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Canon aims to please professionals with the EOS-1D X Mark III

24 Oct

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Canon has announced the development of its next flagship DSLR, the EOS-1D X Mark III. Sitting at the top of the company’s EF-mount lineup, the EOS-1D X Mark III will continue to prioritize speed, image quality and durability for the most demanding of professional photographers. We don’t have an enormous number of details just yet, but all signs point to this being a significant update for photographers that use the previous models day in and day out.

It’s no surprise that the heart of the new camera will be an all-new CMOS sensor with Dual Pixel AF and a new Digic processor. That combination will be able to produce not only standard JPEG and Raw files, but also 10-bit HEIF files for a greater tonal range than JPEGs are capable of. The Dual Pixel AF region of the sensor will cover 90% of the frame horizontally and 100% vertically, with 525 AF areas. We don’t yet know the sensor’s resolution, but Canon is touting “incredible low-light shooting capabilities,” so while we’re not anticipating a huge pixel count, you should expect high ISO performance to be very good (the older 1D X II was no slouch).

Canon has also updated the autofocus system used through the optical viewfinder – we don’t know how many AF points there will be, but we’re told that the central AF pixels have “28 times the resolution” of the 1D X II, and the ability to focus accurately in “even brighter and darker conditions than before.” New autofocus algorithms utilize deep learning.

This will be the most video-capable EOS camera Canon has yet released

Also interestingly (and cryptically), Canon is touting a new way to control autofocus points by using the AF-On button. We have no idea what this means, but we’ll bring you more details as they become available.

In terms of speed, the new camera will shoot at 16 fps through the optical viewfinder with autofocus, and 20 fps with AF when in Live View mode, whether you’re using the mechanical or electronic shutter. The camera will come with dual CF Express card slots, and the buffer has been increased by five times compared to its predecessor.

Canon told us that this will be the most video-capable EOS camera they’ve yet released, and we can confirm that it’s able to capture 10-bit, 4:2:2 video footage at up to 4K/60p. They’ve also built in a C-Log profile, to enhance users’ ability to grade the video files in post.

Other minor touches include the addition of backlit buttons, and though it uses the same LP-E19 battery as before, battery life is improved.

Details regarding pricing and availability aren’t yet available.

Press release:

POWERFUL, FASTER AND RUGGED: CANON ANNOUNCES THE DEVELOPMENT OF THE EOS-1D X MARK III CAMERA

MELVILLE, N.Y., October 24, 2019 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc. is developing the highly anticipated Canon EOS-1D X Mark III Camera – the successor to the world-renowned and award-winning EOS-1D X Mark II. Ideal for sports and wildlife, the flagship DSLR is being engineered and designed using feedback from the worldwide community of EOS-1D X and EOS-1D X Mark II photographers. Continuing Canon’s rich heritage of creating first-rate optical products, the EOS-1D X Mark III offers an enhanced autofocus system, with dramatically improved still and video image quality and communication. When using this camera, professionals will have the confidence they will get ‘the shot’ and can deliver it at a competitive speed – faster than ever before – ideal for the increasingly fast-paced industry.

“The innovations put forth by the new EOS-1D X Mark III will set the new standard for professional DSLR cameras and further cement Canon’s commitment to its professional photographers,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “In developing the new camera, Canon listened to extensive user-feedback from professionals out in the field. The result is a camera that has evolved from its predecessor and maintained the overall quality that professional photographers have come to expect from the Canon EOS-1D series.”

Need for Speed

The Canon EOS-1D X Mark III will be blisteringly fast – offering exceptional precision, reliability, high-performance autofocus and subject tracking – providing photographers with a tool that will help to capture the shot they are chasing. The camera’s new autofocus algorithm will improve stability and tracking when using both the Optical Viewfinder and in Live View shooting mode, using Deep Learning Technology and adapting to help facilitate accurate focus tracking for every shot.

When using the optical viewfinder the camera will use a new autofocus sensor, with approximately 28 times the resolution in the center of the EOS-1D X Mark II. Offering the ability to autofocus in even brighter and darker situations than before and with greater precision, the camera will have a range of autofocus capabilities, which will enable the photographer to get their shot. In Live View mode, users will be able to make use of 525 AF areas using the Dual Pixel CMOS AF system will cover approximately 90×100 percent of the image sensor. The camera will support significantly faster frame rates with full AF and AE, using either the optical viewfinder (up to approximately 16fps mechanical shutter) or Live View (up to approximately 20fps mechanical or electronic shutter). Additionally, the camera’s dual CFexpress card slots will enable more than five times the RAW burst depth of its predecessor.

Powered to Dominate

The development of EOS-1D X Mark III is a clear example of Canon’s commitment to pushing the boundaries of innovative imaging products featuring optically excellent technology. The camera will support an all new, Canon-developed, CMOS sensor and DIGIC processor, that will deliver greater image quality, at even higher ISOs, with the ability to capture stills in 10-bit using the HEIF (High Efficiency Image File) file format. HEIF produces wider dynamic range and greater color representation compared to JPEG. The power of 4K resolution brings stories to life – shoot 4K videos including 4K60p with 10-bit 4:2:2 Canon Log internal recording.

Conveniently Connected

For professionals, content delivery is just as important as image capture – the EOS-1D X Mark III will make it easy, featuring built-in Wi-Fi® and Bluetooth® low-energy connectivity in addition to GPS technology. To keep pace with ever-shortening deadlines, the camera will transfer data at more than twice[i] the speed of the EOS-1D X Mark II when using the built-in Ethernet connection, or the new optional wireless file transmitter – the WFT-E9, which is also compatible with Canon’s recently launched Cinema EOS C500 Mark II camera. Coupled with simpler network set-up the camera will greatly enhance the professional workflow.

