The long awaited Nikon D850 is here, so is it worth the price tag? There are the features we have been expecting along with more than a few surprises. Let’s dive in and discuss the pros and cons of this 46- megapixel full frame shooting machine… The Nikon D850 replaces Nikon’s D810, but it does much more than that. Continue Reading
The post Nikon D850 Review appeared first on Photodoto.
We are used to thinking about photography in terms of color or black and white, but before we arrived here, though, there were a series of processes that resulted in images being monochrome. In this tutorial, I’ll show you how to get those looks so you can think outside the box and achieve different tonal effects that will make your photos unique.
Adding a tonal effect can give your photos from different collections a unified look. It can also help to set the atmosphere of a scene, or simply give a nostalgic and antique look. Before photography became as we know it to be today, there were many experiments and formulas chemists used that became popular throughout history.
Many of them had a particular color. The most popular are sepia and cyan and now it’s possible to achieve these and any other tonal effect with just a few clicks. I’ll show you three different ways to achieve it so you can choose which method suits you best.
First of all, you need to work with a black and white image. There are many different ways to achieve this in Photoshop. The one I’m choosing is Menu > Image > Adjustments > Black and White because it gives you a lot of control.
Once you have your starting image as black and white, you need to add a solid color adjustment layer. To do this go to the Layers palette and click the adjustment layers button on the bottom and choose the Solid Color option from there.
A pop-up window will open where you can choose the color you want for that layer. There’s no right or wrong here, it’s a matter of taste but for a sepia tone go somewhere in between the yellow and the red and when you’re happy just click OK.
Now the color should have covered the entire image, which is normal as you added a solid color. But you still need to merge it with the image, so open the blending options menu from the top of the Layers palette and choose Soft Light.
You can also check out the other blending possibilities to see if there’s something that suits you better, but Soft Light usually works best for me. You can make a final adjustment on the layer opacity if you think it needs tweaking and that’s it!
To achieve a cyan tone on your photo you need to start with a black and white image the same as the previous process, so I’ll use the opportunity to show you another way of converting your color photo into black and white.
Go to the Layers palette, add an adjustment layer. and from the drop-down menu choose Black and White. On the Properties window, you’ll have the same adjustments as the previous method as I used above.
The difference is that now you’ll have the black and white adjustment on a different layer so you can come back and tweak it or change the opacity at any time.
Next add another adjustment layer, this time choosing Levels from the menu. In the Properties window, you can see a histogram of your image that shows you the blacks, whites, and mid-tones in your image and a corresponding slider to each of them for you to adjust.
Start moving the sliders to increase the contrast of your image as this will give a better result when you apply the cyan color to it.
The final step you need to do is to add a third adjustment layer, this time using the Hue/Saturation option. On the Properties window move the Hue slider towards the blue end until you find a tone that you like, around the 215 is usually pretty good. If you feel the blue is too intense just decrease the saturation value a little until you are satisfied with the result.
Now you have a snowy photo with a nice cold tone to boost the mood!
If you are thinking that sepia or cyan are very nice effects but it would be even better if you apply both or even more, you don’t have to worry. Photoshop has thought about that too.
First, you have to open your black and white image (or convert your image to black and white as we did above). Then go to Menu > Image > Mode and choose the Duotone option. This is correct even if you want three or four tones, you will modify that later.
A pop-up window will open where you can choose the number of inks (tones) that you want in your image just by clicking on the drop-down menu. For this example, I’m choosing Tritone so three fields will be available to choose the inks.
You can set the color of each ink by clicking in the second square which will open a pop-up window with a color picker. So just click on the tone you like and hit OK. Then name it in the field to the right of the ink. Repeat this process for each ink color.
Now the colors you selected are all covering the image in the same way. But you can modify that by choosing which ink will affect more which tones. For example, I choose the magenta for the darkest tones and the yellow for the lighter tones, but you can choose any tone and any adjustment you want.
