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How to Shoot in Low Light – 9 Commonly Asked Questions
The post How to Shoot in Low Light – 9 Commonly Asked Questions appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

This image of a moonrise over Marietta, Ohio was taken 20 minutes after sunset during the blue hour; the sun had set and the sky was a dark blue. The city lights create a great warm glow over the city.

According to British photojournalist Donald McCullin, “There is no such thing as bad light, just misunderstood light.” Yet many photographers still consider low light to be bad light.

The purpose of this article is to encourage you to not consider low light as inferior or unusable, but to instead look for subjects that work well with the available low light. Shooting in low light can often be a struggle, however, which is why I’ll answer nine of the most frequently asked questions about low light photography.

Keep in mind that low light photography is not exclusively night photography. Low light photography opportunities may appear at any time of the day.

For instance, shooting waterfalls in low light allows you to use a slow shutter speed, prevents overexposure of the white water of the falls, and helps you create a beautiful silky effect (by blurring the moving water).

Using a flash will light up any subject, of course, but let’s take a look at how to improve your photography in naturally-occurring low light.

Low light photography FAQs

Low light creates very dramatic scenes. Dark storm clouds turned this potential sunrise into a great low light opportunity.

1. My low light images are blurry. Would a better lens alleviate the blur?

The short answer to this question is, “Yes.” A fast lens with a maximum f-stop of f/1.8, for instance, will give you better results than a kit lens with a maximum f-stop of f/3.5 or f/5.6.

But even the faster, more expensive lenses will give you undesirable results if you’re using the wrong settings. You see, the wider aperture opening on fast lenses allows you to use a faster shutter speed, which helps you capture a sharper image – but unless you dial in the correct shutter speed, your shots will often turn out blurry anyway!

Lenses with larger maximum apertures are called “fast” because they allow you to shoot with faster shutter speeds, thanks to the additional light that enters your camera through the bigger aperture opening.

2. What are the best camera settings for shooting in low light?

These are the best low light camera settings:

Manual mode

Shooting in Manual mode is essential for successful low light photography, as it allows you to control every functional aspect of your camera.

Once in Manual mode, you basically have three ways to get more light onto your camera sensor:
- Shutter speed
- Aperture
- ISO
These three controls are together called the exposure triangle, and each of the settings can have a positive or negative result on your image’s exposure.

Therefore, learning how to use shutter speed, aperture, and ISO for the best result is the key to low light photography.

Note that your in-camera light meter will reveal where adjustments should be made to the camera settings, and well-exposed images will be the result.

Shutter speed

If you are shooting handheld, a good rule of thumb is to set your shutter speed to match the reciprocal of your focal length.

For example, if you are shooting at 50mm, your shutter speed shouldn’t be any slower than 1/50s. Of course, if the subject of your photo is moving, then you will need to increase your shutter speed to freeze the action. Because while choosing a slower shutter speed will allow more light into your camera, you’ll also risk getting a blurry result.

A great blue heron in a fight was the subject of this low light image. I shot this at 1/250s, f/5.6, and ISO 1250. Using a combination of a slower shutter speed and a higher ISO, I was able to create the blurry wings while panning to match the speed of the fight.

Aperture

In most low light situations, you will probably need to shoot with your aperture wide open.

But if there is enough light to shoot with a smaller f-stop, you’ll get an increased depth of field.

So here’s what to consider:

Choosing a wider aperture will let more light into your camera, but will decrease your depth of field. And this could lead to an important part of your image being out of focus.

So what should you do?

Generally, it’s better to risk an out-of-focus shot than to guarantee a blurry one – so, if necessary, widen that aperture!

ISO

The higher the ISO, the brighter the resulting shot.

But there’s an important trade-off here:

The higher the ISO, the more digital noise you’ll be adding to your image.

So keep your ISO as low as possible, and only increase your ISO after you have decreased your shutter speed and widened your aperture.

Shoot in RAW

For the best results, shooting in RAW is recommended.

This is for one simple reason: Your camera will save more shadow detail in RAW format compared to the compressed JPEG format.

Also, it is very helpful to learn how to check your histogram; that way, you don’t have to just rely on what you see on your camera’s LCD screen. Use the histogram to check your exposure, and avoid clipping the highlights and shadows.

I used the low light at Huntington Beach, California to create this black and white image with a five-second exposure.

3. How do I take low light action shots?

Shooting action in low light can be very challenging, and it is almost always going to require you to shoot with your aperture at its widest setting.

Once your aperture is set, adjust your shutter speed to match the action you are trying to freeze. Of course, depending on the situation, there may simply not be enough light. If that is the case, adjust the ISO to a higher setting until a good exposure is set. If your ISO setting is so high that you are getting an unacceptable amount of digital noise, you have two options:

Either add light with a flash or some other source, or live with the noise and try to remove some of it in post-processing.

Sometimes, with the noise issue, it comes down to getting the shot with noise versus not taking the shot at all.

4. How do I reduce the digital noise level in low light images?

The simple answer to this question is to shoot at the lowest ISO that you can. But it is also a good idea to know the ISO at which your camera produces noise that you consider unacceptable.

And always make sure your exposure is correct. Even at a low ISO, if your image is underexposed, you will have some noise in the shadow areas.

A cloudy day at Blackwater Falls, West Virginia allowed for a long exposure without blowing out the highlights.

5. How do I focus in low light?

Another reason for blurry images in low light is the fact that some cameras just aren’t manufactured to focus properly with less light.

So what should you do?

Try shining a light on your subject to give your camera enough light to focus. You can also use your lens’s focusing ring to fine-tune your focus.

Focusing via the central AF point may also help, as it usually focuses faster and more accurately than surrounding AF points.

6. How can I take pro-like images in low light?

Here are four things that most pros do in low light:
1. Use a tripod
2. Shoot in RAW
3. Shoot in Manual mode
4. Use the histogram
Low light makes for great silhouettes!

7. How do I choose the best white balance for low light?

Set your white balance to match your environment:
- Tungsten for photographing indoors with light from a regular lightbulb
- Fluorescent for light from fluorescent bulbs
- Cloudy for low light created by an overcast day
- Shade for shooting in a shaded or shadowy area
One thing to remember:

If you are shooting in RAW, you can adjust your white balance later in post-processing.

But if you are shooting JPEGs, it is very important to get your white balance correct in-camera. For this reason, if your camera is set to capture JPEGs, you should not use the automatic white balance function. White balance is hard, and sometimes impossible, to correct later in a JPEG.

8. Should I raise my ISO or lower my shutter speed in low light?

Assuming that you are shooting with your aperture wide open, in most situations this is an easy one to answer:

Adjust your shutter speed!

And only raise your ISO as a last resort.

Remember that raising your ISO is going to add more noise into the image.

Now, most new DSLRs do a much better job with noise levels at higher ISO settings. But as I mentioned earlier, it is a good idea to know what noise levels are unacceptable, and what ISOs these correspond to. In situations where your subject is moving, it may become necessary to boost the ISO to keep your shutter speed fast enough to freeze the action.

Fog created the low light conditions in this fall image.

9. Why aren’t my low light shots sharp even when I use a tripod?

Remember that, in most low light, you will be shooting with your aperture wide open (or nearly so).

