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SLR Magic announces new MicroPrime CINE lenses for Sony E-Mount

Credit: SLR Magic

Lens maker SLR Magic is exhibiting a new lineup of cinema lenses at NAB 2018 this year. The new MicroPrime CINE lenses are designed for the Sony E-Mount, and there are five of them in all. The first four—a 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5—will all be released in May, and a fifth 18mm T2.9 will be ready “by Q3 2018.”

According to SLR Magic, the MicroPrime lenses are designed with an image circle large enough to cover full-frame sensors, a similar weight distribution across the lineup for easy lens swapping when using a gimbal, and an internal focusing mechanism. The company also says the focus gears were designed with “a throw slightly longer than photographic lenses but still manageable when a motorized follow focus is not used.”

The image below shows a basic set of specs for all five of the MicroPrime CINE lenses, although there is one mistake in the table: the lineup features an 82mm filter thread across all five lenses, not 77mm as the image below shows.

Basic spec sheet for the 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5 MicroPrime CINE lenses. Credit: SLR Magic

SLR Magic is exhibiting the first four MicroPrimes at NAB 2018 this week, but if you’re not in Vegas you can expect to see these lenses at authorized SLR Magic dealers starting in May for $ 800 each. The MicroPrime CINE 18mm T2.9 will join its siblings sometime in Q3 2018.

Press Release

The SLR Magic MicroPrime CINE lens series in E-mount

Hong Kong, China (April 9^th, 2018) – SLR Magic will present a new family of CINE lenses, MicroPrime series, to the public in the upcoming NAB Show 2018 in Las Vegas at the SLR Magic booth (Upper Central Hall, C-2663). The SLR Magic MicroPrime CINE 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5 are the first lenses of the family.

The SLR Magic MicroPrime CINE lenses are designed to be compact and robust for use in a professional setting. The MicroPrime CINE lenses have a large image circle that covers up to full frame. Witness markings on the lenses are all calibrated for the accuracy professionals need in the field. Each lens is balanced, with a similar weight distribution so that recalibration is not required upon switching lenses when using a 3-axis gimbal. Lens gears are built-in with a throw slightly longer than photographic lenses but still manageable when a motorized follow focus is not used. Each lens features an internal focusing mechanism, and comes with a standard 85mm diameter suitable for matte box use. In the situation where a smaller setup is required, each lenses also comes with a 82mm filter thread for use with 82mm Fixed ND filters.

We place the highest priority on the development of our lenses, to fulfill the demands of professional cinematographers.

SLR Magic is exhibiting the first lenses of the MicroPrime cinema series at the 2018 NAB Show. The SLR Magic stand will be in upper central hall (C-2663) during the show, which is to be held in Las Vegas from the 9^thto the 12^thof April 2018.

The SLR Magic MicroPrime CINE 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5 (MSRP: $ 800 US) will be available from authorized SLR Magic dealers starting in May 2018. The SLR Magic 18mm T2.9 will be ready by Q3 2018.

Articles: Digital Photography Review (dpreview.com)

April 11, 2018
iFixit teardown reveals OIS on all three cameras in the Huawei P20 Pro

Credit: iFixit

The team at iFixit has performed its usual teardown on the new Huawei P20 Pro triple-cam equipped smartphone to assess the device’s repairability. The score for the latter is 4/10—which means it’s probably advisable to leave repairs to trained service personnel—but far more interesting to us photographers is the detailed look iFixit got at the Huawei triple-camera setup.

You can see the full teardown here, but the main and most pleasant surprise is that Huawei actually built in more stabilization than their specs revealed.

In the official Huawei specifications, only the tele-lens with 80mm equivalent focal length is listed as optically stabilized, while the RGB main camera and the the monochrome secondary unit rely on the Kirin chipset’s neural processing unit for ensuring sharp images. However, according to the iFixit engineers, all three cameras come equipped with OIS hardware, which makes us wonder if there are plans to activate this hardware via a firmware update at some point in the future.

Credit: iFixit

The image above shows the triple-camera in all its glory. The primary RGB camera is placed at the center of the setup and uses a large 40MP 1/1.7 inch sensor with an F1.8 aperture and a maximum ISO setting of 102,400, on the left you can see the 20 MP monochrome camera with F/1.6 aperture, and the 8MP/F2.4 telephoto is on the right. Next to the triple-camera the engineers have placed the 24MP front unit.

For more information and images, as well a video showing the OIS hardware, check out the full report on ifixit.com.

