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  • Weekly Photography Challenge – Dogs and Puppies

    Last week we photographed our feathered friends, how about some furry ones this week?

    Weekly Photography Challenge – Dogs and Puppies

    Need some help? Try these articles:

    • How to Take Better Action Photos of Dogs
    • Pros and Cons of Photographing Dogs with a Prime Lens
    • 10 Amazing Camera Hacks for Better Dog Photography
    • How to Photograph Agility Events and Other Dog Sports
    • 5 Good Reasons to Take Your Dog on Photography Walks
    • 6 Tips for Working with Unruly Animals in Pet Photography

    Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

    Share in the dPS Facebook Group

    You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

    The post Weekly Photography Challenge – Dogs and Puppies appeared first on Digital Photography School.


    Digital Photography School

  • Pond5 and DJI to offer licensable collection of aerial footage

    A new partnership between DJI and stock video library Pond5 might make it easier for Part 107 certified drone operators to connect with potential stock footage customers – and vice versa.

    Anyone with a DJI drone and an FAA Part 107 Remote Pilot certification can apply to participate as a video creator. Accepted applicants’ videos will be included in a Pond5 + DJI collection. Prospective customers will also be assured that the videos in the collection were shot by FAA certified drone operators, and can therefore be used for commercial purposes.

    Applications can be submitted at Pond5’s website.

    Press release

    Pond5 and DJI Join Forces to Create an Online Marketplace for Aerial Footage from FAA Certified Pilots and Filmmakers

    Program will curate and promote collections of aerial footage captured by licensed pilots using DJI drones to Pond5’s millions of users searching for professional video

    NEW YORK MARCH 28, 2018 – Global content marketplace Pond5 and DJI, the world’s leading manufacturer of civilian drones and aerial imaging technology, today launched an innovative collaboration to develop a premium collection of licensable aerial footage.

    By applying to join this program, pilots operating with a Part 107 Remote Pilot Certificate issued by the Federal Aviation Administration (FAA), which is required for commercial use, will be eligible to have their footage included in a series of collections shot exclusively with DJI drones.

    Pond5 will showcase these collections to its millions of users, while denoting video clips shot by licensed pilots in searches for customers who need to ensure their video assets comply with Part 107. Pilots will also be able to leverage Pond5’s industry knowledge to identify their most in-demand shots and obtain assistance in preparing their footage for licensing in the Pond5 marketplace.

    DJI will be working closely with the team of video experts and curators at Pond5 to ensure that the most compelling and award-worthy aerial footage shot with DJI products is made easily accessible to customers searching for studio-quality shots to use in their productions.

    “Drones have become powerful tools for storytellers, providing a cost-effective alternative for gathering aerial footage. They’re able to capture rapidly unfolding events and reach locations that would be otherwise inaccessible, costly, or dangerous,” said Pond5 CEO Jason Teichman. “As the world leader in their space, DJI is the ideal partner to bring the best in contemporary aerial footage to our marketplace.”

    Select participants will also have access to Pond5’s premium clipping and tagging services, allowing them to save time by simply submitting raw footage, rather than having to do the work of editing, formatting, titling, and keywording the footage themselves. Footage receiving these services will then be made available exclusively through Pond5 for a limited time.

    “Drone imagery creates exciting new possibilities for video creators and producers around the world, and DJI’s collaboration with Pond5’s industry-leading content marketplace helps establish a new standard for professional video that is safe, legal, and cleared for use,” said Michael Perry, Managing Director of DJI, North America. “We’re excited to elevate the presence of DJI-captured imagery in Pond5’s marketplace, and we can’t wait to see the projects that will incorporate this footage.”

    Pilots with a Part 107 certificate who use DJI drones can apply to this program at http://www.pond5.com/dji, with selected DJI aerial footage being showcased on the Pond5 content marketplace in the coming months. Pond5 and DJI will both be onsite at the 2018 NAB Show to provide additional information for interested participants, as well as producers and editors who want to license professional aerial drone footage. For a look at the full collection of aerial footage from across the globe currently available on Pond5, visit http://www.pond5.com.

