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Making Sense of Lens Optics for Crop Sensor Cameras

If you have been considering getting a new camera or have been considering upgrading a camera, you have probably heard all about crop sensor cameras but what does it mean? How does crop factor affect lens selections? When you are considering systems, often it is not just the camera bodies you must consider, but the selection of lenses for that system as well.

Sensor Optics and Equivalences

Crop Sensor Optics

Most new photographers often start out with crop sensor cameras because they are usually less expensive. But as you become more advanced does it make sense to upgrade to a full frame system? If you are thinking about upgrading is there a reasonable upgrade path?

For example, should you buy full frame lenses to use with your crop sensor body? It seems so confusing and to be fair, it is a little complicated and the simple rules of thumb don’t tell the whole story. Rather than look at the differences in camera sensors themselves (they are all pretty good), let’s try to make sense of the lenses themselves.

Similar focal length lenses – the Olympus micro 4/3rds 40-150mm f/2.8 (80-300mm equivalent) and Canon’s 100-400mm f/4.5-5.6 (for full frame).

Lens sizes

If you are looking at lenses you will see many different focal lengths and apertures. Even from the same manufacturer for the same camera body, there are often different aperture and focal length combinations. Since an important part of photography is optics, how can you begin to compare lenses for different size sensors? How do the lenses relate to the camera body you are looking at?

Nifty 50mm (full frame on the left) and micro 4/3rds 25mm (50mm equivalent) on right.

Going further, how do different size crop sensors affect lens optics? Is an f/2.8 lens on a crop sensor camera actually f/2.8 lens or is it something else? What about bigger format cameras? Why do the smaller apertures (f-stops) seem so big but the images so gorgeous with great background separation and bokeh?

This all relates to lens optics and crop sensor equivalences, one of the great mysteries of photography that most photographers don’t really understand.

Lens Optics Basics

To understand lens optics you need to understand what a lens does to the light coming into it. The light coming through a lens actually inverts, flipping the image upside down. The light then projects onto the digital sensor after passing through the lens.

Focal length and image flip onto the sensor.

Most lenses are defined by the focal length and maximum aperture. The higher the focal length, the closer distant objects seem. So, for example, sports and bird watchers typically want much larger focal lengths to get in close.

Lower numbers widen the field of view to make more things fit within the image (wide angle lenses) and are often the tools of the trade for landscape photographers. In 35mm equivalents, a 200mm lens is a long lens and a 20mm lens is a very wide lens.

Relative aperture size illustration.

The aperture f-stop number represents the size of the iris or hole in the lens. A lens will be rated based upon the largest aperture the iris can open. The more light you let in, the slower the shutter speed you will need. Because of this property, larger maximum aperture lenses are called faster lenses. For example, an f/2.8 lens is considered pretty fast and an f/5.6 lens (think kit lens) would be considered pretty slow.

Optical Math

Let’s keep the geeky math minimal, but it really helps understand lens optics.

Focal length is not a measurement of the actual length of a lens, but a calculation of an optical distance from the point where light converges to form a sharp image on the digital sensor at the focal plane in the camera. Aperture, on the other hand, is the size of the hole created by the iris in the lens. Aperture is geometrically related to the focal length of the lens. For example, an f/2.8 lens on a 100 mm focal length lens is 100 divided by 2.8 = 35.7 mm. As the lens focal length dictates the size of the aperture, it is independent of the size of the sensor but dependent on the focal length.

Utility lenses covering a similar range – the Canon 24-105mm f/4, and the Olympus 12-40mm Making Sense of Lens Optics for Crop Sensor Cameras f/2.8 (24-80mm equivalent).

Zoom lenses may have more than one aperture because the iris doesn’t get bigger as the lens gets longer. Since it is a math relationship, the longer focal length with the same iris opening makes the aperture smaller. More expensive zoom lenses have the same aperture for the entire range but that is a bit of an engineering feat as the iris must get larger as the lens zooms to a longer focal length.

Camera Sensor Format Refresher

In the golden age of film photography, there were multiple formats dictated by film stock. One of the more common sizes was 35mm film dictated by sprocket film stock that was 34.98 ±0.03mm (1.377 ±0.001 inches) wide. Back in the film days, there were multiple formats too, with larger and smaller film stock available that also affected lens sizes and performance.

When digital sensors were originally developed for still cameras, larger sensors were prohibitively expensive, so smaller sensors were used. There is a wide range of sensor sizes and this variety of sensor sizes affects the mechanics of how lenses on cameras operate.

