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  • A photographer has designed and built the first E-Mount film camera

    Photographer Alexander Gee has created something pretty cool: the first (to our knowledge) Sony E-Mount 35mm film camera. It’s called LEX, and when it’s finally finished, Gee intends to make the camera’s design files open source so that anybody with a little bit of interest, soldering skill, and access to a 3D printer can built their own from scratch.

    The LEX is the result of more than a year of design work, 3D printing, and trial & error, which Gee actually documented on the LEX Optical website. Development began around the shutter mechanism from a Sony a7, and continued from there until he had achieved a working prototype that has been improved upon and tidied up to create the version you see below:

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    The current prototype isn’t quite as pretty as the mockups, but it’s not far off either. And more importantly: it works. There are already sample photos posted on the LEX Optical website and more (we assume) to come as development continues. The website doesn’t offer any specific timetable, but Gee does say that he might crowdfund “a small batch of devices before opening the design files up.”

    To see sample images, keep an eye on the project’s status, or jump onboard if and when Gee crowdfunds that batch of pre-built LEX cameras mentioned above, head over to the LEX Optical website or follow the project on Facebook and Instagram.

    Articles: Digital Photography Review (dpreview.com)

  • New Instagram tool lets you download a copy of all your data

    Instagram announced plans to offer a data download tool a while ago, and today the Facebook-owned image sharing network delivered.

    The driving force behind the project has been the requirement to comply with the EU General Data Protection Regulation (GDPR) privacy law, which requires organizations to let individuals download any data that’s been gathered on them. The tool is now available on the Instagram website, ahead of the May 25th deadline.

    To use the tool, simply enter your email and Instagram password, and Instagram will send you a “link to a file with your photos, comments, profile information and more.” The page says the process may take up to 48 hours, but I received the download link almost instantaneously when trying the feature.

    Data is provided in a zip-file that includes all your photos and videos, neatly sorted into folders by upload month. Comments, settings, messages and other non-image information is packed in the JavaScript Object Notation (json) format, so you’ll need a suitable app for viewing.

    According to the Instagram help pages, you should also be able able to download your data file through the “Account Data” option in the app settings but, at least in the case of my Android app, the required update has not made it through to my device yet at this point.

    Articles: Digital Photography Review (dpreview.com)

  • What to Do When You Forget Your Tripod (or You Don’t Have One)

    What to Do When You Forget Your Tripod (or You Don’t Have One)

    This shot was taken during my DPS Night Photography class using a bridge railing to stabilize the camera.

    I suspect we’ve all been there. You are headed out on non-photography business, but you grab your camera on the way out the door – just in case. Well, wouldn’t you know it, “just in case” turned into a reality? A beautiful scene unfolds before your eyes. The trouble is that it is a low-light scene, and you didn’t grab your tripod. Uh oh. What do you do?

    The worst option, of course, is to do nothing and miss the shot. Even if you try and fail you are no worse off than if you do nothing. So you might as well give it a go, even with no tripod.

    There is no magic to a tripod

    The main thing to remember is that a tripod is just a glorified shelf. That is, it is just a place to prop your camera. Granted, there are a lot of controls that make it a very convenient and easy to use support for your camera, but it is still just a shelf. With that in mind, look around for something else you might use.

    Speaking of shelves, they work great and they often provide a nice high vantage point for your scene. If you are near civilization (not out in the woods somewhere), tables and chairs work great as make-shift tripods. Scoot one around to where you want to shoot and place your camera on it.

    When placing your camera on something, you will find that the weight of your lens will cause the camera to tip forward. To remedy that, just place something under the front of the lens. If there is nothing available, dig through your bag and see what you can find. I have used lens hoods, filter cases, and even spare batteries. Is that the ideal situation? Not by a long shot. But they work in a pinch.

    No tripod – no problem

    Let me show you a recent example of this. This is a shot I took of a night scene in Oklahoma City.

    What to Do When You Forget Your Tripod (or You Don’t Have One)

    Shutter Speed: 30 seconds; Aperture: f/8; ISO 100 (with NO tripod).

    I was visiting that city and staying in a hotel. My wife and I were sitting in the bar on the top floor and as it got dark I thought it was a nice scene that I would like to photograph. As I really had no prior plans to photograph, while I did have my camera, I had no tripod or remote shutter release.

