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  • Olympus E-M1X versus the E-M1 II, Panasonic G9, Fujifilm X-T3 and Nikon D500

    Introduction

    With ‘Deep Learning’ autofocus, crazy-fast burst speeds and refined ergonomics, the Olympus E-M1X is the most focused action and sports shooting camera that Olympus has ever made. And though it retains a Four Thirds sensor like the E-M1 II, Olympus is touting the X as a credible alternative to the flagship Nikon D5’s and Canon EOS-1D X II’s of the world: in the right circumstances.

    We’ll look at comparisons against the D5 and 1D X II in a future article, but for now, we wanted to take a closer look at how the E-M1X stacks up against other Four Thirds and APS-C cameras with sports-shooting chops. It’s true that the E-M1X is the only camera in this comparison with a true double-grip chassis, but its competition is fierce nonetheless.

    Against the E-M1 Mark II

    Olympus has been clear that the E-M1X does not replace the existing E-M1 II, and both will live alongside each other in their lineup. But since the E-M1 II was already such a capable camera and you can get one at a steep discount compared to the X, we figured we’d start with a look at how these two stack up against each other.

    The most immediate change is obviously the body. Not only in terms of size, but also battery life (doubled on the X, since it has…double the batteries). There are also significant differences between the two in terms of their controls. By and large, there are more buttons on the X that are dedicated to a single purpose, and the dual 8-way joysticks free up the four-way controller to act as four distinct custom buttons.

    Against the E-M1 Mark II

    Another benefit of the larger body on the E-M1X is that it makes room for an all new in-body image stabilizer, now rated at up to 7 stops without a stabilized lens, and up to 7.5 stops with certain lenses such as the Olympus 12-100mm F4 Pro. The E-M1X is also officially rated to IPX1 standards; the E-M1 II is certainly a well sealed camera, but Olympus makes no claims regarding formal ratings for it.

    Both cameras have the same viewfinders, the same rear screens and the same
    (or very similar) sensors

    Olympus also doubled the processors in the X relative to the Mark II, enabling not only the ‘Deep Learning’ autofocus that detects motorsport vehicles, aircraft and trains, but also the hand-held high-resolution mode that spits out 50MB files. And Olympus has told us that it’s tweaked its C-AF algorithm in the X (note, this is not the C-AF + Tracking algorithm) to allow for better autofocus performance when you keep an AF area over your subject.

    As for the rest, well, there’s not much to tell. Both cameras have the same viewfinders, same screens and the same (or very similar) sensors and very similar menu systems. For all intents and purposes, unless you need a tougher camera, want a beefier camera to use with bigger lenses or are in love with the Olympus ecosystem and want the best possible autofocus performance your bucks can buy, it’s probably best to just stick with the E-M1 II for now.

    Against the Panasonic Lumix DC-G9

    Let’s start with Panasonic’s Four Thirds stills-shooting flagship, the G9. Although at first glance there doesn’t appear to be much between the two in terms of core specs, the experiences of actually using each of them are more disparate than you might expect.

    But let’s start with those specs, just ’cause. While the E-M1X shoots at 18fps with autofocus, the G9 ups the ante with 20fps. But they both have 20MP Four Thirds sensors with native ISO ranges of 200-25600, they both have fully articulating rear touchscreens, AF joysticks and in-body image stabilization.

    But whereas the E-M1X has an on-sensor phase detection autofocus system that is able to recognize subjects like aircraft, trains and automobiles, Panasonic has stuck with its Depth from Defocus technology in the G9’s contrast-detection autofocus system. The result is that there is ‘flutter’ in the G9’s EVF when shooting moving subjects, as the lens rapidly wobbles in and out of focus to reconfirm critical focus. The ‘keeper rate’ of in-focus shots on the G9 is actually quite good, but it can be difficult to see while shooting if your subject is in focus at all. It’s a bit disconcerting until you get used to it.

    Against the Panasonic Lumix DC-G9

    There are other considerations, such as the G9’s top-plate LCD that displays shooting settings, something missing on the Olympus. Both cameras have high-resolution modes, but only the Olympus lets you hand-hold the E-M1X to get those extra pixels. The G9′ s video spec is rather more impressive too. It shoots 4K/60p, while the Olympus tops out at 4K/30p. Missing a built-in battery grip, the Panasonic is of course smaller, and with around half the rated battery life of the Olympus.

    Both cameras give great results from their Four Thirds sensors given enough light. In the end, we lean towards the Olympus for outright autofocus performance, but the Panasonic is the stronger option for those who also dabble in video.

    Against the Nikon D500

    Okay, with the E-M1X’s main Four Thirds competitor out of the way, let’s look at how it stacks up against Nikon’s APS-C flagship, the D500.

    With a resolution of 21MP, the D500 is only slightly above the E-M1X in this regard – but the larger sensor will come with less noise, more dynamic range and better low light performance than the E-M1X. Physics is physics, simple as that.

    The larger sensor in the D500 will have less noise, more dynamic range, and better low light performance

    And while the D500 comes without any form of ‘Deep Learning’ in its autofocus system, it does have a highly capable 3D Tracking mode to track moving subjects. So it won’t automatically detect, say, a car, but if you manually tell the camera what to track, the D500 will stick to it with remarkable tenacity. By contrast, Olympus’ non-subject specific tracking is nowhere near as ‘sticky’ as the Nikon.

    Against the Nikon D500

    The viewfinder experience differs from one camera to the next, and not just because one is optical (Nikon) and one is electronic (Olympus). The Olympus’ viewfinder is noticeably larger than that on the D500, but because it uses LCD technology, contrast is lacking and blacks can appear somewhat ‘washed out.’

    The D500 also tops out at 10fps, slower than the E-M1X but still respectable. Despite only having a single battery, the D500 is rated for more shots per charge than the E-M1X, in part because it doesn’t have to power its viewfinder. But the Olympus has incredible image stabilization, and Nikon’s lens lineup offers limited solutions for getting near the reach of the Olympus lineup without spending more money and carrying more weight.

    In the end, both cameras will reward you with an insane number of in-focus ‘keepers’ and good image quality – but the Nikon will handily beat the Olympus as light levels drop and ISO values rise, while Olympus gives you more reach in a smaller overall package.

