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Canon’s annual results show a rough 2019, but tease ‘advanced’ mirrorless camera, lenses for 2020

31 Jan

Canon has published its 2019 fiscal year financial results and presentation. In the documents, Canon highlights how the company has done, shedding light on what we can expect in the coming year, both fiscally and on the development front.

On the financial front, Canon’s Imaging System division recorded net sales of 807.4B yen and a net operating profit of 48.2B yen a decrease of 16.8 percent and 62 percent, respectively, year-over-year. Canon anticipated a dramatic drop-off in both net sales and operating profit, due to ‘market contraction and the intensely competitive environment,’ but the final results are still slightly worse than expected at 14.6B yen and 2.6B yen lower than Canon’s projections as of last quarter.

Echoing CIPA data, Canon notes the interchangeable-lens camera market shrank 15 percent, with entry-level models being the most impacted due to the increasing capabilities and popularity of smartphones. Canon also recognized its own shortcomings, with a note in the presentation saying:

‘Although we have launched two full-frame mirrorless cameras as well as ten dedicated lenses, our lineup is still insufficient.’

Looking forward, Canon remains realistic, saying it ‘expect[s] camera revenue to decline due to the impact of continuing market contraction,’ but feels confident it will ‘put a stop to the decline in profitability, by further enhancing our mirrorless lineup with an advanced feature full-frame model and lenses, and by accelerating review of our business structure.’

Specifically, Canon makes it very clear that it’s working on more advanced mirrorless cameras, saying:

‘In order to recover from our late entry into the mirrorless camera market, we have plans to launch a model that incorporates a newly developed image sensor and image-processing engine that offer even more advanced features. We will work to raise our presence in the mirrorless camera category, leveraging large trade exhibitions around the world. Even amid increasing competition, we will expand sales of higher-end models driven by new products and aim for top market share even in the mirrorless camera market.’

Canon is projecting its net sales and operating profit for the 2020 fiscal year will be 787B yen and 53.7B yen, respectively, which would equate to a 2.5 percent decrease in net sales and an 11.5 percent increase in operating profit, year-over-year. In addition to offering more ‘advance feature full-frame’ mirrorless cameras and RF lenses, Canon’s projected increase in profitability will also likely be helped with fabrication costs now that it appears to have its mirrorless manufacturing facilities up and running.

Canon’s sentiments expressed in the presentation further lend credibility to the ongoing rumors about its forthcoming mirrorless cameras, but certainly fall short of telling the whole story, which we will only find out with time.

Articles: Digital Photography Review (dpreview.com)

 
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Magic Plate quick-release plate makes it easy to toggle from landscape to portrait

31 Jan

A new Kickstarter campaign from Silence Corner is seeking funds for ‘Magic Plate,’ a new quick-release plate that enables photographers to quickly switch between landscape and portrait shooting. Magic Plate is CNC machined from aerospace-grade aluminum, is compatible with most Arca gear and includes a 14″-20 UNC screw in addition to a quick-release button and strap slots.

This quick release plate doesn’t need to be removed from the ball head, according to the team behind the product. Instead, users can toggle the camera from landscape to portrait mode by pressing the plate’s quick-release button, rotating the camera and then locking the plate into its new position. The device is more compact than L-brackets and lighter at only 40g (1.4oz).

Silence Corner’s Kickstarter campaign is offering the Magic Plate in Silence Black and Corner Gray color options for pledges of at least $ 55, a 32% discount off the anticipated retail price, assuming the product makes it to market. Magic Plate is expected to start shipping to backers in April 2020.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron 20mm F2.8 Macro sample gallery

30 Jan

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Tamron’s new trio of compact, 1:2 macro prime lenses includes a 35mm F2.8, a 24mm F2.8, and this lens, a 20mm F2.8 for Sony’s full-frame E-mount cameras. We found that the lack of a super-fast maximum aperture is at least partially made up by the impressive close-focusing distance, and the lens is weather-sealed and affordable to boot. Take a look at what this lens can do on a 61MP Sony a7R IV, and catch a glimpse of some Seattle snow while you’re at it.