A Familiar Feel with Improved Attributes

Existing EOS-1D series users will be familiar and comfortable handling the EOS-1D X Mark III allowing seamless navigation with trusted ergonomics – whilst the magnesium alloy body will offer the durability expected from Canon’s EOS-1D cameras. Professional photographers can trust the same impressive build-quality as the EOS-1D X Mark II – with phenomenal weather-sealing, standing up to harsh conditions, including wind, rain and humidity. With incredible low-light shooting capabilities, the camera will now feature select illuminated buttons that allow for precision operation in challenging, dark and dimly lit conditions.

The camera will also offer a new additional control for selecting AF points, built into the AF-ON button, allowing photographers to change AF points on-the-fly for the best composition – further helping to simplify their work. In addition, dramatically improved battery life – with the same LP-E19 – will allow professionals to shoot for longer periods of time, without having to change batteries, helping reduce the chance of missing a shot.

[i] Transfer speeds may be adversely affected depending on the usage environment.

Articles: Digital Photography Review (dpreview.com)

 
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Photographer uses drone with thermal camera to find missing 6-year-old boy

24 Oct

Photographer Steve Fines helped save the life of a 6-year-old boy who went missing last week on a subfreezing night in Sherburne County, Minnesota.

A group of roughly 600 people showed up to search for Ethan and his dog. As temperatures dropped below 30ºF that evening, the situation became increasingly dire. ‘I heard about the search at 8:00 pm and arrived on site about 9:00 pm,’ Fines tells DPReview. He arrived carrying his DJI m210RTK v2 drone equipped with an XT2 dual thermal camera.

An annotated image shared by Fine showing the location of Ethan and his dog being rescued.

Since Fines uses the drone for business purposes, he already had 10-12 sets of batteries charged and ready to go. ‘I went to the command center and introduced myself. They asked me not to fly until the state police helicopter left the area, which happened about 10:30 pm,’ Fines told us. He also emphasized how important it is for drone operators to yield the right of way to helicopters and other emergency response efforts. Interfering with these critical operations is against the law and can result in fines upwards of $ 20,000. Drone operators need to coordinate with local authorities first before getting involved.

Once Fines received clearance for takeoff, he said ‘I quickly started flying and it was by using a programmed flight path that I could efficiently cover a lot of ground. After quite a few false positives – otters, deer, bear – at 1:40 am, I spotted the six-year-old and his dog. By 1:50 am, a ground rescue team made it to his location and I watched them pick him up on the thermal monitor.’

While Fines has received a lion’s share of the credit from local news station KARE 11 for the success of the rescue, he took to social media and gave thanks to the coordinated efforts led by the County Sheriff along with the hundreds of volunteers that helped guide him in the right direction.

This thermal image shows a stream of volunteers walking a path to find missing 6-year-old Ethan.

While I was running the camera that found him […] I only knew in which direction to look because volunteers on the ground had found a footprint that pointed me in the right direction. I knew which areas had already been searched because of the excellent coordination of the Sherburne County Sheriff. I had other volunteers running radios to coordinate ground search parties – the people moving across really rough ground to find him. There were 600 of us that found Ethan that night.

Below is a video from KARE 11 showing more behind-the-scenes footage of the rescue and a thank you from Ethan:

You can check out more of Fines’ work via his website and follow Fines Aerial Imaging on Facebook and Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Fujifilm X-Pro3 hands-on preview

23 Oct

Some might argue that Fujifilm’s new X-Pro3 rangefinder-style camera takes a page from the Leica playbook, omitting a full-time rear screen in favor of a more ‘pure’ shooting experience. So, is the X-Pro3 a carbon-coated classic or a titanium trinket? Chris and Jordan aim to find out.

Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • The X-Pro3 in context
  • Street photography
  • Optical viewfinder (OVF)
  • Displays
  • Titanium plates
  • Monochromatic color
  • Controls and custom buttons
  • Function menu
  • Electronic viewfinder (EVF)
  • Autofocus
  • Focus limiter
  • Video features
  • Conclusion

Articles: Digital Photography Review (dpreview.com)

 
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Our Fujifilm X-Pro3 initial review: What’s new, how it compares

23 Oct

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The Fujifilm X-Pro3 is a 26 megapixel mirrorless interchangeable lens camera built around a clever optical / electronic viewfinder and designed to look like a classic rangefinder.

This, the third iteration of Fujifilm’s first X-mount camera gains titanium top and base plates but the most noteworthy feature is an LCD panel that faces the back of the camera and needs to be flipped down to use it. The viewfinder and rear screen are the main distinctions between this and the similarly-specced X-T3.

A low-resolution status panel on the back of the camera speaks to the underlying ethos of the camera, which we’ll look into in more detail on the next page.

Key Specifications

  • 26MP APS-C BSI CMOS sensor
  • Optical/Electronic hybrid viewfinder
  • Fold down rear LCD
  • Rear-facing Memory LCD status panel
  • Titanium top/bottom plates
  • 4K video at up to 30p, 200Mbps
  • 11 Film Simulation modes, now with ‘Classic Neg’

The X-Pro3 will be available in a painted black version for $ 1799 or variants with a silver or black hardened, coated surface for $ 1999.


What’s new and how it compares

The X-Pro3 looks a lot like its predecessors except for one major change.

Read more

Body and controls

A new titanium top plate, rear ‘sub monitor’ and hidden flip-out LCD round out the major body updates.