Just click on the first square which will open the Curves window. By default, it will have a diagonal straight line that goes from 0 (black) to 255 (whites) you can experiment moving it all you like until you get the look of your image right.
Because of all the possibilities, this is the hardest technique but also the more personalized one that will give you a very unique result. Try it out and let me know in the comments how it goes!
So there you have three methods for applying tonal effects using Photoshop. Do you use any of these for your images? Which method do you prefer? Do you have another technique you like? Please share your tonal effects images and ideas in the comment area below.
The post Three Ways to Apply Tonal Effects in Photoshop appeared first on Digital Photography School.
For many of us in the Northern Hemisphere, it is finally here – sunshine – the time of year most synonymous with new beginnings, transition and growth all thanks to the powerful rays of the sun. After months of dark dreary weather and perhaps a mood that matches staying indoors, we are finally ready to shed those winter blues and head outside with our gear. So in the spirit of getting you out of the house and into the outdoors, here are a few tips to help you do summer photography and revel in all its glory!
Shake off that hibernation mentality and get yourself out the door. Often times, some of the first signs of spring can be spotted right outside your front door so you maybe don’t need to go far. Or better yet, take a walk around your neighborhood and start noticing the transition as spring works its way into summer.
It is amazing how leaves, color, and budding florals can make an old place feel like new again.
I know the whole time change thing that happens here in the US is debatable to many. But personally, I wait for spring forward. Yes, I lose an extra hour of sleep but it also means that the days start getting longer and that magical golden light at the end of the day is more within my reach.
With each and every day that passes, we are given more daylight, which provides greater opportunity to grab that camera and capture the golden hues. So head to a nearby park or even an open prairie and take in the whole scene. Use your wide angle lens to capture the big picture in your summer photography.
As you’re taking in your surroundings, notice unique patterns and textures that are created by plants, water, and trees. Summer has this amazing ability to make everything colorful, so go ahead and use all that color to add a little punch to your photos.
Color, patterns, and textures add so much more interest in photos so use that to your advantage.
Mother nature really is a wonder. As winter changed into spring, the whole world seems to get lighter and transition into a new phase. You can almost sense that change in the air again.
The quality of light also changes and with that the play of light and shadows is quite spectacular. Use this time as an opportunity to experiment with light and shadows and use these elements to create drama and interest using different subjects.
When the flowers and trees start blooming all around us it really feels like a breath of fresh air. Capture those blooms and see how vibrant they make everything else appear. Look for a neutral background like white siding or pastel walls to bring highlight to the florals.
Rain showers and sunshine seem to go hand-in-hand with summer. I suggest you embrace all of Mother Nature’s tantrums and photograph around it. Use that rain cover to step out into the rain to photograph the scene. If you don’t have a rain cover for your gear, maybe stay indoors and photograph the outside from your window. Or even get in the car, go for a drive and photograph from the comfort of your car!
Notice how rain changes the light completely and embrace that softness for a very different look to a normally sunny scene.
I hope these tips help get you in the mood to pick up that camera more often and get back into the swing of photography if you have been suffering from the winter blues.
The post 6 Quick Tips for Doing Summer Photography appeared first on Digital Photography School.
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| The F-6 ‘Little Bit Smaller’ bag is a similar but more compact alternative to Domke’s iconic F-2. |
Domke is among the most famous names in the pantheon of camera bag makers, and for good reason. The company makes some of the toughest and most practical bags on the market. Traditionally aimed at photojournalists, Domke’s bags are usually tough, somewhat on the heavy side, very accessible, and capable of accommodating a surprising amount of gear. I’ve been using an F-6 for about three years now, and it’s accompanied me on trips all over the world. This is my long-term test.
The F-6, also known as the ‘Little Bit Smaller’ bag belongs to what Domke now calls the ‘Heritage’ range, and shares a lot of characteristics with the venerable (and a Little Bit Bigger) F-2. Most obvious are the F-6’s box-shaped main compartment and distinctive clamshell top, which is secured with two sturdy metal clips to the front of the bag. The bag isn’t really ever ‘closed’ as such (even with the clips secured, it’s still possible to slip your hand into the main compartment if you try hard enough) but this design has the advantage of allowing quick one-handed access to either end of the main compartment without fiddling with any zips.
