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‘Water Torture Test’ compares Canon, Nikon, Sony and Olympus weather sealing
As part of their Camera of the Year comparison between the Nikon D850 and the Sony a7R III, Imaging Resource decided to test the cameras’ weather sealing with their very own “water torture test.” And just to spice things up a bit, they threw in the Canon 5D Mark IV and Olympus OM-D E-M1 Mark II for good measure.

All four cameras were subjected to a “brief, moderately heavy rain shower and misty conditions,” and despite what you may think about all top-tier cameras being more alike than different on the weather sealing front, not all four bodies coped well. You can watch the test above or visit Imaging Resource for an in-depth report on their weather sealing tests, but if you want the TL;DR (or DW), it goes something like this:
- The Canon 5D Mark IV and Olympus OM-D E-M1 Mark II both passed without so much as a stutter. No water getting anywhere it shouldn’t have.
- The Nikon D850 sprung a small leak into the viewfinder unless the Nikon BS-3 hot shoe cover was used. Everything else stayed dry.
- The Sony a7R III performed the worst by far, leaking a significant amount of water into the battery compartment (seemingly from above), and malfunctioning entirely during IR’s 15-minute ‘heavy mist’ test.
Of course, one should be careful making sweeping generalizations based on testing one copy of each camera, but if this test is indicative of all Sony a7R III’s weather sealing, Sony might want to take note of IR’s results as they go about designing the Mark IV.

Check out the in-depth review for more details on how each of the four models performed.

Articles: Digital Photography Review (dpreview.com)
January 10, 2018
SLC-2L-02: Two-Speedlight Daylight Group Shot

Using speedlights without softening modifiers greatly expands your outdoor working range. And it does so enough that you can easily light a large group photo with a small, portable gear pack.

Today, we'll walk through how to do that, along with a few tips to tweak and improve your results.Read more »
Strobist

January 10, 2018

Panasonic announces Lumix DC-GH5S, an even more video-focused GH5

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Panasonic has unveiled the Lumix DC-GH5S, an even more video-centric variant of the company’s GH5 hybrid stills/video camera. Aside from some minor cosmetic differences the two cameras are identical, however the GH5S has been designed to maximize low-light sensitivity and provides a deep feature set tailored to video shooters’ needs.

The GH5S uses a slightly larger, but lower resolution 12.5MP sensor whose ‘multi-aspect’ design offers a series of ~10.2MP crops with the same angle of view. It gains the ability to shoot the wider-angle DCI 4K format at up to 60p, whereas the GH5 tops out at 24p. Both cameras can shoot UHD 4K at up to 60p.

The sensor features a “dual gain” design that Panasonic calls “Dual Native ISO.” This uses two separate sensor read-out circuits – one that maximizes dynamic range at lower sensitivities, and one that prioritizes noise reduction at a dynamic range cost. Unusually, Panasonic lets you limit its camera to one of these modes.

Despite the outward similarities, the GH5S’ list of changes compared to the GH5 is a long one. Image stabilization has been removed to avoid unwanted interactions between a floating sensor and the dollies and gimbals pro shooters tend to favor. VLog-L, offered as an paid upgrade on the GH5, is included as standard. Autofocus is rated down to –5 EV compared to –4EV in the GH5.

The list of differences also includes up to 240fps framerate in 1080p “Variable Frame Rate” mode, a 120fps refresh rate in the electronic viewfinder, 14-bit Raw stills shooting, time code in/out functionality, and LUT-corrected display in playback as well as capture. For a detailed look at the GH5S’ additional capabilities, head to our first impressions review.

The Panasonic Lumix DC-GH5S will be available February 2nd for $ 2499 body-only.

Panasonic Announces the Ultimate Hybrid DSLM with a newly developed 10.2MP High Sensitivity MOS sensor

Introducing the LUMIX GH5S: Exceptional Mirrorless Videography and Photography, designed and developed for professional filmmakers

Introducing a newly developed 10.2MP High Sensitivity MOS sensor for enhanced image quality in low light: Allowing up to 51,200 ISO recording without extended ISO.
Time Code IN/OUT for easy synchronization of multiple cameras and Dual Native ISO, providing low range (400) and high range (2,500) ISO environments.
True “Multi-Aspect Ratio” Function in Both Photo and Video

Las Vegas, NV (January 8, 2018) – Panasonic is proud to introduce the new hybrid Digital Single Lens Mirrorless Camera LUMIX GH5S with expanded video recording capability and enhanced image quality. Designed and developed for professional filmmakers, the LUMIX GH5S achieves highest-ever image sensitivity and video image quality in the history of LUMIX cameras, especially in low-light situations.

Packed with big features to satisfy demanding photographers and videographers alike
The new 10.2-megapixel Digital MOS Sensor with Dual Native ISO Technology and Venus Engine 10 faithfully reproduce even dark parts of the image, allowing high ISO capture when the use of supplemental lighting may not be possible. This sensor is a multi-aspect type with a sufficient margin for realizing the same angle of view in 4:3,17:9,16:9 and 3:2 aspect ratios. The sensor also enables photo shooting in 14-bit RAW format, providing higher flexibility for professional RAW stills development workflows. When shooting in dark environments, videographers can now focus on filming that perfect shot as they no longer need to worry about noise which often results from having to use higher ISOs. The Dual Native ISO Technology suppresses noise to produce cleaner footage when taken in all light. Both videographers and photographers can now enjoy the same diagonal field of view across all aspect ratios with the True “Multi-Aspect Ratio” Function. This feature means you can easily swap between difference aspect ratios giving you the accuracy you want from your lenses, and making the process easier while producing and editing in post-production. The LUMIX GH5S is compatible with Time Code IN and OUT, like the professional camcorders, which is easy to set using the flash sync terminal and bundled conversion cable for a standard BNC terminal. This is especially important for “lip synchronization” when using multiple cameras. The LUMIX GH5S can be used as Time Code generator for other GH5S cameras and professional camcorders. The Time Code IN/OUT functionality makes a production teams job pain-free as it provides synchronization for both video and audio devices used on multi-cam productions.