Articles: Digital Photography Review (dpreview.com)

 
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Your Guide to the Fujifilm JPG Film Simulations (with Sample Images)

30 Jan

The post Your Guide to the Fujifilm JPG Film Simulations (with Sample Images) appeared first on Digital Photography School. It was authored by Matt Murray.

fujifilm-jpg-film-simulations-guide

When I first bought a Fujifilm Finepix X100 in 2012, I was absolutely stunned by the quality of the images it produced. As the first iteration in Fujifilm’s lineup of excellent fixed-lens compact cameras, it paved the way for the rest of the X-series lineup with its excellent optics and fantastic usability.

What impressed me the most, perhaps, was the quality of the JPGs that the camera produced – they were lightyears ahead of anything I’d seen with other camera systems.

In this article, I will introduce you to the commonly available Fujifilm JPG film simulations, including the characteristics of each one and when you might like to use them.

your-guide-to-fujifilm-film-simulations

I still have an X100 – but this is the latest iteration in the series, the X100F.

Fujifilm history of film

Fujifilm has been a leader in the photographic industry for decades. Not only are they world leaders in optics, but they are also the biggest producer of instant film and cameras left in the market.

In the heyday of film, they were also one of the leading brands for the production of 35mm and 120 films, making film emulsions loved by photographers everywhere. Some of these famous film stocks (Acros and Fuji Pro 400 H) still exist.

Fujifilm took their color science know-how from the film days and created a range of film simulations for their digital cameras that feature a very high level of color accuracy and reproduction.

your-guide-to-fujifilm-film-simulations

You can easily choose the Fujifilm film simulations via a button on the back of X-Series camera bodies.

Do all cameras have all Fujifilm JPG film simulations?

No, the Fujifilm JPG film simulations available to your X-Series camera depend on the model and the firmware updates you have applied. Although the number of film simulations has grown over the years with the release of new generations of cameras and sensors, new film simulations don’t always roll out to older model cameras.

For example, it is rumored that the newest film simulation launched with the X-Pro 3 – Classic Negative – will be rolled out to cameras, including the X-T3 and X-T30, very soon via a firmware update.

This is part of Fujifilm’s ongoing improvements they make to their cameras and lenses.

How can I shoot with Fujifilm JPG film simulations?

First of all, you’ll need an X-Series camera body. Next, you need to set it up to shoot JPGs.

When you do this, the default setting to shoot with is the Provia film simulation. This setting will be applied to all the JPGs produced until you change it. You can easily do that via a button on the back of your camera body, where you can cycle through all available options.

It’s fun to change the film simulations to see what different effects they give you. Another reason why I love mirrorless cameras is that you can even see the effect each film simulation will have through the viewfinder and on the LCD screen – very helpful.

Can I change the film simulation after I’ve shot a JPG?

No, once you shoot the JPG with that film simulation, you can’t change it. So if you’re only shooting JPGs, make sure you’ve selected one that will complement your subject, or shoot JPG+RAW.

Image: You can even convert RAW images to JPG with Fujifilm JPG film simulations in-camera, but that...

You can even convert RAW images to JPG with Fujifilm JPG film simulations in-camera, but that’s a topic for another day.

Can I apply a Fujifilm JPG film simulation if I shoot RAW?

Yes, there are a couple of different ways you can do this after you have taken an image. The first is using software such as Adobe Photoshop Lightroom. The second is by applying the simulation to a RAW file in the camera after you’ve taken it. This is something that often surprises X-Series users. Yes, you can actually process your RAW files as different film simulations in-camera.

Introduction to the Fujifilm JPG film simulations

Provia

Provia was the name of Fujifilm’s most popular color transparency (slide) film. With its medium contrast and saturation, this is the most neutral film simulation and is suited to most genres of photography. It’s the default film simulation on X-Series cameras and is also labeled as “standard” in the menu.

your-guide-to-fujifilm-film-simulations-provia

Left: Isle of Wight RAW file. Right: Provia JPG. There are some noticeable differences over the RAW file, such as higher contrast and more saturation.

Image: Top: Kids in a filed RAW file. Bottom: Provia JPG.

Top: Kids in a filed RAW file. Bottom: Provia JPG.

Velvia

Velvia was the nature photographer’s go-to film back in the film heyday. It’s bold colors brought to life the natural world. Velvia’s high contrast and high saturation make it a winning formula for wildlife and landscapes, though it’s one to avoid for portraits.

your-guide-to-fujifilm-film-simulations-velvia

Left: Isle of Wight RAW file. Right: Velvia JPG. Velvia is showing its rich colors here, with both the greens and the blues highly saturated.

