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Stellina: imaging the sky with a smart telescope

26 Jan

Stellina Telescope Camera
$ 3,999 | vaonis.com

Stellina is a self-contained, portable telescope designed to easily take photographs of celestial objects. All you need is the Stellina itself and a smartphone. It is not a traditional telescope that lets you explore the universe through an eyepiece. Instead, it captures images with its built-in camera which then you can view on your phone (or tablet). During my latest trip to Yellowknife, Canada I was able to put the Stellina to the test and capture some classic telescope targets.

When folded, the Stellina looks like a retrofuturistic home appliance and one could hardly guess that it holds a telescope and a camera inside. Its weight of 11 kg (25 lb) makes it portable but its bulky size of 49 x 39 x 13 cm (19 x 15 x 4.7 in) and the lack of handles makes it a little awkward to move around. The Stellina comes with a Gitzo carbon fiber tripod (1.3 kg, 2.2 lb) which provides leveling and stability to the telescope.

Stellina is a portable astronomical telescope and camera. Everything you need to take photographs of celestial objects is contained in this unit and on a smartphone/tablet app.

Setting up the Stellina

The Stellina requires 5.1V / 2.4A to operate. It can be powered by an external battery connected through a USB Type-C port and stored in a compartment, or by an AC external power adapter. The 10,000-mAh battery included with the Stellina should provide approximately 5 hours of use. Once powered up, the Stellina creates its own Wi-Fi network which you use to control it from the Stellina app (available for both iOS and Android devices) .

The Stellina reads the local time and GPS coordinates off your smartphone and then it automatically focus and aligns itself by looking around the sky and identifying stars. All this is done in a completely automated fashion and in just a mater of minutes. Pretty smart!

The Stellina comes with a 10,000-mAh battery that is easily stored in its own compartment and provides approximately 5 hours of use.

Imaging with the Stellina

The Stellina uses a 400mm F5 apochromatic lens and a 1/1.8″ CMOS Sony sensor (3,096 x 2,080 pixels, 6.4 MP) to produce a series of exposures which are then combined into a final image with a Field-of-View (FOV) of 1° x 0.7°. But first you must pick a target.

Once the automated calibration is completed, the Stellina offers you a catalogue of astronomical objects that are visible from your location at that particular time. For each of these objects the Stellina app provides you basic information about the object, its current location in the sky (altitude and azimuth), as well as the recommended exposure time.

Stellina provides useful information of the potential targets up in the sky at the current time, including recommended exposure times.

According to Vaonis, the Stellina manufacturer, “The catalogue includes all Messier objects and the most interesting NGC targets in the Northern and Southern hemispheres.” Some objects whose angular diameters exceed the Stellina’s FOV are excluded from the catalogue, but Vaonis plans to extend that list when they add the ability for the Stellina to combine multiples images in a mosaic.

Vaonis is also planning to let users enter sky coordinates manually and point at any direction in the sky. That will be another welcome feature since the Stellina does not let you manually slew. Luckily, these features should easily become available through software updates.

I selected the Andromeda Galaxy, the Stellina slew to the correct location in the sky, and started imaging. To do this, the telescope relies on a technique called image stacking where a series of relatively short exposure are combined to produce an image with a higher signal-noise ratio. As more images are exposed and added, you can interactively review how the stacking and image processing improves the final image and decide when to stop exposing.

In the two screenshots below, you can see how the image improved from a combined exposure time of 2 min 40 sec (16 exposures of 10 seconds each) to a combined exposure time of 8 min (48 exposures of 10 second each). As expected, the spiral arms of the Andromeda Galaxy appear more prominent as the Stellina gathers more light.

Comparison of a 2 min 40 sec exposure with a longer 8 min exposure. Stellina has the impressive ability of showing you in real-time how the final exposure improves as more images are added and total integration time increases.

I could have exposed for a longer time but, unfortunately, clouds rolled in. Impressively, the Stellina software rejects cloud-covered images and does not add them to the stack, so when clouds cover the FOV you will notice how the total exposure time pauses until the clouds move out of the way. Evidently, automation is at the heart of Stellina and Vaonis has done a great job in the programming of this telescope.

On the other hand, what did not impress was the feedback given by the Stellina app when saving JPEG photos. You can either save images on the app itself or on your smartphone’s photos app (and in the cloud if your phone is set up that way), but if you choose the latter, the photos are deleted from the app (with no warning) along with any observation information. That is, photos copied to your photos app are saved without any metadata. Furthermore, JPEG photos produced by the Stellina are downsampled from 6.4 MP to 1.4 MP.