The LUMIX GH5 achieved 4KUHD 60p video recording for the first time as a digital mirrorless camera in 2017.2 The new LUMIX GH5S establishes a new milestone by realizing the world’s first 4K 60p video recording in Cinema 4K (4096×2160), 3 capable of internal 4:2:2 10-bit video recording up to Cinema 4K30p and internal 4:2:0 8-bit Cinema 4K60p. subsampling commonly used for film production, for even more faithful color reproduction.4 The LUMIX GH5S also records 4:2:2 10-bit 400-Mbps All-Intra in 4K 30p/25p/24p and 200- Mbps All-Intra in Full-HD.

Continuing the LUMIX GH tradition, there is no time limit for both Full-HD and 4K video recording. The LUMIX GH5S complies with 4K HDR video with Hybrid Log Gamma (HLG) mode in Photo Style. A low-bit-rate recording mode, 4K HEVC for HLG, is available. This enables playback on AV equipment compatible with the HLG Display format, such as Panasonic 4K HDR TVs.

The VFR (Variable Frame Rate) function lets users record overcranked (time-lapse) and undercranked (slo-mo) video in C4K/4K (60 fps, maximum 2.5x slower) and FHD (240 fps, maximum 10x slower). A V-LogL and Rec.709 LUT (Look Up Table) are pre-installed in the camera, so users can play videos recorded in V-LogL without having to separately purchase a Software Upgrade Key. Four additional LUTs can be installed using the Panasonic Varicam (.VLT) file format.

DFD (Depth From Defocus) technology and ultra-high-speed digital signal processing achieve fast auto focusing of approximately 0.07 sec 6 with 12 fps (AFS) / 8 fps (AFC) in 12- bit RAW and 10 (AFS) / 7 (AFC) fps in 14-bit RAW high-speed burst shooting. In addition to a total of 225 focus areas, The options for Face/Eye Recognition, Tracking AF, 1-area AF and Pinpoint AF are available for precise focusing. The 4K PHOTO enables 60 fps high-speed capture in approximately 8-megapixel equivalent resolution.

Achieve outstanding footage in any environment, especially in low light
As a camera that excels in shooting in low light, the LUMIX GH5S boasts -5EV luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. Live Boost is another practical feature that makes it possible to check the composition even in total darkness, by boosting the sensitivity just for Live View. The magnification ratio in MF assist is increased from conventional 10x to 20x, which is convenient especially for astronomical photography. An AF Point Scope function, first introduced in the Lumix G9 and Night mode are also integrated.

In order to make the GH5S tough enough to withstand even heavy field use, it is composed of a magnesium alloy full die-cast front, rear and top frame that is not only splashproof7 and dustproof but also freezeproof down to -10 degrees Celsius. The GH5S is equipped with a double SD Memory Card slot, compatible with the high-speed, high-capacity UHS-II and Video Speed Class 90. Users can flexibly choose the recording method from Relay Recording, Backup Recording or Allocation Recording. The HDMI Type A terminal is provided, along with the USB-C Gen1 interface.

Exceptional image capture without concern
The GH5S has a large LVF (Live View Finder) with a stunningly high magnification ratio of approximately 1.52x/0.76x (35mm camera equivalent) providing smooth display at 120 fps. A high-precision, high-speed OLED (Organic Light-Emitting Diode) display features 3,680K-dot resolution and 100% field of view. In addition to dual dials, an omni-directional joystick enables more intuitive and flexible operation.

The GH5S includes Bluetooth and Wi-Fi® connectivity to offer a more flexible shooting experience and instant image sharing with easy operation. Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. For Wi-Fi, 5 GHz (IEEE802.11ac)8 can be selected in addition to the conventional 2.4 GHz (IEEE 802.11b/g/n) for an even more secure and stable connection.

For extended battery life and a more stable hold, the new Battery Grip DMW-BGGH5 (sold separately) is available. The XLR Microphone Adaptor DMW-XLR1 (sold separately) allows high-res sound recording with an external XLR microphone.9

The Panasonic LUMIX GH5s will be available from end of February 2 and will retail for $ 2499 (body only).

*1 RAW files are in 14-bit even when 12-bit is selected.
*2 4K 60p/50p(for a Digital Single Lens Mirrorless Camera), 4:2:2 10-bit (for a digital interchangeable lens camera) as of 4 January, 2017
*3 As of January 8, 2018 as a Digital Single Lens Mirrorless camera that complies with 4K (4096×2160) resolution defined by Digital Cinema Initiatives(DCI). According to a Panasonic study.
*4 4:2:0 8-bit in C4K 60p and 4K 60p recording on an SD Memory Card.
*5 Contrast AF with DFD Technology works only with Panasonic Micro Four Thirds lenses. *6 In AFS, at wide-end with H-ES12060 (CIPA) when LVF display speed is set to 120fps.
*7 Splash Proof is a term used to describe an extra level of protection this camera offers against exposure to a minimal amount of moisture, water or dust. Splash Proof does not guarantee that damage will not occur if this camera is subjected to direct contact with water.
*8 5GHz Wi-Fi is not available in some countries.
*9 In MOV only

