.

What is light painting

Light painting is a long exposure technique.

To achieve this kind of photo, you’ll need a camera on a tripod, and usually, the photo will be taken at night. The exception to this would be a studio that is completely dark – this too can be used for light painting.

Most people will know light painting as simply spelling something in the sky with a torch.

There are two main forms of light painting, kinetic light painting, and regular light painting. In this article, you’ll learn about using a light stick to create regular light paintings.

There are light sticks out there you can buy. This photo was taken using a pixelstick.

Lightsticks you can buy

You can buy a ready-made lightstick.

Indeed, some of these are already quite cheap and will give you the chance to practice some of the ideas presented in this article. There are also those sticks that are more expensive.

It’s worth keeping the more expensive sticks in mind, as they will give you more options when compared to a stick like the one you’ll be shown how to make in this article.
- LED light sticks – The creme of the crop are the LED light sticks made by pixelstick and magilight.
- Glow sticks – The glow sticks often seen at parties and festivals. They’re cheap, and can be used for light painting.
- Toy light stick – Head down to your local toy shop and pick up a light saber. Indulge your inner child, and it also makes some great photos!
- Light painting swords – These are similar to kids’ toys, but are made specifically with photographers’ needs in mind. They are available through this site.
You’ll use tie straps to attach the wire to the tube.

How to make a DIY light stick

There are some very good cheap options when it comes to light sticks, and you might decide to pursue one of those instead of making a DIY lightstick. If you want a little challenge, then read on and see what you can make.

The supplies you’ll need

First of all, let’s gather the supplies you’ll need. You can find most at home, however, you may need to visit your local DIY store or look online for some too.
- Battery operated fairy lights.
- A piece of plumbing pipe. Around one meter long, and 2cm in diameter.
- A plumbing pipe connection piece. A t-shape variety is best, and also 2cm in diameter.
- A set of tie straps.
- A copper piping half-circle bracket.
- Wire cutters.
- A saw.
- Solder and soldering iron.
- Electrical tape.
- Glue gun.
- Bungee cord.
The battery pack needs to be glued onto the stick as well.

Putting the whole thing together

Now you have everything you need, take the following steps to put it all together.

The task is fairly simple. It’s really just attaching some fairy lights to a stick. Why the plumbing tube? That’s so you can break it down to a stick that’s half of its size in an easy way.

Attaching the fairy lights
1. Take your length of plumbing tube and use the saw to cut it in half. The length of the 2 halves is optional. In my case, I went with 50cm.
2. Attach the two pieces together using the connection piece.
3. Now Attach the end of the fairy light wire to the end of your tube use a tie strap.
4. Pull out the fairy lights to the length of the tube. Then give a little slack to allow the tube to be detached at the connection point.
5. Use another tie strap to attach the fairy light wire to the other end of the tube.
6. Run the wire back down the length of tubing again, and then attach the wire to the tube using another tie strap.
7. You’ll now have excess wire and fairy lights left over. You could repeat steps 4,5 and 6 if you wish, or continue to the next part.
This stick divides into two. This makes it easier to carry around and gives you the option of using the stick at half its full length.

Putting the battery pack on, and finishing the stick.
1. Use the wire cutters to cut away the excess wire, leaving around 20cm to the battery pack.
2. Strip away some of the plastic coatings on the wire on the side with the battery pack, and the side attached to the piping.
3. Solder the two pieces of wire back together again. Make sure the correct wire is soldered together or the lights won’t work. When you cut the wire, two wires will be revealed on each side of the wiring. You need to solder this back together to re-complete the circuit.
4. Use the electrical tape to cover up the soldered wire, or if you have it, plastic that shrinks when heated to cover the join.
5. Test the lights, they should now work, and you should now have a light stick!
6. Take the copper bracket and hoop it around the pipe, and touch it to the battery pack to ensure it connects.
7. Use the glue gun and add glue to the joining section on the battery pack, the pipe, and the copper bracket.
8. Hold everything in place until the glue has dried hard.
9. Finally, run the length of the bungee cord through the piping, and knot it at both ends. The cord should be tight enough to hold the pipe together, but loose enough that you can easily detach the two halves of the stick.
The stick is now ready, it just needs the bungee cord put through the middle.

Light painting with a lightstick

Now you have a DIY lightstick you can use to create interesting light paintings.

Lightsticks work because of the repetition factor – lots of lights moving altogether in a uniform pattern. It’s best to keep your light paintings relatively simple. Use defined movements, like spinning around, to create light cones. Spin the stick around to create circles, or simply walking along with the stick to create light ribbons.

What you do creatively with the stick is now up to you, but enjoy experimenting!

It’s usually a good idea to keep light paintings simple, with a defined message.

Conclusion

It’s always fun to make something for your photography. Have you ever tried to make an accessory yourself? Maybe it was for flash photography, something like a snoot?

Here at digital photography school, we love to hear from you, so please share your experiences. If you have any light painting photos taken with a light stick that you would like to share, that would also be great!

You may also like:
- DIY Photography Backdrops for Still Life and Product Photography
- 5 DIY Macro Photography Hacks for Stunning Macro Photos (on a Budget)
- How to Make a DIY Photography Softbox
- Try this DIY Neutral Density Filter for Long Exposure Photos
- DIY Food Photography Props on a Budget
- DIY Photography Backlighting for Beginners
- How to Make a DIY Lens Hood to Eliminate Lens Flare
- How to Make Easy and Affordable DIY Food Photography Backdrops
The post DIY Photography: How to Make Your Own DIY Lightstick for Cool Photos! appeared first on Digital Photography School. It was authored by Simon Bond.

Digital Photography School
January 21, 2020