Hence, your depth of field will be very shallow (which can lead to blurry results).

So be extra careful to lock your focus (you can even try back-button focus) on the part of your scene that needs to be in sharp focus.

Case in point:

When shooting a low light portrait, it is important to have the subject’s eyes in focus. So focus on the eyes!

Also, if your subject is moving, increase your shutter speed until the subject is frozen by your camera. And when shooting with a tripod, make sure your camera’s image stabilization is turned off, because it can actually create blur!

10. A bonus tip

In low light, the LCD screen on the back of your camera is going to look very bright – and this will give you an inaccurate sense of your photo’s exposure.

So if your camera has an adjustment for the brightness of your LCD screen, turn it down. You want to ensure your image will not seem overly bright when you view it!

How to shoot in low light: conclusion

The trick to low light photography is to take control of your camera, and know that every action or setting will have a reaction.

Now, how is that different from photography in any other type of light?

It’s not, really. Just consider photography in low light as an opportunity to be creative.

Now over to you:

What subjects do you like to shoot in low light? And do you have any low light shooting tips? Share your thoughts in the comments!

The post How to Shoot in Low Light – 9 Commonly Asked Questions appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

Digital Photography School
November 24, 2020
2020 Black Friday and Cyber Monday camera gear deals

Please note that this article will be updated over the course of the holiday week. We will make every effort to keep it up to date but we cannot guarantee that all of the deals listed below will be available at the time of reading.

Here in the US, we’re looking forward to Thanksgiving. While this year’s Turkey Day will be a little unusual thanks to you-know-what, some things remain the same. Holiday season traditionally means shopping season, and the week of Black Friday, Small Business Saturday and Cyber Monday deals is here.

We’ve compiled a list of the best offers on cameras, lenses, accessories and software, and we’re going to be updating this article regularly as more deals are listed and others are taken down. If you find a nice deal you think we’ve missed, or you notice one that’s expired, please let us know in the comments below.

Do note that the ‘SAVE’ figures below represent discount from original MSRP and we make no guarantees that the discounts listed will be available across the entire holiday weekend.

We’re focusing on deals from major U.S. online retailers in this article, and if you choose to shop via the Amazon links below, you’ll be supporting DPReview in a small way.

Happy holidays!

Accessories

Loupedeck (November 27-30)

Loupedeck CT Save 10%
$ 500, normally $ 550 (Loupedeck, Amazon)

Loupedeck CT Save 10%
$ 225, normally $ 250 (Loupedeck, Amazon)

Peak Design (November 16-30)

Everyday Line (V2) Save 20%
(Adorama, B&H, Peak Design)

Travel Line Save 20%
(Adorama, B&H, Peak Design)

Straps, Clips and Accessories Save 10%
(Adorama, B&H, Peak Design)

Travel Tripod Save 10%
(Adorama, B&H, Peak Design)

SmallHD

502 Bright Full HD On-Camera Monitor Save $ 100

$ 699, usually $ 799

SmallRig

Entire Store — Save 15%

Canon

You can see a full list of Canon’s deals on its dedicated holiday deals page

Cameras

EOS RP RF24–105mm F4–7.1 IS STM Lens Kit — Save $ 400
$ 999, usually $ 1,399 (Amazon, B&H, Canon)

EOS R (body only) — Save $ 200
$ 1,599, usually $ 1,799 (Adorama, Amazon, B&H, Canon)

EOS M6 Mark II + EF-M 15–45mm f/3.5–6.3 IS STM + EVF Kit — Save $ 200
$ 899, usually $ 1,099 (Amazon, B&H, Canon)

EOS M6 Mark II + EF-M 18–150mm f/3.5–6.3 IS STM + EVF Kit Black — Save $ 200
$ 1,149, usually $ 1,349 (Amazon, B&H, Canon)

EOS 90D Video Creator Kit — Save $ 150
$ 1,299, usually $ 1,449 (Adorama, Amazon, B&H, Canon)

EOS M50 Video Creator Kit — Save $ 150
$ 599, usually $ 749 (Adorama, B&H, Canon)

Powershot G7 X Mark II — Save $ 130
$ 499, usually $ 629 (Adorama, Amazon, B&H, Canon)

Powershot G7 X Mark III — Save $ 100
$ 649, usually $ 749 (Adorama, Amazon, B&H, Canon)

Lenses

EF-S 24mm f/2.8 STM — Save $ 30
$ 119, usually $ 149 (Adorama, Amazon, B&H, Canon)

EF-S 35mm f/2.8 Macro IS STM — Save $ 50
$ 299, usually $ 349 (Adorama, Amazon, B&H, Canon)

EF 40mm f/2.8 STM — Save $ 20
$ 179, usually $ 199 (Adorama, Amazon, B&H, Canon)

RF 50mm F1.2 L USM – Save $ 100
$ 2,199, usually $ 2,299 (Amazon, B&H, Canon)

RF 85mm F1.2 L USM – Save $ 100
$ 2,599, usually $ 2,699 (Amazon, B&H, Canon)

RF 24–70mm F2.8L IS USM — Save $ 100
$ 2,199, usually $ 2,299 (Amazon, B&H, Canon)

RF 24–240mm F4–6.3 IS USM — Save $ 200
$ 699, usually $ 899 (Amazon, B&H, Canon)

RF 70–200mm F2.8 L IS USM — Save $ 100
$ 2,599, usually $ 2,699 (Amazon, B&H, Canon)

Fujifilm

Coming soon…

Nikon

You can view all of Nikon’s deals on its Black Friday camera deals page

Cameras

Z7 (body only) — Save $ 300
$ 2,499, usually $ 2,799 (Adorama, Amazon, B&H, Nikon)

Z7 with 24–70mm F4 S zoom lens kit — Save $ 300
$ 3,099, usually $ 3,399 (Adorama, Amazon, B&H, Nikon)

Z6 (body only) — Save $ 400
$ 1,599, usually $ 1,999 (Adorama, Amazon, B&H, Nikon)

Z6 with 24–70mm F4 S zoom lens kit — Save $ 400
$ 2,199, usually $ 2,599 (Adorama, Amazon, B&H, Nikon)

Z6 filmmakers kit — Save $ 400
$ 3,599, usually $ 3,999 (Adorama, Amazon, B&H, Nikon)

Z5 (body only) — Save $ 200
$ 1,199, usually $ 1,399 (Adorama, Amazon, B&H, Nikon)

Z5 with 24–200mm F4–6.3 VR lens kit — Save $ 200
$ 1,999, usually $ 2,199 (Adorama, Amazon, B&H, Nikon)

Z5 with 24–50mm F4–6.3 lens kit — Save $ 200
$ 1,499, usually $ 1,699 (Adorama, Amazon, B&H, Nikon)

Z50 Creator’s Kit — Save $ 100
$ 1,049, usually $ 1,149 (Adorama, Amazon, B&H, Nikon)

D750 (body only) — Save $ 200
$ 1,499, usually $ 1,699 (Adorama, B&H, Nikon)

D850 (body only) — Save $ 500 (currently back ordered)
$ 2,499, usually $ 2,999 (Adorama, B&H, Nikon)