Panasonic Lumix DC-GH5S specifications

Price
MSRP	$ 2499
Body type
Body type	SLR-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	3680 x 2760
Other resolutions	3:2 (3840 x 2560), 16:9 (4016 x 2256), 1:1 (2752 x 2752)
Image ratio w:h	1:1, 4:3, 3:2, 16:9
Effective pixels	10 megapixels
Sensor photo detectors	12 megapixels
Sensor size	Four Thirds (17.3 x 13 mm)
Sensor type	CMOS
Processor	Venus Engine 10
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 160-51200 (expands to 80-204800)
Boosted ISO (minimum)	80
Boosted ISO (maximum)	204800
White balance presets	5
Custom white balance	Yes (4 slots)
Image stabilization	No
Uncompressed format	RAW
JPEG quality levels	Fine, standard
File format	JPEG (Exif v2.31) Raw (Panasonic ARW, 12/14-bit)
Optics & Focus
Autofocus	Contrast Detect (sensor) Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Digital zoom	Yes (2x-4x)
Manual focus	Yes
Number of focus points	225
Lens mount	Micro Four Thirds
Focal length multiplier	2×
Screen / viewfinder
Articulated LCD	Fully articulated
Screen size	3.2″
Screen dots	1,620,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	1.52× (0.76× 35mm equiv.)
Viewfinder resolution	3,680,000
Photography features
Minimum shutter speed	60 sec
Maximum shutter speed	1/8000 sec
Maximum shutter speed (electronic)	1/16000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Built-in flash	No
External flash	Yes (via hot shoe or flash sync port)
Flash modes	Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off
Flash X sync speed	1/250 sec
Drive modes	Single Continuous 4K Photo Focus Stacking Self-timer
Continuous drive	12.0 fps
Self-timer	Yes (2 or 10 secs, 10 secs w/3 images)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±5 (at 1/3 EV steps)
AE Bracketing	±3 (3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV steps)
WB Bracketing	Yes
Videography features
Format	MPEG-4, H.264, H.265
Modes	4096 x 2060 @ 60p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 50p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 30p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 30p / 100 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 25p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 24p / 400 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 24p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 24p / 100 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 23.98p / 400 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 60p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 50p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 30p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 30p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 25p / 400 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 25p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 25p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 24p / 400 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 24p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 24p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 60p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 60p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 50p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 50p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 25p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 25p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 24p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 24p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 23.98p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 60p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 50p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 30p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 30p / 100 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 25p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 25p / 100 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 24p / 400 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 24p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 24p / 100 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 60p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 50p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 72 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 72 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 72 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 50p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 50p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 30p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 30p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC 1920 x 1080 @ 25p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 25p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 25p / 20 Mbps, MP4, H.264, AAC 1920 x 1080 @ 24p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 24p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 24p / 24 Mbps, MP4, H.264, AAC 1920 x 1080 @ 23.98p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 23.98p / 24 Mbps, MP4, H.264, AAC 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 23.98p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
Microphone	Stereo
Speaker	Mono
Storage
Storage types	Dual SD/SDHC/SDXC cards (UHS-II V60 cards supported)
Connectivity
USB	USB 3.1 Gen 1(5 GBit/sec)
USB charging	No
HDMI	Yes (Up to 4:2:2 10-bit output)
Microphone port	Yes
Headphone port	Yes
Wireless	Built-In
Wireless notes	802.11b/g/n + Bluetooth 4.2 LE
Remote control	Yes (wired or smartphone)
Physical
Environmentally sealed	Yes
Battery	Battery Pack
Battery description	DMW-BLF19 lithium-ion battery & charger
Battery Life (CIPA)	440
Weight (inc. batteries)	660 g (1.46 lb / 23.28 oz)
Dimensions	139 x 98 x 87 mm (5.47 x 3.86 x 3.43″)
Other features
Orientation sensor	Yes
Timelapse recording	No
GPS	None

Articles: Digital Photography Review (dpreview.com)

January 9, 2018

Panasonic Lumix DC-GH5S First Impressions Review
The Panasonic GH5S is a video-focused Micro Four Thirds camera built around what the company markets as a 10.2MP sensor. It’s best understood as an even more video-centric variant of the GH5: it can shoot either DCI or UHD 4K footage natively (one capture pixel = one output pixel) at up to 60p.

Panasonic wasn’t the first company to introduce high quality video to what was otherwise a still camera, but with its GH series it has been constantly expanding the range of professional video features appearing in consumer stills/video cameras. The GH5S takes this logic one step further, by lowering the sensor resolution and omitting image stabilization to make a more single-minded video tool, rather than an hybrid intended to be similarly capable at both disciplines.

The ability to shoot DCI 4K at up to 60p with no crop is the most obvious distinction between this and the standard GH5, but the differences run deeper:

Key specifications
- Oversized ‘Multi Aspect’ sensor with dual gain design
- 10.2MP maximum usable area from at around 12.5MP total
- DCI or UHD 4K at up to 60p
- 10-bit 4:2:2 internal capture at up to 30p
- 8-bit 4:2:0 internal 60p or 10-bit 4:2:2 output over HDMI
- 1080 footage at up to 240p (with additional crop above 200p)
- Hybrid Log Gamma mode
- ISO 160 – 51,200 (80 – 204,800 extended)
- AF rated down to –5EV (with F2 lens)
- 3.68M-dot (1280 x 960 pixel) OLED viewfinder with 0.76x magnification
- 1.62M-dot (900 x 600 pixel) fully articulated LCD
- 14-bit Raw stills
- 11 fps (7 with AFC) or 1 fps faster in 12-bit mode
- USB 3.1 with Type C connector
As well as the ability to shoot DCI 4K at higher frame rates, Panasonic also claims the GH5S’s larger pixels and ‘Dual Native ISO’ sensor will mean it shoots significantly better footage in low light.

Differences vs GH5
- “10.2” megapixel oversized sensor (vs 20.2MP Four Thirds sized sensor)
- Dual-gain sensor design with two read-out circuits
- Fixed sensor (no internal stabilization) for use with pro stabilization systems
- DCI 4K available in 59.94, 50, 29.97 and 25p (GH5 is 23.98 / 24p only)
- 1080 mode
- AF rated to work in lower light (–5EV vs –4EV)
- 14-bit Raw available
- VLog-L enabled out-of-the-box
- Time code in/out
- ‘Like709’ and ‘V-LogL’ color profiles available in stills shooting
- Mic socket offers Phantom Power and Line-level In options
- LUT-corrected display available in playback as well as capture
- 120fps viewfinder mode
Beyond these changes, the GH5S keeps the rest of the GH5’s capabilities, with matching codec options and the same support tools, such as vectorscopes, wave forms and preview modes for anamorphic, Log and Hybrid Log Gamma shooting, for instance.

