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The Canon EOS M200 goes to Oklahoma

09 Oct

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Canon’s new EOS M200 is an awful lot like its predecessor, the EOS M100. That means it’s tiny, beginner-friendly and generally takes nice photographs – but a new processor speeds things up, and unlocks (heavily cropped) 4K video.

And so, since attending far-flung weddings with entry-level cameras is apparently just what I do these days, I took the M200 with me to Oklahoma City for a wedding and some sight-seeing along the way. Check out how it did in our sample gallery.

See our Canon EOS M200 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Nokishita is reporting Nikon’s Nikkor Z 58mm F0.95 S Noct will cost $7996.95

09 Oct

Nokishita might be days away from closing down, but the Japanese site hasn’t stopped leaking information about upcoming camera equipment. In a recent series of tweets, Nokishita reported what it claims to be pricing information of the Nikon Nikkor Z 58mm F0.95 S Noct lens as well as the rumored ‘Z50’ mirrorless camera.

According to Nokishita’s latest report, which is still speculation at this point, Nikon’s Nikkor Z 58mm F0.95 S Noct lens will retail for a whopping $ 7,996.95. Nikon Rumors has been reporting this price since August 2019, so it’s not unexpected.

In addition to the Nikkor Z 58mm F0.95 S Noct lens, Nokishita is also reporting what it says will be pricing info for the much-rumored Nikon ‘Z50’ mirrorless camera. According to the tweets, the Nikon Z50 mirrorless camera will retail for $ 856.95 for the body-only version, $ 996.95 for the kit lens version and $ 1,346.95 for the ‘Double Zoom Kit’ version. The kit lenses, according to the tweet, are the Nikkor Z DX 16-50mm F3.5-6.3 VR and the Nikkor Z DX 50-250mm F4.5-6.3 VR, which Nokishita claims will retail for $ 296.95 and $ 349.95, respectively.

Nokishita also reported that the EN-EL25 battery and MH-32 charger for the rumored Z50 mirrorless camera will retail for $ 64.95 and $ 49.95, respectively. Obviously, all of this information is unconfirmed for now, but Nokishita has a good record of being right about this kind of thing, and it seems likely that we’ll know for certain soon enough.

Articles: Digital Photography Review (dpreview.com)

 
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Final Cut Pro X 10.4.7 arrives with major performance boosts, GPU selection and Pro Display XDR support

09 Oct

Apple has released Final Cut Pro X version 10.4.7, adding a new Metal-based processing engine designed to speed up various graphics tasks and improve content playback. In addition, the update boosts performance for a number of GPU models, adds support for the new 32″ Retina 6K Pro Display XDR, and more.

According to Apple, users can expect to see performance improvements across ‘a wide range of Mac systems.’ The company’s new Mac Pro in particular offers ‘unprecedented power’ when paired with the software, Apple says. Final Cut Pro X v10.4.7 brings support for up to 28 CPU cores and multiple GPUs, including ‘enhanced performance’ for the Radeon Pro Vega II Duo and Pro Vega II GPUs found on the Mac Pro.

When compared to the previous Mac Pro generation, the new Mac Pro offers up to 3.2 times faster transcoding and 2.9 times faster rendering in Final Cut Pro, plus there’s support for the Mac Pro’s Afterburner card for accelerating ProRes and ProRes RAW playback.

The 15in MacBook Pro is the most commonly used model by video editors, according to Apple. These customers can expect up to 20% faster performance. iMac Pro users, meanwhile, will see a performance boost up to 35% compared to the previous version.

In addition, the new Final Cut Pro X adds support for macOS Catalina’s Sidecar, a new feature that enables Mac users to extend their device’s display to an iPad. Other changes include the ability to choose with external or internal GPU will be used for accelerating graphics processing, the ability to grade HDR videos with ‘enhanced color mask and range isolation tools’ and support for viewing HDR videos tone-mapped to standard dynamic range displays on macOS Catalina.

Existing Final Cut Pro X users can download the new update for free. New customers can purchase the software from the App Store for $ 299.99 USD. In addition, existing Compressor and Motion customers can update to versions 4.4.5 and 5.4.4, respectively, for free; new customers will need to pay $ 49.99 each.

Articles: Digital Photography Review (dpreview.com)

 
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Instagram updates iOS app with support for iOS 13’s native Dark Mode UI

09 Oct

Instagram is the latest app to add support for the newly introduced Dark Mode in iOS 13. The redesign features white and gray text on a black background, as well as simple black icons outlined in white. The brightest elements in the new UI are avatars and the content shared by users.