    Against the Fujifilm X-T3

    Aha! You weren’t expecting Fujifilm to make an appearance, were you? But the X-T3 is a credible contender, offering further evidence that Fujifilm is quickly learning from both its past and its competitors. It wasn’t that long ago that Fujifilm offered dismal video and slow autofocus, yet now the X-T3 is a stills / video hybrid camera that is among the best APS-C cameras we’ve ever used. So how does the E-M1X look against it?

    The X-T3 has the highest resolution of any camera in this slideshow

    With a new sensor offering 26 megapixels of resolution, the X-T3 will have the highest resolution of any camera in this slideshow. It also reads out very fast, allowing for 20fps burst shooting using the electronic shutter, and 30fps with an added 1.25x crop that yields 16MP images.

    But what good are burst speeds if your subject is out of focus? Good thing the latest autofocus system in the X-T3 is really good, with a solidly capable tracking mode that works similarly to Nikon’s 3D Tracking. Also like the Olympus, there’s no top-plate LCD to check your settings, but that may not matter if you make use of the analog dials. And one last small-but-significant distinction: the E-M1X has a large AF-L / AE-L button that can be assigned to AF-ON for back-button shooters, and the X-T3’s AF-L and AE-L buttons are comparatively small and placed less conveniently.

    Against the Fujifilm X-T3

    Despite its relatively large sensor, the X-T3 will also be the smallest camera in this comparison – but that portability comes with compromises. The Fujifilm’s smaller grip is less well-suited to large lenses than the Olympus, and battery life is comparatively poor. But build quality is excellent, even if Fujifilm won’t commit to an ingress protection rating like Olympus will. Despite having excellent video capabilities, the Fujifilm has no in-body stabilization, limiting video shooting possibilities for some users, though it has a much nicer electronic viewfinder and zero-blackout shooting in those electronic bursts.

    Like Panasonic’s G9, the Fujifilm X-T3 may be best seen as a more appropriate all-rounder for most people. But Olympus should be concerned about the little Fujifilm, particularly as the system has some excellent lens support that signals how seriously the company is taking sports and action shooting (see the XF 100-400mm zoom and the 200mm F2 prime). Fuji also offers – arguably – some of the best JPEG color in the business, which is not only an Olympus strong suit but also very important to action shooters that don’t have time to process thousands of Raw files.

    The wrap

    In looking at the E-M1X in comparison to these excellent crop-sensor cameras on the market today, you can’t help but wonder if Olympus really has their work cut out for them.

    It occupies an interesting niche in the market. Olympus is clearly catering to users that may either aspire to own a professional double-grip DSLR, or perhaps already own an SLR of some sort but are tired of carrying it around. These users must be shooting in pretty decent light to avoid ultra high ISO values compromising image quality on the Four Thirds sensor and yet, these users must not want to compromise at all on autofocus capability.

    There’s no denying that the E-M1X is an amazing piece of technology wrapped in what is perhaps the best-built camera body any of us have laid our hands on. In the right hands and in the right circumstances, it’s capable of astounding imagery. We’ll continue to put the camera through its paces as we press on with our final review.

    What do you think of the E-M1X? Do you own any of the other cameras mentioned in this comparison? Do you want to pick up a copy of the Olympus for your very own? Let us know in the comments.

    Articles: Digital Photography Review (dpreview.com)

  • Have Digital Filters Replaced the Need for Physical Lens Filters?

    The post Have Digital Filters Replaced the Need for Physical Lens Filters? appeared first on Digital Photography School. It was authored by Mark C Hughes.

    Do you need filters for beautiful pictures?

    If you are old enough to have used a film camera, you know why people needed lens filters in order to accomplish visual effects in their images.  Back in the film days, you had limited control over white balance or ISO. Once you selected your film from the available film stock, and put it in your camera, you were stuck with a roll (24 or 36 exposures) of single ISO negative or slide film that was probably daylight balanced. In order to not waste money, you did everything you could to carefully mete out your images and make the most of them.

    Most film was daylight balanced so getting it right in-camera was critical

    Back in the day

    To help you make great images in the film days, you needed certain filters to help fix your white balance, and neutral density (ND) filters to allow you to slow your shutter speeds down. That was then, this is now. With the advent of digital cameras and the high-powered abilities of most image editing software, you can accomplish digitally much of the work that filters used to do.  Is there still a place in modern digital photography for optical lens filters?

    The answer is yes, but only for a few specific types of filters. In fact, you may find it difficult to get many filters in your local camera store that would have been readily available in the film camera days.  Most bricks and mortar camera stores carry few filters. The more unusual filters might be found in the bargain bin section, next to the books on how to use your new Canon 5D mark 1 (hint: that is an old digital camera).

    Some filters have to be really large to accommodate wide angle lenses

    Types of Optical Lens Filters

    I find that optical lens filters break down into six general types: UV/skylight filters, color modifiers, special effects, specialty filters, ND filters (including graduated), and circular polarizers. Most optical filters can be replaced by digital processes, either in the camera itself or in post-production. Some optical filters are really big and all take up space in your bag.

    Ultraviolet (UV) or Skylight filters

    Let’s consider UV or skylight filters. Film stock was often sensitive to UV light so it was important to protect your film by using a filter so that UV light wouldn’t make the images hazy.  Modern digital cameras are not susceptible to UV light interfering with their sensors as there are already UV and IR filters built into the cameras (we will discuss the importance of this later). Today, UV or skylight filters serve a completely different purpose: many photographers use them to protect the front element of their lenses.

    A UV or Skylight Filter will protect your lens front element

    UV/Skylight filters as lens protection

    As an aside, there are two schools of thought regarding UV or skylight filters. Some argue that putting a cheap filter in front of a really expensive lens significantly degrades the optical properties of your lens and that most good quality lenses have great coatings and are quite robust.  Alternatively, others would prefer to replace a $ 100 filter than replace a $ 2000 lens. While I agree you should never use cheap filters, I do tend to think that if you use good filters they do protect your investment in much more expensive lenses. I have replaced lots of filters that were shattered from an impact. In all of those cases, the front lens elements were protected from contact by the filter. I am not sure that would have occurred without the sacrificial filters.