Lenses

Nikkor Z 50mm F1.8 S — Save $ 100 (currently back ordered)
$ 499, usually $ 599 (Amazon, B&H, Nikon)

Nikkor Z 35mm F1.8 S — Save $ 150
$ 699, usually $ 849 (Amazon, B&H, Nikon)

Nikkor Z 85mm F1.8 S — Save $ 100 (currently back ordered)
$ 699, usually $ 799 (B&H, Nikon)

Nikkor Z 14–30mm F4 S — Save $ 200
$ 1,099, usually $ 1,299 (Amazon, B&H, Nikon)

Nikkor Z 24–70mm F2.8 S — Save $ 300
$ 1,999, usually $ 2,299 (Amazon, B&H, Nikon)

AF-S Nikkor 24–70mm F2.8E ED VR — Save $ 500
$ 1,599, usually $ 2,099 (Amazon, B&H, Nikon)

AF-S Nikkor 70–200mm F2.8E FL ED VR — Save $ 450
$ 1,899, usually $ 2,349 (Adorama, Amazon, B&H, Nikon)

AF-S Nikkor 500mm F5.6E PF ED VR — Save $ 300
$ 3,299, usually $ 3,599 (Amazon, B&H, Nikon)

Panasonic

Coming soon…

Sigma

18–35mm F1.8 DC HSM | A Save $ 120
$ 679, usually $ 799 (Amazon, B&H, Sigma)

24–70mm F2.8 DG OS HSM | A Save $ 240
$ 1,059, usually $ 1,299 (Adorama, Amazon, B&H, Sigma)

24–70mm F2.8 DG DN | A Save $ 240
$ 1,059, usually $ 1,299 (Adorama, Amazon, B&H, Sigma)

24–105mm F4 DG OS HSM | A Save $ 100
$ 799, usually $ 899 (Adorama, Amazon, B&H, Sigma)

70–200mm F2.8 DG OS HSM | S Save $ 160
$ 1,339, usually $ 1,499 (Amazon, B&H, Sigma)

16mm F1.4 DC DN | C Save $ 50
$ 399, usually $ 449 (Amazon, B&H, Sigma)

30mm F1.4 DC DN | C Save $ 50
$ 289, usually $ 339 (Adorama, Amazon, B&H, Sigma)

35mm F1.4 DG HSM | A Save $ 200
$ 699, usually $ 899 (Amazon, B&H, Sigma)

45mm F2.8 DG DN | C Save $ 100
$ 449, usually $ 549 (Amazon, B&H, Sigma)

50mm F1.4 DG HSM | A Save $ 150
$ 799, usually $ 949 (Amazon, B&H, Sigma)

56mm F1.4 DC DN | C Save $ 50
$ 429, usually $ 479 (Amazon, B&H, Sigma)

85mm F1.4 DG HSM | A Save $ 150
$ 1049, usually $ 1,199 (Amazon, B&H, Sigma)

MC-11 Mount Converter Save $ 100
$ 149, usually $ 249 (Adorama, Amazon, B&H, Sigma)

Sony

Cameras

a7 III — Save $ 300
$ 1,698, usually $ 1,998 (Adorama, Amazon, B&H)

a7 III with 28–70mm lens — Save $ 300
$ 1,898, usually $ 2,198 (Adorama, Amazon, B&H)

a7 III with 24–105mm lens — Save $ 600
$ 2,880, usually $ 3,480 (Adorama, B&H)

a7R IV (body only) — Save $ 500
$ 2,998, usually $ 3,498 (Adorama, B&H)

a7R IV with 24–70mm F2.8 lens — Save $ 715
$ 5,118, usually $ 5,833 (B&H)

a7R II — Save $ 600
$ 1,198, usually $ 1,798 (Adorama, Amazon, B&H)

a6000 with 16–50mm Lens — Save $ 150
$ 498, usually $ 648 (B&H)

a6600 (body only) — Save $ 100
$ 1,298, usually $ 1,398 (Adorama, Amazon, B&H)

ZV-1 — Save $ 100
$ 698, usually $ 798 (Adorama, Amazon, B&H)

Lenses

FE 35mm F1.8 Lens — Save $ 50
$ 698, usually $ 748 (Amazon, B&H)

FE 16–35mm F2.8 GM Lens — Save $ 200
$ 1,998, usually $ 2,198 (Adorama, Amazon, B&H)

FE 24–70mm F2.8 GM Lens — Save $ 200
$ 1,998, usually $ 2,198 (Adorama, Amazon, B&H)

FE 24–105mm F4 lens — Save $ 300
$ 1,098, usually $ 1,398 (Adorama, Amazon, B&H)

FE 70–200mm F2.8 GM OSS Lens — Save $ 200
$ 2,398, usually $ 2,598 (Adorama, Amazon, B&H)

Vario-Tessar T FE 16–35mm F4 Lens — Save $ 250
$ 1,098, usually $ 1,349 (Adorama, Amazon, B&H)

Vario-Tessar T* FE 24–70mm f/4 Lens — Save $ 200
$ 698, usually $ 898 (Adorama, Amazon, B&H)

Please note, DPReview is a wholly-owned but editorially independent subsidiary of Amazon. This article was put together entirely and exclusively by DPReview’s editorial staff, without any involvement from our parent company.

Articles: Digital Photography Review (dpreview.com)

November 24, 2020

iFixit tears down the iPhone 12 Pro Max, showcasing new camera tech

Customers have gotten their hands on Apple’s latest family of iPhones, including the largest iPhone ever, the iPhone 12 Pro Max. While customers have been enjoying using the new phones, over at iFixit, the team has been busy tearing them apart. They’ve taken apart the iPhone 12 mini and the two medium-sized iPhone 12s, the 12 and 12 Pro. Over this past weekend, the iFixit crew got to work dismantling the iPhone 12 Pro Max.

Image courtesy of iFixit and Creative Electron.

Before diving in, it’s worth recapping the iPhone 12 Pro Max’s features. It is powered by an Apple A14 Bionic system on chip and includes 6GB of RAM. Internal storage options include 128GB, 256GB and 512GB options. The phone features a 6.7″ Super Retina XDR OLED display with a P3 wide color gamut and Apple’s True Tone technology. It is the largest display ever in an iPhone, and according to DisplayMate, it’s a fantastic display.

iPhone 12 Pro Max camera modules. Image courtesy of iFixit.

With respect to photography, the iPhone 12 Pro Max has unique components. It has a 12MP triple camera system like the iPhone 12 Pro, but the Max includes a 47% larger image sensor, a faster F1.6 lens, improved image stabilization, a new 65mm (equivalent) telephoto lens, and improved high ISO performance. If you want to learn more about the performance of the new camera system in the iPhone 12 Pro Max, check out this article: ‘Halide’s deep dive into why the iPhone 12 Pro Max is made for ‘Real Pro Photography’.

X-ray image of the iPhone 12 Pro Max’s rear camera module. The bottom left camera, the standard wide angle camera, has a 47% larger image sensor than the camera found in the iPhone 12 Pro. The four black magnets around the same camera are used for the new sensor-shift image stabilization feature, found exclusively in the iPhone 12 Pro Max and not Apple’s other iPhone 12 models. Image courtesy of Creative Electron and iFixit.