When a sensor is close to the size of 35mm film stock, it is called full frame. Anything smaller is called a crop sensor. Anything bigger is generally called medium format although there is a lot of variability in sizes larger than full frame. Sensors not only vary in size but also geometry.

Crop sensor relative sizes

Sensor sizes

Generally speaking, a full frame sensor is in the shape of a rectangle that is roughly 36mm x 24mm which is a length to width ratio of 3:2 covering an area of 862mm sq. Conversely, a micro 4/3rds crop sensor is 17.3mm x 13mm (ratio of 4:3) covering an area of 224.9mm sq. A Nikon/Pentax APS-C crop sensor is 23.6mm x 15.7mm (ratio of 3:2) covering an area of 370mm sq, whereas a Canon APS-C sensor is 22.2mm x 14.8mm (ratio of 3:2) but only 328.5mm sq. Larger formats (bigger than full frame) tend to be square.

Many times the crop factors are calculated by the size of the diagonal distance from corner to corner of the sensor. For example, a full frame sensor is twice the diagonal as a micro 4/3rds sensor, therefore the crop ratio is 2x. For a Nikon APS-C crop sensor the ratio is 1.5x and for a Canon APS-C crop sensor, it is 1.6x.

Comparison of the sensor footprints

Square versus Round

Lenses are round whereas sensors are rectangular or square. So, all cameras cut off part of the image because the round lenses project a circular image on the sensor which is a rectangle. This means that the edges of the image circle are cut off.

Camera manufacturers design their lens/camera combinations so that the entire sensor gets great coverage from the image circle (this is called covering power). This can create problems when you have a mismatch between the sensor size and the size of the sensor for which the lens was made.

Image circle with full frame and micro 4/3 frame overlaid

So, How Does Crop Factor Affect Images?

There are lots of factors that affect your images. The sensor size does affect images, but so does focal length and aperture size but those are physical properties of the lens and are not affected by the crop factor. At least not directly.

To illustrate the effect of crop sensors on light gathering and focal length, a series of test images were set up (these are not overly scientific but more illustrative). Using an Olympus EM1 Mark II (Micro 4/3rds sensor – 2 times crop factor) and a Canon 5D Mark IV (full frame).

Olympus EM1 Mark II, micro 4/3rds camera

Canon 5D Mark IV full frame camera.

To illustrate the focal difference conversion and the light gathering conversion, the cameras were set up side by side using only the focal length conversion. The geometry of the sensors is not exactly the same so they have been cropped to match each other (8×10 ratio).

Camera size comparison (full frame on the left, micro 4/3 on the right)

Both cameras were targeted at the same vista.

Test setup side by side cameras.

Rules of Thumb Versus Reality

Focal lengths are commonly converted into equivalents for full frame sensors to give the same the field of view by multiplying the focal length by the sensor’s diagonal ratio. For example, a 25mm lens on a micro 4/3rd sensor is the equivalent of a 50mm lens on a full frame camera (crop factor is 2:1).

A Canon EFS (crop sensor) lens to match a 50mm lens is 31mm. This works in reverse too. If you put a full frame lens on a crop sensor camera body, the focal length is multiplied (the same 50mm lens becomes like a 75mm lens on a crop sensor). This rule of thumb works.

Editor’s note: The optics are not the same, but this is a generally accepted method of understanding crop sensors.

At 24mm equivalents – same shutter speed and ISO, full frame on left and Micro 4/3 on the right (both at f/4, ISO200, 1/160th).

Aperture and Depth of Field

Another rule of thumb that doesn’t work so great is to add a stop or two for the aperture (depending upon the crop). Why doesn’t it work? Well, there is more at play here.

The aperture affects the light gathering ability of a lens but with a crop sensor camera, the smaller sensor causes the depth of field (area in focus) to be larger. What that means is that an f/2.8 lens at 200 ISO sensitivity should have very close to the same shutter speed on any camera body (there are variations in light meters from one camera body to another). So an f/2.8 lens is always an f/2.8 for light gathering.

At 70mm equivalents – same shutter speed and ISO, full frame on the left and Micro 4/3 on the right (both at f/4, ISO200, 1/80th).

To make things more complex is the look of an image. The bokeh on a crop sensor will never be quite as good as a full-frame sensor because the extra area of a full frame sensor changes the depth of field (the amount of the image in focus) relative to a crop sensor. This is not a function of the lens as much as the sensor size. This can be pretty subtle but it is a factor, particularly for portraits.

At 200mm equivalents – same shutter speed and ISO, full frame on the left and Micro 4/3 on right (f/4, ISO 200, 1/30th).

At 200mm equivalents – same shutter speed and ISO, full frame on the left and Micro 4/3 on right (f/4, ISO 200, 1/40th).