    Regardless, since these UV/skylight filters don’t cause any significant changes to your image, they really are only useful for physical lens protection.

    A warming filter to adjust white balance

    Color filters

    Color filters were another common filter used with film cameras for simple color correction. Back in the film days, the film stock was mostly daylight balanced so if your images were taken in non-daylight conditions, you would need to use a color filter to correct your white balance. Although film processors had some ability to adjust the white balance in the lab, back then – today too, for that matter – it was always easier when you got things right in camera. Color filters are still available but are more of a novelty item, used for a specific effect, often in concert with gelled flashes and strobes. They are also still used for film cameras, instant cameras, and for specific applications like underwater photography.

    Special effects filters

    Once upon a time, there were lots of special effects filters that would produce in-camera special effects like grids, streaks, and starbursts. These all still work on digital cameras, however, most of these effects can be digitally produced, reducing the need for the optical filter. Many film shooters will take their images and then scan them to edit them, so the extra effort and cost of using special effects filters seem unnecessary. They are also difficult to find.

    Rectangular Graduated Neutral Density Filter

    Neutral Density Filters – Graduated

    The next filter type to consider is the neutral density filters, commonly used by landscape photographers (both film and digital). These divide into two groups: graduated neutral density filters and overall neutral density filters. Acting like sunglasses for your camera, graduated neutral density filters are all neutral colored – they should impart little color change – and darken only part of the image. Graduated filters help deal with the dynamic range of your sensors, particularly when shooting into scenes that are very bright and very dark in the same view. Most modern digital cameras have a dynamic range of about 10 – 14 stops whereas your eyes are more like 20 stops. Keep in mind that this is not really a fair comparison because our eyes work quite differently from camera sensors. Graduated neutral density filters can usually be applied in post-processing. Although, if the dynamic range is really huge, it often means you can take one image rather than multiple images that need to be composited (this is what HDR images really are).

    The left shows the image normally processed with the right having a digital neutral density filter

    Neutral Density Filters – Non-Graduated

    A neutral density filter (non-graduated) is the first optical filter type that does things that cannot be easily duplicated, either in camera or in post-production. At least not all of its functions. While it is certainly possible to darken your images digitally in post, a non-graduated neutral density filter allows you to take images that your camera would not allow you to take in full sunlight. In full sun, it may be so bright that you may not be able to stop your lens down and slow your shutter down sufficiently to get motion to blur. Non-graduated neutral density filters allow you to slow your shutter speed down in the field when conditions are bright. You will be able to take images of moving subjects in bright locales and blur the motion to create interesting effects.  For example, waterfalls are often shot using a non-graduated neutral density filter. Neutral density filters are often measured in stops to indicate the number of stops you can slow things down. At the extreme end of the non-graduated neutral density filters are the specialty filters used for photographing solar eclipses. Without these strong filters, the sun can permanently damage camera sensors.

    Neutral Density Filters on the front element of the lens

    Smooth water motion with a non-graduated neutral density filter for longer exposures

    Specialty filters

    The second optical filter type that cannot be duplicated in post-processing or in-camera are specialty filters related to UV and IR light.  By default, cameras have filters on their sensors that cut UV and IR light out so that only visible light is recorded. However, it is possible to get these filters removed (you have to send your camera body away) to allow you to shoot UV-only, full spectrum (which includes UV, visible and IR), or IR-only images. Once this is done, your modified camera is generally limited to that particular use, but the images it produces can be quite interesting. By using specialty filters on a modified camera body that allows for full spectrum, you can control what portion of the spectrum is visible in your images. There are cut filters that allow full spectrum sensors to only see UV, visible light or IR spectrum. These filters cannot be duplicated in post-processing.

    Slight neutral density cast for a circular polarizer

    Circular Polarizers

    The final optical filter type that cannot be duplicated in post-processing is a circular polarizer.  There are actually two types of polarizers, linear and circular. They both cut the same light out but circular polarizers can rotate an allow you to find the optimal orientation whereas linear polarizers are fixed (you should only use circular polarizers unless you know what you are doing). Circular polarizers do two things: cut down reflections and increase contrast. Some also act as a weak neutral density filter. When light hits a metallic or watery surface, the reflected light tends to be polarized (all the light is vibrating in the same direction). The circular polarizer lets you filter out this polarized light. You do this by turning the filter.  The change can be quite dramatic, and it cannot be achieved in any practical sense through post-processing. In addition, because there is always some polarized light in the atmosphere, the filter will make the colors in your images punchier. This is a secondary feature of polarizers but adds to their use. Colors just pop more.  Different brands and types alter how much this occurs. In general, you can’t go wrong using a circular polarizer, particularly for landscape photography.

    Circular Polarizers help control reflections

    Conclusion

    Many filters that were used with film cameras are not really required anymore because of the ability to control white balance and ISO. Other filters created effects that can easily be duplicated using image editing software like Photoshop. Despite this there are a few filter types that cannot be replaced by processes applied in post, thus they remain vital tools in your photographer’s toolbox.

    Do you use filters? Share with us in the comments below.

     

     

    The post Have Digital Filters Replaced the Need for Physical Lens Filters? appeared first on Digital Photography School. It was authored by Mark C Hughes.


    Digital Photography School

  • Review: Alien Skin Exposure X4 Software

    The post Review: Alien Skin Exposure X4 Software appeared first on Digital Photography School. It was authored by Peter West Carey.

    Alien Skin Exposure X4 is a photo editor providing direct competition to Adobe Lightroom, but with a few extra tricks up its sleeve. While it is a cataloging software, it doesn’t require a catalog like Lightroom. There is no importing to be done. It has a host of features and over 500 presets to help get you started with edits.

    Who is it for?

    Exposure X4 is aimed at a wide variety of users. From novices just getting started who want a little help via presets, to advanced photographers possibly tired of the subscription model Adobe keeps pushing for its programs.

    As a professional myself, I don’t find any show-stopping limits within the program as I’ve seen from Lightroom competitors in the past. You’ll notice the word “robust” used a number of times in this article and I don’t use it without warrant. It’s a very serious competitor to Lightroom.