After taking apart the iPhone 12 Pro Max’s new case construction, iFixit was able to investigate the new camera array. As you can see in the x-ray image above captured by Creative Electron, the standard wide camera (shown bottom left) has a noticeably larger image sensor. You can also see magnets around the sensor, which are being used for the new sensor-shift image stabilization tech found exclusively in the iPhone 12 Pro Max. For those lamenting the lack of the larger sensor in the standard iPhone 12 Pro, iFixit states that ‘There’s a decent chance this sensor wouldn’t fit in the cramped corner of the smaller iPhone 12 Pro without compromises.’

Close-up image of the standard wide angle camera module in the iPhone 12 Pro Max. Image courtesy of iFixit.

There’s a lot to see inside the iPhone 12 Pro Max. You can head to iFixit’s teardown for more photos and information about the different internal components and how they relate to the features of the iPhone 12 Pro Max. You can also see a replay of iFixit’s live-streamed teardown of the phone below.

Articles: Digital Photography Review (dpreview.com)

November 24, 2020

Slideshow: Winners and finalists of the 2020 Ocean Photographer of the Year awards

Winners and finalists of the 2020 Ocean Photographer of the Year awards

Oceanographic Magazine announced the winners and finalists for its annual Ocean Photographer of the Year awards. Over 3,000 images were submitted to six categories. Canadian photographer Nadia Aly was named Ocean Photographer of the Year and also received the Collective Portfolio award.

‘The photograph is perfectly exposed, compellingly dramatic and deeply intriguing. I know from experience that this image was not easy to create. Nadia Aly’s acknowledgement as the Ocean Photographer of the Year is a testament not only to the sheer power and uniqueness of her imagery, but to her journey as a photographer as well,’ says awards judge Cristina Mittermeier.

This top-down image of crabeater seals resting on icebergs has won Florian Ledoux many accolades, from international photography competitions, throughout the year.

Florian Ledoux, who received a third place nod in the Conservation category for his image (above) of crabeater seals resting on icebergs, told DPReview: ‘It gives my work even more exposure and a deep sense to it, and a bigger commitment toward conservation of the oceans’ ecosystems that makes our life possible on Earth. It is an honor be amongst very talented photographers working in the same direction with love for the planet.’

All winners, and highly commended images, can be viewed here.

Winner, The Ocean Photographer of the Year: Nadia Aly

Artist Statement: An aggregation of mobula rays in clear waters off Baja California Sur, Mexico.

Runner-Up, The Ocean Photographer of the Year: Sacha Specker

Artist Statement: Between two realms. A surfer seemingly waves to the world below as he surfs a wave at Log Cabins, Oahu, Hawaii.

Third Place, The Ocean Photographer of the Year: Magnus Lundborg

Artist Statement: A rare white southern right whale photographed off Puerto Pirámides, Argentina.

Winner, Young Photographer of the Year: Cruz Erdmann

Artist Statement: The silky tentacles of a brightly coloured Magnificent Anemone sway in surging water, exposing Maldivian anemone fish. Laamu Atoll, South Maldives.

Runner-Up, Young Photographer of the Year: Ben Cammarata

Artist Statement: A juvenile black skimmer hunts for prey at the water’s surface. Martha’s Vineyard, USA.

Third Place, Young Photographer of the Year: Kyla McKlay

Artist Statement: A dolphin breaches the waterline, USA.

Winner, Community Choice Award: Tobias Baumgaertner

Artist Statement: Two penguins look out across the water, Melbourne’s lights in the distance. St Kilda, Australia.

Winner, Ocean Conservation Photographer of the Year: Matt Sharp

Artist Statement: A hermit crab crawls atop a pile of plastic in a shell made from manmade waste in the Maldives.

Runner-Up, Ocean Conservation Photographer of the Year: Andrea Benvenutti

Artist Statement: A plastic bottle lies amongst the nests of the world’s largest colony of imperial cormorants, 100km south of Puerto Madryn, Argentina.

Third Place, Ocean Conservation Photographer of the Year: Joe Daniels

Artist Statement: A diver’s regulator holder cuts into the flesh of an oceanic whitetip shark, damaging its gills. Photographed in the Red Sea, Egypt.

Winner, Ocean Exploration Photographer of the Year: Ben Cranke

Artist Statement: Penguins march through heavy snowfall and strong winds in St. Andrews Bay, South Georgia, Antarctica.

Runner-Up, Ocean Exploration Photographer of the Year: Karim Iliya

Artist Statement: A freediver explores a cave in Tonga.

Winner, Ocean Adventure Photographer of the Year: Jason Gulley

Artist Statement: A freediving instructor waits for their student to return from a dive below Cenote Angelita’s microbial cloud. Yucatan Peninsula, Mexico.

Runner-Up, Ocean Adventure Photographer of the Year: Sean Scott

Artist Statement: Two sharks surf a wave at Red Bluff, Quobba Station, in remote Western Australia.

Third Place, Ocean Adventure Photographer of the Year: Duncan Murrell

Artist Statement: Three spinetail devil rays engage in sexual courtship – a behavior rarely observed or photographed. Honda Bay, Philippines.

Articles: Digital Photography Review (dpreview.com)

November 23, 2020
Canon RF 85mm F2 Macro IS sample gallery

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Canon’s RF 85mm F2 Macro IS offers EOS R-series shooters an affordable, stabilized and fast-ish portrait prime. Its ‘Macro’ designation also reflects its close-focusing capabilities and while it falls short of true 1:1 reproduction, its 0.5X magnification gives this lens another layer of versatility. Take a look at how it handles subjects out in the real world.

Articles: Digital Photography Review (dpreview.com)

November 23, 2020
Nikon Will Offer 27 Z Mount Lenses Before 2022 Is Out
The post Nikon Will Offer 27 Z Mount Lenses Before 2022 Is Out appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Nikon’s Z lens roadmap has expanded substantially over the past two years – and the company’s most recent roadmap update promises a total of 27 Z-mount lenses before the close of 2022.

It’s a clear sign that Nikon is devoted to their mirrorless system, which debuted just over two years ago with the Nikon Z7 but has remained limited in both camera and lens selection. But while a complete set of lenses is a long way off, it’s nice to know that Nikon is willing to dig in and create a mirrorless lineup that will eventually compete with the current heavy hitters.

So what lenses can you expect from Nikon over the next couple of years?

The existing set of Z mount lenses already offers a lot of the basics (note that this includes lenses coming out over the next couple of months):
- A handful of fast primes and zooms for professional and amateur portrait shooters, including the 50mm f/1.2, the 35mm f/1.8, and the 24-70mm f/2.8
- A few cheaper zooms, such as the 50-250mm f/4.5-6.3, the 24-200mm f/4-6.3, and the 16-50mm f/3.5-6.3
- Some excellent glass for landscape photographers, including a 24-70mm f/4, a 70-200mm f/2.8, and a 14-24mm f/2.8
However, despite a core set of strong Z mount options, Nikon has failed to offer a few “standards,” including a faster 85mm lens (e.g., an 85mm f/1.4), as well as a 70-200mm f/4 (for hobbyist landscape photographers, among others). The Z-mount lineup continues to lack lenses for specialized shooters, as well – such as super-telephoto primes and zooms, plus a macro lens or two.