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| A large front pocket is big enough for a small mirrorless or rangefinder camera, but is most useful for odds and ends like memory card wallets, snacks and spare batteries. |
There are two zips on the F-6 for less often-accessed compartments: one on the large front pocket, and another one inside the top cover that secures a document pouch sewn into its underside. This pouch runs the full length of the top cover, and it’s perfect for instruction manuals, maps or a paperback book or two. Unlike the main compartment, prying fingers will struggle to find or get access to this compartment, so when I’m traveling this is usually where I’ll store my passport and wallet. I’m telling you that in confidence – please don’t spread it around.
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The F-6’s main compartment is surprisingly roomy, and can comfortably fit a 2-camera, 3-lens outfit, along with extras like an iPad, and a flash or two. |
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With the foam insert removed, the F-6’s main compartment is basically box-shaped. The base is lightly padded, but I usually add a little extra foam padding just in case of accidents. |
The F-6’s main compartment is deceptively capacious, and without the included foam inserts it can easily accommodate a full-size professional DSLR and standard zoom. That’s a lot of weight, though. Where the F-6 really shines is as a bag for smaller camera systems. With the foam insert added, I can fit two slim mirrorless or rangefinder bodies and up to three lenses inside without the F-6 feeling overloaded.
A full-height pouch on the back of the bag is large enough for a notebook, 9.7in iPad Pro, or a couple of paperbacks
Total storage space is augmented by the front pocket, which I generally use for batteries, rolls of film, memory card wallets and other odds and ends but which at a pinch could also house a small mirrorless or rangefinder camera body. A full-height pouch on the back of the bag is large enough for a notebook, 9.7in iPad Pro, or a couple of paperbacks.
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| While the clip-to-close design isn’t entirely secure, it has the advantage of allowing very easy access to the main compartment without needing to put the bag down. |
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| The clips are easy to undo by feel, meaning you don’t need to take your eyes off the action to reach down and pull out a camera. |
I was inspired to write this review after a recent trip back to the UK to visit family, during which the F-6 amply demonstrated its Tardis-like capacity. When I’m in transit, I tend to use the F-6 to store my most valuable and delicate gear, so that I can keep it all in one place on my lap or by my feet and I don’t have to worry about anything getting bumped around in overhead bins or baggage holds. Over the past couple of years I’ve abused my F-6 in almost every way possible, but I think my recent trip to Seattle to London was the high (or low, depending on how you look at it) point:
Clearly this is an insane amount of stuff to cram into a camera bag, but hopefully you get the point. The fact that the stitching has held up to several years of this kind of shameful abuse is also testament to the F-6’s strength and standard of construction, and I only wish I could say the same thing about my shoulder…
In day to day use with a more realistic mirrorless or rangefinder kit, the F-6 is much more manageable. Of course, like all shoulder bags, it can still get pretty uncomfortable after a long day being carried around on my shoulder. The thick fabric strap is nicely textured and rubberized (so it never slips) but it’s unpadded and can dig painfully into my neck after a few hours. Alternating the bag’s position helps, and Domke also makes a dense foam shoulder pad for $ 30 which can be attached if you need a bit of extra padding. I have one and it works well, but it’s bulky and since I try not to overload my F-6 (despite what you might think from the list above) I prefer the way the bag handles without it.
Speaking of straps, the F-6 comes with a short, slim removable strap for hand-carrying the bag. It’s a nice idea, and does make the bag easier to pick up and carry if you’re traveling, but I find it gets in the way, so I relegated mine to the sock drawer – next to the shoulder pad.
