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Leaked images: A detailed look at the unreleased Zeiss Otus 100mm F1.4 lens

It’s not official yet, but it appears Zeiss will soon announce the Otus 100mm F1.4 lens for Canon EF and Nikon F mounts, making it the longest focal length in the Otus lineup. DPReview has obtained leaked images, with permission, from Nokishita showing in detail the impending manual lens and its accompanying specifications from Zeiss.

According to the leaked technical sheets (that appear to come directly from Zeiss), the lens will feature an Apo Sonnar design with 14 optical elements in 11 groups including one aspherical element placed at the very back of the lens and multiple ‘special glass’ elements throughout. It will feature an aperture range of F1.4 – F16, have a minimum focusing distance of 100cm / 39.37in and weighs in at 1336g / 2.95lbs for the Nikon F version and 1405g / 3.10lbs for the Canon EF version.

The lens features a nearly identical design to Zeiss’ three other Otus lenses — the 28mm F1.4, 55mm F1.4 and 85mm F1.4 — and features the same 86mm front filter thread as the other three to negate the need of stepping rings for filters and accessories. Below is a full gallery of product shots of the unreleased lens:

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Being the lens isn’t yet official there’s no detail on availability or pricing, but based on the $ 4,990 price tag for Zeiss’ other Otus lenses, it’s a safe bet the 100mm F1.4 will end up around the $ 5,000 mark.

Articles: Digital Photography Review (dpreview.com)

April 11, 2019
How to Make Well Exposed Photos Every Time. Part Two: Managing Your Exposure
The post How to Make Well Exposed Photos Every Time. Part Two: Managing Your Exposure appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Part Two – Managing Your Exposure

This is the second article in a series of three discussing how to make well-exposed photographs. The first article covers subject choice, some common misconceptions about exposure and the photographer’s intention.

© Kevin Landwer-Johan

Having identified your subject, managing your exposure then matters most. These things will influence how your photograph is exposed:
- Point of view
- Lens choice
- Timing
- Reading the light
- Exposure settings
You’ll notice that I’ve placed ‘Exposure settings’ at the bottom of this list. This is because it’s the most obvious aspect of managing your exposure. I want you to consider how the other items on the list affect your exposure setting choices.

Point of view

Where you choose to take your photo from can significantly affect your exposure. Is the light behind you? Behind your subject? To one side?

By changing your position you can manage what you see in the background and how it impacts the amount of light entering your lens.

© Kevin Landwer-Johan

In this photo, the reflection off the water makes up a large portion of the background. Had I not been careful with my exposure my subject may have been underexposed. In this photo, I compensated for the bright background by adding some fill flash.

© Kevin Landwer-Johan

Changing my point of view so I no longer included the lake in the background meant I could expose my subject well. The reflected light off the water surface no longer affected my exposure. In this photo, I did not need to use my flash as there was no strong backlight to compensate for.

Lens choice

Composition is partly governed by your choice of lens. Using a telephoto lens will include less background. In doing this, you can restrict light sources and bright areas of your composition more easily. With a wider lens, you are more likely to include more sky or other bright areas which can have some effect on your exposure.

© Kevin Landwer-Johan

Had I used a wider lens for my photo of these rice fields I would have included the setting sun in my composition. This would definitely have a strong impact on my exposure and the whole look and feel of my photo.

I could have eliminated the effect of the sun altogether by using a lens focal length that was slightly longer. I could have also tilted my camera down slightly, but the foreground was unattractive, and I like the sunburst.

Timing

The time you choose to make your photograph can also influence your exposure. It may mean waiting until the sun is in a different place in the sky for a landscape photo. Or you may have to calculate when to press your shutter release to avoid bright headlights of a passing car. This was the case when I photographed the image below.

© Kevin Landwer-Johan

The timing for blue hour photos is particularly important. You must wait for the ambient light to balance with any other light source you have in your frame. This amount of time will vary depending on your proximity to the equator.

In Chiang Mai, Thailand, we have about ten minutes each evening to capture a rich blue sky with the electric lights included in the composition.

© Kevin Landwer-Johan

Reading the light

To be able to set your exposure you must use an exposure meter or let your camera make the calculations and settings for you.

Leaving this choice completely up to your camera is rarely best as your camera does not know what you are photographing. Your photos will potentially lack creativity.

Your camera has amazing artificial intelligence built into it, but it cannot see the way you see and discern what your main subject is. By leaving your camera settings so the meter is set to take an averaged reading and is on any auto or semi-auto mode, your camera is in control. You can use exposure compensation or set your camera manually to take control of your exposure.

One of the easiest ways to read the light is by using live view and looking at your monitor. Some cameras do not have this capability, so you need to consult your manual and do some testing to discover if you can use this method.

Checking your exposure with live view works when you have your camera set to manual mode. It’s easy to watch the light values on your monitor changes as you alter your aperture, shutter speed, and ISO. Using this method in conjunction with your histogram is recommended so you can check if there’s any clipping happening.

Using your exposure meter set so it takes a reading from the entire frame and then calculates an average exposure is okay when the light and tone is even.

When there’s any amount of contrast in the scene it’s good to take a spot meter reading directly from your subject. This will provide you with the specific information about the light reflecting off the most important part of your composition.

© Kevin Landwer-Johan

For this photograph, I took a spot meter reading from the Buddhist nun, as I wanted her exposed well. Had I left my meter on the averaging mode it would have included the bright light outside and the dark interior into its calculations. This would most likely indicate a setting which would have rendered my main subject underexposed.

Exposure settings

Once you have made your exposure reading and ascertained how the light is affecting your composition, you need to set your exposure.

You may decide your subject will be well exposed by setting your aperture, shutter speed, and ISO so the meter reads zero. You may prefer to have it read overexposed or underexposed, depending on the tone value of your subject and your creative expression.