    This picture required a shutter speed of 30 seconds (I could have gone shorter, but I wanted the light trails on the road). Without a tripod, I had to muddle through. I pushed a cocktail table up to the edge of the balcony to get the angle I wanted. Then I used an ashtray that was laying around to prop up my lens.

    That still leaves the issue of avoiding touching the camera during the shot. If you are without your tripod, odds are you will be without your remote shutter release as well.  You can still take shots without touching the camera by using the camera’s built-in timer.

    For the shot above, I used the 2-second timer to get the image. Even if you have set the camera to take bracketed exposures, it will take all the shots in the bracket when the timer goes off (note: this only applies to some camera models). It is actually so handy that I find myself using a remote shutter release less and less.

    Adding a touch of stabilization

    Other times you don’t really need to set your camera down anywhere, you just need a little stabilization. How do you know if you need stabilization? Through something called the Reciprocal Rule. This rule says that your shutter speed should be at least the reciprocal of your focal length.

    To make it simple, it just means that if you are shooting at 50mm your shutter speed should be 1/50th or faster. If your focal length is 16mm your shutter speed should be 1/16th or faster. As you can see, the more wide-angle you shoot, the slower the shutter speed you can get away with.

    Shoot wide

    So that’s another tip. Shoot wide-angle in low light scenes where you don’t have a tripod. That won’t always work, of course, because sometimes your compositions just demand longer focal lengths. But as you are walking around without a tripod, think wide-angle.

    What to Do When You Forget Your Tripod (or You Don’t Have One)

    Sometimes you just go places where tripods are not allowed. I couldn’t even bring my tripod up to this location (Reunion Tower in Dallas). So I braced my camera on the perimeter fencing to stabilize it a bit. Shutter Speed: 1/8th second; Aperture f/8; ISO 800.

    Lens stabilization

    You might have image stabilization/vibration reduction in your lens as well. If so, this will buy you a few stops of light. What that means in this context is that you can set your shutter speed a few stops slower than you could otherwise.

    For example, if you have 3-stops of image stabilization in your lens (different lenses are rated differently), and you are shooting with a focal length of 50mm, you might now be able to get away with a shutter speed of 1/6th of a second. (Remember that a stop is a doubling of light, so if you start at 1/50th of a second, then one stop is 1/25th, two stops go to 1/12th, and three stops takes you to 1/6th.

    These numbers are EFL though (Effective Focal Length) so if you are shooting with a camera with a smaller sensor than full frame you will need to account for that.

    Other forms of stabilization

    When you run afoul of the Reciprocal Rule, you will need to stabilize your camera, often only a little bit. Let’s say for example that you are shooting at 24mm, and a proper exposure (using the ISO and aperture settings you want) requires a shutter speed of 1/10th second. What to do? Just stabilize the camera a bit by propping it against something.

    Use a wall or a doorway if you are inside. Use a tree or a light post if you are outside. Those things are stable, and by propping the camera against them you are borrowing some of that stability. You will be less likely to move the camera during the exposure. If you cannot prop your camera against them, even leaning against these items while you shoot will help a little bit.

    What to Do When You Forget Your Tripod (or You Don’t Have One)

    For this shot, I was actually inside the Louvre (shooting through a window).  Therefore, I didn’t have a tripod. I used a door frame to stabilize my camera and took several shots in the hopes that one would be sharp. Shutter Speed: 1/8th second; Aperture f/4 (wide open on this lens); ISO 3200.

    Shoot many frames

    Don’t just take one picture though. Give yourself the opportunity to get a sharp one by taking several. Even if you think you got it right the first time, it is hard to tell on those little LCD screens (you can zoom in to check). There is nothing worse than getting home and discovering that a picture you thought was sharp is actually blurry. Remember that it is free to take pictures with digital, so make good use of that and take lots to be sure.

    Finally, don’t be afraid to crank up the ISO. Doing so will allow you to use a much faster shutter speed. Of course, that also leads to an increase in digital noise, but don’t worry about that so much.

    First of all, cameras keep getting better and better at handling digital noise, and it isn’t as much of a problem as it used to be. In any case, it can usually be fixed in post-processing pretty easily and without much loss of detail in your picture. Remember it is easy to fix digital noise, but very hard or impossible to fix blur (from a slow shutter speed).

    What to Do When You Forget Your Tripod (or You Don’t Have One)

    I ran into this staircase while on a business trip and was able to use my exposure settings to ensure a sharp shot. I raised the ISO to 1600 and opened the aperture all the way (to f/4). That allowed me to use a shutter speed of 1/25th second. Since I was using a focal length of 19mm, I complied with the Reciprocal Rule and I could expect the shot to be reasonably sharp.