    Highlighted Features

    No catalog

    At its core, Exposure X4 is built to edit photos quickly, dynamically and then to help you get the finished product out to the world, be it in print or online. Exposure X4 uses non-destructive edits, much like Lightroom, and does this without a catalog. Instead, Exposure X4 drops another folder inside of any folder you are editing as in the screenshot below.

    Some may like this system because without a catalog there is no catalog to corrupt. While not a widespread problem in Lightroom, it can happen if you don’t close the program properly or if your computer crashes. Uniquely, it also allows for a limited amount of shared editing.

    As the program only looks to individual edit information files (those ending in .exposurex4 in the screenshot above), it is conceivable to run the program on two computers sharing the same files, such as with a Network Attached Storage or other file sharing services (Dropbox, iCloud, OneDrive, etc…). There’s also no need to pack up or export a catalog before moving files as the folder with edits will travel with the master folder.

    File copy from cards

    Instead of importing files, Exposure X4 uses a simple copy and bookmark feature to handle raw images.

    The copy feature lets you copy from a card, or from a hard drive or network resource if you want to move files. This is a separate process than simply bookmarking an existing folder to bring its contents into Exposure X4.

    The copy feature is pretty robust, with the ability to change file names, make backup copies, add metadata, including keywords and copyright. It can also apply presets (from the over 500 included or ones you create yourself).

    The file naming convention is also robust with all kinds of variables you would expect. Below is an example of all the date related options you have.

    As a long time Lightroom user, I was happy with the selections included.

    Bookmarks instead of Imports

    Lightroom requires you to run an import function to bring any images you want to edit into its catalog. Exposure X4 accomplishes this, in my opinion, in a more elegant way.

    Simply click the plus sign on the Folders pane and select which folder you want including in the program.

    The program also has the ability to monitor folders, so when new images show up (if you are importing with another program, for instance, or shooting tethered) the program will automatically bring those images in.

    Layers

    For those familiar with Photoshop, the Layers technique of editing will see standard practice. Using features like Brushes (for masks) and gradients will create a new layer for each desired effect.

    In this case, I added some clarity to the mountains and a slight gradient. The array of presets is decent and you can modify any mask/edit to your liking.

    Each layer can be turned on or off, which is very helpful when you want to see what effect each has without having to step back through the History.

    Lastly, as you would expect, layers can be copied, named and deleted.

    All the other edits

    Exposure X4 has a vast array of editing options as you can see from this collapsed panel below.

    While featuring every single item is beyond the scope of this review, I will mention the IR (infrared) and Focus.

    For instance, take this shot of photographers in front of Cho Oyu, the 6th highest mountain in the world, shot from the Nepal side.

    With a quick swipe of the adjustment brush on a new layer mask then a few slider moves as such:

    Bingo! We have selective focus.

     

    Further editing needs to be done, but this is a nice start to helping the photographers stand out.

    Presets galore

    If you love presets, you’re going to love what Exposure X4 packs into its programming. Here’s a quick screenshot of the categories:

    If you want to see what is behind each of those headings, take a look at their website.

    One downside I can see is there aren’t many third parties making presets for this program, at least not that I was able to find.

    However, you are able to create your own with no limits.

    Lightroom Migration Tool

    Now the crux of it!

    When you install Exposure X4 on a computer with Lightroom, it will add a Migration Tool as an add-on within Lightroom.

    So what does it do?

    It’s fairly basic and, for the most part, tells Exposure X4 where to find all your files from the Lightroom catalog as well as bring over keywords and collections.

    Does it work?

    Yes and no. You need to know what to expect.

    First off, it’s not going to bring over the entire history for a photo with all your edits just as they are in Lightroom.

    You have two options: 1) Simply point Exposure X4 to the RAW file and then start from scratch or 2) Export each file that you have edited as either a JPG, TIFF or PSD file.

    The second option works well when I had it create new PSD files. Keywords, star ratings, color coding, and all the metadata came right along into Exposure X4. The one annoying thing is it renames each file and appends it with “_migrated.psd”. This can easily be cleaned up with Exposure X4’s renaming feature.

    Here’s an example of a small catalog brought into Exposure X4.

    More info on the tool can be found on their site.

    Show me more

    There really is way too much to talk about in this one post. Luckily they have a great Features page that lists the plethora of features you may be looking for.

    What Could Use Work

    I found a few issues with the program while testing it. I left out the items I would describe as “That’s not the same as Lightroom!” where I blurted out that phrase because it’s not exactly the same.

    No preview on import

    I admit that import is the wrong name for it. Mentioned above, I’m talking about the “Copy From Card” feature to move items from a card to a local hard drive and also include them in Exposure X4.

    When running this feature, there’s no ability to preview the images. This also means there is no ability to choose individual images when copying from a card.

    Hopefully, this will be addressed in a future version. But I can see why they left it this way; because Exposure X4 is supposed to look at all images in a folder. If you don’t want to see them, they shouldn’t be there! It does cut down on the need to synchronize things as Lightroom can.

    Not all profiles are present

    The camera profile for my drone, a Mavic 2 Pro, was not included. At least that’s what I thought.

    While it did have the profile for the Mavic Pro, it was not automatically recognized and applied in the Lens Correction pane. This may be a temporary thing, but the Mavic 2 Pro has been out since last summer.

    Two finger rotation

    This will seems like a little thing, but it really annoyed me. Rotating images is accomplished by holding down Command/Ctrl and the left and right arrow keys. Using the arrow keys make sense, because they point the way of rotation, but I want it quick and easy, not with the added Command key.

    I know, it’s a little thing.

    Lack of Add-Ons and Plug-Ins

    Because it is not Adobe, Alien Skins doesn’t have a huge pile of developers pumping out plug-ins and add-ons for Exposure X4. It tries to make up for this fact by offering a robust program from the start, but I use the Lightroom tethering abilities often and not having that feature in Exposure X4 is hampering.

    Conclusion

    Alien Skin Exposure X4 can do almost all of what Lightroom can do. It’s worthy competition that deserves a close look if you are getting fed up with Lightroom and Adobe’s current path.

    It offers a number of creative features you won’t find in Lightroom, like the adding sun streaks or other lighting effects to your photos.

    It’s a fun and different approach than Lightroom. It can export to Photoshop and has a decent migration tool if you are already using Lightroom.