As on the GH5, Panasonic recommends the use of V60 rated cards or faster for shooting 400Mbps video. However, the V60 standard itself seems to be vague enough that even some nominally V60-compliant cards are still not fast enough. The company says to use either its own brand V60 or V90 cards or to stick to well-known manufacturers with a proven history of producing fast cards (and, ideally, to buy from a source with a good return policy).

Multi-aspect sensor

The GH5S uses a chip that natively shoots DCI or UHD 4K, meaning one pixel on the sensor is used to produce each pixel in the final footage. The sensor, like that on the GH1 and GH2, is oversized. This means it can shoot different aspect ratios using the full extent of the imaging circle projected by the lens, rather than simply cropping down from the 4:3 region.

4:3

3:2

16:9

~17:9 (DCI)

1:1

As well as using the maximum amount of pixels and silicon for each aspect ratio (with consequent image quality benefits), this also means that the diagonal angle of view is preserved, whether you shoot 4:3, 3:2, 16:9 or in DCI 4K’s roughly 17:9 aspect ratio.

It also means that the GH5S should offer a fractionally wider angle-of-view than the GH5 when shooting video, especially when capturing DCI footage.

Dual Gain

Panasonic describes the GH5S as having ‘Dual Native ISO,’ which is standard video terminology for a dual gain sensor design. Such chips have two read-out circuits, one that maximises dynamic range at low sensitivity settings and a second designed to minimize noise but at the cost of dynamic range, at higher settings. It’s something we first encountered in Nikon’s 1 Series cameras but that’s become increasingly common over the past few years, resulting in visible improvements at high ISO settings.

The only difference we can see between the approach taken by Panasonic is that it lets you limit the camera to either one of the sensor’s modes, whereas other brands just change mode in the background, without the user ever knowing.

One of the only concepts fuzzier than ‘ISO’ sensitivity itself is the videography term
‘Native ISO’

From a stills point of view, the two circuits are used from ISO 160 – 640 and from ISO 800 and upwards, respectively. You’ll see talk of the camera having ‘Native ISO’s of 400 and 2500’ but this is perhaps best completely ignored.

One of the only concepts fuzzier than ‘ISO’ sensitivity itself is the videography term ‘Native ISO,’ which essentially appears to mean ‘setting at which the quality is good but that gives room to move either up or down from.’ This should not be confused with the idea of base ISO, which is the setting with the minimal amount of amplification, which usually results in the widest dynamic range.

Lower pixel count

The other thing Panasonic says contributes to giving the GH5S a performance boost in low light is the adoption of fewer and therefore larger pixels.

In general terms, there’s no significant advantage to large pixels over small ones: individually they have access to more light (which usually means less noise when viewed 1:1) but once you scale things to a common size, the noise and dynamic range levels tend to be similar. Instead, using more but smaller pixels can have a resolution benefit, even if you then downsize. This is because pixelated systems can only capture a certain percentage of their nominal resolution, but sampling at a higher resolution then downsizing (oversampling) can preserve some of the higher frequency detail it initially captures.

By concentrating on video capture, Panasonic is able to pick sides in this struggle

However, readout speed and processing/heat constraints mean very few cameras currently offer oversampled video, instead sub-sampling their sensors to find the ~8.5MP needed to capture 4K footage. This creates a tension between the needs of high-res stills photographer and lower-resolution of video capture. By concentrating on video capture, Panasonic is able to pick sides in this struggle.

The most obvious benefit is that it’s quicker to read out fewer pixels. So, while the latest processors are fast enough to generate oversampled footage from high pixel counts, the sensor read-out rate risks creating significant rolling shutter. Having fewer pixels means the GH5S should have less rolling shutter than the GH5.

Having a lower pixel count also means the GH5S is also able to include an anti-aliasing filter that reduces the risk of video moiré, without having to worry about limiting the stills resolution.

Just as we expect to see better pixel-level noise from larger pixels, logic would also lead you to expect greater pixel-level dynamic range (even though again, this advantage tends to disappear when you compare images at the same size). This additional pixel-level dynamic range is the reason the GH5S needs to offer 14-bit Raw files: because you need the extra bit-depth to provide room for that additional dynamic range.

No stabilization

From a photographic perspective it may seem odd to remove image stabilization from the camera but for high-end video shooting, it makes sense. Sensor-shift IS systems operate by ‘floating’ the sensor using a series of electromagnets. Even when they’re ‘off’ they’re not locked in place, they’re simply set so that the electromagnets aren’t attempting to correct for movement. This has the side-effect that, which mounted on a professional stabilization rig, there’s a risk of the sensor being shaken around.

For high-end video work, Panasonic says its users would prefer to use dedicated gimbals and dollies, rather than internal stabilization, and that means physically locking the sensor in place to avoid unwanted interactions between these systems and a floating sensor.

Articles: Digital Photography Review (dpreview.com)
January 9, 2018
Report: GoPro is looking for a buyer

Photo by Fabrizio Verrecchia

Just hours after GoPro’s disappointing Q4 2017 report—in which the company outlined a cost-cutting plan and announced that it would no longer be making drones—CNBC is reporting that the action cam giant has “put itself up for sale.”

The report cites “people familiar with the matter” who asked not to be named, but who told the network that GoPro hired J.P. Morgan Chase “some months ago” to find a buyer. The sources claim no buyer has come forward as of yet, but GoPro CEO Nick Woodman himself confirmed that the company would be open to a partnership or buyout.

Speaking to CNBC earlier today, Woodman said:

If there are opportunities for us to unite with a bigger parent company to scale GoPro even bigger, that is something that we would look at.

GoPro has suffered setback after setback since it went public in 2014, with lackluster action cam sales due at least in part to increased competition from smaller manufacturers, a disastrous launch (and recall) of the Karma drone, multiple rounds of layoffs, and its unceremonious exit from the drone market today. The stock price chart is… not pretty:

Chart via Google Finance

Interestingly enough, after taking a dive on the Q4 report, GoPro’s stock actually recovered a bit on news that the company was seeking a sale.

