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Equipment

Impossible launches special edition Polaroid 600 and metallic frame color film

DPReview.com - Latest News - Tue, 06/13/2017 - 1:17pm

Impossible has released a special edition of its Polaroid 600 instant camera with a two-tone black and white design. The new model is an online-shop exclusive and will set you back $179 in the US or €149 in Europe.

In addition, the company has revealed the Metallic Frame Edition color film pack for 600-type cameras which places your analogue instant photos into shimmering foil frames of different colors. Each photo in the pack of eight features a different colored metallic frame, including gold, blue, purple and pink. The Metallic Frame Edition film pack is $24.49 in the US and €21.00 in Europe. More information is available on the Impossible website.

Press Release:

CAPTURE THE MAGIC OF SUMMER WITH IMPOSSIBLE

Impossible curate a selection of instant cameras and vibrant frames that will help you capture the essence of summer

Summer is the perfect time to go outside and start shooting. As the weather gets warmer and the days get longer, there’s no better time to get armed with an instant camera and film from Impossible, to help you chase the magic of summer light. Shooting with instant film is all about slowing down, producing something tangible that can be shared - taking time out from the world of all things digital. Impossible now offer a range of styles for both beginners and avid photographers alike, this carefully curated selection of vivid frames and classic Polaroid® cameras will allow you to leave reality behind for just a moment and escape into the hazy hot days, and long balmy nights.

ALL THE COLORS OF THE RAINBOW, BUT METALLIC.
The latest release in our popular colorful frame series, Impossible has created the Metallic Frame Edition color film pack for 600-type cameras, placing your analog instant photos in a range of shimmering foil frames. Each photo in the pack of eight film features a different colored metallic frame, from gold and blue to purple and pink. You never know which color you’ll get next, making this the perfect pack for creating instant photos with a touch of chance this summer. Films priced at £18.99/€21.00/$24.49

IT’S ALL ABOUT MINT AND PINK THIS SUMMER.
Expanding Impossible’s Special Edition film series, this release has been specially created for use with Polaroid® 600 type and Impossible I-type cameras. First up, Impossible offers the original format color instant film in a bold and blushed Hot Pink that’s perfect for summer days and hazy nights. This is countered by the cooler tones of the Mint frame edition which provides an ideal palette for seaside scenes and nature photography.This release continues in the spirit of summer, allowing you to create unique and fresh photos for every occasion this season. Films priced at £18.99/€21.00/$24.49

A CLASSIC CAMERA WITH A MONOCHROME TWIST.
Offering a monochrome twist to the original Polaroid® camera, Impossible’s special edition Polaroid® 600 Two-Tone Black & White elevates the playful point-and-shoot classic with a custom black & white finish. Stand out from the crowd this summer and make real photos with a Polaroid® camera you’ll want to take everywhere, every day, for every occasion. 600 type is the perfect camera for anyone who’s just getting started with instant photography. Cameras priced at £129.00/€149.00/$179.00
http://www.impossible-project.com

Categories: Equipment

Benro launches Aero 7 compact video tripod

DPReview.com - Latest News - Tue, 06/13/2017 - 11:08am

Benro today announced its new Aero 7 compact video tripod which can support weights up to 15 lbs (7 kg). The Aero 7 features a reverse-folding leg design, setting it apart form previous Aero models. This allows for folding into a smaller, more compact package and easy transformation into a monopod.

The Aero 7 comes with a removable flat-base S7 video head and a new 2-in-1 center column, making it a fully featured tripod for medium-sized rigs in a compact form factor. The center column also converts to a short column for low angle shots, providing more versatility for filmmakers and videographers on location. One of the Aero 7’s legs can be unthreaded and attached to the center column to transform into a fully functioning video monopod. The Aero 7 in aluminium will set you back $399, the carbon fiber version is $599.

Press Release:

Introducing the Aero 7 from Benro

A Compact Travel Video Tripod for On-The-Go Filmmakers

Expanding on the success of their Aero Family of travel-friendly video tripods, Benro is pleased to announce the new Aero 7, a compact and portable video tripod capable of supporting up to 15 lbs (7 kg). The first manufacturer in the world to introduce a travel video tripod with a reverse folding leg design, Benro’s Aero 7 is a clear evolution from its other Aero siblings. In addition to its standard ability to reverse fold to a smaller, more compact size and transform into a video monopod, the inclusion of the removable flat base S7 video head and the new 2-in-1 center column makes the Aero 7 a great traveling companion for filmmakers and videographers needing a fully featured tripod for their medium-sized rigs

In addition to the standard leveling adapter, the 2-in-1 center column also converts to a short column for low angle shots. This provides more versatility for filmmakers and videographers who are looking to get more out of their tripods when either on location or when they are unable to bring other gear with them.

A tripod and monopod combination

For even more versatility, one of the Aero 7’s legs can be unthreaded and joined with the tripod’s center column to become a fully functioning video monopod. Combined with the Aero 7’s fully featured S7 Video Head, this truly makes for a powerful combination.

Additional Features & Benefits:

  • Reverse folding design
  • The legs reverse fold creating a compact travel friendly tripod.
  • Removable Flat Base Head
  • The video head can be removed and used on other flat surfaces such as certain sliders, jibs, half ball adapters and more.
  • 4-Step Counterbalance
  • The S7 head has 4 stages of counterbalance (0-3) which helps to properly balance the camera rig.

Pricing:

The suggested retail price of the Aero 7 is $399 for the Aluminum version and $599 for Carbon Fiber.

Categories: Equipment

Insane 49-inch monitor from Samsung redefines wide-screen

DPReview.com - Latest News - Tue, 06/13/2017 - 9:00am

Samsung has introduced its new CHG90 monitor, which has an impressive 49-inch screen and ultra-wide 32:9 aspect ratio. It features a VA curved display with quantum dot technology, supports 125% of sRGB and 95% of DCI-P3 color spaces, and features HDR 'picture enhancement technology.'

It's hard to get a sense of the display's size from photos, but this youtube video from BWOne is very helpful in that regard.

The resolution may bring a bit of disappointment, however. Most photographers in the market for a new display today are probably focused on 4K or even 5K options, but the CHG90's resolution is 3840x1080 pixels. (Basically, it's two 1080HD screens side-by-side.) That won't provide the high pixel densities many of us are used to, but it does deliver a lot of horizontal real estate.

Samsung makes it pretty clear that this monitor is aimed at gamers, but it got me thinking... would you use a display like this for photo editing? It would be a heck of a way to scroll through my Lightroom library, and I can see hard-core panorama photographers nodding their heads in agreement, but what about the rest of us? What do you think?

Categories: Equipment

Shooting experience: how the Nikon D7500 won me over

DPReview.com - Latest News - Tue, 06/13/2017 - 6:00am
Initially, the D7500 was going to be my secondary camera for a music festival I was shooting, and the D750 was going to be my primary. But ultimately I ended up using the D7500 more.

The arrival of the Nikon D7500 to our office coincided with one of my favorite annual Seattle events, the Big Building Bash, an all-day music festival held in the city's industrial SoDo neighborhood.