Read more

First impressions

Photo editor Dan Bracaglia took a pre-production X-Pro3 on holiday to Northern California. Here are his thoughts on the hidden rear screen.

Read more

Sample gallery

The X-Pro3 gains the ‘Classic Negative’ film stimulation. Check out examples of it and more in our hardy samples gallery.

See more

Articles: Digital Photography Review (dpreview.com)

 
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A Step-by-Step Guide to Using Light in Flower Photography for Awesome Photos

23 Oct

The post A Step-by-Step Guide to Using Light in Flower Photography for Awesome Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

using-light-in-flower-photography

Flowers are brilliant subjects for photography. They are bright, colorful, and are stay perfectly still for you as long as the wind is calm. You don’t need any special equipment or lenses to take great photos of flowers either. You can get great photos with just a mobile phone or a basic DSLR with a kit lens. If you really want to elevate your flower photography to the next level, you need to pay very close attention to one thing – the sun – because the light in flower photography is everything.

Image: 85mm, f/2.8, 1/3000 second, ISO 2200

85mm, f/2.8, 1/3000 second, ISO 2200

Of course, there are other sources of light besides the sun, but this is the most obvious and easily-accessible one when considering flower photography. Unfortunately, you can’t position the sun exactly where you want it, but you can position yourself to make the best use of it. You can also take note of the lighting conditions when you go out to shoot flower pictures. Understanding how the sunlight, and your angle of view, affect the finished product is key to getting great shots.

Don’t let anyone tell you that if you want to get good pictures of flowers you have to do it in certain conditions like a cloudy day or the evening. In truth, you can get great flower photos almost any time as long as you pay attention to the sun and the shot you are trying to get. Let’s take a look at some different scenarios and see how they affect flower photography.

Time of day

The time at which you shoot, such as early morning or mid-afternoon, can have a huge impact on your flower photos. In addition to altering the amount of light available, shooting in the morning or evening changes the type of light. It also changes the angle at which it hits your flowers and the surrounding area.

I shot the picture below just as the sun was coming up. The blurry triad in the background is a street lamp that had not yet turned off. It added a nice background touch to the picture. This would have looked entirely different had I taken the picture a few hours later.

Image: 50mm, f/1.8, 1/180 second, ISO 400.

50mm, f/1.8, 1/180 second, ISO 400.

If you want your flowers gently illuminated for a soft, almost hazy appearance, then early morning or late evening is going to work great. However, if you want your flowers bright, sharp, and punchy, then harsh overhead lighting is ideal.

It all depends on the type of picture you want to take and knowing how the lighting conditions affect the final image.

using-light-in-flower-photography

50mm, f/2.8, 1/1500 second, ISO 200

A monarch butterfly joined me as I was taking the above picture in the afternoon. The bright overhead sun made the reds, yellows, and greens bright and crisp, which doesn’t happen in the early morning or late in the day.

The sun was directly overhead when I took the picture below. This caused each of the colors in this picture to shine. It turned out I wasn’t the only one interested in this particular magnolia flower.

using-light-in-flower-photography

50mm, f/1.8, 1/6400 second, ISO 200

You can get great pictures of flowers at any time of the day. Just make sure you know where the sun is and how it will impact your pictures. Armed with that knowledge, you’ll be able to make better choices about the pictures you are going for.

Types of light in flower photography

Backlighting vs. front lighting

Backlight is when the main source of light comes from behind your subject. This can lead to some creative scenarios, especially when used to shoot subjects with rim lighting. Conversely, front light is when the main source of light comes from the front of your subject, usually behind the photographer.

Either one of these types of lighting works great for flower photography. However, you need to understand how backlighting and front lighting affect your flower pictures, so you know which one to use. I photographed the flower below with front lighting. The sun was behind me as I took the picture.

using-light-in-flower-photography

85mm, f/1.8, 1/3000 second, ISO 100

Front lighting makes the purples really stand out, especially against the background. There are also some prominent shadows along the left-hand side and at the base. These are neither good nor bad, just a result of using front lighting.

A similar flower, shot in the same location a few minutes later, reveals a much different image when employing backlighting.

Image: 85mm, f/2.8, 1/500 second, ISO 560

85mm, f/2.8, 1/500 second, ISO 560

Notice how the petals almost look like they are glowing as the sun shines through them. The shadows are more diffused, which is also due to the late hour of the day at which this was shot. Both pictures are good but in different ways. If you traditionally shoot flowers with front lighting, try doing some backlit shots and see if you like the results.

Image: Another backlit flower, where the shining sun made the yellow flower appear bright and radian...

Another backlit flower, where the shining sun made the yellow flower appear bright and radiant.

Sunny vs. overcast

There’s a common perception among photographers that cloudy, overcast skies make for some of the best lighting conditions. While I certainly enjoy shooting on days like that, the truth is, you can make any lighting condition work for flower photography. You just need to know how the light will affect your images.

One of my favorite flower photos I have ever taken was in the middle of the day just after a bit of rain. It’s a few coneflowers low to the ground. The overcast sky led to even lighting across the entire frame and rich, deep colors. There are no harsh shadows, no translucent petals, and no bright spots in the background. Instead, the frame is a mix of saturated greens, purples, and reds that I really like.

using-light-in-flower-photography

50mm, f/1.8, 1/640 second, ISO 200

Another example of this is the following picture, which I took in the morning after a night of thunderstorms. The clouds overhead dispersed the sunlight into all directions, which gave me an evenly-lit scene that worked great for this particular show.