Image: Top: Kids in a filed RAW file. Bottom: Velvia JPG. Skin tones look too saturated and unnatura...

Top: Kids in a filed RAW file. Bottom: Velvia JPG. Skin tones look too saturated and unnatural, so this is best avoided for portraits.

Astia

This is another simulation named after a slide film, in this case, the film that was very popular among portrait and fashion photographers. Astia is known for its softer colors and contrast, giving a more subdued look overall with beautiful tones. I quite often use this simulation for shooting portraits.

your-guide-to-fujifilm-film-simulations-astia

Left: Isle of Wight RAW file. Right: Astia JPG. Great tones and colors, though slightly subdued.

Image: Top: Kids in a filed RAW file. Bottom: Asita JPG. Lovely colors and tones, though they are no...

Top: Kids in a filed RAW file. Bottom: Asita JPG. Lovely colors and tones, though they are not over the top.

Classic Chrome

This Fujifilm JPG film simulation is not based on a classic film emulsion. Instead, Fujifilm developed it to emulate the look of classic documentary-style photography.

Classic Chrome has lower color saturation and full-bodied tones, giving it a distinctive look. Skies look different with this simulation, as it removes magenta. Reds and greens also appear quite unique.

Many street photographers seem to use this film simulation if they are shooting color for a raw, edgier look.

your-guide-to-fujifilm-film-simulations-classic-chrome

Left: Isle of Wight RAW file. Right: Classic Chrome JPG. Look at the difference between the sky and the grass in these shots.

Image: Top: Kids in a filed RAW file. Bottom: Classic Chrome JPG.

Top: Kids in a filed RAW file. Bottom: Classic Chrome JPG.

Pro Neg Hi

Pro Neg Hi is ideal for portraits with slightly enhanced contrast, especially when contrasted against Pro Neg Standard. Modeled after Fujifilm’s most popular print film for portraits, Fuji Pro 400H, it’s the film simulation I most use for portraits (alongside Astia).

your-guide-to-fujifilm-film-simulations-pro-neg-hi

Left: Isle of Wight RAW file. Right: Pro Neg High JPG.

Image: Top: Kids in a filed RAW file. Bottom: Pro Neg Hi JPG. I love the colors, contrast, and tones...

Top: Kids in a filed RAW file. Bottom: Pro Neg Hi JPG. I love the colors, contrast, and tones of this film simulation.

Pro Neg Std

This is another of the Fujifilm JPG film simulations that is ideal for portraits. It simulates NS160, a professional color negative film for studio portraiture. It has softer graduations and skin tones, especially when compared to Pro Neg High.

For best results, use it with creative lighting choices, or you may end up with a flat, boring-looking image.

your-guide-to-fujifilm-film-simulations-pro-neg-st

Left: Isle of Wight RAW file. Right: Pro Neg Standard JPG. The tonality of this image is quite soft compared to others.

Image: Top: Kids in a filed RAW file. Bottom: Pro Neg Std JPG. Out of the box, it produces a flatter...

Top: Kids in a filed RAW file. Bottom: Pro Neg Std JPG. Out of the box, it produces a flatter file with softer colors and tonality.

Acros

Fujifilm’s classic black and white emulsion brought to life digitally with rich details and excellent sharpness. Fujifilm claims that this film simulation matches the tonal range and even the film grain of its analog offering, which is quite impressive.

You even have the ability with the Acros film simulation to apply yellow, red, and green filters in-camera.

The red filter gives more contrast and a dramatic feel. The yellow filter seems more subtle. The green filters seem to work best when photographing people.

your-guide-to-fujifilm-film-simulations-acros

Left: Isle of Wight RAW file. Right: Acros JPG.

Image: Top: Kids in a filed RAW file. Bottom: Acros JPG.

Top: Kids in a filed RAW file. Bottom: Acros JPG.

Image: Left: Isle of Wight RAW file. Right: Acros JPG with the red filter. Red filters have long bee...

Left: Isle of Wight RAW file. Right: Acros JPG with the red filter. Red filters have long been used in black and white photography to increase contrast and make images look more dramatic.

Image: Left: Isle of Wight RAW file. Right: Acros JPG with the green filter.

Left: Isle of Wight RAW file. Right: Acros JPG with the green filter.

