magnify
Home Posts tagged "Photography News"
formats

Unfade for iOS scans and restores old prints

Published on May 26, 2016 by in News

The team behind the document scanning app Scanbot has used its smartphone scanning expertise to create Unfade, a new app for the iPhone that lets you scan old photos and restore their color using automated filters.
The app has been designed with…

 
 Share on Facebook Share on Twitter Share on Reddit Share on LinkedIn
formats

Content-aware cropping coming soon to Adobe Photoshop CC

Published on May 26, 2016 by in News

Adobe Photoshop CC will soon offer content-aware cropping, the company has announced. The feature, as demonstrated in a video released today, will allow Photoshop users to automatically fill any white space around an adjusted photo with content that matches the original image. The tool can be used to add content (to change the aspect ratio, for example), or to fill in gaps that result from rotating or repositioning the image.

Content-aware cropping has been a frequently requested feature, says Adobe. The company will include the new cropping tool ‘as part of an upcoming major release,’ though it doesn’t specify whether it will be the next major update or a later one.

Via: Adobe

 
 Share on Facebook Share on Twitter Share on Reddit Share on LinkedIn
formats

ZTE Axon 7 features 20MP Samsung ISOCELL sensor

Published on May 26, 2016 by in News

Chinese smartphone maker ZTE has announced its latest high-end device, the Axon 7. It comes with an impressive camera specification that includes a 20MP Samsung ISOCELL sensor, fast F1.8 aperture, a sapphire glass lens front element, o…

 
 Share on Facebook Share on Twitter Share on Reddit Share on LinkedIn
formats

Photoshop’s Upcoming Content-Aware Crop Feature Straightens Photos Without Creating Awkward Compositions

Published on May 26, 2016 by in News
Photoshop Content-Aware Crop

No more tricky crops thanks to straightened photos

Adobe’s Content-Aware Crop Photoshop feature tries to eliminate the pain of weird crops from straightened photos…

 
 Share on Facebook Share on Twitter Share on Reddit Share on LinkedIn
formats

Lens shootout: Sony RX10 III destroys the competition

Published on May 26, 2016 by in News

When the RX10 III was revealed as the ‘top secret’ Sony product launch in San Francisco earlier this year, I felt a bit cynical. ‘Another RX10, Sony? Really?’ I cried, along with a few bored commenters. ‘The last one is hardly a year old!’

Then I saw some telephoto sample images and was immediately impressed, wondering if I had been underestimating the 1″ bridge camera segment. Then Barney described the RX10 III to me as ‘magic’, which is high praise indeed and warranted further investigation. Which is exactly what we’ve done, below. Note that our results here are only indicative of the one copy of each camera we have on hand, some of which appear to be slightly decentered.

The Shootout

Starting at the wide end, which is around 25mm for all the cameras tested, we see in the center of the image (where our RX10 II appears to perform as expected) improvements over the RX10 II aren’t incredibly pronounced. Other areas of the scene show the advantage of the RX10 III, especially when it is stopped down from its maximum aperture of F2.4 to F2.8. Its performance is definitely a step up from the Panasonic FZ1000, and is miles ahead of the Canon G3 X.

Where crazy zoom lenses like these typically struggle is in the extremes of the frame, with neither the RX10 III or the FZ1000 being an exception. The sharpness fall-off is less severe with the RX10 III, though, and all in all, the RX10 III is the best performer on the wide end.

Moving on to 400mm, the maximum focal length for the Panasonic FZ1000, we see a similar amount of detail between the Panasonic and Sony near the center of the image. Sharpness and resolution change for both throughout the frame, with the Sony showing a slightly iffy left side, and a better right side. Through most of the scene the two are practically neck and neck, with the G3 X turning in comparable performance as well, but let’s not forget the Sony and Canon still have more zoom range to go. 

The RX10 III’s 24-600mm lens isn’t only useful for distant details.

The real reason people consider bridge cameras is for the reach, and Sony extended the RX10 III’s reach by a full 400mm over the RX10 II. That means it now offers the same amount of reach as the G3 X’s 600mm equivalent maximum focal length. The RX10 III’s lens is clearly sharper, but it has another thing going for it: its faster maximum aperture helps it combat diffraction. Remember that F4 and F5.6 on 1″-type cameras are equivalent to F11 and F15, respectively. Both cameras are limited by atmospheric distortion at these focal lengths (hence the drop to ‘print’ resolution in the previous comparison link), but it’s clear that the RX10 III exceeds the G3 X’s performance, while offering just as much zoom versatility. The Canon PowerShot G3 X’s trump card has been trumped.

Even at 600mm (equiv), the Sony Cyber-shot RX10 III’s lens delivers sharp results.

In all, it seems the RX10 III does offer a bit more than similar 1″ bridge cameras from other manufacturers. It exceeds, or at least matches, the competition with respect to zoom range, while offering sharper images, and brighter apertures than all but Sony’s own RX10 II. Importantly, sharpness performance appears to be maintained throughout the zoom range, from wide to tele, which cannot be said for any of the other cameras in this test. Feel free to explore through these images and post your own findings below.

Things to Consider

As you look at the comparison widget, bear in mind that It appears our copy of the RX10 II appears to be slightly decentered. This isn’t really noticeable in normal shooting but it’s obvious in a controlled test like this. 

The second caveat to these results is the weather. Light varied over the course of the test, and had darkened so much that the Panasonic, the final camera tested, needed 2/3rds more exposure to produce a comparable image. All the exposures were processed in ACR with default sharpness and the ‘Adobe Standard’ profile used across the board.

We’ll be adding the RX10 III to our standard database of studio test images very soon – watch this space!