There’s definitely room for improvement in documenting Stellina’s features

If you want to enjoy full-resolution images you need to retrieve FITS (Raw) files using the USB port. That’s great! As long as you know that options exists. And therein lies a problem. The Stellina instruction manual does a good job of explaining how to set up the telescope up to the point of connecting it to the app, but nothing further. Once you start controlling the telescope via the Stellina app, documentation and feedback from the app is underdeveloped.

I learned about the ability to save Raw images on a Q&A page on the Vaonis support site. Unfortunately, by then I had returned the unit. There’s definitely room for improvement in documenting Stellina’s features. I look forward to someday using the Stellina again and processing its FITS files.

Resulting (JPEG) Images

Below is the resulting 8-minute exposure of the Andromeda Galaxy. The Stellina did a good job of automatically focusing, tracking, stacking, and processing the images. Nevertheless, a bright vignette is fairly noticeable. According to Vaonis, the vignette ‘is produced by the luminescence of the sensor’ and they are working on improving the image processing algorithm.

1.4 MP JPEG of the Andromeda Galaxy saved from the Stellina app. This is the result of 48 10-sec exposures stacked automatically by the Stellina for a total exposure time of 8 minutes.

Afterwards, I selected the open cluster The Pleiades from the catalogue and let Stellina combine 60 10-sec images. Judging by what the Stellina captured in a total exposure time of 10 minutes, it’s a shame that the clouds rolled in again. The blue reflection nebula around the cluster stars was starting to nicely show up in the final image.

1.4 MP JPEG of The Pleiades cluster saved from the Stellina app. This is the result of 60 10-sec exposures stacked automatically by the Stellina for a total exposure time of 10 minutes.

Final Thoughts

The Stellina is a well-thought out smart telescope. It can easily be transported from one location to another and setting it up cannot be more simple. A carrying case to move the telescope around would be a welcome addition.

The fact that the Stellina finds its orientation with respect to the sky, focuses, exposes, stacks, and process images in a completely automated fashion is quite the feat for a prosumer device. Although the Stellina app needs further development, the whole experience of operating the Stellina is fun and the ability of seeing the final exposure improve as more images are stacked is quite gratifying.

The whole experience of operating
the Stellina is fun

Once you’re happy with your final exposure you can easily share your astrophotographs with friends and the rest of the world in a matter of minutes. Stellina is definitely a telescope for the social media age. Then at home, you have the option of experimenting with the Raw files.

Unfortunately, all this comes with the high price tag of $ 3,999. For that price, some will consider instead the more versatile combination of camera, lens, tripod, and star tracker. But if you want a fun-to-use, click-and-shoot device that will work for you while you relax and enjoy the night sky then the Stellina is right for you!

What we like:

  • Extremely easy to set up
  • Smart and highly automated
  • Instant gratification of previewing images as they are stacked
  • Fun to use

What we’d like to see improved:

  • A carrying case included with the telescope
  • Ability to slew to any location in the sky
  • Further development of the Stellina app

Articles: Digital Photography Review (dpreview.com)

 
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How to Migrate Your Lightroom Catalog into Capture One Pro

26 Jan

The post How to Migrate Your Lightroom Catalog into Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.

Migrate-Your-Lightroom-Catalog-into-Capture-One

When it comes to high-end studio work, Capture One Pro is the choice of professionals. If you’re doing advertising or product photography, COP gives you certain tools and functionality that don’t exist in Lightroom.

The tethering feature in COP is far superior and allows you to work tethered with Live View and use layout overlays. This is a crucial feature to have when working on things like product packaging shoots or magazine cover portraits. You’ll be provided layout overlays to use as a guide in how to frame your shots to get the subject to fit with the artwork.

There is no right and wrong when it comes to your favorite RAW processor. It comes down to preference.

However, if you take the time to play around with a trial version of Capture One Pro, you may decide the sophisticated tools and incomparable color rendering will make you want to make the switch from Lightroom.

Great! But what about the thousands of images in your Lightroom database?

The idea of migrating your Lightroom catalog to Capture One Pro may seem intimidating, but it’s actually very simple and involves only a few quick steps.

Migrate-Your-Lightroom-Catalog-into-Capture-One

Migrating a catalog from Lightroom to Capture One Pro

The most important thing to know before you get started is that migrating your Lightroom catalog to Capture One Pro will not have any impact on your Lightroom catalog. You can continue to use it as you ordinarily would, and it will stay in the same place.

Before you can migrate your catalog, make sure you know its location.

If you’re not sure where your current Lightroom catalog lives, simply go to your Lightroom menu, and click on “Catalog Settings.”

This will bring you a dialog box with the tabs “General,” “File Handling,” and “Metadata.”