Image: 85mm, f/1.8, 1/200 second, ISO 125

85mm, f/1.8, 1/200 second, ISO 125

However, these two pictures don’t mean you can’t take great flower pictures in bright sunlight. Far from it! Just know that flower images in bright sunlight will look much different than their cloudy-skied counterparts. The picture below is similar to the one above, but I took it on a bright sunny day.

using-light-in-flower-photography

50mm, f/1.8, 1/8000 second, ISO 360

This picture is neither better nor worse than the one above it, just different. Bright sunlight makes the red petals leap out of the frame. The rich blue sky and deep shadows of the grove of trees add a sense of space and depth that is missing in this picture’s counterpart.

Similarly, I photographed the purple magnolia flower below on a bright sunny day, but with just a bit of cloud cover. It’s kind of a cross between sunny and overcast and yields an interesting picture.

using-light-in-flower-photography

85mm, f/1.8, 1/200 second, ISO 140

The sun was off to the left, making the white inside of the flower petal shine out and compete with the purple in the foreground for the viewer’s attention.

I show all these examples as an illustration that you can get great shots of flowers in a variety of lighting conditions. The key is to use the sunlight (however it happens to be at the moment) to your advantage by knowing how it will affect your flower photos.

A comparison

If you can’t control the light in your flower photography, you can still control the angle from which you shoot your pictures. This has an amazing impact on how your flower photos turn out.

I shot the three photos below on a bright sunny day in about three minutes. The same flower is in each shot, and I used a 50mm lens with an f/2.8 aperture. The only difference is the angle from which I took each photo but that one simple thing changes each picture a great deal.

In this first picture, the flower is front-lit, meaning the sun was behind me and almost directly overhead as I took the photo. Notice the bright orange colors and stark shadows, which create a sense of depth and isolation. The background is shrouded in shadow because of the overhead light and the angle from which I took the picture. I see a lot of pictures similar to this online, especially on social media sites.

Image: 50mm, f/2.8, 1/2000 second, ISO 100

50mm, f/2.8, 1/2000 second, ISO 100

For this next photo, I stood in the exact opposite spot, looking up from below into the sun. Notice how the petals have become brilliantly translucent, and the greenery on the left is bursting with blurry bokeh.

It’s an entirely different version of the same flower and didn’t require anything on my part other than a simple perspective change.

Unlike the first picture, I don’t often see flower shots like this on social media. This is most likely because it’s just not something a lot of people think about doing.

Image: 50mm, f/2.8, 1/2000 second, ISO 100

50mm, f/2.8, 1/2000 second, ISO 100

I photographed this final image from the side, and what’s interesting here isn’t necessarily the flower but the background. From this angle, the background was entirely green, making the oranges and reds of the flower scream out by comparison. The lighting is similar to the first image, but this one is a lot more interesting to me because it’s a mix of colors instead of a flower against a mostly black background.

using-light-in-flower-photography

50mm, f/2.8, 1/2000 second, ISO 100

I really want to stress that none of the pictures in this tutorial are objectively better than any others. What I hope to have illustrated is that paying attention to the light in flower photography, as well as considering alternative viewpoints from which to shoot, can dramatically impact your flower photos.

Image: 23mm, f/5.6, 1/160 second, ISO 200. I had to hold my camera high above my head and fire off a...

23mm, f/5.6, 1/160 second, ISO 200. I had to hold my camera high above my head and fire off a series of shots hoping one of them would turn out. It did, and I’m so glad I didn’t just shoot a single sunflower from my normal eye level.

If you enjoy taking pictures of flowers, hopefully these images will give you some new ideas to consider. And if you haven’t spent much time out in nature capturing the beauty of blossoms like this, I hope you can find some time to go out, look at the lighting in flower photography and give it a try. You might be surprised at what you can get!

I’d love to see some of your shots – please share them with us in the comments below.

The post A Step-by-Step Guide to Using Light in Flower Photography for Awesome Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Hands-on with the quirky, retro fantastic Fujifilm X-Pro3

23 Oct

Hands-on with the Fujifilm X-Pro3

Fujifilm has just announced the X-Pro3 – an X-mount mirrorless camera which is styled to look like a classic rangefinder camera, but is built around a modern 26MP APS-C sensor. From a purely specs-based point of view, there’s not a whole lot separating the X-Pro3 from Fujifilm’s other high-end APS-C camera, the X-T3, so the company has doubled down on design philosophy and ergonomics as the main differentiators between the two.

We were certainly curious not only about how the camera would handle, but how some of its out-of-the-ordinary features would impact how we used it. Click through for a closer look at our pre-production X-Pro3.

The rear screen(s)

The X-Pro3 features a unique dual-screen system, which is intended to both encourage use of the hybrid optical / electronic viewfinder (more on that later) and inspire a bit of nostalgia.

The rear status panel, pictured here, defaults to showing you which film simulation you’ve chosen, as well as your white balance and ISO setting. The nostalgia sets in when you notice that the on-screen display changes depending on which film simulation you use, with looks that are inspired by the packaging of Fujifilm’s classic film stocks. It’s the digital equivalent of ripping a portion of the film packaging off the box and tucking it into a slot on the back of your camera – ah, the good ‘ole days.

Though the legibility of the screen is reasonably good (despite fairly low resolution), it lacks a backlight, so you’ll need to rely on ambient lighting to be able to make out what it’s showing. Also, if you’ve programmed any custom buttons to change any of the options shown, be aware that the option you’re changing doesn’t become highlighted. So if you’re still learning the camera, you may hit a custom button intending to change the ISO value, but end up changing the white balance instead.

The rear screen(s)

When the camera is powered down, this is the view that you’ll see – it shows the remaining number of shots on the memory card, your exposure compensation setting (though if you move the exposure compensation dial when the camera is off, the screen will not update until you power it back on) as well as remaining battery life.