Monochrome

This was the original black and white Fujifilm JPG film simulation on X-Series cameras until Acros came along. Many people bypass it completely, choosing to create black and white images in post.

As with Acros, there are three variants for this mode; you can add a red, yellow, or green filter.

your-guide-to-fujifilm-film-simulations-monochrome

Isle of Wight RAW file. Right: Monochrome JPG.

Sepia

Sepia gives your image a reddish-brown look to mimic the feel of a vintage photo. I’m not sure why anyone would use this filter, but each to their own.

your-guide-to-fujifilm-film-simulations-sepia

Left: Isle of Wight RAW file. Right: Sepia JPG.

 

Conclusion

I hope you have enjoyed this introduction to the world of Fujifilm JPG film simulations. Fujifilm produces the best straight-out-of-camera JPGs from any camera manufacturer. The ability to choose a Fujifilm JPG film simulation, many based on classic film emulsions, is the icing on the cake.

I’ve loved playing around with different looks to my images over the years. The ability to see through the viewfinder or LCD is incredible.

Which is your favorite of the Fujifilm JPG film simulations? Share with us in the comments.

The post Your Guide to the Fujifilm JPG Film Simulations (with Sample Images) appeared first on Digital Photography School. It was authored by Matt Murray.


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5 Ways to Create More Artistic Photos (Fast!)

30 Jan

The post 5 Ways to Create More Artistic Photos (Fast!) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

create-more-artistic-photos-fast

Are you looking to create more artistic photos? Do you feel like your photos need a bit of an upgrade?

You’re not alone.

This type of struggle is one that most photographers feel at one point or another. I’ve felt it myself, which is why I developed several methods for increasing the artistry in my own photography.

And I’m going to share these methods with you today.

So if you’re looking to add a level of creative and artistic flair to your photos, keep reading.

Image: 300mm, 1/1250 sec, f/6.3, ISO 200

300mm, 1/1250 sec, f/6.3, ISO 200

1. Use minimalism to improve your compositions

Creating more artistic photos can start by changing up your compositions.

Because here’s the thing:

After doing photography for a bit, you start to fall into compositional patterns. You’ll take the same type of photo, over and over again. You may not even realize it.

So in order to take things to the next level…

…you should make a strong effort to break free of your compositional patterns.

One of my favorite ways to do that is with minimalism. Minimalism involves using lots of negative space, while also positioning your subject toward the edges of the frame.

create-more-artistic-photos-fast

400mm, 1/320 sec, f/5.6, ISO 400

For instance, a minimalistic photographer might take a single plant and place it down at the very top or bottom of the frame, while the rest of the scene stays primarily white:

Image: 100mm, 1/125 sec, f/2.8, ISO 320

100mm, 1/125 sec, f/2.8, ISO 320

Minimalism is great, and one of the things I love most about it is how it feels so different from normal compositional techniques. Once you start thinking minimalist, your whole outlook can change.

And your photos will start to look far more artistic.

2. Add split toning to enhance the colors

If you’re looking to increase the artistry in your photos, ask yourself:

How am I doing with color?

Because color is one of the most neglected aspects of photography, despite its important role in most photos.

Color adds contrast, creates harmony and disharmony, and evokes different moods.

(All in a wonderfully subtle way!)

Now, one aspect of improving the use of color in your photography involves looking for interesting color combinations when out shooting.

But you can also make changes after you’ve finished your photoshoots.

More specifically, split toning will allow you to add a bit of mood and contrast to your photos.

Here’s a photo with a bit of split toning to deepen the yellow highlights and the green shadows:

Image: 90mm, 1/160 sec, f/9.0, ISO 320

90mm, 1/160 sec, f/9.0, ISO 320

Basically, a split tone just involves putting one color cast in the highlights of your photo and one color cast in the shadows of your photo. Cold shadows and warm highlights are pretty common, so you could easily go with a blue/yellow split-tone combination. But you should also experiment with other possibilities to make things as artistic (and interesting!) as possible.

Note that pretty much every RAW photo editor offers split toning in one form or another. So no matter your preferred post-processing software, you’ll be able to add some color!

3. Decrease the depth of field for a softer look

This is one of my personal favorites for making photos more artistic:

Bringing down that depth of field.

With a shallow depth of field, you can create all sorts of interesting effects: Stunning background bokeh, soft subjects, and even abstract-type images.