    Putting it into practice

    None of this is to say that you don’t need a tripod or that you shouldn’t carry one with you. If you do landscapes, city scenes, or other types of outdoor photography, having and using a tripod is super important.

    But when you find yourself without one, all is not lost. You might be able to get the shot anyway.

    The post What to Do When You Forget Your Tripod (or You Don’t Have One) appeared first on Digital Photography School.


    Digital Photography School

  • Report: Casio is pulling out of digital compact camera market

    According to a report on the Japanese Nikkei website, electronics manufacturer Casio—one of the pioneers in the digital camera segment—is exiting the digital compact camera market. The company generated a loss of 500 million Yen (approximately $ 4.6 million USD) in the fiscal year that ended March 2017, and has come to the conclusion that no market growth or increase in market share can be expected for the future.

    Casio had already silently withdrawn compact cameras from markets outside Japan (the last model in our database is the 12MP ZR5000 from 2016) but was still selling digital compacts in its home country until now.

    Casio EX-F1 from 2008

    The first Casio model in our camera database is the 1996 QV300, which offered a whopping 640 x 380 pixel resolution and a 47-106mm equivalent zoom range. Many of the company’s later models did not particularly stand out from the competition, however. The EX-F1 superzoom (pictured above) was the most notable exception. Its ability to shoot 60 frames per second still images and 1200 fps videos (at a tiny resolution) were unheard of at the time of launch.

    Have you owned a Casio digital camera, or do you still own one? Let us know in the comments.

    Articles: Digital Photography Review (dpreview.com)

  • Video: Adobe shows you how to make your own Profiles in Camera Raw

    The latest major release of Adobe Camera Raw, Lightroom CC, and Lightroom Classic CC unveiled all new “Profiles” to the world, including six new Adobe Raw profiles, over 40 Creative Profiles, and the ability to create your own Profiles if you want to lock your personal style into a preset.

    This video addresses the last of those options, showing you how to use Adobe Camera Raw to create your own custom Creative Profiles for use in ACR, LR CC and LR Classic CC. The tutorial was created by Josh Haftel, who cautions users from the get-go on Adobe’s blog:

    Keep in mind that creating a profile is rather complex, includes many steps, and should be considered rather advanced: proceed with caution.

    If that doesn’t scare you away, the 23-minute video shows you exactly how the process works: step-by-step. And if you’re feeling even more courageous, you can download this free Software Development Kit (SDK) that contains more information and some sample files as well.

    Finally, if the original description of Profiles wasn’t detailed enough for you—or if you really want to get into the nitty gritty of how Adobe designed its new profiles system for both Adobe Raw and Creative Profiles—check out this detailed white paper. The paper explains each of the six Adobe Raw profiles in great detail for those who really want to understand what’s going on behind the scenes.

    Articles: Digital Photography Review (dpreview.com)

  • Philips’ new 43-inch 4K HDR monitor earns world’s first DisplayHDR 1000 certification

    Philips has unveiled the new Momentum 436M6VBPAB 43-inch 4K HDR Quantum Dot Monitor. This model is a milestone for the display market, according to Philips, because it is the first to receive the VESA DisplayHDR 1000 Certification.

    As DPReview explained earlier this year, not all “HDR” monitors are created equal. In fact, until recently, there was no standard that helped define what was and what was not HDR. That’s why VESA created DisplayHDR: the first open standard for HDR displays.

    The DisplayHDR standard is split into three tiers: the baseline DisplayHDR 400, the mid-range DisplayHDR 600, and the ultra-high-end DisplayHDR 1000. A total of eight tests are used to determine which of the three certifications a monitor deserves, including a trio of peak luminance tests, BT.709 and DCI-P3 color testing; a couple contrast measurement tests; an HDR response performance test; and, finally, a bi-depth requirement test.

    By establishing a standard (assuming manufacturers adopt it) the display industry has simplified the shopping process. Rather than examining each display’s spec sheet, buyers can look for the DisplayHDR 400/600/1000 badge and rapidly determine whether the display truly meets HDR standards.

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    The DisplayHDR 1000 certification that Philips just achieved guarantees a minimum 10-bit encoding, 1,000 nits peak brightness, 0.5 nits cap on black levels, minimum of 90% DCI-P3 coverage, and 99% sRGB. Both the DisplayHDR 600 and DisplayHDR 1000 tiers are suitable for professional work, but 1000 is obviously the better option.