Ordinarily I shoot music with a Nikon D750 and two primes, which vary depending on the space I'm shooting. I run a small publication - along with a group of contributors - documenting the DIY aspects of Seattle's music community. This mostly means shooting in small, intimate spaces where multiple camera bodies or big lenses would likely raise an eyebrow or two.

But Big Building Bash is a bit more casual in nature than a show in someone's living room, so I felt comfortable bringing two bodies. My kit included: The D750 with a 24mm F1.8G as my primary camera and the D7500 with an 85mm F1.8D as my secondary. Switching lenses between the two cameras effectively gave me four (equivalent) focal lengths.

Big Building Bash is a charming little music festival held under the West Seattle Bridge in SoDo's warehouse district. It is a showcase of Seattle's best up and coming music, with no real emphasis on a specific genre. This leads to a vast array of acts and shooting scenarios, with the strong sun cutting through highway overpass pillars and the occasional passing train engine only adding to the overall charm.

We got to the festival as the first bands on the schedule were starting to play. With attendees trickling in and the mid afternoon sun shining bright and direct, I started dialing in my preferred camera settings.

AF Fine Tune

I fired a couple of test shots with each camera and noticed that the 85mm on the D7500 was front-focused. No problem, the camera has auto AF Fine Tune. A nifty, though strangely hidden feature that automatically corrects front or back focus. It's great for primes, but less useful for zooms, as only one adjustment value can be saved. A quick Google search pulled up our own video, revealing how to unlock this feature. Within moments my 85mm was perfectly calibrated. It was time to get shooting!

I found myself switching the two lenses back and forth between my camera bodies. I'd forgotten how much I enjoy shooting with both a crop sensor and full frame body. The reach of the 85mm on the D7500 proved extremely useful and I appreciated also being able to go as wide as 24mm with the D750. However 35mm is probably my favorite focal length, so the 24mm on the D7500 was also a joy to use.

3D tracking

I'm a creature of the night, and adjusting to live music in a bright environment took some brain rewiring. Normally, I dial in all my settings manually including ISO, and shoot using AF-C and a single, manually chosen point (the center point if it's really dark). Instead, I switched both cameras to Auto ISO and decided to give 3D tracking a go on the D7500.

The D7500, D7200 and D750 all use the same 51-point AF system. But each has a different metering sensor, which is also used for image recognition. The metering sensor in the D7500 is borrowed from the company's flagship APS-C DSLR, the D500, and is the highest-res of the bunch: ninety times higher than the D7200 and twice that of the D750.

3D tracking allowed me the freedom to frame as I pleased, as long as my subject fell within the AF coverage area.

I'd used 3D tracking before while writing about the Nikon D5 and was impressed by its reliability. The D5 also uses the same resolution metering sensor as the D7500, but with triple the AF points. And while the D750 and D7500 use the same 51-point AF system, the AF area covers far more of the D7500's APS-C sensor than it does on the full-frame D750. The limited AF area coverage and the generally low light nature of my work are the reasons I do not often use 3D tracking on my personal camera.

The AF coverage on the D7500 is the same as on the D7200. However the metering sensor, used for image recognition, has been substantially upgraded.

And my inexperience using/trusting 3D tracking on anything other than the company's most expensive body lead me to commit the unholy act of 'chimping' several times during the first band. In my defense, I did this just to be absolutely certain I was actually getting sharp, in-focus shots. Thankfully Carey Rose has set the 'OK' button on the D7500 to zoom images in playback to 100% on the focus point. This made double checking sharpness quite simple.

This was one of the very first frames I shot on the D7500 using 3D tracking. Once I trusted its capability, I was free to concentrate on composition.

Once I felt I could trust the subject recognition, it didn't take long to get hooked on using the D7500's 3D tracking. The camera stuck to my subjects of choice with ease. And the 51-point AF system provided enough coverage so that I could even place subjects close to the edge of the frame.

'It didn't take long to get hooked on using the D7500's 3D tracking. The camera stuck to my subjects of choice with ease.'

Ultimately 3D tracking freed me up from having to think about autofocus and allowed me to simply concentrate on composition and exposure, which in turn lead me to use the D7500 as my primary camera for the duration of the festival. That plus I liked the reach of the 85mm on it.

Drummers with long hair are photographic gold. I used the camera's 8 fps continuous drive to try and get the perfect frame.

Burst, buffer and tilting touchscreen

I don't normally shoot in continuous drive mode, but with an 8 fps burst and a super-deep buffer of 50 Raw files or 100+ JPEGs, I figured, I'd give it a try. An eccentric drummer provided the perfect opportunity to fire off a long burst. After looking back through those images, I decided to keep the camera in continuous drive mode for the duration of the festival, figuring I might as well come back with as many photos to choose from as possible.

The tilting touch LCD also proved useful: I use Live View on my D750 occasionally, but moving the AF point with the D-pad is a slow and annoying process. With the D7500 I could simply tap on the area I wanted to focus on. Of course, AF in Live View is contrast detect only, so speeds are a bit sluggish.

I used the tilting touch LCD to frame this shot toward the start of the show. This was the view from the beer garden. Did I mention the D7500 has great weather beer-sealing? Because it does.

Other takeaways

As the festival pressed onward, and I became comfortable with my chosen settings, I slipped into autopilot mode and simply tried to enjoy and photograph as many bands as possible. It wasn't until hours later, with the sun dropping behind the buildings, that I started to lose my faith in 3D tracking and switched to old-fashioned AF-C using a single point. To be honest, switching back felt downright prehistoric after a full day of near-compositional freedom.

I ended up shooting over 8 hours and in that time I put away 2,542 images (Raw + JPEG) with 3/5 battery still left. Not bad for a camera with a CIPA rated battery life of 950 shots per charge.

This was one of the last frames I shot using 3D tracking. As the band Snuff Redux finished their set, the sun ducked behind the buildings and I switched back to AF-C using one point.

Ultimately, I brought the D7500 along to Big Building Bash thinking I'd get some time to test it for work. But I photographed the show primarily for my own purposes/publication and as such, getting the shot was paramount to testing gear. Still, if nothing else, I figured the D7500 would be a good compliment to my trusted D750. But it turns my D750 was more a compliment to the D7500.

Note: Images in this story are all JPEGs edited and occasionally cropped to taste (no ACR support yet). You can see the original out-of-camera JPEGs in the sample gallery below.

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Categories: Equipment

Video: simple camera tricks in under 90 seconds

DPReview.com - Latest News - Tue, 06/13/2017 - 3:01am

No guessing games here: Andrew Morrison's 90 second video contains 6 neat photography tricks – nothing more, nothing less. He uses a few household items to add some simple effects to photos and videos. Have you used these tricks before, or did you learn something new? Let us know in the comments.

Categories: Equipment

Turning the Black Sea blue: NASA's image of the day shows phytoplankton bloom

DPReview.com - Latest News - Mon, 06/12/2017 - 6:44pm
NASA's image of the day is a composite, taken by the Moderate Resolution Imaging Spectroradiometer (MODIS) on its Aqua satellite. It shows phytoplankton swirling in the currents of the Black Sea. Credit: NASA/Jeff Schmaltz, LANCE/EOSDIS Rapid Response

The Black Sea is one of the largest bodies of water on earth, measuring 168,500 square miles, and it turns out not to be black at all. NASA's appropriately-named Aqua satellite captured this shot last month, showing the deep blues and turquoise colors of the Sea from an orbital altitude of 438 miles. This is actually a composite image, made up of multiple photographs taken during several passes over the region.