When your subject is very dark or very light, you may want to alter your exposure settings to compensate. When you take a spot meter reading the camera is calibrated to see the thing as being middle gray. This means a black or a white subject will both appear gray in your photo if your meter is reading zero.

You must decide the tone you want your main subject to be. Do you want a clearly exposed subject? Will it look better if it appears brighter than it really is? Do you want a silhouette?

For this photo of pink orchid flowers, I chose to overexpose from the reading my spot meter was giving me. I did this to produce a softer feeling in the image.

© Kevin Landwer-Johan

Had I been making the photograph to document the flower and its color accurately, I would not have overexposed it. My intent was not to make a technically accurate representation of the flower.

If technical accuracy is what I wanted I would have changed my point of view to avoid the backlighting. I would have set my exposure so the color and tone rendered correctly to how the flower looked to my eyes.

Try it out and see for yourself

Find a white or black subject to photograph. Make a spot meter reading and set your exposure so that the meter is at zero. Take a photo.

Now, for a black subject, change your setting so the spot metering indicates it is two stops underexposed. For a white subject make your settings so it’s two stops overexposed.

Which photograph is most appealing? The ‘correctly’ exposed photo, or the under or overexposed photo?

© Kevin Landwer-Johan

Conclusion

Experimentation is always good when lighting and subject material are challenging. If you’re not 100% certain you have a perfect exposure, (I never am,) make a series of photos whenever you can.

Tweak your aperture and/or shutter speed settings between each exposure. Don’t make huge shifts in these settings, but just enough so you have a few options to look at when it comes to post-process them.

I’d love you to leave your comments below letting me know if this article has helped you understand exposure better.

The next article in this series will cover post-processing techniques which will enhance your exposure choices.

The post How to Make Well Exposed Photos Every Time. Part Two: Managing Your Exposure appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School
April 11, 2019
Afidus ATL-200 camera can capture time-lapses for up to 80 days on battery power

A company called Afidus andbased out of Taiwan is demonstrating a relatively small cube-shaped camera called the ATL-200 at NAB 2019. Though it resembles an action camera, the ATL-200 is designed specifically to capture time-lapses; it can capture continuously for up to 30 days while on battery power.

The ATL-200 camera can be powered with four AA batteries or with a 5V micro USB cable charger. When operating off batteries, the camera operates for 45 days at a 1-minute capturing interval or 80 days at a 5-minute capturing interval, assuming it runs for 8 hours per day.

Operators have a number of capture options, including time-lapse intervals from 1 to 30 seconds, 1 to 10 minutes, and 1/4/24 hours, as well as a custom time option for using any interval duration. Continuous intervals can be set to 5, 10, and 15fps when recording at 1080p and 30fps at 720p.

ATL-200 supports multiple capture modes, including motion detection, stop motion, time-lapse, time-lapse and motion hybrid, and step video. The camera’s integrated motion sensor can detect moving objects located up to 25ft / 7.6m away. In addition to the camera’s autofocusing capabilities, operators can manually set the focus and zoom using the ATL-200’s companion mobile app.

Other features include a Sony Exmor Full HD 1080p sensor, IPX 64 weather-resistant construction, and a standard 1/4-20 tripod mount joined by four strap tabs. The camera is shipped with a 16GB SanDisk Ultra microSD card, but users can swap it out with other cards that have capacities up to 128GB. Time-lapses are saved in MP4 format. Below is a video highlighting the stand-out features of the time-lapse camera.

Afidus lists the ATL-200 on its website, but it only appears to be available for sale through TimeLapseCameras.com at this time, as noted by Newsshooter. The camera is priced at $ 389 USD; the next camera batch is expected to start shipping in late April.

Articles: Digital Photography Review (dpreview.com)

April 11, 2019
Sony a6400 review in progress
Introduction

Sony’s a6400 is a compact 24MP mirrorless interchangeable lens camera with an APS-C sensor that will serve plenty of photographers from family documentarians to pro shooters looking for a lightweight second body. The big news is that it has a new processor based on that used in Sony’s sports-shooting flagship a9 which enables ‘Real-Time Tracking’ autofocus, which is one of the most effective autofocus implementations we’ve yet seen. It’s also among the easiest to use, once you’ve gotten it set up.

Key specifications:
- 24MP APS-C sensor
- 425-pt phase detection AF system with Real-Time Tracking
- Tilting screen, 180° up, 90° down
- 2.36M-dot electronic viewfinder
- New Bionz X processor
- ISO range from 100-32000
- 11fps burst shooting (8fps with silent shutter)
- Interval shooting option added
- 4K/30p video capture
- Mic input, no headphone output
- 410 shots per battery charge (per CIPA)
- Wi-Fi with NFC and Bluetooth
The Sony a6400 officially replaces the older a6300: it uses the same sensor but comes with some subtle enhancements aside from the impressive autofocus capabilities. It arrives in an increasingly crowded field, though, with cameras like the X-T30 from Fujifilm and the EOS M50 from Canon being similarly priced and with similar sized sensors. Do the enhancements make the a6400 the standout in this crowd? Find out its strengths – and weaknesses – in the pages to follow.

The a6400 is available now for $ 899 (€1049) body-only, $ 999 (€1149) with a 16-50mm F3.5-5.6 Power Zoom kit lens and $ 1299 (€1449) with an 18-135mm F3.5-5.6 zoom.

What’s new and how it compares

Sony’s a6400 has an awful lot of refinements on the inside – take a look.

Read more

Body, handling and controls

For better or for worse, the a6400 handles just like the a6300 before it. And the a6000 before that.

Read more

Image quality

The a6400 takes some fantastic photographs, and in particular, has some welcome tweaks to its JPEG engine.

Read more

Impressions and sample gallery

Sony’s new Real-Time Tracking is really impressive, but my goodness, can’t we get a front control dial?

Read more

Specifications

Want the full list of specifications for the a6400? We have you covered.