    Articles: Digital Photography Review (dpreview.com)

  • Fotopro Mogo flexible monopod kits are designed for various photography needs

    Photo gear company Fotopro has launched a crowdfunding campaign for a series of photography kits centered around Mogo, a flexible monopod based on the Fotopro UFO. Mogo features flexible legs that can be wrapped around a rail or post, used on uneven surfaces and more. The monopod has a universal screw-head and removable mount for use with mobile devices, action, mirrorless and any other type of camera.

    “Our aim in delivering Mogo with additional gear was to ensure each gear kit was mobile, lightweight and easy to put together and apart for anyone,” Fotopro explains on Indiegogo, where the campaign is live.

    The company is offering a total of four kits (detailed below), each designed for a different usage scenario. The Mogo monopod itself has an 800g / 1.7lbs maximum capacity, can be used underwater and features a metallic wire core covered by a rubber skin. Fotopro expects to ship the kits to Indiegogo backers starting in June; the prices listed below are discounts from the planned eventual MSRPs.

    Mogo Starter Kit ($ 39):

    – Mogo Monopod
    – Bluetooth Remote Trigger
    – Small Metal Tripod Stand
    – Smartphone Clamp (x2)
    – GoPro Screw

    Mogo Tablet Kit ($ 49):

    – Mogo Monopod
    – Bluetooth Remote Trigger
    – Metal Tripod Stand
    – Smartphone Clamp (x2)
    – Large Tablet Clamp
    – GoPro Screw

    Mogo Mobility Kit ($ 59):

    – Mogo Monopod
    – Bluetooth Remote Trigger
    – UGO2 Flexible Tripod
    – Smart Metal Tripod
    – Smartphone Clamp (x2)
    – GoPro Screw

    Influence Kit ($ 99):

    – Mogo Monopod
    – Bluetooth Remote Trigger
    – Smartphone Clamp (x2)
    – Large Tablet Clamp
    – Sliding Metal Bar
    – Metal Tripod Stand
    – Mic Clamp
    – Mic Dampender
    – LED Light
    – GoPro Screw

    Via: Indiegogo

    Articles: Digital Photography Review (dpreview.com)

  • How to Choose the Best Portrait Lens According to Three Professional Photographers

    Here on dPS, we’ve covered this topic in previous articles. For example: How to Choose the Perfect Portrait Lens.

    In the following videos, see which lens these photographers chose and why.

    85mm versus the 70-200mm f/2.8

    Portrait photographer, Manny Ortiz takes you to a live shoot in this video. Watch as he shoots the same subject, in the same location with both the 85mm f/1.4 and a 70-200mm f/2.8 lenses.

    See how they differ and watch all the way to the end to find out which is his favorite lens and why.

    Is there such a thing as the “best” portrait lens?

    In this next video, Gabriel Sanchez (Gabe) talks about the four lenses he uses most often for portraits and which are his go-to and favorites.

    He goes over the 24mm f/1.4, 35mm f/1.4, 50mm f/1.2, and a Sigma 85mm f/1.4, and the benefits and results you can get with each lens. See why he says there is no “perfect” or best portrait lens, watch to the end.

    ?

    Favorite lenses – fashion photographer

    Finally, get a different point of view from fashion photographer Julia Trotti as she explains why the 35mm f/1.4 and 50mm f/1.2 are her favorite lenses.

    ?

    Which lens do you use for portraits?

    So at the end of the day which lens are you going to choose for doing portraits? Do you have any favorites? Tell us which lenses you use and why in the comments below.

    If you’re still undecided here are some more dPS articles to help you out:

    • 3 Tips for Taking Portraits with a Kit Lens
    • Tips From a Pro to Help You Know Which Lens to Choose
    • Primes Versus Zoom Lenses: Which Lens to Use and Why?
    • Comparing a 24mm Versus 50mm Lens for Photographing People

    The post How to Choose the Best Portrait Lens According to Three Professional Photographers appeared first on Digital Photography School.


    Digital Photography School

  • Panasonic Lumix GX9 sample gallery updated

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    We’re continuing to shoot with and test the Lumix GX9, Panasonic’s latest range-finder style Micro Four Thirds camera. Priced at $ 1000 with kit lens, the GX9 offers a 20MP sensor, 5-axis stabilization and promises a 90% reduction in shutter shock compared to its predecessor. It’s been a little more than a month since the camera’s launch, so we’ve updated our existing sample gallery with some fresh shots.

