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Hands on with the Nikon D780

Introduction

At long last, it’s here – the Nikon D780, successor to the D750 that was released more than five years ago. At the time, we considered the D750 as one of the most well-rounded digital cameras ever made, and it remains highly capable even today. So, to put it lightly, the new model has some big shoes to fill.

We’ve just received a full-production D780 and have gotten a start on our full review. As we work through our testing, we figured we’d take a look at the D780’s design, handling, and some of its high-level updates.

New BSI sensor

The heart of any digital camera is its sensor, and the unit in the D780 looks to be a good one. With 24MP, it’s not a megapixel monster, but should offer enough resolution for most users and most use cases. It’s now backside-illuminated, which is nice to have but doesn’t offer the same image quality benefits on large, full-frame sensors as it does on smaller ones. No, the real news is that it’s a dual-gain design. This means that, at the lowest ISO values, you can get maximum dynamic range out of the sensor, while higher ISO values give you better noise performance.

The sensor is also capable of 4K video, and the D780 can shoot silent bursts at up to 12 fps. We’ll be taking a look at rolling shutter as we push through our full review.

New shutter and mirror mechanism

Being a DSLR, a mirror sits in front of the sensor most of the time and redirects light up to an optical viewfinder. The D780’s sensor and mirror mechanism have been redesigned, boosting burst speeds modestly up to 7 fps from 6.5. The redesigns also enable a minimum mechanical shutter speed of 1/8000 sec (the D750 could only reach 1/4000 sec). Unfortunately, the flash sync speed remains at 1/200 sec; many competing high-end models can reach 1/250 sec or even 1/320 sec.

And, speaking of flash…

Removal of pop-up flash and top-plate design

That’s right, Nikon’s removed the built-in pop-up flash that was on the previous model. While Nikon says this makes it easier to weather-seal the D780 to a higher degree, it also means that you no longer have that built-in flash for some quick fill-light when you need it. For strobists, the removal of the flash also means that you need a separate dedicated transmitter (or another speedlight) to wirelessly control Nikon’s speedlights using its Creative Lighting System.

On the top plate, we see an LCD info panel that is about the same as you’d see on the D750. There’s been some button shuffling, though; gone on the right side by the power switch is the dedicated metering button, though an ISO button has been added. Lastly, the mode dial has been simplified with fewer options.

Rear design and controls

While the rear of the camera might look familiar, there are a few substantive changes. There’s the addition of a dedicated AF-ON button, and the relocation of the live view and stills / video switch to the top of the plate near the viewfinder for easier access. The ‘i’ and INFO buttons have swapped sides of the camera as well, so if you pick up a D780 and are a long time D750 user, prepare to reprogram your muscle memory just a bit.

Oh, and if you’ve ever lost your Nikon DK-21 eyecup for your D750, we have some good news – it seems like the DK-31 eyecup for the D780 is attached a bit more securely, and we haven’t lost ours (yet).

Optical viewfinder and autofocus system

And so, despite the bit of button shuffling, it looks like much of Nikon’s mantra with the D780 was ‘if it ain’t broke, don’t fix it.’ In that vein, the optical viewfinder is identical to the previous model’s: same pentaprism design, 0.7x magnification, and autofocus layout with 51 points clustered around the center of the frame.

Indeed, after our experience with ever-more-capable mirrorless cameras over the past five years, we’re starting to find the spread of DSLR autofocus points a bit constricting. But hey – if you’ve been using a D750 for the past five years, well, at least it’ll be familiar, if not a huge upgrade.

All that said, you can expect at least an increase in accuracy and tracking performance, courtesy of an upgraded 180k-pixel metering sensor and AF algorithms derived from the D5 sports camera. We’ll be digging into these in our full review to find out just how significant these updates are.

Rear touchscreen and live view

The D780 retains a similar tilting screen mechanism that its predecessor had – and I have to be honest, when I first used a D750 professionally, I was pretty stoked at tilting the screen out and not having to lay down on my stomach in the dirt for low angle shots. But I digress.

In consideration of all the D780 offers, this is where the most significant updates lie. Sure, the screen has been updated to 2.36M dots (up from 1.23M), and offers touch functionality for shooting, playback and menus. But the real story is that once you switch the D780 into live view, you effectively have a bulkier, F-mount Nikon Z6 in your hands.

You get the Z6’s 273 on-sensor phase-detection AF points (compared to the slow, ‘hunty’ contrast detection of the D750) and the same AF tap-to-track functionality for both stills and video. And speaking of video, the D780 is capable of 4K video, which we’d wager will look an awful lot like what the Z6 is capable of (in other words, pretty darn good).

