Blog

  • Fujifilm updates X-T3 firmware to fix an issue that can occur when shooting in ‘S’ drive mode

    Fujifilm has released a small firmware update for its X-T3 mirrorless camera that fixes a specific ‘phenomenon’ that can require you to turn your camera off and back on again.

    Firmware version 3.01 (previously version 3.00) addresses an issue wherein a message reading ‘turn off the camera and turn on again’ can appear when shooting in the ’S’ drive mode while repeatedly taking photos within a short timeframe.

    Aside from that, Fujifilm doesn’t mention any other fixes in this update, even basic bug fixes.

    You can find information on how to install the firmware and download the update on Fujifilm’s website.

    Articles: Digital Photography Review (dpreview.com)

  • Samyang’s new XEEN CF Cine Prime full-frame lenses detailed ahead of Q3 launch

    Samyang has launched its new line of XEEN CF Cine Prime full-frame lenses made from lightweight carbon fiber. The XEEN CF will be offered in 16mm, 24mm, 35mm, 50mm, and 85mm options for Canon EF, Sony E and PL mounts. The model features a T1.5 aperture, 11-blade diaphragm and luminous numbers on the lens rings for making adjustments in dark conditions.

    The XEEN CF lenses feature the company’s proprietary X-Coating for minimized reflections paired with controlled ghosting and flares for halation, producing a ‘dramatic effect.’ Users are promised ‘beautiful bokeh’ thanks to the 11-blade diaphragm and excellent low-light performance from the bright aperture.

    The lenses are designed for large format and 8K sensors, offering the durability and light weight of carbon fiber at 0.9kg (2lbs) to 1.1kg (2.4lbs), depending on the model. Due to the low weight, the new XEEN CF lenses can be used with gimbals and drones in addition to movie cameras.

    The company will initially launch its 24mm, 50mm and 85mm lenses in Q3 2019; the 16mm and 35mm options won’t be released until early next year. Prices are unclear at this time, but ePhotozine claims the lenses will be showcased at the 2019 IBC Exhibition in Amsterdam from September 13 to 17.

    Articles: Digital Photography Review (dpreview.com)

  • X-Rite releases i1Display Studio and Pro Plus color calibration systems for professionals

    Color management company X-Rite has introduced i1Display Studio and i1Display Pro Plus, two new display color calibration products for photographers and other imaging professionals. The products offer advanced display calibration, the Pro Plus building upon the Studio’s features to include capabilities for professionals who use ‘super-bright, HD, and HDR’ displays.

    The i1Display Studio features the i1 colorimeter for use with the i1Studio software, offering display calibration to ensure a consistent color profile over time. The product features Flare Correct, Intelligent Iterative Profiling, and X-Rite Ambient Light Measurement.

    In addition to support for NTSC, PAL, DCI-P3, SECAM, Rec. 709, and Rec. 2020 video standards support, i1Display Studio allows users to control the color adjustment, color match up to four displays, validate results, and get reminders when it is time to re-profile a display.

    i1Display Pro Plus builds upon these features, offering the i1Display Pro Plus colorimeter and i1Profiler software. This product adds support for accurately measuring brightness and luminance levels up to 2,000 nits, BT.1886 default gamma curve, and a new Black Current Subtraction tech that X-Rite says is particularly useful for displays offering close to zero black point, including OLED. The company includes a USB-C to USB-A adapter for USB-C compatibility.

    Both products can be used to calibrate monitors, projectors, and mobile devices like tablets. The i1Display Studio is available now for $ 179 USD and the https://xritephoto.com/ph_product_overview.aspx?id=2640&catid=156&utm_source=Adestra&utm_medium=email&utm_content=i1Display%20Pro%20Plus%2C&utm_campaign=xrite_i1DisplayPro_pressrelease is available now for $ 299 USD.

    Articles: Digital Photography Review (dpreview.com)

  • Canon PowerShot G5 X Mark II review

    Introduction

    $ (document).ready(function() { SampleGalleryStripV2({“galleryId”:”1147209775″,”isMobile”:false}) })

    Sample photoSample photoSample photoSample photoSample photo
    Silver Award

    82%
    Overall score

    Canon’s PowerShot G5 X Mark II is a high-end compact camera with a versatile lens, great controls and a modern 1″-type sensor. For a small camera, we find the grip to be generous and secure, and the updated processor combines with the new sensor for some seriously responsive performance. The pop-up electronic viewfinder is a nice touch and the camera also comes with fast burst shooting as well as good-quality 4K video.

    In creating the G5 X Mark II, Canon has clearly taken more design inspiration from the G7 X lineup than the original G5 X. Gone from the old camera is the centrally mounted viewfinder and fully articulating screen, but the new camera is more svelte and pocketable as a result. Plus, Canon has extended the lens’ zoom reach while maintaining a fast aperture range, which is a nice bonus. On the not-so-good side of things, for some reason Canon has decided that 24p video recording is unnecessary, there’s no microphone jack, some customization options are limited, and the small battery means you’ll likely want to carry a spare if you’re a heavy shooter.

    Key specifications:

    • 20MP 1″-type stacked CMOS sensor
    • 24-120mm equiv. F1.8-2.8 lens
    • Pop-up electronic viewfinder and flash
    • Touchscreen tilts up 180° and down 90°
    • 8fps burst shooting with autofocus, 30fps Raw burst mode
    • 4K/30p, 1080/60p video recording with IS (no 24p options)
    • 1080/120p slow motion video with no audio or autofocus
    • Wi-Fi + Bluetooth wireless connectivity
    • USB 3.1 (with USB-C connector) for data transfer and charging
    • 230-shot battery life (180 using the EVF) per CIPA standard
    Out-of-camera JPEG
    ISO 125 | 1/1000 sec | F4
    Photo by Jeff Keller

    The G5 X Mark II looks, in many ways, to be a near-ideal travel or family camera for enthusiast photographers that like having a dedicated camera with them at all times – does it live up to this promise? Time to dig in and find out in our full review.