Read more

Articles: Digital Photography Review (dpreview.com)
April 10, 2019
A Beginners Guide to Auto ISO and other Camera Modes
The post A Beginners Guide to Auto ISO and other Camera Modes appeared first on Digital Photography School. It was authored by Rick Ohnsman.

The What, When, Why, and How of Auto ISO

So, you understand how to interactively use Aperture, Shutter Speed, and ISO settings to achieve proper exposure. You know how to control things like depth-of-field and the freezing or blurring of motion. Perhaps you also understand the camera modes: Aperture Priority, Shutter Priority, or Manual and know when using them which settings are fixed and which can fluctuate. But how often do you adjust ISO adjustment? The idea that you might let the ISO speed “float” with each shot is alien to many photographers. So what is Auto ISO? When and why might you want to use it, and how can you set it up to make better shots?

Fast action in changing light conditions is a good reason to use Auto ISO.

Back to basics – the Exposure Triangle

From the dawn of photography and the simplest pinhole camera to the most sophisticated modern DSLR, there have been three constants – Aperture, Shutter Speed and what we now measure with ISO – the Light Sensitivity of the media onto which the image gets recorded. All cameras are essentially boxes with a hole in them. The size of the hole (aperture), the length of time the hole is opened (shutter speed), and the sensitivity of the recording medium (ISO). When we allow light into the box to create an image on the sensitive media, we are making an “exposure.” It makes up the “Holy Trinity” of photography – The “Exposure Triangle.” Perhaps you knew all this? If so, feel free to skip ahead in the article, otherwise, keep reading.

From the simplest to the most complex camera, three things – Aperture, Shutter Speed, and ISO are the factors affecting Exposure.

A “correct” exposure

There are two basic things to consider when making an exposure:
1. What is the correct amount of light to let into the “box” rendering all tones in the subject and capturing everything from the blackest shadows to the brightest highlights, and
2. How can we use the three components of the triangle most creatively?
The first consideration is technical, the second creative.

A histogram shows us the 256 shades of gray for a given image. At the far right are the shadows, on the far left, the highlights. In theory, an image which stays “between the goalposts” such that none of the tones go off either edge is a “correct exposure.” In editing, we can redistribute the tones so long as they have not gone to “0” which is total black, or 255 which is total white. At those extremes there is no detail to recover; it is either totally black and “blocked up,” or totally white and “blown out.”

Learning how to interpret a histogram will greatly aid you in your growth as a photographer.

Creatively using the controls

How to use the elements of the exposure triangle creatively brings in some secondary considerations of how aperture, shutter speed, and ISO affect our image. Aperture is the hole in our “box” while the f/stop is the term we use to define the size of the hole. A good way to remember which is the “bigger hole” is is to think about any f-number as a fraction. If you like pie, would you rather have a ½ pie or a 1/16 slice?

Therefore, the bigger f/numbers like f/22 represent smaller apertures (holes), while the small f/numbers like f/2.8 or f/4 represent the larger apertures.

Creatively, we can use smaller f/stops to increase depth-of-field and larger ones to limit it. In a portrait, we might want an unfocused, simplified background with a limited depth-of-field, so a large aperture would be a good choice. In a landscape photo where we want front-to-back sharpness, a small aperture may be better.

The shutter speed you choose also offers creative possibilities. Remember, shutter speed is represented in whole or fractions of as second. A shutter speed of 1/2 second is a longer time the shutter remains open than 1/250th of a second. You might think of the shutter speed as the “slice of time” we expose the light-sensitive medium to light. Short (faster) shutter speeds will help us freeze motion by capturing a “thinner slice of time.” Longer (slower) shutter speeds can allow us to “stretch time” and cause moving objects to blur.

Adjustable ISO? What a concept !

Of the three components of the triangle, ISO choice has implications, but probably less so than the others. Like an audio amplifier, lower settings keep the background “noise” less while higher settings which amplify the signal also introduce more noise and distortion. ISO measures how sensitive we make the sensor in a digital camera. In the film days, film sensitivity was fixed. Put in a roll of ASA 64 film and that was what you lived with for the whole roll. It had less grain than did an ASA 400 roll, but it was also less light sensitive.

In the digital world, ISO can be changed whenever we like, even from shot to shot. Now making an exposure truly becomes a “three-ball juggling act.” We can change Aperture, Shutter Speed, or ISO with each shot if we like. We still must use those to make a “correct” exposure, but we can also better consider the creative implications of our choices. We can also choose which controls we want full control over and which we might relinquish to the camera. Auto ISO coupled with newer, better, and “less noisy” sensors has changed the ballgame. Let’s go back to our three-ball juggling analogy.

Which of the three “exposure balls” will you choose to “let float?”

Learning to juggle

Watch a video clip of a juggler throwing three balls, and you will see at any given time, one ball is in the air, and the other two are in each of his hands. He has “control” of two of them, and the third is in “float.”

Now, when you use Auto ISO, it becomes that “third ball,” the component you let be in “float.” Fortunately, ISO has the least creative potential, and with modern cameras, the least penalty of choice. So it often makes sense to let it be the “ball in float.”

Let’s bring this back to the practical. You’re shooting dancers on the stage in an auditorium. The stage lighting varies with each scene and even as the dancers move to different spots. They are not allowing flash here, so you must live with the lighting conditions.

You want a reasonably high shutter speed to freeze the motion and a moderately small aperture so you have sufficient depth of field. Which of the three “balls” makes the most sense to let “float?” Auto ISO to the rescue! Situations where lighting changes quickly and the action you’re capturing won’t wait while you manually adjust settings is perfect for using Auto ISO.

Setting things up

I shoot with a Canon 6D most of the time so I will use that as my point of reference and for the menu shots below. How, (or even if your camera supports Auto ISO at all) will vary between make and model so you will need to dig a bit deeper to learn that. You might even have to get out your camera manual! The method may differ with your camera, but if you can grasp the general concept, the rest is simply navigating your camera’s menus.

Setting up Auto ISO on a Canon 6D.

