Sidste nyt

Retro Review: Gordon Laing tests out Canon’s 21-year-old PowerShot G1 camera

Sidste nyt fra dpreview - 26 jul 2021 - 20:43

Gordon Laing, Editor of CameraLabs, has shared his latest Retro Review, this time putting the 3.3MP Canon PowerShot G1 to the test 21 years after its release.

The PowerShot G1 was released towards the end of 2000 and retailed for roughly $1,100 (roughly $1,735 in today’s money). It was the first camera in a series that lives on to this day and was similar in size and features to its contemporaries, the Epson 3000Z and Sony S70, but also had a few additional benefits.

At the heart of the G1 was a 3.3MP 1/1.8-inch CCD sensor with a 3x optical zoom in front of it (roughly a 35–100mm full-frame equivalent focal length). On the top of the camera was what Gordon calls a ‘generous information screen’ as well as w hotshot for mounting speed lights and accessories.

The camera featured a mode dial, including a full manual mode that let you control the shutter (8 seconds to 1/1000th) and aperture (F2 through F8), although the shutter speed was limited to 1/500th at F8. There was an optical viewfinder as well as a 1.8" side-hinged screen that could be used to both compose and review shots.

Images were stored on Compact Flash cards and unlike its aforementioned contemporaries, the G1 offered Raw image capture. Below is a gallery of images captured with the PowerShot G1 and shared by Gordon:

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Gordon shares his thoughts throughout the video, but in his written review, he says ‘the G1 was an easy winner back in 2000 and 21 years later still feels like a camera you’d be happy to still use. And thanks to the still-common BP-511 battery and Compact Flash memory, it’s quite practical in 2021.’

You can find more Retro Reviews by Gordon over on his DinoBytes YouTube channel.

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Sony to announce a new camera in the next 24 hours

Sidste nyt fra dpreview - 26 jul 2021 - 17:29

Earlier this month, Sony was set to release a new camera. However, the July 7th announcement was postponed for unspecified reasons. At the time, no information was provided as to when we could expect the new camera, but Sony has updated its website to announce the product will be released via a YouTube Premiere at 23:00 JST on July 27, 2021 (10am EDT, 7am PDT July 27).

The initial announcement graphic, which shows the original expected announcement date of July 7, 2021. The updated announcement graphic, which shows the new announcement date of July 27, 2021.

The updated graphic shows the same ‘Capture more of your world’ tagline seen in the original announcement as well as a microphone windscreen atop a rainbow-gradient background. No further information is provided, but the graphic does confirm we will see a new camera within the next 24 hours (barring a last-minute postponement).

You can set a reminder to be notified and watch the announcement on Sony Japan’s YouTube channel (or just keep this page open in your browser and watch using the above embedded YouTube video).

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Engineering student created an impressive DIY cable cam with AI-powered tracking

Sidste nyt fra dpreview - 26 jul 2021 - 17:27
The Cablecam is built around a single brushless motor and Raspberry Pi 4 with an Arducam attached to a two-axis gimbal.

Uruguayan engineering student, Maximiliano Palay, has shared a detailed breakdown showing how he built Cablecam, a DIY cable camera. While this isn’t exactly your weekend Raspberry Pi project, if you have the engineering chops (as well as time and money), it is something you can piece together yourself.

Max created the design for the Cablecam using Autodesk Fusion 360 (via an Education License).

The Cablecam, as Max calls it, was the first project of his to integrate all of his disciplines together: ‘software, hardware design and a couple of fabrication techniques’ and was his first attempt at creating a moving robot. Max says he made most of the Cablecam from parts he had ‘laying around,’ but unless you have access to a 3D printer and a CNC machine, and have a few pocket computers and motors sitting around, you might need to purchase a few items. Below is a list of the key components Max used to create the Cablecam:

Like other cable (or line) cameras, the Cablecam can run along a string or cable in one axis to give a dolly-style effect without the need to set up a complicated rail system. The frame of the Cablecam is constructed of CNC-milled wood pieces with 3D-printed gears custom made to maximize torque from the brushless motor. Below is a video showing the gears in action without the motor attached:

To drive the motor, Max used an electronic speed controller he had sitting around, but it was leftover from a drone project, so it didn’t offer a reverse option. To fix this, Max added a polarity switch using four relays with an Arduino so that when the polarity is switched, the Cablecam moves in the opposite direction. The batteries used to power the Cablecam were ‘harvested cells’ taken from an old laptop.

The camera onboard the Cablecam is an Arducam inside a custom 3D-printed case attached to a Tarot two-axis gimbal. Max used a wide-angle smartphone camera lens adapter from a kit in front of the Arducam to get a wide angle-of-view. The entire Cablecam is powered by a Raspberry Pi 4, which communicates wirelessly with the base unit.

The base station, which wirelessly controls the Cablecam, uses Nvidia’s Jetson Nano as the main computer and is all packaged inside a Seahorse SE120 case. In addition to the main computer and fan used to keep things cool, the case also houses a screen and potentiometer that’s used to manually control the Cablecam’s movement.

To take it a step further, Max also integrated Nvidia’s pre-trained neural networks to add an automatic mode that identifies and tracks people based on certain criteria. This takes footage sent to the base unit from the Cablecam, analyzes it, then automatically moves the Cablecam to center the subject in the frame, as seen in the below demo video (Max apologized for the poor video quality):

This isn’t your average DIY project, but it goes to show that even complex pieces of camera equipment can be made if you have the knowledge and equipment available. If you’re brave enough to attempt your own Cablecam, be sure to shoot us a message so we can feature it as well.

The full project breakdown can be found over on Hackaday, where Max shares some of the resources he used to get everything up and running. You can find more of Max’s projects on Hackaday and keep up with his engineering feats via his LinkedIn profile.

Image credits: Photos by Maximiliano Palay, shared with permission.

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Hobbyist astronomer discovers new Jupiter moon 18 years after the photos were taken

Sidste nyt fra dpreview - 26 jul 2021 - 16:57
In 1974, NASA's Pioneer 11 spacecraft viewed Jupiter from above its north pole. Image credit: NASA Ames

One might believe something as monumental as discovering a new moon would be the result of efforts from professional astronomers. However, an amateur by the name of Kai Ly discovered a new moon for the planet Jupiter on June 30th. Ly was scanning old datasets from 2003 when it was identified.

'I’m proud to say that this is the first planetary moon discovered by an amateur astronomer,' Ly tells Sky and Telescope. This follows Ly's identification and recovery of 5 lost Jovian moons, including Valetudo, Ersa, and Pandia, using the public archive of images available online.

Jupiter currently has around 80 moons, with new ones being discovered periodically. However, no one expected an amateur to add to this growing list. The data Ly examined was captured with a 3.6-meter Canada-France-Hawaii Telescope (CFHT). David Jewitt and Scott Sheppard of University of Hawai‘i led a group that discovered 23 new moons. Ly suspected more undiscovered new moons were hiding out in the dataset and got to work.

An image of Ganymede, one of Jupiter's moons and the largest in our Solar System, obtained by the JunoCam imager during Juno’s June 7, 2021, flyby of the icy moon. Image credits: https://www.jpl.nasa.gov/news/see-the-first-images-nasas-juno-took-as-it-sailed-by-ganymede

Ly started examining images taken in February, 2003, in early June of this year. While they initially tracked 3 potential moons, there wasn't enough data to recover 2 of them. They were able to confirm that the third, designated EJc0061, was bound to Jupiter. In all 76 observations gathered from an observation period spanning 15.26 years was enough for Ly to conclude that the orbit of this new moon was secured for decades.

This new moon, discovered by Ly, may have company in the coming years. Last year, Edward Ashton, Matthew Beaudoin, and Brett J. Gladman spotted around 4 dozen objects, as small as 800 meters, in Jupiter's orbit. While they didn't prove these objects were Jovian moons, the group suggests that there is a possibility of up to 600 satellites. The development of more sophisticated telescopes in the coming years will help astronomers confirm these possibilities.

Software and services, including Find_Orb orbit, Aladin Sky Atlas and the Canadian Astronomical Data Center's Solar System Object Image Search, are available to anyone including amateur astronomers to make these types of discoveries.

Kategorier: Sidste nyt

Fujifilm XF 50mm F1.0 R WR field review

Sidste nyt fra dpreview - 26 jul 2021 - 16:00
Introduction 84%Overall scoreJump to conclusion

The Fujifilm Fujinon XF 50mm F1.0 R WR is an especially bright portrait prime for the company's X-mount cameras. As its super-fast maximum aperture (and corresponding premium pricing) might suggest, it's something of a niche product.

With a roughly 75mm-equivalent focal length after accounting for the APS-C sensor size used by X-mount bodies, it's aimed at both photographers and videographers seeking shallow depth of field for an aesthetic reminiscent of that from a full-frame camera.

Available since Fall 2020, it carries list pricing of $1,499.95.

All images edited in Adobe Camera Raw 13 with adjustments limited to white balance, exposure, highlights, shadows, white and black levels. Sharpening and noise reduction at ACR defaults.