    What’s new and how it compares

    The G5 X II looks a lot like a cross between Canon’s own G7 X III and Sony’s RX100-series – here’s how it compares inside and out.

    Read more

    Body, controls and handling

    On the G5 X II, Canon’s fitted one of the nicest grips we’ve ever used on such a small camera – but there’s more to it.

    Read more

    Image quality

    Take a deep-dive into the G5 X II’s image quality, including how its lens performs.

    Read more

    Autofocus, Raw burst and video performance

    Autofocus and video performance from the G5 X II are pretty good – but are they enough to stand out among strong competition?

    Read more

    Conclusion

    Canon’s PowerShot G5 X Mark II earns a solid silver award – here’s the full story.

    Read more

    Sample gallery

    From camping to cats and the occasional dog, we’ve got a full sample gallery from the G5 X II for your perusal.

    See the gallery

    Articles: Digital Photography Review (dpreview.com)

  • Top Tips for Photographing the Best a City has to Offer in 48-hours

    The post Top Tips for Photographing the Best a City has to Offer in 48-hours appeared first on Digital Photography School. It was authored by Matt Murray.

    photographing a city-matt-murray

    Always be on the lookout for interesting scenes in cities. I saw this view in Taipei from a metro train and went back at dusk.

    You have two days and two nights to photograph a city you’ve never been to before. How will you make the most of this opportunity and come away with amazing photos?

    You could just turn up without much advance thought and deliver a stunning set of images that fits the brief perfectly. Leaving things to chance is not always the best plan, though. You will be better prepared and more confident if you research and plan your trip in advance.

    Whether you’re working for a client, an editor, or taking photos for your own portfolio, these tips will help you make the most of your trip. Here is a guide to photographing a city and the best it has to offer in 48 hours.

    photographing a city-matt-murray

    Find what is unique about your destination and capture it.

    What’s unique about the city?

    The first question you need to ask is what makes the city unique? Does it have stunning architecture? An incredible food scene? Unique modes of transport? Vibrant markets? Make sure you keep this in mind as you plan your trip.

    What types and styles of images are you being asked to deliver?

    What type of shots are you, your client, or your editor expecting? Find out what their expectations are in as much detail as possible. Is there a particular style or theme you need to shoot for? Will your images be used to accompany a story on a particular subject, for advertising, or as a standalone photo essay?

    Think of the final use of your photos. Will you need to capture landscape or portrait orientation photos? Do you need to shoot images with negative space to allow for text to be overlaid?

    Image style is an important consideration. Is your client looking for bright, colorful photos? Images showing well-known landmarks? Hidden gems? Photos with a shallow depth of field? Moody black and white images? Photos of people experiencing the city? It’s important to get agreement on this too.

    Create a mood board

    Visualizing your shots before you go can help the planning process. One way you can achieve this is by creating a mood board for the trip, showing the types and the style of photos you will aim to produce. The good news is, it’s easy to do with a tool such as Pinterest.

    A mood board can also be handy if you don’t have a formal brief. If you create one for yourself or your client showing the type and style of images you propose to take, this can stimulate further discussion. It might be exactly what they’re after, or it could prompt them to get involved in the process and suggest changes.

    photographing a city-matt-murray

    On my list of shots for Taronga Zoo was an iconic view of the Sydney with animals – thankfully, this giraffe helped me out!

    Weather and climate

    The next thing to research is the expected weather and climate at your destination. Bear in mind, some destinations, such as London and Melbourne, are notorious for variable conditions all year round. Getting a sense of what to expect will help with your daily planning and can guide your choices for clothing and equipment.

    For example, if you’re heading to Asia during the wet season, you’ll need to think about taking clothing and camera gear that is water-resistant, whereas if you’re on a trip to somewhere hot and dry, such as Dubai or Death Valley, you may need to consider a hat and sunscreen.

    Next, look at the sunrise and sunset times for the city when you will be there and plan your day accordingly. Make a note of them and think of the most important shots you need to capture at those times. These times will also indicate the number of daylight hours you have on location.

    photographing a city-matt-murray

    Autumn in Sydney was a good opportunity to capture golden leaves.

    Online planning resources

    Two resources that can help you are the Photographers Ephemeris and PhotoPills. These handy guides for photographers also give you information like how long the blue hour and golden hour last for, the direction of the sun at sunrise and sunset, and much more. This can be very helpful, though, remember, in built-up environments, you’ll never truly know how the light falls on your scene until you’re there.

    Background city research

    Researching your destination is one of the most important things to do before you leave. Learn as much as you can. Potential sources of information include travel magazines, travel blogs, official tourism websites, and YouTube videos. It’s also worthwhile downloading guidebooks from companies such as Lonely Planet, or if you’re on a tight budget, you could borrow them from a friend or your local library.

    As you’re doing this research, make a note of previous coverage the destination has had in published articles or photo essays. If you plan to use the same or similar angle, aim to capture the destination in a unique or better way.

    photographing a city-matt-murray

    Image research

    Pay close attention to the types of images used to illustrate and promote this city. What style are they? Do they fall into a particular genre? What kind of lenses do you think the photographer used? This is all useful information.

    Then turn to more visual references. What kind of images show up for your destination using a Google image search? Is there a famous view of the city you’d like to capture? Next, search on Instagram. Look at images used by the official city or country accounts, popular hashtags for your destination and even geolocation image searches.

    Take a look at recent Instagram posts, carefully reading the description. Was the image taken in the last few days? If it was, this might help you understand the weather or lighting conditions at your destination. If there is no context to when the image was taken, it could’ve been from last month or last year.

    Another key place for researching your destination is stock photography sites. What images are the best sellers for the city? Keep these in mind when you’re shooting. As well as your main client, think of other markets where you could sell your images such as stock libraries.

    photographing a city-matt-murray

    Always look for detail shots at your destination that show the way of life.