Still, despite a market cap of a little over $ 1 billion, you can bet that any potential buyer will be eyeing a price well below that mark unless the company’s plan to “[turn] the business around in 2018” starts to show some results.

Articles: Digital Photography Review (dpreview.com)

January 9, 2018
Sony announces Camera Control Box CCB-WD1 for wired RX0 control

The wired control accessory that Sony promised for the RX0 has arrived, as well as PlayMemories Mobile app update to enable more wireless control options. The CCB-WD1 Camera Control Box allows for more precise synchronization of multi-camera setups ideal for VR capture, and can be used to create effects like ‘bullet time.’

The Camera Control Box offers Video Sync for frame-by-frame synchronization between cameras, as well as Time Code sync. Computers running Windows 7/8.1/10 and Macs running OS X 10.11/10.12-10.13 can connect to the Control Box via a web browser where cameras can be named and monitored, and settings can be adjusted. Filenames can be modified to include the camera name which should help streamline post-processing workflow and avoid overwritten files. Multiple pairs of RX0 cameras and Camera Control Boxes allow for up to 100 units in total.

The PlayMemories Mobile v6.2 update allows ‘up to 50’ RX0 units to be controlled wirelessly by way of a router. The new app version also provides a list view of all connected cameras, the ability to simultaneously turn all cameras on and off via Bluetooth, and the ability to control cameras by group.

PlayMemories Mobile 6.2 will be released on January 30th. Camera Control Box pre-sales start January 9th at 11am PT, and it will sell for $ 700.

Press Release

Sony Announces New Expanded Multi-View Shooting Capabilities for the Compact RX0 Camera

New Wired and Wireless Multi-Camera Solutions Enable More Flexibility and Creativity

LAS VEGAS, Jan 8, 2018 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today announced new wired and wireless multi-camera solutions for the versatile RX0 that enable more flexibility, creativity and operability for today’s creators.

The RX0, introduced late this past fall, brings the advanced imaging quality of Sony’s acclaimed RX camera lineup to a robust, waterproof¹, ultra-compact body measuring approximately 2 3/8 in. x 1.5/8 in x 1 3/16 in (WxHxD)² and weighing just 3.9 oz³. The miniature dimensions and all-around versatility of the new camera make it a powerful tool when used either as a single unit or when combined together with additional RX0 cameras in multi-angle, multi-view shooting situations. For flexible mounting options in tight spaces, the camera features a complete symmetrical lens position and an image flip function, adding to its wide range of creative potential.

The compact RX0 camera offers two different types of solutions for multiple camera shooting and control, including a wired solution for precisely accurate camera synchronization and control, and a wireless solution for added convenience and flexibility.

New RX0 Wired Multi-View Shooting with Camera Control Box

Sony has announced a new accessory Camera Control Box (model CCB-WD1) that connects to the RX0⁴ and enables PC control with web browser⁵ via wired IP (internet protocol) connection. By converting control signal to IP, camera settings can be reliably controlled⁶ from a single PC from any location. A wired connection also allows for much seamless control and synchronization of multiple pairs of RX0 cameras and Camera Control Boxes – up to 100 units⁷ in total – enabling creators to produce high quality movie effects like “bullet-time” or virtual reality, or to shoot high profile events from unique angles.

When using multiple pairs of RX0 cameras and camera control boxes, settings of all connected cameras can be changed simultaneously, and can be triggered to all start/stop recording at the same time. Additionally, a video sync function is also available, allowing frame timing to be synchronized between all connected cameras. This reduces any time gaps between cameras and supports the process of stitching multiple images together to create special effects.

Files can also be transferred directly to the connected PC⁸, with the ability to assign and change file names to avoid any confusion when dealing with multiple cameras. In total, up to 100⁷ separate RX0 cameras and CCB-WD1 Camera Control Boxes can be linked together for a live-view multi-camera feed. Additionally, via Camera Control Box, shooting settings and modes for all connected cameras can be easily programmed by the user.

The new CCB-WD1 Camera Control Box will ship next month for about $ 700 US or $ 900 CA.

Improved Wireless Multi-View Shooting with New PlayMemories™ Mobile Application

Sony’s latest version 6.2 of its PlayMemories Mobile application expands the multi-camera control capabilities when paired with the RX0⁴. With the new version of the mobile application, users will be able to link their smartphone or tablet to up to 50 RX0 cameras via an access point⁹ to control them simultaneously¹⁰. In addition to the current ability to change key camera settings, all connected cameras can be turned ON/OFF together¹¹, and users have the ability to control and shoot by separately assigned camera ‘groups’.

The new PlayMemories Mobile application version 6.2 will be available this month.

1. Compliant with JIS/IEC protection levels (based on Sony tests). Shooting in depths of up to 10 meters (33 ft) is possible for up to 60 minutes (JIS: Japan Industrial Standards; IEC: International Electrotechnical Commission). Depending on usage conditions and circumstances, no guarantee is made regarding damage to, malfunction of, or waterproof performance of this camera

2. Approximate dimensions

3. Approximate weight with battery and media included

4. System software update for RX0 (scheduled in January 2018) is required

5. Recommended computer environment
OS: Windows 7/Windows 8.1/Windows 10, Mac OS X 10.11/macOS 10.12-10.13
Web browser: Google Chrome, Internet Explorer, Safari

6. Use only in a network environment with security measures

7. Depending on the specifications of the equipment to be used, the number of devices that can be connected will change. Up to 100 units connection have been tested (based on Sony tests)

8. Up to 4 GB per file can be transferred

9. Depending on the specifications of the access point, smartphone, tablet to be used, the radio wave environment of the installation location, the number of devices that can be connected will change. Up to 50 units connection have been tested (based on Sony tests)

10. Use only on Wi-Fi connection with security measures

11. Bluetooth connection required. Depending on the specifications of smartphone, tablet to be used, the number of devices that can be controlled will change.