In addition to reducing eye strain, the new Dark Mode support will reduce battery drain on devices that feature OLED displays. Users are not able to manually turn this mode off or on in the app, however; it is tied to the iOS 13 settings, meaning Dark Mode must be enabled on the user’s phone. The update is rolling out on Instagram for iOS now.

Articles: Digital Photography Review (dpreview.com)

 
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How Would Your Photography Change if you Couldn’t use any Auto Functions on Your Camera?

08 Oct

The post How Would Your Photography Change if you Couldn’t use any Auto Functions on Your Camera? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

 

camera-auto-functions

What if your digital camera had no auto exposure ability? How would you manage? Do you think you’d adapt and learn to make good and creative exposures? I’m sure you would. And you’d enjoy your photography a lot more once you realize it’s not so difficult.

Learn to control your exposures in Manual Mode

I learned on a camera with no auto modes. It was completely mechanical. It only required a battery for the simple exposure meter. My Nikkormat FTN, however, was a film camera, so I had no monitor with which to preview or review photos. There was also no metadata recorded to help me understand the exposure choices I was making. I had to write my settings in a notebook.

camera-auto-functions-using-manual-mode

© Kevin Landwer-Johan

How much do you rely on any of the auto exposure modes? When you’re learning how to use your camera these modes are helpful. They allow you to capture photographs easily. Not having to think about exposure settings can free you up to pay more attention to other aspects of picture taking.

You can better achieve composition, timing, and relating to your subject when using an auto mode. But what if you didn’t have this option? Do you think you’d learn to manage to set your exposures by yourself, only with the help of a built-in light meter? I think you would.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Once you commit to understanding light and exposure, making manual adjustments is not so difficult. You can become more accurate with them over time. If you are only sometimes bold to use manual settings, you’ll take a very long time to master them, if you can at all.

To be successful at using manual exposure mode you must commit to learning how it works. You need to have an understanding of light and how your camera records different tone values. Using manual mode does require you to slow down at first. But once you’re practiced, you’ll become faster and more accurate.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Discipline is required to learn to photograph in Manual Mode

Learning any creative artform requires discipline. If you want to paint or sculpt you must spend time studying. Making ceramics or wood carving takes time and practice. When learning to play a musical instrument, you must go over and over the basics many times.

Most kids don’t like playing scales ad nauseam when learning a musical instrument. But they are foundational and so beneficial in helping a young musician grow and understand their craft. Photographers are rarely so disciplined.

camera-auto-functions-using-manual-mode

© Kevin Landwer-Johan

Taking time to practice the essential functions of your camera will allow you to become more proficient. If you are relying on the built-in artificial intelligence, you will often struggle to reach your full creative potential.

By making a point of frequently using manual mode, you’ll be on a journey towards a deeper creative expression. But you have to be disciplined to make it most effective.

Many people who enroll in my photography workshops tell me they use their cameras in an auto mode. They admit to occasional manual use. I encourage them that unless they commit to using it, manual mode will remain difficult.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Slow down and feel the freedom

Often, photographers who prefer using an auto mode express their concern for missing the moment if they are using manual mode. I appreciate this as a genuine concern. However, you can’t always catch great photos on the spur of the moment. They take planning and patience.

Taking time to learn manual mode will also help you develop what you want to photograph. You will look at the world around you in different ways. You will begin to anticipate more when you choose to take photographs, rather than looking for snapshots.

camera-auto-functions-using-manual-mode

© Kevin Landwer-Johan

Every genre of photography requires patience on the part of the people with the cameras. Whether your photographing landscapes, sports or birds, it’s best if you are not in a hurry. Take the time to study your subject. Know your camera well and how you can control it. Be most familiar with it, and observe and predict when the best opportunity for a photograph will happen.

Landscape photographers can wait for months for the right conditions. Sports photographers must develop lightning-fast reflexes. But these take time to perfect. They are developed with the study of the game and frequent practice photographing it.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Practice often

The more often you practice anything, the better you will become.

Many years ago, I had accreditation to photograph the world cup cricket matches played in Auckland, New Zealand. I was working for a newspaper back then. I had no experience with cricket, other than watching some matches on TV. I turned up on the morning of the first match with my camera fitted with a 2X converter and a 400mm lens.