    Create your shot list

    I love travel photography as it includes so many other genres. On a single assignment, you can include landscapes, cityscapes, street scenes, portraits, food shots, detail shots, architecture, and documentary-style images. Remember this as you create your shot list.

    First, lock in the locations you need to be for sunrise and sunset and have a rough plan for the rest of the day. Plot these locations on a map and make sure you’re leaving yourself enough time to look around and photograph unexpected sights. Sometimes the best shots at a destination are not the things you expect to see, but things you didn’t expect to see.

    Then list the next most important shots for you or your client. Make these a priority.

    Try to capture well-known landmarks in a new or interesting way. This could be through the frame of a doorway or window, a reflection, or a completely different angle or viewpoint not used before.

    Jot down a reminder to get a good variety of images at each location you visit – landscape orientation, portrait orientation, images with negative space, and images that crop well for Instagram. Also, think back to why this city is unique or exotic and make a note to get images of the food, people, clothing – anything that’s different.

    photographing a city-matt-murray

    Booking your hotel

    Now you’ve created your shot list, look at the key locations on your map, and book a hotel nearby. It can be tempting to save money by staying at a hotel further away, but being close to your proposed photography locations is a huge advantage. Not only will it cut down on travel time, but you will also have the advantage of popping back to your room whenever you like throughout the day.

    Quite often when I’m photographing a city, I head back to my hotel for a break. You can have a quick rest, grab a hot or cold drink, back up your images, and review the progress you’ve made ready for the next round of photos. You may even need time to warm up or cool down depending on the weather.

    With your hotel search, always be on the lookout for historic or beautiful hotels that could provide additional photographic opportunities for you. Also, remember to choose a hotel where you feel like your gear will be safe when you’re not there.

    photographing a city-matt-murray

    Carry a travel tripod so you can capture scenes with a slow shutter speed.

    Packing your kit

    Versatility is the key when packing your kit. Fast zoom lenses are generally the travel photographer’s best friend. Also, look at the notes you made during your research. What type of lenses do you think the photographers used? Does your client expect any images with a very shallow depth of field? Do they want images taken with long telephoto lenses or ultra-wide angle lenses?

    Plan your kit, taking into account these considerations along with the expected weather conditions. For a two-day trip, I would typically take the following:

    • Two camera bodies that use the same batteries and lenses, at least one of which is weather resistant.
    • Two zooms covering a wide focal range, at least one of which is weather resistant.
    • One or two small fast prime lenses – these are very handy for low light conditions and shallow depth of field shots.
    • As many reliable high-quality SD cards as you have. Make sure you format them before your trip.
    • As many batteries as you have for your camera system.
    • A small travel tripod and some neutral density filters.

    You can see more about the travel kit I take in my article, The Best Fujifilm X-Series Kits for Travel Photography

    photographing a city-matt-murray

    Sydney Opera House sails with the Sydney Harbour Bridge in the background.

    Traveling to your destination

    As your trip approaches, keep an eye on the weather and current events for the city you’re heading to. Will this present any issues or challenges? Is there other gear you may need to bring? As I write this, I am preparing for a few days in Hong Kong, where there are currently protests taking place. I don’t think these protests will affect my trip or what I plan to photograph, but it’s good to always good to stay up-to-date with what’s going on.

    Before I arrive at my destination, I always sort out some way to use my iPhone when I get there. This can mean either having a SIM card for the country I’m visiting or setting up international roaming before I go.

    On the way from the airport or train station to my hotel, I look for interesting things to photograph. I have my phone at the ready with maps loaded up tracking the journey I’m taking. If I see something interesting, I screenshot the map, so I have the exact location on my phone for future reference.

    photographing a city-matt-murray

    Children playing in the Faroe Islands photographed on a telephoto lens.

    Once you’ve arrived

    You’ve arrived at your hotel, dumped your bag and are now ready to hit the streets and tick off that shot list. Before you go, make sure you have everything you need and leave anything you won’t need at the hotel. Remember to go easy on the air conditioning or heating – extreme temperature changes can fog up your camera lenses.

    Take a few minutes to double-check your camera (especially your ISO and image quality settings), make sure you have fully-charged batteries and formatted memory cards. Then synchronize the clocks on your cameras at local time.

    Regardless of the time I arrive, I always try to hit the streets as soon as I can to get a feel for the place. In tropical locations, shooting conditions are not always ideal during the middle of the day when it’s very bright with the sun overhead. It’s still possible, however, to look for opportunities to keep shooting. On a recent trip to Indonesia, I found the most beautiful light in a semi-covered market place in Borobudur. I took some of my favorite shots of the trip at that market.

    photographing a city-matt-murray

    Borobudur Market.

    After the sun is well and truly below the horizon, you may think it’s time to head back to the hotel, but always see if there are opportunities to photograph food vendors or night markets. You’ll need either a fast prime or zoom lens in conjunction with using a higher ISO to capture handheld shots or a tripod for longer exposures.

    Backups

    When you’re finished shooting for the day, it’s time to head back to your hotel and backup your images.

    For each trip, I create a new Lightroom catalog on my laptop. I then import the images into Lightroom, specifying that the images should be copied from my SD cards to an SSD hard drive plugged into my MacBook.

    After the import, I copy these folders and the Lightroom catalog to a second SSD drive. I always keep these SSD hard drives in separate locations – one with me in my camera bag, and one in my luggage. As I review my shots in Lightroom, if there are any that I think are perfect for my needs or my client, I make another backup of those select images to DropBox. When I get home, I transfer the folders and Lightroom catalog from my laptop straight to my desktop computer.

    photographing a city-matt-murray

    Final thoughts

    I hope these tips will help you think about what you need to plan and research when you’re in a city for the first time on assignment.

    Always remember, though, despite the amount of research and planning you do, things are often out of your hands. If you can’t get that iconic shot due to weather conditions, street closures, scaffolding or who knows what else, don’t beat yourself up too much about it. Instead, concentrate on other opportunities that you can capture while you’re there to make the most of your time.