    It’s not compatible with Lightroom, though. Using both programs on the same images will not work, so you need to choose one or the other. In my mind, it’s worth giving it a try and really diving into the keyboard shortcuts (“-” is used to reject a photo and “+” is used to flag it, while either shortcut can be used to toggle off the flag. No more trying to find “U” (to unmark!) to see if it is the right program for you.

    Have you used this software? What are your thoughts?

    The post Review: Alien Skin Exposure X4 Software appeared first on Digital Photography School. It was authored by Peter West Carey.


    Digital Photography School

  • Sony is hiring engineers to help strengthen its image sensor business

    Reuters reports that Sony is planning to deploy 40 percent of its new engineer hires in Japan at its chip business which also includes the manufacturing of image sensors. The company is hoping to grow the division with more demand coming from a range of sectors, including mobile and automotive.

    Overall Sony is projecting to hire 320 new engineers in Japan in 2019 and the same number again the next year, which is an increase of 70 from 2018. These numbers are Japan-only, so don’t take into account new engineering positions at international locations.

    The hiring plans align with Sony’s investment of approximately $ 5.4 billion into its image sensor business over the next three years, which accounts for half of of the group’s planned capital expenditures.

    Sony is already the market leader for image sensors by quite some margin, controlling more than half of the imaging sensor market for smartphones. The division is also an important contributor to profit within Sony, despite the company cutting its annual profit outlook for imaging sensors this month to 130 billion yen due to weakening global demand for smartphones. This figure still accounts for 15 percent of the Sony group’s overall profit.

    Articles: Digital Photography Review (dpreview.com)

  • How to Make Dramatic Photos with Backlight

    The post How to Make Dramatic Photos with Backlight appeared first on Digital Photography School. It was authored by Mat Coker.

    Most people don’t notice light. But visual artists do. Light is one of the essential ingredients in your photographs.

    Light can be tricky to deal with until you understand camera settings. But once you’re familiar with your camera, light is wonderful to play with in your photos.

    Personally, I love backlight. It adds a sense of drama and beauty to your photography.

    I’ll show you examples of backlight with food, landscape, and portrait photography (studio and outdoors).

    In order to achieve backlight in your photo, have the main light source behind your subject coming toward your camera. In this photo, you can actually see the warm setting sun as the source of backlight.

    What is backlight good for?

    I love backlight because it adds depth and drama to an otherwise flat, two-dimensional photo.

    Backlight helps to bring out the texture of objects that you photograph (sidelight is good for this as well). Texture is created through a combination of highlights and shadows. Since photographs are two dimensional, texture adds depth to your photo.

    A strong burst of backlight adds drama to your photo. Think about the bursts of light at a rock concert or other performances. The temperature of the backlight (warm or cool) adds to the drama of the photo.

    The backlight source might be in your photo along with your subject (as with the sunset photo above). Or the light source can be outside of the frame (as long as it illuminates your subject).

    Any source of backlight can be used creatively, but sunlight, windows, and strobes are among the most popular.

    The principals of backlight are the same no matter what camera you’re using, even your phone.

    This ice-covered tree is backlit by the sun. Without backlight shining through the branches, this tree would not have stood out so much.

    Food

    It’s great to begin practicing backlight with food. Backlight can be used to illuminate steam and bring out the texture of the food.

    While any light source will work, many photographers love using window light to illuminate food.

    The light source is not visible in this photo, but there is a window backlighting the food and making the steam visible.

     

    This food was photographed while still in the oven. The warm backlight is coming from the oven light.

     

    This is an example of soft backlight produced by a large window. I wanted to bring out the texture in the cookies. An iPhone 4s was used to capture the image and Lightroom was used to process it.

    Your food photos will be less flat and have more pop to them when you use back (or side) light. Just look for a window or any other light source. Get creative and use the light from fridges, stoves, and lamps.

    The great thing about practicing backlight with food is that if you can’t reposition the light source, you can easily reposition yourself and the food.

    Landscape and Nature

    Once you get the hang of backlight with food, use it to add drama to your landscape photos. In most cases, you won’t be able to reposition your backlight source since it will likely be the sun. However, you can always reposition yourself in relation to the sun and your subject.

    I saw this scene as I looked in the rearview mirror. I couldn’t resist pulling over to take a photo. The setting sun is the light source for this scene. You can’t see it in the frame but it’s behind the trees to the left. Notice how the electricity wires are shining and standing out from the dark trees in the background.

     

    The setting sun behind this crab apple tree caught my eye during a walk. I came back with my camera and found a perspective where the sun was visible filtering through the tree. An aperture of f/11 was used to create the starburst effect.

     

    A combination of backlight and water droplets on the lens created this special effect. I don’t recommend letting your lens get wet, I was using a waterproof case. The case was still wet from using my camera underwater.

    Portraits

    I love to incorporate backlight into portraits to accent the emotion. Beautiful or intense moments are brought out even more with the use of backlight.

    Studio

    The best part about backlight in a studio is that you can position your light source any way you like.

    Two off camera flashes were used to produce this dramatic backlight.

     

    Superheros are dramatic characters by nature. Using harsh backlight instead of soft front light is better for bringing out the nature of the subject.

     

    Natural light

    When using natural light, you’ll have to position yourself and your subject according to the light source.

    This little guy is backlit by the setting sun, while the big open sky in front of him illuminates his face.

    Troubleshooting

    One of the biggest problems about backlight is that your photo may turn out as a silhouette when you don’t want it to.

    You’re likely using a semi-automatic setting such as aperture or shutter priority. Your camera sees the bright backlight and meters itself accordingly. You can use exposure compensation to help you avoid unwanted silhouettes. Try setting your exposure compensation to +1 or +2. You’ll need to experiment according to the light conditions.

    If you’re experienced then manual mode might be the best option for you.

    The main light source is the sky in the background. The sun has not risen over the horizon yet.

    Practice backlight with everything

    Once you get the hang of it, you can introduce backlight into all sorts of situations. Use it to bring out texture and to heighten dramatic moments.

    Concerts are a wonderful place to have fun with backlight. The rapidly changing lights will create a challenge for you. Take lots of photos and be happy with the few that work out.