Oh, and if film-box nostalgia isn’t your thing, you can configure the panel to show a screen similar to this when the camera is on and in use, and you can customize which options you want to be shown. In this regard, the monitor is akin to a rear-mounted version of the top-plate display on the Fujifilm X-H1.

Flipping out

Now, the bottom-hinged design is where we expect a bit of controversy. It’s a touch-enabled screen, so you can place your desired autofocus point by touching anywhere, and it’s very sharp with a resolution of 1.62 million dots. But the bottom hinge makes it inconvenient and unwieldy for general use. Fujifilm really seems to want you to use the viewfinder.

In our time with the camera, the screen design did indeed encourage us to rely on the viewfinder more than we generally would while still allowing us to get ground-level shots without laying on our stomachs. But of course, some photographers just won’t be able to stomach this design choice, and that’s fine – within Fujifilm’s own lineup there’s always the X-T3’s more conventional screen if you need it.

Hybrid viewfinder

The hybrid viewfinder has always been a big element of what set the X-Pro series apart, and with the X-Pro3, Fujifilm has completely redesigned it. Let’s start with the viewfinder in its optical mode.

The optics in the finder are a reverse Galilean implementation with an electronic overlay, but the optical formula is all new and offers 0.52x magnification. Unfortunately, gone is the option to change the magnification if you want to use more telephoto lenses. Basically, shooting with anything over 75mm-equivalent will be difficult, as the actual image area corresponds to a pretty small portion of the viewfinder frame. But for Fujifilm’s 23mm, 35mm and 50mm F2 primes, it’s a good fit (the 16mm F2.8 prime actually captures a wider area than the optical viewfinder can show you).

Lastly, you also have to bear in mind the parallax effect when using the optical viewfinder, particularly when changing from nearby to faraway subjects and vice versa – this is because you’re getting a different view than what the sensor is getting through the lens. Unfortunately, Fujifilm has done away with the ability to see where your focus point would show up at infinity as well as where it would show up at minimum focus distance; it only shows your current focus distance, and the minimum. This can make it hard to estimate framing with changing subject distances.

Hybrid viewfinder

A lever on the front of the camera allows you to switch from the optical viewfinder to a fully-electronic display, similar to what you’d see on other mirrorless cameras. It offers great quality, having 3.69M dots of resolution on a 0.5-inch OLED panel. With a 50mm-equivalent lens, you’re getting 0.66x magnification.

But if you’re not sure whether to choose EVF or OVF, Fujifilm goes one step further by letting you use both, in a way. The viewfinder lever also allows you to enable a pop-up display tab in the corner, showing a live digital view of the portion of your frame that’s directly under your focus area. It’s a handy way to check your critical focus without losing the immediacy the optical finder provides.

Rear panel controls

The rear panel of the X-Pro3 has seen some further changes; the four-way controller is gone, and the ‘View Mode’ button from its predecessor has departed as well. The 8-way AF joystick works well for navigating the menus, and that rear control dial can be pushed inwards, as well as scrolled.

Typically for Fujifilm, the X-Pro 3 features a lot of customization options as well. You can adjust the functionality of the AE-L/AF-L button, the rear dial click-in action, and customize the blank button above the Q button. The Q button gives you access to a Q menu, which can be customized with your choice of 4, 8 12 or 16 commonly used settings.

Top plate controls

The X-Pro3’s top plate controls will be familiar to Fujifilm users, with a dedicated exposure compensation dial and a dual-function shutter speed and ISO dial (you lift this dial to change the ISO value). There’s one custom function button near the shutter and the on/off switch as well.

It’s also worth pointing out that the top and bottom plates of the X-Pro3 are both now made of titanium. This is the base black model, but ‘Duratect’ coated ‘Dura Black’ and ‘Dura Silver’ versions feature increased scratch resistance for a $ 200 price premium.

Updated sensor and front controls

Here you can see the new 26MP APS-C X-Trans sensor that we first saw in Fujifilm’s X-T3. Given equivalent lenses, this sensor should offer identical image quality and autofocus performance (at least when using the screen or electronic viewfinder) as the X-T3 offers – and we’ve been pretty impressed with what the X-T3 is capable of.

You can also clearly see the EVF / OVF lever here to the upper right of the lens mount, and this has a customizable button within it. There is also a customizable front control dial and the single-continuous-manual focus switch on the bottom right.

Card slots

The X-Pro3 comes with dual card slots, which is a nice touch. One could argue, of course, that for the way this camera is meant to be used, it’s unlikely that this is a deal-breaking feature for potential buyers. But then again, given the premium pricing, we’re still glad to see them. They can be set up so that Raw and JPEG files are split between them, so that still and movie files are split between them, and also so that one is a redundant backup of the other.

Battery

No surprise, the X-Pro3 uses the same NP-W126S battery that is ubiquitous among Fujifilm’s current APS-C mirrorless lineup. The camera is CIPA rated to 440 shots per charge if you use the optical viewfinder, and 370 if you use the EVF – not amazing numbers, but certainly not bad. In our experience, a rating of around 400 shots per charge is likely to last you a day of heavy shooting, or several days of more lighter use.

And of course, you can top the camera battery up over USB-C, which brings us to…

Ports

The X-Pro3 has a USB type C port as well as a 2.5mm remote / headphone jack. As mentioned, the USB port supports in-camera battery charging, though with the proper adapter, it can be used as a headphone port for monitoring audio while shooting video. And not that we think this is really a camera for video shooters, but the quality and feature set its capable of are honestly quite impressive. You can read more about its video feature set in our initial review.