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| A full-height pouch can be found on the rear of the F-6, which is perfect for an A4 notebook, or an iPad. This is my 9.7in iPad Pro, inside a Logitech keyboard case, pulled out diagonally for illustration. |
In the years since I bought my F-6 I must have walked thousands of miles with it, but it’s held up remarkably well. The rubberized thread sewn into the strap is starting to break up in a couple of spot, the rear pouch has been buffed to a high shine against various (mostly blue, apparently) coats and jackets and there are small holes worn into its corners, but I reckon I’ll fall apart before the bag does. The more expensive F-6B (‘B’ stands for (B)allistic nylon) should theoretically hold up to the rigors of daily use even (B)etter. I should probably throw it into the washing machine at some point and re-wax the canvass but I’m not in any immediate rush.
Is the F-6 perfect? It is not. Although the main compartment has some padding on its base, it’s probably not enough to prevent damage to a heavy camera or lens if you drop the bag from any significant height. I’ve accessorized mine with extra padding from an old unused foam insert, and if I’m carrying a rangefinder, I usually add even more just to avoid any DIY roadside focus recalibration after a knock or fall.
If you’re outside in the wind and weather for several hours, you should expect water to make its way into the main compartment
The F-6 itself can take a fair amount of abuse, but there are limits. For one thing, it’s not particularly waterproof, even when brand new. The heavyweight waxed material does a good job of keeping light rain from getting in, but it soon gets soaked in heavier precipitation and if you’re outside in the wind and weather for several hours, you should expect water to make its way into the main compartment. Of course the older and more worn the canvass gets, the less effective it becomes at repelling moisture. On the plus side, it dries out remarkably quickly and doesn’t tend to retain dampness as long as you can air it out for a few hours.
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| This shot shows one of the F-6’s two main clips, which keep the top cover closed. As you can see by the chipped paint, they’ve already held up to a lot of heavy use. The downside of their sturdy metal construction is that they can scratch gear inside the bag if they’re allowed to dangle or fall into the main compartment. |
I love the metal top cover clips for their sturdiness and the ease of access that they provide to the F-6’s main compartment, but because they’re metal they can (and do) scratch cameras and lenses if you let them flop into the main compartment when the cover is unsecured. Just another good reason to be strict about lens caps and protective filters.
I’ve already mentioned the included removable hand-strap – I don’t find it particularly useful, but as a keen cyclist, I wish the F-6 was compatible with a waist strap. When I’m riding my bike the F-6 flops around like mad. A waist strap would help keep it secure. It would also make me look a little bit like a bicycle messenger from the 1940s, and a little bit less like a man about to have a bicycle accident.
Despite these complaints, the F-6 is undoubtedly the most useful camera bag that I own for everyday photography. There are better options out there for large DSLR and multi-lens kits, but for day-to-day shooting with a compact system, the F-6 is hard to beat. With the foam insert removed, the F-6 is a useful bag for shopping, travel and daily use, too.
The Nikon 70-200mm f/2.8 lens has been one of my most used since purchasing it several years ago. It’s a perfect lens for photographing either abstract, intimate or obviously, zoomed in landscapes. However, after borrowing the f/4 version from a local camera store during a trip to the Faroe Islands, I’ve decided to sell my current lens and replace it with the smaller and less expensive (almost $ 1000 less) f/4 version.
Before we get into why I’m replacing it, let’s look at why I went for the f/2.8 lens, to begin with:
When I purchased my first full-frame camera several years ago (the Nikon D800), I started out with only one lens: the 16-35mm f/4. At the time, that was all I could afford and it was my main setup for close to a year.
By that time I had saved enough money to add another lens to my backpack (only having the 16-35mm was quite limiting so I wanted to add more range before heading out on a two-week journey to the US).
Though there are several other brands to choose between, I had already made up my mind that I’d go for Nikon’s 70-200mm. The harder choice, however, was whether I should go for the f/2.8 or f/4.
After much back and forth, and long discussions with other photographers, I ended up with the f/2.8. Despite it being heavier and more expensive, it seemed like the right choice as it has a wider maximum aperture. Even though I’m a landscape photographer (I don’t do much wildlife or portraits, etc), I figured the wider aperture might come in handy and be more important than the weight.
