The digital era is here and photography has taken many strides into the future of artificial intelligence, thanks to camera lenses that beat human imagination. That is not all. There are many different brands to choose from such as Nikon, Canon, Sony, Olympus among others. But, does it mean everything you are going to buy should be automated and have Continue Reading
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Moving from the APS-C to the full-frame world can be a very intimidating thing to do. After all, you’re going to spend a significant amount of money; money you have most likely been saving up for quite some time. There are so many options out there, and we know you want to pick a camera that will give the most Continue Reading
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Sony has announced its new RX100 III Video Creator Kit, a product bundle that combines the RX100 III with Sony’s VCT-SGR1 grip, a 64GB SD card and an additional NP-BX1 battery.
Like most video creator kits, the RX100 III Video Creator Kit is designed to be an all-in-one solution for creators looking to get their foot in the door with a simple Full HD video setup.
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At the heart of the RX100 III is Sony’s Exmor R CMOS sensor and BIONZ X processor, capable of recording 50Mbps 1080 / 60p video through the F1.8-2.8 Carl Zeiss Vario-Sonnar T* 24-70mm lens. Combine those specs with the 3-inch tilting screen and the ability to control both image capture and zoom with the VCT-SGR1 Shooting Grip and you have yourself a solid vlogging setup.
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Sony says the RX100 III Video Creator Kit will retail for $ 799.99 and will begin shipping July 2019. However, the kit is currently available to pre-order at Adorama for $ 798 and is listed as available at B&H for $ 699.99.
Press release:
The RX100 III Video Creator Kit Provides the Perfect Video Setup for the Run-and-Gun Creator
SAN DIEGO — July 1, 2019 — Sony Electronics, Inc. today introduced a powerful new tool for vloggers and video creators with the launch of the RX100 III Video Creator Kit. Based around the award-winning compact camera, the Cyber-shot RX100 III, the Video Creator Kit provides an all-in-one kit for video creators.
The Kit features the RX1000 III, with a 180º tiltable LCD screen, 1” Exmor R sensor, BIONZ X processor and 24-70mm F1.8-2.8 ZEISS Lens. The bundle also includes an innovative remote grip that doubles as a mini tripod, a 64GB SD Memory Card and an extra NP-BX1 battery to keep you shooting longer. The RX100 III’s video creator kit has everything you need to take your content on the move.
“Empowering creators is critically important to Sony,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics.“We want to make it as easy as possible for them to realize their vision, to capture content in new and different ways.”Manowitz added, “An excellent all-in-one solution, the new Video Creator Kit is a convenient tool that will encourage many aspiring creators to go out and shoot.”
Fast, Sharp Lens
The DSC-RX100 III sports a fast, sharp F1.8-2.8 Carl Zeiss® Vario-Sonnar T* lens with 24-70mm zoom. With such a versatile range of perspectives between wide-angle and medium-telephoto, it’s perfect for all kinds of videography with beautifully defocused, high-bokeh backgrounds. A premium multi-layered T* coating also dramatically reduces ghost and flare caused by light reflection.
Full HD Video Recording
The DSC-RX100 III records HD movies in the XAVC S format and saves files as MP4, allowing for extensive record times. With 50Mbps Full HD (1920×1080) up to 60p high-quality video recording, XAVC S* enables beautiful video recording with minimal compression noise even in scenes with a lot of movement. The RX100 III also records in AVCHD and easily shareable MP4 HD video.
Versatile Shooting Grip
For the ultimate creative freedom, the RX100 III Video Creator Kit includes the VCT-SGR1 Shooting Grip, which allows control of capture and zoom functions directly from the grip and integrates with the RX100 III for ease of use and dynamic filming styles. The ergonomic design is comfortable for both left- and right-handed use, and the pop-out legs convert it into a mini-tripod.
Innovative Design
With a fully-tiltable 3” (1,229K dots) Xtra Fine™ LCD Display it’s possible to check and monitor composition and settings during the entire shoot, thanks to the ability to flip the screen 180º to face the subject, perfect for selfie-style shooting of both still images and video. WhiteMagic™ technology dramatically increases on-screen visibility in bright daylight. The large display delivers brilliant-quality still images and movies while enabling easy focusing operation.