The one gripe we have with the touchscreen is that you can’t drag your finger across it with your eye to the viewfinder to move your AF point around (and this was included on Nikon’s D5600 DSLR as well as countless mirrorless models from other manufacturers).

Dual UHS-II SD card slots

Moving on, we can see that the Nikon has resisted moving the D780 to the XQD format seen on Nikon’s Z-mount cameras, instead offering dual UHS-II SD card slots (an upgrade from the UHS-I slots on the D750). Whether you prefer the more ubiquitous SD card format or not, at least we can breathe a collective sigh of relief that there will be somewhat fewer “NO DUAL CARD SLOTS NO BUY NOT PROFESSIONAL GRR” comments floating around the internet.*

And while we haven’t yet tested the buffer depth of the D780, it was a bit limited on the D750, and was regarded as one of that camera’s weak points. We’re hopeful that the faster slots on the D780 will enable longer burst-shooting for sports and action photographers.

*(In all seriousness, the D750 made for a great wedding camera, which is a use-case where dual card slots have an obvious benefit – we’re happy the D780 continues to offer them.)

Battery, no grip

One area that has generated a barrage of bilious bloviating is the D780’s apparent lack of compatibility with an add-on vertical grip. The bottom-plate of the camera is where we would usually see a small rubberized door hiding some electrical contacts that enable the camera to use additional controls present on most vertical battery grips. Without those, the most we can hope for is a grip like this one for the Z series, which boosts battery life but doesn’t do much else.

At the very least, the D780 is CIPA rated to 2260 shots through the optical finder on a single EN-EL15b battery, which is over than a thousand shots more than the D750 could manage. That’s pretty impressive.

Ports and connectivity

Further related to battery life, the D780 gains a USB Type C port, which can also charge the camera if you have the EN-EL15b battery installed. The previous EN-EL15a and EN-EL15 batteries will power the camera, but they cannot be charged over USB. It should also allow for faster data transfers, as well as better tethering support.

In terms of wireless data transfers, the D780 now supports Bluetooth as well as Wi-Fi using Nikon’s SnapBridge wireless system. It’s become quite a capable system and is a far cry from the original WMU mobile app that users had to contend with on the D750.

There’s also a mini HDMI port, which supports 10-bit 4:2:2 4K video output (just like the Nikon Z6), as well as a remote port and microphone and headphone ports. If you have a stabilized lens, a gimbal or plan to use a tripod a lot, the D780 should make for a pretty capable DSLR video rig.

The wrap

By now it should be apparent that, in creating the D780, Nikon has chosen not to mess with the basics of what made the D750 a great camera. We still have a reasonably compact DSLR body with a comfortable grip and well-sorted ergonomics, burst shooting that is likely fast enough for most people, and what is looking to be a really capable viewfinder autofocus system. With the addition of 4K video, a smoother live view experience, a touchscreen and better wireless connectivity, they’ve only really updated the things that really needed updating.

Does that make the D780 a particularly exciting camera? I suspect it will be pretty exciting for a fairly small subset of users (particularly those with large collections of F-mount lenses). But it does help guarantee that, just like the D750, the D780 will likely remain relevant as a reliable workhorse for pros and enthusiasts for many years to come.

And if you’re a D750 user that still can’t decide whether or not to upgrade, watch this space – we’ll be publishing an article dedicated to just that very soon.

Articles: Digital Photography Review (dpreview.com)

January 16, 2020
Back to Basics: What is the Reciprocal Rule in Photography?
The post Back to Basics: What is the Reciprocal Rule in Photography? appeared first on Digital Photography School. It was authored by Adam Welch.

There are extremely few true “rules” in photography. This is an odd thing to say, especially in an article explaining the “Reciprocal Rule”. In an effort to do you and I both a favor, I think it’s best to get this out of the way right here at the beginning. Whenever we refer to the Reciprocal Rule in photography as…well…a rule, just know that it’s meant as more of a helpful guide rather than an iron-clad rule. Got it? Good.

Now, onward to the good stuff!

In photography, motion is both our friend and enemy. Intentional or anticipated movement from our subjects or camera can result in magically extraordinary photos. At the same time, unintentional motion, specifically unwanted camera shake, can rob our images of sharpness and depth.

Falling short of the Reciprocal Rule requirements. 1/200th of a second at F/5.6 with a 300mm lens.

