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DJI unveils Mavic 2 Enterprise, a commercial-oriented drone with modular accessories

31 Oct

DJI has unveiled the Mavic 2 Enterprise, a modular version of its Mavic 2 Zoom drone designed specifically for businesses, governments, educators and other professionals.

At its core, The Mavic 2 Enterprise is effectively a Mavic 2 Zoom drone with a few tricks up its sleeve. It has the same 4K video capabilities, 2x optical zoom and 3x digital zoom, and 31-minute flight time. But in addition to the standard features, DJI has added a few unique features that will help it perform in more demanding environments.

The battery inside The Mavic 2 Enterprise is “self-heating,” which DJI says will enable it to operate at much cooler temperatures than your run-of-the-mill Mavic 2 Zoom. DJI has also beefed up storage, adding 24GB of storage, three times what the Mavic 2 Zoom offers. There’s also new security features, including a GPS timestamping feature and a new password protection feature that will make users type in a code every time the drone is activated, accesses the onboard storage, or connect with the controller.

To help with various needs such as search and rescue operations and inspections, DJI has also created three add-on accessories: The M2E Spotlight, the M2E Speaker, and the M2E Beacon.

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The M2E Spotlight is a 2,400-lumen dual spotlight designed to help “operators in carrying out missions in dark or low-light areas.” The M2E Speaker is a 100-decibel loudspeaker that can have up to ten customized recordings for blaring in emergency situations. The The M2E Beacon is a strobe build with the FAA’s Night Waiver standards in mind, meaning the drone will be visible up to three miles away, be it for other drone operators or pilots of manned aircrafts.

The DJI Mavic 2 Enterprise Universal Edition includes the drone, a remote controller, one battery, all three mountable accessories, and a protector case with flight tools. It’s set to retail for $ 1,999 USD and is available through DJI Enterprise resellers around the world. To find out more information, head on over to DJI’s product page.

There is also an optional “Fly More Kit” that includes two batteries, a battery charging hub, a car charger, a USB connector, a soft case, and two propellers for $ 419 USD.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung announces two new 1/2-inch sensors likely destined for future Galaxy devices

31 Oct

Recent flagship smartphones have shown the newest arms race in the world of mobile photography is how many lenses you can stick on a device, but Samsung isn’t giving up on the megapixels yet. Samsung has announced a new pair of half-inch image sensors destined for future smartphones: the 48-megapixel GM1 and 32-megapixel GD1.

Both the 48MP ISOCELL Bright GM1 and 32MP ISOCELL Bright GD1 have 0.8?m pixels and are backside illuminated (BSI) CMOS sensors that use Samsung’s latest pixel isolation technology, nicknamed ISOCELL Plus. They also use Samsung’s Tetracell technology, which merges four pixels together to create a single pixel that’s more effective in low-light environments. Samsung claims “the GM1 and GD1 can deliver light sensitivity equivalent to that of a 1.6?m-pixel image sensor at 12MP and 8MP resolution, respectively.”

Both sensors support gyro-based electronic image stabilization and the 32MP GD1 supports real-time HDR image capture.

Samsung expects the ISOCELL Bright GM1 and GD1 to be in mass production by the end of 2018, which would likely pave the way for an appearance in future Samsung Galaxy devices in 2019.

Samsung Introduces Two New 0.8?m ISOCELL Image Sensors to the Smartphone Market

Ultra-small pixel size combined with ISOCELL Plus and Tetracell technologies enhance sharpness and detail in smartphone photos

Samsung Electronics, a world leader in advanced semiconductor technology, today introduced two new 0.8-micrometer (?m) pixel image sensors – the 48-megapixel (Mp) Samsung ISOCELL Bright GM1 and the 32Mp ISOCELL Bright GD1.

“Demand for ultra-small, high-resolution image sensors are growing as smartphones evolve to deliver new and more exciting camera experiences for users,” said Ben K. Hur, vice president of System LSI marketing at Samsung Electronics. “With the introduction of our cutting-edge 0.8?m-pixel Samsung ISOCELL Bright GM1 and GD1 image sensors, we are committed to continue driving innovation in image sensor technologies.”

As cameras are becoming a key distinguishing feature in today’s mobile devices, smartphone makers are faced with the challenge to fit multiple cameras into the sleek designs of their latest flagships. At a reduced pixel size, the new sensors provide greater design flexibility, enabling camera module manufacturers to build smaller modules or pack more pixels into existing designs, and consequently allowing smartphone makers to maximize space utilization in slim, bezel-less smartphones.