    I love how golden hour can add a nostalgic feel to photos.

    Use a combination of low angles and backlight to make your photo more exciting.

    I always wait until evening to visit the beach. That way the sun isn’t shining straight down onto the sand. Instead it shines down at a lower angle, creating texture through shadow and highlight.

     

    I love my little guy’s hair. There is a window just above him as the source of backlight.

    The post How to Make Dramatic Photos with Backlight appeared first on Digital Photography School. It was authored by Mat Coker.


    Digital Photography School

  • Panasonic S1R sample gallery updated with Raw conversions

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    We’ve had a little more time to shoot around with Panasonic’s high-resolution full-framer and thus, top off our sample gallery. We’ve also had the chance to add a whole lot of Raw conversions, which should give a better idea of image quality compared to the out-of-camera JPEGs. So have a peek and let us know what you think.

    See our Panasonic S1R gallery

    Articles: Digital Photography Review (dpreview.com)

  • Ricoh announces rugged WG-6 and industrial-strength G900 cameras

    The WG-6 is Ricoh’s latest ‘top-of-the-line’ waterproof camera, offering a 20MP, 1/2.3″ BSI-CMOS sensor, 28-140mm F3.5-5.5 lens and a built-in macro ring light. The WG-6 is waterproof to 20m/65ft, shockproof from 2.1m/6.5ft and functional down to -10°C/+14°F.

    The WG-6 has a built-in GPS and electronic compass, a 3″ (non-touch) LCD, remote control receivers on the front and back and a USB-C socket. It’s also capable of capturing 4K/30 video. The WG-6 does not have optical image stabilization, and wireless connectivity is only available by using optional FlashAir SD cards.

    The camera will be on the market shortly for $ 399. Available colors include orange and black.

    The G900 is a more rugged version of the WG-6 and is designed for industrial applications. In addition to being water, dust, and drop-resistant, it’s also crushproof to 100kgf/220lbf and chemical-resistant (to which ones, we do not know).

    It also adds text and voice memos, password protection and barcode scanning. The G900 has a whopping 6.5GB of internal memory, as well.

    The G900 will be priced at $ 799.

    Press Release

    Ricoh Imaging introduces top-of-the-line model in its WG series of ultra-rugged digital compact cameras

    Waterproof, shockproof RICOH WG-6 camera packs 20 megapixels and 4K-resolution video functionality in a small and durable package

    WEST CALDWELL, NJ, February 21, 2019-Ricoh Imaging Americas Corporation today announced the RICOH WG-6, a compact, waterproof and shockproof digital camera that produces super high-resolution photos and 4K video. Equipped with a 5x optical zoom lens with 28mm wide-angle coverage and a large, wide-frame LCD monitor, the new, top-of-the- line model in the rugged WG series makes it easy to capture a range of images – from eye- catching close-ups to sweeping landscapes – in the most extreme conditions.

    The RICOH WG-6 adds a host of newly designed features including a multi-application ring light ideal for macro-photography and the most dependable waterproof body in WG-series history, capable of shooting to a depth of 65 feet, for up to two continuous hours. The WG-6 body is shockproof against a fall from heights of 6.5 feet and operational in temperatures as low as -10°C.

    Equipped with a state-of-the-art back-illuminated CMOS image sensor with approximately 20 effective megapixels and a high-performance imaging engine, the RICOH WG-6 delivers super-high-resolution still images and 4K-resolution video clips. In addition to the conventional Movie SR (Shake Reduction) mode, it features a new Movie SR+ mode to assure high-quality shooting with more active, fast-action outdoor activities.

    A six-LED ring light unit positioned around the lens allows use of a faster shutter speed to minimize camera shake and subject shake in macro and close-up photography. This feature also allows the photographer to choose specific LEDs to illuminate a subject more three- dimensionally and emphasize its delicate contours.

    Additional outdoor-friendly features include a GPS module to record position data and travel log data onto captured images; an electronic compass; and the innovative Handheld Night Snap mode, which automatically captures several images of the same nighttime scene and produces a single blur-free composite image of them.

    | Pricing and Availability |

    The RICOH WG-6 will be available for pre-sale at www.us.ricoh-imaging.com and retail outlets nationwide for a manufacturer’s suggested retail price of $ 399.95.

    Ricoh Imaging announces heavy-duty industrial digital camera ideal for construction, civil engineering and disaster relief

    Resistant to water, dust, shock and chemicals, the new RICOH G900 produces high- resolution images in the most challenging conditions

    WEST CALDWELL, NJ, February 21, 2019-Ricoh Imaging Americas Corporation today announced the RICOH G900, a heavy-duty, compact digital camera designed for capturing high- quality images and 4K video in demanding industrial environments. Waterproof, dustproof, shock- and chemical-resistant, the G900 is optimized for use in challenging conditions subject to water, rain, dust and dirt, and in industries such as construction, civil engineering, disaster relief and healthcare.

    The successor to the RICOH G800, the RICOH G900 offers a new, back-illuminated CMOS image sensor with approximately 20 effective megapixels that captures high-resolution images even in low-light conditions. It features a 5X optical zoom (equivalent to 28-140mm in 35mm format), and a six-LED ring light unit positioned around the lens that allows use of a faster shutter speed to minimize camera shake and subject shake in macro and close-up photography.

    Approximately 26 percent more compact than its predecessor, the rugged RICOH G900 is waterproof to a depth of 65 feet for up to two hours of continuous operation, and its enhanced shock-resistant body is capable of withstanding a fall from 6.5 feet.

    The camera offers an array of features designed to facilitate shooting in industrial environments, including an advanced GPS system and an electronic compass that records accurate position and direction data; easily accessible controls; a comfortable, contoured grip; and the wide neck strap of its predecessor, which enables two-point, cross-shoulder suspension to make the RICOH G900 easy to carry and handle at worksites.

    The RICOH G900’s unique, enhanced camera memo function mode greatly reduces the workload needed for post-shooting data management. Previously created text or audio can be easily attached to a captured image, and reference images such as plans or blueprints can be browsed on the camera’s 3-inch LCD monitor. A transparency guide allows the user to recall a previously captured image on the monitor to compare images side-by-side and measure progress of work that has been completed. Additional features include a barcode scanning function, password- protected camera lock, 6.5GB of built-in memory and an electronic level.

    | Pricing and Availability |

    The RICOH G900 will be available for pre-sale at www.us.ricoh-imaging.com and retail outlets nationwide for a manufacturer’s suggested retail price of $ 799.95.