The pop-up EVF viewfinder features an OLED Tru-Finder with a ZEISS T* coating, designed to dramatically reduce reflections that can interfere with composing and viewing stills and videos.
Performance and Image Quality
The backside illuminated Exmor R CMOS sensor, advanced BIONZ X processor and fast-F1.8-2.8 aperture lens combine to allow for incredible speed and low light versatility for stills as well as beautiful HD video.
The RX100 III features a large 1.0” Exmor R® CMOS image sensor. The back-illuminated technology doubles light sensitivity — a great help when shooting in dimly lit environments. Enjoy reduced noise in your videos and photos, even when capturing night landscapes or indoor scenes.
Full HD Video Capture
The RX100 III captures video in HD in the XAVC S format, allowing full HD recording at a data rate of 50 mbps with low compression, resulting in excellent video quality. The RX100 III can also capture 120fps at 720p, and a dual-video-recording capability allows the camera to record in XAVC S/AVCHD along with MP4 files.
The RX100 also features Intelligent Active Mode, which uses Sony’s frame rate analysis technology and 5-axis image stabilization to dramatically reduce the effects of camera shake when capturing video.
Connections and Sharing
Connect the RX100 III to an external monitor/recorder via HDMI® simultaneously for a bigger view of what you’re recording. The shooting info display can be turned off for an even cleaner view and to capture uncompressed video at much higher bitrates (depending on external recorder and settings). Frame rates include 24p, 60p and 60i.
Connectivity with smartphones for One-touch sharing/One-touch remote has been simplified with Wi-Fi®/NFC control. Easily and instantly transfer videos and photos to your smartphone for sharing with friends and family on social media. In addition, the camera can be controlled remotely using the free Imaging Edge app giving you greater creative freedom.
Pricing and Availability
The RX100 III Video Creator Kit will begin shipping in July 2019 for approximately $ 799.99. It will be sold at a variety of Sony’s authorized dealers throughout North America.
Exclusive stories and exciting content shot with the RX100 III can be found at alphauniverse.com, a site created to educate and inspire all fans and customers of Sony’s Alpha™ brand.
Images taken with the RX100 III can be found at the Sony Photo Gallery and footage from the camera at the Sony Camera Channel on YouTube. For detailed product information, please visit Sony’s Compact Camera information page.
Articles: Digital Photography Review (dpreview.com)
Since the first consumer camera was introduced more than 130 years ago, photography folders have provided a solid means for organizing and protecting developed and printed images. Somewhere down the line, ambitious photographers began to use them to market their services and separate themselves from the pack by branding their work. Presentation folders for photographers should be taken seriously because Continue Reading
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A significant group of camera makers have decided that full frame mirrorless cameras are the sector most likely to remain profitable as the camera market contracts. This leaves us with a selection of cameras priced around $ 2000, all trying to get you hooked on a new system.
We’re going to look at three 24MP full frame mirrorless cameras from Sony, Nikon and Panasonic. The other potential contender here is the Canon EOS R but, while its lens lineup is looking interesting, we think the other three cameras are stronger contenders, so will concentrate on those for now.
This leaves us with a selection of cameras, all trying to get you hooked on a new system
When it comes to their sensors, similarities go way beyond just the headline pixel count. Performance is so close across the trio that you might reasonably conclude that they had similar underlying silicon.
There are differences, of course: Panasonic hasn’t topped its chip with phase detection AF masks, which reduces the (already small) risk of striping artifacts at the cost of slightly lower continuous AF performance. Meanwhile Sony restricts you either to lossy Raw compression that can slightly limit your processing flexibility, or honking-great uncompressed files. But in terms of image quality, lenses are likely to make much more difference to your photos than the brand name that appears on the front of the camera.
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Beyond the sensors, there are a handful of other differences. There are subtle differences in terms of which features each brand provides, with Panasonic generally throwing everything it can at the S1.
All three cameras have in-body image stabilization, the Panasonic and Nikon both feature top-plate display screens, while the Sony and Panasonic offer twin card slots.
Another difference is viewfinder resolution: one of the ways Sony has kept the cost of the a7 III competitive is to stick to a 2.36M dot viewfinder. Nikon’s Z6 has a 3.64M dot finder, which gives a 25% increase in linear resolution. It also does a good job of making the most of this resolution (rather than feeding it a low-res input signal during autofocus, for instance). The Panasonic’s S1 finder gives a further 25% linear res increase, taking it to 5.76M dots.