    VESA certification aside, the Momentum 436M6 monitor offers Ambiglow technology that adds “a new dimension to the entertainment viewing experience,” according to Philips. With Ambiglow, Momentum 436M6 monitors present a glow around the display that matches the colors and brightness on the screen. This “enlarges the screen,” says Philips, though it’s more of a unique ambiance for watching movies and playing games than something practical for work. Fortunately for those of us who might find this feature distracting, users have full control over Ambiglow.

    Finally, Philips’ new monitor features MultiView for working with multiple devices simultaneously. One example provided is using one side of the display for something interactive, such as using a PC, and the other side of the display for streaming content from a set-top box.

    Philips plans to launch the Momentum 436M6 some time this summer for $ 1,000.00 USD.

    Press Release

    New Philips Monitor the First to Achieve HDR1000 Certification

    he Philips Momentum 43” monitor is the first monitor to receive the new VESA DisplayHDR 1000 Certification

    Fremont, CA – Today EPI, the leading technology company and brand license partner for Philips monitors, announces the new Philips Momentum 43” 4K HDR Quantum Dot Monitor (436M6VBPAB), the world’s first HDR1000 monitor with the new Video Electronics Standards Association (VESA) DisplayHDR 1000 Certification. The Momentum also features Ambiglow technology. The Philips Momentum 436M6’s combination of HDR 1000 with Ambiglow leads to an incredibly immersive entertainment viewing experience.

    The Momentum 436M6 features Quantum Dot Color and DisplayHDR 1000 for a wider range of more accurate colors – especially dark reds and greens – that stay crisp and clear even in bright light. DisplayHDR 1000 delivers a dramatically different visual experience. With a peak brightness of up to 1,000 cd/m2, incomparable contrast and captivating color, images come to life with much greater brightness while also featuring much deeper, more nuanced darks. It renders a fuller palette of rich new colors seen on the display.

    DisplayHDR is the display industry’s first fully open standard specifying HDR quality. This standard spans across three performance tiers: DisplayHDR 400 (baseline), 600 (mid-range) and 1000 (high-end). These specifications are established using eight specific parameter requirements and associated test including: three peak luminance tests, two contrast measurement tests, color testing of the BT.709 and DCI-P3 color gamuts, bi-depth requirement test and a HDR response performance test.

    “As with any new technology there can be confusion out there regarding HDR specs and benefits. VESA’s new DisplayHDR standard will make monitor shopping easier by offering consumers a comparable standard to judge HDR picture performance between monitors,” stated Chris Brown, Philips Monitors Global Marketing Manager, TPV. “We are very excited to launch the world’s first DisplayHDR 1000 monitor, the Philips Momentum 43-inch 4K Display. DisplayHDR 1000 level of picture performance will offer a more intense gaming and entertainment experience. The contrast and color really bring action scenes alive, like we’ve never seen before.”

    The Momentum 436M6 uses Ambiglow technology to add a new dimension to the entertainment viewing experience. This innovative technology enlarges the screen by creating an immersive halo of light around the outside of the screen. It uses a fast internal processor to analyze the incoming image content and continuously adapts the color and brightness of the emitted light to match the image. Users can adjust the ambience to their liking. It’s a unique and immersive viewing experience especially suited for watching movies, sports or playing games.

    With its 4K UHD resolution, the Momentum 436M6 can take advantage of MultiView technology. MultiView enables active dual connect so that you can work with multiple devices like PC and Notebooks simultaneously, making complex multi-tasking work a breeze. It’s easy to watch a live football feed from a set-top box on one side, while playing a gaming console on the other. This technology makes the Momentum 436M6 perfect for extreme productivity or entertainment.

    The Philips Momentum 436M6 will be available later this summer for $ 999.99.

    Articles: Digital Photography Review (dpreview.com)

  • 4 of the Most Common Composition Mistakes In Photography

    Common composition mistakes in photography

    I’ve seen photographers make lots of mistakes when it comes to composition. That’s not a criticism – we all get things wrong from time to time. But recognizing mistakes and putting them right is a key part of improving your composition skills. In that spirit then, here are the most common composition mistakes and errors that I’ve seen photographers make.