The GM1 and the GD1 sensors are based on the company’s latest pixel isolation technology – the ISOCELL Plus* – which optimizes performance especially for smaller-dimension pixels, making them the ideal solution for today’s super-resolution cameras. In addition, thanks to Tetracell technology, where four pixels are merged to work as one to increase light sensitivity, the GM1 and GD1 can deliver light sensitivity equivalent to that of a 1.6?m-pixel image sensor at 12Mp and 8Mp resolution, respectively. The sensors also support Gyro-based electronic image stabilization (EIS) for fast and accurate image capture.

A real-time high dynamic range (HDR) feature is added to the GD1 to deliver more balanced exposure, richer color and detail when filming selfie-videos or streaming live video content even in low-light, high-contrast environments.

The Samsung ISOCELL Bright GM1 and GD1 are expected to be in mass production in the fourth quarter of this year.

*Samsung first announced its ISOCELL technology in 2013, which reduces color-cross talk between pixels by placing a physical barrier, allowing small-sized pixels to achieve higher color fidelity. Based on this technology, Samsung introduced the industry’s first 1.0um-pixel image sensor in 2015 and 0.9-pixel sensor in 2017. In June 2018, Samsung introduced an upgraded pixel isolation technology, the ISOCELL Plus.

Articles: Digital Photography Review (dpreview.com)

 
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Apple unveils new 2018 iPad Pro, MacBook Air, Mac Mini, and Apple Pencil

31 Oct

Today, Apple announced updated MacBook Air, iPad Pro, Mac Mini, and Apple Pencil models at its event in Brooklyn, New York. Both the iPad Pro and the MacBook Air received considerable design changes, including the addition of Touch ID to the latest MacBook Air model and an elimination of the home button from the new 11″ and 12.9″ iPad Pros. This follows last month’s iPhone event.

The 2018 iPad Pro swaps Touch ID for Face ID, the face-scanning security technology first introduced with the iPhone X. Both the 11″ and 12.9″ 2018 iPad Pro models feature an all-screen design with Liquid Retina displays, rounded corners, flat edges, and a 5.9mm thickness, making them the thinnest iPads to date.

The new iPad Pro features Apple’s A12X Bionic chip with four performance cores and four efficiency cores, as well as a new performance controller that Apple says allows all eight cores to be used at once. This is joined by Apple’s own seven core GPU, which the company claims offers “console-quality graphics.” As rumored, Apple has replaced the Lightning connector with USB-C.

Apple is offering the new 2018 iPad Pro tablets in space gray and silver with 64GB, 256GB, 512GB, and 1TB configurations; both WiFi-only and WiFi+cellular options are available. Prices start at $ 799 USD for the 11″ model and $ 999 USD for the 12.9″ model.

Full details on the new iPads are available here.

The two new iPad Pro tablets are joined by an updated Apple Pencil, the stylus that originally launched as an iPad Pro exclusive. The new Pencil model charges wirelessly and attaches magnetically to the iPad Pro’s edge. This eliminates the highly criticized Lightning connector found on the bottom of the original Apple Pencil. The updated model likewise packs a touch sensor that can detect taps, which Apple describes as a new way to interact with apps.

Joining the new iPad Pro models is the fabled MacBook Air update, which brings Touch ID to the Apple laptop, as well as a 13″ Retina display, faster SSD options, a Force Touch trackpad, an Apple T2 Security Chip, Thunderbolt 3, and wide stereo audio. Other features include a FaceTime HD camera, the ability to display 48% more color than the previous Air generation, an 8th-generation Intel Core i5 processor and Intel UHD Graphics, up to 13 hours of battery life, and a new “wedge-shaped” design.

Apple is offering the 2018 MacBook Air starting at $ 1,199 USD. More information on the laptop can be found here.

Joining the MacBook Air is a new Mac Mini with quad-core and six-core processor options, up to 64GB of RAM, the Apple T2 Security Chip, Thunderbolt 3 ports, and what Apple says is five times faster performance than the previous model. The updated model boasts 10Gb Ethernet, all-flash storage in capacities up to 2TB, HEVC video transcoding up to 30 times faster than before, and an enclosure that’s the same size as the previous model.