Image: 50mm, 1/2000 sec, Freelensed, ISO 250

50mm, 1/2000 sec, Freelensed, ISO 250

Now, to create a shallow depth of field look, you’ll need to use a lens with a wide maximum aperture (something in the area of f/1.2 to f/2.8 is best). You’ll also want a lens of at least 50mm, and you’ll want to get close to your subject, if possible. The closer you are to your subject, the better the soft-focus effect.

Note that it can be difficult to focus when working at such a wide aperture. So you may need to switch your lens over to manual, in order to ensure you nail focus every time.

To add additional interest, you might try positioning a light source in the background, so that you can create cool bokeh, like this:

create-more-artistic-photos-fast

90mm, 1/100 sec, f/2.8, ISO 320

I’d also recommend thinking about your subject a bit differently. Don’t envision the subject as a single entity; instead, look for shapes and lines that you can use for a more powerful composition. That way, you’ll be able to use the soft-focus effect for more artistic, abstract-style images.

4. Look at the work of good photographers for inspiration

If you’re the type of person who likes to get out and practice photography, you may grumble at this suggestion. After all, practice makes perfect, right?

But it’s important to realize that it’s hard to know what perfect would mean…

…if you haven’t ever seen it.

That’s why I urge you to look at the work of photographers you admire. Do it all the time. If you like, you can simply look at photographers in your favorite genres.

Image: One of the photographers whose work I view over and over again is Jess Findlay. While he and...

One of the photographers whose work I view over and over again is Jess Findlay. While he and I gravitate toward different subjects, his work serves as a constant inspiration to me.

Or you can expand your horizons, looking for photographers in many different areas.

(In fact, I like to look at work that’s not in my areas of interest; I find that it gives me fresh ideas that would’ve never occurred to me if I’d stuck to my preferred genres.)

When you look at photography that you like, ask yourself:

What is it that makes this work special? What is it that makes it so artistic?

Then come up with some ideas for incorporating that level of artistry into your own work. Don’t copy blindly, but try to pull out bits and pieces of wisdom that you can use to enhance your own photos.

For instance, if you notice that a photographer likes to shoot from a low angle, start shooting from a low angle yourself.

If you notice that a photographer loves to juxtapose two contrasting subjects, try juxtaposing some contrasting subjects yourself.

Just give it a try. My guess is that you’ll notice improvements in your own photos pretty quickly.

And then you won’t want to stop looking at other photos!

5. Lengthen your shutter speeds for more abstract photos

Here’s a final, practical tip for creating more artistic photos:

Use creatively long shutter speeds.

For instance, photograph moving a flower, but drop the shutter speed way down, so you get a cool blur effect.

And then move your camera around, even as you’re taking the photo. That’ll give you an even more interesting abstract:

create-more-artistic-photos-fast

100mm, 1/6 sec, f/2.8, ISO 250

Personally, I love doing handheld abstracts with long shutter speeds. Sure, they take a lot of experimentation, but they’re also very liberating. And they’re great for situations where the light is too low to get sharp shots handheld and you don’t want to use a tripod.

Now, to pull off this type of abstract image, you’ll need to put your camera in Manual mode (or Shutter Priority) and drop the shutter speed until it reaches 1/10s to 1s (or longer). Then, as you hit the shutter button, move your camera. I’d recommend aligning the movement with compositional elements in your scene (e.g., if there are trees in the scene, move the camera along the tree trunks).

You’ll end up with some very artistic blurs!

Five ways to make your photography more artistic: Conclusion

Hopefully, you now know a few easy ways to make your photos more artistic.

After all, capturing artistic photos doesn’t have to be hard…

…it just involves changing things up!

So try some of the ideas I’ve suggested, and see how things go. I bet you’ll like the result!

create-more-artistic-photos-fast

300mm, 1/400 sec, f/6.3, ISO 320

Do you have ideas for creating more artistic photos? Share them in the comments!

The post 5 Ways to Create More Artistic Photos (Fast!) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Fujifilm pushes out firmware updates for its X-Pro3 and X-T3 mirrorless cameras

30 Jan

Fujifilm has released firmware updates for its X-T3 and X-Pro3 mirrorless camera systems. The X-Pro3 update is rather minor, while the X-T3 update brings a number of substantially improved features.