The light-colored swirls are billions of phytoplankton – floating microscopic organisms plated with calcium carbonate.

Read more at NASA.gov

Categories: Equipment

Photomatix Pro 6 launched with more color control and realistic-looking results

DPReview.com - Latest News - Mon, 06/12/2017 - 3:28pm
Example picture by Ron Pepper

UK software company HDRsoft has released version 6 of its Photomatix Pro imaging application with the promise of more realistic HDR images and better control of picture characteristics. A key new feature allows users to blend an unedited version of a picture with its HDR counterpart so that the overall effect of the process can be moderated if needed.

The software now includes a tool called Tone Balancer that offers a wider range of choices in the render that assist in making HDR images that look less manipulated than usual, while a new brush tool provided the means to select and adjust color values in local areas. Lens and perspective corrections can also be made in this version with new facilities to deal with distortion, and HDRsoft says it has made the workflow easier to manage and follow.

Photomatix Pro can be used to blend multiple images to create HDR images, and it offers controls for removing ghosted moving objects and to correct small movements in the camera between exposures. It can also be used to optimise the dynamic range of single image files. The package can be used as a standalone application or as a plug-in for Adobe’s Lightroom and costs $99 for new users. Owners of Photomatix 5 can upgrade for free, while those using earlier versions can get version 6 for $29. A free trial is available. For more information see the HDRsoft website.

Press release

HDRsoft announces the release of Photomatix Pro version 6

The latest version of their software application that helps photography pros and enthusiasts create HDR (High Dynamic Range) photos in a large range of styles, from realistic to artistic.

Key benefits in the new release include:

  • More style choice for realistic results. A new HDR rendering method called Tone Balancer adds more options and presets for realistic looking results. It is well-suited to real estate and natural style landscapes.
  • Refining with more control over color. With the new interactive brush tool, users can make color changes to just parts of the image, by painting over those areas. They can also fine-tune the saturation, hue, and brightness of individual colors in a photo. This control is especially useful for removing color casts and enhancing skies and other image features. Images can also be cropped to easily remove distractions or to improve their composition.
  • Avoiding overdoing it. For a more realistic look, users can blend an original photo with the rendered image, either globally or by using a brush to select specific areas.
  • Removing distortion from your photos. A new distortion correction tool makes it easy to straighten photos that aren't level and fix perspective issues where lines don't look parallel when they should. These are particularly helpful features for architectural and landscape photographers.

A more intuitive workflow. Both new and experienced users will find it easier to load their images and develop them in Photomatix Pro with a guided workflow. A user can quickly open their images and move through the development process to achieve their results.

Photomatix Pro merges photographs taken at different exposure levels into a single HDR image with options for automatically aligning hand-held photos and for removing ghosts or visual artifacts when moving objects are present in the scene. Merged images can then be adjusted with a range of precise controls and settings or with one-click presets.

Photographers can quickly get the look they desire from natural-looking results to painterly images, from surreal and dreamy photos to ultra-realistic images with increased details.

Photomatix Pro can also be used to enhance a single photo to boost its shadows and enhance its highlights. The program includes a plugin for Adobe Lightroom for users who want to integrate Photomatix Pro into their Lightroom workflow.

"What's unique about Photomatix Pro is the full range of styles it offers to render HDR photos, and version 6 makes this even better,” said Geraldine Joffre, HDRsoft Managing Director. "Unlike other apps which rely on one HDR rendering algorithm, Photomatix comes with several. Each algorithm can give an entirely different look with enhancing tones and details or fusing multiple exposures together. Photographers will find it useful to have several alternatives for processing HDR photos as things change with different subjects or lighting conditions."

AVAILABILITY
Photomatix Pro 6 is available now for $99 USD for a single-user license. Customers who purchased Photomatix Pro 5 will receive a free upgrade. Earlier versions of Photomatix Pro can be upgraded for $29 USD.

Categories: Equipment

How water droplets came to life for a Gatorade ad

DPReview.com - Latest News - Mon, 06/12/2017 - 2:57pm
Image courtesy UNIT9 and Gatorade

Video production outfit UNIT9 pulled off some neat visual tricks in a recent project for client Gatorade. Using a custom-built 'rain rig,' precisely timed water droplets fall to the ground in the shape of a figure. Strobes illuminate the droplets and give the effect of freezing them, and frame-by-frame the water figure appears to run, jump and kick right in front of our eyes.

The figure's movements were informed by motion-capture, and the rain rig had to be timed to turn water pressure on and off at millisecond intervals. The camera, strobes and rig were all synced to work in concert with each other, and each frame was processed to correct for gravitational acceleration of the drops as they fell.

Photo courtesy UNIT9 and Gatorade
Photo courtesy UNIT9 and Gatorade
Photo courtesy UNIT9 and Gatorade

Manipulating falling water to this extent hadn't been done before, so the rig was custom built. It's a neat piece of innovation that plays with the most basic principle of video capture: string together a certain number of still images every second in front of a viewer's eyes and they'll look like a moving image. For a behind the scenes look, check out the video below and visit UNIT9's website.

Categories: Equipment

Fujifilm earning report indicates strong sales of X-series, lenses and GFX 50S

DPReview.com - Latest News - Mon, 06/12/2017 - 1:26pm

Fujifilm's earnings report for the fiscal year ending in March has been published and contains some interesting information on the company's line of consumer imaging products. Sales figures of both X-Series cameras and lenses and the GFX medium format system have increased, according to the report.

'The business of electronic imaging achieved a sales growth due to positive sales of the X-Series of mirrorless digital cameras such as FUJIFILM X-T2 and FUJIFILM X-T20 as well as their interchangeable lenses, and strong sales of the FUJIFILM GFX 50S, a medium-format mirrorless digital camera equipped with a large sized sensor, released in February.'

Overall, the sales of the company's Imaging Solutions division decreased 3.2% from 352.9 billion Yen to 341.8 billion Yen due to the negative effect of the appreciation of the Japanese Yen in the foreign exchange market. However, operating income went up by 15% from 32 to 36.8 billion Yen, thanks to the sales expansion of digital cameras mentioned above, an increase in sales of high-end instant photo systems and improved profitability in various business categories.

The company is projecting a 2.4% increase in revenue over the next fiscal year for the Imaging Systems business, from 341 billion to 350 billion Yen, with operating income up nearly 17%.

You can read the annual report for yourself here [PDF].

Categories: Equipment

Why would I want an external recorder/monitor?

DPReview.com - Latest News - Mon, 06/12/2017 - 6:00am

Not everyone wants to shoot video, so it may seem unthinkable to spend around $1000 on an external video monitor/recorder. However, others find it opens up creative challenges every bit as satisfying as stills photography.

The more you shoot video, the more you're likely to encounter (and find yourself needing) tools that are rarely provided on stills/video cameras. We'll be shooting with a couple of the more common models over the coming weeks to see how they compare, but first we wanted to give an overview of why you'd even consider using one.

Why would I want an external monitor/recorder?

As the two-part descriptor suggests, there are two main benefits to using an external recorder: to get a bigger, more informative preview as you shoot and to capture better quality footage.