Key specifications:
  • Mount: Fuji X-mount
  • Focal length: 50mm (75mm with APS-C crop)
  • Aperture range: F1.0 - F16
  • Stabilization: No
  • Filter thread: 77mm
  • Close focus: 0.7m (27.6")
  • Maximum magnification: 0.08x
  • Diaphragm blades: 9
  • Hood: Included
  • Weight: 845g (1.86 lb)
  • Optical construction: 12 elements in 9 groups (2 ED, 1 aspherical)
ISO 160 | 1/8000 sec | F1 | Fujifilm X-T4
Photo by Chris Niccolls

Fujifilm's 50mm F1.0 R WR has two fairly close alternatives among the company's XF lens lineup: There's the much more affordable XF 56mm F1.2 R, as well as the related XF 56mm F1.2 R APD which is priced identically to the 50mm F1.0.

In comparison to these alternatives, the 50mm is both just slightly wider-angle and brighter than either, but it's also much bulkier and heavier. It weighs more than twice as much as do the 56mm optics, while its barrel is 14mm (0.5") wider and 34mm (1.4") longer. It also necessitates use of pricier 77mm filters, versus the more affordable 62mm filter size used by the 56mm lenses.

ISO 160 | 1/40 sec | F2.8 | Fujifilm X-T4
Photo by Jordan Drake

It's worth noting, though, that it's also weather-sealed, whereas neither 56mm lens includes any sealing to keep out the elements. It also has a nine-bladed aperture, as compared to seven-bladed irises in the 56mm lenses.

Of course, that doesn't tell the entire story for the 56mm APD. It has a price tag 50% higher than the standard 56mm (and identical to that of the brighter 50mm) for a reason. Its design includes a circular-graduated apodization filter which softens its bokeh at the expense of some light transmission and the requirement that you use slower contrast-detection autofocus even on camera bodies that would otherwise be capable of hybrid AF.

ISO 160 | 1/1250 sec | F2 | Fujifilm X-T4
Photo by Chris Niccolls

If your primary goal is to save money, you'll want to compare the 50mm F1.0 to the 56mm F1.2. But if you want the best possible bokeh – and if you're considering buying an F1.0 or F1.2 lens, that's probably true – then you'll want to compare it with the APD version instead, negating the price difference and leaving size, weight, weather sealing and focus performance as the main differentiators.

Compared to... Fuji XF 50mm F1.0 R WR Fuji XF 56mm F1.2 R Fuji XF 56mm F1.2 R APD

Price (MSRP)

$1499 $999 $1499 Optical construction 12 elements, 9 groups 11 elements, 8 groups 11 elements, 8 groups plus apodization filter Aperture blades 9 7 7 Weather sealed Yes No No AF drive DC motor DC motor DC motor Minimum focus distance / max magnification 0.70 m (27.6″) / 0.08x 0.70 m (27.6″) / 0.09x 0.70 m (27.6″) / 0.09x Filter size 77mm 62mm 62mm Diameter x Length
(no hood)

87mm x 104mm (3.4" x 4.1")

73mm x 70mm (2.9" x 2.7")

73mm x 70mm (2.9" x 2.7")

Weight

845g (29.8oz)

405g (14.3oz)

405g (14.3oz)

Finally, it is worth mentioning that Fujifilm has yet another prime lens in this focal length – the affordable, optically excellent but less ambitious XF 50mm F2 R WR. It's in a rather different class than the options above, but it remains a solid option in the Fujifilm lineup if you're looking for a portrait prime that won't break the bank or your back.

Handling

The Fujifilm XF 50mm F1.0 R WR is bigger, bulkier and heavier than any other Fuji XF prime lens of a similar focal length. In fact, among all XF primes only the XF 200mm F2 is heavier or has a broader barrel, while only the 80mm, 90mm or 200mm primes are longer. (The 200mm F2 absolutely dwarfs the 50mm, though.)

With that said, it's still not really that big when one considers its bright F1.0 maximum aperture, nor does it really feel unduly heavy either. It feels rather similar to a typical 85mm F1.4 lens on a full-frame camera, and its magnesium alloy barrel is still easily manageable.

Balance is quite good with a larger body like the Fuji X-T4 we shot with, but with smaller bodies the 50mm F1.0 will likely feel rather front-heavy. In-hand, the lens feels extremely solid, and the all-metal construction oozes quality.

The exterior of the lens barrel is extremely clean, with only two controls on offer. Save for both manual focus and aperture rings, there are no other controls whatsoever, with the 50mm F1.0 foregoing the buttons and switches that adorn many modern lenses.

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Both the focus and aperture rings are fly-by-wire rather than mechanically-coupled. The manual focus ring moves smoothly and provides good accuracy with a just-right amount of dampening. The aperture ring moves in 1/3 detents, offering a similar feel to Fujifilm's other high-end primes.

The aperture ring is clearly labeled in white text, and also provides a red "A" position allowing for automatic aperture control. When set thusly, the lens will control aperture automatically if you're in Program Auto or Shutter Priority modes, but will hand off aperture control to your camera's command dial if you're shooting with your camera body in Aperture Priority or full Manual control.

There's no in-lens image stabilization, a feature Fuji offers only in its zooms and a couple of primes with focal lengths above 80mm. There is, however, comprehensive sealing against dust and moisture. In all there are 11 seals protecting both control rings, joins between components and the interface between lens mount and camera body.

Up front, there's a 77mm filter thread, a fairly common size but one which will prove a bit pricier for filter purchases than will the 62mm filter threads of Fuji's 56mm lenses.

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Autofocus and focus breathing

With a DC motor providing for autofocus drive, and a substantial-enough mass being moved that you can feel the AF drive in operation, it's not surprising that AF performance isn't a strong point of the XF 50mm F1.0. It's definitely on the slower side, with a full-rack AF time of of roughly 0.8s to 1s for the lens to transition from MFD to infinity. In practice, it feels notably sluggish.

When shooting portraits in the studio, that's no big deal. But for less controlled subjects like weddings, street photography, candids or low-light journalism, it's borderline and you may find yourself with missed shots as a result. And for sports, it's simply not sufficient to keep up with the action (and not necessarily this lens' purview anyway).

ISO 160 | 1/125 sec | F8 | Fujifilm X-T4
Photo by Chris Niccolls

We also noted some occasional issues with autofocus hunting for heavily-defocused scenes, likely exacerbated by the lens' unusually fast maximum aperture. And with a minimum focusing distance of 70 cm (27.6") for a maximum magnification of just 0.08x (1:12.5), we also found ourselves wishing we could get closer to our subjects more than once, especially for tightly-cropped portraits of smaller infant faces. (We didn't have similar problems for adults, however.)

ISO 320 | 1/160 sec | F1 | Fujifilm X-T4
Photo by Jordan Drake

There is some good news for videographers, however. We were surprised – shocked, even – to find that there's no visible focus breathing, something that tends to plague lenses of this type. That makes the XF 50mm F1.0 an intriguing option for cinema shooters seeking really shallow depth of field.

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Image quality

As you might expect of a portrait-oriented lens with such a wide aperture, the XF 50mm F1.0 delivery really luscious, creamy bokeh, but does so at the expense of image quality in some other respects. A lack of sharpness wide-open is to be expected and isn't necessarily a concern for a lens of this type, but significant LoCA could prove to be more troublesome in real-world shooting.

When shooting wide-open, results aren't that crisp, as you can see by comparing to this similar shot stopped down to F2.8. Additional sharpening in post-processing would help, though.
ISO 160 | 1/10000 sec | F1 | Fujifilm X-T4
Photo by Chris Niccolls Sharpness

Wide-open sharpness isn't a strength of the Fuji 50mm F1.0, but in a lens primarily aimed at portraiture, it's not necessarily what potential buyers will be looking for in the first place. At its maximum aperture of F1.0 it's just not very sharp, and although you'll see improvements as you stop down, even image shot at F1.4 and F2 can look soft, and you won't hit the sweet spot in terms of sharpness until around F2.8.

ISO 160 | 1/60 sec | F1.0 | Fujifilm X-T4
Photo by Chris Niccolls

The good news, though, is that while it's not tack-sharp at its widest apertures, it nevertheless delivers a very flat plane of focus. Regardless of where in the image you set focus from and what aperture you're shooting at, center to corner sharpness is very consistent. And of course, if you need a crisper image when shooting at F2.0 or wider, you can always sharpen a bit in post-processing.

Bokeh

As you'd expect of a lens that's clearly designed to yield a shallow depth-of-field, the XF 50mm F1.0's bokeh is definitely on point. When shooting wide-open, it's very well-behaved, yielding very smooth bokeh with not a hint of onion ring or soap bubble effects. Its bokeh is clean and beautiful, as is the transition from foreground to background.

"Jordan, get off your phone!"
ISO 160 | 1/500 sec | F1.6 | Fujifilm X-T4
Photo by Chris Niccolls

Really, there are only a couple of minor concerns in terms of bokeh. Firstly, we noticed a tendency towards cat's eye when shooting at apertures wider than F2.0, even towards the center of the frame. It's mostly gone by F2.0. And despite the 50mm F1.0's nine-bladed aperture, you'll start to notice the bokeh taking on a slightly polygonal shape from around F2.0 or 2.8 or narrower.