    Do you have any other tips you’d like to share on photographing a city in 48 hours? Share with us in the comments!

     

    photographing a city in 48 hours

    The post Top Tips for Photographing the Best a City has to Offer in 48-hours appeared first on Digital Photography School. It was authored by Matt Murray.


    Digital Photography School

  • Back to Basics: Understanding the “Sunny 16 Rule” in Photography

    The post Back to Basics: Understanding the “Sunny 16 Rule” in Photography appeared first on Digital Photography School. It was authored by Adam Welch.

    sunny-16-rule-in-photography

    In life, we are sometimes met with certain inalienable truths; water will always flow downhill, there will always be an unhappy baby on your flight, and the milkshake machine at your favorite fast food place will always be broken when you need it the most. There are also some self-evident truths that we must accept when it comes to photography; one being, one day, you will need to set your own exposure manually. If you’ve been shooting exclusively in Auto Mode or Aperture and Shutter Priority Modes, this can be an enormous challenge.

    Take heart! I’m about to show you one of the easiest and most long-standing methods for calculating exposures. Using it will help you almost always get a usable baseline exposure when shooting your camera in full manual mode. Yes, really.

    It’s called the Sunny 16 Rule, and it’s going to be your best friend.

    Back to Basics: Understanding the "Sunny 16 Rule" in Photography

    You may very well have heard of it before but never fully understood how simple it truly is to implement (and modify) this handy little formula to fit the situation in which you find yourself shooting.

    Getting to know the Sunny 16 Rule

    Understanding the Sunny 16 Rule couldn’t be more simple. It’s all based around the relationships between our three key elements of exposure: ISO, aperture, and shutter speed.

    Sunny 16 had its roots in film photography when it was used to help photographers figure out their exposure when a light meter wasn’t available. However, it works perfectly well with digital photography too. In fact, since we have the added convenience of on-the-fly ISO adjustments with our digital cameras, the Sunny 16 Rule becomes even more universally useful.

    sunny-16-rule-in-photography

    As you might have guessed, the concept of the Sunny 16 Rule begins with bright sunlight and setting our aperture to…*drum roll*…f/16. Bright sunlight refers to unobstructed sunlight on a cloudless day; think noon with a clear sky, and its brightness is virtually constant.

    After we’ve got our aperture set to f/16, we can now dial in our shutter speed based on the ISO we happen to be shooting. To calculate your shutter speed based on Sunny 16, all we have to do is put “1” over our ISO. This will be your shutter speed.

    Keep in mind that some cameras measure exposure in full, half or third stops and your shutter speed might not be exactly the same as your ISO. For example, in half-stop increments, if you are shooting ISO 400 then your exposure would be (for slight underexposure) f/16 at 1/500th of a second. At ISO 100 your settings would be f/16 at 1/125th of a second. For ISO 800 it would be 1/1000th of a second and so forth.

    As far as ISO settings are concerned, it is a good practice to “set it and forget it.” There’s not much need to adjust the ISO as we can vary our exposure using our aperture settings – unless the scene dictates otherwise…more on this in just a bit.

    Back to Basics: Understanding the "Sunny 16 Rule" in Photography

    Why the Sunny 16 Rule is so useful

    The reason the Sunny 16 Rule is such a fantastic concept is due to the fact it gives us a usable exposure setting based on what will likely be the brightest light you will encounter – the sun. 

    Once you know what your shutter speed will be at a given ISO and f/16 in bright sunlight, you can essentially estimate any exposures for darker environments. The reason for this is that ISO, aperture, and shutter speed are all connected. You can adjust each relative to the another so that you can control your exposures based on the needs of a particular scene. If you’d like to learn a little more about how ISO, aperture and shutter speed relate to one another, have a look at this great article on understanding the exposure triangle.

    Perhaps one of the best things about working with the Sunny 16 rule is that it’s a great way to teach yourself to read light and adjust your exposure based around the creative requirements for your photo. Let’s look at some considerations to take into account when you need a little more control over your photographs when basing your exposures around the Sunny 16 concept.

    sunny-16-rule-in-photography

    How to modify the Sunny 16 Rule

    Years ago, when I first heard of the Sunny 16 Rule, my first thought was “That’s great, but what if I don’t want to shoot at f/16?”

    Indeed, a great question.

    What happens when you need a more shallow depth of field than f/16 can produce? Alternatively, what if the indicated ISO-based shutter speed just isn’t fast enough or slow enough for your subject? Furthermore, you definitely won’t always photograph in blazingly bright sunlight (ironically not ideal for most photography).

    The good news is that the Sunny 16 Rule is incredibly flexible.

    Remember, the Sunny 16 Rule does nothing more than eliminate variables in your exposure to produce a baseline camera setting which you can then manipulate given your particular needs.

    sunny-16-rule-in-photography

    Virtually identical exposures in direct sunlight based on the Sunny 16 Rule with constant f/16 apertures and ISO-dependent shutter speeds.

    For example, let’s say you’re shooting a subject that requires a more shallow depth of field, like a portrait or still life that is in bright sunlight. At ISO 100, your resulting Sunny 16 exposure would be f/16 at 1/125. For reference, here’s a sample photo I shot at those settings in direct afternoon sunlight.

    Back to Basics: Understanding the "Sunny 16 Rule" in Photography

    Needless to say that if I open up my aperture to f/2.8 (five full stops wider) in order to better blur the background, the resulting image will be completely overexposed, and looks something like this:

    Image: Yes…there is a photo there.

    Yes…there is a photo there.

    So, how to remedy this problem? Since we are working from the Sunny 16 Rule, all we have to do is apply some basic photographic principles (remember the exposure triangle?) to normalize our exposure based on our new, wider aperture.

    Seeing as we opened up our aperture by five stops, we simply need to increase our shutter speed by five stops to compensate.