Which is where the Nikon Z mount roundmap comes in.

While the roadmap doesn’t address all of these gaps, it does promise a number of powerful lenses, including:
- A 24-105mm lens
- An 85mm lens (likely an f/1.4 version!)
- Both a 50mm and a 105mm macro lens
- Four super-telephoto lenses, including a 200-600mm zoom, a 100-400mm zoom, a 400mm prime, and a 600mm prime
If you’re a bird, wildlife, or even sports photographer, then Nikon’s Z system is going to become a lot more appealing over the next couple of years, as Nikon fills in its super-telephoto gap (with a 200-600mm and a 100-400mm option, no less!).

The same is true for macro photographers, who will pounce on Nikon’s 105mm micro lens (though I do wish Nikon would offer a 180mm or 200mm Z mount macro lens; maybe it’ll be added to a future roadmap).

Regardless, Nikon’s Z system is becoming more and more well-rounded – and the addition of these lenses will simply broaden its appeal.

Now over to you:

What upcoming Z mount lenses are you interested in? And what lenses do you wish Nikon would make? Share your thoughts in the comments!

The post Nikon Will Offer 27 Z Mount Lenses Before 2022 Is Out appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School
November 23, 2020
Google Photos — Bait Meet Switch

Google Photos blog post announcing their new Google Photos service.

In case you missed it recently, Google Photos has decided to end their free unlimited photo hosting service. Beginning in June of next year users will be limited to 15GB of space before being asked to pay for more storage. How much you’ll have to pay will depend on how much storage you use. Unfortunately for me, I have more photos than fit their top tier $ 100/year plan, so even if I wanted to pay I’d be capped out of the service.

While I don’t begrudge Google, a trillion dollar company that makes billions of dollars a year, from wanting to make even MORE money, I am offended by the bait and switch approach that they took with Google Photos. Offering a user the first hit for free is classic dealer marketing. A lot of time and energy goes into organizing your photos on ANY photo sharing site and when someone spends hundreds or even thousands of hours organizing their photos at a site only to be priced out of the site, those are countless hours that you will never get back.

Fortunately for me I’ve spent a lot less time using Google Photos for the past few years. Google’s consistent bad faith across photo hosting/sharing products has left me very skeptical of anything they do anymore.

Some of you may remember Picasa (Google killed it). I was a user of that. I also was a big user of Google Buzz (they killed that too). Then I put hundreds of hours into my photography on Google+ (once again RIP). We used to do photowalks and hangouts and lots of other fun things around photography with Google+. Here’s my old Google+ url.

Initially I was super excited about Google Photos, but that changed over time. I was disappointed that one of their early features, photo facial recognition, didn’t really work for me. It limited the service to 200 faces and unfortunately for me when the service launched it grabbed a bunch of faces of musicians I’d photographed performing at Coachella and chose those as the ones to tag. There was no way to delete those and have it choose people who were actually my family, friends, neighbors, etc.

I was also disappointed that the hours and hours and hours I’d spent keywording all my photos in Adobe Lightroom were stripped out of my uploads to Google Photos. I’m not sure why Google would want to remove one of the best ways for me to search my photos from their service but for whatever reason they strip this data.

Still, Google Photos was free (even though it downsized my photos). It’s hard to complain about free — until they locked my gmail. Last year I received a rather ominous message from Google threatening that unless I paid them for more storage they were going to turn my gmail off.

It turns out that even though Google Photos claimed to be able to convert my photos to high quality JPEGs with free unlimited storage, that TIFF files generated by the software program Analog Efex Pro (ironically a former Google owned product before they jettisoned that as well) were not being converted by Google Photos and were sucking up my gmail storage which was then demanding payment from me. They actually locked my gmail and I missed several important emails that were blocked during this fiasco.

By this point I was about ready to delete my Google Photos account — except I could not find ANY way to delete my Google Photos account. That’s right you can’t just delete Google Photos. You have to delete your entire Google account including your Gmail!

While this is my unhappy story and experience with Google Photos, many, many users were duped into signing up for a free service that they thought would protect, as Google put it, their “lifetime of memories.” Now Google is demanding money from these users.

To me it seems wrong (even evil — remember their old motto “don’t be evil” that they also abandoned?) that Google would bait and switch so many users on this product. You can’t/won’t get the many hours that you spent organizing your photos on Google Photos back. Some will just begrudgingly pay up. What I see is one of the world’s largest companies who used a classic monopolistic tactic to grab market share by pricing out and hurting smaller competitors and now wants to profit from their move.

Once burned shame on you. ~~Twice, three times, four times, five times~~, six times burned, shame on me. I will never trust Google with another product again.

Thankfully there is an alternative to Google Photos, good old trustworthy Flickr. Here is a thoughtful analysis done by Jeremy Zero comparing Google Photos and Flickr.

I’ve been using Flickr since 2004 and as long as I can remember my Flickr Pro account has remained unlimited. Flickr/SmugMug CEO Don MacAskill even recently re-iterated Flickr’s commitment to honoring their unlimited service. While Flickr may not be a trillion dollar company or make billions of dollars every year like Google does, they are a small company that cares about photographers and your photography. They also do a great job storing and sharing your full high-res, uncompressed, high quality images (and they even retain your photo keywords when you upload them there). I feel much better supporting an ethical small business than a trillion dollar company using monopolistic bait and switch tactics to try to drive the smaller guy out of business.

You can find me on Flickr here. If you are an American Photographer come join the American Photographer Group I administer on Flickr and say hello.

Thomas Hawk Digital Connection

November 23, 2020
Best gifts for photographers in 2020

Best gifts for photographers in 2020

First, an acknowledgement: this holiday season is unusual. It’s been a grim year to say the least, and it might seem a little frivolous to be recommending gadgets and stocking stuffers when many people are struggling.

The counter-argument is that in these difficult times, creative pursuits are more important than ever. For many of us, photography is therapeutic – something that invigorates us when we’re feeling depleted. If we can assist you in helping the photographer in your life find a little calm in the storm that is 2020, then we’ve done our job.

So in light of all of this, most of the gifts in this guide are well under $ 100, and many of them are geared towards enabling and enriching the experience of photography, rather than just adding to the world’s landfill sites. If you’re looking for camera cufflinks – and we advise against gifting them – you’ll need to look elsewhere.

Jump to:
Outdoor enthusiasts | Indoor enthusiasts | Creatives | Travelers | Stocking stuffers

For outdoor enthusiasts

If you’re shopping for someone whose photography takes them out into the elements, you really can’t go wrong with hand warmers ($ 24 for 40 pairs). They’re a wintertime wildlife or landscape photographer’s best friend. Plus, they’ll be great for all of those chilly outdoor hangouts with your COVID pod squad.

Outdoorsy types also tend to be early risers, so it’s a good idea to make sure they’re equipped with an excellent coffee tumbler. The Yeti Rambler ($ 35) is vacuum insulated, dishwasher-safe and uses a magnetic latch for easy opening and closing.

Also consider a membership or annual pass to a nearby park or wildlife preserve. In the US, an America the Beautiful interagency pass ($ 80) is like a golden ticket – it gets you into federally-managed sites including all national parks and national forests for a year from the time of purchase. Access to some federally-owned land has been tricky this year, but hopefully 2021 will be different.