Full Frame Lenses on Crop Sensor Cameras

Lenses tend to last much longer than cameras with good lenses lasting as long as two or three camera body iterations. So many people go by the adage of investing in glass. So if you are using a crop sensor body that will accept full frame lenses, why not buy full frame lenses until you are ready to buy the full frame body? The answer is not necessarily because it may not be as sharp as your crop lenses even if the lens seems nominally the same size.

Full frame lenses are more expensive than crop lenses but you are often paying for other features including weather sealing and better more durable construction. Because of large differences in sensor sizes, getting full frame lenses on a crop sensor means you are only using the very center portion of the lens but the detail is more concentrated on that area. This can challenge the optical quality of the full frame lenses.

They are often better quality but not enough better to account for the size differences between the sensors. So unless you know you are upgrading your camera imminently, you may not want to use the full frame lenses on crop bodies.

Another consideration is that you have to use the crop factor in reverse. On a Canon crop body (1.6 crop factor) a 24mm lens becomes a 38.4mm lens. This means that you can’t get as wide of an angle of view on a crop body with wide lenses.

A full frame lens on a crop body will increase the focal length by the crop factor

Conclusion

There are lots of misconceptions regarding lenses when comparing them across sensor sizes. Understanding the basic function, light gathering capabilities, and geometric relationships can help you compare lenses within camera systems and across sensor sizes.

There are great lenses available for all camera systems that can produce fantastic results. Lenses are as important at the camera body. So when choosing a system, make sure you have the lens selection you need for your particular style of photography.

The post Making Sense of Lens Optics for Crop Sensor Cameras appeared first on Digital Photography School.

Digital Photography School

May 20, 2018
DPReview TV: Waterproof camera shootout 2018

This week on DPReview TV, Chris and Jordan prepare for the summer holiday season by putting several popular waterproof cameras to the test, including the Olympus TG-5, Nikon W300, and Fujifilm XP130. They also take an early look at the brand new Panasonic TS7 (FT7).

If you’re considering a rugged camera for the beach or pool this summer, or if you just want to see what a Chris and Jordan fishing show might look like, tune in.

For more information about some of these cameras read Carey Rose’s take on the Olympus TG-5, as well as Jose Francisco Salgado’s travelogue of the Olympus TG-5 and Nikon W300 in Puerto Rico.

Carey Rose’s take on the Olympus TG-5

The Olympus TG-5 and Nikon W300 go to Puerto Rico

Finally, make sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Subscribe to our YouTube channel

Olympus TG-5 sample gallery

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Nikon W300 in Puerto Rico sample gallery

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Olympus TG-5 in Puerto Rico sample gallery

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Articles: Digital Photography Review (dpreview.com)

May 20, 2018
12 Good Reasons Why You Should Start a Photography Blog

Starting a photography blog was one of the best decisions I have ever made. I never would’ve guessed when I pulled the trigger on my first blog post how much good would come from it.

I talked briefly about starting a blog in this article, 10 Photography Lessons I’ve Learned Over 10 Years, and I decided it would be worth going deeper. The benefits of sharing your photos on your own blog are many, and I’m going to talk about 12 of them here.

This is by no means an exhaustive list, but hopefully, it will inspire you to start a photography blog of your own.

1. Having a photography blog will help you grow

It’s easy to get stale in your photography sometimes. You tend to shoot the same things the same way and post-process using the same presets.

A blog can help inspire you to get out of that stale rut and grow as a photographer because you will naturally want to share something new and exciting. Knowing that people are viewing your photography blog is a great motivator to post a better photo today than you did last week.

2. You’ll build your own platform

Your blog is yours to do what you want with, and that means you’re building something that is 100% your own. If you only ever post your photos to social media then you’re dependent on those services, and your photography is not their priority.

Building a photography blog that is all about you and your photos will be there as long as you want it to, and it can become a platform that grows over time.

3. Display your photos your way

All blogging services will come with some form of customization, which means you can show off your photography however you want. You can use anything from simple, free themes that look great right out of the box to paid premium themes that give you more features and options.

If you really want full control over how it looks and feels, get a self-hosted blog on your own domain. They’re cheap and easy to set up, and you will own your blog forever. You can even have it double as your photography portfolio website.

4. Share more of your photography

Your photography blog can be a great place to share your images that might not be your best work. There are a number of reasons you might want to do this.

You might want to share a collection of photos of a location or subject. You could share your before-and-after photos to illustrate a new post-processing technique. There are many reasons why you might want to share some photos that aren’t good enough for your main photography portfolio, and a blog is a great place to do that.