All three makers talk about weather resistance, but none go so far as to state ratings or give guarantees
In terms of handling, the S1 combines a big grip with a large array of direct control buttons and dials, all spread out on the largest of the three bodies. The Sony is the smallest camera and its control layout is the most cramped, as a result (though the grip is still pretty well shaped). The Nikon strikes a balance: offering less direct controls than the Panasonic but managing to fit a decent grip and well-positioned dials onto a well-sized body.
All three makers talk about weather resistance, but none go so far as to state ratings or give guarantees, in that regard. The Panasonic S1 promises the longest shutter life and certainly feels the most substantial of the three. Meanwhile, in his teardown of the Nikon Z7, Roger Cicala at LensRentals said: ‘This is engineering department weather resistance. Anything that can be sealed has been sealed.’
The Panasonic is also the only camera here to offer 4K 60p video capture or 10-bit Log recording: the Sony will capture 8-bit Log internally, while the Z6 will output a 10-bit stream to an external recorder.
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Sony has a five-year head start when it comes to creating a lens system for its full-frame E-mount cameras, meaning it offers by far the widest choice of lenses. In addition to its own lens range, which extends to long teles, standard zooms and primes, Sony has also opened the E-mount up, allowing third-party manufacturers to broaden the range. Tamron makes a pair of F2.8 zooms, while Sigma has created E-mount versions of a selection of its Art-series primes (originally designed for DSLRs).
Panasonic is in the next-strongest position: it’s introduced three of its own lenses and joined a system that already has eight Leica primes and zooms. In addition, Sigma has promised L-mount versions of those same Art-series primes.
By going it alone and keeping the specs to itself, Nikon has only its own lenses to offer
By going it alone and keeping the specs to itself, Nikon has only its own lenses to offer: 35mm and 50mm primes, 24-70mm zooms in both F4 and F2.8, and a 14-30mm F4 wide-angle. Of course, Nikon also offers an F-mount-to-Z-mount adapter, which allows the use of its existing F-mount lenses (though only the more recent designs with built-in focus motors will offer autofocus).
Various adapters exist for all three systems, offering access to Canon EF lenses, for instance. Generally, though, adapted lenses don’t offer their full performance when adapted (though Nikon’s F-Z adapter does a good job). When sizing-up these systems, it’s worth considering whether your existing lenses can be adapted to any of these new mounts, but not a great idea to go out and buy new lenses with the intention of adapting them (the performance is likely to be inferior and their value will drop significantly when native versions are introduced).
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The Nikon and Sony immediately stand out for travel, since they’re appreciably smaller and lighter than the Panasonic. Of these, the Sony has the best battery life, which is a definite advantage, but all three cameras can be charged over a USB connection, to keep them topped-up along the way.
All three are also easy enough to connect to over Wi-Fi, if you want to share your images while still on tour. The Sony makes life slightly easier for Android users by incorporating NFC (you can just tap your phone to the camera to transfer the image currently being shown), but then loses any bonus points by being the only camera here that doesn’t let you re-process a Raw file, if you decide on different processing settings.
If you like to travel with a zoom, the Sony 24-105mm F4 would probably swing us towards the a7 III: the Nikon 24-70mm F4 is smaller (and very sharp) but the Sony is more flexible and the quality is consistently excellent.
If you prefer to stick with a single prime lens, then it’ll depend on your focal length preference. For instance, Sony makes you pick between the massive (and optically unimpressive) 35mm F1.4 and the rather modest 35mm F2.8, which might be enough to make us choose the Z6 and 35mm F1.8 S or 50mm F1.8 S as our preferred traveling companion.
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Nikon has promised a firmware update adding Raw video output to the Z6, which may well put the cat amongst the independent production pigeons. But for the majority of videographers, the Panasonic S1 is probably the pick here.
All three cameras can shoot 4K/30p and 24p from the full width of their sensors, but the Panasonic takes this further by offering 4K/60p from an APS-C crop region. For amateur videographers the S1 offers full 10-bit Hybrid Log Gamma: a ready-for-use high dynamic range video format.
Videographers with more demanding workflows may appreciate the optional firmware upgrade (which will cost extra, depending on when you buy the camera), which makes the Panasonic the only camera here to record 10-bit Log footage internally, and the only one to offer a waveform display for optimizing exposure.