For indoor enthusiasts

It’s a safe bet that many of us will be spending a lot of time in the great indoors over the next six months. With than in mind, we’ve got some ideas for photo-centric gifts to help curb cabin fever.

This deck of photography-themed playing cards ($ 35) has a couple of tricks up its sleeve. For starters, they’re gorgeously designed. They also serve a dual purpose with photography tips and techniques printed on each card. And of course, they function as regular ol’ playing cards, which will come in handy when every jigsaw puzzle in the house has been assembled and disassembled again.

Henry Carroll’s Photographers on Photography ($ 20) is another good bet for photographers of all skill levels and disciplines. It’s a collection of images and reflections on the photo-making process from a wide range of established photographers. It’s more thought-provoking and inspiring, less a technical guide or how-to.

For the truly ambitious tinkerer, consider a Raspberry Pi computer ($ 35 and up) and interchangeable lens camera module ($ 50). A helpful companion guide ($ 14) coaches the user as they build a working camera from scratch. Python coding experience is helpful, but not absolutely necessary – just ask The Verge’s Becca Farsace. And don’t forget a lens: Raspberry Pi offers two compatible lenses to choose from ($ 30/60).

For creatives

We’ve recommended an Instax Share instant printer in our gift guides several years in a row now, and for good reason: it’s really good! You’ll find lots of cheaper non-Instax options if you go looking for an instant smartphone photo printer, but you won’t necessarily find the quality of of Fujifilm’s instant prints in the lower priced alternatives. The Instax Share SP-3 ($ 100) uses Fuji’s slightly larger, more Polaroid-esque square format film. It’s a truly delightful way to share photos.

Capturing great-looking video clips starts with stabilization. The DJI OM 4 ($ 150) is smartphone gimbal that produces amazing results right out of the box with very little setup (its predecessor, the Osmo Mobile 3 is $ 30 cheaper and also a good buy while it’s still available). The included tripod accessory will also make it possible to shoot timelapses with movement. For the photographer who’s curious about video, or just wants to try something new, it’s a great low-cost tool that works with the camera they already have in their pocket: their smartphone.

The Lensbaby Omni ($ 100) is a little sci-fi looking, but hear us out. It attaches to the front of a lens and provides adjustable, magnetic mounts that hold included pieces of glass and objects in front of the lens for creative effects. Resulting images will include dramatic flare and reflections of light in the scene, which make for interesting effects in portraits or landscapes. It’s a fun way to let loose a little more creative energy and capture familiar scenes in a different way. Be sure to purchase the right size Omni – the ‘small’ will fit most standard DSLR kit lenses.

For travelers

Fun trips to other parts of the world have been cancelled for the foreseeable future, but that doesn’t mean we have to stop planning or reminiscing about past trips – and that’s part of the fun. Moleskine’s travel journal ($ 30) is part planner, part memory keeper for short trips and long journeys alike. Sure, it’s a little twee in the year 2020, but sometimes it’s nice to do things with pen and paper and stop looking at screens for two seconds.

When it’s safe to hit the road again, a Tom Binh organizer ($ 30) is a great tool for packing all of the cords and chargers that keep smartphones and cameras powered. An organized carry-on is truly the gift that keeps on giving.

Stocking stuffers

If it’s that little extra something you’re after, here are a few inexpensive, useful items that you can’t go wrong with. For starters, extra micro fiber cleaning cloths ($ 10 for pack of two) are always welcome in a photographer’s life, and they’re especially nifty when they fold up into their own storage pouch.

Another helpful item is this photographer’s multi-tool ($ 10), with a 5/32″ (4mm) allen wrench on one end and a flat-head screwdriver on the other. Between the two, you should be able to tighten or loosen attachments on most camera supports, cages and tripod plates. This handy double-ended tool is attached to a key ring so it’s always close by. What could be handier than that?

Finally, for the family photographer a Shutter Hugger ($ 20) is a simple-yet-genius way to coax little ones into looking at the camera. These small stuffed animals fit around a camera lens and come in four adorable varieties: monkey, giraffe, dinosaur and Dalmatian. Cute, effective and inexpensive – a true triple threat.

Articles: Digital Photography Review (dpreview.com)

November 22, 2020
Aspect Ratios in Landscape Photography

The post Aspect Ratios in Landscape Photography appeared first on Digital Photography School. It was authored by Elliot Hook.

Composition is often the difference between a good landscape photograph and a great landscape photograph. There are oft-quoted rules that we all try to adhere to and break in equal measure (the rule of thirds, leading lines, golden spiral, etc.), yet when considering what we are trying to capture, we don’t always think about the frame itself.

The aspect ratio of a photograph can make or break the composition by either emphasizing the subject and removing distractions, or by putting the whole scene off-balance. When looking through the viewfinder, about to press the shutter, it’s a good idea to try and envisage the final shot, including the aspect ratio, in order to optimize your composition. Too often, the aspect ratio is an afterthought, applied during post-processing to correct for poor compositional choice.

But how does each aspect ratio impact compositions in landscape photography?

That’s where this article comes in. I’m going to discuss a few common aspect ratios (with examples). I’ll show the benefits and drawbacks for each, and explain where each aspect ratio may be applied.

Note that there is an argument for cropping your photo without sticking to a defined ratio; in other words, that you should give an image a custom ratio based on your subject matter. But that can make printing and framing awkward, so I will therefore be sticking to well-defined ratios that most should be familiar with.

1:1 – Square format

The square format can often be used to simplify an image and give your subject a striking presence at the center of the frame.

By keeping the width equal to the height, the way in which we read the photograph changes, as there is less of a need to move from left to right through the frame.

The square format also offers a good opportunity to break the rules we so often follow; place the horizon along the center of the image or place a subject in the center of the frame, and the composition may only get stronger.

You’ll often see a 1:1 aspect ratio used to emphasize minimalism (again, it’s the theme of simplification).

4:3 – Four thirds format

This format is the default aspect ratio of cameras that use Four Thirds sensors.

An image with a 4:3 aspect ratio is wider than it is tall, meaning that the eye naturally wants to move left to right through the image. However, given that the image is still fairly tall in relation to the width, this ratio is perfect for drawing the eye into the scene through leading lines.

The relative height of a 4:3 image encourages the use of wide-angle focal lengths to capture the depth of a scene, without including excess details at the edge of the frame.

6:4 – 35mm format (also called 3:2)

This is the default aspect ratio for 35mm film, and therefore for full-frame and APS-C sensors used in most Nikon and Canon cameras.

With a 6:4 image, the width is significantly wider than the height. This encourages viewing the image from left to right, meaning diagonal leading lines can work quite well.

A limitation of this aspect ratio is that the height is that much shorter in relation to the width. So capturing foreground detail using a wide-angle lens becomes more difficult due to the limited vertical space with which you can work. A 6:4 aspect ratio can even cause the subjects within the frame to become too disparate and therefore lose impact.

The 6:4 ratio can, however, be suited to capturing scenes where there is little to no foreground interest, especially if you’re using midrange focal lengths (e.g., 35mm).