But with that said, these are relatively minor issues. Overall, this lens' bokeh is very desirable indeed, just as you'd expect.

Flare, ghosting and sunstars

The Fuji XF 50mm F1.0 has excellent flare and ghosting-resistance, especially when using the highly effective lens hood which comes included in the product bundle. Even with direct sunlight on the front lens element, we saw only a very slight reduction in contrast and no noticeable ghosting at all.

Sunstars look decent, though the 50mm focal length would not be our go-to choice for producing sunstars. The 9-bladed aperture will give you 18-pointed sunstars, but as you can see, the rays vary somewhat in length and definition.

ISO 320 | 1/100 sec | F16 | Fujifilm X-T4 | Captured using a pre-production but near-optically final lens.
Photo by Carey Rose Longitudinal chromatic aberration (fringing)

Wide-aperture lenses tend to be more prone to chromatic aberration, and the Fuji 50mm F1.0 doesn't buck this trend, unfortunately. Longitudinal chromatic aberration or LoCA can be quite noticeable, even if you stop down to F1.4 or F2.0, giving foreground areas a distinct pink color cast, along with a green cast to background elements. That's a shame, as LoCA can prove very difficult to correct for in post-processing.

Unsightly pink/green LoCA color casts are clearly visible in the mesh area at left of this image. Stopping down to F2 mitigates the issue, but it's still visible.
ISO 160 | 1/8000 sec | F1 | Fujifilm X-T4
Photo by Chris Niccolls

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Conclusion What we like What we don't
  • Balances well with larger X-mount bodies
  • Truly luscious bokeh
  • Very flat plane of focus
  • Excellent flare and ghosting resistance
  • No focus breathing
  • Comprehensive weather-sealing
  • Solid build and good controls
  • Very effective lens hood in the product bundle
  • Not very sharp until F2.8 or narrower
  • LoCA color casts at F2.0 or wider
  • Cat's eye can be an issue at apertures wider than F2.0
  • Slow autofocus and occasional AF hunting
  • Low maximum magnification
  • No in-lens stabilization
  • Fairly big and bulky
  • Quite expensive

As we noted at the outset, the Fuji XF 50mm F1.0 R WR is something of a niche product. With its extremely wide F1.0 maximum aperture, it's clearly aimed at portrait shooters and those for whom a shallow depth of field is the overriding concern.

With that being the case – though it does have some shortcomings in the image quality department, including some noticeable softness when shooting wider than F2.8 – many photographers will happily overlook that in the quest for its gorgeous bokeh.

ISO 160 | 1/60 sec | F1 | Fujifilm X-T4
Photo by Chris Niccolls

If anything should prove a concern on the IQ front, it would have to be this lens' tendency to exhibit longitudinal chromatic aberration, which shows up as saturated magenta and green fringing in front of and behind the plane of focus, respectively, and is something that can prove troublesome to fix in the digital darkroom.

Another concern is its slow autofocus drive. If you're using it in the studio, for more static subjects or you can plan your shots such that you only need tweak focus manually, it shouldn't be a concern. But for more challenging subjects, candid portraiture and in lower light you're inevitably going to miss some shots, and anyone interested in shooting action trying their hand at sports shooting should look elsewhere.

ISO 160 | 1/800 sec | F2.8 | Fujifilm X-T4
Photo by Chris Niccolls

There's also no escaping the fact that by X-mount prime lens standards, this is a pretty large and hefty lens, and also one with a fairly steep pricetag. If you're shooting with a smaller body and can live with contrast detect-only AF, you should definitely consider the 56mm F1.2 APD lens instead. And if cost is your primary concern, the standard 56mm F1.2 is a much more affordable alternative that's almost as bright, and yet offers sharper imagery at its wider apertures as well as noticeably less longitudinal chromatic aberration (which is also true of the APD version).

But if you want the least distracting backgrounds for your portraits and can live with its cost, bulk and pricetag, it's hard to argue against the XF 50mm F1.0 and its absolutely gorgeous bokeh.

Scoring Fujifilm XF 50mm F1.0 R WRCategory: Normal LensOptical QualityBuild QualityAutofocusImage StabilizationErgonomics and HandlingValuePoorExcellentConclusionThe Fujifilm XF 50mm F1.0 R WR is a unique option for users of X-mount cameras, offering the widest aperture you can get while still featuring autofocus. It's far from optically perfect, soft and with significant purple and green fringing at its wider apertures, but that's not the point – if you're after the sort of 'look' this lens offers, then the lens itself is worth a look.Good forStudio photography and fine art portraits in controlled settings, low light photography.Not so good forEvents and action, street or candid photography and close-up imagery.84%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"fujifilm_xf_50_1p0_r_wr","scoringSchema":{"id":"Lenses","variables":[{"id":"OpticalQuality"},{"id":"BuildQuality"},{"id":"Autofocus"},{"id":"ImageStabilization"},{"id":"ErgonomicsAndHandling"},{"id":"Value"}],"categories":[{"id":"Wideangle","label":"Wideangle Lens","shortLabel":"Wideangle"},{"id":"Normal","label":"Normal Lens","shortLabel":"Normal"},{"id":"Telephoto","label":"Telephoto Lens","shortLabel":"Telephoto"},{"id":"Superzoom","label":"Superzoom Lens","shortLabel":"Superzoom"}]},"helpText":"Choose one or more lenses from the drop-down menu, then roll your mouse over the names to see how their scores compare to the lens on review."})

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DPReview TV review See what our team at DPReview TV has to say about the Fujifilm XF 50mm F1.0 R WR.

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Sample galleries

Please do not reproduce any of these images without prior permission (see our copyright page).

Fujifilm X-T4

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Fuji X-T4 with pre-production lens

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Updated: DPReview 2021 drone buying guide

Sidste nyt fra dpreview - 26 jul 2021 - 15:00

We've given our drone buying guide a complete refresh, so whether you're looking for something compact to take on vacation, or something for more professional work, we've got you covered.

Kategorier: Sidste nyt

In-depth tripod review: Gitzo Systematic Series 3 (GT3543LS)

Sidste nyt fra dpreview - 25 jul 2021 - 16:00
The Gitzo GT3543LS at the beach, with the Gitzo GFHG1 Fluid Gimbal Head on top, holding a 500mm lens and full-frame camera. Gitzo Systematic Series 3 (GT3543LS)
Gitzo.com | $1000

Gitzo was founded in France as a tripod and camera company by Arsène Gitzhoven in 1917 and has been producing advanced tripods with interchangeable platforms, columns and leveling devices for more than 40 years. Their naming convention of designating sizes by numbered 'series,' and modular platforms as 'systematic' tripods, has been around so long that many other manufacturers use these as a reference point when describing their own wares.

Long ago, Gitzo merged with the Italian tripod maker Manfrotto, and both are now a part of the Vitec Imaging Group of companies. Today, the combined Manfrotto/Gitzo factory in Bassano del Grappa, Italy, produces more tripods than almost every other manufacturer in the world, using a combination of automation and streamlined assembly honed over many decades. The sheer scale of output makes their continued quality all the more impressive.

Key specs and what's included
  • Max. height 146 cm (57.5"), or 148 cm (58.2") with 50mm 'big feet'
  • Minimum height of 9 cm (3.5")
  • Folds to 55 cm (21.6") with 14 cm (5.5") diameter
  • Weighs 1.94 kg (4.27 lbs) with flat platform
  • 25kg (55.1 lbs) load limit
  • Three leg angles (23° / 53° / 86° )
  • Four leg sections (33mm top leg diameter / 29 / 25.3 / 21.8mm)
  • 70mm platform side-clamped with release button
  • Large weight hook under platform
  • Bubble level included on apex
  • Removable 33mm feet on standard 3/8" thread
  • Includes dust bag, tools, instructions and 50mm big feet

Gitzo updated their 'Systematic' tripod line in 2016, with new materials and designs, and still offers many systematic options for their tripods; from video bowls and leveling balls, to sliding carbon-fiber center columns and geared columns. Beyond these, there are a bevy of various feet, ranging from snowshoes to various lengths of spike and mushroom-style rubber feet, all using a common 3/8”-16 threading, so even rock claws or feet from other manufacturers can be used. Given the prevalence and longevity of Gitzo Systematics in the marketplace, original Gitzo accessories are easy to find new at various retailers, as well as on the used market.

Compared to others This tripod was tested and compared with its modular apex peers. Left to right; ProMediaGear TR344, Really Right Stuff TVC-34, Sirui SR-3204, FLM CP34-L4 II, Leofoto LM-364C, Gitzo GT3543LS.

The Gitzo GT3543LS was tested and compared alongside tripods in the same class of 'Series 3' (33-36mm top leg tube diameter) 'Systematic' (modular apex with removable platform) type, in terms of size and utility, including products from Sirui, Really Right Stuff, ProMediaGear, Leofoto and FLM. We'll be publishing full reviews of those models in the coming days and weeks.