5. You’ll become a better storyteller

Learning to tell stories with your photos is one of the best ways to improve your photography. A good storyteller will capture people’s interest and emotions. Blogging will help you to become a better storyteller because the images you share come with a story.

The great part about a photography blog is that you can write as much as you want, and it adds to the story of the photo. The process of telling the story about the photo will develop your creative muscles and you will naturally get better at storytelling with your photography.

6. People will get to know you better

I like to think of my own blog as not only somewhere to teach travel photography, but where people can get to know me as a real human. I love to write travel stories on my blog, sharing not just my photos, but the stories and experiences that go along with them.

People who find and read your photography blog will see more of who you are than they will on Instagram or Facebook. It can be a place to let people get to know the person behind the camera.

7. You’ll see your growth over time

There’s nothing quite as confronting as looking back through old photos and reading old posts on your blog. It can make you cringe sometimes, but that’s a good thing.

Your blog can be a place where you document your photography journey. You will be able to see your growth over time, which can be incredibly encouraging, especially on those days when you feel like your photography sucks (we all have those days).

8. It helps you critically analyze your photos

As you grow as a photographer you get better at looking at your photos more critically and curating them. A photography blog can help a lot with this as well. The process of writing a post about a photo will help you to analyze it better because you spend more time thinking about the whys, hows, whats, and ifs of the photo.

Why did I take that photo? How could I have improved it? What story does it tell? If I used a different lens, how would it have changed it? You’ll be surprised how many more questions you’ll find yourself asking as you write.

9. It can open up new opportunities

Sharing your photos is really putting yourself out there, which can be scary. One of the advantages of that is that it makes it easier for people to find you. Google loves blogs, so you’re far more likely to show up if somebody searches for something you’ve shared on your blog than if you’d just shared it on social media.

Over time, the more you share on your photography blog, the more likely you are to show up in searches. More visibility means greater potential to be discovered by photo buyers or other sites.

10. Writing exercises your creativity

You may not think of it this way, but writing can be an incredibly creative outlet. Your previous classroom experiences may be contrary to this, but it’s true.

Creative writing exercises similar parts of the brain as photography, so it makes sense that they strengthen each other. You may not think that sitting down and tapping away at a computer can help your photography, but it can. A blog is a great place to exercise your creative muscles regularly.

11. You will inspire others

I’ve lost count of how many emails or comments I’ve had from people who have read my blog and felt encouraged or inspired. This relates to my previous point about people getting to know you better.

When people read your blog and begin to get to know you it shows them that you’re just another human with a camera who’s on a journey too. A photo blog makes you more relatable, and people are more likely to be inspired by you if they feel they can relate to you.

12. Blogging itself can become another hobby

If you’re anything like me, you probably don’t need another hobby, but hear me out. Blogging just may not be for you. That’s fine.

On the other hand, you might absolutely love it and it may grow from an outlet for sharing your photography, into something that you do for pleasure. You won’t know unless you try.

What are you waiting for?

These are only 12 of dozens of reasons to start a photography blog. I strongly encourage you to give it a go. If you’re one of the many photographers who has a blog but has let it slip, why don’t you to pick it up again? Maybe you’ve been on the fence about it and this article will give you a push.

There are countless blogging platforms to choose from, but I strongly recommend WordPress. I also recommend the free Start a Blog course over at Problogger (another site by dPS creator Darren Rowse).

Do you have a photography blog already? What benefits have come from it? Still on the fence? I would love to hear your experiences or questions in the comments area below.

The post 12 Good Reasons Why You Should Start a Photography Blog appeared first on Digital Photography School.

Digital Photography School

May 20, 2018
Latest Apple ad: iPhone Portrait Lighting is a ‘studio in your pocket’

No matter your attitude towards Apple and its products, it’s probably fair to say the company’s iPhone ads are among the more visually pleasing and entertaining commercials we get to see on TV or online. And like many recent ads, Apple’s latest clip is related to its smartphone’s photography capabilities.

The ad—titled ‘Studio in your pocket’—promotes the iPhone X and 8 Portrait Lighting feature. In the ad, a woman pulls out her iPhone to take a selfie in a train station when all sorts of studio lights, umbrellas and softboxes materialize out of nowhere around her—emphasizing one of the iPhone’s most distinguishing photography features.

Despite some manufacturers now offering similar functions, Portrait Lighting is still pretty much exclusive to Apple devices. It works on both front and main cameras (on the iPhone X, only rear on the iPhone 8 Plus and below) and applies computational effects to a subject that aim to simulate lighting effects you could achieve in a studio with proper lighting equipment. The effects can be applied at capture or later during editing. Options include Natural Light, Studio Light, Contour Light, Stage Light and Stage Light Mono.