We’ve mentioned the Reciprocal Rule quite a few times in other articles, but today we’re going to dig a bit deeper and learn more about how to use this extremely simple technique. It very well could be one of the most useful bits of knowledge you can possess when it comes to helping you prevent unwanted camera shake.

What is the Reciprocal Rule?

Banish all thoughts of grade school math and algebra class from your mind when you read the word “reciprocal.” True, the Reciprocal Rule hints at mathematics but the technique itself is incredibly simple.

Simply put, for full-frame image sensors (more on this in a bit) the Reciprocal Rule states that your slowest shutter speed when shooting handheld should not be longer than “1” over your selected focal length in millimeters.

Not so bad, right?

In order to reduce the appearance of inherent camera shake when hand-holding your camera, just don’t allow your shutter speed to dip below the reciprocal of your focal length.

Author’s Note: In mathematics, the word “reciprocal” is generally considered interchangeable with “multiplicative inverse”…which sounds much cooler.

It’s here where our previous discussions of the Reciprocal Rule in photography have ended but that is not the case today! Let’s drill down a little further and examine how the Reciprocal Rule works.

A caveat on reciprocal vs reciprocity

Talking about the Reciprocal Rule in photography can be tricky at times because it sometimes gets confused with another photographic principle called “reciprocity.”

Reciprocity, or more specifically reciprocity failure, is a phenomenon photographers sometimes had to manage back in the pre-digital photography days of film. Simply put, film emulsions become less light-sensitive as they are exposed which requires adjusted exposure times based on the type of film and the duration of the metered exposure.

Each of these 35mm frames is approximately the size of a modern full-frame digital sensor.

Fortunately for us, digital camera sensors don’t suffer from reciprocity failure. However, there are times when autocorrect or well-meaning individuals sometimes confuse the Reciprocal Rule and reciprocity failure as being one and the same when they absolutely are not.

Why does the Reciprocal Rule work?

While the Reciprocal Rule centers around estimating exposures based on your focal length, it is not actually dependent on that variable. In fact, the reason why the focal length of your lens matters is because longer focal lengths result in more constrained angles of view (field of view). The tighter your angle of view, the more noticeable camera shake becomes.

So, shorter focal length lenses can achieve relatively long handheld exposures over longer focal lenses due to their wider angle of view – not their optical focal length. The Reciprocal Rule is useful because it takes into consideration the progressively decreasing angle of view produced as focal length increases.

Check out this quick video where I breakdown why the Reciprocal Rule works.

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Sensor size and the Reciprocal Rule

First, a bit of backstory on sensor sizes, but I promise it will come back around to the Reciprocal Rule.

If you’ve been involved in making photos with a digital camera for any length of time, then you likely have encountered the phrase “crop factor” when talking about digital camera sensors. Albeit there are exceptions, today almost all consumer photography lenses center around the standard 135 film format, commonly known as 35mm.

This is where the concept of “full-frame” digital sensors originated as they are roughly the same dimensions as those of a frame of 35mm film, give or take. Therefore, mounting a lens of a focal length based on the 35mm full-frame film standard to a cropped sensor camera, the field of view becomes inherently more narrow (cropped) due to the smaller sensor size.

Essentially, a cropped sensor will “zoom” a full-frame lens and cause it to have a longer effective focal length.

Every camera manufacturer’s cropped sensor has a crop factor you can use to approximate the resulting focal length of a full-frame lens when used on a cropped-sensor camera. For example, Canon’s cropped sensor (APS-C) has a crop factor of 1.6x because a full-frame Canon sensor is approximately 1.6x larger than that of its cropped-sensor counterpart.

So, my 50mm lens is considered a true 50mm lens when mounted to my full-frame sensor 5D MKIII. However, if I were to mount that same 50mm to my cropped sensor 7D, it would instantly become approximately an 80mm lens (1.6 x 50mm) instead of 50mm.

The reason why sensor size and crop factors become important when using the Reciprocal Rule in photography is due to their effect on the effective angle of view.

The Reciprocal Rule states that I should use a shutter speed no slower than 1/50th of a second with a 50mm lens and full-frame camera.

A cropped sensor camera with that same 50mm lens would dictate a faster shutter speed be employed since the crop factor has changed the effective focal length of our lens to 80mm.

This results in a reciprocal of 1/80th of a second minimum shutter speed.

Without going much further down the rabbit hole on sensor sizes, just know that the opposite is also true when using sensor sizes larger than the full-frame standard. The resulting “reverse crop factor” would be less than 1x. It would mean that a full-frame sensor camera lens would now produce a wider angle of view, thus, increasing the duration of your allowable handheld shutter speed.