Choose “General.”

Under location, it will tell you the name of the catalog and where you can find it. Click on “Show” to navigate to the catalog location.

Migrate-Your-Lightroom-Catalog-into-Capture-One

For example, mine is located on an external disk. I have all my photos and documents on two external 4TB hard drives to avoid clogging up my computer’s hard drive.

The other thing you should be aware of that every single property from your Lightroom catalog may not carry over. This mostly refers to color adjustments. Things like exposure, white balance, rotation, and orientation are usually switched over seamlessly when migrate your Lightroom Catalog into Capture One.

When you start the import process, COP will also notify you of any incompatible files in a dialog box.

Catalog vs Sessions

COP has two file management systems: Catalogs and Sessions.

As with Lightroom, a Catalog in COP is a database containing information about your images, such as metadata and ratings. Catalogs are most suitable for organizing large volumes of images.

A Session functions more like a Lightroom Collection. It provides a more simple, folder-based workflow and the ability to browse any folder on your computer without having to import images. Adjustments are placed in a subfolder next to the images.

Sessions are great for on-set workflow and tethered shooting, and are generally seen as the more efficient option. Sessions allow you to store all the files from a single project together.

Once you have migrated your Lightroom Catalog into COP, you can build and structure your photos into sessions if you choose.

Use the following steps to migrate your Lightroom Catalog into Capture One.

Steps to migrate your Lightroom Catalog into Capture One Pro.

Step 1

Start by creating a new catalog in Capture One Pro

Open COP and go to File -> New Catalog.

How to Migrate Your Lightroom Catalog into Capture One Pro

Step 2

After you have created the new Catalog in COP, you need to import the LRCAT Lightroom file.

Go to  File -> Import Catalog -> Lightroom Catalog.

Migrate-Your-Lightroom-Catalog-into-Capture-One

This is when a dialog box will notify you about any offline or incompatible files so that you’re aware.

How to Migrate Your Lightroom Catalog into Capture One Pro

Hit  “Continue.”

Step 3

This is where you get asked to name the catalog as you want it to appear in COP.

Give your catalog a name and hit “Enter.”

Under “Location,” navigate to the Lightroom catalog you wish to import. Click on the folder and then hit “OK.”

How to Migrate Your Lightroom Catalog into Capture One Pro

COP will start the import process.

It will tell you how many files it’s reading and how long the import will take.

If you have thousands of images, note that migrating your Lightroom catalog to Capture One Pro can take some time.

How to Migrate Your Lightroom Catalog into Capture One Pro

Conclusion

As you can see, migrating your Lightroom catalog to Capture One Pro is a simple and fairly seamless process. If you have more than one Lightroom catalog, follow these steps to import each catalog.

Once you have your catalogs in COP, you can further organize them into Sessions.

Do you have any other tips to migrate your Lightroom catalog into Capture One, or had experience doing with this process? Share your thoughts in the comments below.

The post How to Migrate Your Lightroom Catalog into Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.


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Blair Bunting on photographing Aaron Hernandez on the same day he shot someone

26 Jan
A behind-the-scenes photograph of Blair Bunting capturing a shot of the late New England Patriots tight end Aaron Hernandez.

Editor’s note: Blair Bunting is an award-winning advertising photographer who’s no stranger to being in front of high-profile cars, characters and celebrities. From eight-figure cars to professional athletes at the top of their game, Blair has done it all, but one shoot, in particular, stands out for all the wrong reasons. In the following post, Blair details his experience photographing the late New England Patriots football star, Aaron Hernandez, fewer than 24 hours after the former New England tight end committed murder on February 13th, 2013.


I am writing this after getting a torrent of texts from friends and family who have been watching the documentary Killer Inside: The Mind of Aaron Hernandez on Netflix. It turns out I’m in it… an image of me on set with Aaron appears in the second episode.

My first reaction was a bit of anger as I never licensed any images from that shoot (hey Netflix, call me maybe), but as that passed it eventually got me thinking about the day I spent on set with Aaron… the same day he shot someone.

Diving into the mind of another man is enough to make one lose his own. My photoshoot with Aaron Hernandez left me questioning what lies behind the eyes of the subjects who stand before my camera.

My many years of photographing celebrities have led to great experiences and friendships, but this one photoshoot made me question my own mental depth and acuity when it came to the very people that I work so hard to learn about, only to exist until the last shutter closes.

The photoshoot with Aaron took place on the final day of a week-long campaign that I was shooting for a sports client. We had professional athletes from the NBA, MLB and NFL in the studio all day. For me I wanted nothing more than to keep up the quality of the lighting on set through the final athlete, wrap, and then take my wife to Hawaii—the next day was Valentine’s Day.