    Mistake #1: Learning the rule of thirds – and nothing else

    The rule of thirds is basic composition theory and it’s important to understand it. But the mistake some photographers make is never trying to learn anything else about composition.

    For example, take a look at the photo below. The tree is located on an intersection created by dividing the frame into three, according to the rule of thirds.

    Common composition mistakes in photography

    But is the rule of thirds the only principle of composition used in this photo? No, it isn’t. Let’s look at the other factors.

    • There is negative space around the tree. It gives the subject room to breathe and creates a sense of space.
    • The tree is the main focal point and there is nothing to compete with it.
    • The hills in the background are faded due to the weather conditions (it was raining when I made the photo), adding a sense of depth.
    • I used a long exposure (125 seconds) to blur the water and the leaves of the tree, adding a sense of motion or time passing to the photo.
    • I converted the photo to black and white to create drama.

    As you can see there’s much more happening in this photo, from the point of view of composition, than simply placing the tree on a third. Once you understand how these ideas work you can use them in other photos and improve your composition skills at the same time.

    Mistake #2: Not including foreground interest

    This is a common mistake in landscape photography and some documentary photography. That’s because photographers in these genres often use wide-angle lenses, which usually include lots of foreground detail in the composition.

    The idea of foreground interest can be a hard concept to grasp at first but it makes sense when you start to think about it.

    For example, I made the following photo with a 14mm lens (a wide-angle on my APS-C camera). I wanted to tell a story about the couple in the market. Using a wide-angle lens helped me include context – the piles of vegetables in the foreground that the couple was selling. The vegetables provide foreground interest and support the story.

    Common composition mistakes in photography

    The same idea also applies to landscapes made with wide-angle lenses. In the photo below the ruins is the main subject. The flowers in the foreground add interest in the bottom half of the frame.

    Common composition mistakes in photography

    Mistake #3: Not paying enough attention to the background

    Sharp backgrounds are common in documentary styles of photography and can help tell a story about the main subject. For example, in the photo below the main subject is the three men in the photo – the barber, his customer, and the man looking directly at the camera.

    Common composition mistakes in photography

    The detail in the background supports the main subject and helps tell its story. We can see every detail, from the wall behind the men to the barber’s tools and products. These details are an interesting and important part of the photo.

    Sometimes the opposite approach is required and you need to blur the background out to remove distractions. Part of the skill of being a photographer is knowing when to blur the background and when to keep it sharp. In some portraits (like the one below, made with an aperture of f/1.8) you can use a wide aperture to blur the background and remove details that might distract from the model.

    Common composition mistakes in photography

    The mistake I see photographers make is not thinking about these things and taking enough care to make sure the background suits the subject.

    Mistake #4: Not working the subject

    The final common composition mistake I see photographers make is failing to work the subject. This means that you take as many photos as you can until you’ve exhausted all the creative possibilities. Sometimes you only need to take three or four photos for this to happen. At other times you may take 20 or 30. Either way, the idea is to explore different viewpoints and compositional possibilities.

    The reason this works is that the first point of view you use is not necessarily the best one. If you have the opportunity, it’s a good idea to try different points of view, different focal lengths, and maybe even different aperture and shutter speed settings.

    This is where you can think through some of the concepts discussed earlier in the article. A good question to ask yourself is, “How can I make the photo more interesting?”

    Perhaps you need to pay more attention to the background. Maybe you need to include some interesting foreground detail. Perhaps the photo would benefit from including some negative space or using a slower shutter speed to blur parts of it. The answers depend on the subject and how much time you have to explore it.

    Example of working the scene

    Here’s an example. Below you can see four photos I made of an interesting building, each one utilizing a different point of view and composition. They were part of a sequence of 25 photos I made before I felt there was nothing else I could do.

    Common composition mistakes in photography

    Common composition mistakes in photography

    Common composition mistakes in photography

    Common composition mistakes in photography

    Conclusion

    There are many mistakes that it’s possible to make when it comes to the composition in photography, but these are the most common that I’ve seen. What composition mistakes have you seen people make, or are you guilty of making yourself? Please let us know in the comments below.

    Mastering Composition Book Two

    Want to learn more about composition? Then check out my wildly popular ebook Mastering Composition Book Two. It contains 20 lessons that will help you get better at composition, no matter what your skill level! Use the code DPS20 for a 20% discount on your first order.

    The post 4 of the Most Common Composition Mistakes In Photography appeared first on Digital Photography School.