Recording

In terms of recording, the benefits come from a number of factors.

Understandably, most stills/video cameras have processors designed primarily for stills, and they also have to make significant compromises in the name of battery life and thermal management, since video isn't their primary role. Also, for the most part, they're designed to produce amounts of data that are manageable by consumers, and at bit rates compatible with (relatively) slow memory cards. This typically means heavily compressed video, usually using what's known as a GOP (group of pictures) video codec, which only records a full image at select key frames while interpolating the in-between images based on changes between frames. H.264 is a common example of a GOP codec.

"As the two-part descriptor suggests, there are two main benefits to using an external recorder: to get a bigger, more informative preview as you shoot and to capture better quality footage."

External recorders, by contrast, are dedicated video capture devices built by companies that specialize in video capture. So, while they can't improve the level of detail that your camera initially captures, they leverage the fact that your camera often captures more detail than can be recorded using the internal codec. As a result, you can capture video with fewer compression artifacts, and usually in formats that work smoothly with major editing software, such as Apple's ProRes and Avid's DNxHD and HR.

For example, most cameras output a more detailed 4:2:2 stream over HDMI, rather than the simpler 4:2:0 footage they can themselves capture and compress. Meanwhile the Fujifilm X-T2 will only output Log footage over its HDMI socket. Other cameras, notably Panasonic's GH4 and 5, will output 10-bit footage and can't capture their very highest quality footage internally.

External recorders also often support SDI connectors, a more robust type of connection typically used on pro video cameras. The latest recorders support Raw footage over SDI which means the recorder can continue to serve you if you move beyond your current camera.

Camera Frame Rate Codec Bit depth / sub-sampling Bitrate
Panasonic GH5 UHD/24p h.264 10-bit, 4:2:2 400 Mbps
Sony a7S II UHD/24p h.264 8-bit 4:2:0 100 Mbps
Olympus E-M1 Mark II DCI/24p h.264 8-bit 4:2:0 237 Mbps
UHD/24p ProRes 422 10-bit 4:2:2 471 Mbps
UHD/24p ProRes 422 HQ 10-bit 4:2:2 707 Mbps

Similarly, external recorders often have better audio capture capabilities than those baked into the mass-market capture formats used in many cameras. As with the video footage, this is primarily a case of having more space dedicated on the screen, lower levels of compression and a wider range of settings and connectors.

Monitoring

The monitor side of things, there are a lot more benefits than just having a bigger screen to see things with, though this in itself is valuable. The ability to see your scene on a larger screen makes it easier to spot small, distracting objects and check precisely where your focus is set. It can also help you better visualize the way your final footage will look, helping you make creative decisions such as choosing how much depth-of-field you want.

It's also common for monitors to offer overlays and composition aids. For example, framing guides that show crops for different aspect ratios can be helpful if you intend to publish your work in something other than the camera's native aspect ratio.

Also, freed from having to share battery power with so many other functions, external monitors can often be run brighter than the rear screen on your camera, making it easier to shoot outdoors.

Boxes full of tools

But just as significantly, external devices often include useful monitoring tools that go beyond those offered in most cameras, both in terms of the range of tools available, and the precision with which they can be configured.

It's becoming increasingly common for cameras to offer focus peaking, to check where the point of perfect focus is, but zebras, which highlights an area of a certain brightness, are still not universal. External recorders offer these features, often with greater control over their settings. The ability to choose to highlight a typical skintone brightness or everything exposed over 90 or 95% brightness, makes achieving consistent exposure much easier.

Focus peaking is becoming increasingly common on cameras, but external monitors can offer more subtle control over color and threshold, to make it easier to fine-focus.

The other feature common on external recorders that we've only seen on a couple of cameras is the ability to apply color and gamma curve correcting look up tables (LUTs) to Log video in real time. This means that you can shoot gradable, but washed-out-looking, Log footage but with a preview that approximates the finished result, so you end up looking at something much more visually meaningful.

'Scopes

There are a series of exposure and color analysis tools widely used in video production, collectively known as 'scopes.' These are very rare on contemporary stills/video cameras, but are hugely useful for assessing your setup.

A waveform display is a tool to help visualize luminance/exposure. It's common on pro video equipment as well as in video editing software. Rather than a histogram, which just tells you how many pixels hold each brightness value, a waveform tell you where those pixels occur in the image. The waveform diagram shows the brightness values for every column of pixels in the image: dark at the bottom, bright at the top.

Videographers like to use waveforms because it's easy to visualize both exposure and contrast across the frame. This is particularly helpful for judging exposure at a particular location, such as a subject's face. It's also pretty common to have a choice of Luminance or separate R,G,B waveforms (known as an 'RGB Parade'), for judging color balance and per-channel exposure.

The luma waveforms shown here are representing the ColorChecker on our test scene. There's a thin, bright peak on the far left, representing the sliver of white that just crept into shot, then there are six columns representing the six columns of color patches on the ColorChecker.
Look closely and you'll see that the pattern of the left-hand three columns getting progressively shorter continues into the right-hand columns: these are the progressively darker greyscale patches along the bottom of the ColorChecker.

The other common video tool is the Vectorscope, which can be used to evaluate color information in the image, such as hue and saturation. Getting accurate color straight out of camera (as well as matching it between shots) is particularly important when shooting video since Raw video capture hasn't yet arrived in hybrid cameras. It's a bit like shooting JPEGs – you only have so much latitude to adjust things in post.

False Color paints regions of the image to reflect their brightness. There's a fairly standard scale, red for clipped whites, purple for crushed blacks, green for middle grey and pink for skintones.

Finally, one feature we've not seen on any camera yet is False Color, which is a little bit like having multiple zebras active at the same time. Most brands use a similar scheme in which tones around middle grey are painted green, one stop above this (the approximate brightness of Caucasian skin tones) is painted pink, near clipping is yellow, clipped is red, near black is blue and crushed black is purple. The result is a riot of color but with a bit of experience, it gives you a very easy way to interpret your exposure.

Workflow benefits

The net effect of these features quickly add up to provide benefits throughout the video workflow. If you can capture footage using a codec favored by your choice of editing software, you can usually speed up the process of importing by avoiding the need to transcode.

Similarly, the use of the fastest memory cards or still-faster SSDs maximizes transfer rates when it comes to transferring large video files to your editing computer. Again, with a project that takes more than a handful of clips, this is a huge time-saver.

Some external devices let you review and tag your clips before you get back to your computer, again speeding up the initial step of organizing your footage.

It's not all good

As you'd expect, there are disadvantages to using external recorders, too.

Although each of the tools offered make it easier to set your shot up perfectly, this more precise way of working can also risk slowing you down. Also, the added weight and bulk of carrying a second device around with you makes it much harder to run-and-gun with an external monitor.

On top of this, it's much less likely that you'll go unnoticed. Even a relatively small monitor/recorder makes your setup look more professional and consequently more obtrusive. This is not the look for Guerrilla film making.

One downside of off-camera recorders is that it's a bit harder to blend into the scenery and remain unnoticed.

Also, although external devices don't need to share their battery power with so many other functions, it still takes a lot of power to run a screen and capture and compress video. Even the models with fans tend to run hot and hit their batteries hard, meaning you've got more recharging to plan and worry about.