The Nikon comes closest to the Panasonic in terms of making it easy to jump back and forth between stills and video shooting, but if you tend to shoot both in the same session, we’d go for the S1.
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All three cameras have eye-detection autofocus, which is especially handy for quick grab-shots of family and friends, and all three work well in this respect. We’ve had the highest success rates with the Sony system, especially in situations with multiple subjects where you need to quickly pick who you want to focus on (it’ll pick the one nearest your selected AF point), but all three cameras do a good job.
The size and weight of the Nikon Z6 and Sony a7 III certainly make it more likely that you’ll have the camera with you at key moments. The retractable Nikon 24-70mm F4 pairs with the Z6 to give a pretty compact do-everything kit, which certainly counts in its favor.
The Panasonic’s HLG video (which captures lifelike footage for playback on high dynamic range TVs) might be a benefit for family movies but, beyond that, there’s not a lot to choose between the three cameras for simple video clips. Video autofocus on the Sony and Nikon cameras is a little more dependable than the Panasonic, but Sony falls behind the others in terms of ease-of-use if you wish to select and track a specific subject.
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The Panasonic S1 immediately suggests itself for landscape work thanks to its 8-shot high resolution mode. We were impressed at how well it cancels subject movement, making it genuinely useful for landscape shooting. It also has the most comprehensive top-plate display panel, which is handy when working from a tripod.
However, while the Panasonic feels like the most rugged and durable of the three cameras here, there are no formal ratings or guarantees to back that up, so we can’t be certain that the apparent sturdiness is anything more than perception. Meanwhile, we know Nikon has put a lot of effort into its sealing.
All three cameras will do a good job, but to gain the Sony’s full dynamic range you’ll need to shoot uncompressed Raw, which is something of a demerit. Lens selection is likely to be a larger deciding factor, with Sony currently leading the charge thanks to some very good ultra wide-angle lenses.
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There’s little to choose between the three cameras in terms of formal portraits. All three have eye AF systems that make it easy to focus on people, letting you concentrate on your interaction with your subject. In our experience the Sony is most consistent at putting the focus exactly on the eye, rather than the eye-lashes.
Again Sony has the head start in terms of lens selection, though Sigma has said it will make L-mount versions of its lenses, including the 85mm F1.4 Art and 135mm F1.8 Art which, in addition to the Leica 90mm F2, mean that Panasonic users will be pretty well served.
The Z6 can immediately use all of Nikon’s extensive flash system, which extends to both radio-frequency and infrared trigger options. Sony also has a radio-frequency system. There are also plenty of third-party flash triggers available for all three systems.
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Lifestyle and people pictures are pretty much the core strength of all these cameras. Their large sensors and choice of wide aperture lenses support the shooting of those Instagram/Stock Photography shots of the picture-perfect lifestyle.
All three cameras now include autofocus that will find and focus on a subject’s eye. The Sony is the easiest of the three, if you need to focus on a specific person, but all three cameras work pretty well.
The Sony has the strongest lens selection, though the promise of a selection of Sigma primes for L-mount means the Panasonic should be pretty flexible, too. To get close to this on the Nikon you quickly have to start thinking in terms of adapting lenses, which isn’t the best long-term investment.
The Sony has the most awkward user interface of the three (particularly in terms of its menu system), but it can be set up so that you rarely need to delve into the full menu.
In terms of usability, we really appreciate the Nikon’s combination of sensible size, comfortable grip and straightforward user interface: it’s the camera we most enjoy shooting with, out of the three.
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The Sony a7 III and Nikon Z6’s smaller size help when it comes to discreet shooting. The Sony then builds on this by having the largest selection of small lenses. Its ‘wide’ area AF mode is probably the smartest auto AF system (it’ll not only choose a subject but can be set to then track it through the scene).
The Nikon has plenty going for it, too, though, if there’s a lens you like available. Its touchscreen is more responsive than the Sony’s, as are its physical control dials. It’s also fastest of the three to start up, helping it in the ‘decisive moment’ stakes.
All three cameras shoot attractive out-of-camera JPEGs and all three make it pretty easy to then share these to your phone. And, significantly, all have a usable silent shutter mode, if you really need to be subtle.