All of these tripods were used in four seasons of sand, snow, mud, rain and saltwater; set up in the bog-like Atlantic salt marshes and the wind-swept Appalachian mountains. They have been loaded with gimbal heads, ball heads, geared and pano-heads, and up to 4kg (8.8lb) lenses attached to cameras ranging from APS-C to medium-format, shooting anything from long-exposure landscapes to extreme telephoto birds-in-flight. The only test they did not go through was being rough-handled at the airport, thanks to pandemic travel restrictions.

Height comparison

Below is a relative height comparison between the Gitzo GT3543LS and a 6 foot (1.83m) photographer.

High Mid Low

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First impressions The wide, but shallow apex with the Gitzo/Manfrotto 3/8" threaded 'Easy Link' accessory port.

At the top of the GT3543LS is the large, cast magnesium systematic apex, finished in the durable 'noir décor' speckle finish common to all Gitzos. Each leg clevis is similarly built and finished, with a spring-loaded, ratcheting leg angle stop. The standard Gitzo 'Safe-Lock' platform is secured in the side-clamping apex with a re-positionable locking lever and a safety release tucked underneath. A generous weight hook is below the platform.

The four-section legs are labeled as using 'Carbon eXact,' which, according to Gitzo, 'optimizes the fiber composition for each tube size, using HM (High Modulus) carbon fiber in the narrower tubes to make them stiffer.' This is a good thing, as the GT3543LS has the thinnest relative leg tubes in this class of 3-series tripods. In addition to this, the leg locks are the 'G-Lock Ultra' type, which means they get tighter as more pressure is applied, and are well sealed against dirt and moisture. Many other manufacturers use similar leg locks, but may not have catchy names for them.

The 50mm 'big feet' that come pre-installed are robust and great for studio work, but require careful positioning for extreme angles and tend to collect debris when used in the field. The included standard 33mm bullet-shaped feet are small compared to the mushroom-head feet on other tripods in this group. Their narrow width means the leg locks can hit the ground before the feet do when the legs are fully splayed out.

The 3/8" threaded 'Easy Link' attachment port for accessories is rather large and atypical, compared to the 1/4” threading seen on most accessories and other tripods. This just requires a reducer bushing (included with most heads these days) to attach that ‘magic arm’ or clamp to hold a phone, battery pack or other small device. Honestly, the number of 'Easy Link' accessories even offered by Gitzo or Manfrotto seems very slim, so the choice to use this is somewhat baffling.

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Use in the field

The Gitzo GT3543LS is a large item to pack into the field, both in apex diameter and the various parts that stick out, and we noticed this a bit more than with the other tripods in this class, despite the Gitzo having the smallest leg thickness. In the studio, the top-heavy size is not a problem, and those 'big feet' can stay installed for impressive stability, but the carbon fiber and robust build ask to be taken out to the wider world. The very wide apex creates a thick-on-one-end package that is not easy to pack away, so it begs for the (optional) strap or padded bag to carry it. For short walks, extending one leg and using the whole thing as a big hiking pole worked pretty well, but again, it was a noticeable difference to the competition.

The leg angle locks are easy to pull out from the front, but hard to push from behind due to their slim internals. The ratcheting action is positive when pulling the leg down, and it is easy to set the angles of each leg. Unfortunately, the legs can be pushed under the apex and just keep going since there is no center column to stop them, resulting in a strange angle that sometimes makes packing up all three legs of the tripod a bit harder than it needs to be. Many other columnless tripods in this class have a hard stop at the stowed position.

The well-tested Gitzo G-locks, which lock and unlock with a reassuring tactile feel, make extending and securing each leg of the tripod a pleasure. Grasping all three locks at once is easy with the rubber grips, even with gloves on, but they do require more rotation than the other leg locks in this group.

The tubes themselves are very precisely mated and need a bit of a pull to fully extend, which means the Gitzo legs will not 'cascade out' on their own when unlocked. However, adjusting each leg length once extended is still fairly easy and controlled, despite this precise fit.

The well-proven Gitzo Safe-Lock platform is the best in its class, with a durable, textured plastic disk over a machined aluminum platform. This provides a better grip and some vibration isolation when compared to an all-metal platform, and the inclusion of a tiny set-screw can insure that any head will stay attached. Removing and replacing it with a video bowl or center column accessory with a 70mm diameter is both easy and secure, thanks to the Safe-Lock recessed safety catch under the apex.

With a gimbal and large lens on top, or a panoramic head and leveling gear, the Gitzo GT3543LS never feels overburdened or unstable. The slightly steeper leg angles, at 23°, provide the required height to be competitive with similar tripods of this size, but theoretically could reduce stability. However, that theory is never validated, and in the field and studio, this tripod handles weight and movement with aplomb. Truly, Gitzo's refinement across generations of this type and size of tripod seems evident in how it all just quietly gets out of the way and lets the camera and scene be the focus.

Maintenance Cleaning the GT3543LS is fairly straightforward, and leg disassembly is briefly described in the included instructions booklet. The leg locks have obvious gaskets sealing them from the elements, and the one-piece shim makes the whole process easy. However, as with all Gitzo products, spare parts are easy to find if needed (even long into the future).

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Test results

Vibrations can make even the sharpest lens turn out mushy, blurred photos, and can ruin long exposures. In the typical use cases for this class of tripod, reducing the effects of vibration becomes extremely important, since longer focal lengths and higher resolutions magnify the effects of any movement, and environmental vibrations like wind and water will have an increasing effect on larger legs and gear. Camera vibration can be mechanically minimized with mirror lockup, electronic shutters, and a remote shutter release, while adding weight to the bottom of the tripod (with the weight hook or a tripod stone bag) can help stabilize the whole setup. However, not all sources of vibration can be eliminated, so we tested whether the tripod will dampen them or transmit and reflect them to the camera.

The tripod legs were fully extended, and our vibration analyzer for heavy-duty tripods (an iPad on a 3.2 kg (7 lb) cantilevered weight) was mounted directly to the flat platform's 3/8" threaded bolt with a long lens plate. An industrial solenoid valve with a plastic hammer was used as a source of vibration (a knock to the bottom of one leg). The resulting graph of all three accelerometers shows both the resistance of the tripod to the initial shock, as well as the rate of decay for residual vibration within the tripod.

Gitzo GT3543LS vibration resistance test results - click for a larger graph

*Note that this graph is relative only to this class of tripods. The weight and test equipment was adjusted to provide a conclusive result for this size of tripod.

The Gitzo GT3543LS performed extremely well in the vibration test. The initial shock was somewhat transmitted to the camera position, but the carbon fiber legs and magnesium components dampened the vibration quickly and admirably. This performance is among the best of this class of tripods, particularly when factoring in the relatively thinner legs of this Series 3 tripod.

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Conclusion

Gitzo has been the first (and sometimes last) word in high-end and heavy-duty tripods for many decades, and their innovations and influence are clearly seen in every other tripod of this type on the market. The folks in Italy have refined their offerings to such a degree that the whole system this 'systematic' tripod falls under has become a standard in terms of big tripod expectations, and even nomenclature.

It may not be the tallest, lightest, or most compact, but it has very few flaws and
performs admirably

The GT3543LS, or 'Gitzo tripod Systematic, series 3 long, 4 sections', remains competitive within this type of tripod thanks to its performance over many tests and rugged locations. Among similar tripods from ProMediaGear, RRS, FLM, and others, it may not be the tallest, lightest, or most compact, but it has very few flaws and performs admirably in every situation and test. Plus, any Gitzo is usually the most accessible and widely supported tripod of this type worldwide, which makes it a safe bet as a stalwart companion for many years.

What we like
  • Dependable build quality
  • Exceptional vibration resistance
  • Sets the standard for apex insert and foot sizes
  • Worldwide sales and support network
  • Spare parts and repairs easy to obtain
What we don't like
  • Not compact or easily packable
  • Systematic accessories are expensive
  • Fiddly leg angle locks
  • Premium list price

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Kategorier: Sidste nyt

DPReview TV: Nikon Z7 II versus Sony a7R IV for landscapes

Sidste nyt fra dpreview - 24 jul 2021 - 16:00

In this week's episode of DPReview TV, Chris compares the Nikon Z7 II and Sony a7R IV for landscape photography, with a close look at their displays, image quality, lens lineups and more.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Kategorier: Sidste nyt

Redditor 'unwraps' iconic Apollo 11 image, showing Buzz Aldrin's perspective for first time

Sidste nyt fra dpreview - 23 jul 2021 - 21:41

Michael Ranger, known as rg1213 on Reddit, used this famous image of Buzz Aldrin on the Moon from the Apollo 11 mission as captured by Neil Armstrong, to essentially 'see' what Armstrong saw.

Credit: NASA

Since Buzz Aldrin's visor is basically a mirror ball, Ranger was able to 'unwrap it' to a 2D image and then open the photo in Google Street View to 'see' what Aldrin saw as Armstrong captured the iconic photo.

Panorama created by Michael Ranger from the reflection in Aldrin's visor

Ranger downloaded a high-resolution film scan in RAW format, which allowed him to make some edits before creating the panoramic image and video. Ranger sharpened, and color corrected the image in Photoshop. The visors of the spacesuit helmet are gold, so Ranger used the source image to help color correct the mirrored image in the visor. Ranger also 'added more room in the initial photo crop around the edges of the visor so that when it was unwrapped it would more accurate account for the space in the final image that represents the inside of [Aldrin's] helmet.'