Articles: Digital Photography Review (dpreview.com)

January 9, 2018

Nikon’s 180-400mm F4E TC1.4 FL ED VR lens features built-in teleconverter

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Nikon has announced a new full-frame lens with one of the longest names we’ve ever seen: the AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR.

Besides its impressive range, the highlight of this hulking lens is its built-in 1.4x teleconverter. Taking a leaf out of Canon’s book, the built-in converter boosts the focal range to 252-560mm with a corresponding 1-stop reduction in maximum aperture. If you’re using this $ 12,000+ lens on an APS-C body, the equivalent focal range becomes 270-600mm without the TC and 378-840mm with it.

The lens features 1 fluorite and 8 extra-low-dispersion elements plus fluorine, Nano Crystal and Super Integrated coatings. It has 9 rounded aperture blades, a Vibration Reduction system that reduces shake by up to 4 stops and a minimum focus distance of 2 meters. As you’d expect, this magnesium alloy lens (that weighs almost 8 pounds / 3500 grams) is weather-sealed. Drop-in 40.5mm filters are supported.

As an added bonus, if you’re using a camera with a 153-point AF system (D5, D500, D850) the outer row of AF points become cross-type sensors for improved coverage. A firmware update will be required in order for cameras to take advantage of this feature.

The AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR will be available in March for a whopping (but unsurprising) MSRP of $ 12,399.

Press Release

NIKON ANNOUNCES NEW AF-S NIKKOR 180-400mm F/4E TC1.4 FL ED VR SUPER TELEPHOTO ZOOM LENS AT CES 2018

LAS VEGAS — CES BOOTH #14018 (January 8, 2018) – Today at the Consumer Electronics Show (CES), Nikon Inc. announced the new AF-S NIKKOR 180-400mm f/4E TC1.4 FL ED VR super-telephoto zoom lens, which is ideally suited for photographing sports and wildlife with astounding speed and clarity. This professional level FX-format lens is more versatile than ever, and has been updated with the newest NIKKOR lens technologies including Nikon’s first ever built-in teleconverter and an advanced optical formula to enhance performance and minimize weight.

“This lens is a great example of how Nikon continues to push the boundaries of innovation and what’s possible with pro-level optics and high-end imaging equipment,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc.

Popular Pro-Level Lens Gets Even More Versatile

This new NIKKOR lens is a professional super-telephoto zoom lens, which is even more versatile with an extended wide range of 180-400mm, and a constant f/4 aperture to easily isolate a subject from the sidelines, even in challenging light. This is also the first NIKKOR lens to include a built-in 1.4X teleconverter, allowing photographers to seamlessly swap to a 252-560mm¹ (FX-format) focal range. The teleconverter is engaged at the flick of a switch, and is easily operated with a single finger while looking through the viewfinder. When used on the Nikon D500 and other DX-format DSLRs, the focal length is the equivalent of 270-600mm (378-840mm with teleconverter engaged).

Whether capturing fast-moving winter sports on the slopes or elusive wildlife at a distance, photographers can shoot with confidence from this high performance NIKKOR lens. The new 180-400mm f/4 is optimized for high-speed capture, and features an electromagnetic diaphragm, helping to create smooth and consistent exposures while shooting high-speed bursts of images. What’s more, the AF tracking algorithm controlling the motor drive has been enhanced to increase tracking performance of fast moving subjects. When using cameras equipped with Nikon’s advanced 153-point AF system (D5, D500, D850), the outer row of AF points are activated as cross-type sensors to significantly enhance the AF coverage throughout the frame.²

Enhanced Performance with the Addition of New Technology

The lens now uses a fluorite element, which contributes to improved balance while minimizing weight. To further enhance handling and agility, the lens has adopted a new ball-bearing tripod collar ring to create a seamless transition from shooting horizontal to vertical composition. The VR mechanism offers a normal and sports mode, with up to four stops³ of compensation to help create sharp images, even when handheld.

The lens construction includes the use of durable magnesium alloy for weight reduction, while the lens is also sealed against dust and moisture. A fluorine coating is also used to help repel water droplets and dirt.

The optical formula of the lens uses eight Extra Low Dispersion (ED) elements, doubling the amount of ED elements used by its predecessor, the NIKKOR 200-400mm. These help to provide extremely sharp and detailed images and 4K UHD / 1080p video, and is ideally mated to high resolution Nikon DSLR cameras. Nikon’s exclusive Nano Crystal Coat is used to effectively suppress instances of ghosting and flare.

Price and Availability

The AF-S NIKKOR 180-400mm f/4E TC1.4 FL ED VR lens will be available in March 2018 for a suggested retail price of $ 12,399.95⁴. For more information on this NIKKOR lens and other Nikon products, please visit www.nikonusa.com.

1. When the built-in or an external teleconverter is used, the focal length may not be displayed correctly in shooting information / Image data.
2. This feature will be available with a firmware upgrade for the D5, D850 and D500 as of March 2018
3. Based on CIPA Standard. This value is achieved when FX-format compatible lenses are attached to a FX-format digital SLR camera and zoom lenses are set at the maximum telephoto position.

Nikon AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR specifications

Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	180–400 mm
Image stabilization	Yes
CIPA Image stabilization rating	4 stop(s)
Lens mount	Nikon F (FX)
Aperture
Maximum aperture	F4
Minimum aperture	F32
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	27
Groups	19
Special elements / coatings	1 fluorite + 8 ED elements and Nano Crystal + Super Intergrated + fluorine coatings
Focus
Minimum focus	2.00 m (78.74″)
Maximum magnification	0.25×
Autofocus	Yes
Motor type	Ring-type ultrasonic
Full time manual	Yes
Focus method	Internal
Distance scale	Yes
DoF scale	No
Focus distance limiter	Yes
Physical
Weight	3500 g (7.72 lb)
Diameter	128 mm (5.04″)
Length	363 mm (14.29″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	Yes
Filter thread	40.5 mm
Filter notes	Uses drop-in filters
Hood supplied	Yes
Tripod collar	Yes
Other
Notes	Has a built-in 1.4x teleconverter

Articles: Digital Photography Review (dpreview.com)

January 9, 2018

Insta360 unveils new, 4K capable Nano S 360-degree camera for iPhone

Insta360 is a company known for its affordable, consumer 360-degree camera dongles. The Insta360 One and Air are its current models for iPhone and Android, respectively, but the camera started out with the iPhone-only Nano in 2016. For CES, Insta360 has now launched an upgraded Nano S that keeps the original model’s form factor, so accessories can still be used, but comes with upgraded interior components.