16:9 – Widescreen panoramic

The widescreen panoramic format was supported in film by the Advanced Photo System (APS) upon its introduction, and has recently become more popular due to the prevalence of 16:9 aspect ratio displays in the home on TVs, computer monitors, and mobile devices.

With this format, the width of the image is dominant, so leading the viewer in from the foreground is difficult.

But the format is ideally suited to presenting portions of landscape scenes captured with longer focal lengths (e.g., zoom lenses) from a distance.

12:6 or 18:6 – Panoramic (also called 2:1 or 3:1)

I’ve chosen to adopt 12:6 or 18:6 as the panoramic format here for a few reasons.

First, both 2:1 and 3:1 seem to be fairly well supported in that panoramic picture frame options are typically either 2:1 or 3:1. 2:1 is a panoramic format supported by a number of medium format film cameras and 3:1 was supported by the APS.

Typically, panoramic ratios will be used to present the result of stitching two or more images together; it’s quite challenging to capture a 3:1 aspect ratio image in one frame and still be able to print at any meaningful size.

Often, frames to be stitched will have been captured using a longer focal length in order to pick out distant details in the landscape. There is no real option to include foreground detail here.

Portrait mode

I’m aware that I’ve discussed a number of different aspect ratios in “landscape” format, and not in “portrait” format.

But that is because I believe the options for the successful presentation of landscapes in “portrait” format are much fewer in number. For a landscape to work, you need to balance the composition throughout the frame, and aspect ratios such as 6:4 make that very difficult, due to the image being too tall relative to its width.

For “portrait” landscapes to work, fatter rectangles, such as 4:3, 7:6, or 5:4, are ideal. In fact, 5:4 is heavily used by professional landscape photographers with medium and large format cameras. This aspect ratio allows the eye to be taken through the image from left to right, without having an excess amount of sky knocking the frame off-balance.

Conclusion

While I have tried to describe specific uses of certain aspect ratios, I am aware that not all scenes will follow the suggestions I’ve made. Some images may work well with a certain ratio that’s contrary to what I’ve suggested.

However, I’m hoping this introduction to aspect ratios will encourage you to think about them when composing your shot, before pressing the shutter. It isn’t always ideal to fill the frame with the landscape in front of you.

And knowing that the aspect ratio you choose is not dictated by which camera you use means that you may be able to use aspect ratios effectively to boost the impact of your landscape photographs.

The post Aspect Ratios in Landscape Photography appeared first on Digital Photography School. It was authored by Elliot Hook.

Digital Photography School

November 22, 2020
Sony announces its new FX6 full-frame cinema camera with 10-bit 4:2:2 4K/120p internal recording
Sony has announced the launch of its new FX6 full-frame 4K cinema camera, which merges Sony’s cinema technology and form factor with advanced imaging technologies taken from its Alpha mirrorless camera systems.

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At the core of the camera is a 4K 10.2-megapixel full-frame backside-illuminated CMOS Exmor R sensor powered by a Sony Bionz XR image processing engine — likely the same setup used in the Sony a7S III. Sony notes the sensor offers 15+ stops of dynamic range and has a maximum ISO of 409,600 for ultra-low-light shooting.

The FX6 captures 10-bit 4:2:2 full-frame footage at 120 frames per second (fps) at 4K and 240 fps in 1080. If you use the onboard 12G-SDI port, the FX6 can output 16-bit SDI Raw 4K/60p video. Sony has also added its S-Cinetone look profile, which is inspired by its Venice colorimetry and also found in the company’s FX9 cinema camera.

Footage is stored to one or both of the camera’s dual CFexpress Type A card slots, which are also backwards compatible with SD UHS-II cards. It’s worth noting though that any recording over 100 fps will require the use of the faster CFExpress Type A cards, as even UHS-II SD cards won’t have the bandwidth to get the job done.

Below are still frames pulled from footage captured with the FX6:

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The FX6 uses Sony’s E-mount for attaching lenses, making it compatible with more than 50 native lenses and countless dozens third-party lenses. The FX6 features the same 627-point Fast Hybrid AF system found in the FX9 and Sony’s Alpha mirrorless cameras, including advanced Face Detection and Real-time Eye AF. The FX6 also has internal electronic variable ND filters, which can be manually adjusted ‘in smooth increments from 1/4 to 1/128.’ Below is a video demonstration of the FX6’s electronic ND filter at work:

The FX6 is constructed of a magnesium alloy chassis that measures 11.6cm (4.6”) x 15.3cm (6”) x 11.4cm (4.5”) and weighs 890g (1.96lbs). The included 3.5” LCD viewfinder can be attached to various locations on the body, thanks to its modular design.

Other features include built-in Wi-Fi, four-channel audio recording and compatibility with Sony’s Catalyst Browse/Prepare software as well as Sony’s Content Browser mobile app that can be used to monitor video and control focus, iris and even zoom remotely.

The FX6 full-frame cinema camera from Sony will be available for $ 6,000 in December through Sony and authorized retailers. It will also be available as a kit with Sony’s FE 24–105mm F4 G E-mount lens for $ 7,200. Sony is also releasing a new FE C 16–35mm T3.1 G lens in December that will retail for $ 5,500.

Press release:
Sony Electronics Launches FX6 Full-frame Professional Camera to Expand its Cinema Line

FX6 Combines the Best of Sony’s Industry-leading Digital Cinema Technology with Advanced Imaging Features from Alpha™ Mirrorless Cameras
FX6 Product Highlights:

4K 10.2 megapixel full-frame back-illuminated CMOS Exmor R™ sensor

Compact and lightweight body design for on-the-go shooting

Ultra-high sensitivity with ISO expandable up to 409,600 for very low light conditions

15+ stops of dynamic range^[i]

S-Cinetone^TM look profile, also used in FX9 and inspired by VENICE colorimetry

BIONZ XR™ image processing engine, first used in Alpha 7S III

Fast Hybrid Auto Focus, also used in Alpha cameras and FX9

Recording up to 4K 120p / HD 240p, 10-bit 4:2:2 color depth in full-frame^[ii]

Support for up to 12G-SDI and 4K at up to 60p 16-bit SDI RAW output

Compatible with more than 50 native E-mount lenses

SAN DIEGO – November 17, 2020 – Sony Electronics Inc. today officially announced the FX6 (model ILME-FX6V) camera, the latest addition to Sony’s Cinema Line, a series of products that brings the company’s expertise in imaging technology to a broad range of filmmakers and content creators.

Sony’s Cinema Line, which also includes the VENICE and FX9 cameras, delivers a coveted filmic look cultivated from extensive experience in digital cinema production, as well as enhanced operability thanks to an innovative body design, extensive durability and intuitive customizability.

As part of the Cinema Line, the all-new FX6 incorporates Sony’s core technologies of image sensor, processing engine, and AF (autofocus) performance. FX6 is also compatible with the wide range of Sony E-mount lenses for creative flexibility.

“The new FX6 is the latest example of Sony’s drive to continuously push the boundaries of imaging technology based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “With the advancement of our Cinema Line, we are dedicated to enabling the extraordinary skills and talent of today’s content creators and cinematographers. The FX6 leverages technology from Sony’s industry-leading VENICE cinema camera and marries it with the best of Sony’s innovative Alpha mirrorless camera technology.”