    Ricoh WG-6 / G900 specifications

      Ricoh WG-6 Ricoh G900
    Price
    MSRP $ 399 $ 799
    Body type
    Body type Compact
    Body material Composite
    Sensor
    Max resolution 5184 x 3888
    Image ratio w:h 1:1, 4:3, 3:2
    Effective pixels 20 megapixels
    Sensor size 1/2.3" (6.17 x 4.55 mm)
    Sensor type BSI-CMOS
    Color space sRGB
    Color filter array Primary color filter
    Image
    White balance presets 8
    Custom white balance Yes
    Image stabilization Digital only
    Uncompressed format No
    File format
    • JPEG
    Optics & Focus
    Focal length (equiv.) 28–140 mm
    Optical zoom 5×
    Maximum aperture F3.5–5.5
    Autofocus
    • Contrast Detect (sensor)
    • Center
    • Tracking
    • Single
    • Continuous
    • Face Detection
    • Live View
    Autofocus assist lamp Yes
    Digital zoom Yes (8.1X)
    Manual focus Yes
    Normal focus range 50 cm (19.69″)
    Macro focus range 1 cm (0.39″)
    Number of focus points 9
    Screen / viewfinder
    Articulated LCD Fixed
    Screen size 3″
    Screen dots 1,040,000
    Touch screen No
    Screen type TFT LCD
    Live view Yes
    Viewfinder type None
    Photography features
    Minimum shutter speed 4 sec 1/4 sec
    Maximum shutter speed 1/4000 sec
    Exposure modes
    • Program
    Scene modes
    • Auto Picture
    • Program
    • HDR
    • Handheld Night Snap
    • Movie
    • High Speed Movie
    • Digital Microscope
    • Landscape
    • Flower
    • Portrait
    • Underwater
    • Underwater Movie
    • Interval Shot
    • Interval Movie
    • Surf & Snow
    • Kids
    • Pet
    • Sport
    • Night Scene
    • Fireworks
    • Digital SR
    • Report
    • Green
    • Depth of field composition
    • Auto Picture
    • Program
    • HDR
    • Movie
    • High Speed Movie
    • Digital Microscope
    • Interval Shot
    • Interval Movie
    • Surf & Snow
    • Digital SR
    • Report
    • watermark
    • Firefighting
    • Skew Correct
    • Text
    • Zoom Macro
    • Haze removal
    • Depth of field composition
    Built-in flash Yes
    Flash range 5.50 m (with Auto ISO)
    External flash No
    Flash modes Flash on, flash off
    Drive modes
    • One-shot
    • Self-timer
    • Continuous
    • Burst
    • M continuous
    • S continuous
    • Remote control
    • Auto bracketing
    Self-timer Yes
    Metering modes
    • Multi
    • Center-weighted
    • Spot
    Exposure compensation ±2 (at 1/3 EV steps)
    AE Bracketing ±2 (3 frames at 1/3 EV steps)
    WB Bracketing No
    Videography features
    Format MPEG-4, H.264
    Microphone Stereo
    Speaker Mono
    Storage
    Storage types Internal + SD/SDHC/SDXC card
    Storage included 27MB 6.5GB
    Connectivity
    USB USB 3.0 (5 GBit/sec)
    USB charging Yes
    HDMI Yes (micro-HDMI)
    Microphone port No
    Headphone port No
    Wireless notes Supports FlashAir SD cards
    Remote control Yes (Receivers on front and back) Yes
    Physical
    Environmentally sealed Yes
    Durability Waterproof, Shockproof
    Battery Battery Pack
    Battery description DB-110 lithium-ion battery & USB charger
    Battery Life (CIPA) 340
    Weight (inc. batteries) 246 g (0.54 lb / 8.68 oz) 247 g (0.54 lb / 8.71 oz)
    Dimensions 118 x 66 x 33 mm (4.65 x 2.6 x 1.3″)
    Other features
    Orientation sensor Yes
    Timelapse recording Yes
    GPS Built-in
    GPS notes Includes e-Compass

    Articles: Digital Photography Review (dpreview.com)

  • Ricoh GR III sample gallery

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    The Ricoh GR III made its official debut today, and DPR contributor Damien Demolder got his hands on the camera for a quick photo walk through London. Take a look at the JPEG output from the GR III as well as a few converted DNGs.

    See our Ricoh GR III sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • Tokina releases 16-28mm wide zoom with constant F2.8 aperture

    Lens manufacturer Tokina has officially released details, price and on-sale dates for the Opera 16-28mm F2.8 lens it first showcased at Photokina last September. Expected to ship mid-March the full-frame wide angle zoom will cost $ 699 and will be available in two versions for Canon EF and Nikon F DSLR mounts.

    The lens joins the previously-released 50mm F1.4 in the Opera series. Tokina says it used the Opera name as it hopes these lenses will help photographers to create works of art. The company also says that these lenses are not designed to be small and lightweight but with image quality as a priority.

    Using 15 elements in 13 groups the Opera 16-28mm F2.8 weighs 940g (~2lb) and measures 89 x 133.5mm. It also offers a nine-bladed iris for improved rendering of out-of-focus highlights and an upgraded AF system that is claimed to be both faster and more accurate than the original AT-X 16-28mm F2.8 PRO FX.

    See the Tokina website for more information, and B&H Photo for sample shots taken with the lens and a first impressions review.

    Press Release

    New Tokina opera 16-28mm F2.8 FF

    Inspired by the focal length and aperture of the widely acknowledged Tokina AT-X 16-28mm F2.8 PRO FX lens, Tokina opera 16-28mm F2.8 FF has been developed with the same concept as the already released opera 50mm F1.4 FF, to offer the photographers another contemporary tool for professional photography.

    Super wide angle, superior resolving ability coupled with high contrast and beautiful bokeh rendering, fast f/2.8 constant aperture throughout the zoom range and accurate AF drive system make this lens attractive for photographers who specialize in landscape, interior architect, documentary, environmental style portrait and night sky/time lapse photography genres.