    So if my initial shutter speed were 1/125th at f/16, my new adjusted shutter speed setting at f/2.8 would be 1/4000th. Here is the resulting exposure:

    Image: Blurred background and a normalized exposure based on the Sunny 16 Rule.

    Blurred background and a normalized exposure based on the Sunny 16 Rule.

    The same is true in the case of fast-moving subjects. If you’re experiencing unwanted subject motion at, say, 1/125th of a second at f/16, and you want to try a faster shutter speed of 1/500th of a second to help arrest the motion, you need to compensate for the faster shutter speed with a corresponding wider aperture setting to allow more light to come into the camera. In this case, 1/500th of a second – two full stops faster than 1/125th – so we would open our aperture by two stops from f/16 to f/8.

    Some adjusted Sunny 16 baseline exposures

    If you’re wondering about lighting situations other than bright sun, here’s a quick (but by no means definitive) list of baseline aperture adjustments derived from the Sunny 16 Rule. I’ve listed Sunny 16 at the top as a baseline exposure at ISO 100 and 1/125th of a second. To adjust your exposures for varying degrees of brightness, all you need to do is change your aperture.

    • Direct bright sunlight with harsh shadows: f/16 at 1/125th of a second and ISO 100
    • Indirect bright sun with soft shadows (shade/cloudy): f/11 at 1/125th and ISO 100
    • Overcast skies with little to no shadows: f/8 at 1/125th and ISO 100
    • Dusk/morning light: f/4 at 1/125 and ISO 100

    I also want to point out the elephant in the room which is holding a big neon-yellow sign that reads, “Why not just bump up the ISO?”

    In short, you can adjust your ISO settings to compensate for more or less light in the scene. Modern cameras are becoming better and better at reducing high ISO digital noise. The Sunny 16 Rule was based on the fact that most film cameras are limited to the ISO of the film used. In these cases, the ability to read and understand light becomes paramount.

    The concept of Sunny 16 gives us digital shooters a way to nail exposures (or come close) every time in-camera without constantly checking our images after each shot.

    Final thoughts on the Sunny 16 Rule

    Of course, as with most things, the Sunny 16 Rule isn’t a true “rule” in the sense that you must follow it to the letter. Instead, it is a rule in the way that gives something to relate one thing to another; in our case it allows us to relate the luminance of available light to our camera settings to achieve predictable and reproducible results.

    Sunny 16 is also a great learning tool to help us understand the nature and measurement of light. Going further, it is a guide that is extremely versatile once you understand just a few basic principles of exposure. I, for one, feel as if I don’t use Sunny 16 enough in my work. I think that is about to change.

    Do you practice the Sunny 16 Rule? How has it affected your shooting? Let us know in the comments below!

     

    sunny-16-rule-in-photography

    The post Back to Basics: Understanding the “Sunny 16 Rule” in Photography appeared first on Digital Photography School. It was authored by Adam Welch.


    Digital Photography School

  • Irix announces an 11mm T4.3 cine lens for Canon EF, Sony E, MFT and Arri PL mounts

    Lens manufacturer Irix has launched a new 11mm T4.3 lens for Canon EF, Sony E, MFT and Arri PL camera systems.

    The lens, which appears to be a cine version of its 11mm F/4 lens, is constructed with a magnesium housing with various rubber seals for weather resistance. It’s comprised of 16 elements including four high-refractive index (HR) elements, three aspherical elements and two low-dispersion (ED) elements.

    The lens weighs 1.1kg (2.43lbs) and features Irix’s Magnetic Mount System, which makes it easy to attach compatible accessories, including the lens hood. Irix has also added its new Multi Start Thread focusing mechanism, which ‘allows quiet and precise focusing even under adverse weather conditions such as rain, humidity or extreme temperatures.’

    Other features include a 95mm diameter front flange and Mod 0.8 standard geared rings.

    The 11mm T4.3 cine lens will be offered in Arri PL, Canon EF, MFT and Sony E mounts. Pricing and availability has not yet been announced, but ‘will be available shortly.’ For more information, keep up to date on the Irix website.

    Irix Cine 11mm T4.3

    IRIX, known for high mechanical and optical quality, pleasantly presents the 11mm T4.3 – the second full-frame lens from its new cinematography line. Enjoy the new perspective of super panoramic film shots made with Irix Cine lens!

    Irix 11mm T4.3 is the second unique lens from the new Cine line. Its extremely short focal length, rectilinear image projection and the large image circle of 43.3mm (covering the full-frame format) make it one of the most outstanding cine lenses on the market. Depending on the diagonal of the sensor, the lens can provide a moderately wide angle of view for classic wide-angle shots or super-panoramic 123-degree viewing angle in a 2.39:1 widescreen format. Irix 11mm T4.3 thanks to its unique parameters, provides a perspective not available in film optics, thus releasing creativity in creating dynamic shots.SAR

    The same, but different optics
    The lens optical system is based on the new optical formula, developed especially for cinematic purpose. It consists of 16 optical elements, which four are made with high refractive index (HR) glass, three other have aspherical surfaces and the last two are made with low-dispersion glass (ED). The use of the large front lens and other special glass elements provides crisp cinematic shots in a resolution up to 8K while keeping the focus “breathing” effect at the lowest level. The lens offers a large maximum T number of 4.3 which can be reduced to T22, thanks to the rounded shape of iris blades.

    Functional and highly innovative
    When designing the lens mechanical system of 11mm T4.3, we used newly developed technical solutions that have been successfully implemented in the Irix Cine 150mm T3.0 lens. The new Multi Start Thread focusing mechanism allows quiet and precise focusing even under adverse weather conditions such as rain, humidity or extreme temperatures. The focusing geared ring rotates 180 degrees and depending on the lens version, has a focusing scale with metric or imperial units.