I’d say this is the perfect lens if you’re photographing:
Captured with my 70-200mm f/2.8 lens.
When looking through the images I’ve shot with my 70-200mm, only a fraction of them were captured at f/2.8. In fact, the majority of those are images I captured at concerts or other events for a local magazine, which I very rarely do anymore.
The fact that I rarely use an aperture of f/2.8 on this lens, combined with the fact that I’m spending more time hiking and need a lighter backpack, made it an easy decision to replace my current lens with the lighter 70-200mm f/4 lens.
Captured with the 70-200mm f/4 lens.
As a landscape photographer, it’s rare that you need f/2.8, especially for the type of images I tend to capture. It’s more important for me to save weight (1540 gm/3.2 lbs versus 850 gm/1.9 lbs) since my backpack gets quite heavy when carrying all my lenses and cameras, a tripod, and other accessories.
Though I only tested the lens for 10 days, I found it’s not a sacrifice of much image quality by choosing the f/4 over the f/2.8. Both the sharpness and autofocus are just as good in the former.
These are the main benefits I’ve found with the 70-200mm f/4 lens:
Of course, sacrificing one stop of light is something worth mentioning, as this does come with a few consequences. While it might not be a big difference between f/4 and f/5.6, there is a significant difference between f/2.8 and f/4, especially in low light situations.
If you use a tripod for all of your photography and you avoid photographing wildlife and other scenarios with a shallow depth of field, the sacrifice is minimal and most likely not even notable. However, if you tend to photograph handheld in low light situations and enjoy photographing with a shallow DoF, you might want to reconsider replacing the f/2.8.
Here are some of the sacrifices you’ll make when changing from f/2.8 to f/4:
That being said, this was an easy decision and one that I wish I’d made many years ago. Do you have a 70-200mm lens? Which version do you have and why?
The post Why I’m Downsizing from a Nikon 70-200mm f/2.8 Lens to the f/4 Version appeared first on Digital Photography School.
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| The SeaLife DC2000 in all its 1″-type sensor glory, and near its natural habitat. |
I have an addiction to small cameras with big sensors. I’ve owned a Ricoh GR, original Fujifilm X100 and still have a Nikon Coolpix A knocking around. The EOS M100 and 22mm F2 combo also fits the bill.
But with just how good 1″-type sensors have gotten lately and how well they can balance the compactness and speed of their lenses, I’ve been left wondering: Where are all the fixed lens, 1″-sensor compacts? The Canon G7 X II and G9 X II, Sony RX100-series and Panasonic LX10 all have short zooms in front of their sensors, and most manage to have pretty wide maximum apertures. Just think about how fast and yet compact a (possibly collapsible) prime lens could be on one of these.
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| I deliberately underexposed this image to protect the highlights and brighten up the Raw file in post. With smaller-sensor rugged cameras, this would result in way more noise than you see here, even at base ISO. ISO 125 | 1/800 sec | F1.8 |
Which brings us to the SeaLife DC2000, a compact camera with a 1″-type 20MP sensor and a 31mm-equivalent F1.8 prime lens in a waterproof, shockproof body. Despite being, on paper, pretty close to the ideal pocket point-and-shoot for me, it is most definitely not marketed toward me. It’s really targeted at the diving community, not land-based photography enthusiasts. It’s also not manufactured by one of the more ‘traditional’ camera companies, and as such, doesn’t benefit from the years of refinements and iterations that the likes of Canon and Nikon can take advantage of.
I’ve been carrying the SeaLife DC2000 around with me over the past couple of weeks and attempting to use it as I use my Nikon Coolpix A – a fun snapshot camera to have on me that takes better quality images than my smartphone. Here’s what I found.