    Sales start date worldwide: March 15th, 2019

    Articles: Digital Photography Review (dpreview.com)

  • Hands-on with the Ricoh GR III

    The wait is over

    Fans of the Ricoh GR, which was announced way back in 2013 (and preceded by both smaller-sensored and film GRs,) have been waiting a long time for an updated model. Sure, there was the GR II in 2015, but the biggest new feature on that model was Wi-Fi.

    Four years later, the true replacement of the GR is here, in the Ricoh GR III. It has a higher-res sensor, a redesigned lens, in-body image stabilization and a hybrid AF system, to name just a few things. And Ricoh did all that without increasing the size of the camera, a favorite of street photographers.

    New 24MP sensor and in-body stabilization

    The GR III now has a 24MP APS-C CMOS sensor, up from 16MP on its predecessors. It offers an ISO range of 100 – 102,400 and uses 14-bit DNG as its Raw format.

    Probably the most significant addition to the GR III is in-body image stabilization. By shifting its sensor, the GR III is able to provide up to four stops of shake reduction, according to Ricoh.

    While the new 24MP sensor has no anti-aliasing filter, the GR III can take advantage of its shake reduction system to simulate one. If this sounds familiar, it’s because Pentax DSLRs have had this feature for many years.

    Ricoh has also made an effort to keep dust off of the sensor, which was an issue for some owners of previous GR models. Like modern DSLR and mirrorless cameras, it uses ultrasonic vibrations to literally shake the dust away.

    Redesigned lens and on-sensor phase detection

    While it maintains the same 28mm equivalent focal length and F2.8 maximum aperture of the previous GR models, the GR III’s lens has been totally redesigned. It has six elements in four groups, with two of the elements being aspherical.

    The lens has a built-in two-stop neutral density filter, which can now be set to engage automatically, meaning you can keep using the maximum aperture in bright light. The maximum shutter speed on the GR III, which continues to use a leaf shutter, is 1/4000 sec.

    However, because it’s a leaf shutter, it can’t maintain this maximum speed when shooting at F2.8. Instead the maximum shutter speed tops out at 1/2500 sec at F2.8 (1/3EV improved, compared with the GR II). This, combined with the 2-stop ND and near-silent operation should mean you’ll rarely find yourself limited by the absence of a full-electronic shutter mode.

    As you can see from the above photo, the lens ring can be removed so the optional GW-4 wide-angle lens can be attached. This brings the focal length of the lens down to 21mm equiv. and it’s a new optic designed to match the GR III’s new lens – so sorry, if you own the wide adapter for the GR or GR II, it won’t work on the new camera.

    Another big feature on the GR III is on-sensor phase detection autofocus. We don’t know much about the system at this point, such as the number of points or frame coverage, but we hope that the combination of the updated AF system and new lens will give the GR III’s focus speeds a boost.

    Touchscreen and rear controls

    The back of GR III has been significantly redesigned. It includes a 3″ touchscreen LCD for the first time in the series’ history. This make selecting an AF point quicker and easier than on GRs past. Touch operation is responsive, but menu navigation can be a little awkward as the GUI isn’t designed for fingers.

    Long time fans of the GR might miss the auto exposure/focus lock and vertical rocker switch from previous models. But we can assure you the camera has a familiar form factor, size and weight. The familiar rocker control is still directly under your thumb for applying exposure compensation.

    Top plate controls and missing pop-up flash

    The top of the GR III is nearly unchanged from recent models. It retains the iconic pill-shaped shutter release. Top plate controls, including the vertical dial, on/off switch and mode dial, are also unchanged.

    We’d come to know and love the small tilt-up flash found on previous GR models, sadly it did not find its way into the GR III. Good thing the hot shoe did.

    Another small change: TAv mode has been removed as an option from the mode dial. Fortunately, the basic premise of TAv should be achievable using Auto ISO in Manual exposure mode. Anyone familiar with the Pre-APS-C GR Digital models probably won’t notice this absence.

    Video and connectivity

    The GR III offers modest video specs, with the ability to capture 1080/60p footage. Recording is capped at 25 mins or 4GB of footage. The camera includes a built-in stereo mic, but not microphone or headphone sockets.

    While the GR II had Wi-Fi, Ricoh has given the GR III Bluetooth, as well. This should make pairing a bit quicker while allowing for a constant connection between camera and smartphone.

    Battery and charging

    The GR III’s battery life has taken a serious nosedive, dropping 38% over the GR II. It offers a CIPA-rated 200 shots per charge which isn’t great. Our first attempt shooting with this new model gave us less than an hour-and-a-half of shooting time, so that’s something we’ll keep a close eye on when we get our hands on a camera running final firmware.

    Since the new DB-110 battery is more powerful than the one on the GR II, it’s likely that the IBIS system is the main culprit for the drop.

    On a more positive note, the GR I/II’s proprietary charging port has been replaced by USB-C. I supports USB-PD which allows it to be powered by external power banks.

    Limited edition GR III and accessories

    The GR III will be shipping in mid-March for $ 899 / £799 ($ 100/£200 more than the previous version). In some regions, that snazzy blue lens ring pictured above will be included.

    Accessories include the WG-4 wide-angle conversion lens, the GV-1 and GV-2 optical viewfinders and the usual assortment of cases and straps.

    First impressions

    There was some concern when Ricoh first unveiled mockups of the GR III, with long-time fans of the series concerned about the impact of the control changes that have been introduced.

    Our first impressions are that the main command dial and rear jog control are just where you expect them, so the shooting experience isn’t too significantly changed. The loss of dedicated buttons will take some getting used to, but we found we still had access to the things we change most.

    The touchscreen makes it much easier to quickly position the AF point than on previous GRs. At least for now there’s a considerable lag if you use the rear screen for touch shutter. Even with the new focus system, there’s still a noticeable pause even if you’ve placed the AF point and use the shutter button to fire. We’ll see whether responsiveness picks up with final firmware.

    Of course the alternative is to use Snap Focus to keep the lens focused at a predetermined point. Which, if you’ve used an GR before, may already be your preferred way of working.

    Articles: Digital Photography Review (dpreview.com)