That day, I hardly managed to capture a single frame with the ball in it. I felt disheartened. I did realize, though, that I had lots of opportunities to practice. Over the next month that the tournament played out, I improved. Each match managed a higher percentage of good photos.

I started with what was simplest – the batsman swinging at and, hopefully, striking the ball. These were not the most impressive photos to aim for, but it was a good place to start. I was envious when I saw the published pictures of more experienced photographers. They showed more dynamic action. However, as I became used to working in the environment with an 800mm focal length, I was able to capture more interesting photos.

I focussed manually, due to using the 2X converter. My exposures were also manually controlled. But this was not so challenging when the light was constant. The repetitive action allowed me to grow used to the flow of the game. I became better at predicting when the best photo opportunities were.

camera-auto-functions-using-manual-mode

© Kevin Landwer-Johan

Explore and experiment with your photography

If you can discipline yourself to use manual mode and practice photographing the same subject material over and over, you’ll improve. Once you are more confident using manual exposure settings, you’ll become faster.

Doing the same routine many times, you’ll build up your ability to understand your camera. You can reach a level of competence where you make good exposure changes without being fully conscious of your actions.

When the light changes, you will be more aware of it. You will change your aperture or shutter speed a few clicks without having to check your exposure meter. Once you are doing this, you’ll be able to give more of your attention to other aspects of taking photos.

Difficult lighting conditions will no longer be so challenging. Many people who prefer to use auto exposure settings don’t like taking photos in the middle of the day. Especially when the sun is out. Learning to control your camera will help you see the light and make your exposures to manage well in these conditions.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

I took this photo at around 2 pm on a sunny day and tweaked it only slightly during post-processing. The basic light and dark effect was created when I took the photo. Being able to see when the light is right and control your camera gives you more freedom. You will be able to create better photographs.

Conclusion

I know there will always be photographers who prefer to stick to using auto modes. The most common argument is using exposure compensation to override the camera’s choice. I always think if you are taking this extra step, you may as well be using manual mode.

camera-auto-functions-using-manual-mode

© Kevin Landwer-Johan

I know from experience, learning on a camera with no auto exposure options helped me to understand more about light. It also meant I had to learn the relationships between the exposure settings. I was responsible for getting it right and making my photos look the way I wanted them to.

If you discipline yourself to use your camera in manual mode, you will have a far easier time learning than I did. With digital cameras, you have the advantage of being able to preview and review your photos in real-time. You also have tools like the histogram, highlight indicators, and spot metering. These all make it easier to capture well-exposed photos in manual mode.

The post How Would Your Photography Change if you Couldn’t use any Auto Functions on Your Camera? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Voigtlander announces upcoming release of a 50mm F2 APO-Lanthar lens for Sony E-mount

08 Oct

To mark the 20th anniversary of the Voigtlander Classic Line, Voigtlander has released a new 50mm F2.0 APO-Lanthar lens for Sony E-Mount camera systems.

The manual lens is constructed of 10 elements in 8 groups, including two aspherical elements and a floating focusing system. The lens features a 12-blade aperture diaphragm with a ‘special shape’ for more pleasing bokeh, a minimum focusing distance of 45cm (17.7in) and a 49mm front filter.

Despite being manual, the lens features electrical contacts for transferring EXIF data to the camera, including a distance encoder to ensure the lens works with Sony’s 5-axis image stabilization. Voigtlander has also included a de-clicking option so no noise is made when changing the aperture when shooting video. The lens measures in at 61.3mm (2.14in) long and weighs just 364g (12.84oz).

Pricing and availability information isn’t yet available. We have contacted Voigtlander for more information and will update this article if we receive a response.

Articles: Digital Photography Review (dpreview.com)

 
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Five Foot Lens and 3.2 Gigapixel Camera Produced for Night Sky Photos

08 Oct

The post Five Foot Lens and 3.2 Gigapixel Camera Produced for Night Sky Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Image: L1 Lens of the camera polished and coated with a broadband antireflective coating by Safran-R...

L1 Lens of the camera polished and coated with a broadband antireflective coating by Safran-Reosc. LSST Project/NSF/AURA.

Last month, engineers packaged up the largest optical lens ever created, before shipping it 17 hours from Tuscon, Arizona to the SLAC National Accelerator Laboratory in central California.