You can read more about the feature in our iPhone X review or watch a tutorial here, and while it is most certainly not equal to a bunch of softboxes, umbrellas, or other professional lighting equipment, the feature is impressive in its own right.

Have you used Apple’s Portrait Lighting? Do you think the results can compare to the real thing? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

May 20, 2018
How to Choose Your Lightroom Export Settings for Printing

If you haven’t yet printed some of your favorite photos, trust me you are missing out on a lot. The joy and pleasure that you get by looking at the prints cannot be matched by the digital copies. This article might excite those photographers who have gotten their photos printed at least once. But if you haven’t yet, this might be the beginning, give it a try!

The majority of you may already be using Adobe Lightroom to post-process and color correct your photos. But did you know that you might be saving your final digital copy to be sent to the printer using the wrong export settings? Do not panic, this article will help you cross-check some of the key export settings that you want to follow.

Getting the Dimensions Correct

Trust me, this is one of the most basic and silliest mistakes that you might make while exporting the final copy to be sent for printing. To make sure that you get the dimensions correct, simply crop the image (if needed) using the desired aspect ratio the moment you import the photo to Lightroom. This will make sure that the final prints are in the perfect dimensions and you do not have to pay the printer extra to correct the ratio.

Note: You can use a Virtual Copy to crop for print and leave the original for online.

Select the Correct Color Space

A good quality print is one which has the most accurate color representation. If you have been getting a difference in colors between what you see on your screen and what you get on your prints, something might be wrong with the color space.

The color space of a digital image is the most important aspect of accurate color representation in a print. You need to make sure that you are selecting the AdobeRGB or any other color space as advised by your printer. AdobeRGB is a larger color space as compared to the sRGB, which is the default color space in the export setting. To know more about the color space, read: AdobeRGB vs sRGB Color Space.

Some printers may have their own custom color profiles, which they may or may not share with you. So, in that case, they would ask you for AdobeRGB color space file and later export the file as per their custom profile. If you are unsure about the printer, simply export the photo as AdobeRGB color space.

Note: Many labs and printers in the USA use the smaller sRGB space, so if you send AdobeRGB files for printing you will get unexpected color in your prints when they come back. Be sure and ask the lab what they use and prefer beforehand.

Once you have selected the color space, make sure to keep the Bit Depth as 16 bits/component. This will make sure that the color transition and falloff is gradual.

Select the Correct Image Format

Once you are done with selecting the required color space, it is important to choose the correct image format. You can go with the JPEG format but if you are opting for high-quality or a big print, save it as a TIFF. This file format has much more information as compared to a JPEG and is vastly accepted by the printers.

Note: Again check with your lab first. Some will not accept a TIFF file.

Select the Correct PPI (Pixel Per Inch)

PPI in a photo print means the number of pixels that are there per inch of the photo. The ideal and the best possible quality is 300ppi, but you can also choose 240ppi if required. Basically, the more the PPI the better print quality you would get. If you are getting bigger prints and do not want the photo to look pixelated, try saving the photo with maximum possible PPI (ideally 300ppi in the case of prints).

Note: Once again ask your lab. Some may have a standard PPI that they use and prefer. Canvas prints, for example, are often at 150ppi.

Finish up

Once you are done selecting these four major export settings, you shall be good to export the file for prints. You can always experiment with these settings as there are no hard and fast rules. These were just some tips and suggestions I wanted to share as per my experience.

One other thing to make note of is whether or not you are enlarging the image. Be careful when upsizing files as there are good and bad ways to do that, but that is beyond the scope of this article. Read more here: Image Size and Resolution Explained for Print and Onscreen

The post How to Choose Your Lightroom Export Settings for Printing appeared first on Digital Photography School.

Digital Photography School

May 19, 2018
Video: Soulumination and the gift of photography

Soulumination is a non-profit organization that provides life-affirming legacy photography to families facing serious medical conditions, completely free of charge. In addition to the services donated by photographers, community volunteers make handcrafted photo albums and other gifts for the families. This video was made by Soulumination photographer Carrie Yuan of Yi Li Photography in order to share the work of Soulumination.

Soulumination volunteers make hand-crafted photo albums and other gifts to give to the families (photo: Wenmei Hill)

Volunteer photographers for Soulumination are invited in as families face serious illness, difficult treatment, joyous recovery and sorrowful loss. The photographer is there to capture those raw moments at times that are often private and filled with emotion. They are doing the most fundamental job of a photographer – ensuring that the family has something they can look back on, hold in their hands, share with others, fill in gaps in memories – in what can be the most difficult of circumstances.