Articles: Digital Photography Review (dpreview.com)

April 11, 2018
NAB 2018: Watch these high-speed camera robots ‘dance’ at the Nikon booth

Nikon-owned Mark Roberts Motion Control (aka MRMC) brought its high-speed Bolt and Bolt Junior ‘cinebot’ camera robots to NAB this year. And in a fit of “just because we can, probably means we should,” the company decided to choreograph a little dance number for the two robots on the showroom floor.

DPReview decided to skip NAB this year, but friend of the site Jim Goldstein graciously allowed us to share his two videos of the bots in action. To quote Jim, it seems it’s “Out with ‘booth babes’ at NAB and in with ‘booth bots’.” We 100% support this change.

You can see the full routine from two angles in the video above and below.

Videos by Jim M. Goldstein and used with permission.

Articles: Digital Photography Review (dpreview.com)

April 11, 2018
DJI’s new Master Wheels and Force Pro offer ultra-precise gimbal control
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Amid the wares DJI introduced at NAB 2018 this week are a pair of professional gimbal control tools designed for “every level of filmmaker and scenario.” Called the Master Wheels and Force Pro, these two DJI products are built to control the company’s Ronin 2 and Ronin-S gimbals, offering high precision control and hoping to simplify the shooting of complex and/or fast-moving scenes.

DJI Master Wheels

Master Wheels is a control device that adjusts gimbal movements using a trio of weighted wheels. These wheels control roll, pan, and tilt in part using ultra-high-res optical encoders capable of detecting “the subtlest” adjustments, DJI explains. Each wheel’s angle can be adjusted, and the wheels can also be detached.

Master Wheels supports both 2.4GHz and 5GHz wireless transmission and has an operating distance of more than 1.9 miles / 3km. Latency is as low as 10ms, and users have the option of detaching the wireless transmitter to remotely mount it with a 5m / 16ft cord, providing a stronger signal.

Other features include dials to control dampening, speed, and smoothness, support for 1/4″ and 3/8″ accessories, and a dedicated Mitchell mount on the main console’s base.

DJI Force Pro

The other product announced at NAB 2018, Force Pro, enables users to remotely control gimbals via a 2.4GHz/5GHz wireless transmission system and DJI’s remote control tech. Force Pro also offers latency as low as 10ms, plus a CANBUS cable physical tether with a 200Hz signal for avoiding interference issues.

The control tool also features a built-in Inertial Measurement Unit (IMU) and compass that work together to prevent gimbal drifting and improve movement precision. Force Pro features up to 5 hours of battery life and supports recharging using the CANBUS port, USB-C, and a DC-in port.

According to DJI, users unfamiliar with more complex systems, such as Master Wheels, can “quickly become proficient” with a product like the Force Pro. To improve efficiency, DJI offers an optional handlebar, which itself can be used to mount accessories including thumb controllers and monitors.

Availability

Both Master Wheels and Force Pro are available to preorder now from DJI flagship stores and authorized pro dealers, though shipping doesn’t start until June. Master Wheels is offered in three variants: a single wheel control module for $ 2,500, a 2-axis model for $ 6,000, and a 3-axis model for $ 8,000. Force Pro costs $ 1,200.

To learn more about either of these gimbal controllers, head over to the DJI website.

Press Release
DJI Reveals New Filmmaking Tools at NAB 2018, Providing Professional Gimbal Control Solutions For Every Level of Filmmaker

DJI Reveals New Filmmaking Tools at NAB 2018, Providing Professional Gimbal Control Solutions For Every Level of Filmmaker

DJI Master Wheels And Force Pro Offer Precise And Intuitive Control Over Gimbals

DJI, the world’s leader in creative camera technology, introduced new cinema grade tools at NAB 2018 with DJI Master Wheelsand DJI Force Pro that offer professional gimbal control solutions for every type of filmmaker and scenario. Built to deliver precise gimbal movements, these new products offer filmmakers reliable tools that help capture complex shots with ease while adding a cinematic quality to any scene. Master Wheels and Force Pro control DJI’s Ronin 2 and Ronin-S gimbals, expanding the creative possibilities for cinematographers of varying experience levels.
- Master Wheels: A professional level, high-precision gimbal control system that applies a 3-wheeled form to control pan, tilt and roll. Smooth, stable and precise movements create a professional look, while an easy to use and functional design make filming complex footage simpler.
- Force Pro: A motion sensing system that uses DJI’s industry-leading remote-control technology to precisely synchronize the movement of Force Pro with the gimbal, helping capture cinematic scenes with ease. Intuitive and easy to learn, Force Pro breaks down the barriers that come with understanding the operation of more complex gimbal control systems.
“Creating these gimbal systems demonstrates our dedication to every level of filmmaker, whether you are an amateur just beginning your journey or a seasoned veteran with decades of experience,” said Paul Pan, Senior Product Manager at DJI. “Force Pro offers simplicity and functionality for filmmakers seeking a more intuitive tool, and Master Wheels brings the highest degree of precision control when working with a gimbal setup.”