The lens is five feet in diameter and four inches thick; it required a truck to transport it. It was attached to an additional (3.9 foot) lens element when shipped, and it will soon be followed by another.

Together, these three lens elements will be mounted to a camera that, when finished, will be the largest digital camera in existence. And the camera-lens duo will ultimately be attached to a telescope: the Large Synoptic Survey Telescope, which is over ten years in the making.

Note that the camera itself is constructed out of 189 sensors which, when combined, will create pictures of an astonishing size: 3.2 gigapixels. It’s still in production at the SLAC National Accelerator Laboratory, but will likely be finished in 2021. The cost of the camera alone is a whopping $ 168 million dollars.

The purpose of this huge setup is to capture detailed photos of the night sky. The full telescope will be placed on Cherro Pachon mountain in Chile, where the camera will take exposures at 20-second intervals.

As explained in a press release by one of the laboratories involved in the lens construction:

This data will help researchers better understand dark matter and dark energy, which together make up 95 percent of the universe, but whose makeup remains unknown, as well as study the formation of galaxies, track potentially hazardous asteroids and observe exploding stars.

We recently reported on Xiaomi’s 108-megapixel smartphone, with its wrap-around screen, but a 3.2-gigapixel camera blows this out of the water. Even a recently announced security camera, which made waves when it was unveiled at the China International Industry Fair, topped out at 500 megapixels. Equipped with facial recognition technology, there are major privacy concerns when it comes to how this may be used in a country that already heavily monitors its citizens.

But, the high resolution of these cameras does bring to light something that is conveniently forgotten by tech advertisers: More megapixels will only produce greater detail if you have a lens that can resolve that detail. If your lens can only resolve 12 megapixels worth of detail, then you’re not going to gain from slapping a 108-megapixel sensor onto the camera. That’s why the Large Synoptic Survey Telescope requires ultra-precise optics if scientists want to gather meaningful data.

Of course, you don’t need a lens costing millions of dollars to produce highly-detailed 108-megapixel photos. But my suspicion is that the current optics used by smartphones (Xiaomi, but also Huawei, Apple, and Google) just aren’t up to the task of generating 108-megapixel photos.

So don’t fall prey to the megapixel myth. And keep your eye out for photos from the Large Synoptic Survey Telescope!

What are your thoughts on these new lenses and cameras? Share with us in the comments!

The post Five Foot Lens and 3.2 Gigapixel Camera Produced for Night Sky Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Redditor uncovers possible price of Sigma’s fp camera in product page source code

08 Oct

Sigma hasn’t officially revealed the pricing of its fp full-frame mirrorless camera, but a clever Redditor discovered what is believed to be the price by looking through the source code of the fp product page on Sigma’s website.

Though Sigma has corrected its mistake and removed the information from the source code of its website, Redditor u/jadware initially made the discovery and Redditor u/ForwardTwo captured the above screenshot showing the pricing information while it was still live on Sigma’s website. The information, which revealed the price to be $ 1,899, was previously visible under the meta property tag ‘og:price:amount’ when you searched for ‘1899’ within the source code of the website.

This information still isn’t definitive, but it seems like a reasonable price point for the camera and the fact all signs of the price have since been removed lend credence to the possibility of the Sigma fp costing $ 1,899. Nokishita has also published pricing information, which puts it around the $ 1,899 price point (h/t Mistral75). Previous rumors have suggested the Sigma fp will be released on October 20th, so it shouldn’t be much longer until we find out definitively.


Image credits: Screenshot by u/ForwardTwo, used with permission.

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Sigma 45mm f/2.8 Lens for Sony Review

08 Oct

The post Sigma 45mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

The Sigma 45mm f/2.8 DG DN (sony, Leica) is the latest addition to Sigma’s Contemporary lens line. Launched in July 2019, this lens is available as Sony E-mount or Leica L-mount. The latter mount is of particular interest as the new L-mount is compatible with Panasonic and Leica full-frame cameras, plus Sigma’s own forthcoming L-mount mirrorless cameras. I got my hands on an E-mount version and tested the lens with my Sony A7RIII. Here are my thoughts.

Sigma 45mm f/2.8 Lens for Sony E Mount

Specs

The Sigma 45mm f/2.8 lens has a maximum aperture of f/2.8, which may be a disappointment for photographers used to having at least an f/1.8 on their prime lenses. It also is a fairly expensive lens given its $ 549 price tag. However, this lens makes amends when it comes to size and the build quality.