It's wild to think that we are getting a new perspective on an iconic image and moment in human history more than 50 years after it occurred. Reddit user SlowCrates writes, 'It's kind of eerie. This is an unintended, unanticipated photo. It's literally people 52 years in the future using modern technology to catch a new perspective of the past. What kind of fancy ways will people be looking at our present 52 years from now?'

Ranger adds, 'What makes this process exciting for me is the fact that this is real. If I get any inkling whatsoever that something like this is fake or false, my interest in it completely evaporates. This is great because it's real!'

If you'd like to download the full resolution panorama and play with it for yourself, you can do so via Ranger's iCloud.

Images shared with Michael Ranger's permission. Original image credit: NASA

Kategorier: Sidste nyt

Slideshow: Winners of the 2021 iPhone Photography Awards

Sidste nyt fra dpreview - 23 jul 2021 - 19:23
Winners of the 2021 iPhone Photography Awards

Recently, winners and finalists for the 14th annual iPhone Photography Awards (IPPA) were announced. The competition received thousands of submissions from 140 countries. Winning entries represent 17 countries in a variety of categories including Abstract, Architecture, City Life, Landscape, People, Panorama, and Nature. All winning photographs can be viewed on IPPA's gallery.

Photographer of the Year, Grand Prize: 'Transylvanian Shepherds' by Ivan Kerekes (Romania)

Location: Targu Mures, Transylvania
Shot on: iPhone 7

Photographer of the Year, Second Place: 'A Walk on Mars' by Dan Liu (China)

Location: Qinghai, China
Shot on: iPhone 11 Pro Max

First Place, Abstract: 'Untitled' by Glenn Homann (Australia)

Location: Queensland, Australia
Shot on: iPhone 11 Pro

First Place, City Life: 'Untitled' by Liz Huang (United States)

Location: Manhattan, New York
Shot on: iPhone X

Second Place, Environment: 'Untitled' by Glen Homann (Australia)

Location: Brisbane, Australia
Shot on: iPhone 11 Pro

First Place, Landscape: 'Flight from Iguazu' by Lizhi Wang (United States)

Location: Paraná River, Argentina
Shot on: iPhone XR

First Place, Panorama: 'Over the Clouds' by Gabriele Rodriguez (Italy)

Location: Gruppo del Carega, Italy
Shot on: iPhone XS

First Place, People: 'Black Summer Blue Montaigne' by Christian Horgan (Australia)

Location: Sydney, Australia
Shot on: iPhone X

First Place, Still Life: 'Sweet' by Kunkun Liu (China)

Location: Shanghai, China
Shot on: iPhone 11 Pro Max

Third Place, Still Life: 'The Ice Cream' by Yi Liao (China)

Location: Qinghai, China
Shot on: iPhone 7 Plus

First Place, Sunset: 'A Dutch Morning' by Claire Droppert (The Netherlands)

Location: Kinderdjik, Netherlands
Shot on: iPhone 11 Pro Max

First Place, Travel: 'Magic of Aurora Borealis' by Tatiana Merzlyakova (Russia)

Location: Teriberka, Russia
Shot on: iPhone 12 Pro Max

Third Place, Architecture: 'Taj Mahal in the Mist' by Tao He (China)

Location: Agra, India
Shot on: iPhone XS Max

Kategorier: Sidste nyt

Pelican releases new 'Rugged Camera Lens Cover' for keeping your lenses protected on the go

Sidste nyt fra dpreview - 23 jul 2021 - 16:19

Pelican, who’s most known in the photography world for its protective carrying solutions for camera equipment, has teamed up with CM Brands to release a new Pelican Outdoor series, which includes a new silicone lens cover, not unlike the KUVRD lens cap from a few years back.

The universal silicone lens caps are constructed of ‘Premium 25A Grade Silicone’ and come in both Black and Coyote (tan) color options. Pelican says it’s tested for lenses with front filter threads ranging from 67mm to 120mm.

The covers feature a dozen columns on the side of the cap that are designed to provide additional protection during impacts and when fit snug on a lens, Pelican says it offers a ’weather-sealing’ fit. The covers measure 7cm (2.75”) x 7cm (2.75”) x 5.7cm (2.25”) and weigh 36g (1.3oz).

Each Pelican Rugged Camera Lens Cover comes with a three-year warranty. They’re available to purchased now through Pelican’s online store and authorized Pelican retailers for $25.

Kategorier: Sidste nyt

Film Fridays: Loving and hating the Kiev 60 TTL - a quirky Soviet medium format knockoff

Sidste nyt fra dpreview - 23 jul 2021 - 16:00
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Photos: Michael Elliott / 35mmc

In this week's Film Friday, photographer Michael Elliot describes his love/hate relationship with the mechanically quirky Kiev 60 TTL, a Soviet-era medium format evolution/knockoff of the East German Pentacon Six. Manufactured in Ukraine from 1984 to 1999, it shoots 6x6cm images and features swappable viewfinders, an unpredictable film advance mechanism, a mirror box prone to heavy flare and one of the loudest SLR mirrors known to humankind.

This clunker of an SLR is as unwieldy to handle as it looks; Michael aptly describes it as a 'Soviet tank of a camera'. But despite his many frustrations, the Kiev 60 TTL is the camera that made him fall in love with medium format photography, and that's priceless. Moreover, it's a camera he still enjoys shooting with, even if it wouldn't be his first choice to lug around for an entire day – it weighs 1.5 kg / 3.3 lb without a lens.

Click the link below for Michael's full review of the camera, including comically detailed accounts of its 'quirks', as well advice for anyone crazy enough to pick one up.

Read - 35mmc: Kiev 60 TTL medium format SLR review

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we'll be sharing film-related content on Fridays, including articles from our friends at 35mmc and KosmoFoto.

Kategorier: Sidste nyt

After a month of being offline, Hubble captures images showing off two ‘oddball’ galaxies

Sidste nyt fra dpreview - 22 jul 2021 - 22:22

Following a computer anomaly aboard Hubble, which took a month to fix, NASA has released a pair of new images to demonstrate the spacecraft's return to full scientific operations. Hubble's scientific operations restarted on July 17 at 1:18 pm EDT. Following its operational return, Hubble's early targets included globular star clusters in other galaxies and aurorae on Jupiter, plus a closer look at some bizarre galaxies.

The two released images focus on peculiar galaxies and are part of a program led by Julianne Dalcanton of the University of Washington in Seattle. The program's purpose is surveying 'oddball galaxies scattered across the sky.'

'ARP-MADORE2115-273 is a rarely observed example of a pair of interacting galaxies in the southern hemisphere.' Credits: Science: NASA, ESA, STScI, Julianne Dalcanton (UW) Image processing: Alyssa Pagan (STScI)

The first image is of ARP-MADORE2115-273. It's a 'rare example of an interacting galaxy pair in the southern hemisphere.' Hubble's recent observation is the craft's first high-resolution look at this system. The system is located 297 million light-years away. Given a lack of prior observation, astronomers believed that the system was a 'collisional ring' system resulting from the merger of two galaxies. Still, the new Hubble observations show that the ongoing interaction between the galaxies is 'far more complex, leaving behind a rich network of stars and dusty gas.'

The second galaxy Hubble recently observed is ARP-MADORE0002-503. It's a large spiral galaxy with unusual, extended spiral arms. The galaxy is 490 million light-years away, and its arms extend to a radius of 163,000 light-years. This means that this galaxy is three times more expansion than our galaxy. Beyond its peculiar size, the spiral galaxy also has three spiral arms, whereas more disk galaxies possess an even number of arms.

'ARP-MADORE0002-503 is a large spiral galaxy with unusual, extended spiral arms. While most disk galaxies have an even number of spiral arms, this one has three.' Credits: Science: NASA, ESA, STScI, Julianne Dalcanton (UW) Image processing: Alyssa Pagan (STScI)

'I'll confess to having had a few nervous moments during Hubble's shutdown, but I also had faith in NASA's amazing engineers and technicians. Everyone is incredibly grateful, and we're excited to get back to science!' said Dalcanton.

Returning to the original issue with Hubble, NASA writes, 'Hubble's payload computer, which controls and coordinates the observatory's onboard science instruments, halted suddenly on June 13. When the main computer failed to receive a signal from the payload computer, it automatically placed Hubble's science instruments into safe mode. That meant the telescope would no longer be doing science while mission specialists analyzed the situation.'

The Hubble team worked to investigate the issue with the observatory, which orbits 547km (about 340 mi) above Earth. Engineers at NASA's Goddard Space Flight Center in Greenbelt, Maryland and remote engineers collaborated to identify and solve the issue. Due to Hubble's age, NASA had to rely on knowledge from a wide range of staff. While Hubble was launched in 1990, its telescope was built in the 1980s, meaning that the team required the help of staff from Hubble's extensive history, including Hubble alumni. Some team members had to dig through Hubble's original paperwork, reading through nearly four-decade-old documents.