Master Wheels – Bring Precise Control To Your Scene

DJI Master Wheels are a high-precision gimbal movement tool that utilizes three weighted wheels to adjust pan, tilt and roll with extreme accuracy. Ultra-high resolution optical encoders detect the subtlest of wheel adjustments while complex algorithms translate that movement to enhance the level of accuracy of the gimbal. Master Wheels employ the latest sensor positioning technology along with dual-band low-latency 2.4/5.8GHz wireless transmission technology to ensure a stable and reliable connection from the main console to the moving rig with a latency as low as 10 milliseconds and an operating distance of over 1.9 miles.

Crafted for efficiency and ease of use, Master Wheels have an intuitive user interface offering quick access to gimbal settings along with the status of equipment. Three user customizable buttons offer the ability to save shortcuts while on-board motion capture storage enables the filmmaker to easily repeat the motion of the rig, allowing filmmakers to dedicate their attention to other aspects of the scene such as the actresses and actors. Built-in three-stop switches are capable of adjusting direction for each axis while dials manipulate speed, smoothness and dampening. Additionally, Master Wheels can change vital camera settings from the main console for a rapid response to any modifications an operator might need to make.

A modular design makes Master Wheels functional and versatile, helping to achieve the shot, no matter the situation. The three stainless steel wheels and the control modules have the ability to be swiftly detached from the main console and connected with a wire for space constrained shooting situations. The wireless transmitter can also be detached and remotely mounted via a 5-meter cord in order to gain a stronger signal when needed.

Filmmakers have the flexibility to attach various accessories using multiple 1/4” and 3/8” threads located on the main console such as external monitors. For added comfort during operation, the angle of one control module can be manually adjusted based on the preference of the user. Master Wheels can be mounted on a variety of platforms including inside vehicles, tripods and more with a dedicated Mitchell mount on the base of the main console.

Compatibility with an ecosystem of DJI products, as well as support for third-party gimbals, broaden the versatility of Master Wheels on set. Operators can direct gimbal movements using DJI’s professional products including the Ronin 2 and Ronin-S, taking full advantage of the latest in gimbal technology. DJI TB50 intelligent batteries, the same model used on the Ronin 2 and Inspire 2, power the system for up to 18 hours. For filmmakers with non-DJI equipment, Master Wheels support various third-party gimbals and can be powered through the DC-IN port to utilize V-Lock batteries from third-party manufacturers.

Force Pro – Natural Movements Through Intuitive Design

Utilizing DJI’s state-of-the-art remote-control technology, Force Pro precisely synchronizes the movement of the operator with the movement the gimbal, helping capture smooth imagery even in complex or fast-moving scenes. An embedded compass and Inertial Measurement Unit (IMU) work in tandem to ensure precise movement and prevent the gimbal from drifting to maintain a consistent frame. Its low-latency dual-band 2.4/5.8GHz wireless transmission system offers near real-time control with a communication latency as low as 10 milliseconds. Force Pro can also be physically tethered to the gimbal using a CANBUS cable touting a 200Hz signal to eliminate any chance of connection interference while on set.

Designed for ease of use, Force Pro is an intuitive tool that filmmakers will quickly become proficient using, even with minimal familiarity operating gimbal control systems. Those lacking experience working with more complex products such as Master Wheels or even joysticks, the operation of Force Pro is quickly understood, breaking down barriers that come with using more advanced equipment on set. An optional lightweight handlebar adds to the efficiency of Force Pro, offering a total solution for handheld operation with the ability to mount various accessories to the handlebar, including monitors, video transmission systems, and thumb controllers. Operators can conveniently set two custom speed profiles and a built-in ultra-bright OLED screen provides equipment status along with the ability to control gimbal and camera settings for fast adjustments to a changing scene.

Force Pro is compatible with DJI Ronin 2 and Ronin-S gimbals along with other third-party systems. Operators can rely on Force Pro during extended film shoots with a battery life of up to 5 hours when fully charged, and recharging can be achieved several ways, via the USB-C, CANBUS port, or the built-in DC-IN port compatible with third-party V-Lock batteries.

Price and Availability

Master Wheels will be available for pre-order on April 10th, 2018 at authorized pro dealers or through DJI flagship stores. The complete 3-Axis Model will retail for $ 8,000 USD, 2-Axis Model for $ 6,000 USD and Single Wheel Control Module for $ 2,500 USD. Master Wheels will begin shipping in June 2018. For more information on all the new features and capabilities of Master Wheels, please visit www.DJI.com/Master-Wheels.