    See our updated Panasonic Lumix GX9 sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • CP+ Olympus interview: “It’s time to enhance the imaging business”

    Shigemi Sugimoto, Head of Olympus’s imaging business unit. Pictured at the CP+ show in Yokohama, Japan.

    At last month’s CP+ show in Yokohama, we met up with Shigemi Sugimoto, Head of Olympus’s imaging business unit. During our interview, Mr. Sugimoto explained where he sees the most opportunity for Olympus, and how his company will continue to differentiate itself from the competition.

    This interview (which was conducted through an interpreter) has been edited for clarity and flow.


    You’re relatively new in your role as head of the imaging business unit. How will your leadership change the company?

    We’ve gone through a painful period, in the past. We had to shrink the size of the business, and that was reflected in our product lineup – especially the compact cameras. But now it’s time to enhance [and grow] the imaging business and catch up in terms of market share. Part of this will be enhancing our lineup.

    How long have you been with Olympus?

    I joined Olympus 32 years ago, initially in the accounting department. I’ve been with the imaging division for ten years. In 1997-2002 I worked in Hong Kong, where I established our factory in China.

    What was your first Olympus camera?

    A compact, at first but I replaced it with a PEN E-P1.

    Our first priority is what we call system mobility – not just the size of our camera bodies, but the entire system

    What are your ambitions for Olympus’ range of photography products going forward?

    We’re focused on the mirrorless ILC category, because we’re concentrating on portability and reliability. This is our value in the market. Our first priority is what we call system mobility – not just the size of our camera bodies, but the entire system, such as our telephoto lenses. Because of the benefit of the 2X crop factor we can provide a dramatically different solution [compared to other manufacturers].

    We see the OM-D system truly as a system, including accessories and other equipment. We need to expand the capability of the entire system – not only bodies and lenses.

    The 300mm F4 PRO behaves like a 600mm on full-frame, giving Olympus shooters a powerful and sharp telephoto option at a fraction of the size and weight of a ‘true’ 600mm lens.

    Are you still aiming primarily at a still photography-oriented audience, when you develop new products?

    Our position hasn’t changed. We’re focused on stills photography – this is our basic stance. But if we see that our customers want to take more video with our equipment, we’ll [include] video features. But our main focus is stills. Video technology is not our first priority. On the other hand, we can also provide the benefits of the OM-D system’s mobility to video users, for example our high-performance 5-axis image stabilization.

    Considering the film-making audience, we’re not going to be going in the direction of large [dedicated] video cameras. Rather, [hybrid cameras], for handheld use, which can shoot high-quality video just with a single operator. That’s a benefit that [I think will be] appreciated by videographers.

    We don’t have a strong line of communication with the video audience

    Do you have a sense of how many of your OM-D E-M1 Mark II customers use the camera to shoot video as well as stills?

    We don’t have a strong line of communication with the video audience, so we don’t have many people using that feature in our cameras. We know our cameras and lenses are capable of capturing high-quality video, and we’d like to get this message across. Olympus makes nice, multi-operation handheld cameras that can shoot good video.

    Would you like to increase the number of people who use your cameras for video creation?

    Yes, of course.

    Advanced amateurs and professionals tend to want more robustness, and improved operability

    A number of enthusiasts and some professionals have adopted the OM-D E-M1 Mark II. What are they asking for?

    The demands are different depending on their level. Advanced amateurs and professionals tend to want more robustness, and improved operability. For entry-level users, they want new technology, which they can’t find in DSLRs. Olympus is a pioneer in digital photography in the camera field, and our users expect that.

    The OM-D E-M1 Mark II is an uncommonly tough camera, which can take a lot of punishment. From the jungles of Thailand to the snowy mountains of British Columbia, we’ve soaked it, frozen it, and dropped it in the mud but it keeps on shooting.

    Is there an engineering limit to the effectiveness of image stabilization systems?

    When we introduced the OM-D E-M1 Mark II, the IBIS system in that camera represented the limit at the time. But of course the technology is still developing. After the OM-D E-M1 Mark II was announced, our engineers have tried to [push the barriers] of performance and recently they’ve come up with some solutions. So there is still room for improvement in terms of stabilization.

    The next generation may be even more effective?

    Yes, you can expect so.