It had been a long production: through pre-pro meetings, lighting days, scouting and client dinners, mentally I was exhausted and internally I was begging for relief from the pressure that I enjoy so much.

When Aaron Hernandez first entered the studio, I was wearing the jersey and shoulder pads of Clay Matthews (the athlete that preceded Aaron), a Chicago Cubs batting helmet, and drinking a Stella Artois. Perhaps understanding the light-heartedness that I carry on set, he immediately smiled and started laughing. I introduced myself, shook his hand and we started talking pleasantries: how’s the weather, what’s your new house like, how has your day been?

The final question and answer haunt me to this day….

“How has your day been?” I asked.

“Good,” he replied, along with a calm, childlike smile.

Hours earlier, he had shot a man in the head.

Having gone through mental health struggles in the past, the idea of not knowing the mind behind one’s eyes is familiar to me, but the level to which Aaron was able to keep it hidden still frightens me to this day.

As I sit here typing this years later, I still have to pause for a moment in order to digest the gravity of the situation. Having gone through mental health struggles in the past, the idea of not knowing the mind behind one’s eyes is familiar to me, but the level to which Aaron was able to keep it hidden still frightens me to this day.

Upon hearing the news, the people on my crew that day were in shock and disbelief that such a sweet kid could have done such a horrible thing, but as time went on and the details became clearer, we accepted it despite the confusion.

In an odd way, it left me with a dilemma: how do I describe Aaron Hernandez?

I can only describe him with lights and a camera—the truth that existed within him will never play out on set.

As portrait photographers, we are challenged to expose the true nature of the person that stands in front of our camera: be it angry, shy, calm, or intense. However, photographing Aaron Hernandez has taught me a lot about my approach, what I thought existed within the frame lines, and what a camera can never truly capture.

Often times photographers are celebrated for a reaction or expression they’re able to draw out of their subjects (think of Karsh’s iconic image of Winston Churchill). It’s a romantic notion that the photographer is a sort of snake charmer, the subject a willingly controlled entity—together, they make up an act that ends in a great image.

I feel this approach sells the celebrity or model short; a successful photo shoot is the result of the collaborative effort of everyone on set, subject (obviously) included.

What Aaron Hernandez taught me is that all the lights in the world could not illuminate the darkness that lived within his mind.

While he and I worked together very well to get the images that the client wanted, we were merely playing the roles that were asked of us, in a dance that benefits the choreographer more than the dancer. It’s a part of this career where form and light matter more than discovery and truth, where we are not trying to learn anything about the athlete, but rather speak through them for the client’s cause.

On set, if I feel like the shoot has gone well and the images are in the bag, I will sometimes offer my subjects the option to shoot a few frames for fun. Aaron was game, he had seen an image in my portfolio of a football player holing a ball in a profile stance and wanted to have one like it for himself.

We drew the lights and smoke machine and created this image of him in a calm, subtle, almost stoic stance. He was excited about how the pose showed off his tattoos, which seemed to mean a lot to him.

I knew that turning an action light set into an impromptu portrait session wouldn’t be as dynamic a shot as I wanted, but when I got home and looked through the files, it wasn’t the lighting that disturbed me, it was his eyes.

The images we created on set that day were packed with intense expression and focus… the portrait that he asked for was absent of this. It was absent of emotion, of life, almost as if the personality of the young kid with the smiles and laughs had left and what remained was cold and unfeeling.

The images we created on set that day were packed with intense expression and focus… the portrait that he asked for was absent of this. It was absent of emotion, of life, almost as if the personality of the young kid with the smiles and laughs had left and what remained was cold and unfeeling. Maybe this was a result of him being tired, or the difference of direction. But part of me wonders what he was thinking about as the huge light source in front of him popped at full power, probably blinding him, as I could barely see after setting up the softboxes.

We will never know.

Before breaking down set, Aaron asked me about one more shot. I pitched him a few crazy action scenarios (after all, it was the style of set we had that day), but what he wanted was a straight to camera portrait… without his helmet on.

This was the last frame I shot that day, and the last shot of him before the world learned of his dark secret.

I have never shown this image to anybody. Until today, I had chosen not to talk about the situation for many years. But with the recent release of the Netflix documentary about Aaron, and my unsolicited cameo, I found myself watching and wondering what could have been. Hoping, more than anything, that his tragic fall from grace could save someone in his shoes.