Fujifilm X-Pro3 hands-on

And that about does it. There’s no doubt that the X-Pro3 is a strikingly handsome camera. It feels great in the hand, and the controls are excellent and highly customizable. With the right lenses, it’s a fun camera to carry around and shoot. But the screen mechanism and likewise the optical viewfinder, with the limitations that both create, are going to limit the broader appeal of the X-Pro3. But that’s the point – if you want something that has more of a personality to it, get the X-Pro3. You want a generalist camera? The X-T3 might be a better option.

But we’re curious – let us know what you think in the comments. Are you drawn in by the X-Pro 3’s redesigned optical viewfinder and unconventional rear screen? Or, would you rather just have the X-T3? Let us know.

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Why These are My Favorite Free Online Photo Editing Tools

23 Oct

The post Why These are My Favorite Free Online Photo Editing Tools appeared first on Digital Photography School. It was authored by Ana Mireles.

free-online-photo-editing-tools

Are you looking for a way to keep your photography workflow going without your computer? Fortunately, there are some free online photo editing tools that can help you out. Here are a few of my favorites and why.

Maybe you’re traveling light or your computer doesn’t have enough capacity? Perhaps it just crashed and you sent it to get fixed? Whatever the reason, sometimes you just can’t work with downloadable programs.

Browser Photo Editors

But there are no more excuses because here are some great browser tools to solve your needs regardless of your level of expertise.

Google Photos

With Google Photos, you can have unlimited storage in their Cloud, but your photos and videos are limited to 16 MP in their file size. If you store files that are bigger than that, it eats into your Google Drive quota. Still, you can back up or share your images from anywhere you have Internet access.

If you want to learn more about protecting your work, check the article Are Your Photo Backups Rock Solid?

Back up, storage, archiving, organizing

Archiving

In order to keep track of all these images, you can organize them by album. But in case you haven’t gotten around to doing it, you can find them by type: video, movie, animations, collages or photos. Furthermore, you can search for them by the things or places featured in them, even if you didn’t tag them.

Albums, Artificial Intelligence, Face recognizion, Format

You can use Google Photos for free; all you need is to have a Google account. In this day and age, most of us already have one anyway.

Features

You can also create photo books to print directly from Google Photos. Other features include movies, collages, and animations.

print, buy, checkout, photobook, photoalbum

It includes some photo editing tools, but it’s mostly filters and very basic adjustments. If you need to do further edits, I suggest to move on to my next favorite on the list.

Fotor

Fotor is a photo editing and graphic design platform that you can use online or download it to your desktop. There is a free version or a paid pro version. The tools available depend on which of these combinations you’re using. Here, I’ll talk, as the title says, of the free online one.

interface, user experience, home page

Photo editing

I like the Fotor editor because it offers a good balance between customizable adjustments and one-click effects. If you want to do some controlled editing, just go to the Basic tab. If you prefer presets, go to Effects and Beauty. In these last ones, you’ll find some free choices and some premium ones.

post-production, photo-retouching,photo-editing

Collage

For the collage feature, it offers many more designs than Google Photos. There are four main categories, and each one has a series of templates. What I find particularly useful is Photo Stitching. With this, you can create a panorama by ‘stitching’ many images into one.

Collage, Montage, Design tools

Graphic Design

However, my favorite part is the ability to do graphic design. From a thank you card to a brochure, you can easily customize the templates with your photos. You can then adjust colors, fonts, and stickers to your liking.

The templates also cover any social media needs as well as the more traditional formats. Some are free and some you have to get the paid subscription.

Design, marketing, templates, social media, documents

Storage

If you decide to create an account, you also have free storage in the cloud for your photos and any work you make in Fotor. And, of course, if you go for the paid version, the storage space increases.

Pixlr

Pixlr is a browser photo editor that offers different versions to fit your needs. Again, there are different versions available that offer certain levels of functionality and effects.

The free Pixlr Express is very basic – not much more than any other editor.

Still free, the Pixlr Editor allows you to do more controlled and personalized edits and is the one I prefer to use.

Pixlr X, which is a blend of the first two, is the paid version, and it comes with more professional features.

interface, homepage, photo editor

Pixlr Editor

The interface is similar to Photoshop or GIMP, to explore these more in-depth, you can check my previous articles: A Brief Introduction to GIMP and How to Set Up the Photoshop Interface.

You’ll find a tool panel on the left side, the canvas for your image in the middle, and the panels for history, layers and other options on the right.

photo retouching, adjustments, photo editing

Tools

You have all the adjustments you need to correct and fine-tune your image and filters and effects for you to choose from. It also includes two of my most important tools when doing photo retouching – layers and masks.

layers, photo editing, black and white

Conclusion

I hope you liked my list of favorite free online photo editing tools. Remember, there are many solutions out there that are free. I’ll leave you some related articles in case you want to explore some more tools and software.

Please, also share your favorite free online photo editing tools with us in the comments section.

Related Topics:

Your Comprehensive Guide to Photography Post-Processing Software

3 Alternative Post-Processing Applications that Challenge the Adobe Throne

Tips on Choosing a Free Photo Editor for Post-Processing

Free Versus Paid Photography Portfolio Websites – Which is Best for you?

36 of the Best Online Tools to Boost Your Photography Business

The post Why These are My Favorite Free Online Photo Editing Tools appeared first on Digital Photography School. It was authored by Ana Mireles.


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Display duality: The Fujifilm X-Pro3 in the California wine country

23 Oct

The Fujifilm X-Pro series has historically been marketed to a certain type of photographic purist and is part of a small group of cameras aiming to offer the most analog-like experience possible in an increasingly digital world.