As a volunteer photographer for Soulumination, I am often asked, “How can you do it?” After years of being invited to witness these important, beautiful, and often painful moments, I can’t think of a better answer than photographer Randell Walton’s: “How can I not?”

Soulumination founder Lynette Huffman Johnson and one of the Soul kids show off their Wonder Woman skills (photo: Wenmei Hill)

Although Soulumination is Seattle-based, there are several organizations throughout the world (such as Now I Lay Me Down to Sleep, Shoots for a Cure, and Flashes of Hope) that offer similar services. There are also a multitude of other ways individuals and organizations use photography for charitable causes. What are some groups you know of or participate in?

Articles: Digital Photography Review (dpreview.com)

May 19, 2018
Buying guides updated with Panasonic DC-ZS200 (TZ200)

Now that we’ve completed our review of Panasonic’s Lumix DC-ZS200 (TZ200), we’ve updated its entry in our Best Cameras for Travel, Best Pocketable Enthusiast Cameras and Best Enthusiast Long Zoom Cameras buying guides. We liked the how Panasonic stuffed a 15X zoom into the ZS200’s compact body as well as its feature set, though the sharpness of its lens was a disappointment.

Head to our buying guide hub for help finding the right camera by both price and use case.

Read our Best Cameras for Travel Buying Guide

Read our Best Pocketable Enthusiast Cameras Buying Guide

Read our Best Enthusiast Long Zoom Cameras Buying Guide

Articles: Digital Photography Review (dpreview.com)

May 19, 2018
Nisi shares more details on its full-frame cine lenses and launches Mist filter range
In a bid to clear up online speculation, surprise entrant to the full-frame cinema lens market Nisi has answered some questions about its relationship with brands marketing lenses very similar to its own recently-announced F3 series.

NiSi F3 Cinema Lenses

The company says that it owns the designs of its own lenses as it ‘took ownership’ of them from the ‘now dead’ Bokkeh Bokkelux project. Nisi also claims that it has made changes to the original optical and mechanical designs of the series to make the lenses more reliable, the assembly more accurate, and to reduce their overall weight. Nisi goes on to explain that it is a partner of cinema equipment company Kinefinity, and that it manufactures the brand’s Mavo Prime range of full-frame lenses.

The release doesn’t say it directly, but this is clearly a move that aims to end claims that Nisi is just copying existing lenses and marketing them under a different name.

Further details of the lenses have also been released, including that the five officially announced will be joined by 18mm and 135mm focal lengths in the second half of 2018. We should also expect a ‘new and innovative design for an optical accessory’ in the near future.

As the lenses will cover 46.5mm sensors, the F3 series will be compatible with ARRI Alexia LF, Red Monstro VV, Panavision DXL2, SONY Venice and Canon C700FF cameras (as well as ‘future’ models). Service centers are being established in Europe, USA and South Asia.

Allure Mist Filters

Nisi has also introduced a new series of filters to its cinema range. The Allure Mist filters will come in white and black versions and are designed to soften contrast in movie footage. The white version pulls back highlights and reduces the appearance of skin blemishes, while the black version diminishes the effect of flare and creates a misty atmosphere.

They will be available in 4×5.65in and 6.6×6.6in sizes and can be pre-ordered now

A comparison of the effects of the Allure Mist filters, with the Black Mist on the left and the White Mist on the right. Click to enlarge the view

And here’s a demo of the filters in ‘action’:

For more information visit the Nisi website.

Press Releases:
Five Fundamental Facts about the NiSI F3 Range of Full-Frame Prime Cine Lenses (and other news)

Since the announcement of the NiSi F3 range of full-frame lenses, NiSi’s headquarters have been inundated with questions and queries. In order to address some of these, we have compiled a list of answers around five key subjects. Read on for more, and to discover news in our announcement of the new NiSi Allure Mist Black/White Filters

1. Where does the name F3 come from?

The ‘F’ in F3 stands for ‘Full-Frame’. The lenses are all designed for full frame cameras and are extremely versatile, coming complete with PL, Canon EF and Sony E-Mounts. Mounts for other systems will need to be purchased separately, although NiSi will provide shims to ensure consistent filmmaking.

The number ‘3’ simply means ‘third generation’ and also refers to the range’s three key design characteristics, i.e. high resolution, low dispersion and retro flare.