The effects of image stabilization

Another aspect to consider when talking about the Reciprocal Rule is that of image stabilization. More and more often today, manufacturers are building better and more efficient image stabilization into their cameras and lenses. Many of these image stabilization systems offer upwards of 2-stops of reported stabilization (meaning you can shoot 2-stops or more slower shutter speeds).

This means that we can incorporate the approximate stops of image stabilization (should you have it) when making use of the Reciprocal Rule.

It’s actually quite simple.

If you engage your lens or camera’s image stabilization, you are effectively lengthening your allowable handheld shutter speed by ever how many stops the stabilization states it will compensate. Feel free to adjust the shutter speed of the Reciprocal Rule and see if you can manage even longer shutters due to the stabilization.

Final thoughts on the Reciprocal Rule

There are very few absolutes when it comes to making photographs. Every photographer is different, and what works for one might very well not work for another.

This is especially the case when dealing with techniques such as the Reciprocal Rule in photography. Although it attempts to help us prevent unwanted camera shake by providing a quick and easy baseline shutter speed based on our lens, it should not be considered a true “rule.”

Granted, some of us are simply better at holding our cameras more steady than others, but there is no replacement for practice and optimal body mechanics when it comes to producing less shaky photos.

The next time a tripod is not handy or practical, use the Reciprocal Rule to help you increase your odds of getting a sharper photo each and every time you’re shooting from the hip.

You may also like:
- Back to Basics: Deciphering Shutter Speed and Motion
- Back to Basics: Understanding the “Sunny 16 Rule” in Photography
The post Back to Basics: What is the Reciprocal Rule in Photography? appeared first on Digital Photography School. It was authored by Adam Welch.

Digital Photography School
January 16, 2020
Gear review: 3 K&F Concept Camera Bags Put To The Test

The post Gear review: 3 K&F Concept Camera Bags Put To The Test appeared first on Digital Photography School. It was authored by Kav Dadfar.

In this gear review, I have tested out 3 different types of K&F Concept camera bags so you can see their differences and whether they would suit your needs.

Regardless of which camera you have or whether you are a professional or amateur, a good camera bag is one of the essential purchases that you need to make. After all, it is what will carry your expensive equipment around and keep it safe and dry.

However, it is also essential that your camera bag is comfortable to wear. There’s nothing worse than carrying all that weight on your back for hours on end and being uncomfortable.

Over time as you buy more camera equipment, your camera bag will need to change. Or you may need different types of bags for different scenarios. But what should you buy first? With so many different types of bags out there, the choice is endless.

The three K&F Concept camera bags

1. Travel Sling Bag

The first of the three K&F Concept camera bags is the K&F camera sling backpack. This pack is the perfect unassuming, easy-to-carry backpack for those who don’t own a lot of camera equipment.

The sling bag easily and securely holds a DSLR and two lenses in a padded and removable inner bag.

One of the great things about this sling bag is you can remove the inner bag to use the bag as a normal backpack. Or you can remove the bag whilst shooting to have quick and easy access to your lenses. That way, you don’t have to open and close the bag constantly.

The sling bag has enough additional space to hold a 13” laptop and any other little bits you may have, such as memory cards, lenses cleaners, and phone as well as a water bottle holder on the side.

Measuring at just 41 x 27 x 13cm, the bag is small and compact enough to have on your back in those busy situations like events and festivals where a big bag would be cumbersome. It is also made of waterproof and anti-wrinkle nylon with double stitching for added durability and shock/vibration absorbing inner padding. So this lightweight bag (just 0.8kg net weight) will keep your expensive equipment safe whatever you get up to.

Who’s this for?

This bag is ideal for a photographer with only a small amount of kit who wants to travel light, but safe in the knowledge their equipment will be protected and secure.

At the time of writing, this bag is priced at $ 39.99, making it an ideal bag for a first-time buyer who doesn’t want to spend a fortune on a camera bag. But it will also benefit those who may want an additional smaller bag to support their bigger day-to-day bag.

2. Fashion Outdoor Backpack

The first thing I noticed about this K&F fashion camera backpack is that it doesn’t look like a camera bag. This is great for two reasons; firstly, it looks great and is useful in those situations where you may want to look a little smarter in your appearance – for example, at a wedding. But more importantly, because it doesn’t draw attention to the fact that you have thousands of dollars of camera equipment on your back.

Split into two main areas, the bottom of the bag has 10mm padded dividers with enough space to hold a large DSLR and 3 lenses – easily accessible from the back and side – while the top section of the bag has sufficient room to hold personal items such as a 13” laptop.