On July 15, the team found that the possible cause of the issue was the Power Control Unit. That day, the team planned to switch to the backup side of the Science Instrument and Command & Data Handling unit, which includes the backup Power Control Unit. At 11:30 pm EDT on July 15, the team determined the switch was successful. Scientific instruments were brought back online, and full scientific work resumed on July 17.

'Hubble is in good hands. The Hubble team has once again shown its resiliency and prowess in addressing the inevitable anomalies that arise from operating the world's most famous telescope in the harshness of space,' said Kenneth Sembach, director of the Space Telescope Science Institute (STScI) in Baltimore, Maryland, which conducts Hubble science operations. 'I am impressed by the team's dedication and common purpose over the past month to return Hubble to service. Now that Hubble is once again providing unprecedented views of the universe, I fully expect it will continue to astound us with many more scientific discoveries ahead.'

Kategorier: Sidste nyt

Video: Drone operator helps rescue fisherman he saw being attacked by a shark

Sidste nyt fra dpreview - 22 jul 2021 - 18:33

Matt Woods was relaxing on his balcony in Bondi Beach, Australia, when he decided to launch his DJI Mavic 2 Zoom drone and capture some footage. To his horror, he discovered a lone spear fisherman in the water using a speargun to ward off an aggressive mako shark. The ordeal lasted 30 minutes, until help arrived.

Woods, 36, took off from his beachside balcony around 4:00 pm. He expected to capture some scenic footage of the swimmers and surfers that frequent the beach on a daily basis. Occasionally he would spot whales but up until that moment, he hadn't witnessed a shark.

'I spotted the shark straight away as there was a big bait ball of fish and as I got closer I could see it was also circling the diver in the water,' Woods revealed to the UK’s Daily Mail. 'The diver was fending the shark off and poking it with his spear gun. The shark then went after his float that is attached to the diver. He was charging it and trying to bite it, thrashing it about.'

Instead of being a helpless bystander, Woods took action. He grabbed his girlfriend's cell phone and alerted nearby lifeguards to the conundrum before he resumed filming the battle. After clearing swimmers close to the shore from the water, lifeguards arrived to the scene on jet skis to rescue the beleaguered swimmer – roughly 30 minutes after Woods' initial phone call.

This grainy image reveals the fisherman using his spear to fend off the aggressive, predatory shark.

'I felt as if we helped as best we could,' he revealed. 'We got on the phone to the lifeguards straight away… while I stayed over the shark on my drone the whole time so we could guide them in. I was pretty happy once the lifeguard came out and I could see the diver had managed to scramble onto the rocks and reef.'

Woods went out to the scene after the ordeal and attempted to locate the diver and show him the footage. He wasn't able to find him. While there have only been nine recorded attacks from mako sharks on humans, since 1580, experts say the sharks are sometimes attracted to fishermen, in particular, if they're carrying dead fish.

Kategorier: Sidste nyt

Capture One 21 update released, adds new Magic Brush, improved Exporter and more

Sidste nyt fra dpreview - 22 jul 2021 - 18:24

Capture One has released the latest update to Capture One 21, bringing the photo editing software to version 14.3.0. The new update adds new and improved features, expanded capabilities, bug fixes and new camera and lens support.

Key new features added to Capture One 21 (14.3.0) include a new Magic Brush, designed to quickly create complex masks, a redesigned Exporter, improved organization tools, and improvements to tethering, particularly for Fujifilm and Leica cameras. Concerning tethering, it's now possible to trigger an exposure from within Capture One tethering LiveView when using Fujifilm cameras. For Leica users, you can now adjust focus using the Focus Nudge tool.

Looking first at Magic Brush, the new tool can be found in the Layers Tool or the Cursor Tools menu. Capture One states that the tool allows you to brush and mask areas of similar color quickly. 'Simple draw a line or a doodle on the area you wish the mask to cover and Capture One will fill the space automatically.' Magic Brush will find and fill the area of similar pixels, enabling a quick way to mask areas of similar color, including grayscale, so that you can focus your edits on localized parts of your photo.

In the new update, Capture One has redesigned the software's Exporter. All export options are now visible in one place. Further, a new Proofing Viewer visualizes the final image with all user output settings applied, ensuring that you achieve your desired result. Images can now be replaced upon export, too, promising a further simplified workflow.

Catalogs include the ability to show the content of the selected folder, including content in any subfolders. With this update, users can view images across multiple folders much easier. This has been a much-requested feature by Capture One users. Further, Capture One writes, 'It is now possible to synchronize new subfolders into your Catalog by simply synchronizing their parent folder. When synchronizing, two new options have been added: Include Subfolders, and Only Include Previously Added Subfolders. This new functionality allows you to always keep catalogs in sync with your hard drives, and cuts down on the time it takes to manually import images.'

We've touched on tethering improvements in the latest Capture One update, so let's look at the overall new camera and lens support. Capture One's profiles are carefully and meticulously crafted by a dedicated team at Capture One, and the software currently supports RAW files from more than 500 cameras. The team has added support for the Fujifilm X-T1 IR, Fujifilm X-S10 (tethering) and Panasonic Lumix G99/G95/G90. New lens support is extensive, as seen in the list below.

  • Fujifilm Fujinon XF16mm F2.8 R WR
  • Fujifilm Fujinon XF18mm F1.4 R LM WR
  • Fujifilm Fujinon XF27mm F2.8 R WR
  • Fujifilm Fujinon XF50mm F1.0 R WR
  • Fujifilm Fujinon XF10-24mm F4 R OIS WR
  • Fujifilm Fujinon XF70-300mm F4-5.6 R LM OIS WR
  • Fujifilm Fujinon GF30mm F3.5 R WR
  • Fujifilm Fujinon GF80mm F1.7 R WR
  • Sony FE 35mm F1.4 GM (SEL35F14GM)
  • Sony FE 40mm F2.5 G (SEL40F25G)
  • Sony FE 50mm F1.2 GM (SEL50F12GM)
  • Sony FE 50mm F2.5 G (SEL50F25G)
  • Sigma 15mm F2.8 EX DG (Canon EF)
  • Sigma 16mm F1.4 DC DN (Sony E)

To see the full list of supported cameras and lenses in Capture One, click here.

Capture One 21 (14.3.0) is available now as a free update for all existing Capture One 21 users. To learn about the various bug fixes included in the new update, click here. If you have yet to try Capture One for yourself, a free trial is available.

Kategorier: Sidste nyt

Slideshow: 2021 World Landscape Photographer competition winners

Sidste nyt fra dpreview - 22 jul 2021 - 16:52
2021 World Landscape Photographer competition winners

Over 1,400 photographers entered the 2021 World Landscape Photographer competition, with 6,512 total images being submitted for judging. When all was said and done, only six images were award prizes, including the overall winning image titled ‘Atlantic Winter Storm meets Ireland,’ captured by photographer Felix Sproll.

The World Landscape Photographer competition was founded in 2020 by landscape photographer Nigel Danson. ‘The aim of the competition is to raise as much money for charity as possible whilst bringing together the best nature photographers from around the world in a competition,’ says Danson.

Originally, the competition was meant to be a one-off project, but due to its success in its innaugural year, Danson decided to repeat it and further make an impact by donating money raised from the competition to environmental causes.

The following gallery showcases the overall winning photograph, as well as the second through sixth place winners.

Overall Winner — Atlantic Winter Storm meets Ireland by Felix Sproll

Atlantic Winter Storm meets Ireland by Felix Sproll

Nikon D750
Tamron 100-400mm f4.5-6.3
100mm 1/640s f11 ISO 200

felixsproll.com

I had visited this area on the west coast of Ireland several times during rough seas, the last time, just after a storm with 30ft swell but with offshore winds but the waves just didn't look as big and intimidating as I wanted. So, I returned when there was another big winter storm but this time with a strong onshore wind to whip up the sea. The wind was bitter cold and blowing the sea spray well inshore, making it difficult to look out to sea never mind shot. It was also extremely difficult to pick out a subject or composition with the sea being a massive ever-changing mess. I enjoyed the experience of feeling nature's force, as the wind and waves battered the coast, and didn’t worry about pictures too much. As I explored the coast, I eventually came across this scene. The waves showed their true size with the cliffs for scale, some even bouncing off the cliffs and coming back to hit the next wave sending it even higher into the air. The cold was forgotten as I shot the scene for the next hour.

2nd Place — Spring Congregation by Will Milner

Spring Congregation by Will Milner

Nikon D810
Tamron SP 24-70mm F/2.8 Di VC USD
56mm f5.6 1/15s ISO 400

www.wbmilner.com

Springtime in the ancient beech woodland of the Chiltern hills can really be an ethereal experience under the right conditions. I initially stumbled upon this intimate little scene earlier in the year, I was drawn to the gnarled trunks of the stunted Beech trees and couldn't wait to revisit again in spring. The verdant greens of the young beech leaves coupled with vibrant patches of bluebells all tempered by a thin layer of murk certainly did not disappoint.

3rd Place — Loughor Estuary by Ludwig Esser

Loughor Estuary by Ludwig Esser

Nikon D610
Nikkor AF-P 70-300mm 1;4.5-5.6E VR ED
300mm f11 2s ISO 200

Flickr

The Loughor Estuary on the north side of the Gower Peninsula in South Wales at low tide after sunset. The sky is reflected in the still waters of the riverbed channels that are created by the changing tides.