This post was written by Blair Bunting and was originally shared on PetaPixel. It was republished here with permission from both parties. Blair is based in Phoenix, Arizona and his work can be found on his website, blog, Instagram and Twitter.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T200 is lighter, faster, offers 4K/30p and costs $800

26 Jan

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Fujifilm has announced the X-T200, boasting a wide range of improvements over its X-T100 predecessor. The X-T200 uses a 24MP Bayer sensor like the T100 did, but uses copper rather than aluminum wiring, which provides 3.5x faster readout and had allowed Fujifilm to extend the high ISO by one stop, to 25600.

The X-T200 is an altogether lighter camera than the X-T100, weighing in at 370g / 0.8lb. Where the T100 offered very little in the way of a grip, the X-T200 provides a prominent, protruding grip for more comfortable hand-holding. The T200’s touchscreen is larger (3.5″ vs. 3″) and inherits a more touch-friendly menu from the X-A7.

Another welcome improvement is the ability to shoot un-cropped 4K video at 29.97 and 24p

Fujifilm promises autofocus improvements as well, including the latest eye detection algorithms. The X-T200 offers more phase-detect pixels (140k versus 16k), better PDAF coverage (across the whole sensor, rather than a central 25%) and more selectable autofocus points (425 vs. 91) than its predecessor. Burst shooting is improved to 8 fps (compared to 6 fps).

Another welcome improvement is the ability to shoot un-cropped 4K video at 29.97 and 24p, compared to the T100’s 4K/15p. Slow motion 1080/120p is also now an option, and a video setting has been added to the mode dial.

The Fujifilm X-T200 will ship in late February for $ 700 body-only or $ 800 with XC 15-45mm F3.5-5.6 OIS PZ kit lens.

Press release

INTRODUCING THE X-T200 MIRRORLESS DIGITAL CAMERA: A FULLY-FEATURED CAMERA TO DOCUMENT THOSE DAY-TO-DAY MOMENTS

Valhalla, New York – January 23, 2020 – FUJIFILM North America Corporation is pleased to announce FUJIFILM Corporation’s launch of its “FUJIFILM X-T200” (hereinafter “X-T200”) mirrorless digital camera.

The X-T200 provides content creators of all levels with a new, light-weight and compact mirrorless camera body that features a newly designed EVF, quick face detection AF, and a new sensor and processor combination that can create 24.2MP stills at 8 FPS and record 4K UHD video at 30fps.

An ideal camera for creative individuals who want to make high-quality imagery anywhere, the X-T200’s HDR functions for still and video make this easier in high- contrast environments. It can also record Full-HD 120p video, making it a great tool to use for scenes needing super slow motion. Additionally, the new Digital Gimbal Function can now be used to smoothly record video in-camera by mitigating camera shake through new gyro sensors in the camera body. This enhances image quality even further beyond what normal Smartphones can provide comparatively.

Incredible Image Quality for any Situation
X-T200 combines innovation, design, and technology to provide image makers of all levels with a complete solution to unlock limitless creative possibilities. Weighing 13.05oz (370g), X-T200 is about 2.82oz (80g) lighter than its predecessor (the X-T100) and is equipped with a new vari-angle touch-screen, a high-speed APS-C 24.2 Megapixel CMOS sensor which uses copper wiring for optimal performance, and an intuitive user interface that provides professional quality with the ease and familiarity of a Smartphone. Able to process data 3.5 times faster than the X-T100, rolling shutter is reduced with the X-T200, while AF performance in the X-T200 is dramatically enhanced through the use of phase detection autofocus pixels across the sensor.

Touch Your Way to the Perfect Image
X-T200 is equipped with a vari-angle 3.5-inch, 16:9 Aspect Ratio widescreen LCD touch- screen that can be opened and closed between 0 to 180 degrees and rotated between – 90 to +180 degrees. It also provides an intuitive and responsive control over the camera’s features and functionality and can be used to adjust a variety of settings, like brightness, background blur, film simulation effects, and image aspect ratios.

Focus on the Faces and the Moment
The use of on-sensor phase detection pixels across the sensor and a new AF algorithm means focus can be achieved quickly and in a variety of conditions. The updated Face/Eye Detection AF makes focusing on individuals or groups of people quick and easy. This is even possible when the camera’s LCD monitor is flipped out and you want to take a selfie. Automated functions, like Main Subject Recognition, allow the camera to be set to recognize and track a main subject within the frame. These features, combined with a burst mode of 8fps, allow you to see, frame, and make images of those important moments with those important people.

Legendary Color Science
Fujifilm’s history in color science has given it world renowned status among image- makers across the world. With over 85 years of experience in the industry, Fujifilm has been responsible for some of the most iconic photographic films in history and this exceptional knowledge has been poured into the 11 digital film simulation modes installed into X-T200. Images made with these film simulations carry the look and feel of the actual films that inspired them, which are a great building block to sparking creativity in image- making. In addition, 20 advanced filters, which includes the new, “Clear Filter”, give even more creative possibilities to image-makers as they seek to express themselves artistically.