    Digital Photography School

  • Xiaomi unveils Mi 6X with dual-camera and AI-powered scene detection

    Dual-camera equipped devices have really been taking off this year, and with the Mi 6X, Chinese manufacturer Xiaomi has just thrown its hat into the dual-cam ring as well. As has been the norm with virtually all recent device launches, Xiaomi is putting a lot of emphasis on the Mi 6X camera capabilities: claiming the new model competes with rivals such as the iPhone X or OPPO R15 in the imaging department.

    We’ll have to get hands on a test unit to confirm if that’s true, but the camera specs do look promising. The main camera uses a 1/2.9″12 MP Sony IMX486 sensor and F1.75 aperture lens. The secondary camera comes with a 1/2.78″ 20MP sensor and the same lens specifications as the main camera. Xiaomi says the secondary camera uses a 4-to-1 pixel binning mode for reduced noise levels. It is also deployed to generate a fake-bokeh portrait mode.

    The front camera uses the same Sony IMX376 sensor as the secondary unit, which should ensure image quality that is a cut above your average small-sensor front camera.

    It’s not all about hardware, though. Like some other recent high-end devices, the Mi 6X uses artificial intelligence to detect more than 200 scene types and adjust camera settings automatically—including 12 different portrait scenes. According to Xiaomi, the AI algorithms are capable of learning, providing better detail and subject separation in portrait mode the longer you use it.

    Non-camera specifications include a Qualcomm Snapdragon 660 chipset, 4/64 GB, 6/64 GB, and 6/128 GB memory combinations and a 5.99-inch LCD display with Full HD+ resolution. Security is covered with a fingerprint reader on the back and Face Unlock support.

    Pricing is in line with Xiaomi’s tagline: “the same specifications, at half the price.” In China, prices start from CNY 1,599 (approximately $ 250 USD) which, considering the specifications, makes the Mi 6X an enticing option. The global version of the device will likely be called Mi A2 but no international pricing information has been provided yet.

    More information, including some camera samples, is available on the Xiaomi website.

    Articles: Digital Photography Review (dpreview.com)

  • This Lamborghini is ‘the world’s fastest purpose-built camera car’

    A post shared by Nathan Garofalos (@nathangarofalos) on

    If you like fast cars and expensive camera gear, look no further. What you see above is a Lamborghini Huracan with a $ 500,000 dollar camera gimbal attached to the front—a machine its creators have dubbed “the world’s fastest purpose-built camera car.”

    Created by Incline Dynamic Outlet (IDO), a California-based company that usually specializes in aerial camera rigs, the so-called Huracam was built over the course of ‘many months.’

    The frame for this elaborate setup is a $ 200,000 Lamborghini Huracan. Attached to the inside of the hood of said Huracan is a half-a-million dollar camera gimbal setup created by Gyro-Stabilized Systems (GSS) and fabricated to fit the vehicle by IDO. Inside the gimbal is a RED Helium 8K camera with the option to mount multiple lenses—a fittingly expensive camera for an unbelievably expensive camera car.

    If you’re wondering how IDO was able to mount the gimbal inside the hood of the Lamborghini, it’s because the Huracan is a mid-engine vehicle. This means the massive 610-horsepower V10 engine sits towards the rear of the car, centered behind the driver and passenger seats, effectively turning the hood of the car into a trunk.

    Unmodified, the Lamborghini Huracan has a zero-to-60 speed of 3.2 seconds and a top speed of more than 200 miles per hour. We don’t have the specs on how well it performs with the massive camera attached to the front, but it’s safe to say there’s a slight sacrifice in speed and acceleration.

    Below is a gallery of Instagram posts showing off the Huracam in all its glory:

    A post shared by The Huracam (@thehuracam) on

    A post shared by The Huracam (@thehuracam) on

    A post shared by The Huracam (@thehuracam) on

    A post shared by The Huracam (@thehuracam) on

    A post shared by The Huracam (@thehuracam) on

    A post shared by ArmedBandit Media (@armedbandit) on

    A post shared by Trevor Thompson (@trevorfromwherever) on

    There’s no video captured with the 8K setup yet, but the first snippets shouldn’t be too far away. The team has already partnered up with Sharp Electronics for the first project with the Huracam.

    Articles: Digital Photography Review (dpreview.com)

  • Here’s how to create a super resolution photo with any camera

    This is a super resolution image, creating by combining four photos in Photoshop.