    Thanks to another innovative solution like the adaptive ring, the Irix Cine 11mm T4.3 ensures great ergonomics of operation both by hand and with follow focus mechanism. Moreover, despite the very short optical system layout, geared rings of focus and aperture were placed at the same height as in other Irix Cine lenses – all for better ergonomics and more intuitive use.

    The exceptional functionality is a distinctive feature of all Irix products. The same applies to the Irix Cine 11mm T4.3, whose extremely compact design (weights 1,1 kg) has been also equipped with an innovative Magnetic Mount System for accessories. The MMS system allows quick and easy attachment of a variety of dedicated accessories. The lens hood included in the kit with the lens is the first element of the MMS system. The system will be expanded with further accessories in the future.

    Prepared for all weather conditions
    The ultra-wide field of view of the Irix 11mm T4.3 means that its natural work environment is outdoor. It’s durable magnesium housing and numerous rubber seals guarantee the safety of both the optical system and the camera sensor in every weather conditions.

    Designed to work in accordance with film industry standards
    The 11mm T4.3 is another lens of the Irix Cine line that proves the newest technical solutions can perfectly harmonize with well-established film industry standards. The lens has a front flange with a diameter of 95mm and geared rings in the Mod 0.8 standard, which ensures its compatibility with most cine gear accessories. Attention to maintaining the standard also applies to the family of Irix cine lenses whose geared rings are in the same position and have unified rotation angle.

    Irix Cinematic
    The new line of Irix Cine Lenses is created in close cooperation with professional filmmakers; their ideas and suggestions were an important factor in the design process. The designers earlier experience in the field of photography led us to create new and better solutions for Irix Cine products.

    Available camera mounts
    The new Irix Cine 11mm T4.3 will be offered in following lens mounts: Canon EF, Sony E, MFT and Arri PL.

    Price and availability
    The price and availability of the Irix Cine 11mm T4.3 lens will be announced shortly.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm reveals X-A7 with improved AF, 4K/30p video and $700 price tag

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0452234113″,”galleryId”:”0452234113″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    Fujifilm has announced the X-A7, an entry-level mirrorless camera with some key improvements over its X-A5 predecessor. A new 24MP sensor offers 8.5 times more phase detection autofocus points than the previous model, and includes 4K/30p video recording – a welcome upgrade over the X-A5’s 4K/15p. Burst shooting remains at 6 fps.

    The X-A7 offers a fully articulated, ultra-high-res 3.5″ touch screen LCD, which is the primary means of interacting with camera controls, as the camera offers only a few physical controls on the back panel. The camera with kit lens attached weighs just 455g (1lb) altogether.

    Other new offerings include an update to Fujifilm’s auto scene recognition mode called Bright Mode, which utilizes HDR and other camera settings to create brighter, more vivid images with little user input.

    The Fujifilm X-A7 will be available October 24th kitted with a Fujinon XC 15-45mm F3.5-5.6 OIS PZ lens for $ 700. Shaking things up a bit, Fujifilm will offer the camera body in dark silver, ‘camel’, mint green and silver color options. A ‘navy’ color will also be available in some regions.

    FUJIFILM INTRODUCES THE X-A7 MIRRORLESS CAMERA WITH LENS KIT – COMPACT SIZE, BIG FEATURES

    Valhalla, N.Y., September 12, 2019 – The Electronic Imaging Division of FUJIFILM North America Corporation is pleased to announce the launch of its X-A7 mirrorless digital camera, available in a kit that includes a popular XC15-45mmF3.5-5.6 OIS PZ lens. The X-A7’s compact, lightweight form factor, outstanding image quality, and multitude of new and enhanced features position it as an ideal and timely entry into Fujifilm’s popular family of X Series mirrorless cameras.

    Weighing in at only 11.3 ounces (320 grams)*1 and boasting a new 24.2MP imaging sensor, the X-A7’s fast auto-focus, quick face detection, and enough power to create stills at 6 FPS, the X-A7 is the ideal camera for content creators of all skill levels and disciplines. Its intuitive LCD articulating touch screen enables users to capture the perfect image on-the-go. The vari-angle touchscreen allows the monitor to be rotated in various angles freely. Moreover, the newly-designed “Smart Menu” facilitates intuitive touchscreen operation, so that even beginners can produce high-quality images easily.

    Touch Your Way to the Perfect Image
    Create great images with X-A7’s intuitive 3.5 inch, 16:9 touchscreen LCD flip-out articulating screen. With a quick touch, tap or swipe, users can adjust the brightness, film simulation, bokeh and even skin softening effects.

    Incredible Image Quality for Any Situation
    The newly developed 24.2MP imaging sensor features sensor features 8.5 times more phase detection pixels across its surface than the previously available sensor*2. The X- A7 has been engineered with industry-leading copper wiring to reduce digital noise, to ensure images and video are processed quickly and to ensure the best possible image quality. The X-A7 offers enhanced data readout speed which enables a smooth frame rate of 30fps when recording 4K video, minimizing the rolling shutter effect which typically occurs when recording fast -moving subjects or when panning the camera quickly.

    Focus on the Moment; Let the Camera Focus on the Image
    Enhanced face-detection and autofocus algorithms make it easy to focus on capturing the perfect moment in all kinds of situations, including low-light and with moving subjects.

    Capture Life in Stunning 4K
    Record stunning video in 4K30P to get a beautiful cinematic look with beautiful bokeh and colors that only a FUJIFILM X Series camera can provide. Record, upload, and share on-the-go with unique features such as “Countdown Video” mode, which allows videos to be filmed at a pre-selected duration: 15, 30 or 60 seconds, for a quick upload to social media channels.

    Compact and lightweight design weighing only 11.3 ounces (320 grams)*
    Despite featuring a large 3.5” touchscreen LCD, the X-A7 weighs approximately 1 pound (455 grams) with the kit lens (XC15-45mmF3.5-5.6 OIS PZ) attached. Perfect for the active photographer, the X-A7 can shoot approximately 440 pictures per charge*3 facilitating long-term use.