When Stills Just Aren’t Enough
The new Electronic Stabilization and HDR Video modes, along with the X-T200’s basic internal editing functions, helps X-T200 do more than just produce beautiful 4K Video– it ensures that videos are stable, crisp, and properly trimmed so they can be easily shared with family and friends. A gyro sensor sits at the heart of the new Electronic Stabilization Mode and assists in reducing the effects of camera shake when recording video footage. The new HDR Video function makes recording footage in high contrast situations much easier and more practical, while its in-camera video editing functions allow for clips to be trimmed and right-sized before they are shared. This means creators can share the perfect section of a super-slow motion clip or the best part of their 4K footage right from the camera to their Smartphone without ever needing to open a computer!

Pick Your Favorite Color and add a Fast Prime Lens
X-T200 will be available as a standalone body and as a kit with the XC15-45mmF3.5-5.6 OIS PZ Lens in three colors (Silver, Dark Silver, and Champagne).

For those interested in expanding their X-T200 tool kit, the new FUJINON XC35mmF2 lens gives an equivalent to 52mm field of view on 35mm format. Weighing just 130g and measuring 46.5mm in length, this new prime lens has nine elements, including two aspherical lens elements in six groups, which work to produce sharp and crisp images with creamy bokeh. AF operation is quick and near silent thanks to the use of an internal focus system and a stepping motor, which is used to drive the focusing elements quickly and accurately.

X-T200 is expected to be available for sale in late February 2020 at manufacturer’s suggested retail pricing as follows:

  • X-T200 camera body only: $ 699.95 USD ($ 899.99 CAD)
  • X-T200 kit including camera body and XC15-45mm45mmF3.5-5.6 OIS PZ lens: $ 799.95 ($ 1,049.99 CAD)
  • XC35mmF2 lens: $ 199 USD ($ 259.99 CAD)

For more information, please visit https://fujifilm-x.com/en-us/products/cameras/x-t200/.

Fujifilm X-T200 specifications

Price
MSRP $ 699 (body), $ 799 (w/15-45mm lens)
Body type
Body type SLR-style mirrorless
Body material Metal, composite
Sensor
Max resolution 6000 x 4000
Image ratio w:h 4:3, 3:2, 16:9
Effective pixels 24 megapixels
Sensor size APS-C (23.5 x 15.7 mm)
Sensor type CMOS
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, ISO 200-12800 (expands to 100-51200)
Boosted ISO (minimum) 100
Boosted ISO (maximum) 51200
Custom white balance Yes
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG (Exif v2.3)
  • Raw (Fujifilm RAF format)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes
Manual focus Yes
Number of focus points 425
Lens mount Fujifilm X
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3.5
Screen dots 2,780,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.93× (0.62× 35mm equiv.)
Viewfinder resolution 2,360,000
Photography features
Minimum shutter speed 4 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/32000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Scene modes
  • Portrait
  • Night
  • Fireworks
  • Sunset
  • Snow
  • Beach
  • Party
  • Flower
  • Text
  • Multiple Exposure
  • Light Trail
Built-in flash Yes
Flash range 7.00 m (at ISO 200)
External flash Yes (via hot shoe)
Flash X sync speed 1/180 sec
Continuous drive 8.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Average
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 120p, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 60p, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 50p, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 25p, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 24p, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p, MP4, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC (UHS-I supported)
Connectivity
USB USB 3.1 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description NP-W126S lithium-ion battery & carger
Battery Life (CIPA) 270
Weight (inc. batteries) 370 g (0.82 lb / 13.05 oz)
Dimensions 121 x 84 x 55 mm (4.76 x 3.31 x 2.17)
Other features
Orientation sensor Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm announces affordable XC 35mm F2 prime lens

25 Jan

Alongside the X-T200, Fujifilm has announced the Fujinon XC 35mm F2 lens. For those of you not familiar with Fujifilm’s lens names, the ‘XC’ denotes the company’s more affordable optics.

The XC 35mm F2 should pair nicely with Fujifilm’s lower-cost models, such as the X-T200 and X-T30

The XC 35mm F2 is essentially a rehoused version of the XF 35mm F2 R WR. It has a plastic mount and less-solid-feeling construction, and features neither an aperture ring nor weather sealing (the ‘R’ and ‘WR’ in the XF version’s name, respectively). However, it does feature the same optics as the XF version, so image quality should be comparable.