DJI Force Pro will be available for pre-order on April 10th, 2018 at authorized pro dealers or through DJI flagship stores. Retail cost will be $ 1,200 USD and will start shipping in June 2018. For more information on all the new features and capabilities of Force Pro, please visit www.DJI.com/Force-Pro.
Articles: Digital Photography Review (dpreview.com)
April 11, 2018
How to Make Fake Shallow Depth of Field Using Photoshop

Do you see your photo and wish the subject stood out a bit more? Does your photo look somewhat flat? Or maybe the background has people or objects that are unappealing? All of these can be fixed with one simple thing: a shallow depth of field.

In this tutorial, you will learn how to achieve this in post-production using Photoshop.

Let’s start by clarifying that depth of field is the area of your photograph that is in focus, it’s also called focus range. There are three factors that affect your depth of field.

First is the aperture or f-number. The smaller the number, the smaller the focal range and vice versa, so f/5.6 will have a shallower depth of field than f/22. The second and third factors are very linked together; the focal length and the distance to the subject.

If you are using a telephoto lens and you can, therefore, stand farther from the subject you’ll have a shallower depth of field than standing closer with a wide-angle lens. You can learn more about this relationship and its effect on depth of field in my previous tutorial, How to Use Still-life Subjects to Understand Focal Lengths.

However, if you didn’t manage to set up these things when you were shooting, or you still need more (blur in the background) you can also fake the effect of shallow depth of field in post-production. Here are two techniques to do it using Photoshop.

Technique #1 – When the subject and the background are separated

Before image example.

With your image already opened in Photoshop, start by duplicating the layer by going to Menu > Layer > Duplicate Layer, then make the canvas bigger. You can do this by going to Menu > Image > Canvas Size.

It doesn’t matter the size of the canvas or the direction because you’ll be cropping it later. However, it’s important that there’s enough room for your main subject to be dragged into it on the next step.

Then select your subject. It doesn’t have to be precise so you can simply use the Lasso tool and draw a selection around it. Now change to the Content-Aware Move tool which you’ll find hidden behind the Healing Brush on the tools panel. Next, drag your selection out of the image into the empty canvas size that you created before.

Once you drag it out, Photoshop’s algorithm will fill the space you’re leaving empty with the information from the surrounding area. If you skip this step and blur the background with the subject still on it, the colors will spill out so it’s important that you do this part.

Now you can crop out the extra background, including the subject you dragged out and change the canvas back to its original size. Your background is now ready for you to blur it. Go to Menu > Filter > Blur > Field Blur. When the blur applies, a wheel appears in the center with a percentage on how strong the blur is. Adjust it to your liking.

With this blurred layer still selected, add a layer mask to it by clicking on the button that looks like a rectangle with a circle in the middle on the bottom of the Layers Panel. Then paint on the mask with a black brush, over the subject you want to keep sharp from the original image.

The part that you painted black is now transparent so the layer beneath it, which is your original image will be visible. Finally just flatten your image and you’re done!

Technique #2 – When the objects are closer together

The technique you just learned is very useful if your subject is separated from the background, but what happens if you want a shallower depth of field because the objects are closer together? Or because it’s the same subject but you only want a part of it in focus?

In these cases, you need to create an effect that is graduated (fades from one end to the other). To do this here is another technique.

First of all, you need to duplicate the layer by going to Menu > Layer > Duplicate Layer like you did in the previous example, or use the shortcut by dragging the background layer into the Duplicate layer button on the bottom of the panel (or hit Ctrl/Cmd+J).

Then apply a Layer Mask to the new layer by clicking on the mask icon. Inside the mask, you will use the Gradient tool to mark where you want the sharp areas. In this case, I used the circular one but you can use a linear one or whichever is best for your image. I turned off the background layer so you see what I mean.

Now go to Menu > Filters > Blur > Lens Blur and a new window will pop-up. Here you’ll see your image with the filter applied and a panel for adjustments on the right side.

It’s important that you set Layer Mask as the source, that way the gradient selection that you did before is what will determine how the filter gets applied.

Once you do that, the Blur Focal Distance slider will be enabled and you can start adjusting it to your liking. I also adjusted the radius and blade curvature, but you should move all the settings to get a feeling for the effects until you’re satisfied.

Finishing up

Hit OK to apply and flatten the image to finalize the result. That’s it!

Remember that every image will need a different treatment to look realistic because there are many things that determine the depth of field so keep experimenting and show us the results in the comments section.