The Panasonic S1 is pretty responsive, and its two-axis rear screen means you can shoot portrait orientation at waist level in a way you can’t with the other two. Unfortunately it’s the largest camera and the most likely to be noticed and hence to prompt a response from the people you’re trying to unobtrusively photograph.
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None of these models are explicitly designed as sports cameras but are all capable enough all-rounders that you won’t find yourself lost on the sidelines.
The Sony’s autofocus is the most comprehensive (once you’ve chosen which of its area modes gives you the best results). It’s got by far the best fleshed-out range of native telephoto and super-tele lenses. It also has the fastest shooting rate, at up to 10 fps, and has tracking that’s good enough for sports use. This and the camera’s greater battery life make it the strongest choice in this company.
That said, the Nikon isn’t that far behind. Its subject-tracking AF is slower and more awkward to initiate, and less dependable but its other AF modes are very capable. The camera is compatible with Nikon’s extensive range of F-mount DSLR sports lenses, but the performance of these is somewhat variable, and we wouldn’t necessarily recommend heavily investing in non-native lenses, especially for such an expensive class of lenses.
The Panasonic is probably the weakest of the three, both in terms of AF performance (though not by as much as is sometimes suggested) and lens availability. It also has the slowest shooting rate: 6 frames per second with continuous autofocus.
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Wedding and event shooting requires many of the characteristics needed for lifestyle and people shooting, but increases the level of jeopardy, because you only get one chance to get the shot. This puts greater emphasis on speed of operation and it one of the disciplines that hugely benefits from redundant twin-card shooting. This counts against the Nikon for wedding shooting.
The Panasonic has the most extensive array of direct control points and allows enough customization that you can always have the controls you need at your fingertips. You can also save your settings onto a memory card to bring a second (perhaps rented) body into line with your primary camera, or just correct any settings changes you may have made for another job.
If you need to deliver both stills and video, the Panasonic has both the strongest feature set and makes it easiest to quickly switch back and forth between the two modes (you have extensive control over which settings follow over from one to the other).
All this being said, the Sony has the strongest selection of native lenses at this time, and if you’re going to be carrying one or two cameras for eight hours at a time, you might enjoy the Sony’s lighter weight compared to the Panasonic.
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We often find these application-focused articles enlightening: forcing yourself to think about how the performance differences affect different types of photography can help reveal which differences are important, and which are only relevant to a handful of users.
The two things that jumped out while writing this piece are that all three cameras are very good (and pretty consistently good at most things), but also that they’re opportunities for a fresh start if this is your first step into full-frame mirrorless. As always, lens availability should play a major role in which camera you choose but, to a large degree, it’s only really Nikon F-mount shooters who will find themselves with any dog in this particular fight. Unless you have multiple high-value long tele Nikon lenses, it might make sense to see a move to full frame mirrorless as a chance to sell-up and start again.
All three cameras are opportunities for a fresh start if this is your first step into full-frame mirrorless
The Sony is, overall, the best all-rounder: it does well at just about everything. Sony has been making full-frame mirrorless cameras longer than anyone, which gives it an advantage both in terms of technological development (especially autofocus) and lens selection. However, its focus on developing new and exciting features has left its user interface looking awkward and clunky by comparison. The Panasonic is a more feature-laden camera and yet is arguably easier to use and configure.
The Nikon Z6 runs the Sony very close, especially with its improved focus operation with firmware v2.0. In many respects we prefer the Nikon’s handling and UI over the Sony’s.
The choice you make is likely to engender a degree of commitment to a new lens system and, having looked at each camera in detail, we’d say thinking long-term about lenses is more important than focusing on the relatively minor differences between these three cameras.
Articles: Digital Photography Review (dpreview.com)
The post How to Get Started With Your Photography Promotions appeared first on Digital Photography School. It was authored by Darina Kopcok.
When it comes to the world of commercial photography, print is not dead. Although the Internet and your website are great tools to promote your photography, to really get noticed by agencies and other buyers of photography, you need to make printed promotional pieces, known in the industry as “promos.”
You can get really creative with promos, like sending them out with branded gifts, but this article will focus on printed promos.
Here are some tips on creating your photography promotions and sending them out into the world.
Before you can send out promos, you need to know whom you’re sending them to.