Compared to the original Nano, video capture has been bumped from 3K to 4K resolution and stills are now captured at a whopping 20MP, a nice step up from the previous 4.6MP stills. In addition, you can now choose between a matte black and silver version.

The Nano S doesn’t just provide higher resolution recording, though, it also comes with a couple of new features. MultiView Shooting allows you to output conventional video footage with two or three camera angles, and 360-degree Video Chat gives any recipient a live 360-degree spherical view of the caller’s location, even without using the Insta360 app, the caller simply needs to share a link.

A foldable stand for easy video calls or 360-degree selfies comes included in the package.

The Insta 360 Nano S is available order now for $ 240. To learn more, head over to the Insta360 website or check out the intro video above.

Articles: Digital Photography Review (dpreview.com)

January 9, 2018
How to Create Dynamic Photos of Car Light Trails
Nothing says futuristic, dynamic, and dramatic like a well-done traffic light trail photo. This is a genre of photography that almost all landscape photographers will have dipped into, it’s like a right of passage. The kind of images you can create make others want to go out and buy their first tripod.

Indeed getting a good photo of light trails will justify carrying around that heavy tripod perhaps all day long. There are lots of things to consider when taking this type of photo, and in this article, you’ll learn straight away what it takes.

This photo was taken from a residential building overlooking this amazing traffic intersection in Shanghai.

Choosing the right location

The most important thing to creating light trail photos is to go to a place where there will be lots of moving lights! This should be obvious, but some places are better than others. In all cases, the light trails will be part of the frame and either the main subject or the leading lines that direct the viewer to your main subject. In most cases your location is going to be urban, so let’s look at the options.

This light trail photo of the Colosseum in Rome uses light from a passing bus.

1 – Down on the street

A busy main road can be a good place to take light trail photos. The chances are you’ll be photographing a famous landmark from your locale, and using light trails will give the photo a more dynamic feel.
- Position yourself so the light trails either lead up to your landmark or disappear off into the distance beside it.
- When a safe traffic island is available, experiment with photographing from the middle of the street. This will give you both white headlights, and red rear lights.
- It’s easier to control the intensity of the light from rear lights. So it’s often best to position yourself to photograph light trails as the traffic is moving away from the camera.
- Photograph during blue hour as much as possible, this should be the case for all cityscape photos.
- The best light trails are produced when buses drive past. They have lights that will fill your frame, as these vehicles are taller and lit up more.
- The height at which you have your tripod set can dramatically affect your results when photographing at street level. The lower the tripod, the “higher” the lights will appear in your frame.
- If you don’t want the lights to paint across the entire photo, experiment with an external shutter release, and the bulb function on your camera. Bulb allows you to open and close the shutter when you choose, so you can close it and end the exposure before the moving vehicle completely moves through your photo.
In this case, the Bulb function was used so that the light didn’t paint over the building on the right.

2 – Get up high, and photograph from above

Taking photos from a high vantage point is often a sure fire way of getting good results. This is especially true when it comes to taking light trail photos. There are two choices when it comes to this, you can go to the public area, or try for the trickier private access.
- Public area – The easiest and safest option, though this likely means 1000’s of other people will also visit the same spot. This will commonly be a pedestrian footbridge over a road, a viewpoint from a mountain, or perhaps a viewing gallery in a tall building.
- Private property – The best policy here is to ask permission. The other approach is riskier, more clandestine, and more in keeping with a genre of photography called urbex. At this time access to private rooftops is becoming increasingly difficult, in no small part because some people enjoy filming daredevil stunts from such locations. So do your research on a location you would like to photograph, and be respectful if you are lucky enough to get access. In some cities, rooftop bars can offer great views, but if you wish to bring a tripod in then emailing the business ahead of time is advised.
This high vantage point was achieved by contacting a rooftop bar in advance and getting permission to photograph from their location.

3 – Embrace the great outdoors

Of course, anywhere there’s a road can be a good location for light trail photography. Roads that wind their way up a mountainside will look great in a photo, you just need a good vantage point. Even photos from a lower position can look nice with a single stream of light, which can create a nice minimalist feel to your photo.

Photos taken in these locations may require very long exposures to allow the vehicle to drive through the frame. The best solution here is to take a series of 30-second exposures, and then stack the results later in Photoshop (or use an ND filter to cut the light and get longer exposure times).

This location is in Taiwan. To reach the viewpoint there were several bits of rope I had to climb up, as the side of the mountain was steep.

How to take long exposures of car light trails

Once you have settled on your location it’s time for the fun to begin! Taking these photos well does require some technical knowledge, let’s break this down here.
- Compose your photo, and ensure the light trails complement the frame you wish to produce.
- Arrive around 30-minutes prior to sunset. This will give you time to plan your photo and to take additional photos for digital blending if needed.
- Ensure the camera is steady, this is challenging in strong winds. To achieve this use a heavy tripod, and where possible hook your camera bag under the center column. The heavier the tripod, the less likely it will be moved by the wind. Avoid putting up the middle extension tube on the tripod, as this introduces more instability and movement.
- You can focus the camera using Live View. In Live View, zoom (using the magnify view button + not zooming your lens) into an area of the frame such as a sign. Now set your lens to manual focus. Choose an object to focus on that is towards the back of the mid-ground in your photo. Keep the camera in manual focus, so that the camera doesn’t change focus when you press the shutter button.
- An additional option is to use digital blending to balance the light throughout the scene. Digital blending is a post-processing technique that requires a set of bracketed photos at -1, 0 and +1 exposure (or -2, 0, and +2).
- Using an aperture of f/11 or smaller will create a starburst effect on any street lights that are in your frame. But the larger the aperture the brighter the light trails will be, so a balance is needed.
- Now everything is set for you to take your photo. The light trail photo needs to show continuous light moving along the road. Make sure your exposure is long enough for this to happen, usually this is at least 15 seconds. To avoid camera shake use an external shutter release, or the camera’s self timer. If the camera isn’t in Live View, use the mirror lockup, this prevents shake on dSLR cameras when they expose.
This frame required several stacked images to enhance the amount of traffic in the photo.