The exterior of the backpack has a side-mounted tripod strap and enough storage to hold all your extra bits and pieces.

Another great thing about this pack is the side access that allows you to take out your camera equipment without having to take the bag off.

The exterior is scratch, tear and water-resistant, but you also get a rain/dust cover for more severe weather conditions. The breathable air-mesh back and shoulder straps make this bag incredibly comfortable to carry all day even when you have it fully loaded.

Who’s this for?

This bag is great for the photographer who has a few lenses and sometimes carries a tripod with them. However, it is also for someone who doesn’t want to shout out to the world that they have camera equipment with them. Anyone traveling in some parts of the world could benefit from a bag such as this.

3. Large DSLR Camera backpack

Number three of the K&F Concept camera bags is the K&F large DSLR backpack, which is the biggest bag in the range.

With sufficient room (25 liters) for two large DSLR bodies, five to six lenses, and flash, it will serve anyone from the serious hobbyist to professionals.

With enough pockets to hold your filters, batteries and memory cards and a back-mounted tripod holder, this pack has enough room for even those with lots of equipment. It can be opened fully from the back but also has easy access at the top of the bag for those times when you need more discreet and quick access to your camera.

The K&F Concept large DSLR backpack comes with a range of shock and vibration separators that, like the other bags, can be arranged perfectly to snuggly and safely fit all your gear. Made from quality splash and tear-resistant nylon with its unique stitching and tension technology, it ensures load-bearing areas won’t rip or become frayed.

One of the most important elements of a bag this size is that it has to be comfortable to wear for long periods. The back and straps of this bag are breathable and padded. When used with the chest and hip straps, it can help reduce the weight on your shoulders. This pack also comes with the rain/dust cover as well.

Who’s this for?

Whilst clearly designed with professionals in mind, this backpack would also make a great bag for any level photographer. It gives you plenty of room for when you expand your equipment.

Conclusion

I have never been one to promote buying lots of equipment or accessories; however, camera bags are a vital part of my set up. I have a few different sized bags for various scenarios. Because sometimes it’s not feasible to carry a big backpack with me.

These 3 K&F Concept camera bags are a good example of a set that would serve a photographer well throughout their photography journey. The great thing is that you’ll probably end up re-using your bags for years to come.

Note: The author was given these K&F Concept camera bags free of charge to test and was offered no incentives. This review is an unbiased opinion of his experience in using the products provided.

What is your favorite camera bag/pack? Have you tried any of these packs? Share your thoughts with us in the comments section!

The post Gear review: 3 K&F Concept Camera Bags Put To The Test appeared first on Digital Photography School. It was authored by Kav Dadfar.

Digital Photography School

January 16, 2020
MacOS beta reveals ‘Pro Mode’ code, teasing a high-performance mode for MacBook Pros

Apple may be preparing to release a new macOS feature called ‘Pro Mode,’ according to a recent report from 9to5Mac. Evidence of the feature was found nestled within macOS Catalina 10.15.3 beta code alongside strings of text. Based on the text, it seems ‘Pro Mode’ will be a manual feature that enables users to temporarily boost a Mac’s performance.

Apple releases beta versions of its macOS operating system for developers to test before the updates are made available to casual users. Teardowns of these updates may reveal the presence of unannounced features that are hidden in the code, the latest example being this newly detailed ‘Pro Mode.’

Strings of text listed as descriptions of the feature state that enabling Pro Mode may make apps ‘run faster, but battery life may decrease and fan noise may increase.’ As well, a string of text reveals that ‘fan speed limit [is] overridden’ when Pro Mode is active.

The report indicates that users may be able to turn Pro Mode on manually and that the system will automatically disable it by the next day in a way similar to the existing Do Not Disturb feature. The feature is expected to be made available on MacBook laptops, making it possible for users to temporarily boost performance while editing images, processing videos or other tasks with more demanding requirements.

Articles: Digital Photography Review (dpreview.com)

January 16, 2020
Acer ConceptD Ezel laptops feature a unique five-mode hinge and Wacom pen support

During CES 2020, Acer introduced its ConceptD 7 Ezel and Ezel Pro laptops with a hinge offering five different usage modes. The laptops are designed for creators in need of powerful graphics performance and a high level of color accuracy. The models are joined by the ConceptD 700 workstation for filmmakers and animators.

The Acer ConceptD laptops feature a unique Ezel hinge that enables users to position the screen in unique positions that aren’t possible with an ordinary notebook, including Floating Mode, Sharing Mode and Display Mode. The company describes its new laptop models as ideal for users who want to create, finalize and present their content from the same device.