The latest iteration brings a change that in many ways, doubles down on the traditional concept of the X-Pro-series. While it sees a host of expected under-the-hood improvements, like an updated sensor and electronic viewfinder, the most radical update to the X-Pro3 is the unique implementation of a hidden, touch-sensitive rear LCD.

I had the chance to shoot around with a pre-production X-Pro3, while on holiday in California. What follows are my initial impressions on the design of the camera.

All of the images in this article were shot using a pre-production sample of the X-Pro3. As such, image quality may not match the output of final shipping cameras, but is likely to be close.

Duality of the hidden display

The hidden display in some ways made me more appreciative of my surroundings and less concerned with snapping a million photos. The wine also helped. Out of camera JPEG, shot using the ‘Velvia / Vivid’ film simulation.
ISO 160 | 1/1000 sec | F5.6 | XF 50mm F2 R WR

The addition of touch-sensitivity to the rear LCD counts as pretty darn radical for the X-Pro-series, but the fact that it’s hidden, with no default rear preview, is radical for digital cameras in general (we see you, Leica M-D). This was a design I grew to both appreciate and be frustrated with while cruising the back country roads of Northern California. On the one hand, it made me more decisive in choosing whether I wanted to frame with the EVF or LCD – I mostly committed to the former. And when I did use the LCD to compose, the small inconvenience of flipping out the screen caused me to slow down and be more deliberate.

This was likely Fujifilm’s intention with the camera’s concept: to make you think more about the image you’re taking, rather than just shooting and ‘chimping’ the rear screen immediately after pressing the button. In other words, to get you closer to the experience of using a film camera.

The small inconvenience of flipping out the screen caused me to slow down and be more deliberate

On the other hand I missed a lot of shots because the moment had passed before I could fumble the LCD open or get the finder to my eye in time: these were mostly snapshots of funny moments with my partner. And sometimes it’s these casual snaps that are the most special, interesting or telling. How foolish I felt for not better appreciating the near-instantaneous live view nature of other mirrorless cameras.

I also found it was an adjustment not being able to pick up the camera and jump right into menus to change a setting, without taking the time to uncover the LCD. Yes, you can access them with your eye to the finder, but it’s hardly an ideal way to navigate settings. There’s also a distinct pause before they appear.

Waist-level shooting at a touch

Flip-out touchscreens can be quite handy for landscapes.
Out of camera JPEG, shot using the “Velvia / Vivid” film simulation.
ISO 160 | 1/1100 sec | F5.6 | XF 23mm F2 R WR

Despite the LCD’s fumbly nature, I did find the ability to frame from the waist level, while using the screen to focus or fire the shutter, to be invaluable for candid-style shooting as well as landscape photography (like the shot above). And while some street shooting purists may disagree with this approach, there’s no questioning how simple and practical it is. That said, the screen’s 180-degree articulation means it doesn’t quite tilt far enough for high-level shots. Boo.

There were a lot of casual images I didn’t take because they happened before I could fumble the LCD open

But let’s take a step back: Both the X-Pro1 and X-Pro2 both had fixed screens with no touch-sensitivity, a fact that always seemed sensible to me. After all, why would cameras emulating a film rangefinder offer such modern conveniences as a touchscreen? But after handling the X-Pro3, I’m willing to part with my old way of thinking and embrace the new. Modern street/documentary/candid-centric cameras should have an articulating touchscreen! And I’m hoping the next generation X100-series camera (I’m a current X100F owner) also has one, just not one that can only be used at waist level.

Love for the sub-monitor

So with the LCD hidden away, what about the flip side? On the back of the camera, where a traditional LCD would normally be, you’ll find a small ‘sub monitor,’ which displays basic camera info, much like a top plate display on an SLR. By default it features a snazzy graphic of the film simulation being used as well as ISO and white balance. It’s truly the digital version of tearing off the film box top and sliding it in the back of your camera: a bit of a parlor trick, but a harmless one at that. I personally love it.

The sub monitor is truly the digital version of tearing off the film box top and sliding it in the back of your camera

But if it’s not your cup of tea you can switch from the ‘Classic’ to the ‘Standard’ display which offers 8 customizable rows of camera info, sans cool film simulation graphic. The only downside to this ‘sub monitor’ is the fact that it’s fairly dim and hard to see in bright light, unless held at a very specific viewing angle.

A worthy upgrade, but not for everyone

Out of camera JPEG, shot using the new “Classic Negative” film simulation.
ISO 2500 | 1/200 sec | F2 | XF 23mm F2 R WR

Ultimately, the X-Pro3 seems to be a solid update to a beloved series and I applaud Fujifilm for adding touch sensitivity and screen articulation to a line I never dreamed would have these features, as well as a better EVF and sensor. However, the decision to hide the screen is a bit perplexing: part of me wishes Fujifilm simply made the screen mechanism fully articulating. This would allow it to both be used flush against the camera, hidden away, or flipped out, and you could still have the rear ‘sub monitor.’ Why not give the people the choice?

Part of me wishes Fujifilm simply made the screen mechanism fully articulating

Still, I think this design adds something unique to a camera line perhaps struggling to differentiate itself from a lot of other high-end ILCs, including Fujifilm’s own X-T3. It tosses the traditional Fujifilm rules of what a purists’ digital camera should be out the window, while writing a new set.

And at the end of the day, limiting factors often lead to photographic growth: my guess is potential X-Pro3 customers already embrace limitation (after all, the optical viewfinder is best used with a limited range of 23-90mm prime lenses) and they’ll learn to love the camera’s hidden rear display, in time. For everyone else who loathes it at first sight, that’s OK. The X-Pro3 isn’t for you.