    We recently tested out the Pentax K-1 II’s new hand-held Pixel Shift mode which combines four images to create a ‘super resolution’ file in-camera with better detail, dynamic range and lower noise. Sadly, it also results in some unwanted processing artifacts.

    But you can also create a super resolution photo without using Dynamic Pixel Shift by shooting a series of handheld images and combining them in Photoshop. Super resolution works essentially by sampling a scene multiple times with slight shifts in framing, which allows details to be localized with sub-pixel precision (since shifts are unlikely to be perfect multiples of one pixel). The result is a file with improved resolution, less noise, more dynamic range but no artifacts. The best part is you can do this with the camera of your choosing. For the sake of this example, we did it with the Pentax K-1 II.

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    Following a simple step-by-step Photoshop recipe (listed below), we created a super resolution file stacking four images – the same number used by Dynamic Pixel Shift – and one stacking 20 images, just for fun. We down-sampled the files to the original resolution (36MP). Right off the bat, the difference between our four image stack and a standalone Raw file is like night and day.

    Similarly, the difference$ (document).ready(function() { $ (“#icl-4014–1567822084”).click(function() { ImageComparisonWidgetLink(4014); }); }) between our 4 image stack and Dynamic Pixel Shift mode is also substantial. Areas where Dynamic Pixel Shift displays artifacts$ (document).ready(function() { $ (“#icl-4010-939092746”).click(function() { ImageComparisonWidgetLink(4010); }); }) look clean in our 4-stack. This is observable throughout our sample scene$ (document).ready(function() { $ (“#icl-4011–1901282620”).click(function() { ImageComparisonWidgetLink(4011); }); }). Interestingly, the difference between the 4 image and 20 image super resolution examples is less noticeable$ (document).ready(function() { $ (“#icl-4012–1917693503”).click(function() { ImageComparisonWidgetLink(4012); }); }). While there is some advantage$ (document).ready(function() { $ (“#icl-4013–396364473”).click(function() { ImageComparisonWidgetLink(4013); }); }) to stacking more images, returns are diminishing.

    You’ll notice we’ve included two versions of our 4-stack and 20-stack: Median and Average, which refer to the stacking method used in Photoshop (described in detail below). Overall, the median method handles ghosting from moving objects$ (document).ready(function() { $ (“#icl-4015-104250703”).click(function() { ImageComparisonWidgetLink(4015); }); }) better than the averaging method.

    Methodology

    There are numerous tutorials providing instructions for creating a super resolution image in Photoshop – this one by Ian Norman on PetaPixel is among our favorites. Distilled down to its simplest terms, there are four easy steps:

    1. Bring all images into Photoshop as a stack of layers
    2. Resize the image to 200% width and 200% height using ‘Nearest Neighbor’
    3. Auto align all the layers
    4. Average the layers by setting each layer’s opacity to 1/layer number (the 1st layer will be 1/1 so 100% opacity, the 2nd layer will be 1/2 so 50% opacity, and the 4th layer will be 1/4 or 25% opacity, and so on).
    5. Sharpen the image using a Radius setting of 2, and a suitable Amount setting (we used 200% for the 4 image stack and 300% for the 20 image stack – the more images you stack the more amenable the composite will be to aggressive sharpening)

    Alternatively, for the fourth step you can convert all layers to a ‘Smart Object’ and change the stacking mode to ‘Median’. This can help deal with ghosting from movement in your final image, but can also take longer to process.

    Finally, you can resize the final output by 50% width and height (we prefer Bicubic resampling for this step) to get the shot back to its original resolution, but with far more detail and cleaner output. Or, you can opt to save the high-resolution file if you print big, but just keep in mind that for a 36MP camera, that’s a 144MP file. You can always re-upscale a super resolution file you’ve shrunk, and if you use the ‘Preserve Details 2.0’ resampling method in Photoshop to do so, the results are often impressive and hard to distinguish from the higher resolution super resolution file.

    Takeaway

    You don’t need any particularly special camera to generate images that look like they were taken with a higher resolution, larger sensor camera. Just use the technique outlined here or in Ian’s article.

    And if you’re shooting landscapes and cityscapes, you likely already have multiple photos of the same composition captured with changing light. Chances are that due to the wind, natural vibrations, etc., the shots have at least some sub-pixel movement between them (you can always gently nudge your camera between exposures to ensure there’s at least some shift). So why not go back through your library and take advantage of super resolution?

    Articles: Digital Photography Review (dpreview.com)