Apple says it used entirely recycled aluminum for the enclosure and increased its use of post-consumer recycled plastic for parts. The company claims these two things combined reduce the Mac Mini’s carbon footprint by almost 50%.

The 2018 Mac Mini is available from Apple now starting at $ 799 USD. More information on the model can be found here.

Articles: Digital Photography Review (dpreview.com)

 
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How to Choose the Right Tripod for Landscape Photography

31 Oct

A tripod is an essential piece of equipment for a landscape photographer. Sure, you won’t always need to use it. But you’ll find yourself in situations where it can help you capture a high-quality image you wouldn’t be able to get otherwise.

But how do you choose the right tripod? There are hundreds (if not thousands) of options out there, with prices ranging from $ 10 to more than $ 1,000. How do you know which one will best suit your needs? Should you just go for the most expensive tripod you can find? It must be the best, right?

Not necessarily.

Why You Need a Tripod

Before we get into the best options for you, I want to go over a few key reasons why you need a tripod.

Tripods are essential for capturing razor-sharp images, especially in low-light situations where you want to keep your ISO low.

While increasing the ISO lets you use a quicker shutter speed, it can introduce unwanted grain/noise and reduce the overall quality of your image. But keeping the ISO low means you’ll need a longer shutter speed. (Yes, you can adjust the aperture. But I won’t be talking about that here).

Capturing a sharp image using a shutter speed of 1/10th of a second or slower with a handheld camera is almost impossible. It’s very difficult to avoid any camera movement which, with such a slow shutter speed, means you’ll introduce some blur into the image.

How to Choose the Right Tripod for Landscape Photography

Mounting the camera on a tripod lets you use slower shutter speeds and still capture sharp images. The camera sits still on the tripod, so you don’t have to worry about the motion of you holding it.

Using a tripod also allows you to use even slower shutter speeds and capture long exposures (i.e. images that make use of extra slow shutter speeds).

What to Consider Before Buying a Tripod

The first tripods I bought were cheap $ 20 aluminum models from the local electronic shop. While most photographers start with such a tripod, I strongly advise you not to buy one. For landscape photography, they simply won’t do a good job. In some situations, they may even do more harm than goods. These also break more easily than something of a higher quality.

So what should you consider before purchasing your next tripod? Here are a few things to keep in mind:

  • Price and quality (i.e. what does your budget allow?)
  • Flexibility
  • Weight (aluminum vs carbon)

Taking these topics into account before you buy will make it easier to find the best one for your needs.

1. Price

The first thing most of us consider is the price. Photography equipment is rarely cheap, and if you want quality you need to pay for it. As I said earlier, a tripod can cost you anything from $ 10 to several thousand. But are more expensive tripods necessarily better?

In general, yes. A $ 1,000 tripod will outperform a $ 200 tripod in most tests. But that doesn’t mean it’s the right one for you. Ask yourself what you need. What type of photography do you do? Do you need the most expensive model? For most people, the answer is no.

Chances are a mid-range ($ 200) tripod will be more than adequate and perform perfectly in most scenarios.

2. Flexibility / Height

What about the specs? Should you choose a short one or a tall one? Can the legs spread wide, or are they locked into a fixed position? Flip-lock or twist-lock?

Let’s start with the height. In most situations, you won’t need a tall tripod. But there may well come a time where you need that extra leg length. Is it worth paying extra for? If you often find yourself in rivers, rocks or rugged seascapes, then yes. But if you’re not into extreme landscape photography and mount your tripod on flat and stable ground instead, I wouldn’t bother.

While a tall tripod is nice, it’s also nice to have one that lets you get close to the ground. For this image, the tripod held my camera just a few centimeters off the ground, which allowed me to get extra close to the flowers.

How to Choose the Right Tripod for Landscape Photography

So what’s more important to you? Having a tall tripod, or being able to take photographs from a low perspective?

The good news is that some of the more expensive tripods can give you both. While they can stand close to two meters tall, they can also lay more or less flat on the ground for those extremely low perspective shots. 

3. Weight

The final thing to consider is the tripod’s weight. This is important, especially if you head out on long hikes to reach particular destinations. Your backpack can get quite heavy once you add all the gear you need, so the last thing you want is unnecessary weight from a tripod.

Now, a lightweight tripod doesn’t necessarily mean a low-quality tripod. In fact, some of the best tripods out there are lightweight. You just need to make sure they’re sturdy and can support the weight of your camera. However, these tripods are rarely cheap and are often found in the higher end of the price range.