Fujifilm X-Pro3 pre-production samples

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The Canon 5D Mark V to Be Produced After All (in 2020)

23 Oct

The post The Canon 5D Mark V to Be Produced After All (in 2020) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The Canon 5D Mark V to Be Produced After All (in 2020)Professional DSLRs aren’t dead yet.

As was reported last week, Canon has plans to keep at least one of its DSLR lineups alive:

A photographer’s favorite, the Canon 5D line.

Rumors indicate that the Canon 5D Mark V will likely be announced sometime in 2020, probably at the end of the year.

The Canon 5D Mark IV is a popular choice among professional photographers; it’s particularly praised for its high-ISO capabilities, which blow most other cameras out of the water. But the Canon 5D Mark IV isn’t just a great option for low light shooters. It’s an all-around excellent piece of kit, offering good continuous shooting speeds (7 fps), impressive autofocus capabilities (including Canon’s Dual Pixel autofocusing), a rugged body, and dual card slots.

We can hopefully expect the Canon 5D Mark V to be more of the same, just with some key upgrades. Canon will undoubtedly retain the dual card slots and the rugged camera, though we’ll undoubtedly see expanded high-ISO capabilities and (probably) improved autofocus, not to mention resolution. If we’re lucky, we’ll get increased continuous shooting speeds, though 7 fps is very respectable, especially for a 30+ megapixel camera.

Given the overwhelming interest in mirrorless cameras, we can also expect some cross-pollination between mirrorless and DSLR lineups. While the Canon 1D X Mark III will likely be the first Canon DSLR to feature in-body image stabilization, the Canon 5D Mark V may be the second.

Note that the Canon EOS R II is also rumored to come out around the same time as the Canon 5D Mark V, and will probably have many of the same features. Hopefully, this will include dual card slots, a feature that was sorely missed by professional photographers who considered the Canon EOS R, as well as in-body image stabilization.

So I’d like to ask you:

Which camera would you be more interested in – the Canon 5D Mark V or the Canon EOS R II? And Canon 5D Mark IV users, might you consider switching to mirrorless?

Share your thoughts in the comments!

The post The Canon 5D Mark V to Be Produced After All (in 2020) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Tamron developing a compact 70-180mm F2.8 telephoto zoom for Sony E-mount

23 Oct

Tamron has announced the development of a compact tele-zoom for full-frame Sony E-mount bodies: the 70-180mm F2.8 Di III VXD. The lens will be just 149mm (5.9″) long and will weigh in at 815g (1.8lbs), and it will use the same 67mm filters as the two other lenses in the series: the 17-28mm F2.8 and 28-75mm F2.8.

The 70-180 will offer ‘several’ specialized glass elements and will use the company’s VXD linear focus motor. The minimum focus distance is a relatively short 0.85 meters (33.5 inches). The lens will be sealed against dust and moisture, and will have a fluorine coating to repel oil and water from the front element.

Tamron says that the 70-180mm F2.8 Di III VXD will be available in Spring of next year.

Press Release:

Tamron Announces the Development of Compact and Lightweight High-Speed Telephoto Zoom Lens for Sony E-Mount Full-Frame Mirrorless Cameras

October 23, 2019, Commack, NY – Tamron announces the development of a new high-speed telephoto zoom lens for Sony E-mount full-frame mirrorless cameras, the 70-180mm F/2.8 Di III VXD (Model A056). Availability of this new zoom is planned for Spring 2020. The lens will be on display at the upcoming Photo Plus Expo in New York City this week and Salon de la Photo in Paris next month.

Developed under the concept of “making high-speed zoom lenses user-friendly,” Model A056 features a compact and lightweight design, an ideal match for full-frame mirrorless interchangeable lens cameras. The 67mm filter diameter is the same as all other Tamron lenses in this series. The optical design includes several specialized glass elements that contribute to the lens’s superb imaging performance and its very short 33.5 in MOD (Minimum Object Distance) expands overall versatility. The lens adopts Tamron’s newly developed VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism that produces a quiet, quick autofocus drive.

Other features that support a great shooting experience include a Moisture-Resistant Construction helpful for outdoor shooting and Fluorine Coating for easy maintenance. In addition, Model A056 is fully compatible with various camera-specific features including Fast Hybrid AF and Eye AF. This new model joins the 17-28mm F/2.8 Di III RXD (Model A046) and the 28-75mm F/2.8 Di III RXD (Model A036) and brings Tamron’s total of F/2.8 zoom lenses for full-frame mirrorless cameras to three.

Main features

  1. Comfortably compact (149mm / 5.9 in) and light weight (815g / 28.7 oz).
  2. 67mm filter diameter, same as all other Tamron lenses for full-frame mirrorless cameras.
  3. Superb optical performance and MOD of 5 in. for a broader range of photographic versatility.
  4. Extremely quiet and fast newly developed VXD linear motor focus mechanism.
  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.

* Specifications, appearance, functionality, etc. are subject to change without prior notice.

Tamron 70-180mm F2.8 Di III VXD specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 70–180 mm
Image stabilization No
Lens mount Sony FE
Aperture
Maximum aperture F2.8
Aperture ring No
Optics
Special elements / coatings Fluorine coating
Focus
Minimum focus 0.85 m (33.46)
Autofocus Yes
Motor type Linear Motor
Full time manual No
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 815 g (1.80 lb)
Length 149 mm (5.87)
Sealing Yes
Zoom method Rotary (extending)
Power zoom No
Zoom lock Yes
Filter thread 67 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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