Firmware version 1.03 for the X-Pro3 fixes an issue wherein the camera could ‘in rare cases’ freeze without warning as well as addresses a problem where ‘the color tone of recorded images is not recorded correctly in AF-C mode and continuous shooting.’ Aside from that, no other details are mentioned in the changelog. You can download the firmware version 1.03 for the X-Pro3 from Fujifilm’s website.

Moving onto the X-T3, firmware version 3.20 improves the autofocus capabilities. Specifically, Fujifilm says it improves tracking performance with eye AF, improves face-detection performance when there are different-sized faces in the same frame, and improves autofocus on foreground subjects. ‘even when there is a mixture of foreground and background subjects within a AF frame.’

Other updates in firmware version 3.20 include the ability to save up to 9,999 images in each folder (a dramatic increase from the current 999 image limit) and fixes for issues with movie autofocus, including ‘focus hunting at the minimum aperture’ and an issue that sometimes caused a black line to appear at the bottom of the frame. Other smaller bug fixes have been addressed as well.

You can find out more information about firmware version 3.20 for the X-T3 and download it on Fujifilm’s website.

Fujifilm has also updated its Camera Remote app for Android and iOS. The update adds support for Apple and Google’s latest operating systems, iOS 13 and Android 10, respectively. You can download Fujifilm Camera Remote in the Google Play Store and iOS App Store for free.

Articles: Digital Photography Review (dpreview.com)

 
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Xiaomi VP says under-display front camera tech is not ready yet

30 Jan

Over the last year or so we have seen some smartphone manufacturers, including Xiaomi and Oppo, experimenting with under-display front cameras. The technology could allow for the design of displays without a ‘notch’ or front camera ‘punch hole’ but also means that incoming light has to first travel through the display before it hits the camera lens.

The latter is a major challenges to overcome and a reason why, according to Xiaomi VP Lu Weibing, we should not expect the technology to arrive any time soon in a production device.

Currently the pixel-dense displays of modern smartphones block too much of the incoming light. Combined with the small image sensors deployed in most front cameras this means the imaging module’s light gathering capabilities are much more limited than on a more conventional camera, resulting in sub-par image quality.

Researchers and engineers are looking to develop technologies that allow for a combination of high pixel density and good light transmittance but are not quite there yet. Until the problem is solved there probably aren’t too many consumers willing to sacrifice front camera image quality for a more streamlined device design which is we’ll likely have to wait a little longer for the technology to make it into mass production.

Articles: Digital Photography Review (dpreview.com)

 
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New UK bill would enable police to stop, search and seize drones

30 Jan

The United Kingdom is cracking down on the unsafe and potentially illegal use of drones via the new Air Traffic Management and Unmanned Aircraft Bill, which went before the UK’s Parliament for a second reading on January 27. According to an announcement from Parliament, this bill would give UK Police the power to order a drone to land, inspect it and, when applicable, seize it.

This new bill would grant the UK police a variety of new powers, including the option to stop and search drones being operated around airports and prisons, both sensitive locations where drones can be used for everything from drug smuggling to wreaking havoc on society.

As part of an amendment to the Police Act 1997, UK Police forces, as well as ‘senior prison authorities,’ will be granted the powers to use counter-drone measures in cases where drones are being used illegally. As well, this bill would make it possible for police to fine drone operators ‘on the spot’ if they commit certain offenses, including failure to prove that they have the right permissions or exemptions that authorize them to violate any rules they’re caught breaking (flying too close to a particular building, for example).

The UK government stresses that this bill would only impact drone operators who are illegally flying UAVs and who are putting other people at risk. Photographers are specifically mentioned as one of the groups of people who will still be able to operate drones, assuming they follow all of the local laws and regulations, of course.

The full bill, as well as minutes of the proceedings, can be found on Parliament’s website.

Via: DroneDJ

Articles: Digital Photography Review (dpreview.com)

 
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Ways to Correct Perspective in Photography

29 Jan

The post Ways to Correct Perspective in Photography appeared first on Digital Photography School. It was authored by Glenn Harper.

correct-perspective-in-photography

Back in pre-digital days, the only way to correct perspective in architectural pictures was with a tilt-shift lens. Using such a lens remedies the “keystoning” effect you get when pointing a lens upwards at a building, where all verticals in the picture converge.