    Diverse shooting modes that help produce photography with a creative flair
    A new Bright Mode feature has been added to the Advanced SR Auto function, letting the camera configure ideal settings to produce HDR and other options that create bright, vivid images in a single, one-touch operation. The Light Trail mode, added to the Scene Position selection, can be used to capture light trails of car headlights, for example, while checking the effect on the LCD in real time.

    Enhanced connectivity for easy link to smartphones and tablets
    The use of FUJIFILM Camera Remote (a free app for smartphones and tablet devices) and the unique features of the X-A7 are designed to ensure dependable connectivity and stability in wireless communications. The X-A7 also supports wired communications with smartphones and tablet devices*4, useful when transferring large data, e.g. video, to such devices.

    Availability and Pricing
    The new FUJIFILM X-A7 with FUJINON XC15-45mmF3.5- 5.6 OIS PZ lens kit will be available in most markets in camel, dark silver, mint green and silver. It will be available for purchase starting October 24, 2019 in the U.S. and Canada at a MSRP of USD $ 699.95 and CAD $ 899.00.

    *1 including the weight of a battery and a memory card, but excluding the Kit-included FUJINON lens
    *2 Compared to the image sensor used in the Fujifilm X-A5 mirrorless digital camera
    *3 When Economy mode is selected
    *4 With a Type C jack: USB to C cable or USB C to A (included in package) +A to C Adapter
    With a Micro B jack: USB C to A (Included in package) +A to Micro B Adapter
    With a Lightning jack: USB C to A (Included in package) +A to Lightning Adapter

    Fujifilm X-A7 specifications

    Price
    MSRP $ 699 (w/15-45mm lens)
    Body type
    Body type Rangefinder-style mirrorless
    Body material Composite
    Sensor
    Max resolution 6000 x 4000
    Image ratio w:h 1:1, 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, 100-12800 (expands to 25600)
    Boosted ISO (minimum) 25600
    White balance presets 7
    Custom white balance Yes
    Image stabilization No
    Uncompressed format RAW
    JPEG quality levels Fine, normal
    File format
    • JPEG (Exif 2.3)
    • 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
    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 2,760,000
    Touch screen Yes
    Screen type TFT LCD
    Live view Yes
    Viewfinder type None
    Photography features
    Minimum shutter speed 30 sec
    Maximum shutter speed 1/4000 sec
    Maximum shutter speed (electronic) 1/32000 sec
    Exposure modes
    • Program
    • Shutter priority
    • Aperture priority
    • Manual
    Scene modes
    • Portrait
    • Night (tripod)
    • Fireworks
    • Sunset
    • Snow
    • Beach
    • Underwater
    • Party
    • Flower
    • Text
    • Multiple exposure
    • Light trail
    Built-in flash Yes
    Flash range 4.00 m (at ISO 100)
    External flash Yes (via hot shoe)
    Flash modes Auto, forced, slow synchro, 2nd curtain, commander, suppressed)
    Flash X sync speed 1/180 sec
    Drive modes
    • Single
    • Continuous
    • AE bracketing
    • ISO bracketing
    • Film Simulation bracketing
    • WB bracketing
    • Dynamic range bracketing
    • HDR
    • Movie
    Continuous drive 6.0 fps
    Self-timer Yes
    Metering modes
    • Multi
    • Center-weighted
    • Spot
    Exposure compensation ±5 (at 1/3 EV steps)
    AE Bracketing ±5 (3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)
    WB Bracketing Yes
    Videography features
    Format MPEG-4, H.264
    Modes
    • 3840 x 2160 @ 30p, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 25p, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 24p, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 23.98p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 50p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 25p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 23.98p, MOV, H.264, Linear PCM
    Microphone Stereo
    Speaker Mono
    Storage
    Storage types SD/SDHC/SDXC (UHS-I supported)
    Connectivity
    USB USB 2.0 (480 Mbit/sec)
    USB charging Yes
    HDMI Yes (mini HDMI)
    Microphone port Yes
    Headphone port No
    Wireless Built-In
    Wireless notes 802.11b/g/n + Bluetooth 4.2
    Remote control Yes (via smartphone)
    Physical
    Environmentally sealed No
    Battery Battery Pack
    Battery description NP-W126S lithium-ion battery & charger
    Battery Life (CIPA) 440
    Weight (inc. batteries) 320 g (0.71 lb / 11.29 oz)
    Dimensions 119 x 38 x 41 mm (4.69 x 1.5 x 1.61)
    Other features
    Orientation sensor Yes
    Timelapse recording Yes
    GPS None

    Articles: Digital Photography Review (dpreview.com)

  • Hands-on with the Fujifilm X-A7

    Introduction

    Feast your eyes on the Fujifilm X-A7, in all its mint green glory. Though this is an entry-level camera, it’s significant because it’s the first major redesign of Fujifilm’s X-A series…well, since Fujifilm started making the X-A series. Just like previous models though, it’s got a Bayer color filter array, foregoing Fujifilm’s usual X-Trans array used in most of its other APS-C mirrorless cameras.

    We’ve been lucky enough to get our hands on a pre-production model to give you a tour of all of the design updates on Fujifilm’s new budget ILC.

    A new sensor

    Although the Fujifilm X-A7’s sensor is still an APS-C unit and still offers 24MP, it’s an all-new design. According to Fujifilm, this sensor and ‘industry-leading copper wiring’ help contribute to the camera’s speed, and we suspect, to its adoption of ‘real’ 4K video at 30 frames per second. (The previous X-A5 could shoot 4K ‘video’ at 15 frames per second.)

    The sensor also comes with 8.5X more phase detection pixels than its predecessor, giving you a total of 425 autofocus points. Burst shooting is a bit less impressive, coming in at 6fps with a very small buffer. We’ll be testing out this new autofocus system as soon as we get our hands on a final review unit.