Usually, there will be a button or menu where you can set Auto ISO. If you go to the low end of the scale, past the lowest (smallest) numbers of ISO you will likely find “A” for Auto ISO. Set the camera there.

Now you will want to set some “boundaries” as to when and how Auto ISO will be implemented and how high you will allow it to go. You should know that the higher ISO settings may allow you to shoot in very low light but may also introduce more image noise. How much is too much noise and what settings are impractical will depend on your camera and you. Shoot some high ISO images and evaluate them, so you know how much is too much for your liking.

With this information, you will want to find the menu item where you can set the specifics for how Auto ISO behaves. On my Canon 6D, I tap the Menu button and then roll the small top dial to the third camera menu icon from the left. I then roll the larger Control dial down to the second item, ISO speed settings, and hit the Set button to get to the menu below.

Again, your camera may differ, but you will set several things here:
- Confirm the camera is in Auto ISO – ISO Speed
- Set the full ISO speed range the camera will use – ISO Speed Range
- Choose the lower and upper limits of ISO you will allow – Auto ISO range (you will usually enter the lowest ISO as the minimum and the highest as that ISO you think will not have excessive noise). For my 6D, I typically enter 100-3200 here.
- Choose the minimum shutter speed you will allow before Auto ISO changes the ISO setting – Min. shutter spd.
Setting limits on how Auto ISO operates.

For this last setting, whatever you enter here is the slowest shutter the camera will allow before jumping to a higher ISO setting.

You will note “Auto” is an option here. If you pick this, your camera will detect the focal length of your lens when the image is about to be made and use the formula 1/focal length to set the minimum.

The idea here is you should not shoot slower than this (especially if handholding your camera) if you want to prevent camera shake blur. For example, let’s say if you are shooting a 24-105mm zoom lens and are zoomed all the way in. If Min. Shutter Speed is set to Auto, your camera will start to increase the ISO if the required shutter speed drops below 1/100th.

How it works in each mode

So you have this all set up. Now how will it operate? It depends on what camera mode you are shooting in. Let’s look at each.

Full Auto (Green) Mode

What you Can Adjust – Nothing, in Full Auto Mode the camera adjusts Aperture, Shutter Speed, and is in Auto ISO.
What the Camera Adjusts – Everything. This is a true “Point-and-Shoot” Mode with the camera making all adjustments.
Exposure Compensation Possible? – No
Pros/Cons – You are letting the camera make all your exposure and creative decisions. You are in Auto ISO and perhaps didn’t know it!

Program (P) Mode

What you Can Adjust – Everything, but as you adjust one item, the others will change too depending on lighting.
What the Camera Adjusts – Everything. The camera will seek to maintain proper exposure.
Exposure Compensation Possible? – Yes
Pros/Cons – This can be confusing when used with Auto ISO. I don’t recommend it.

Aperture Priority (Av or A) Mode

What you Can Adjust – Aperture. Lock in your Aperture setting and Shutter speed will adjust to maintain exposure. If the required shutter speed is lower than your minimum, ISO will increase up to the maximum you have set.
What the Camera Adjusts – Shutter Speed and then ISO
Exposure Compensation Possible? – Yes
Pros/Cons – If control over depth of field is your priority, this is the best option. Used in combination with the minimum shutter speed setting, it allows you to lock in the Aperture, set a base for the shutter speed, and have the camera adjust ISO increase when light goes below the shutter speed minimum you set.

Shutter Priority (Tv or S) Mode

What you Can Adjust – Shutter Speed. Lock in your Shutter Speed setting and Aperture will adjust to maintain exposure. If the required aperture is more than the maximum for the lens used, ISO will increase up to the maximum you have set.
What the Camera Adjusts – Aperture and then ISO
Exposure Compensation Possible? – Yes
Pros/Cons – If control over shutter speed is your priority, this may be the best option. Used in combination with the minimum shutter speed setting, it allows you to lock in the Shutter speed. The camera will adjust the aperture as needed and call on an ISO increase when you reach the maximum aperture of the lens used.

Full Manual (M) Mode

What you Can Adjust – Shutter Speed and Aperture. Lock in both your Shutter Speed and Aperture settings and ISO will adjust to maintain exposure. The exposure display will stay centered and ISO increase or decrease as needed to maintain proper exposure. If the required ISO exceeds the minimum or maximum set, the indicator will move off center showing an under or overexposure.
What the Camera Adjusts – ISO
Exposure Compensation Possible? – Camera Dependent
Pros/Cons – This gives maximum creative control to set both shutter speed and aperture and thus control both freezing/blurring of motion and depth of field simultaneously. ISO will “float” to adjust exposure up to the limits set. With some cameras, no exposure compensation is possible in this mode. However, with newer cameras, the “center point” may be adjusted thus supporting compensation.

When to use Auto ISO

When you have time to be a bit more leisurely with your image making, you can slow down and think through each of your settings. What are your objectives? Freezing action? Increasing or limiting the depth of field? Is the light changing?

When time permits, and you have a good understanding of each element in the exposure triangle, use full manual and set your ISO to the lighting conditions, staying as low as possible to limit noise. For landscape, portrait, still life, architecture, or other kinds of work where time permits and lighting is reasonably constant, Auto ISO isn’t much additional help. Ditto if you’re doing long exposures on a tripod where shutter speeds will be longer.

Shooting these ballet dancers under frequently changing stage lighting without flash is a challenge. Auto ISO helps tremendously.

Where Auto ISO really shines is in conditions where the action is fast, the light is changing or particularly low, and you are blasting away without time to think through each setting.

In that case, Auto ISO may be the helping hand you need. If lighting permits and your camera supports exposure compensation in Full Manual, this could be the ideal method. Lock in both Shutter Speed and Aperture where you like and shoot, counting on Auto ISO to handle any fluctuating exposure conditions.