The Acer ConceptD 7 Ezel laptops are NVIDIA RTX Studio certified with up to 10th-gen Intel Core H processors, NVIDIA GeForce RTX graphics, 32GB of RAM and 2TB SSD storage. The ConceptD Ezel Pro is a more powerful alternative with up to an Intel Xeon processor and Quadro RTX graphics. Both models include the Wacom EMR pen.

In addition, the models feature a 4K IPS display with a 3840 x 2160 resolution, 400 nits brightness, built-in color correction technology, 100% Adobe RGB color gamut and Delta E <2 color accuracy. The screen is protected with Gorilla Glass 6, plus it features an anti-glare coating. Other features include an SD card slot, dual Thunderbolt 3 ports, DisplayPort 1.4 and HDMI 2.0.

The ConceptD 7 Ezel will be available in North America, Europe and China with prices starting at $ 2,699 / €2,499 / 19,999 RMB. The ConceptD Ezel Pro model will have a higher starting price at $ 3,099 / €2,999 / 21,999 RMB.

Articles: Digital Photography Review (dpreview.com)

January 16, 2020
Luminar 4.1 update brings improved Sky Replacement, Portrait Enhancer and Erase tools

Skylum has launched version 4.1 of its Luminar image editing and organization software, providing improvements to the AI-powered AI Sky Replacement and Portrait Enhancer tools, as well as the Erase tool.

AI Sky Replacement now lets users add ‘atmospheric haze’ as it is usually seen during daytime, to their images. The company says that in combination with the Sky Temperature and Sky Exposure sliders this allows for a realistic light balance between the replaced sky and the image foreground. This is particularly useful when dealing with strongly saturated replacement skies that don’t match the foreground.

The Erase tool has been upgraded to allow for more precise object removal with complicated backgrounds or complex gradients. The Erase tool now creates softer edges and Skylum says a new algorithm comes up with smarter selections for area replacement.

Portrait Enhancer now works with a wider range of images, also enhancing faces that are smaller in the frame, for example in group shots or environmental portraits.

In addition, the update brings a new Adjustments Amount slider that lets you blend image enhancements with the original image and general performance improvements. More information is available on the Skylum website.

Press Release:

Luminar update brings new AI-centric features and performance improvements

A month after its initial release, Luminar 4 receives update with new and improved tools, performance upgrades and more.

NEW YORK, NY – December 23, 2019 — Today, Skylum announced its first update to Luminar 4, complete with several feature additions and improvements to make workflow easier, and to allow for more control in its machine-learning tools. Released a month after its initial launch, the Luminar 4.1 update includes updates to AI Sky Replacement, the Erase tool, Portrait Enhancer and more.

“Since we released Luminar 4 last month, we could not be more thrilled with what we’re seeing photographers create. With our first feature update to Luminar, we hope that these improvements will expand the possibilities for our users, and create new, exciting opportunities for their image creation workflows,” said Alex Tsepko, CEO of Skylum.

While the new Luminar 4.1 update already packs some new and improved features, photographers can expect to see more updates to Luminar over the coming months, especially for its machine-learning tools.

NEW Atmospheric Haze for AI Sky Replacement

With Luminar 4, Skylum added the world’s first automatic sky replacement technology to its software. AI Sky Replacement gets a feature update in Luminar 4.1, letting photographers naturally add atmospheric haze that is usually seen during the day, to their images.

Coupled with the Sky Temperature and Sky Exposure sliders, it’s now possible to achieve a perfectly balanced, harmonious image in a single tool. It keeps the light balance between the replaced sky and image foreground more realistic, leading to a more “finished” result.

Atmospheric Haze is the perfect addition when dealing with harsh daylight photos with clear blue skies. If you have an oversaturated sky or if the brightness of your sky doesn’t match the foreground, it will add haze to make for a more accurate image.

NEW Erase tool technology

The Erase tool has been upgraded, using an all-new technology for precise object removal. Removing unwanted pixels is easier than ever, even with complicated backgrounds or complex gradients. Edges on the Erase tool are much softer, and the new algorithm means smarter selections for area replacement.

Portrait Enhancer improvements

Introduced with Luminar 4, Portrait Enhancer has also received improvements. The tool can now be used on even more images, including those with smaller faces like groups or environmental portraits.

Adjustments Amount slider

If you ever need to tone down an adjustment slightly, the new Adjustments Amount slider has you covered. It’s the perfect option to help you blend your tools with the original image. Just use the Layers tool to dial back the Adjustments Amount slider.