The post How to Make Fake Shallow Depth of Field Using Photoshop appeared first on Digital Photography School.

Digital Photography School

April 11, 2018
Choosing the Right Camera Bag for Outdoor and Wildlife Photography

Choosing a camera bag as a photographer can seem like a never-ending task, with no single model ever seeming to fit perfectly for all types of occasions. As wildlife and nature photographers, we are outdoor people. So predominately a backpack certainly makes the most sense in terms of getting our gear to the location, in a safe and comfortable manner, while also freeing up our hands for shooting or negotiating tough terrain.

Of course, a decent bag is essential when carrying and transporting heavy and expensive equipment. Protection is a key consideration, not only for the expensive gear, of course, but also for your back! Poorly designed packs that lack adequate padding and harnesses can be real torture on a long hike. If fitted wrong, long term that can manifest as back problems, something none of us want to increase our risks of getting. So picking a good camera bag is certainly worth spending some time on.

Load Capacity

One of the first questions you need to ask yourself when choosing a camera bag or backpack is about the load capacity. How much photographic gear will you take, how much personal stuff do you need, do you need a laptop, or other items as well as your main kit? These are all considerations to think about.

A good way to gauge the size of bag that you need is to lay out your camera gear as if it is going to be in a bag.How would you like it to fit, what cameras would you want to kit up in which combinations? Laid out on the floor, it will give you a good representation of the size of camera bag you’re going to require and what sort of size main compartment you’ll be in need of to house your core gear.

If you use long telephoto prime lenses, often you’ll find you need the largest of packs in order to fit them all. Especially if carrying additional lenses and back up bodies is something you require.

Strong durable materials.

Customize the Inside

Of course, for those of us who work with a variety of kits, from large lenses to smaller landscape packs, customization is also a factor. If a bag is solely focused on telephoto shooting, and maximizing on camera gear, it can seem cumbersome on days when you only require a single camera and pair of short lenses. To handle this issue, bags that have flexible inserts can be a great feature. They have the ability to swap out camera gear for personal gear, or just strip down the bag for a smaller load.

In regards to the internal compartment’s design, most camera bags offer movable, custom dividers. These allow you to make sections within the main pack for housing and organizing your gear while protecting it from knocking and banging around while in transit.

In some models, the dividers are thinner to maximize gear space, with others offering more protection. However, I often find that due to the fact most companies use a velcro system (hook and loop) for repositioning the dividers, you can mix and match to get that perfect setup across bags. Yes, this is because you’ll probably end up buying a few camera bags.

Travel-Friendly

In addition to simply considering the capacity of a new camera bag for your gear, it’s also important to consider the size for travel. If you’re planning to use the pack when flying, be sure to check that it falls within the airline’s maximum allowance for carry-on luggage. There’s nothing worse than potentially having your bag gate checked because it’s too large.

Companies such as ThinkTank have a range of options for those who fly regularly, but for wildlife photographers, they are less practical for field work, once at your destination.

Another great option from the F-stop range of packs is removable inserts which then allow you to check the main bag, taking out the photography gear within the insert and safely storing it on board. A great best of both worlds solution. However, in my experience, camera bags with a noted reference to airline carry-on compatibility are rarely a problem.

Harness System

The carrying system is one area I can’t stress the importance of enough. When you are carrying heavy loads (my pack can often be over 20kg / 44lbs) having a comfortable and supportive back system is key to aiding in comfort and protecting your back!

With heavy loads, a padded waist belt is a must. When carrying a fully loaded kit, you’ll want the weight to be taken by your hips and not your shoulders. Waist belts can range in padding from thick to thin, with the former being great for longer hikes and heavy loads. However, the latter is better when traveling and pushing your bag into an overhead locker on a flight.

Good systems will have a strong buckle. Some even feature pockets on the waist belt that are handy for fast-access gear, such as a compact camera, trail snack, or a spare battery.

In regards to the shoulder straps, padding is less of a problem as long as they fit well (as the weight should be taken by the hips). Personally, I find straps that are too wide with too much padding uncomfortable. So I prefer the thinner, hiking-style designs of the more outdoor geared packs.

Companies such as F-Stop and LowePro offer good options. However, they are still not up to the perfection of true outdoor packs such as Osprey. In addition, some packs offer the customization of the back length. That is key to getting a perfect fit, adjustable heights in the back system means less stress pulling over the shoulders, again reducing fatigue on the trail.