    Going forward, is there any value left for Olympus in the compact camera segment?

    We are focused on the TG tough range of compact cameras, and mirrorless cameras. From a profitability point of view we’re focused on these high value products, even though the volume [of sales] is lower.

    The Tough TG-5 is a class-leading waterproof camera, in a market segment that remains profitable for Olympus.

    Can you tell us anything about how the Tough camera range might evolve over time?

    At this point, we’re not looking to [develop] this range too aggressively. That’s based on the current situation. Of course, the market is always changing, and flexibility is really important to meet customer demands.


    Editors’ note:

    Mr. Sugimoto has been with Olympus for a long time, but he was only recently promoted to his current position as head of the imaging business. It’s a tough job, especially in such a competitive landscape, but during our conversation he seemed confident that Olympus can bring a unique value to the marketplace. By his own account, Olympus has gone though some difficult years, but now the time has come to invest and grow its market share.

    That’s not to say that we’re expecting Olympus to suddenly start churning out cameras like they used to – it’s very clear that Mr. Sugimoto sees most value in the mirrorless ILC segment, and the high-profit Tough line of compacts. He is hoping that what he calls ‘system mobility’ will continue to attract enthusiast photographers to the OM-D and PEN lines, and all but confirmed his engineers are working on even more effective 5+ EV IBIS. DSLR and full-frame mirrorless photographers can only dream of this kind of stabilization, which is equally useful for video, as well as stills.

    It’s extremely unlikely that we’ll see Olympus creating a Panasonic Lumix DC-GH5S competitor any time soon

    Speaking of video, Mr. Sugimoto confirmed that it still isn’t the main priority for Olympus, but he did frame the issue partly in terms of communication. Unlike competitors like Panasonic, Olympus has never really dealt with video creators in the past. Clearly, Mr. Sugimoto believes that his company makes products that will have value to this constituency, but is concerned that up to now, Olympus hasn’t found a way of effectively communicating with them.

    Products like the OM-D E-M1 Mark II with its spookily effective IBIS, and high-quality 4K video are impressively capable when it comes to video, but it’s extremely unlikely that we’ll see Olympus creating a Panasonic Lumix DC-GH5S competitor any time soon. Instead, after talking to Mr. Sugimoto we’re predicting a consolidation of Olympus’s mid-range and high-end ILC lineup and more high-end lenses. In a landscape increasingly dominated by chunky APS-C and full-frame cameras and lenses, Olympus will need to start selling the ‘system mobility’ message aggressively. New products will help, but communication is definitely part of the challenge.

    Articles: Digital Photography Review (dpreview.com)

  • Moment launches anamorphic lens and other gear for smartphone filmmakers

    Many photographers consider Moment lenses to be the best quality smartphone accessory lenses out there. Now the company returns to crowdfunding platform Kickstarter with a new product line, this time for video shooters and filmmakers rather than stills photographers.

    The headline product is an anamorphic add-on lens which allows you to achieve the same super-wide look and lens flare we are used to from Hollywood movies. The lens alters the field of view of the built-in camera on your iPhone, Samsung Galaxy or Google Pixel device and locks onto a specific lens case.

    The lens currently works with a range of video-specific apps, including Filmic Pro, but Moment still has to update its own app in order to achieve an undistorted live preview of the footage captured with the lens.

    The lens is not the only new accessory for filmmakers, however. There is also a battery case for the iPhone X which can charge via the Lighting port or Qi wireless charging and comes with a dedicated camera button. Of course it’s designed to attach Moment lenses as well.

    Finally, Moment also debuted a counterweight for gimbals like the DJO Osmo Mobile 2, and a lens filter mount that can be used to attach ND and other filters to any of Moment’s lenses.

    All the new items can be ‘pre-ordered’ on Kickstarter, where the campaign has quickly reached astronomical levels of funding—with 21 days to go, Moment has raised over $ 800,000 against a goal of just $ 50,000. All this funding despite each item being pretty low-cost: the filter holder is yours for a $ 29 pledge, the battery case will set you back $ 79, and the lens is priced at $ 119. Shipping is scheduled for June.

    To learn more about these products or pick one up for yourself, head over to the Kickstarter page.