You’ll find this new control for all image and adjustment layers. Traditional opacity controls remain available. The Adjustments Amount slider works with all tools except for transform options like Lens Correction, Slim Face and Enlarge Eyes.

Additional performance and capability improvements

Luminar 4.1 brings full support for Adobe Photoshop 2020, allowing you to use Luminar 4.1 as a plugin or as a Smart Filter with Smart Objects.

Thanks to Luminar users, several performance improvements have been made, including memory management, user experience and stability, helping to make Luminar better than ever.

How to update

Luminar 4.1 is a free update to current Luminar 4 users. On a Mac, click in the Top Menu Bar and choose Luminar 4 > Check for updates. On Windows, in the Top Menu Bar choose Help > Check for updates.

If you are running Luminar as a plugin with Photoshop, Lightroom Classic or Photoshop Elements, it’s also recommended you rerun the plugin installer.

An expanded user manual has also been added, making it easier than ever for users to search and find answers to questions they might have about the software.

Celebrate the holidays with savings on Luminar

For a limited time only, Skylum is offering holiday savings on Luminar 4. Save $ 10 when purchasing Luminar 4, bringing the cost to $ 79 for new users and $ 69 for existing users at skylum.com/holiday-sale-2019.

And for more photography inspiration, check out the Luminar Holiday Bag — a $ 395 value for just $ 129. Included is Luminar 4 plus a 6-months SmugMug Pro Plan (new users only), PDF Expert, a 1-year Viewbug Pro membership, one free Rocky Nook eBook and 20 free prints from Parabo Press.

To get your copy or learn more about Luminar 4, visit skylum.com.

Articles: Digital Photography Review (dpreview.com)

January 16, 2020
The V-Coptr Falcon is a bi-copter drone that has a 50-minute battery life

The company that created the self-flying Hover 2 is back with a new, uniquely-designed unmanned aerial vehicle. Inspired by the V-22 Osprey military aircraft, the V-Coptr Falcon is a compact, foldable, first-of-its-kind V-shaped drone that boasts only 2 propellers. A reduced number of rotors, coupled with a more aerodynamic design, means less power is consumed during operation. As a result, the Falcon can fly up to 50 minutes.

The Falcon has a 12MP, 1/2.3-inch Sony sensor with a 77º FOV on a 3-axis gimbal. Video can be recorded up to 4K/30p, 2.7k/60p, and 1080/120p. Photos can be captured in both RAW and JPEG format while video is limited to MP4. There is 8GB of internal storage available onboard though adding an external microSD card with up to 256GB storage is recommended.

Front-facing stereo cameras provide obstacle avoidance that functions at a speed of up to 7m/s. The BlastOff controller can operate for 2.5 hours, fully charged, and it gives the Falcon a range that extends up to 7,000 meters (4.3 miles). Autofollow mode is available and users can also take advantage of the pre-programmed flight paths and post-editing templates found in Cinematic Shots.

Similar models from DJI, Autel, and Parrot boast a flight time of up to 30 minutes, maximum. Slower rotation of aerodynamically-designed propellers help the Falcon stay airborne for up to 20 minutes longer. With its 12MP, 4K/30p camera, the Falcon is most similar to DJI’s Mavic Pro Platinum. The V-Coptr Falcon retails for $ 1000, with a required $ 100 deposit, and will start shipping in February 2020.

Articles: Digital Photography Review (dpreview.com)

January 16, 2020
Tamron 20mm F2.8 macro for Sony E-mount ships this month for $350
Tamron has announced that its 20mm F2.8 Di III OSD M1:2 macro lens for full-frame Sony E-mount cameras will be on sale at the end of this month. It will sit alongside two other close-focusing Tamron lenses: the 24mm F2.8 and 35mm F2.8.

The 20mm F2.8 offers a minimum focus distance of 11cm (4.3″) and a max magnification of 0.5x. This compact lens is only 6.4cm (2.5″) long and is sealed against moisture and dust.

The 20mm F2.8 Di III OSM M1:2 will be priced at $ 350 when it arrives on January 30th.

Press Release
Tamron Announces the Launch Date of Close-Focusing

20mm F/2.8 Di III OSD M1:2 (Model F050)

January 14, 2020, Commack, NY – Tamron announces the 20mm F/2.8 Di III OSD M1:2 (Model F050) prime lens for Sony E-mount full-frame mirrorless cameras will be on sale in the USA on January 30, 2020. The lens will sell for approximately $ 349.