If you hike a long way, these added features really make a difference. When testing the harness systems you’ll need to do it in person. So take your gear to your local camera store, load the bag up with weight, and get it fitted properly. Adjust the length of the back (if you can) to your height, so the waist belt is just above your hips and the shoulder straps come neatly over without pulling upwards, keeping tight, but not strained to your frame. Adjusting the sternum strap will keep them in position and aid in fit.

Extras

In addition to the main compartment and harness, there are also a number of extra features to look out for.

Rain Cover

Rain covers are great for working in the elements as they add extra protection, from rain dust and sand, as well as also being handy to pull out and use as a dry/clean place to set your bag down on the ground. I prefer the type that is sewn into the pack, as they are less likely to be lost or forgotten and also are always there when you need them!

Outer Pockets

Of course, in addition to camera gear, we photographers also need personal supplies. External pockets are important for additions like spare layers, coats, as well as food and water to keep us going.

Tripod Carrier

Of course, you most likely haul a tripod on location, so having a decent attachment system on your pack is extremely handy for carrying your three-legged friends any extended distances. Lots of packs have options to carry a tripod on the side or back of the bag, depending on your preference. Having this ability to free up your hands when hiking is brilliant.

Laptop Sleeve

If you work on your laptop or travel a lot, a compartment to store or protect a laptop is an important addition for when you’re on the road. Some bags include padded sections designed for a laptop at the front or rear of the bag. Those that have them close to the harness area can make bags seem stiff and uncomfortable for any length of hiking, so are best used only when getting through an airport.

Hydration Pack Compatibility

For an extended hike, a hydration bladder is extremely handy for re-hydrating on the go. Packs that feature sleeves to keep the bladders separate often have them water sealed to help protect your gear from leaks. However, I always place mine in an additional dry bag for added precaution.

Custom Bags

Sometimes no matter how hard you try, you just can’t find the perfect camera bag or one that suits your style, needs and fit. In that case, another option to think about is that of customizing a regular bag for use with cameras.

Take a well-designed hiking bag with many of the features you need (good harness, lightweight, the right size, and ruggedness) and team it up with a way pod protecting your camera gear inside. This could be through the use of an insert, such as those made by F-stop bags or Tenba, or through the use of simply wrapping gear individually in padded camera wraps, to store your gear safely.

This is a super option for when you want a high volume of personal gear for hiking, traveling, and exploring but still want to carry a DSLR with a number of lenses safely. I’d also recommend looking into a small organizer case as well for organizing any miscellaneous items such as batteries and memory cards.

Conclusion

Overall, choosing a camera bag for wildlife photography can be tough. With so many options and requirements, in many ways, there will never be one perfect bag. However, by working through the list above, deciding on your most important and specific needs, you’ll certainly find a great option. One that suits you and keeps your gear safe on location for all your photography adventures.

A backpack is a simple essential for wildlife and nature photography. Spending time to make the right decision choosing a camera bag will be something you’ll certainly be glad you made the effort to do!

The post Choosing the Right Camera Bag for Outdoor and Wildlife Photography appeared first on Digital Photography School.

Digital Photography School

April 11, 2018
Free AtomOS update adds ProRes RAW support to Atomos Shogun Inferno and Sumo19

Photo: Atomos

Apple made a big splash in the video industry last week when it debuted ProRes RAW: a new video codec that seeks to combine the flexibility and editing latitude of RAW video with the performance and space benefits of a compressed ProRes file. And now, thanks to a free firmware update from Atomos, owners of the Shogun Inferno and Sumo19 monitor/recorders can immediately begin shooting in the new and improved format.

Simply download and install the AtomOS 9 firmware at this link, and your Shogun Inferno and Sumo19 will be able to record ProRes RAW and ProRes RAW HQ using any of the nine supported cinema cameras from Panasonic, Sony and Canon. As of this writing, that makes the Shogun Inferno and Sumo19 the first and only monitor/recorders to offer ProRes RAW.

If you’re still a bit confused as to what ProRes RAW is, and how it differs from standard ProRes, Atomos breaks down the benefits of the new format on its website. The company also produced the following ProRes RAW sample footage using the Atomos Shogun Inferno and three different cinema cameras: the Panasonic EVA1, Canon C300mkII and Sony FS5.

Press Release

ProRes RAW available today for Atomos recorders

Melbourne, Australia – 9 April 2018 – ProRes RAW is available today for Atomos recorders, delivering a powerful new RAW workflow when combined with Final Cut Pro 10.4.1. Simply install the free AtomOS 9 upgrade on the Atomos Shogun Inferno or Sumo19 monitor/recorders, connect to one of the nine supported cinema cameras, and begin recording in ProRes RAW and ProRes RAW HQ.