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| The sensor / lens combo on the SeaLife DC2000 is plenty sharp, with moiré apparent on the building in the distance. Processed in Adobe Camera Raw | ISO 125 | 1/320 sec | F4 |
First of all, the DC2000’s image quality is pretty darn good. With what is likely the same sensor as a Sony RX100 III, you can expect good dynamic range and low light performance, particularly if you shoot Raw. The JPEGs out of the camera are solidly above-average with pleasing color most of the time, but sharpening and noise reduction are a little aggressive (no real surprise there). White balance strays a bit to the cool side, but whether you like that or not is really a matter of personal taste.
The lens is a great performer at all apertures
One criticism I have is that the tone curve applied to JPEGs can result in highlights that are a little abruptly clipped; it doesn’t happen all the time, but I was happy to have Raw files to play with to smooth the highlights out when this happened. Though there are an abundance of scene modes (I almost exclusively shot with it in Program Auto or Aperture Priority), it’d be nice to see some JPEG fine-tuning adjustments on future models.
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| I don’t mind some intentional lens flare, but those sensitive to it will wish for a hood as the DC2000 can lose contrast with bright light sources near the edges of the frame. That said, despite having a flat glass protective element in front of the lens, flare is reasonably well-controlled. Processed in Adobe Camara Raw | ISO 125 | 1/1000 sec | F5.6 |
I have to say I’m impressed with the lens on the DC2000. It’s a good performer at all apertures, is more than sharp enough edge-to-edge and even makes some decent sunstars. I just didn’t expect this sort of quality from such a compact lens in a small waterproof body, and it’s nice to be pleasantly surprised here. That said, there can be some green and purple fringing (lateral chromatic aberration) on high-contrast edges (see the image of the backlit trees earlier on), particularly if you’re shooting backlit subjects and brightening in post. There’s no profiles to correct this automatically in Adobe Camera Raw, but it’s easily taken care of manually with a few sliders.
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| The 1″-type sensor really makes a difference when the ISO value climbs. Processed in Adobe Camera Raw | ISO 1600 | 1/125 sec | F1.8 |
Alright, so the images out of the DC2000 are pretty darn good. But what’s it like to use?
It’s a mixed bag. As you’d expect from a rugged waterproof camera, build quality is exceptional. The camera feels dense and solid, and though most buttons feel a bit mushy (a side-effect of the sealing no doubt), the shutter button has great feedback and an easy-to-feel distinction between the focus half-press and a full press to capture an image. The mode dial is likewise better-feeling than I expected.
The controls, though, are downright strange if you’ve ever used a digital camera from one of the more established manufacturers.
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| While the actual controls take some getting used-to, the layout is at least familiar. |
When browsing your captured images in playback, you go back by hitting ‘up’ on the four way controller, and forward by hitting ‘down.’* You will forget this, even after shooting with the camera for several weeks, and you will occasionally hit ‘left’ to go back. This will rotate your image 90 degrees counter-clockwise. You will then curse under your breath as you prepare yourself to hit that same mushy button three more times to turn the photo the right way around, with each press being followed by a pronounced delay if you’ve been shooting Raw files. There’s also no way that I can find to view your shooting settings in playback.
However, once you enable the ‘delete’ function for eliminating single or multiple images, ‘left’ and ‘right’ on the directional pad become the method for browsing images.
The controls are downright strange
As far as the Raw files go, they’re great to process but frustrating to capture. With around five full seconds required for the camera to write the huge 40MB files to the microSD card, this is not your next ‘caught moment’ burst camera. My old Coolpix A positively smokes the DC2000 in terms of interface and shooting responsiveness, regardless of whether I’m shooting JPEGs or Raws.
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A macro mode helps you get up-close-and-personal with your subjects. |
There’s also a wireless button that does absolutely nothing most of the time. Only after you’ve established a connection to your smart device with the ‘Link 123 Plus’ app does the wireless button bring up a menu option to automatically send each image to your phone. You can’t reassign it. I just downloaded my files from the card at the end of the day.
Lastly, when you go to change exposure parameters, you must press the ‘OK’ button before you can then adjust them by pressing up/down on the four way controller. Curiously, they work the opposite way I would expect, though, with ‘up’ lengthening the shutter speed and widening the aperture. You get used to it, but there’s still a bit of a disconnect there.