2. What exactly is the relationship between the NiSi F3 range and Bokkelux?

Let’s be clear; the F3 prime lenses belong solely to NiSi since the company took ownership from Bokkelux. Since this time, NiSi are pleased to report that numerous improvements have been made and, being based on the original Bokkelux design, NiSi’s optical and mechanical design engineering experts have re-optimised some key elements to deliver the excellent new range.

These include:
- Improved accuracy with assembly and improved supply chain for the optical elements
- Improved physical attributes, i.e. the weight and calibre of the lenses have been improved with reliability and user assurance being of primary importance
- Along with these significant improvements, NiSi has developed a new and innovative design for an optical accessory for F3 range. Once this is completed, we will release information, but you can be assured that it will meet the unique needs for many filmmakers.
3. OK, so what about the relationship between the NiSi F3, Kinefinity and Mavo Prime?

That’s simple, really. Kinefinity is partner of NiSi. Our specialist engineers have modified the industrial design for the Mavo Prime while retaining the same performance and quality. The new F3 range and Mavo Primes are manufactured exclusively by NiSi.

4. Will the NiSi F3 Primes come with both imperial and metric markings?

Absolutely. Markings will be in feet and metres.

5. What are the details for the F3 sales warranty policy and can we expect additions to the focal lengths this year?

NiSi is currently in the process of setting up special service centres, specifically for sales warranties. Bases will be in Europe, North America and in South Asia. We will make further announcements about the details of the certified sales warranty suppliers after the third quarter. You can expect to see 18mm and 135mm primes coming to light in the second half of this year.

F3 Lens Range Highlights – (a recap):
- Covers Full-Frame Format
- PL Mount/Canon EF Mount/Sony E-Mount
- T2.0-T22 Click-less Aperture Range
- Ultra Low Dispersion
- High Resolution
- Retro Cinema Style Housing
- 12-Blade Iris
- Same physical attributes across the lens range
- Geared Focus and Iris Control Rings
- Pure Performance in Film
Launching in 25mm T2.1, 35mm T2.0, 50mm T2.0, 75mm T2.0 and 100mm CF T2.0 formats, the new range of premium lenses from NiSi debuted during NAB 2018, which took place between the 7th -12th April in Las Vegas.

Compatibility

The new F3 prime lenses cover full-frame format which is compatible with ARRI Alexia LF, Red Monstro VV, Panavision DXL2, SONY Venice and Canon C700FF, along with ‘future-proofing’ for other cameras that we will see arriving in the future. They cover 46.5mm format sensors, allowing filmmakers full creative control, opening up a wide range of cinematic possibilities.

Pure Performance in Film

The new F3 lenses offer filmmakers advanced resolution and perfect dispersion control, image contrast and flare; all optimised by their stylish, retro housing.

The entire F3 series of lenses share the same physical attributes, allowing for the simple and time-efficient fitting of lens accessories, along with the native ‘Sensed presence’ technology, which provides users with the ability to shoot with a beautiful bokeh. The native apochromatic optical design results in excellent ratio/axial dispersion performance, giving a pure and natural colour, with almost no purple/green fringing within focus and in bokeh.
NEW: NiSi Announces Allure Mist Black/White Filters

Allure Mist White – Highlights:

* Reduces highlights and lowers contrast* Softens wrinkles and blemishes

Allure Mist Black – Highlights:

* Reduces overall flare and contrast* Produces mist effect

To coincide with the exciting launch of F3 full-frame prime cine lenses, NiSi has also released Allure Mist White/Black and anamorphic filters; adding to their already burgeoning range of cinema filters.

Available in sizes 4×5.65”, 6.6×6.6”, the new filters will further assist filmmakers to capture their intended artistic expression with every shoot.

Preorders for individual filters available from May 7th 2018

Special kit launch

Along with individual lenses, NiSi has announced that all lenses will be available as a specially designed F3 kit, which will include a complete set of lenses, from 25-100mm, along with a NiSi 4×5.65 Allure Mist white 1/4 filter, a NiSi 4×5.65 Allure Mist Black 1/4 filter and a NiSi 4×5.65 Polarizer, all packaged in a tough NiSi hardshell case.

Articles: Digital Photography Review (dpreview.com)
May 19, 2018
How to Make a Composite Wine Bottle Image using Photoshop Layers
A wine bottle is always a tricky subject to photograph. The highly reflective nature of the glass makes it hard to use frontal lighting, while backlighting will not reach the label.

In short, the perfect light for the glass will usually not work for the label and vice-versa, often leading to the capture of various images that are later on composited in post-production, creating the final image in this manner.

In this article, I will show you step-by-step, how this image was photographed and composited using Photoshop.

Image capture

This image was photographed with a full frame DSLR, a 100mm macro lens, and two speedlights.