Users can immediately enjoy the benefits of the amazing new RAW end-to-end workflow that combines the incredible performance of ProRes with the flexibility of RAW. Atomos devices are the only monitor recorders to offer ProRes RAW, with pristine recording direct from the sensor output of Panasonic, Sony and Canon cinema cameras.

The response to ProRes RAW from the creative community has been incredible:

“The hills are alive with the sound of ProRes RAW, and Atomos has heard it….Apple has a new format, and it’s everybody’s darling. The malleable nature of RAW and the beauty and (and necessity of) ProRes are together at long last, and Atomos has you covered.” – Cinema5D

“This announcement is a big deal. ProRes has been an industry standard codec since its inception back in 2007, now 11 years later Apple is looking to position ProRes again as the go-to codec.” – Newsshooter

“Apple has unveiled a new video recording codec called ProRes RAW, a move that instantly makes the high-quality format more mainstream…Atomos’ Shogun Inferno and Sumo 19 recorders, meanwhile, will be the first to offer RAW recording for cameras from Panasonic, Sony, Canon and others.” – Engadget

Come and see for yourself how Atomos is unlocking creativity at the NAB show, booth C9425 and at the 17^th Annual Las Vegas SuperMeet on Tuesday 10^th of April. There will be product demos, as well as the opportunity to get hands on with the gear and workflow with both companies.

Articles: Digital Photography Review (dpreview.com)

April 10, 2018
Elinchrom will skip Photokina this year, other brands may follow suit

High-end lighting brand Profoto is also rumored to be dropping out of Photokina 2018, but Elinchrom is the first to officially announce it will be sitting this one out. Credit: Photokina

Swiss lighting company Elinchrom has officially decided to “take a breather” from Photokina 2018. The flash maker cited two reasons: the fact that the photo industry is “going through major changes”, and Photokina’s decision to reposition itself as an annual trade show in order to better reflect the “fast-paced and briefer innovation cycles” of digital technology.

“After close to 30 successive participations we feel this is a transitional year for photokina,” writes CEO Simon Whittle in a statement on the Elinchrom website. “This break will help Elinchrom to analyze and refocus on what is really important for our customers in the coming years.”

The decision makes sense—this year’s show will only be four days long instead of six, there’s less exhibition space, and Photokina 2019 will take place just eight months after Photokina 2018—but it still comes as a surprise that a major lighting brand would sit out one of the largest photo industry trade shows in the world. Even more surprising, rumors have been circulating that Elinchrom will not be the only brand to skip this year’s exhibition.

According to DIY Photography, rumors that major brands like Profoto and maybe even Canon could drop out of Photokina 2018 first surfaced during The Photography Show in the UK last month.

The Profoto rumor we might believe, but the idea that Canon would skip even a pared-down Photokina seems far-fetched. With all rumors and teasers and coy interview answers pointing towards the release of full-frame mirrorless cameras from both Canon and Nikon sometime this year, we’d be very surprised indeed if one or both of the big two dropped out. Still, we might be in for a much quieter Photokina this September.

You can read Elinchrom’s full statement below:

Elinchrom Take a Breather From Photokina.

It goes without saying that the photo industry is going through major changes; photographer’s habits and expectations are evolving so rapidly.

In order to respond to this new environment, the photokina international exhibition has repositioned itself as an annual event to be held over 4 days in September this year, and then annually each May from 2019.

“After close to 30 successive participations we feel this is a transitional year for photokina and this break will help Elinchrom to analyse and refocus on what is really important for our customers in the coming years.” said Simon Whittle, CEO of Elinchrom.

The launch of the ground-breaking ELB 1200 location stills and video light and the ELB 500 TTL is proof of Elinchrom’s commitment to their customers.

Full information on the complete Elinchrom range remains accessible on-line and locally from Elinchrom’s Distributor and Retail network, throughout the year.

Elinchrom

Articles: Digital Photography Review (dpreview.com)

April 10, 2018
Photographer Lynn Johnson on outrage and the power of photography

For more than 40 years, photographer Lynn Johnson has turned her lens on hidden and at-risk communities all over the world. In this video she explains how a grant from Sony helped her to complete a long-term project with non-profit Ripple Effect Images in Cambodia, focusing on the effects of drug-resistant TB.

Lynn spent time with two healthcare workers, working in remote Cambodian villages

Somewhere in the world, it is estimated that someone dies of TB every 20 seconds. During the course of the project, Lynn spent time with two healthcare workers in remote Cambodian villages. The resulting collection of photographs has been made available to other non-profits working on behalf of women and children around the world.

In this interview, Lynn explains why outrage is such a strong motivating force, and how as a photographer, she still gets excited by the power of images to form a bridge between people and communities. You can see more images from her portfolio below.