Now, all three close-focusing prime lenses including the 24mm F/2.8 Di III OSD M1:2 (Model F051) and the 35mm F/2.8 Di III OSD M1:2 (Model F053) will be on the market. Enjoy the world of wideangle prime lenses with this convenient and mobile lens, featuring the same 67mm filter diameter as all lenses in Tamron’s line-up for full-frame mirrorless cameras.

Main features
1. Enhanced close-focusing capability expands lens versatility with an MOD of 4.3 inches.
2. 67mm filter diameter, same as all other Tamron lenses for full-frame mirrorless cameras.
3. Superb high-resolution performance that matches the latest high-resolution image sensors.
4. Superior design and consistent 2.5 in overall length facilitate ease-of-use.
5. Moisture-Resistant Construction and Fluorine Coating contribute to a comfortable, user friendly photographic experience.
6. Compatible with various camera-specific features including Fast Hybrid AF and Eye AF.
Articles: Digital Photography Review (dpreview.com)
January 16, 2020
Sharp 8K Video Camera appears at CES 2020 with some specs and availability details

During last year’s CES event, Sharp introduced a Micro Four Thirds camera prototype simply referred to as the ‘8K Video Camera.’ Details about the camera at the time had largely come from Kinotika, which had the chance to spend some hands-on time with the model. The company was back with more details about this model during CES 2020 and this time they come from a video published by Personal View.

During the video interview below, Sharp’s vice president of New Business Development Cliff Quiroga revealed some details about the company’s 8K camera, which was demonstrated with a working model at the most recent Consumer Electronics Show. The camera will be able to record 8K/30p, 4K/60p and 1080/60p video, it was confirmed.

The latter two recording options will be at 200Mbits/s at 10-bit, according to the interview, which reveals that the camera will feature a full-size HDMI output port, a 14cm (5.5″) fully articulating touch LCD, headphone and audio jacks, as well as a mini XLR port. The camera was demonstrated with an 8K external display.

Sharp is aiming for an H2 2020 release date in Japan and plans to launch the camera in the United States at some point ‘shortly after that.’ The price is still expected to fall below $ 4,000, but additional details are still pending.

Articles: Digital Photography Review (dpreview.com)

January 16, 2020
DJI agrees with the need for Remote ID, but not the FAA’s NPRM

Remote ID, the concept that a drone should have a digital license plate, has long been championed by industry leaders. Implementing it properly would enable remote pilots to safely perform complex flights including over people, at night, and beyond-visual-line-of-sight. The Notice of Proposed Rulemaking (NPRM) for the Remote Identification of Unmanned Aircraft Systems was released the day after Christmas by the Federal Aviation Administration (FAA) after numerous delays. Unfortunately, the 319-page document proposes rules and regulations that many feel would hamper a burgeoning industry, including DJI.

DJI’s Vice President of Policy & Legal Affairs, Brendan Schulman, posted a 2,100+ word call to action on the company’s main content portal, yesterday, explaining why there was a need for Remote ID while chastising the FAA for not ‘adopting good advice’ when drafting the NPRM. Since 2017, DJI has implemented Remote ID across all of their consumer drones in the form of AeroScope technology. The intention in taking this step is that both the government and industry would willingly adopt Remote ID.

Schulman and DJI ‘support a simpler, easier, and free version of Remote ID that doesn’t need a cellular connection or a service subscription.’ To illustrate why these ideals are important, Schulman presents the following analogy that anyone who drives an automotive vehicle can understand: ‘…what if instead of just a license plate, your car was also legally required to be connected via the internet to a privately run car-tracking service that charged you an annual fee of about 20% of your car’s value, and stored six months of your driving data for government scrutiny? Would you think the government had gone too far?’

‘What if instead of just a license plate, your car was also legally required to be connected via the internet to a privately run car-tracking service that charged you an annual fee of about 20% of your car’s value, and stored six months of your driving data for government scrutiny? Would you think the government had gone too far?’

The article goes on to explain how detrimental the Remote ID NPRM will be to everyone in the drone industry, except for those who stand to profit from it. The costs involved with compliance in everyday drone operations would cripple most commercial operators. Schulman hopes that every individual who will be adversely affected leaves a comment for the FAA to consider. As of this writing, over 5,300 have been posted. Comments will close on Monday, March 2nd.

‘Together, we can ensure that drone innovation is protected and that the safety and security of the skies are assured.’ Read Schulman’s post in its entirety, here.

Articles: Digital Photography Review (dpreview.com)

January 16, 2020