The difference is that this brings the XC down to a price of $ 199. The result is a much more affordable 50mm-equivalent lens for newcomers wanting to expand their photography with a prime lens. In this sense, it’s like the ‘nifty fifty’ lenses traditionally available for most DSLR systems, but in a focal length nicely suited to APS-C users.

Press Statement

[From Fujifilm’s X-T200 Press Release]

For those interested in expanding their X-T200 tool kit, the new FUJINON XC35mmF2 lens gives an equivalent to 52mm field of view on 35mm format. Weighing just 130g and measuring 46.5mm in length, this new prime lens has nine elements, including two aspherical lens elements in six groups, which work to produce sharp and crisp images with creamy bokeh. AF operation is quick and near silent thanks to the use of an internal focus system and a stepping motor, which is used to drive the focusing elements quickly and accurately.

XC35mmF2 lens: $ 199 USD ($ 259.99 CAD)

Articles: Digital Photography Review (dpreview.com)

 
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How to Use Camera Calibration Tool in Lightroom (video)

25 Jan

The post How to Use Camera Calibration Tool in Lightroom (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Lucy Martin, you’ll learn how to utilize the camera calibration tool in Lightroom to help with your post-processing workflow and get your photos looking awesome!

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How to use the Camera Calibration Tool in Lightroom

The Camera Calibration tool is at the bottom of all your panel tools.

You want to use the camera calibration tool right at the beginning of the editing process, as this will inform the colors in your image.

Open the panel so that you can see the Shadows, Red Primary, Green Primary, and Blue Primary Sliders.

These sliders allow you to adjust the Tint of the Shadows and the Hue and Saturation level of Red, Green, and Blues (the RGB colors).

What you change in this panel will affect all the pixels of your image because every pixel is made up of RGB values.

If you hover over a section in your image, check the histogram, and it will show you the RGB values. Understanding this will give you a better understanding of how the camera calibration panel works.

It works differently to the HSL panel that specifically targets just the individual color ranges.

Again, color Camera Calibration affects everything.

Each camera renders color slightly different depending on the brands. They will each have a different idea of what a true red, blue, or green is. You may want to alter these slightly to what you see, or you may like to get creative with it.

Lucy likes to bring up the saturation of the Blue Primary slider to give more life to her images. She also works with the Green Primary by changing the Hue and Saturation for landscape photos.

The Red Primary is great for working with skin tones and warm sunset photos.

This is a great starting point before making further edits.

Lucy also gives you some other examples of creative editing using these sliders. So check it out to see what you can do to make your photos pop!

Bonus: If your image has a red, green, or blue color cast, you can use the saturation slider of that primary color and reduce it to remove the cast.

 

You may also like:

  • RAW Photo Editing in Lightroom: How to Make Your Photos Look Real to Life
  • Why Using Smart Previews in Lightroom CC and Classic is a Good Idea (and How to Set Them Up)
  • Understanding the HSL Panel in Lightroom for Beginners
  • Unlocking the Power of the Basic Panel in Lightroom
  • The Basics of Simulating Vintage Film in Lightroom
  • Tips for Understanding the Lightroom Adjustments Panel
  • How to Use the New Enhance Details Feature in Lightroom
  • How to Use Import and Export Presets in Lightroom Classic CC

The post How to Use Camera Calibration Tool in Lightroom (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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New GF roadmap highlights upcoming 30mm F3.5 and 80mm F1.7 lenses

25 Jan

Two new lenses have been added to Fujifilm’s medium-format lens roadmap: the Fujinon GF 30mm F3.5 R WR and GF 80mm F1.7 R WR. The 30mm F3.5 provides a 24mm equivalent focal length and will slot in comfortably between the existing GF 23mm F4 and 45mm F2.8.

The 80mm F1.7 will provide a 63mm equiv. focal length and, at F1.34 equivalent, becomes the brightest lens that Fujifilm has developed for its GFX system. Fujifilm promises it will match the optical performance of its excellent 110mm F2. Both lenses are weather-sealed.

The introduction of these two additional lenses to the roadmap will bring Fujifilm’s total number of GF lenses to 13. No pricing or availability is given at this time.

Press release:

FUJIFILM UNVEILS LATEST DEVELOPMENTS FOR G-MOUNT INTERCHANGEABLE LENSES, COMPATIBLE WITH GFX SYSTEM CAMERAS

Exclusive 13-lens lineup, including 2 newly-announced lenses, provides comprehensive shooting coverage

Valhalla, New York – January 23, 2020 – FUJIFILM Corporation has unveiled the latest plans to add to its Family of GF Lenses, designed exclusively for the GFX Mirrorless Camera System; which is equipped with Fujifilm’s large format (43.8mm x 32.9mm) image sensor, an imaging surface approximately 1.7 times the size of 35mm full-frame sensors*1.