This necessitates doing your research and coming up a list of targeted clients that you wish to work with.
If you haven’t already done this, know that this should be an ongoing process in your efforts to attract work. You must narrow down whom you want to work with and pursue those clients to get them to notice you. Printed promos are one way of doing this.
Find out the names and contact information for the people you want to send a promo to. Keep track of them in a spreadsheet or a client management tool aimed at creatives, like Nutshell or Dubsado.
This will help you stay organized and remind you of when you last contacted them and what the outcome was.
Decide on how many promos you want to send out. Fifty is a good number to start with. You may choose more or less, depending on your niche and target market and the realities of your budget.
Before you can design your promo, you’ll need to decide what form your promo will take. Will it be a magazine? A newspaper? A poster or postcard?
I generally don’t recommend postcard promotions because they often get thrown away. However, they can be used to augment your promotions, or you can send them to smaller clients that you would be open to working with.
Printing a promo can be a costly undertaking, so you don’t want to send them to leads that are not likely to pay off.
For example, as a food photographer, I might send a promo to high-end restaurants or restaurant chains that have a marketing person or PR agency because this signals that they have the budget to hire a good photographer. I can reserve the postcards to send to smaller restaurants, such as family-run businesses who might want to hire a photographer and are more likely to keep a postcard than an art director at an advertising agency.
Browse a few websites that print promos for photographers to see what the options are and how they might best represent your photography.
You can choose someone local in the city you live. Alternatively, search nationally or even internationally, depending on what you’re looking and the value provided.
For example, as a Canadian, I have some good choices in the city where I live. However, I also regularly seek out US Sites that can give me good results for a similar price, despite postage and exchange rates. Some good options are Paperchase Press, Next Day Flyers, and Newspaper Club.
A promo is a visual calling card. It should include a bio or artist’s statement, your logo and contact information.
Depending on the niche, some photographers give their images titles or captions. If you’re an assignment photographer who is submitting collected images from a trip or assignment, you might want to preface the promo with a bit of a backstory.
A food photographer may include a short recipe with one of the images.
If you choose to include text, keep it brief. The point of the promo is to focus on your photography.
Don’t make the mistake of taking the time and effort to design a great promo and then hire the wrong printer in order to save money. Your efforts will be wasted.
A promo is meant to showcase your work in the best possible light. A poorly printed piece degrades the quality of your photography.
If you’re in the commercial photography world, then promos should be an important part of your marketing strategy and require investment. There is no getting around investing in marketing to grow your business and appear as a professional.
Successful and established photographers with a regular client list still send out promos.
Research printers and their offerings as you would a potential client. You may want to seek out recommendations in forums or from other photographers you know and trust before you make your decision.
Promos pay off, but sometimes it can take a bit of time. We live in a world saturated with information, so it can take a few attempts on your part to get the right people to notice you.
Be sure to send out a new promo 3-4 times a year to your contacts, and don’t overlook your current clientele. They should also know what you’ve been up to. Regular promos will keep you looking fresh and relevant and busy with other clients, which always reflects well on you and your photography business.
To see samples of a variety of promos, check out @photoeditor on Instagram by Rob Haggert, a former Director of Photography for Men’s Journal whose feed is dedicated to showcasing the various promos sent to him from photographers around the world.
Do you do promotions? Share any ideas with us in the comments below.
The post How to Get Started With Your Photography Promotions appeared first on Digital Photography School. It was authored by Darina Kopcok.
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Ultra fast and ultra heavy, the Samyang XP / Rokinon SP 35mm F1.2 is one serious lens. The focusing ring is huge and well-damped for incredibly smooth operation, and it’s one of only a handful of 35mm F1.2 lenses on the market that will cover a full-frame sensor. It also comes with full electronic contacts, so aperture is controlled from the camera and metadata is intact (and it works perfectly with Canon’s RF adapter and a Metabones adapter on Sony).
Is it perfect wide-open? No, but it’s darn good. From portraits to landscapes, take a look through our sample gallery to see what F1.2 could do for you.
Articles: Digital Photography Review (dpreview.com)
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Panasonic is releasing a firmware update for its Lumix DC-S1 and S1R full-frame mirrorless cameras, which will be available on July 9th. The new firmware (version 1.1) addresses the following:
Improved image stabilization performance: Panasonic claims that with firmware v1.1, the in-body IS system will reduce shake by an additional 1/2-stop, for a total of 6 stops with non-stabilized lenses and 6.5 stops with Dual IS-compatible glass.