Sometimes Auto ISO in combination with Aperture Priority will be a good choice. I work part-time at an auto dealership photographing cars for the web. Set up like this, I can go from shooting the exterior of the car in bright sunlight to the much darker interior with no adjustments, letting Auto ISO kick up the speed for the darker interiors.

Being able to move from a bright outdoor shot to a much darker interior shot and letting Auto ISO adjust the exposure speeds up my work in this situation significantly. On the older Canon 50D I use, I’m in Aperture Priority, my f/stop is at 4.5, and Auto ISO handles the rest.

Sports and Action can be an excellent time to use Auto ISO, especially in changing lighting conditions. It was a mixed cloudy day, and the light on the river where these kayakers were running was changing. I wanted to be sure my shutter was fast to freeze the action. Shutter priority plus Auto ISO was the ticket.

A mixed-light day with the kayakers moving from sun to shade, and fast action. With the need for servo focus, and shooting with a long telephoto in continuous mode… it was a challenge! I let Auto ISO handle exposure allowing me to concentrate on following the action.

What if Auto ISO goes wild?

Some photographers, especially those trained with the mantra “Auto Anything is Bad,” have a hard time invoking Auto ISO. Good photographers control everything, right? What if the camera goes up to a crazy high setting and all my images are too noisy?!!

It could happen. But, then again, remember you can limit the upper end of the ISO setting.

Also, newer cameras have such good sensors that your “upper limit” may be much higher than you think. Finally, what if you shoot at too slow a shutter speed and get blurry shots or don’t get the depth of field you wanted? There are many good noise reduction programs, but no apps I know of to fix a blurry, out-of-focus, shot with insufficient depth of field. I’ll take a noisy image over an out-of-focus image any day!

Conclusion

If you’re an old film guy like me and Auto ISO feels funny, or you’re worried about what it will do, or just haven’t been able to fully get your head around it, I suggest you relax and give it a try. Take your camera out on a non-essential shoot, turn on Auto ISO and just play. I’m going to bet you might just come away with a new trick.

The post A Beginners Guide to Auto ISO and other Camera Modes appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Digital Photography School
April 10, 2019
This is the first ever photograph of a black hole

Credit: Event Horizon Telescope Collaboration

Editor’s note: It appears the National Science Foundation has taken down the link to the full-resolution image, likely due to the ridiculous bandwidth required to load a 183.3MB image. We will leave the original link in its place for the time being until we can find an officially mirrored image to put in its place.

As promised a week ago, the results of the Event Horizon Telescope (EHT) project have been unveiled to the world, showing the first ever photograph of a supermassive black hole.

The picture above, which you can find a full-resolution version of on the National Science Foundation’s (NSF) website (183.3MB TIF), shows a black hole at the center of the galaxy Messier 87 (M87). The black hole, located 55 million light years from Earth, is 6 billion times more massive than our Sun and 1,500 times more massive than Sagittarius A* (Sgr A*), the black hole at the center of our own galaxy, the Milky Way.

The black disk at the center of the image is a shadow of the event horizon. Surrounding it is an orange glow made up of hot gas that’s managed to escape the strong gravitational pull of the black hole. In the words of the NSF, who helped to fund the EHT Project, the image is ‘not simulation or conjecture, but chaotic photons surrounding an unimaginable void.’

From Brussels: “Finally! No more simulations. You are looking for the very first time, at a real black hole.” #EHTblackhole #realblackhole #blackholecam pic.twitter.com/HH3m4v3fHH

— Event Horizon ‘Scope (@ehtelescope) April 10, 2019

The data used to create the image was captured in a week’s time back in April 2017 with the help of eight different radio telescopes across five continents, but it’s taken until now to gather, process and review that data. As noted by The Verge, Davide Castelvecchi of Nature News wrote back in 2017 that ‘A typical night will yield about as much data as a year’s worth of experiments at the Large Hadron Collider outside Geneva, Switzerland.’

Below is a video explainer of the EHT project and its mission.

Once all of the data was captured from the eight telescopes across the globe, the data had to be physically sent to centralized locations where it was parsed through by a supercomputer for months on end to create the image we’ve been shown today.

In addition to processing the data, the final image and accompanying information was stringently peer-reviewed ahead of today’s release, ‘as a part of the standard process of peer-review required for any scientific publication.’

Update (April 10, 2019): This article has been updated to clarify that the black center of the image is not the event horizon itself, but a shadow caused by the activity at the event horizon.

Articles: Digital Photography Review (dpreview.com)

April 10, 2019
Tiffen launches ND/PL filter kits for DJI Osmo Pocket camera

Tiffen has introduced a pair of filter kits for videographers using the DJI Osmo Pocket that the company says help to create a more cinematic look to the footage recorded with the device. The kits consist of neutral density filters to control the shutter speed of the Osmo and polarisers to assist with color saturation.

A three-filter kit has ND4, ND8 and ND16 filters, each with a polariser built in, while the six-filter kit offers the same three ND/PL filters minus the polarising element.

Tiffen says the filters are coated to prevent moisture sticking to the surface and to protect against reflections and scratches. The optical glass has a 10-year warranty, and a metal case is provided to store them in.

The 3-filter Osmo Pocket Filter Kit costs $ 49.99 while the 6-filter kit is $ 79.99. For more information see the Tiffen website.

Press release:

Tiffen Filter Kits Now Available for the New DJI Osmo Pocket

Tiffen Filters, a division of The Tiffen Company, introduces their exclusive new line of filters for the DJI™ Osmo Pocket. The filter kits will consist of a three-filter kit of neutral density polarizer filters and a six-filter kit of neutral density and neutral density polarizers available for DJI™’s latest 3-axis stabilized handheld camera.

The filters feature a multilayer and hydrophobic coating, waterproof surface and scratch prevention technology. They guarantee ultra-low reflection rates and have unmatched color fidelity. Its 4K high definition optical glass has a ten-year warranty.