If you’re an avid hiker and tend to go a long way to photograph your subjects, I strongly recommend looking into a lightweight carbon-fiber tripod. These tripods are just as sturdy (if not more sturdy) than the heavier aluminum alternatives.

How to Choose the Right Tripod for Landscape Photography

But if you’re not into hiking, weight might not be such an issue. In fact, if you photograph in rough conditions you may prefer the extra weight. When photographing beaches in Arctic Norway I depend on having a sturdy tripod that won’t break when hit by waves or move when the waves are receding. In these situations, a low-quality travel tripod is far from ideal. Even strong winds can make these tripods vibrate, leading to blurry images. A heavy and solid tripod is a much better option.

What types of landscapes do you normally photograph? And what do you need to capture those scenes?

Which Tripod is Best for You?

Unfortunately, I can’t answer this question for you. It really depends on who you are and the kinds of photographs you take. But when you’re ready to buy one, consider what I’ve talked about and ask yourself what you need. Do you need a light tripod you can easily bring on long hikes? Do you need a sturdy tripod that can handle wind and rough conditions? Perhaps you need a combination of the two.

And what about the price? Do you really need the most expensive model, or will a medium-priced alternative do the job?

Answering these questions should help you narrow down the options, and help you find the tripod that is best for you.

Personally, I have two tripods: a lightweight travel tripod I can bring on long hikes, and my main tripod that’s a little heavier (and more expensive) but solid enough to use in even the roughest Arctic conditions.

Let us know what tripod you ended up choosing. We’d love to hear about it.

The post How to Choose the Right Tripod for Landscape Photography appeared first on Digital Photography School.


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MS Optics has developed the Sonnetar 73mm F1.5 FMC, a lightweight lens made for portraits

30 Oct

MS Optics, a niche optics manufacturer that operates in the basement of Miyazaki san’s Chiba, Japan home, has developed yet another custom lens for Leica M-mount cameras, the Sonnetar 73mm F1.5 FMC.

Inspired by his love for Zeiss’ Sonnar lenses, Miyazaki san created this medium telephoto lens with a unique aesthetic and lightweight design that’s perfect for portraiture. It’s handmade with five elements in four groups and features a multi-coating on every surface for a 97.5% transmission rate.

The lens measures in at 50mm/1.97in in diameter and 56.4mm/2.22in in length, and weighs just 197g/6.95oz. It uses an M49 filter and hood thread size and can focus from infinity to 0.8m/31.5in.

Below are a collection of sample shots graciously provided by Bellamy Hunt of Japan Camera Hunter, shot with the Sonnetar 73mm F1.5 FMC on his Leica M6 with Japan Camera Hunter’s own Streetpan film and filmed with a Canoscan 9000F.

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Bellamy Hunt has also shared a few digital images captured with the Sonnetar 73mm F1.5 FMC.

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Japan Camera Hunter says the lens is still in development and will be available “from the end of October.” As with all MS Optics lenses, numbers are very limited and delivery times are long due to the handmade nature of the lenses.

Japan Camera Hunter is currently selling the Sonnetar 73mm F1.5 FMC for ¥140,000/USD$ 1,252 and says “this is [effectively] a pre-order for the lens with expected delivery around the middle of November.”

Articles: Digital Photography Review (dpreview.com)

 
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Hasselblad XCD 80mm F1.9 sample gallery

30 Oct

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The Hasselblad XCD 80mm F1.9 isn’t just the fastest lens for the medium-format system, it’s Hasselblad’s fastest lens ever. It provides a view equivalent to 63mm on full-frame, making it a solid candidate for portraiture. DPReview contributor Damien Demolder put it to work recently – take a look at the results.

See our Hasselblad XCD 80mm F1.9
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Opportunity Knocks

30 Oct

As Halloween approaches, a timely story about a little prank available to any lighting photographer. All you need is a remote flash trigger, a clueless friend and the maturity level of a 12-year-old.

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Panasonic announces first 8K camera with its organic image sensor inside

30 Oct

Panasonic has announced its first camera to use the organic film sensor it announced in February. This comes five years after announcing a collaboration with Fujifilm and seven years after the technology was patented. The AK-SHB810 uses the technology to offer 8K resolution at 60p and ‘global’ shutter.