4th Place — Knudshoved by Troels Bjerre

Knudshoved by Troels Bjerre

Canon EOS 6D
Canon EF 70-200 mm f/4.0 L IS USM
111mm f13 0.6s ISO 400

troelsbjerre.com

Frozen sea spray on fishing stakes on the island of Funen in the danish archipelago. Funen means "where the wind blows" and on this cold morning where the wind cuts through the skin it seems very fitting.

5th Place — Ruska by Antonio Fernandez

Ruska by Antonio Fernandez

Nikon D810
Nikon 80-400 mm
210mm f16 1/30s ISO 400

antoniofernandezphoto.com

It snowed all night long in this Finnish autumn. The next morning, the landscape had become an immense white canvas on which a multitude of ochre, yellow, green brushstrokes were painted... Above it, in the silence, the flight of flocks of birds migrating, once again, to the south of Europe.

6th Place — Dead Trees in Mist by Brian Clark

Dead Trees in Mist by Brian Clark

Nikon D800
Nikkor 28-70mm f2.8
57mm f11 1/60s ISO 100

brianclarkphotography.com

This image was made in Yellowstone National Park on a February morning when the temperature was minus 20C. The early morning mist initially shrouded everything but gradually it cleared to reveal this stark minimalist scene.

Kategorier: Sidste nyt

DJI Air 2S vs. Mavic Air 2: which one is right for you?

Sidste nyt fra dpreview - 22 jul 2021 - 16:00
Introduction

It's a great time to be a drone buyer. Just over a year ago, DJI launched the Mavic Air 2, a model released with several significant milestones. In particular, it was the first Mavic drone to offer 4K/60p video, 48MP still images, and a 1/2"-type camera sensor – bigger than the smartphone-sized sensors found on most consumer models to that point.

Less than a year after the Mavic Air 2 hit the market, DJI released its successor, the Air 2S. Its build is almost identical, but includes some notable differences: primarily the addition of a larger 1"-type sensor that many users had hoped for. In fact, the Air 2S includes several significant improvements relative to its predecessor.

However, if you check any drone forum, you'll discover many people still talking about buying a Mavic Air 2, which DJI continues to sell. That's because the Mavic Air 2 still offers a lot of value, and for many hobbyists, the $200 difference in price is a determining factor. Which one is right for you? We'll break down the differences so you can make the most informed choice possible.

Physical and performance differences

As you can see from the chart below, there are no significant differences in the size or weight. The two models' respective Fly More combos, with three total batteries, can easily fit into the small shoulder bag, about the size of a small purse, that comes with the combo.

Mavic Air 2 Air 2S Size (folded) 180 x 97 x 84mm 180 x 97 x 77mm Weight 570g 595g

The most visible differences between the two models can be seen in the photo above: the Air 2S (left) includes upward-facing obstacle avoidance sensors and a larger camera with a 1"-type sensor.

Both models perform similarly when it comes to performance, with the Air 2S having a maximum speed of 68.4 km/h (42.5 mph) in Sport mode compared to the Air 2's 68 km/h. Perhaps it's the extra weight on the Air 2S, but the older Mavic Air 2 delivers three additional minutes of battery life, for a total of 34 minutes. The good news for those looking to upgrade: the Air 2S uses the same batteries as the Mavic Air 2.

Camera

Cameras on DJI's mid-level drones have improved a lot in recent years, and both the Mavic Air 2 and Air 2S are a step up from the small smartphone-sized sensors found on earlier models. When it comes to these two drones, the tradeoff is really between resolution and absolute image quality.

The camera on the Mavic 2 Air utilizes a 1/2" Quad Bayer sensor. It can capture images at either 12MP or 48MP and has a 24mm equivalent lens with a fixed F2.8 aperture. In contrast, the Air 2S is built around a larger 1"-type CMOS sensor with 20MP resolution and has a 22mm equivalent lens with a fixed F2.8 aperture. Note that in both cases, a fixed aperture lens means you'll need to rely more on ND filters to control exposure, particularly when shooting video, compared to a drone with an adjustable aperture.

It's worth noting that the Air 2S is DJI's first mid-level consumer drone to feature a 1"-type sensor. It will also provide more stabilized footage since it uses the RockSteady EIS stabilizing technology first introduced on DJI's FPV drone, in addition to its 3-axis gimbal.

Video capabilities

The Mavic Air 2 was the first drone in the Mavic series to offer 4K/60p video, which it captures at 120 Mbps using the H.265 codec. The Air 2S goes a bit further by shooting 4K/60p at 150 Mbps, though it's not a huge difference. What's more impressive is the Air 2S' ability to capture 5.4K/30p video using the full width of the sensor, a significant upgrade for video shooters.

The Mavic Air 2 also offers the ability to shoot 8K hyperlapse sequences, thanks to its 48MP sensor. However, the utility of hyperlapses at 8K resolution is debatable (and will challenge most computers). In contrast, the Air 2S offers a hyperlapse feature, but it's limited to 4K. However, it adds the ability to digitally zoom in on subjects up to 4x when recording 4K/30p or 2.7K/60p and up to 8x at lower resolutions.

Another big difference is support for 10-bit capture. The Mavic Air 2 can record HDR video, but it's limited to 8-bit, and the drone doesn't include a Log gamma profile. The Air 2S, on the other hand, includes 10-bit D-Log and 10-bit HLG capture.

Photo capabilities

As we noted on a previous slide, the choice between these models may come down to whether you put more value on resolution or sensor size. The Mavic Air 2 captures resolutions up to 48MP, whereas the larger sensor in the Air 2S captures 20MP.

Both support HDR photo, JPEG and Raw capture, and DJI's Hyperlight technology, which combines photos like a smartphone for less noise. Both also include DJI's Scene Recognition, an algorithm that helps identify common elements in photos such as snow, blue skies, or sunsets and adjusts the exposure accordingly for an optimal image.

Both drones are capable of spherical, horizontal and vertical panoramas. The Air 2S, with DJI's RockSteady EIS technology, also makes high-quality night shots possible by allowing up to 8 seconds of exposure time.

One personal observation I've made is that the color profile on the Air 2S feels more pleasing than the Mavic Air 2 and other models in its class.

Video transmission

The Air 2S is equipped with DJI's latest OcuSync 3.0 technology, rebranded as 'O3'. With 4 antennas, the drone claims a range of 12 km (7.46 miles). The Mavic Air 2, comparatively, has OcuSync 2.0, which gives it a range of 10 km (6.2 miles). Both are robust systems for video transmission, and each lets you stream 1080p video from the drone during flight.

Realistically, you would never operate your drone beyond visual line of sight, especially at such a great distance. However, having reliable communication equates to superior transmission between the remote and drone so that it doesn't lose its connection when objects, such as tall buildings, interfere with the signal.

Intelligent flight modes

The Mavic Air 2 and the Air 2S are loaded with Intelligent Flight Modes that give remote pilots automated cinematic video clips. The biggest difference lies in the fact that the Air 2S gives you an updated version of DJI's subject tracking system, ActiveTrack 4.0, which gives the Air 2S improved accuracy when tracking subjects.

Both drones have other DJI flight modes, including Point of Interest 3.0, which adds the ability to orbit dynamic objects like people or cars, and Spotlight 2.0, which locks the camera on your subject while you fly the drone.

One of the biggest features touted by DJI on the Air 2S is its new MasterShots mode. Once a subject is selected, the drone will automatically fly various automated QuickShot modes, including Rocket, Circle, Helix, and Asteroid. The app will then stitch together a video (YouTube link) of what it deems the best shots and will even include background music and titles. It records strictly in 1080p to create clips that one can quickly share via social channels. MasterShots is the only new flight mode on the Air 2S that's not available on the Mavic Air 2.

Safety features

While the bodies of the Mavic Air 2 and the Air 2S are practically identical, there's one notable difference: the Air 2S has two obstacle avoidance sensors on top of the drone. Both models contain sensors on the front, rear, and bottom of the aircraft. While there aren't any on the sides, DJI claims that obstacle avoidance sensors on the Air 2S have been upgraded with binocular zooming technology that identifies incoming objects from further distances faster.

Another difference is that the Air 2S gets an updated version of DJI's Advanced Pilot Assistance System, APAS 4.0, compared to APAS 3.0 on the Mavic Air 2. APAS is designed to detect objects in the drone's path and automatically map a route around them. Having tested this feature on both drones, I found APAS 4.0 to be more adept at detecting and maneuvering either above, below, or around obstacles. You can see a quick demo here (YouTube link).

Both models include DJI's ADS-B (Automatic Dependent Surveillance-Broadcast) technology. It identifies manned aircraft in the area and notifies the remote pilot to either land or yield the right of way.

Remote controllers

The Mavic Air 2 was introduced alongside a newly designed remote, and it's the same one that ships with the Air 2S (as well as the Mini 2). It's larger and boxier compared to older controllers in the Mavic series. There's no integrated display, but a smartphone can be mounted to the top rather than underneath, improving older designs. Remote pilots can toggle between 'Cine,' 'Normal,' and 'Sport' modes, and quickly access the Return-to-Home feature.