Size

Compared to other Sigma prime lenses such as the Sigma 35mm f/1.4 Art (Nikon, Canon, Sony), this lens is significantly smaller and more lightweight. It weighs 7.5 ounces (half of the aforementioned 35mm) and comes in at less than 2-inches long. This makes the 45mm much more portable and discreet when compared to Sigma’s other Art lens primes that all have an f/1.4 aperture, but are significantly larger and heavier.

This compact size is closer to that of the Canon 50mm f/1.8 and 40mm f/2.8 pancake lens. Both were my longtime favorite prime lenses when I shot with Canon DSLRs. The beauty about this size is that it feels very balanced when attached to a full-frame camera, whether it be my old Canon 5D Mark III or my new Sony A7RIII. With that said, this lens puzzles me when I compare it to other similar lenses that I’ve owned.

Sigma 45mm f/2.8 Lens for Sony E Mount

Sigma 45mm f/2.8 (left), Fujifilm 35mm f/2 (center), and Sony 55mm f/1.8 (right).

Build quality

It’s hard to ignore the design of this lens, which is both visually eye-catching and functional. There are two physical rings – the outermost ring controls the focus and the innermost ring selects the aperture, similar to how a Fujifilm lens performs. Choosing the aperture via the lens can take some getting used to, but it’s a wonderful way to interact with your camera. There’s also a switch to toggle autofocus or manual focus. The lens itself is made mostly of metal, and it includes a lens hood that is also made of metal. There is also weather sealing on the mount of the lens to keep dust and dirt at a minimal.

Shooting experience

45mm is an interesting focal length. It sits comfortably between two of the most popular focal lengths out there: the 35mm and 50mm. Not too wide or too narrow, 45mm gives you a range that feels natural, yet intentional. Autofocus on this lens is fast, accurate, and very quiet thanks to a fast-stepping motor.

If you shoot on a Sony full-frame mirrorless camera, you may also be familiar with the feature of flipping between shooting in full-frame and APS-C mode. While the latter does crop and shrink your images, it gives you the ability to shoot at a slightly zoomed-in focal length. This, in turn, gives you at least two focal lengths to shoot from, and it is one of my favorite features of my Sony A7RIII.

Sigma 45mm f/2.8 Lens for Sony E Mount

Image quality

The images captured by the Sigma 45mm f/2.8 lens result in very consistent color, tones, and sharpness. This lens has a rounded seven-blade diaphragm that renders a smooth, shallow depth of field. There is a minimum focusing distance of 9.4 inches, giving this 45mm decent macro capabilities.

In Conclusion

Overall, I had a very positive experience shooting with this Sigma 45mm f/2.8 lens. The compact size complemented the Sony A7RIII perfectly, making it a very portable unit. I usually have a 24-70mm f/2.8 or 55mm f/1.8 glued to my camera when shooting in low lighting scenarios. Thus, the 45mm’s f/2.8 aperture did not hinder me much. However, there is something to be said about having a faster aperture, especially in low light conditions.

If you enjoy shooting with a versatile prime lens that is reasonably fast but very portable, this Sigma 45mm f/2.8 lens might be the lens for you.

What are your first impressions of the Sigma 45mm f/2.8 lens? Would you purchase it? Why or why not?

Sample photo gallery

Sigma 45mm f/2.8 Lens for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f/2.8 Lens for Sony E Mount

 

Sigma 45mm f/2.8 Lens for Sony

The post Sigma 45mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Samsung is getting ready to test the Galaxy S11 periscope tele camera

08 Oct

The South Korean tech publication The Elec reports that Samsung will soon receive test sockets for periscope-style tele camera that is expected to make its debut in at least one of the Galaxy S11 models early next year.

The test sockets are used for final hardware-checks before shipping the components and are manufactured by fellow Korean company MecaTech Systems which also produces smartphone camera and time-of-flight (ToF) modules.

Test socket produced by MecaTech Systems, image: The Elec

MecaTech has been in the module-testing industry for the past 15 years and has been gaining recognition as smartphone manufacturers have increased reliability testing of their modules which is particularly key for multi-cam modules with multiple lenses and zoom capability.

According to rumors the upcoming Samsung flagship will feature a 5x optical tele lens, matching the current king of zoom Huawei P30 Pro. The main camera will allegedly come with a 108MP Quad-Bayer sensor, with the module manufactured by Samsung Electro-Mechanics.

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