But, given the amount of planning that goes into anything beyond the simple grabbing of clips, this additional consideration isn't that onerous. For a bit more planning and setup time, an external recorder can help you get the very best out of your camera.

$1000 isn't a trivial amount of money but, for a great many photographers, it's an amount they'd justify spending on a lens. Just like a lens, an external recorder can help expand the range of things you can do with your current camera. It's also brand agnostic, so unlike a lens, it's very likely to work regardless of what camera you buy next, and will help boost the quality of everything you shoot, not just the things you can use a new lens for. And that's got to be worth it, hasn't it?

Categories: Equipment

Nikon D7500 vs Canon EOS 80D

DPReview.com - Latest News - Sun, 06/11/2017 - 6:00am

Introduction

We've already looked at how the Nikon D7500 fits into Nikon's lineup, and how it compares to the more expensive D500 and its outgoing predecessor, the D7200.

But now, we're going to look at how it compares with Canon's EOS 80D.

The EOS 80D is older, admittedly, launching in February 2016 with an MSRP of $1199, though it currently sells for $1099. The D7500 was announced in April of this year, and its MSRP and selling price are currently both $1299. So you pay a little more, and get a newer camera with the D7500, but what does that actually translate to? Let's find out.

Sensor and image quality

The D7500 has inherited a new 20MP sensor from its high-end brother, the D500, which might look at first like a downgrade next to the 24MP unit in the EOS 80D. But while we haven't had a chance to thoroughly test the D7500 just yet, It's image quality is likely to be extremely similar to the D500, with that camera offering a bit better high ISO performance in Raw mode compared to the EOS 80D, and JPEG noise reduction that retains detail and eliminates noise just a little better as well.

We're also a big fan of Nikon's JPEG color rendition, with warm, saturated yellows and reds and vibrant - yet neutral - greens. So while it's too early for us to make a definitive call on overall image quality, the D7500's imaging pipeline certainly looks competitive, despite the (small) resolution advantage of the EOS 80D.

Shooting rate and buffer

Switch the Nikon D7500 into 'Continuous High' shooting mode and you'll be greeted with a solid 8fps burst speed, while the EOS 80D tops out at 7. It's not a huge disparity to be sure, but it's when you hold that shutter button down that you'll really notice a difference.

The EOS 80D's buffer is capable of holding 110 JPEG or 25 Raw images, while the D7500 allows for an infinite amount of JPEG shooting as well as 50 uncompressed 14-bit Raw files.

For those that need to shoot either long bursts or several successive short bursts of fast action, the D7500 pulls ahead handily.

Screen

Both the D7500 and 80D have screens that are 3.0" diagonal and offer touch functionality. The 80D's is marginally higher in resolution, and comes with a more standard (for this sensor format) 3:2 aspect ratio, but it is a fully-articulating design, while the D7500's is a tilt-only design.

The tilting design on the D7500 offers more unobtrusive from-the-hip street shooting, without a big screen flipped out to the side, but the 80D allows for shooting from high-and-low angles in both portrait and landscape orientation.

Keeping a hand on the EOS 80D's fully articulating screen may also help stabilize the camera, but on the other hand, flipping the screen out will impede usage of the HDMI and USB ports. This is a problem for those using an external video recorder, or those who are want to shoot tethered in a studio. The tilt-only screen on the D7500 won't present a problem in either of those situations.

Body, controls and build

But what if you're venturing outdoors, into potentially rainy or adverse conditions? Neither of these cameras offers an all-metal body but both are reassuringly well-made.

The D7500 is constructed with a combination of Carbon Fiber Reinforced Thermo Plastic (CFRTP) and magnesium alloy, while the EOS 80D is made from polycarbonate plastic, and both are weather-sealed, to some extent. The D7500 feels a little more solid in the hand, but unless you're heading into a war zone or are very hard on your cameras, build quality shouldn't play too heavily into your choosing one of these cameras over the other.

Both cameras offer two control dials for easy manipulation of manual camera settings, have an abundance of external buttons and switches and offer a reasonable level of customization. Each offers a single SD card slot, and the EOS 80D is CIPA-rated to 960 shots on a full battery, while the D7500 is rated to 950 shots. Both offer 100% coverage viewfinders, though the D7500's is marginally bigger in terms of magnification.

The question of whether Canon's ergonomics and controls versus are superior to Nikon's is highly subjective. It's best, if you can, to just pick each one up and see how they each feel for yourself.

Video

At first glance, the D7500 might appear to be the more 'serious' video camera. Both cameras offer headphone and microphone ports, HDMI out and have touchscreens for placing focus, but while the 80D offers a maximum video recording resolution of HD 60p, the D7500 can shoot 4K. But there's more to it than that.

The 4K video mode on the D7500 comes with an additional 1.5x focal length crop over the existing 1.5x crop from using an APS-C sensor, meaning a full 2.25x crop relative to the focal length printed on your lens. This means even at the 18mm wide-angle setting of the D7500's kit lens, you'll be getting a 40.5mm-equivalent field of view when you shoot 4K video. On the other hand, the D7500 has no crop factor when shooting Full HD, just like the EOS 80D, so you could argue that having 4K at all is a nice bonus.

The D7500 also comes with zebra highlight warnings and a flat(ish) picture profile, so it should be easier to keep highlight clipping in check than on the EOS 80D. Neither camera offers sensor-shift or digital image stabilization, so it's best to make sure you've got stabilization built in to your lens for handheld video shooting.

So yes, so far it seems like the D7500 is the one to get for video shooting. But not so fast.

We've found that Dual Pixel Autofocus gives Canon cameras an incredible advantage when it comes to autofocus in video. The D7500 is still stuck with plain-old contrast-detect AF, which means lots of hunting, whereas the EOS 80D will stick to subjects or people's faces reliably, and makes for easy focus racking and run-and-gun shooting.

In the end, despite the relatively pedestrian HD video spec, we think that Dual Pixel AF alone is enough of a reason to recommend the EOS 80D to those that are interested in shooting video, even above and beyond the D7500's 4K capability and additional capture aids. It really is that good.

Autofocus

The D7500 has a carryover 51-point (15 cross-type) autofocus system from the D7200 (and the D750), but now includes the D500's 180k-pixel metering sensor for more accurate subject tracking (which Nikon calls 3D Tracking) through the viewfinder. In our initial testing, the new metering sensor makes a noticeably positive difference.

The EOS 80D, meanwhile, has a 45-point system where all points are cross-type, and uses a 7560-pixel RGB + IR metering sensor to help drive its iTR (Intelligent Tracking and Recognition) subject tracking.

When shooting through the viewfinder, the D7500's subject tracking wins handily, sticking reliably to subjects more reliably than the 80D as they move about the frame. It also offers Auto AF Fine Tune, first seen on the D5 and D500, to help you calibrate your specific lenses to your specific D7500 for the best possible results.

However, Canon's Dual Pixel AF isn't done yet. When shooting in Live View, the D7500 feels absolutely prehistoric compared to to the EOS 80D. While you can tap to move your focus point on the D7500, you're still greeted by a series of pronounced hunts before the camera settles into critical focus. On the 80D, just tap, and watch the camera smoothly rack focus, lock on and track.