Enhancing your light trail photo in post-processing

As with all photography, you can enhance your image in post-processing to get an even better result. There are two principal techniques that can be used to achieve this.
- Digital blending – In order to use this technique you will need a set of bracketed images to work with. This technique will allow you to balance the level of light throughout the scene.
- Photo stacking – The next option, usually done in conjunction with digital blending, is photo stacking. You can use this to intensify the light trails within your photo. The concept is to take photos of multiple traffic light streams and overlay the images on top of each other.
There aren’t many better places to photograph light streams on boats than Venice!

Other types of light trail photos

There are lots of other ways to use light trails in your photography. Here are a few other ideas you can try, that will complement your other light trail photos.
- Boat lights – Boats on the water produce beautiful light trails, with the added bonus of reflections. The speed of boats is much slower though. This means an exposure of around two minutes or stacking several photos together to complete the light trail.
- Create your own – You don’t need cars to create light trails, in fact, you can just use a light source and make your own. To have the most fun with this purchasing a Pixelstick is a great idea.
- Kinetic light painting – Static lights can be turned into light trails, you just have to move your camera! Try out zoom bursts, or camera rotation to see some amazing results.
The u-bein bridge in Myanmar is a classic photograph. You won’t see light trails here unless you make your own!

Time to hit the road, and get some light trails

Now it’s time to get out there and try this amazing style of photography. I’m sure many of you have taken car light trail photos, so share your best work with the community in the comments below.

What style of photo do you like best? Are there any further tips that you use for your photos that you’d like to share? As always share your thoughts, ideas, and work below and let’s talk about car light trail photography.

Time to get on your bike, and out there taking light trail photos!

The post How to Create Dynamic Photos of Car Light Trails by Simon Bond appeared first on Digital Photography School.

Digital Photography School
January 9, 2018
How to Create a Center of Attention for Better Storytelling Images

Drawing the viewer’s attention to the main subject in your photographs will help them understand your story more clearly. If you have a busy scene with no clear focus point it will possibly give your viewers an overall idea of what you were photographing, but they may not scrutinize it for long. Adding a clear center of attention will help you create better storytelling images.

Particularly when you are photographing a locality with a lot going on you can seek to isolate or draw the viewer’s eye to one main subject within your composition. By using this technique, you can develop a style which may become easily recognizable in your photographs.

Lessons from documentary photography

I first learned to make photographs like this while working as a newspaper photographer. My task was to illustrate and support the journalist’s story with my pictures. Making photos that compelled people to stop and look was always my priority. We wanted people to take notice, look at the photo, and read the story.

Photos of broad, general scenes will not achieve this so well as people will typically just flick past them.

Creating a photo essay to tell of your travel experience, an event you attended, a parade, etc., you will be aiming to convey what you saw and how you felt to best engage your audience. By creating a series of images where you have focused in on one main subject in each image you can build an overall illustration communicating to the viewer what it was like to be there. That is storytelling at its best.

Techniques

There are various techniques you can use to draw attention to one part of your composition. Using a shallow depth of field to isolate is one method. Using the contrast in light between your subject and the background, and various composition methods you can obtain pleasing results.

Play with the background

All of the photos I am using to illustrate this article are from a street parade in Chiang Mai, Thailand. With a lot of people, often cluttered backgrounds, and no real control or means of setting up photos, it’s a challenging situation in which to shoot.

Finding a dark background to help isolate your subject is not always so easy, but when you can it will produce some great photos. In this photo of the boy playing a large drum, I positioned myself so the background was totally in shadow and therefore underexposed.

This has achieved isolation of my main subject and you easily focus your attention on him. My timing to capture a smile and interesting positioning of his drumstick also helped. On its own though, this photograph does not do much to illustrate the parade and environment.

Coming in close to the French horn player (with a 35mm lens on a full frame camera and a wide aperture) I was able to isolate him and at the same time convey more information about his activity and location. Making him the center of attention and at the same time leaving him in context helps tell the story.

Had I used a longer lens it would have included less background and it may have been even more blurred, further distorting the detail and therefore the context of the story would be lost.

Using compositional elements

Using different composition methods such as framing or converging lines you can help draw your viewer’s attention to your chosen subject.

Often during our workshops, I find people want to include too much in their photos. I encourage them to include less and take more photos build up a story that way.

While it is good practice to create a photo essay which has a varied selection of wide, medium and close-up photos, trying to capture too much of what’s in front of you can often produce rather uninteresting photographs. Bringing one part of your composition to the foreground as the center of attention is a more effective means of holding a viewer’s focus.

Single or multiple photos

At the newspaper most often each story was accompanied by a single photograph. So the challenge was to produce one image supporting the narrative of the story. Not always so easy, especially with an event like a parade.

I often encourage people to photograph as if they are shooting to cover a story for a magazine. The aim being to come away with a series of photographs that together will tell the story of their experience. To finish up with 6-10 photos having a clear center of interest in each one and conveying the overall experience of the day.

If you produce a small collection of photos most social media and photo sharing sites have means to display them together in an album or gallery so it’s a great way for you to share your stories and your experiences.

Your turn

You can see some of these tips in action in the video below. Please share your tips and thoughs on creating more storytelling images by having a center of attention in the comments below.

The post How to Create a Center of Attention for Better Storytelling Images by Kevin Landwer-Johan appeared first on Digital Photography School.

Digital Photography School

January 8, 2018