“We’re excited to announce the launch of these filter kits for the popular DJI™ Osmo Pocket,” said Andrew Tiffen, SVP of Marketing, The Tiffen Company. “Matching our exclusive line of filters with the latest pocket-sized handheld gimble from DJI gives content creators the tools they need to enhance the cinematic footage they create with the device.”

Each filter kit includes a compact metal carrying case to safely pack and store the filters until ready for use, making it easy to take these filters on any video-worthy adventure with the DJI Osmo Pocket.

With Tiffen’s exclusive kit of filters for the DJI™ Osmo Pocket, imagemakers can create more professional content by having greater control in camera. When used in conjunction with the award-winning filter technology engineered by Tiffen, the high-quality performance of the DJI™ Osmo Pocket camera system is taken to the next level.

Articles: Digital Photography Review (dpreview.com)

April 10, 2019

Ultra-compact Canon EOS Rebel SL3 offers eye-detect AF and disappointing 4K capture

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Canon has introduced the EOS Rebel SL3, its smallest and lightest DSLR ever. It uses the same 24MP APS-C CMOS sensor as its SL2 predecessor but adds a DIGIC 8 processor, eye-detection when using Dual Pixel AF, improved battery life and 4K video capture with a disappointingly huge crop.

The SL3 manages to shave a little of the SL2’s size and weight, making it a very trim 15.84oz / 450g. The camera’s most notable upgrade is its new DIGIC 8 processor, and it maintains the SL2’s fully articulated 3″ 1.04M-dot touchscreen, 5 fps burst shooting rate and Wi-Fi capability. The SL3 does boast significantly better battery life than its predecessor; a very healthy 1,070 shots per charge compared to the SL2’s 650-shot rating.

The SL3 seemingly improves on the SL2’s 1080p video spec with 4K/24p recording, but this is unfortunately accompanied by a heavy crop like the one we saw on its M50 mirrorless sibling. Dual Pixel autofocus is also unavailable when shooting 4K video.

The Canon EOS Rebel SL3 will be available at the end of this month in either black or white color options for $ 600 body-only or $ 750 with 18-55mm F4-5.6 IS STM lens included.

LIGHT IN WEIGHT, HEAVY IN FEATURES: INTRODUCING THE EOS REBEL SL3 COMPACT DIGITAL SLR CAMERA

Empowering Users with an Easy Way to Express Themselves, the New Camera Delivers Stunning Photos and 4K Videos in a Lightweight Body

MELVILLE, N.Y., April 10, 2019 – Combining ease-of-use with high-image quality, Canon U.S.A., Inc., a leader in digital imaging solutions, today unveiled the EOS Rebel SL3 DSLR camera, the smallest and lightest product within the current EOS lineup. Weighing just 15.84 oz1, the EOS Rebel SL3 offers users a compact system delivering high-resolution images – complete with an APS-C imaging sensor, DIGIC 8 Image Processor and 3.0-inch vari-angle LCD touchscreen as well as 4K video, a first for the EOS Rebel lineup. Compatible with Canon’s full line of interchangeable EF and EF-S lenses, along with the ability to instantly send images to compatible smartphones through Auto Image Transfer via Wi-Fi® connectivity2, the EOS Rebel SL3 is the tool needed to empower aspiring photographers to capture gorgeous shots quickly and easily.

“Since its inception, the EOS Rebel product line has aimed to provide imaging excellence for entry-level visual storytellers,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Therefore, it was imperative that the next step in the EOS Rebel journey include innovative features such as 4K video and DIGIC 8 Image Processor to meet the needs of emerging photographers, while living up to the high-image quality and compact size EOS Rebel DSLRs are known for.”

The EOS Rebel SL3 carries a powerful 24.1 Megapixel CMOS (APS-C) sensor, enabling users to snap photos and express themselves across a multitude of settings – whether it be a beautiful night scene, stunning family-vacation destination or a picturesque landscape. The camera is equipped with Canon’s DIGIC 8 processor – first introduced in the EOS M50 and later built into the revolutionary EOS R full-frame mirrorless system. DIGIC 8 helps improve autofocus performance and allows for the processing of 4K video and 4K time-lapse movies – helping budding videographers record scenes such as the colorful evening skyline in brilliant detail.

The EOS Rebel SL3 features autofocus (AF) capabilities, delivering nine AF points across the optical viewfinder. This includes a new Spot AF which allows users to focus on a precise area within the subject. The EOS Rebel SL3 is the first DSLR in the Canon EOS line to feature Dual Pixel CMOS AF3 with Eye Detection AF in Live View shooting mode. With its optical viewfinder and Live View LCD monitor, photographers can enjoy two different ways of shooting and customize their experience based on the scene. The system is also the first Canon EOS SLR to incorporate a Smooth Skin setting, which can help render skin tones as well as Creative Assist – an interface by which users can check and seamlessly change shooting conditions in Live View4– such as white balance or brightness – in real time.

Additional key features of the EOS Rebel SL3 camera include:

Feature Assistant that guides and offers tips for more effective shooting
Continuous shooting mode up to 5.0 fps
Digital Lens Optimizer that corrects optical shifting automatically, even without a computer5

The EOS Rebel SL3 will be available toward the end of April for purchase in black and white color options for an estimated retail price of $ 599.99, for the body only and $ 749.99 for the body with a EF-S 18-55 f/4-5.6 IS STM lens*. For more information, please visit usa.canon.com.

1 Includes battery and SD memory card (confirms with CIPA standards).1 Includes battery and SD memory card (confirms with CIPA standards).

2 Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen. or later) equipped with Bluetooth® version 4.0 or later and the Camera Connect app.

3 Based on results of AF speed tests in accordance with CIPA guidelines. Results may vary depending on shooting conditions and lens in use. Relies on internal measurement method. • Shutter speed: 1/500 or more• Lens used: EF 50 mm f/1.8 STM• Aperture: within three steps of maximum aperture• Using a fully charged battery pack LP-E17, at 23?C

4 Available AF points may decrease when shooting with AF cropping or in movie mode, or depending on camera settings or lens attached.