Some of this should be qualified, though, that simply putting the camera into ‘P’ or Auto modes gives generally good results for casual shooting (much of the gallery was shot this way). Unfortunately, if you’re hoping to fire off a quick shot or two to check settings (or if you’re underwater, check framing), this does little to mitigate the lag if you’re capturing Raw files.
This is a tough one. I’m absolutely in love with the idea of this camera, but am having a hard time rationalizing purchasing one.
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| Out-of-camera JPEG | ISO 125 | 1/800 sec | F5 |
If you’re in the market for a tough camera, like the Olympus TG-5 (a perennial staff favorite), the SeaLife DC2000 will absolutely reward you with higher-quality images if you can live without the zoom. It’s a great beach or vacation camera that can stand up to a fair amount of abuse. Power-on is quick, and you can also take an image quickly after startup. And then you’ll have to wait five seconds before the next image if you’re shooting Raw.
I can’t help but wonder how wide an aperture they could give this sort of prime lens if it were retractable and could forego the environmental sealing. That said, the SeaLife files stand up pretty well to those from my Nikon, and because of that sealing, I’ll never get dust on the sensor (this is an ongoing battle I have with retractable-lens cameras that I always seem to be on the losing side of).
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I’m going to keep hoping and praying for one of the established manufacturers to make something that can approach the philosophy of the DC2000, but with greater responsiveness and more modern controls (though it’s possible SeaLife could address some of my qualms with a firmware update). If you can live with the operational quirks, it’s easy to recommend the DC2000 on the merits of its image and build quality. And of course there’s something to be said for the camera that’s always with you to also be able to take a knock or two.
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*Our Senior Editor Barney Britton was kind enough to educate me on early Nikon digital bodies, such as the D1, which also have this control philosophy. Without going into detail, I’ll say that was before my time as a photographer.
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NINM Labs has launched a Kickstarter campaign for Instant Magny 35, a film back that transforms rangefinders and 135 SLR cameras into instant film cameras. The film back supports Fujifilm Instax Square film and doesn’t require any camera modifications. The instant film back is described as ideal for rangefinders and SLRs from Pentax, Leica, Olympus, Canon, and Nikon.
The Instant Magny 35 film back replaces the original camera back, featuring a total of three attachable components. Once connected, the camera with instant film attachment can be used normally. According to NINM Labs, Magny features an aluminum lens barrel, enlarging optics film back, and an ejection unit.
Features include a built-in dark-slide, on-off switch to prevent accidental shots, automatic film feed, a film ejection button, and an LED film counter. The film back is powered by four AAA batteries. Without the batteries or film, the Instant Magny 35 weighs about 485 grams / 1lbs.
NINM Labs is seeking about $ 50,000 on Kickstarter, where a single Instant Magny is offered for pledges that start at 778 HK$ / $ 99 USD.
Via: DIY Photography
Camera bag manufacturer Lowepro has launched the FreeLine BP 350 AW, an all new camera backpack for mirrorless and DSLR kits that features the all-new QuickShelf technology.
On the outside, the bag doesn’t appear much different than Lowepro’s other offerings. The bag is constructed of a ‘high-grade Carbonate Coated Nylon 66 exterior’ with ‘weather proof YKK zippers and robust exterior attachments featuring premium metal clips.’ If the weather-resistant fabric isn’t enough to protect your gear in harsh weather, Lowepro also includes a matching All Weather AW Cover.
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Like all good things, it’s what on the inside that counts. This is the first bag from Lowepro to feature its new QuickShelf technology. According to Lowepro, QuickShelf is an ‘adaptive interior divider system [that] unfolds into 3-tier shelf or folds flat to remove for open interior space.’ In addition to the three tiers, pop-in lateral dividers and an additional gearbox help further divy up the space so you can better organize your camera kit as you see fit. Two easy-access side pockets with additional storage serve as a quick way to get to your gear, even while the backpack is still on your shoulders.