    Articles: Digital Photography Review (dpreview.com)

  • Video: Canon shows off its new 120MP APS-H CMOS sensor

    Full HD resolution video comes out to about 2-megapixels per frame. 4K UHD-1 closer to 8.3MP. Even 8K UHD, which hasn’t really hit the mainstream in any way yet, still only scratches the surface at about 33.2MP. Given all that, can you image capturing video at 120MP? Because Canon can, and has… sort of.

    Canon’s 120MXS sensor—first introduced at CES in January—is a 120MP APS-H CMOS sensor that can capture “video” at 9.4fps. Of course, 9.4fps isn’t strictly video, but that hasn’t stopped Canon from showing off what this sensor can do in a side-by-side “video” test up top.

    The video was published to YouTube earlier today, and it demonstrates this camera’s capability as a security or industrial cam. The ability to capture 120MP at 9.4fps might not make for smooth footage for filmmakers, but it gives you insane digital zoom capabilities if you’re trying to spot imperfections in a small gear mechanism, or identify suspicious subjects in a crowd:

    Screenshots from video. Click to enlarge.

    According to the video’s description, the sensor features a square pixel arrangement of 2.2µm x 2.2µm, with 122 million effective pixels, and the high-res readout is made possible by multiple signal output channels:

    Ultra-high-resolution is made possible by parallel signal processing, which reads signals at high speed from multiple pixels. All pixel progressive reading of 9.4fps is made possible by 28 digital signal output channels. It is available in RGB or with twice the sensitivity, in monochrome

    We don’t expect this sensor to pop up in any of Canon’s consumer cameras anytime soon, but it’s an interesting proof of concept… a technological feat that proves the megapixel war is far from over.

    Articles: Digital Photography Review (dpreview.com)

  • Google created this rotating 16-GoPro arc to capture light field data for VR

    Google has announced that it is experimenting with light field technology to improve its virtual reality content. The company detailed the work in a recent blog post, explaining that it has modified a GoPro Odyssey Jump camera so that it features 16 cameras mounted along a vertical arc, which is itself mounted to a 360-degree rotating platform.

    According to Google, light field technology is one potential way to give users a “more realistic sense of presence” within a VR world. Light field-based content presents objects in different ways depending on the position of the user’s head and their distance from the object.

    “Far-away objects shift less and light reflects off objects differently, so you get a strong cue that you’re in a 3D space,” Google explains. VR headsets with positional tracking take this to a new level by determining where the user is “located” within the virtual world.

    Using its rotating Jump rig, Google is able to capture approximately 1,000 outward-facing viewpoints on a 70cm sphere, which ultimately offers a 2ft / 60cm diameter volume of light rays. The company explains how its translates that data into VR content:

    To render views for the headset, rays of light are sampled from the camera positions on the surface of the sphere to construct novel views as seen from inside the sphere to match how the user moves their head. They’re aligned and compressed in a custom dataset file that’s read by special rendering software we’ve implemented as a plug-in for the Unity game engine.

    Demo content has been released to the public via the Steam VR app “Welcome to Light Fields.” Users will need a Windows Mixed Reality, HTC Vive, or Oculus Rift headset to view the content. Light field VR demo experiences include a look inside the Space Shuttle Discovery, Gamble House, and Mosaic Tile House.

    To learn more, head over to the full technical post on Google’s Keyword blog.

    Articles: Digital Photography Review (dpreview.com)

  • The NiSi Prosories P1 Kit lets you attach square filters to your smartphone

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    Chinese accessory company NiSi has started taking preorders for its new Prosories P1 Smartphone Filter Kit, a camera filter system for smartphones. The P1 Kit includes a phone clip, medium graduated neutral density filter, polarizer, pouch, and holder. As demonstrated in the video below, the system involves attaching a mount over the phone’s camera, then sliding a square filter into that mount.

    The P1 Kit’s filters are made from optical glass with a nano-coating, according to NiSi, which says its clip is compatible with most smartphone models. Users can rotate the filter within the mount to adjust its angle, and also use a polarizer with the filter when necessary.

    The company doesn’t provide the P1 Kit’s filter size, making it unclear whether any of its other filter products are compatible with the mount.

    The NiSi Prosories P1 Kit is available now for $ 40 USD. To learn more or order yours, head over to the NiSi website.

    Articles: Digital Photography Review (dpreview.com)