5 Up to three lenses can be registered at once within the camera.

*Availability, prices and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.

Canon EOS Rebel SL3 specifications

Price
MSRP	$ 599 (body only), $ 749 (w/18-55mm F4-5.6 lens)
Body type
Body type	Compact SLR
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 photo detectors	26 megapixels
Sensor size	APS-C (22.3 x 14.9 mm)
Sensor type	CMOS
Processor	DIGIC 8
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-25600 (expands to 51200)
Boosted ISO (maximum)	51200
White balance presets	6
Custom white balance	Yes
Image stabilization	No
Uncompressed format	RAW
JPEG quality levels	Fine, normal
File format	JPEG (Exif v2.3) Raw (14-bit Canon CR2) C-RAW (compressed)
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	3975
Lens mount	Canon EF/EF-S
Focal length multiplier	1.6×
Screen / viewfinder
Articulated LCD	Fully articulated
Screen size	3″
Screen dots	1,040,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Optical (pentamirror)
Viewfinder coverage	95%
Viewfinder magnification	0.87× (0.54× 35mm equiv.)
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/4000 sec
Exposure modes	Program Shutter priority Aperture priority Manual
Scene modes	Portrait Smooth skin Group photo Landscape Sports Kids Close-up Food Candlelight Night portrait Handheld night scene HDR backlight control
Built-in flash	Yes
External flash	Yes (via hot shoe)
Flash X sync speed	1/200 sec
Drive modes	Single High-speed continuous Silent single Silent continuous Self-timer Continuous shooting after self-timer
Continuous drive	5.0 fps
Self-timer	Yes (2 or 10 secs)
Metering modes	Multi Center-weighted Spot Partial
Exposure compensation	±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing	±3 (3 frames at 1/3 EV, 1/2 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	3840 x 2160 @ 25p / 120 Mbps, MP4, H.264, AAC 3840 x 2160 @ 23.98p / 120 Mbps, MP4, H.264, AAC 1920 x 1080 @ 60p / 60 Mbps, MP4, H.264, AAC 1920 x 1080 @ 50p / 60 Mbps, MP4, H.264, AAC 1920 x 1080 @ 30p / 30 Mbps, MP4, H.264, AAC 1920 x 1080 @ 25p / 30 Mbps, MP4, H.264, AAC
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC (UHS-I compatible)
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (Mini-HDMI)
Microphone port	Yes
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n + Bluetooth
Remote control	Yes (via wired or wireless remote or smartphone)
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	LP-E17 lithium-ion battery & charger
Battery Life (CIPA)	1070
Weight (inc. batteries)	449 g (0.99 lb / 15.84 oz)
Dimensions	122 x 93 x 70 mm (4.8 x 3.66 x 2.76″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes (videos only)
GPS	None

Articles: Digital Photography Review (dpreview.com)

April 10, 2019

What you need to know about Canon’s EOS Rebel SL3 (250D)

Introduction

The Canon EOS SL2 (also known as the 200D and Kiss X9) is one of the company’s most best-selling DSLRs. And it’s not surprising, as the SL2 was a low-priced, competent camera that you could slip into a purse or small bag.

The new SL3 (250D, Kiss X10) isn’t a dramatic departure from the SL2: it’s still small. inexpensive and mostly up-to-date in terms of features. It borrows many features from Canon’s EOS M50 mirrorless camera, including the DIGIC 8 processor and rather disappointing 4K video capabilities. But more on that later.

The Rebel SL3 will be available at the end of April for $ 599 body-only or $ 749 bundled with the EF-S 18-55mm F4-5.6mm IS STM lens. We’re featuring the white version in this article, because we think it looks snazzy.

Just a bit lighter

The SL3 is the same size and nearly the same weight as the SL2 (above right). Canon managed to shave 4 grams off of the weight (though only 2g off of the black one), so you won’t have to buy a new camera bag.

As you can see, changes to the design are very subtle. There’s a bit of an indent under the Canon logo on the SL3, and the often-irritating redeye reduction lamp (which also serves as a visual countdown for the self-timer) has been removed. Unlike its predecessor, the SL3 can’t use its flash as an AF-assist lamp, though it can use the infrared target if you buy an external flash.

The SL3 uses the same 24MP APS-C CMOS sensor and elderly 9-point autofocus system as the SL2 (when shooting through the viewfinder). In live view, the SL3 also has Dual Pixel AF, covering 88% of the frame horizontally and 100% vertically. The SL3 is Canon’s first DSLR to feature Eye AF in live view, as well.

Up top

There are a couple of cosmetic and feature differences between the SL3 and its predecessor on its top plate. The main differences are the removal of the Wi-Fi button and a reduction in the number of items on the mode dial.

Like the EOS M50, the SL3 has a Scene Intelligent Auto mode that will pick a scene mode for you, and provide easy-to-understand visual guides to adjusting things like aperture (‘background blur’), exposure compensation (‘brightness’) and white balance (‘color tone’). A feature guide offers brief description of each and every menu item when it’s selected.

Rear view

No need to show the SL3 and SL2 side-by-side here, as they look exactly the same.

The SL3 has a fully articulating touchscreen display with 1.04 million dots and a well-designed UI. The optical viewfinder is, as you’d expect, quite small, with an unremarkable magnification of 0.54x (in 35mm terms). You can see about 95% of the scene when looking through it, which isn’t ideal for precise composition.

For those wondering, that’s not a dial around the Q/Set button – it’s just a 4-way directional pad. The SL3 has one control dial and it’s on the top.

Selfies, of course

Sure, the SL3’s fully articulating LCD is great for video and waist-level/overhead shooting, but let’s face it: on the SL3, it’s mostly for selfies. If you need further evidence, look no further than the new ‘Smooth Skin’ setting, which gives you five levels of skin smoothness to choose from.