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Sponsored content, supported by Sony. What does this mean?

Articles: Digital Photography Review (dpreview.com)

April 10, 2018
ProGrade demonstrates first ever 1TB CFexpress card with 1,400MB/s read speed
Memory card manufacturer ProGrade claims to have shown off the first public demonstration of a CFexpress Type B card with 1TB capacity at NAB 2018 in Las Vegas. The card, which is backwards compatible with XQD formats, makes the most of the CFexpress specifications with blistering read/write speeds of 1,400MB/s and 1,000MB/s, respectively.

CFExpress is the latest standard from the CompactFlash Association, and is seen by many as the natural successor to the CFast and XQD formats. It was first announced in September of 2016, and the final specifications for version 1.0 were published in April of 2017. According to the specification list, version 1.0 of CFexpress Type B cards has a maximum transfer speed of 1970MB/s—roughly twice the maximum speed of XQD 2.0 cards—so ProGrade isn’t leaving much on the table with its debut version.

In its statement to DPReview last month, ProGrade said, “XQD cards [can] be upgraded to operate with the new CFexpress Type B cards if the original equipment manufacturer (OEM) chooses to update firmware in those devices.” This puts the onus on camera manufacturers such as Nikon and Sony to upgrade the firmware in its cameras with XQD card slots so CFexpress cards can be used.

ProGrade says its CFexpress cards will be available in 256GB, 512GB and 1TB capacities when they’re released later this year. We have reached out to Nikon and Sony regarding whether or not they plan to support CFexpress cards in the future, and will update this article accordingly when we hear back.

In addition to teasing its upcoming CFexpress cards, ProGrade also launched a collection of V90-rated SD cards with maximum read/write speeds of 250MB/s and 200MB/s, respectively. The cards will be available in early May in 64Gb, 128GB, and 256GB capacities for $ 100, $ 190, and $ 380, respectively.
ProGrade Digital is First To Publicly Demonstrate CFexpress™ 1.0 Technology in 1TB Capacity

1,400MB/Second Data Transfer Speed Reaches New Milestone

NAB, LAS VEGAS, NV – April 8, 2018 1:00 am Pacific—ProGrade Digital, founded with a mission to provide the highest quality professional grade digital memory cards and workflow solutions, has become the first company to publicly demonstrate the CFexpress™ 1.0 technology with 1TB of capacity. Debut of this important next generation digital memory card form factor, presented by CEO Wes Brewer and VP of Marketing Mark Lewis at NAB in Las Vegas, provides solid proof that the industry is moving toward productization of this new standard.

“The CFexpress standard has been evolving for several years within the CompactFlash Association as a successor to both CFast™ and XQD™ formats. We are pleased to be working within the CFA and aside device manufacturers to bring to market this next generation removable storage standard,” said Brewer. “Industry adoption of CFexpress will allow for much higher resolution and higher bit rate image capture than ever before in many still image and video capture devices. Faster offload speeds will also greatly benefit the post-capture workflow through the extremely high read speeds it provides. With our demonstration today, we’ve also been able to show compatibility for the CFexpress Type B form factor with XQD memory cards–showing operation of both card standards in a common Thunderbolt™ 3 reader.”

ProGrade Digital demonstrated performance benchmark speeds exceeding 1,400MB/second and burst write speeds of greater than 1,000MB/second–nearly three times faster than CFast memory cards and more than four times those for SDXC™ UHS-II.

CFexpress 1.0 Demonstrated Technology Key Features:
- Industry-leading speeds
- Greater than 1,400MB/second read
- Greater than 1,000MB/second burst write
- CFexpress Type B format factor with two lanes of PCIe® and NVM Express® support
- XQD form factor interoperability
- Dimensions: 29.6 mm x 38.5 mm x 3.8 mm
The founders of ProGrade Digital are industry veterans in the removable storage and digital photography industries. Each, having spent time at leading companies such as Lexar and SanDisk, brings extensive expertise in the design, development and manufacture of digital storage products, plus longstanding relationships with key manufacturing and supply chain partners. The company focuses exclusively on development of memory cards, card readers and workflow software for professional imaging markets. Flagship products, ProGrade Digital CFast 2.0 and ProGrade Digital SDXC UHS-II, are optimized to render maximum performance when paired with high-end DSLR, mirrorless, camcorder and digital cinema cameras from manufacturers such as Canon, Nikon, Panasonic, Sony and Blackmagic. ProGrade Digital memory cards expand the creative visions of cinema and photography professionals around the world.
Articles: Digital Photography Review (dpreview.com)
April 10, 2018