The camera comes in the form of a ‘head unit’ that attaches via fiber-optical cable to an offboard processing unit. It should be available in 2019 with the Japanese press release talking about providing an 8K broadcast system in time for 2020, when Tokyo will host the Olympic Games. Panasonic also mentions feature film production, which explains the use of the industry-standard ‘PL’ mount.

In a conventional CMOS sensor, the silicon acts as the light-sensitive medium, charge storage and readout circuitry: reading out the pixel ends the exposure, so the shutter behavior is determined by the readout rate. In the organic film/CMOS chip, the two processes are independent, so the exposure can be stopped for the whole sensor to give a global shutter, with readout occuring in the background.

As well as avoiding any ‘rolling shutter’ skewing effect, Panasonic highlights that a global shutter means that flashguns fired while recording won’t cause partial bright bands across the image (something that could be distracting in broadcasts of indoor sporting events).

In addition, the sensor design allows the sensitivity of the capture medium to be varied to give a continuously variable virtual ‘ND Filter’ effect. The company also promises wide dynamic range capture, though puts no figures on this.

This figure shows the stepless, electronically-controlled ‘ND filter’ effect of the Panasonic sensor.

All these features stem from a fundamental aspect of the new sensor: the separation of the light gathering function of the sensor from the readout process and its circuitry.

The global shutter can be achieved because the light sensitive layer can be turned on and off (or its sensitivity varied) by varying the charge applied to it. This means that the whole film layer can capture a frame and then be made inactive while the CMOS circuitry underneath reads-out. In turn, this means the capture pattern doesn’t have to be defined by the sensor’s readout rate: progressively working down the frame.

The ability to vary the sensitivity of the organic film layer by adjusting the charge applied to it provides the virtual ‘ND filter’ affect, which can mimic ‘whole stop’ NDs or be continuously variable.

Pricing is not mentioned in the press release.

Articles: Digital Photography Review (dpreview.com)

 
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How to Create Dark and Dramatic Backgrounds Using High-Speed Sync

30 Oct

The Usefulness of High-Speed Sync

Among other things, high-speed sync lets you underexpose your backgrounds for dramatic images.

High-speed sync (HSS) is easily one of the most useful features in lighting. Not only does it let you overpower the sun for more flattering light in the middle of the day, it also lets you use your largest apertures in broad daylight.

It also lets you use another useful technique – underexposing your backgrounds by several stops. With a powerful enough light you can even underexpose the sun by three or four stops, thus making it a compositional element in your frame. This lets you create dark, dramatic backgrounds for visual impact. It also brings your subject forward in the frame, ensuring they’re the dominant aspect of your image.

Fortunately, using HSS to create dark backgrounds like this is easy. And in this short tutorial, I’ll show you how to do it using both E-TTL and manual exposure modes.

Why Darken Your Backgrounds?

While you won’t want to darken the background in every situation, dark backgrounds in scenes that would normally be very bright look great. It may be a stylised affair, but it’s a cool style.

Darkening the background brings your subject forward in the frame(providing they’re well lit), and emphasizes them as the focal point of the background. And the inherent contrast added by putting extremely dark tones in the frame helps to make things pop.

This shot was taken without a flash and is all natural light. You can see the background shares a similar tonality to the subject, reducing the subject’s impact within the frame.

 

By intentionally underexposing the background with HSS, the subject now dominates the frame.

What Do You Need?

To get started with this technique you’ll need:

  • A flash with HSS capability (and TTL capability if you don’t want to use manual).

Some studios strobes (such as the Pixapro Citi600) now come with HSS functionality built in.

  • A trigger or some other means to fire your flash. (You’ll need a TTL-compatible trigger if you want to use TTL.)

If you want to use manual mode, a PC Sync cable will do the job. But for E-TTL you’ll need a compatible trigger. (The icon circled in red is the HSS icon.)

E-TTL Mode

To use this technique with TTL metering, turn on the flash, trigger, and camera of whatever system you’re using. Set your flash mode to HSS and E-TTL. (If you don’t know how to do this, refer to your manual.) You should also zero out the flash exposure compensation settings on your flash.

Switch your camera to ‘Aperture Priority‘ mode and choose the desired aperture. I’m fond of f/4 and f/5.6 for this technique, but it’s not a rule.

Now dial between -1 and -3 stops of exposure compensation into your camera. What this does is underexpose all the ambient light in your scene. It’s how you achieve the dark backgrounds – everything that isn’t properly exposed by your flash will be darkened.