    The huge rear screen

    Just take a look at that rear screen. It’s a healthy 3.5″ unit, with a 16:9 aspect ratio and a very impressive 2.76 million dots: higher than most other cameras this side of a Nikon D850. It also reaches an impressive brightness, so it should be fairly usable outdoors – an important consideration, as the X-A7 has no viewfinder.

    Clearly visible here is also the new 8-way joystick, which you’ll use to navigate the menus and move your AF point around. However, you can also use the huge rear screen for the very same functions, should you desire. One more thing to note about the screen, before we move on…

    The huge, fully-articulating rear screen

    …yes, this is the first Fujifilm camera with a ‘conventional’ fully articulating screen mechanism, meaning the screen swings out to the side and rotates around. Video shooters often prefer this sort of implementation, though I honestly have no idea if selfie enthusiasts prefer one type of tilty screen to another. Anyway, as with other cameras that use this type of mechanism, you can flip and stow the LCD side of the screen against the rear of the camera for protection while traveling.

    One thing worth noting is that if you’re shooting traditional stills, the 16:9 aspect ratio of the screen means you’re going to have black bars on each side of your composition, since the camera takes photographs with a 3:2 aspect ratio. But for video shooters looking to take advantage of the camera’s 4K/30p capture, it should be lovely.

    And speaking of video capture, there’s also…

    A microphone socket

    Yes, the X-A7 comes with a microphone input so you can easily capture better audio than the internal microphones could. Of course, it’s directly in the way of the screen mechanism if it’s swung out, but hey, a mic jack is a mic jack.

    You may have noticed it’s of the 2.5mm variety, meaning you’ll likely need to use the included adapter to step up to the 3.5mm jack that most consumer microphones use. Just above the microphone port, you’ll see the release for the pop-up flash, which can be pulled back with your finger and ‘bounced’ to the ceiling for a softer effect indoors.

    But we’re not done with ports just yet.

    USB-C and HDMI ports

    On the other side of the camera, behind a mint-green door, are traditional micro-HDMI and USB-C connectors. The USB-C port can be used not only for charging the camera up on the go, but also for file transfer to either PC’s or smart devices with adapters. Disappointingly (though not unlike other recent camera models we’ve seen), the X-A7 will transfer images at slower USB 2.0 speeds through the USB-C port.

    Top-plate controls

    Now let’s take a look at the top of the camera, which has also been redesigned. Gone is the old power switch, which used to surround the shutter button – in its place is a front control dial, and there’s a recessed On/Off button to get you off and snapping away. There’s also a rear control dial, and within it, a customizable function button to which you can assign many things. We’ll let you know which things once we’ve gotten cracking on our full review, with a final review unit.

    The mode dial is familiar, with SR+ denoting the camera’s fully automatic setting, the standard PASM modes, a range of scene modes, filters, and a dedicated panorama mode. We’re also pleased to see a fully-fledged hotshoe for mounting an external flash, trigger, or a shotgun microphone if you’re going to be shooting video on-the-go and using the microphone port on the left side of the camera.

    Battery and card slot

    Last but not least, the battery. The X-A7 uses the same NP-W126S battery that is now in basically all of Fujifilm’s APS-C interchangeable lens cameras, meaning it should be easy to pick up a spare or two should you need – though a battery life of 440 shots is pretty respectable, even if that number is for the camera’s ‘economy’ mode. The X-A7 uses standard SD cards, and the slot is below the battery in this image (not visible).

    The wrap

    And there you have it – Fujifilm’s new budget interchangeable lens camera, the X-A7. Our initial impressions are positive, especially compared to previous X-A models in terms of responsiveness and autofocus. And let’s be honest: I never thought I would ever want a mint green camera (several other colors are available, don’t worry) but here I am, thinking about how I kind of like it and how I’d probably need to buy all new shirts to make sure I’m not clashing with the it while I’m out taking pictures.

    In any case, what do you think of the new X-A7? Let us know your thoughts in the comments, and ask us any questions you have – we’ll do our best to answer them.

    Articles: Digital Photography Review (dpreview.com)

  • LaCie’s announces new Rugged SSDs, including one with a built-in SD card reader

    Storage company LaCie has introduced three new portable, rugged SSDs that it says are designed specifically for creative, media, and entertainment pros who need ample storage while working remotely. The company’s new lineup consists of the LaCie Rugged SSD, Pro, and BOSS SSD models, each offering high durability alongside features targeted at different user needs.

    The most notable of the three new models is the LaCie Rugged SSD Pro, a device featuring Thunderbolt 3 and USB 3.1, a Seagate FireCuda NVMe SSD with speeds up to 2800MB/s, and an IP67 resistance rating against dust and water. This device is designed for digital imaging technicians and filmmakers dealing with up to 8K footage.

    Joining the Pro model is LaCie’s new Rugged SSD, an alternative for media professionals who have less demanding needs. This model features USB 3.1 Gen2 and a Seagate FireCuda NVMe SSD with speeds up to 950MB/s. According to the company, that’s fast enough for handling up to 4K video. As with the Pro model, this drive is secured in a durable housing with an IP67 rating, plus crush resistance and drop tolerance.

    Finally, LaCie’s new Rugged BOSS SSD is designed for photographers and filmmakers, offering a 1TB SSD with speeds up to 430MB/s. As well, this drive is unique due to the housing’s built-in SD card slot alongside the USB port, as well as its built-in display for seeing the real-time status on data transfers, battery life, and available capacity. The housing is dust, splash, and drop-resistant and the drive works with a companion mobile app for managing content.

    The LaCie Rugged SSD lineup will be available at the following prices:

    • LaCie Rugged SSD: 500GB ($ 179.99), 1TB ($ 299.99), and 2TB ($ 499.99).
    • LaCie Rugged SSD Pro: 1TB ($ 399.99) and 2TB ($ 699.99)
    • LaCie Rugged BOSS SSD: 1TB ($ 449.99)

    Articles: Digital Photography Review (dpreview.com)