Improved AF performance: Panasonic claims that tracking performance live view display will be improved, and new AF-on options have been added.
Two smaller changes: An ‘activate’ option has been added to the S1, for entering the key for the optional DMW-SFU2 video feature update. ‘Operational stability’ when using XQD cards should also be improved on both the S1 and S1R.
The firmware will be available for download on Panasonic’s website on the 9th.
On the same day, firmware updates will be made available for six Micro Four Thirds cameras: the Lumix GH5, GH5S, G9, G90/G91/G95, G80/G81/G85 and GX9.
The new firmware addresses various things across those cameras, but the one thing they have in common is adding support for smooth aperture control during video capture when using the Panasonic Leica 10-25mm F1.7 lens. Users can also toggle the aperture ring between ‘smooth’ and 1/3EV. The minor camera-specific changes can be found in the press release below.
Press Release
Newark, NJ (July 1, 2019) – Panasonic has announced that the company will release the firmware update programs for the LUMIX Digital Single Lens Mirrorless cameras to enhance the functions and usability. All programs will be available at LUMIX Global Customer Support website https://av.jpn.support.panasonic.com/support/global/cs/dsc/ at UTC 1:00 on July 9, 2019.
The cameras and the programs to be updated are as follows:
1. Improved performance of the Body Image Stabilizer
*1 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=50mm, when S-X50 is used.]
*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=105mm, when S-R24105 is used.]
Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when S-R70200 is used.]
2. Improved AF performance
3. Improved operational stability
1. Improved performance of the Body Image Stabilizer
*1 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=50mm, when S-X50 is used.]
*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=105mm, when S-R24105 is used.]
Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when S-R70200 is used.]
2. Improved AF performance
3. Function Enhancement with Upgrade Software Key DMW-SFU2
An [Activate] function has been added which enables the use of extended functions using the Upgrade Software Key DMW-SFU2. The following functions will be added by activating the Upgrade Software Key.
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4K |
60p/50p* |
4:2:0 |
8bit |
LongGOP |
150Mbps |
LPCM |
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30p/25p* |
4:2:2 |
10bit |
LongGOP |
150Mbps |
LPCM |
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24p |
4:2:2 |
10bit |
LongGOP |
100Mbps |
LPCM |
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FHD |
60p/50p* |
4:2:2 |
10bit |
LongGOP |
100Mbps |
LPCM |
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30p/25p* |
4:2:2 |
10bit |
LongGOP |
100Mbps |
LPCM |
* PAL area only.
?HDMI 4K60p/50p* 4:2:2 10bit output
* PAL area only.
?V-Log will be added in Photo Style.
?The [V-Log View Assist] function will be added, which enables viewing the V-Log file with LUT(Look Up Table) when recording video in V-Log.
?The [Read LUT File] function will be added, which allows users to install and apply their favorite LUT.
?A WFM (Waveform Monitor) display function.
?A [Luminance Level] adjustment function that complies with 10-bit.
?An [XLR Mic Adaptor Setting] function that enables high-res sound recording using the XLR Microphone Adapter DMW-XLR1 (sold separately).*
* MOV only
4. Improved operational stability
1. Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.
2. Improved compatibility with the Panasonic Remote Shutter DMW-RS2.
1. Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.
2. Improved compatibility with the Panasonic Remote Shutter DMW-RS2.
1. Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.
2. Improved compatibility with the Panasonic Remote Shutter DMW-RS2.
1. Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.
2. Improved compatibility with the Panasonic Battery Grip DMW-BGG1.
1. Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.
2. Improved compatibility with the Panasonic Remote Shutter DMW-RS2.
Improved compatibility with the Panasonic LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025) digital interchangeable lens.
Articles: Digital Photography Review (dpreview.com)
The post Tips for Using Negative Space in Photography to Create Stunning Images appeared first on Digital Photography School. It was authored by Sandra Roussy.
“I’m filling in all the negative spaces with positively everything.”
– Edie Brickell
Negative space may tend to suggest something that is not good. But negative space in photography is also often referred to as white space or minimalism photography. There’s nothing bad about it. It’s truly a unique technique to try out in your photography practice.