Nikon 19mm f/4 PC-E tilt-shift lens

A Nikon 19mm f/4 PC-E tilt-shift lens. Photo: Jeffrey M Dean at English Wikipedia [CC BY-SA]

The main disadvantage of a tilt-shift lens has always been its price, especially if you stick to marque brands like Canon or Nikon. That hasn’t changed. With perspective correction now being widely available in editing software, why would you even think of buying such a lens today?

Tilt-shift lens vs digital perspective correction

Two benefits spring to mind when comparing a tilt-shift lens to digital perspective correction:

  • Image quality suffers when you digitally alter perspective in editing software. The degree to which this is noticeable varies and is likely to be trivial for most purposes. But, you’ll often notice mild degradation at 100%.
  • Most digital perspective tools crop the image, effectively reducing the resolution of the image sensor. And because the image is cropped, you lose WYSIWYG (what you see is what you get) predictability when taking photos.

These factors are serious if you’re a pro photographer creating architectural photos for commercial clients. A tilt-shift lens maintains image quality and full resolution. You’d normally use a tripod with such a lens.

Using Adobe software to correct perspective

Correcting perspective has been possible in Photoshop for a long time, but it became easier from CS2 onwards. That edition introduced the Lens Correction tool.

Image: Fixing perspective using the Lens Correction tool of 13-year-old Adobe Photoshop CS3.

Fixing perspective using the Lens Correction tool of 13-year-old Adobe Photoshop CS3.

In 2013, Adobe introduced automatic perspective correction, which saved considerable time compared to manual adjustments. Even today, many of Adobe’s competitors do not offer this luxury. You can fix the perspective in ACR or Lightroom within seconds.

If this feature is important to you but you don’t necessarily want to sign up for Adobe software, what else is out there?

Correct Perspective in Other Software

The idea for this article came about when I decided to break away from my Adobe subscription. I take a lot of building photos, so perspective-correction tools are useful to me. Programs vary a lot in what they offer in this regard. (In fact, a lot of the stuff you take for granted with Adobe goes AWOL if you go-a-wandering.)

DxO Viewpoint

I was using DxO Viewpoint a decade or more ago. It’s been around a while. At that time, it seemed quicker to use than Photoshop for perspective correction. Then, as now, ViewPoint worked as either a plugin or a standalone app.

ViewPoint 3 - correcting perspective

I shot this from below, so there was keystoning in the original image. The auto controls in ViewPoint 3 have fixed it, making it look like I shot the Art Nouveau sign from directly in front.

DxO Viewpoint also blends seamlessly into DxO PhotoLab as a module. It’s a little controversial that DxO makes you pay extra for perspective correction, but maybe that modular system helps keep the entry price down.

A short time ago, I upgraded from ViewPoint 1 to ViewPoint 3. The latter offers automatic corrections, so I no longer have to place anchor points on each image. Sometimes it’s necessary to correct perspective manually, but the auto function saves a lot of time.

Paintshop Pro 2020

Paintshop Pro has a good perspective tool that is akin to perspective cropping in Photoshop. While it’s not a one-click solution, it’s still quick and easy to use. A grid inside the crop area lets you check all the lines as you work. This is like using ViewPoint manually, where you force parallelism by setting the position of vertical and/or horizontal lines.

Paintshop Pro perspective tool

If you’re only fixing verticals with the Paintshop Pro perspective tool, you must keep the horizontal lines in the grid level (or vice-versa).

By checking the “crop image” box before applying your adjustment, Paintshop Pro will automatically crop the image to its largest usable dimensions. One thing you can’t do is adjust the intensity of the effect after applying it. You’d have to go back and redo it if you weren’t happy with the result.

ACDSee Photo Studio Ultimate 2020

I’m fond of ACDSee Photo Studio Ultimate for its comprehensive dual-set of editing tools and its DAM capabilities. But how is it for perspective control? Like many photo editors, the tools are all manual whether you’re in Develop or Edit mode.

If you’re only looking to correct verticals, you can achieve that easily with the vertical slider in Develop mode. This mode is really meant for raw files, but you can run rendered files through it just like you can with ACR.

ACDSee Photo Studio Ultimate - fixing keystoning

An adjustment of the vertical slider in ACDSee’s Develop mode has fixed some mild keystoning here.

In ACDSee’s Edit mode, you get perspective cropping like that of Photoshop, but it differs in one notable way. As you drag the corner points, the perspective changes in real-time, so you get to preview the result before saving it. A downside is the lack of auto-cropping. That means you need to crop separately if you drag points inside of the image frame.