Bringing the eventual total to 13 lenses, this expanded GF lens lineup will accommodate even broader shooting categories and diverse shooting styles.

More about the two lenses recently added to the GF lens development roadmap:

FUJINON GF30mmF3.5 R WR: An impressive, wide-angle, prime lens. This wide angle 30mm lens is an equivalent 24mm focal length in the 35mm film format and is a perfect solution for landscape photography.

This lens will be a slim, compact, and lightweight lens offering incredible resolving power for high-resolution imaging sensors.

FUJINON GF80mmF1.7 R WR: A unique, wide-aperture, standard lens. A standard 80mm lens with an equivalent focal length of 63mm in the 35mm film format, which is incredibly suitable for portraiture and making images in low-light conditions.

This will be the lens with the widest aperture among GF lenses and be an incredible solution for portrait photographers who want beautiful, creamy bokeh with their GFX System Cameras.

This compact and lightweight lens will have a wider angle of view than the highly popular GF100mmF2 R LM WR and deliver the same level of incredible image quality.

*1 – Image sensors measuring 36mm×24mm

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm XC 35mm F2 vs XF 35mm F2 sample gallery (DPReview TV)

25 Jan

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In their latest video, Chris and Jordan from DPReview TV compared Fujifilm’s inexpensive XC 35mm F2 lens with the more durable XF 35mm F2 R WR that costs twice as much.

In this gallery above you’ll see some of the comparison photos they took with each lens, with the XC version coming first.

View sample gallery

Watch DPReview TV’s Fujifilm
35mm F2 lens comparison video

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Fujifilm 35mm XC vs XF. Same performance for half the price?

25 Jan

The Fujifilm XC 35mm F2 prime lens has the same optical formula as the company’s XF 35mm F2 WR prime but costs half as much. How can this be? Chris and Jordan explain the differences.

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

  • Introduction
  • Fujifilm 35mm lens options
  • Sharpness
  • Image quality
  • Build quality
  • Weather sealing
  • Which one should you buy?

Want to make your own side-by-side comparisons between the two lenses? All the photos from this episode (and more) are in the sample gallery below.

Sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Sigma releases slew of minor firmware updates for its lenses, mount adapters

25 Jan

Sigma has unveiled a number of firmware updates for its lenses and adapters to improve features and address various issues.

Specifically, Sigma has published firmware updates for its 45mm F2.8 DG DN for Sony E-mount, 100–400mm F5–6.3 DG OS HSM for Canon EF-mount, some of its Sigma SA-mount lenses and its MC-11 SA-E/EF-E mount converter.

The Sigma 45mm F2.8 DG DN for Sony E-mount has received firmware version ’02,’ that Sigma says corrects an issue wherein blur can occur when using the lens with Sony’s in-body image stabilization. You can download firmware version ’02’ for macOS and Windows computers on Sigma’s support page.

The Sigma 100–400mm F5–6.3 DG OS HSM for Canon EF-mount has received firmware version ‘2.06,’ which ‘[optimizes] the operation of Mode 2 in Optical Stabilizer when used in combination with the SIGMA MOUNT CONVERTER MC-21 EF-L.’ It’s not a major update, particularly if you don’t use the MC-21 adapter, but even if you aren’t experiencing the issue, it’s still a good practice to keep your firmware fresh. The updated firmware is available within Sigma’s Optimization Pro program, which works alongside its USB Dock to upgrade the in-lens firmware.

Our initial hands-on with Sigma’s 100-400mm F5-6.3 lens back in 2017.

Sigma has also released firmware updates for a number of its SA-mount lenses. The Sigma 85mm F1.4 DG HSM now has ‘reduced the aperture drive noise’ when used with the MC-21 SA-L adatper, while the Sigma 14–24mm F2.8 DG HSM has improved autofocus when used with the MC-21 SA-L adapter.

Both the Sigma 100–400mm F5–6.3 DG OS HSM and 500mm F4 DG OS HSM lenses for Sigma SA-mount have also received an update that optimizes ‘the operation of Mode 2 in Optical Stabilizer’ when used with the MC-21 SA-L adapter. All of these updates can be downloaded through Sigma’s Optimization Pro program, which is available for macOS and Windows computers.

Lastly, Sigma has released a firmware update for its MC-11 SA-E and EF-E converters. The updates, which can be installed via Sigma’s Optimization Pro program, adds support for the aforementioned lenses in their respective mounts.

Articles: Digital Photography Review (dpreview.com)

 
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