Backgrounds that are already in shadow (such as the one in this photo) may only need one stop of underexposure.

For dark backgrounds already in shadow, -1 stop of exposure compensation will be enough. For bright backgrounds or backgrounds in direct sunlight, you’ll need to underexpose more. To overpower the sun, you’ll need to underexpose by at least three stops.

Backgrounds lit by direct sunlight (such as the one in this image) may need up to four stops of underexposure.

Take a test shot, evaluate the image and the histogram on your camera, and adjust the flash exposure compensation as needed.

That’s all there is to it.

Manual Mode

HSS is great for overpowering the sun. Here, three stops of underexposure controlled the appearance of the sun in the frame. Notice how dark the rest of frame (lit in broad daylight) appears.

The steps for manual mode are almost identical to using E-TTL mode.

  1. Set up the flash, trigger, and camera of your system.
  2. Set the camera to aperture priority mode.
  3. Set the camera to your desired aperture.
  4. Dial in -1 to -3 stops of exposure compensation.
  5. Take a test shot.
  6. Adjust your flash power as needed.

However, in manual mode, the meter in your camera doesn’t relay any exposure information to your flash as it does in E-TTL mode. That means you’ll need to set your flash power yourself by evaluating your test shot and turning the flash power up or down as needed. You may need to alter the flash power a lot more than you would with E-TTL. Just keep taking tests shots and evaluating the exposure until it’s where you want it.

Adjusting the power in manual mode means dialing through all the increments on your flash. This isn’t a problem, but it’s harder than E-TTL.

As an aside, light meters are now available that can measure HSS such as the Sekonic L-858D. However, they’re very expensive. A Slovenian company called Lumu also makes a light meter that plugs into an iPhone to measures HSS. I saw these being demoed at a trade show and was very impressed with the results. They’re less expensive, but they currently work only with iPhones.

That’s It

Provided you have the necessary equipment, the technique is quite easy. And it can give you a variety of results, so make sure you experiment with different amounts of exposure compensation.

Though limited by your access to the equipment, this HSS technique is easy to employ and can result in bold, dramatic imagery.

Other Considerations

Here are a few things to keep in mind while using this technique:

ISO. Generally speaking, you should keep your ISO as low as possible. Of course, if you have a particularly low-powered flash you may need to bring it up.

Flash Meters. Most flash meters can’t meter for HSS exposures. There are specialist meters that can, but be prepared to pay through the nose for them.

Daylight Conditions. This technique works in all sorts of lighting conditions, from direct midday sun to diffused light on a cloudy day. You’ll need a powerful light to overpower the sun on a bright day, but if you do the technique works really well.

This HSS technique works well in all lighting conditions. The image on the left was created in overcast conditions, while the image on the right was taken in direct sunlight.

Flashguns / Speedlights. Many flashguns have HSS functionality built in and are capable of great results. If you have a flashgun, consider using them for this technique.

Give it a try

Now that you’ve seen what can be accomplished with this relatively easy technique, I encourage you to get out and try it for yourself. And let us know how you went in the comments.

The post How to Create Dark and Dramatic Backgrounds Using High-Speed Sync appeared first on Digital Photography School.


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iPhone XR Portrait mode for pets, inanimate objects enabled by Halide developers

30 Oct

The developers behind camera app Halide may have discovered a way to enable Portrait mode for pets and objects on the iPhone XR. The revelation was made by one of the developers on Reddit over the weekend, where it was explained that the team found depth data from the iPhone XR’s camera and used it to successfully use Portrait mode on pets and inanimate objects.

Unlike the other new dual-camera iPhone models, the iPhone XR’s single rear camera only supports taking Portrait images of humans, a limitation that may be addressed by third-party apps like Halide. According to the Reddit post, using the mode for non-humans on the iPhone XR is a bit finicky at times and only works if there’s “enough variance in relative distance of objects,” the developer explained.

“Note that the depth map is way lower resolution than the dual camera setup, but it seems usable,” the post states. Halide developer Ben Sandofsky shared the above Twitter post showing the resolution difference between iPhone XS and iPhone XR depth data on Twitter. The feature needs “some more tooling,” the Reddit post states, but it’s likely Halide will offer the ability to iPhone XR users in a future update.

Articles: Digital Photography Review (dpreview.com)

 
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