Hugin

The main purpose of Hugin is to stitch photos together for panoramas, but it also corrects perspective. And, it’s free!

There are downsides.

You have to go through the motions of creating project files, the software doesn’t preserve aspect ratio, and it strips out EXIF data. You also lose a chunk of the image to cropping, but that’s normal. Hugin will give you the largest usable area after the correction.

Correcting converging verticals in Hugin.

I fix verticals in Hugin by creating a fake one-image panoramic.

If you’re familiar with Hugin and know ways around the problems mentioned above, please let me know. Since auto perspective correction is absent from many high-end photo editors, this program is worth knowing about. Although its chief role is creating panoramic photos, perspective correction is an inherent part of that process. Hugin is good at it.

Below is a quick summary of the Hugin process (or the one I use) to correct verticals:

  • Open the panorama editor, then open the simple interface
  • Click on “Load Images” and load the file you want to correct
  • Agree to add image to current project if a dialogue box pops up
  • Click on “Align”
  • Click on “Create panorama” even though you’re not creating one
  • Set output parameters
  • Save project
  • Hugin says it is stitching – it isn’t, but it is processing the file. You’ll see “batch successfully completed” in another window.

That’s it. Your corrected image awaits.

You can also perform vertical and horizontal perspective corrections as per this article. I tend not to make drastic corrections because they have a negative effect on image quality. If you shift the subject a lot, a large part of the image will look soft.

Hugin perspective correction

A final Hugin corrected image with original in the inset.

Darktable

Darktable is a raw processor of amazing depth. Its learning curve is steep, but it deserves a place in this article for its perspective correction module. You can correct perspective with one click, which is rare in free editing software. It might be unique. As well, there’s automatic cropping with “original aspect ratio” or “largest area” options.

A “get structure” button color codes lines in the image and tells you what the software has concluded about them. For example, a green line is a relevant vertical converging line, while a red line is vertical but not included as one of the converging verticals. You can adjust the status of these lines if you think the software has made a bad call.

Perspective correction in Darktable - get structure.

This is what appears if you hit “get structure” in Darktable. You can see the software is pretty good at telling true verticals (green) from false angled or curving verticals (red).

The only thing you can’t do in Darktable is back off the auto adjustment if you want a slightly converging result. You’d have to edit manually for that. But still, this feature is superb.

Honorable mentions

Naturally, other photo editors also include perspective correction. Capture One is one of the most evolved pieces of photo software I’ve seen. Its perspective control is like that of ViewPoint in manual mode, where you line up verticals or horizontals by hand to correct the image.

Programs like ON1 Photo Raw, Luminar and Exposure allow perspective control via a familiar system of sliders. You align the architectural lines of a photo with the lines of a grid. It works, but there’s no auto mode.

Am I obsessed with auto mode? Kind of, because it’s fast and does a good job. If you can tweak the result, so much the better.

Luminar 4 perspective sliders

The clean interface and “Canvas” toolset of Luminar 4, including perspective sliders.

Bottom Line

If you’re straying from Adobe and need perspective correction, I’ve gotta give top prize to DxO ViewPoint 3.

You can manually adjust perspective to your heart’s content or have the software swiftly do it for you. Importantly, you can back up a bit from auto results if the verticals look too forced.

The standalone ViewPoint 3 also includes an attractive browser, corrects for volume deformation and offers a tilt-shift “miniature effect”. What’s not to like?

Viewpoint 3 image browser

The ViewPoint 3 browser.

For those that don’t want to pay extra for this functionality, look at Darktable. You might be scratching your head at its vast array of modules, but persistence pays off. Its perspective control is great at this price point!

All the software mentioned is eminently usable, so it’s a question of how valuable one-click corrections and versatility are to you. I hope I’ve helped in a few decisions.

Do you know any other software that helps correct perspective in photography? Share with us in the comments!

The post Ways to Correct Perspective in Photography appeared first on Digital Photography School. It was authored by Glenn Harper.


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Nikon D780 initial sample gallery

29 Jan

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We’ve been putting the new Nikon D780 to the test in places close to home and not so close – here in the snowy/rainy streets of Seattle, out at a professional rugby match and far away in the sun-drenched streets of Old San Juan, Puerto Rico. Have a look, and check back soon as we’ll be updating this gallery with conversions when we get Raw support.

See our Nikon D780 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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