Since both models support at least OcuSync 2.0 ('O3' in the case of the Air 2S), they're also compatible with DJI's SmartController. Some remote pilots will prefer this option at a hefty extra cost of $749 since it contains a 5.5-inch built-in screen that displays everything on the Fly app, and there's no requirement to connect a smartphone.

Smartphone app

The Mavic Air 2 and Air 2S both operate with DJI's Fly app. First introduced as a companion to the Mavic Mini, the Fly app has a simpler, pared-down interface that allows users to access most of the drone's features on the right-hand side of the app's window.

Since both drones are aimed at casual consumers, it's a better alternative than the more detailed DJI GO 4 app that powers the Mavic 2 and Phantom series drones.

Accessories

DJI offers Fly More combos for both the Mavic Air 2 and Air 2S. Since both models have a fixed F2.8 aperture, it makes sense that a set of Neutral Density (ND) filters are included with both combos.

The Mavic Air 2 Fly More combo features two additional Intelligent Flight batteries, a set of three ND filters (ND16/64/256), three sets of propellers, a battery charging hub, and a shoulder bag. It retails for $998, or $198 above the drone-only price.

The Air 2S Fly More combo features two additional Intelligent Flight batteries, a set of four ND filters (ND4/8/16/32), three sets of propellers, a battery charging hub, and a shoulder bag. It retails for $1299, a $300 premium over the drone alone.

Since the Air 2S has the same fixed F2.8 aperture as the Mavic Air 2, filmmakers will want to consider DJI's stronger set of ND filters (ND64/128/256/512), which cost an additional $99, for that model. Neither drone is compatible with DJI's Goggles yet.

Conclusion

For a casual consumer who wants a lightweight, easy-to-use drone that's packed with some advanced features, the Mavic Air 2 is a good choice, especially if you're on a budget and price is a strong determining factor. Those who want to create stunning, professional-looking photos and video clips will be more impressed with the 1"-type CMOS sensor and 5.4K/30p resolution offered by the Air 2S.

Either way, both models are high-quality consumer-grade drones. Professional photographers and videographers who want the additional options offered by DJI's GO app, a variable aperture lens, or a model that holds up better in challenging weather may want to explore the Mavic 2 series or the Phantom 4 Pro V2.0.

Kategorier: Sidste nyt

Corning’s new DX and DX+ glass composite materials plan to improve smartphone cameras, starting with Samsung

Sidste nyt fra dpreview - 22 jul 2021 - 14:30

Corning has developed a new glass composite material that it claims will both reduce scratching and improve light transmission for smartphone camera systems.

Corning Gorilla Glass with DX and Corning Gorilla Glass with DX+ use multi-layer coatings on the front of the optical elements of the camera module to increase light transmission from roughly 95% of non-treated camera systems to 98%, ultimately giving the sensor behind the lens array more light to work with. Both the DX and DX+ composites are claimed to let through the same 98% of light, but the DX+ composite is more scratch resistant than the standard DX coating, according to Corning.

A visual representation of the scratch-resistance of Gorilla Glass DX and DX+ compared to optical elements with standard AR coatings (Corning didn’t divulge what specific coating was used for this comparison. Click to enlarge.

The advantage of this new glass composite is that it offers the same light transmission of optical elements made of glass and treated with an anti-reflective coating while offering nearly the same scratch resistance of sapphire-coated elements (Sapphire rates just under 9 on the Mohs scale of mineral hardness). Until now, most manufactures have had to choose between using anti-reflective coatings, which are prone to scratching, or using sapphire coatings on the front optical element, which doesn’t transmit as much light. Gorilla Glass DX and DX+ should, in theory, minimize the compromise between those two qualities.

Compared to this traditional optical element with an anti-reflective coating applied only to the back of the element (seen right on this image), Corning claims Gorilla Glass DX and DX+, which is applied to the front of the optical element (seen left in this image), increases light transmission to 98%, according to Corning.

Corning hasn’t provided a full list of smartphone manufacturers it’s partnering for this new technology, but did confirm Samsung will be the first to use this technology in its mobile devices. If that’s the case, it shouldn’t be long before we see the first devices with this new technology inside, considering Samsung is expected to announce its next line of Galaxy smartphones before the end of the year.

Kategorier: Sidste nyt

Negative Supply's LM1 is a stylish, compact all-metal digital light meter

Sidste nyt fra dpreview - 21 jul 2021 - 20:39

Negative Supply has launched a pocket-sized digital light meter on Kickstarter, the LM1. The LM1 is designed to measure ambient light, aiding in accurate exposures, and it also measures color temperature, aiding in determining which filters or film stocks to use in a given situation.

The LM1 supports 1/3 stop adjustments for ISO, aperture and shutter speed via its 4-button design. The LM1 has a dedicated sync port for flash metering, complete with flash mode and remote triggering options.

With an integrated rechargeable battery, the LM1 promises up to several weeks of standby. The battery charges via a USB-C port and is fully charged within a couple of hours. The device includes an automatic sleep mode to help extend battery life in the field and includes a quick-wake feature, allowing the LM1 to be used nearly instantly.

The pocket-sized design is one of the primary selling points of the LM1. The device is 44mm (1.7") wide, 90mm (3.5") tall and 15mm (0.6") deep, making it only a bit larger than a roll of 120 film. The LM1 features an all-metal body that is CNC-machined from aviation-grade aluminum or solid brass. There are multiple scratch-resistant anodized color options for aluminum LM1 and a black finish option for the brass LM1. The buttons and bulb are custom-molded, too. The device includes a strap attachment anchor, allowing you to carry the LM1 around with your favorite neck or wrist strap.

With its compact size and simple design, the LM1 has been designed for single-handed use. The light meter includes a backlit display with multiple viewing modes suitable for varied environments. The display has 144 x 168px resolution and is a TFT-LCD display.

Prototype LM1 in Negative Supply's workshop

There are many light meters already on the market, so why make a new one with the LM1? The Kickstarter campaign states, 'The electronic meters currently on the market are bulky, plastic, and don't live up to the look and feel of the cameras we've all grown to love. We decided it was time to change that.'

Saxon McClamma, Co-Founder and Director of Design, adds, 'The LM1 is the most complicated tool we've designed, and everything needed to come together perfectly to bring it to life. The experience of our incredible team of programmers, engineers, and manufacturing partners allowed us to create an elegant, timeless design without compromising functionality.'

Left: Brass LM1 after wear testing. Right: Anodized aluminum LM1 is available colors.

The LM1 has already eclipsed its funding goal of $50,000 and reached its first stretch goal of $100,000, which adds built-in shutter speed testing to the LM1. The second stretch goal of $125,000 has nearly been reached at the time of writing, and that goal adds filter factor calculation functionality.

Backer options for the LM1 start at $379 with special early bird pricing. The eventual MSRP when the LM1 launches (November 2021) will be $479. Additional backer options include an aluminum LM1 with special green, slate gray or silver colorways for $429 (regularly $529) and the LM1 in brass for $599 ($749 MSRP).

For additional information about the LM1 pocket-sized digital light meter and all backing options, visit Kickstarter.

Note/disclaimer: Remember to do your research with any crowdfunding project before backing it. Pledges to crowdfunding campaigns are not pre-orders. DPReview does not have a relationship with this, or any such campaign, and we publicize only projects that appear legitimate, and which we consider will be of genuine interest to our readers. You can read more about the safeguards Kickstarter has in place on its ‘Trust & Safety’ page.

Kategorier: Sidste nyt

Video: Hasselblad shows how it produces, tests its X System medium format cameras

Sidste nyt fra dpreview - 21 jul 2021 - 19:14

Hasselblad has released the third video in its ongoing ‘Hasselblad Home’ series, showcasing how the Swedish company produces and tests its X System medium format cameras inside its Gothenburg headquarters.

Throguhout the four-minute video, Hasselblad shows the five-step production and testing process it uses to ensure all X System cameras are properly constructed and programmed to get the best image quality possible. The first step in the process is a cosmetic check to ensure the camera body itself is undamaged from the manufacturing process. If it clears the cosmetic check, that camera is assigned a serial number, which will follow it until it reaches the hands of the customer.

With the serial number assigned, it’s onto installing the software of the camera and completing more assembly of the main camera unit. Hasselblad says it tests each sensor independently — by capturing over 700 test shots — and uses that data to create a calibration profile that is then installed on the camera that specific sensor unit is installed in. The camera will apply that specific calibration profile to each image before data is saved to the recording media.

From there, it’s onto the digital unit test, wherein Hasselblad workers adjust focus, remove dust and apply other quality control measures before moving onto the final photo quality test. Using both studio scenes and color charts, Hasselblad tests the image quality of each camera using both automated and manual verification to ensure no anomalies are seen in the resulting photographs.

The video is yet another unique look into a process usually hidden within the factory walls. Regardless of whether or not you own — or have even shot with — a Hasselblad, it’s hard not to respect the level of precision and attention to detail that goes into each camera unit before it’s packaged up and shipped off.

Kategorier: Sidste nyt

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