On the port side…

First, isn’t that silver kit lens a nice match for the white SL3? It’s worth pointing out that this is the F4-5.6 version of the 18-55mm lens, not the F3.5-5.6, so you’re losing about 1/3-stop of light compared to Canon’s older, larger kit zoom.

Under the gray plastic cover are sockets for a 3.5mm external mic – a nice touch on a cheaper camera – and the RC-6 wired remote. The SL3 is also compatible with the BR-E1 wireless Bluetooth remote.

And on your right…

On the opposite side of the SL3 are the other two ports, for HDMI and USB 2.0. As far as we know, the camera cannot be charged over USB, but we’ll double-check that as soon as we can.

The gray patch at the bottom is a rubber cover. It conceals a channel through which you feed the cable for the optional DR-E18 DC coupler which, when attached to the required AC adapter, will set you back $ 150. (Much cheaper third-party options exist if you want to operate the camera using wall power.)

Speaking of batteries, Canon pulled off some tricks to increase the CIPA-rated battery life from 650 shots on the SL2 to 1070 on the SL3. Live view battery life is in the middling 300 shot-per-charge range.

4K, with a catch

The good news is that the EOS Rebel SL3 can capture 4K video at 23.98p (or 25p in PAL regions) with a maximum bit rate of 120Mbps.

The bad news is that, like the EOS M50 with which it shares so much, the SL3 has an enormous 2.64x crop, relative to full frame, so the wide end of your 18-55mm is equivalent to 47mm in full-frame terms. So much for wide-angle shooting! In addition, Dual Pixel AF is not available in movie mode, leaving you with regular contrast detection.

Both of these limitations are a shame, given that the small body and fully articulating LCD on the SL3 should make a nice camera for vlogging.

That’s all for our brief tour of the EOS Rebel SL3 / 250D / Kiss X10. We should be getting our hands on one soon, so look for sample photos and impressions in the not-too-distant future.

Articles: Digital Photography Review (dpreview.com)

April 10, 2019
Blackmagic announces a new battery grip for its Pocket Cinema Camera 4K

Blackmagic Design has announced the impending arrival of the Pocket Camera Battery Grip, a new battery adapter for its Pocket Cinema Camera 4K (BMPCC4K) that dramatically increases the battery life and adds a bit of extra grip for when handholding the 4K camera.

The Pocket Camera Battery Grip features a carbon fiber design with non-slip hand grips and a slide out tray that trades the BMPCC4K’s usual LP-e6 battery for two L-series batteries, increasing the battery life to up to two hours of continuous shooting on a single charge. When a charge is needed, users can charge the batteries inside the grip using the camera’s 12V DC connection.

As with other battery grips, the Pocket Camera Battery Grip attaches to the bottom of the BMPCC4K and screws into the integrated tripod mount using a tightening dial. The LP-E6 battery door on the BMPCC4K even gets a cozy place to hide in the grip so it doesn’t get misplaced for when you need to switch back.

The Blackmagic Pocket Camera Battery Grip will be available in August 2019 and is currently available to pre-order at B&H for $ 245 USD.

Blackmagic Design Announces New Blackmagic Pocket Camera Battery Grip

New camera grip attaches to any Blackmagic Pocket Cinema Camera 4K and holds 2 L-Series batteries for over 2 hours of non-stop shooting

NAB 2019, Las Vegas, USA – Monday, April 8, 2019 – Blackmagic Design today announced Blackmagic Pocket Battery Grip, a new battery adapter that features a slide out tray designed to hold two L-series batteries. This allows customers to power external flash disks or run the camera for over 2 hours of record time before charging. Blackmagic Pocket Camera Battery Grip will be available in August from Blackmagic Design resellers worldwide for US$ 245.

The Blackmagic Pocket Camera Battery Grip will be demonstrated on the Blackmagic Design NAB 2019 booth #SL216.

Designed for the Blackmagic Pocket Cinema Camera 4K, the new Pocket Camera Battery Grip lets customers replace the camera’s standard LP-E6 battery with two L-series batteries so they can shoot for over 2 hours on a single charge. It’s perfect for anyone that needs to shoot for extended periods of time. Featuring a unique carbon fiber design, non-slip hand grips, and a slide out tray that holds 2 L-series batteries, the Pocket Camera Battery Grip also makes it easier to hold the camera on longer shoots. L-Series batteries are standard batteries used for a variety of professional lighting equipment, so they’re readily available. Customers can even charge the batteries in the grip via the camera’s 12V DC connection in between takes.

Unlike traditional external battery packs that hang off the side of the camera, the Pocket Camera Battery Grip has a unique design that makes it part of the Blackmagic Pocket Cinema Camera 4K. Simply remove the detachable LP-E6 battery door cover from the camera, slide the pocket grip in and lock it into place. There’s even a storage slot built into the grip for the battery door cover. Because the Pocket Camera Battery Grip becomes part of the camera, customers get larger non-slip hand grips that make holding the camera even easier. Best of all, there’s no extra gear hanging off the camera so customers still have a compact camera that can go anywhere.

“The Blackmagic Pocket Cinema Camera 4K has been received incredibly well by our customers because it’s not a dumbed down consumer product, but it is a true digital film camera with incredibly advanced features generally only found on the most expensive cameras available,” said Grant Petty, Blackmagic Design CEO. “The new Pocket Battery Grip is exciting because it lets you power external flash disks allowing customers to record to the disk used for editing. It will even power the camera for over 2 hours on a single charge. As it’s designed to integrate into the cameras design, it’s more comfortable to hold the camera on longer shoots. Unlike regular external battery packs that hang off the camera, the Pocket Camera Battery Grip is integrated into the cameras design itself, so it doesn’t add a lot of weight and it fits perfectly!”

Availability and Price

Blackmagic Pocket Camera Battery Grip will be available in August for US$ 245 excluding duties from Blackmagic Design resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

April 10, 2019