We sometimes tend to fill our compositions with lots of objects and color. When we talk about negative space, it’s the opposite that rules. The final image is mostly composed of blank or neutral space, and a small portion of the composition has an actual object in it.
This type of composition emphasizes the subject in the photo and also adds a unique value to it. This type of composition is powerful and, when done correctly, can take your photography from ordinary to truly impressive.
It can be a little daunting at first when you begin to do negative space photography. Not all attempts will be successful. There are opportunities to create negative space photography practically everywhere around you. You have to know how to observe and apply a few techniques to achieve amazing negative space masterpieces.
This is the area in the photo that attracts the viewer’s eye. It’s the main subject that commands attention in the composition. This is usually where the eye goes first.
This is the space in the composition that is typically the background. It usually doesn’t attract very much attention and is, in most cases, the intention of the photographer. It is used to define or contour the positive space.
In negative space photography, the photographer uses the space that is usually not the primary focus and uses it to fill in most of the composition. The negative space commands more attention than the positive space and creates a unique perspective. It also adds definition and can create strong emotions.
Negative space photography can evoke a sense of wonder, mysteriousness, and peacefulness. The viewer will have a greater connection to the object if the photo has no clutter, visual distractions, and a multitude of colors.
You may be presented with opportunities to create negative space photography more times than you think. It’s all in how you visualize or train your eye to look at things.
For example, a few years ago, I stood at a popular lookout overlooking an iconic rock sitting in the Atlantic Ocean in Eastern Canada. It was early morning, and some fog had rolled in, covering most of the impressive structure. The woman standing next to me at the lookout observing the same landscape turned to me and said, “It’s so sad, we’re driving by today, and I wanted to get a photo of the Percé Rock, but it seems like it won’t be possible.”
She left disappointed that she didn’t get her shot.
I stood there for a long time afterward examining the fog and the way it draped the rock like a heavy blanket. I thought that this was one of the most amazing things to happen that day. I felt so lucky to be there at that exact moment to capture the wonder unfolding.
Sometimes a small shift in perspective can make a huge difference.
Negative space is absolutely not blank space. If you think of it this way, you will have difficulty seeing the opportunities that you will be presented with. You want the negative space to be the main focus of your photograph, and it will hopefully evoke strong feelings.
We are trained to follow some basic composition rules, like the rule of thirds, for example. However, with negative space photography, these rules mostly don’t apply. Your imagination is what rules the composition in negative space photography.
© José Velasco
However, there are a few things to remember and consider if you want to achieve this type of photography.
Fill your composition with the negative space. Try to put minimal distracting objects in your composition. Texture or solid colors are great elements to use in negative space photography. Use the texture or color to fill in most of the composition.
The object should be secondary and placed somewhere that is usually not primarily capturing the eye of the viewer. Placing the subject somewhere in the corner of your frame will frequently provide you with a good result. Try to balance the negative space with the white space so that it flows.
A good rule of thumb is to put twice as much negative space than positive space in the composition.
Try to avoid shallow depth of field when doing negative space photography. This is so that neither the object nor the negative space in the photograph is blurry.
When you look at things differently and step outside of the traditional rules, you will find many great opportunities to create some unique shots. Look at a scene and try to create your own story.
© José Velasco
Negative space photography is an excellent way to expand your skills and your photographic eye. So remember, less is sometimes more.
Have any negative space photographs that you are proud of? Don’t hesitate to show us in the comments section below.
The post Tips for Using Negative Space in Photography to Create Stunning Images appeared first on Digital Photography School. It was authored by Sandra Roussy.
Hope Kahn is a Maryland-based journalist who is doing all of the sorts of things I was doing at her age: honing her writing and reporting skills, putting out a student newspaper, and always scrambling to find a good local story.
Over the last couple of years she's been punching above her weight class, having been published in national outlets such as Ms. and The New York Times. Suffice to say those are not exactly things I had accomplished before graduating high school.
Her work in the #SinceParkland project is a fantastic example of a product of Generation Lockdown working to effect real change.
Recently we did some head shots that will hopefully allow her to start visually branding herself as the serious, thoughtful journalist she is fast becoming. The setup we used was classic Lighting 101 head-shot-in-a-corner fare, with an L102 and L103 twist. Read more »
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