Connectivity, battery grip

In terms of wireless transfer, whether to your phone, a laptop, the cloud or elsewhere, there's not between these two cameras. The D7500 gains Bluetooth LE to (hopefully) help make the pairing process easier, but if you're an Android user, you may find NFC on the EOS 80D to be more convenient.

Lastly, for those needing extended stamina, there is a first-party battery grip option for the EOS 80D, while Nikon doesn't have one for the D7500.

So, which is better?

Well, of course it depends.

For those who are shooting fast action and stills and primarily use the optical viewfinder, the D7500 is a better bet, with its faster burst speed, deeper buffer and better (likely class-leading) phase-detection autofocus system, with 3D AF tracking.

For those who have a greater emphasis on video and don't necessarily need 4K (or just don't want it at a 2.25x crop), the EOS 80D is hard to beat, due in no small part to Canon's Dual Pixel AF. It just makes it so easy to shoot video that's properly focused, allowing for dependable face detection and subject tracking as well as precise focus racking.

But wait, we're not done yet...

Versus 7D II?

There's another camera in Canon's roster that to some degree also competes with the D7500 - the more pro-oriented EOS 7D Mark II.

The 7D Mark II came out back in September of 2014, so while it's a little long-in-the-tooth, it remains Canon's APS-C flagship. While it was released with an MSRP of $1799, it currently sells for around $1499, so about $200 more than the Nikon D7500.

While they both have sensors with similar resolution, the D7500 is almost certain to have notably better dynamic range and improved high ISO performance thanks to its newer, D500-inherited sensor. The 7D Mark II does have dual card slots (one CF and one SD), but the D7500's buffer still allows for longer burst shooting in Raw. In the name of outright durability, the 7D II's screen is fixed, though it is touch-enabled, just like the D7500.

The viewfinders and level of external controls are also comparable, though the the 7D II is made from a heftier magnesium alloy body. To go with its 65 all cross-type point AF system, the 7D Mark II comes with an AF joystick to make AF selection easier, though Nikon's 3D Tracking will still handily outperform Canon's older implementation of iTR. On the other hand, while the 7D II comes with an older processor, it still comes with Dual Pixel AF, and as such, it should offer a better live view experience than the D7500.

Lastly, connectivity on the 7D II comes with an optional Wi-Fi SD card, while it's built in on the D7500.

Overall, the EOS 7D Mark II is still a dependable, durable workhorse that is serving seasoned pros well - but if you're looking at getting a new camera or are just considering moving into the enthusiast DSLR segment, we can't help but feel the Nikon D7500 is a better choice.

Categories: Equipment

4 times when a Hail Mary might be the right move

DPReview.com - Latest News - Sat, 06/10/2017 - 6:00am

4 times when a Hail Mary might be the right move

A bee hops between blackberry flowers on a sunny day in North Tacoma. By holding the stem of the flower in one hand and camera (with a full-frame fisheye) in the other, I could adjust the composition quickly and blast frames whenever the bee appeared close. My slow noggin just couldn’t keep up. July 2014. Photo and caption by Peter Haley.

More often than not, the 'decisive moment' doesn't happen exactly where you want it. Sometimes the best angle is one that's impossible to achieve with the camera to your eye – players huddling on a field, a crowd on a dance floor. For such occasions, there's what's known as a Hail Mary.

The Hail Mary takes its name from a long shot pass in American football, a low-percentage shot when there are no other options. It's a last ditch effort, but you don't have much to lose by trying. In photography, the Hail Mary is most often thought of as holding your DSLR far above your head and pointing it down toward your subject, but the term can apply to any shot you take with the camera away from your body, pressing the shutter button and hoping for the best.

Sure, cameras with tilting LCDs can give you an advantage nailing the shot, but especially when time is of the essence, sometimes the best you can do is point your lens in the right direction and pray.

Photojournalist Peter Haley has found himself in more than one situation that called for a shot from a tricky angle. Whether it's for an unexpected angle of a familiar subject, or an effort to keep your distance, here are a few occasions that call for a long shot.

1. When body language would tip-off the subject

I had seen her umbrella blow backward once, and thought it might happen again. I didn't want her to see that I was focusing on her, so I walked in front of her, glancing over my shoulder, with the camera held down at my side and already pointed back toward her. When the umbrella blew, my camera was shooting even before I finished turning my own body around. January 2007. Photo and caption by Peter Haley.

Says Haley, 'If you don't want a subject to notice that you're taking photos, not pulling your camera up to your eye is helpful.'

1. When body language would tip-off the subject

The photojournalism didn’t stop even during a break in a cramped bathroom at the King County Fair. July 1989. Photo and caption by Peter Haley

2. When your body would be in the way

A largemouth bass is tossed back. For an interesting composition the camera needed to be against the stomach of the fisherman. No room for my body there. May 2008. Photo and caption by Peter Haley.

'A good angle is often from the point-of-view of the subject, so sometimes I hold the camera against the person's chest where there's no room for my body. Or the camera needs to move farther back, but I'm up against a wall, so I hold the camera flat against the wall.'

2. When your body would be in the way

The Washington DOT avalanche crew at Snoqualmie Pass fires a 105mm recoilless rifle. Everyone must huddle close to the center of the length of the barrel to minimize the concussion. But the camera needed to be farther away, so I held it up in classic 'Hail Mary' position. February 1999. Photo and caption by Peter Haley.

3. When you need to get lower, closer, or farther away

The camera needed to be forward of the gun, but my own body didn't. I suppose my hand took a slight risk. Note the usefulness of the dimly-lit pistol range and a slow shutter speed. January 2013. Photo and caption by Peter Haley.

'I don't like to lay down on a wet beach if I don't have to. I prefer to keep my body away from snarling dogs, even if the camera needs to be close with a wide angle lens. Or I don’t want to put my whole body close to the line of fire, so I’ll risk only a hand.'

3. When you need to get lower, closer, or farther away

The teeth look better from close up with a wide angle, but I didn't want to risk getting cut. So I held the camera at arm's length. April 2010. Photo and caption by Peter Haley.

4. When you need to move quickly

I was standing below a cornice, off of which I expected some young skiers to jump, but I didn't know exactly where. I was sure that it would be very close to where I was, so I was able to use a very wide lens. I needed all my peripheral vision in order to see as soon as possible where they were going to pop into view. I had only a fraction of a second to point the camera that way-- not enough time to acquire sight through a viewfinder. November 2012. Photo and caption by Peter Haley.

'Sometimes the camera needs to bob, weave and dip quickly to stay close to a moving subject. Keeping my eye attached to the viewfinder – which would necessitate my whole upper body to move with it – slows the camera's movements too much, so I just move the camera at the end of my arm.'

Peter Haley grew up in Tacoma, studied science at UC Berkeley, but forged his career from a passion for photography. He's shot for The News Tribune (Tacoma) since 1986.

Like all photographers, he’s won plenty of awards (photographers love contests), and his work has appeared in coffee-table photo books (A Day in the Life of..., etc). He has been embedded with the army in Iraq three times and Afghanistan once.

His favorite things to shoot: Live events. People doing ordinary things. No posed photos! Outside of family, his passions include skiing, and... well... more skiing.