Full-frame Cinematic Image Quality

The new camera features a 10.2 MP^[iii] full-frame back-illuminated Exmor R™ CMOS sensor that delivers a 15+ stop wide dynamic range^[iv] with high sensitivity and low noise. FX6’s base sensitivity is ISO 800 with an enhanced sensitivity setting of ISO 12,800^[v] – expandable up to 409,600^[vi] – for shooting in low and very low light conditions. It is capable of recording in XAVC All Intra 4:2:2 10-bit depth with stunning image quality in DCI 4K (4096 x 2160 – up to 60p), QFHD 4K (3840 x 2160 – up to 120p^[vii]) and FHD (1920×1080 – up to 240p) for incredibly detailed slow motion. When more convenient file sizes are needed, FX6 can record in XAVC Long GOP 4:2:0 8-bit QFHD 4K (3840 x 2160 – up to 120p^vii) and 4:2:2 10-bit FHD (1920×1080 – up to 240p). FX6 also includes a BIONZ XR™ image processing engine, first used in the new Sony Alpha 7S III camera, providing up to four times faster processing performance compared to the FS5 II.

Developed with the same expertise as Sony’s world-leading VENICE cinema camera, FX6 offers advanced cinematic color science including S-Cinetone^TM for richer tonal reproduction right out of the box as well as S-Log3, S-Gamut3 and S-Gamut3.Cine for post-production flexibility. FX6’s cinematic color science is optimized for premium applications by capturing the maximum dynamic range from the sensor and providing creative freedom. Leveraging the color science of VENICE, FX6 also allows productions to easily match footage with other cameras in the Cinema Line.

Advanced Video Features

Pulling from Sony Alpha’s impressive AF features, FX6 offers Fast Hybrid AF by combining 627-point^[viii] focal plane phase-detection AF with advanced Face Detection and Real-time Eye AF in high frame rates with continuous AF, allowing camera operators to effortlessly and precisely track fast-moving subjects in slow motion without losing focus. Fast Hybrid AF works with over 50 native E-mount lenses. The camera can also capture up to five times slow-motion with 4K (QFHD) 120fps.

The new FX6 also offers internal electronic variable ND filters for easy and seamless control of the camera’s filter density. Users can set variable ND to auto or adjust the filter density manually in smooth increments from 1/4 to 1/128 for perfectly exposed images without affecting the depth of field or shutter angle, even during changing lighting conditions. Combined with the camera’s ultra-high sensitivity, the electronic variable ND filter provides users with outstanding creative control in almost any shooting environment.

Made for Content Creators on the Go

Outstanding Mobility and Operability

Built with a durable magnesium alloy chassis, measuring just 4.6 inches x 6 inches x 4.5 inches (116 millimeters x 153 millimeters x 114 millimeters) and weighing just 1.96 pounds (0.89 kilograms), FX6 has a compact and lightweight design making it easy for users to grab and shoot at any time. The new camera includes a heat dissipating structure to keep the camera’s components within their normal operating ranges to prevent overheating, even during extended recording times. FX6 also features a modular design allowing users to easily pair accessories, such as grips and viewfinders, or attach the camera to other mechanisms, such as gimbals and drones.

FX6’s 3.5-inch LCD Viewfinder can be attached on multiple locations of the camera body for added freedom and easy menu control with touch operation. Using a quick access control menu for commonly accessed features, camera operators can change key settings with a single touch – including Codec, Imager Scan Mode, Picture Size and Frequency, Base ISO and Sensitivity, Shooting Mode and Audio Levels.

Professional-level Reliability

In line with professional workflows, FX6 includes a 12G-SDI output that also supports 16-bit RAW, HDMI output, timecode in/out, built-in Wi-Fi and four channel audio recording (via XLR Interface, Multi-Interface Shoe and built-in Stereo Mic). The new camera also features two media slots compatible with CFexpress Type A cards^[ix] for higher overall capacity and faster read and write speeds in addition to SDXC UHS-II/UHS-I cards.

Additionally, Sony’s Catalyst Browse/Prepare^[x] software facilitates fast and easy editing. Users can import FX6’s image stabilization metadata into Catalyst Browse/Prepare to transform handheld footage into incredibly smooth and stable visuals. FX6 also has a dedicated Clip Flag button to easily filter and locate preferred takes using Catalyst Browse/Prepare. This software also reflects metadata indicating when FX6 is rotated or in its normal position, eliminating the need to rotate footage beforehand. FX6 is also compatible with Sony’s Content Browser Mobile App to easily monitor and control focus, iris, and zoom remotely^[xi].

About Cinema Line

Cinema Line is series of professional cameras that have a filmic look, cultivated from Sony’s long experience in digital cinema production, and enhanced operability and reliability that responds to the wide variety of creator’s high demands.

Cinema Line includes the digital cinema camera VENICE, which is highly acclaimed in the feature and episodic production industry, and the professional camera FX9, which is has been popular for documentary and drama production. With the new FX6, Sony brings versatile creative tools to all types of visual storytellers.

FE C 16-35mm T3.1 G E-mount Cinema Lens

The FE C 16-35mm T3.1 G (model SELC1635G) lens, announced at IBC 2019, will be available in December 2020 to pair with FX6, FX9 and other full-frame Sony cameras. This new lens supports intelligent shooting functions unique to E-mount cameras – such as fast and accurate AF within shallow depth of field – while also offering manual focus options in a form factor familiar to professional cinema creators.

The FE C 16-35mm T3.1 G delivers stunning bokeh and corner-to-corner resolution thanks to two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, circular 11-blade apertures in addition to three aspheric lenses that are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glass elements, reduces color distortion. Additionally, floating focus provides outstanding resolution at every zoom position. The new lens also features Nano AR (Anti Reflection) coating, to reduce flare.

The focus ring offers a 140-degree large angle of rotation for fine control, with distance scale markers for consistent focus reset during multiple takes. Linear Response MF enables smooth manual focus, allowing users to adjust focus accurately and intuitively. Three independent rings for focus, iris and zoom enable users to get the exact creative results they desire. Each ring has the industry standard 0.8mm pitch gear for use of follow focus accessories, and the 114mm barrel diameter is compatible with industry standard matte box accessories. A two-speed servo provides smooth, accurate control of focal length and can be activated from a switch on the lens or a lever on the FX6 Smart Grip.

Pricing and Availability

The new FX6 full-frame Cinema Line camera will be available in December and will be sold for approximately $ 5,999.99 USD and $ 8,048.99 CAD, at a variety of Sony’s authorized dealers throughout North America.

A new kit featuring the FX6 full-frame Cinema Line camera and FE 24-105mm F4 G E-mount Lens will also be available in December and will be sold for approximately $ 7,199.99 USD and $ 9,658.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The FE C 16-35mm T3.1 G lens will be available in December and will be sold for approximately $ 5,499.99 USD and $ 7,199.99 CAD, at a variety of Sony’s authorized dealers throughout North America.

Exclusive stories about Cinema Line, FX6, FE C 16-35mm T3.1 G and Sony’s other imaging products can be found at www.sonycine.com and www.alphauniverse.com, resources designed to educate and inspire all fans of Sony’s technology for content creation and photography.
Articles: Digital Photography Review (dpreview.com)
November 22, 2020