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According to Lowepro, the FreeLine BP 350 AW can hold a full-frame DSLR alongside a mounted 70-200mm F2.8 lens, as well as a drone and other lenses or accessories. They don’t show any mirrorless-only kits in the photos, but from the looks of it, it could easily hold a pair of full-frame mirrorless cameras and a few lenses.
The FreeLine BP 350 AW also features Lowepro’s trademarked CradleFit laptop compartment that can fit up to a 15″ laptop and an ActivZone Back Panel for more comfort when carrying a lot of gear.
The FreeLine BP 350 AW is available now for $ 260.
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Tripod manufacturer Really Right Stuff has released updates to its entire product line. The company, which recently moved its operations from California to Utah, has revamped all 17 of its tripods, with improved components and features from top to bottom.
Like all of its previous tripods, each Really Right Stuff tripod is hand-assembled in the United States. The ‘Mark 2’ versions include both ergonomic and feature changes compared to the original versions.
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One of the most notable changes is the addition of multiple 1/4″-20 sockets around the base of the tripod. These additional sockets provide more options for attaching accessories, such as Really Right Stuff’s phone mount and optional carry strap.
Speaking of attaching stuff to the tripod, Really Right Stuff has also added a weight hook to the underside of all 17 tripods. This not only gives you a convenient place to store your bag, but also acts as a ballast to keep your frames steady in windy environments.
The legs of the tripods now have sealed twist locks for extending and retracting the legs during use. Really right Stuff says ‘the new sealed twist lock minimizes the amount of contaminants, such as sand and grit, that gets caught inside the twist locks.’
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| Computer rendering showing the internal structure of Really Right Stuff’s new sealed twist lock. |
Also, opening and closing of the legs should take less effort due to an added vented clevis. Really Right Stuff notes that the added air vents ‘prevent pressure gradients from building up, allowing smoother leg extraction and collapse.’ To show just how much thought went into what seems like such a small detail, Really Right Stuff explains how the ‘inward-facing vents also ensure air flow is directed towards the center of the tripod and away from mounted lens elements.’
The new tripods are also designed with interchangeable feet, which can be swapped out to one of the three options Really Right Stuff offers.
Lastly, the Mark 2 version of the tripods now feature an updated Sure Grip that uses the same hex screws as Really Right Stuff’s L-plates. So, if you’re shooting with a lot of Really Right Stuff gear, you’ll now only need to carry around a single tool.
To view more information on the second-generation tripods, head on over to Really Right Stuff’s announcement page. B&H is now taking pre-orders for the Mark 2 tripods, which start at $ 500.
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Dire Studio today launched Technical Camera, an iPhone app aimed at mobile still photographers who prefer manual control over auto modes, along with artificial intelligence and a range of interesting features.
The app offers a highly customizable interface, with manual exposure and focus, compensation and locks, focus peaking, and fully configurable auto ISO. The Smart Function Keys feature lets you customize the function of on-screen buttons and you can set the direction of the virtual dials in the user interface.
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Advanced users will also appreciate the ability to shoot in Adobe RGB color space and – as far as we are aware – the ability to define image settings for different albums and shoot directly into these albums is unique. For example, you can set a small image size and turn geotagging off for images saved into a “Notes” folder, but toggle Raw capture and maximum image quality for your “Prints” folder.
If you are using a dual-camera iPhone the Framing Previsor feature should be useful as well. It allows you to preview the tele camera’s angle of view on the wide-angle camera’s live view image, giving you a direct comparison between the two lens options. In addition there are highlight and shadow clipping alerts and a range of grids to choose from.
Lastly, Technical Camera also looks like an interesting app for the users of super-wide-angle accessory lenses. The app can correct the distortion of a number of popular lenses and also offers basic corrections for non-supported lenses. More information and a list of all supported lenses can be found on the Technical Camera website.
The app is compatible with newer Apple devices running iOS 10.3 or later and can be downloaded now from the App Store for $ 6.99.