Categories: Equipment

In photos: a bucket-list trip to the Serengeti

DPReview.com - Latest News - Sat, 06/10/2017 - 5:00am
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The Serengeti is on many-a photographer's bucket list, but it's not a cheap trip to make. If you're wondering whether it's worth making the investment, photographer Michael Bonocore gives a resounding 'yes.' He made the trip to Tanzania last year and returned with stunning photos from the region.

Michael says:

'It’s hard to really explain the adrenaline rush that will hit you like a ton of bricks the first time you see a herd of elephants or a pride of lions start to walk your way. Staring blankly in awe of such powerful creatures, it can be hard to get your camera at the ready and your settings dialed in before the moment passes. But eventually, you learn that these magnificent animals are indifferent to your presence.'

Serengeti National Park has the 'big five' animals typically seen on safari: rhinos, elephant, buffalo, lion and leopard. An estimated 3000 lions can be found in the park alone. What's harder to find are critically endangered black rhinos and stealthy leopards. Bonocore also spotted 'wildebeest, zebra, giraffe, warthog, hyenas, jackals, monkey, birds, and even crocodiles.'

You can see Michael Bonocore's full writeup of his trip to Africa, as well as some truly stunning sunset photos, over at Resource Travel.

Categories: Equipment

CIPA figures for April illustrate steadying of the digital camera market and continued mirrorless growth

DPReview.com - Latest News - Sat, 06/10/2017 - 4:00am
DSLR sales continue to decline, but great news: the overall camera market seems to be stabilizing.

The latest figures released by the Camera and Imaging Products Association (CIPA) show that the total camera market remained mostly steady year-on-year for the month of April, and that mirrorless sales are growing against a decline in the number of DSLRs sold. CIPA's data demonstrates that its member companies produced almost the same number of cameras this April as they did in April 2016, but that they were worth fractionally more.

During the period from January to the end of April CIPA members actually produced more cameras than they did in the same period last year, and even though the difference was only 3-4% by volume and value, it is still very positive news.

The decline in the Japanese market rather drags the worldwide shipping figures down from 8.4% by value, when Japan is excluded, to just under 4% when looking at the whole world. Outside of Japan the market grew year-on-year for the period Jan-April by 3% by volume and 12% by value, indicating the cameras being shipped are higher in price than last year.

While the interchangeable lens camera market grew by 7.4% in volume and 4.5% in value for the month, the bulk of that growth came from the ‘non-reflex’ sector. CIPA includes mirrorless cameras, compact system cameras and rangefinder cameras in these figures, though without the membership of Leica or Hasselblad we can assume that most of the category is compact system and other mirrorless cameras that have interchangeable lenses – such as Fujifilm’s GFX.

Asia remains by far the largest market for these cameras and sold almost as many bodies as Japan, Europe and America combined.

This non-reflex category jumped in value by 37.5% in Japan but in the rest of the world that growth hit 80.5%. An area designated by CIPA as ‘Other’, that doesn’t include Asia, Europe, Japan or the Americas, saw mirrorless growth of 141% by volume and 136.5% by value - though the actual figures are relatively small. Asia remains by far the largest market for these cameras and sold almost as many bodies as Japan, Europe and America combined.

While only 89% of last April’s SLRs shipped this April, the worldwide market for these cameras is still just less than twice the size of the mirrorless segment, though in Japan the value of DSLR market was only 57% of what was managed last April – a really significant drop.

The good news, of course, is that the market didn’t shrink.

For more information see the CIPA website.

Categories: Equipment

Video: tips for black-and-white processing in Lightroom

DPReview.com - Latest News - Sat, 06/10/2017 - 3:01am
This tutorial provides useful advice for getting the most out of Lightroom when it comes to converting images to grayscale and making edits. The narrator notes that it is OK to push sliders way more than you might be use to when editing color images, which is definitely important to remember! He also offers quality advice on using the color sliders to improve the tonality of b/w images.
Categories: Equipment

Google Photos now auto-suggests images for archival

DPReview.com - Latest News - Fri, 06/09/2017 - 1:52pm

Google has launched a new smart archiving feature in Google Photos on iOS, Android and desktop that helps users quickly select photos to archive as a way to declutter the main gallery. The new archiving suggestions are found in the Assistant tab, where photos are pre-selected for archiving. Users are given control over the selections, though, being able to remove some suggested photos and add others.

The company announced the new feature in a post on its Google Plus page, explaining that users can also archive individual photos by tapping the three-dot '...' button on the image, then selecting 'Archive.' Archived photos, though removed from the main gallery, are not deleted. The archived photos can be viewed anytime by opening the left-side navigation pane and selecting 'Archive' or by using search.

Via: Google Plus

Categories: Equipment

Tenba updates Roadie line of rolling cases

DPReview.com - Latest News - Fri, 06/09/2017 - 1:21pm

The cases come with a water-repellent exterior of 1680-denier ballistic nylon, YKK RC-Fuse zippers and aircraft-grade aluminum luggage handles. A rain cover provides additional protection in wet weather and the wheels are user-replaceable.

The new Roadie Roller 18, 21, Hybrid 21 and Air Case 21 all comply with most international and U.S. domestic carry-on regulations, while the Roadie Roller 24 is suitable for non-airline use only but can carry cameras and lenses along with flash and lighting systems. 70-200mm 2.8 lenses will fit standing vertically to maximize interior storage. More information is available on the Tenba website.

Press Release:

Tenba Roadies are sleek, discrete cases for uncompromising photographers and filmmakers that include some key “industry first” features like a removable camera insert, an exterior pocket for a portable battery, and an Air Case model with a rigid shell that can be safely shipped or checked at the airport. Roadies were designed with a high-end luggage aesthetic to ensure they look professional yet don’t draw unwanted attention to the gear inside.

Tethered Case Lid
Interior straps keep the lid upright when opened so it works as a mobile workstation, and they help the Roadie maintain a small footprint in tight environments.

Drop-In Tripod Carrier
This is Tenba’s quickest and simplest tripod carrier ever. Virtually any size tripod can be stored in just a few seconds. Also holds light stands when Roadie is being used for lighting gear.

Extra Bag Strap
A quick and hands-free way to attach a second bag to the Roadie, just like pilots and flight attendants do.

Leather Trimmed Handles
Padded top and side handles make the Roadie comfortable to carry even when fully loaded, and waterproof full-grain leather trim improves the grip.

Integrated TSA-Approved Security
The Roadie includes an integrated lock for the zipper on the camera compartment, plus an additional security cable and padlock to secure the case on location. Both locks are TSA approved.

Professional Features
Roadies are built to deliver on Tenba’s promise for durability, with a water-repellent exterior of 1680-denier ballistic nylon, YKK® RC-Fuse zippers and aircraft-grade aluminum luggage handles. For additional protection in wet weather, each bag includes a WeatherWrap rain cover. The user-replaceable wheels combine shock absorbing TPU with high carbon steel bearings so they are sure to roll smoothly and quietly over any surface.

The Roadie Roller 18, 21, Hybrid 21 and Air Case 21 all comply with most international and U.S. domestic carry-on regulations, while the Roadie Roller 24 is suitable for non-airline use. Roadies are available now at Tenba authorized resellers.