One of the speedlights was fitted with a yellow filter, this provided the background light. The other speedlight was fitted on a stripbox and provided the light on the bottle in different positions for different shots.

Light areas

Planning ahead and deciding which areas to light are key factors for the success of the final image composite.
In this particular image, the areas that were lit for each image were as follows:
- The label
- Gold logo
- The embossed letters
- Light side light
- The background
None of these images look good by themselves, but each adds its own contribution for the final result.

Raw image development

This is the stage where the Raw images are processed and the basic adjustments are applied. I start by adjusting the “background” image which will be the base for the composite.

Even though the yellow filter used on the speedlight created a nice warm tone on the image background, I decided to make that tone even warmer, adjusting the yellow and green hue to orange, giving it a vintage ambiance.

The compositing process

After developing the RAW images, it’s now time to start merging all of the different images.

I start by opening the “Background” image and giving it some basic corrections, like completing the right edge reflection with the clone stamp.

Next, I load the “Embossed Letters” image as a new layer that will stay on top of the “Background” layer and start the compositing process. For this process to work, it is imperative that all the images have the same framing and neither the camera or the object is displaced between shots.

Layers and masking

Even though there are many ways to create a composite in Adobe Photoshop, my favorite, and the one that allows more control, is the layer mask function.

This masking process hides parts of the image while revealing the information that exists on the underlying layer. Just click on the layer mask icon in the layer panel, and a mask will be added to the selected layer. It might look complicated but it is, in fact, a simple process.

White areas of the mask show what is on that layer, black areas show what is on the underlying layer (think of it as a hole you look through to see the layer below).

In this particular case, it is easier to invert the mask from white to black (Image>Adjustments>Invert) and paint in the areas you want to reveal from that layer by using a white brush.

The exact same process was applied to the “label” and “gold Logo” layers. The “Left Side Light” layer was used to create just a fine rim light on the left edge of the bottle and give it a better separation from the background.

Refinements

Now that it all starts to look much better, with all the bits and pieces that were used from each layer to form the composited image. So it is time to pay attention to the small details like small imperfections on the bottle, smudges or dust specs that may need to be fixed.

A higher zoom (100% or 1:1) will likely reveal problems that need to be solved.

The icing on the cake

Even though I could consider the image editing process finished by now, there is still a small but really important detail in my opinion – the table’s smooth wooden texture was not the right fit for the look I was trying to achieve.

So, the right thing to do was to photograph an old beat up piece of wood that would fit the look of the overall image and replace the existing tabletop.

Now I load it as a layer on the final image and use the perspective command (Edit>Transform>Perspective) to adjust the flat wood image to match the perspective of the tabletop.

And for the final touch, I changed the blending mode of the “Wood” layer to darken, in order to make it blend smoothly with rest of the scene.

Final thoughts

Even though I always try to get things as right as possible during the photography process, and leave as little as possible for the post-processing phase, the truth is that this compositing technique amazes me every time I try it. It is incredible the amount of detail control it offers.

Give it a try, I am sure you will be amazed too.

The post How to Make a Composite Wine Bottle Image using Photoshop Layers appeared first on Digital Photography School.

Digital Photography School
May 19, 2018
This is why Google’s impressive object removal tool was never released

At its 2018 I/O developer conference Google presented a number of improvements to its Photos app, but there was no talk about an exciting feature that was demoed the previous year: an object removal tool that automatically removes obstructions like fences, window panes from your photos.

The feature caused quite a buzz when it was demoed in early 2017, and people have been waiting on it ever since… so why has it disappeared? The answer is simpler than you might think. According to an interview with the Google Photos team on XDA, object removal was simply de-prioritized in the development queue, giving way to other AI-powered features in Google Lens.

In the interview, Google team members said that the technology exists and could be deployed, but that Google prioritizes products based on what is most important for people, and other machine learning applications were prioritized over object removal. This means the technology might eventually be implemented into Google Photos or another Google app if the company changes its mind (and development queue), but we probably should not hold our breath.

When it was first demoed, object removal looked impressive and exceedingly useful. As you can see in the video above, the feature was shown as 100 percent automatic, without the need for any manual editing. Sure, professional photographers might want a bit more control over their cloning, but the vast majority of Google Photos users probably don’t know what the Clone Stamp tool or Content Aware Fill even is.

If you’ve been waiting for object removal to finally make an appearance on your smartphone, knowing the source code is still stored on some hard drive at Google HQ might not be much of a consolation… but least we know the reason why it has never been released.

Articles: Digital Photography Review (dpreview.com)

May 19, 2018