Introducing Roadie Air Case Roller 21, Roadie Roller 24, Roadie Hybrid Roller 21, and a Few Industry First Features

Introducing Our Checkable, Shippable, Uncrushable Carry-on Rolling Case
One model in the Roadie Collection, the Roadie Air Case Roller 21, utilizes Tenba's patented layered wall construction to provide the protection of a hard-shell case at a fraction of the weight. It can withstand more than 400 pounds stacked on top, so it will ensure equipment protection when the case needs to be checked unexpectedly, like when airline overhead space has filled up, or when flying on a small regional jet.

Introducing the Roadie Roller 24
Due to its larger-than-carry-on dimensions, the Roadie Roller 24 can efficiently carry large systems in a single case. Cameras and lenses can be stored along with flash and lighting systems, and 70-200mm 2.8 lenses will fit standing vertically to maximize interior storage.

Introducing the Roadie Hybrid Roller 21
A comfortable backpack harness enables the Roadie Hybrid Roller 21 to be carried when terrain is not especially "wheel friendly," such as on stairs or over sand or dirt.

Quick Access Battery Pocket
Available in all models except Roadie Hybrid Roller 21 and Roadie Air Case 21
The rear zippered pocket can hold a battery for charging mobile phones and other portable devices. Twin zippers allow cables to be easily threaded out of the pocket.

Removable Padded Camera Insert
Included with all Roadie Roller models except Roadie 18
The removable insert allows a camera and 2-3 lenses to be carried independently inside a smaller shoulder bag. The insert can be paired with Tenba's Packlite 10 travel bag to create a portable camera bag solution, allowing the user to leave the rolling case behind and just carry a core camera kit.

Categories: Equipment

Leica unveils limited edition Leica M Monochrom “Jim Marshall Set”

DPReview.com - Latest News - Fri, 06/09/2017 - 10:54am

Leica has released a limited-edition Leica M Monochrom “Jim Marshall Set”. Jim Marshall was the first and only photographer to receive the Grammy Trustees Award. The edition will be limited to 50 sets worldwide. The kit includes the new brass plated Leica M Monochrom camera with a special “Laiton” finish. Leica says the latter provides a unique matte quality. The camera comes with an inscription of Jim Marshall’s autograph and a Summilux-M 50mm f/1.4 ASPH lens.

In the box you'll also find a Jim Marshall Limited Edition Estate print of “Thelonious Monk at the Monterey Jazz Festival 1964” and a special, numbered edition and estate embossed copy of the book Jim Marshall: Jazz Festival.

To mark the occasion the Leica Gallery Los Angeles which will showcase some of Marshall’s images of jazz icons like Miles Davis, Nina Simone and Thelonious Monk. The exhibit will run from June 15th through July 31st.

{PressRelease]

Leica Camera and the Jim Marshall Foundation Present a Leica M Monochrom Limited Edition Jim Marshall Set

LEICA M MONOCHROM “JIM MARSHALL SET” WITH LEICA SUMMILUX-M 50 MM F/1.4 ASPH

Leica Camera and the Jim Marshall Estate are proud to offer a limited edition set of the LEICA M Monochrom “Jim Marshall Set” with LEICA SUMMILUX-M 50mm f/1.4 ASPH to celebrate Jim’s legacy and his life-long relationship with Leica Camera. This edition is limited to 50 sets and will be sold worldwide exclusively through Leica Stores and Boutiques.

The numbered and Jim Marshall autographed LEICA M Monochrom (Type 246) and LEICA
SUMMILUX-M 50mm f/1.4 ASPH are made of brass components with a very special “Laiton” finish which provides a unique matt finish and a one of a kind appearance for each set. Another distinctive component of the set is the lens. This lens, while modern in its optical design, has the classic knurled focus ring and round lens hood reminiscent of the 1960’s. Both are made of brass with the “Laiton” finish.

The set also includes a Jim Marshall Limited Edition Estate print of Thelonious Monk at the Monterey Jazz Festival 1964 and a special, numbered edition and estate embossed copy of the Jim Marshall: Jazz Festival published by Reel Art Press. During the extraordinary rise of popular culture and the counterculture in the 1960”s, Jim Marshall seemed to be everywhere that mattered. His images of the Monterey Pop Festival chronicling the
breakout performances of Jimi Hendrix, Janis Joplin and Otis Redding are woven into the lore of the era. Jim shot more than 500 album covers. His photographs are in private and museum collections around the world. To learn more about Jim Marshall, visit www.jimmarshallphotographyllc.com.

We invite you to the Leica Gallery LA to view Jim Marshall's JAZZ FESTIVAL exhibition at the Leica Gallery LA, on view June 15th through July 31.

Join us on June 15th at the Leica Gallery LA from 5PM-6PM for a guest lecture and book signing with Amelia Davis, owner of Jim Marshall's archive of photography, followed by the opening reception of Jim Marshall's JAZZ FESTIVAL exhibition.

RSVP for the lecture and book signing here.
RSVP for the opening reception here.

{/PressRelease]

Categories: Equipment

OPPO R11 Plus comes with 2x tele dual-cam

DPReview.com - Latest News - Fri, 06/09/2017 - 10:20am

Back at the Mobile World Congress in February Chinese Manufacturer OPPO was demonstrating a smartphone camera module with a 5x optical zoom that was developed in cooperation with the Israeli company CorePhotonics. This technology still has not made it into a production device but today the company has launched the R11 Plus which features a dual-cam with 2x zoom factor and all around impressive camera specifications.

The main lens is coupled with a 16MP Sony IMX398 1/2.8" sensor and a fast f/1.7 aperture. The telephoto module features a 20MP Sony IMX350 sensor with f/2.6 aperture. The Qualcomm image signal processor applies image fusion algorithms and offers a background-blurring portrait mode, similar to what we've seen on the iPhone 7 Plus or the Xiaomi Mi6. 4K video recording is possible with both cameras. The front camera has a 20MP sensor and F2.0 aperture.

Other specifications include a 6" 1080p AMOLED display, 6GB of RAM, a Qualcomm Snapdragon 660 chipset and a 4,000mAh battery, all wrapped up in a metal unibody. No information on launch data and pricing has been revealed yet.

Key specifications:

  • Dual-camera
  • Wide angle camera with 16MP Sony IMX398 1/2.8" sensor and f/1.7 aperture
  • Telephoto camera with 20MP Sony IMX350 sensor with f/2.6 aperture
  • 4K video on both cameras
  • Portrait mode
  • 20MP front camera with F2.0 aperture.
  • 6" 1080p AMOLED display
  • 6GB RAM / 64GB storage
  • Qualcomm Snapdragon 660 chipset
  • 4,000mAh
Categories: Equipment

Fujifilm X-A3 added to studio scene comparison

DPReview.com - Latest News - Fri, 06/09/2017 - 6:00am

The Fujifilm X-A3 sits on the low-end of their mirrorless lineup, with only the X-A10 carrying a lower MSRP. Where the X-A3 really differentiates itself, though, is that it comes with the latest 24MP sensor from higher-end Fujifilm cameras, but with a traditional Bayer filter array instead of X-Trans. What does that mean in terms of image quality? Well, see for yourself.

See the Fujifilm X-A3 on our studio scene

Categories: Equipment

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