 
 Share on Facebook Share on Twitter Share on Reddit Share on LinkedIn
formats

Lens shootout: Sony RX10 III destroys the competition

Published on May 26, 2016 by in News

When the RX10 III was revealed as the ‘top secret’ Sony product launch in San Francisco earlier this year, I felt a bit cynical. ‘Another RX10, Sony? Really?’ I cried, along with a few bored commenters. ‘The last one is hardly a year old!’

Then I saw some telephoto sample images and was immediately impressed, wondering if I had been underestimating the 1″ bridge camera segment. Then Barney described the RX10 III to me as ‘magic’, which is high praise indeed and warranted further investigation. Which is exactly what we’ve done, below. Note that our results here are only indicative of the one copy of each camera we have on hand, some of which appear to be slightly decentered.

The Shootout

Starting at the wide end, which is around 25mm for all the cameras tested, we see in the center of the image (where our RX10 II appears to perform as expected) improvements over the RX10 II aren’t incredibly pronounced. Other areas of the scene show the advantage of the RX10 III, especially when it is stopped down from its maximum aperture of F2.4 to F2.8. Its performance is definitely a step up from the Panasonic FZ1000, and is miles ahead of the Canon G3 X.

Where crazy zoom lenses like these typically struggle is in the extremes of the frame, with neither the RX10 III or the FZ1000 being an exception. The sharpness fall-off is less severe with the RX10 III, though, and all in all, the RX10 III is the best performer on the wide end.

Moving on to 400mm, the maximum focal length for the Panasonic FZ1000, we see a similar amount of detail between the Panasonic and Sony near the center of the image. Sharpness and resolution change for both throughout the frame, with the Sony showing a slightly iffy left side, and a better right side. Through most of the scene the two are practically neck and neck, with the G3 X turning in comparable performance as well, but let’s not forget the Sony and Canon still have more zoom range to go. 

The RX10 III’s 24-600mm lens isn’t only useful for distant details.

The real reason people consider bridge cameras is for the reach, and Sony extended the RX10 III’s reach by a full 400mm over the RX10 II. That means it now offers the same amount of reach as the G3 X’s 600mm equivalent maximum focal length. The RX10 III’s lens is clearly sharper, but it has another thing going for it: its faster maximum aperture helps it combat diffraction. Remember that F4 and F5.6 on 1″-type cameras are equivalent to F11 and F15, respectively. Both cameras are limited by atmospheric distortion at these focal lengths (hence the drop to ‘print’ resolution in the previous comparison link), but it’s clear that the RX10 III exceeds the G3 X’s performance, while offering just as much zoom versatility. The Canon PowerShot G3 X’s trump card has been trumped.

Even at 600mm (equiv), the Sony Cyber-shot RX10 III’s lens delivers sharp results.

In all, it seems the RX10 III does offer a bit more than similar 1″ bridge cameras from other manufacturers. It exceeds, or at least matches, the competition with respect to zoom range, while offering sharper images, and brighter apertures than all but Sony’s own RX10 II. Importantly, sharpness performance appears to be maintained throughout the zoom range, from wide to tele, which cannot be said for any of the other cameras in this test. Feel free to explore through these images and post your own findings below.

Things to Consider

As you look at the comparison widget, bear in mind that It appears our copy of the RX10 II appears to be slightly decentered. This isn’t really noticeable in normal shooting but it’s obvious in a controlled test like this. 

The second caveat to these results is the weather. Light varied over the course of the test, and had darkened so much that the Panasonic, the final camera tested, needed 2/3rds more exposure to produce a comparable image. All the exposures were processed in ACR with default sharpness and the ‘Adobe Standard’ profile used across the board.

We’ll be adding the RX10 III to our standard database of studio test images very soon – watch this space!

 
 Share on Facebook Share on Twitter Share on Reddit Share on LinkedIn
formats

Photo Challenge Finalist Gallery: Flowering Trees

Published on May 26, 2016 by in News

How To

A colorful collection of spring photos

Trees put on a show in the springtime and our readers were there to capture it.

 
 Share on Facebook Share on Twitter Share on Reddit Share on LinkedIn
formats

Broncolor launches range of softbox edge masks for rim light effect

Published on May 25, 2016 by in News

Swiss lighting brand broncolor has announced a range of diffuser panels for its softboxes that help to create a rim light effect when the subject is positioned in front of the softbox. The Edge Masks feature a large black panel in the center of the diffuser that prevents light from passing, but leaves strips all the way around the panel for the flash to pass through. The idea is that people posed in front of the panel will appear on a black background but highlighted with a rim of light all around them.

The panels are designed to replace the usual white diffuser of the softbox, which is removed when the Edge Mask is in place. The effect is relatively easy to achieve using any softbox and a panel of black material, but these are a bit more convenient and look more professional.

The company has also launched a 110cm parabolic umbrella that can be used to vary the focus of the reflected light. The umbrella has a particularly long arm that allows the light source to be placed at a range of distances from the reflective material.

The Edge Masks come in a range of sizes and are available now, as is the Focus 110 umbrella. The Edge Masks are priced from £42/$54 to £84/$113, while the umbrella costs £150/$210.

For more information visit the broncolor website.


Press release:

New Light Shaping Tools – Edge Masks & Focus 110

Hot on the heels of the new Siros L battery powered studio monobloc, broncolor have also released two brand new lights shaping tools – the Edge Mask diffuser and Focus 110 umbrella.

Edge Masks
Using the broncolor range of softboxes just became even more creative and flexible. The new Edge Mask helps turn the rectangular sizes of the softboxes in to a rim light, allowing for subjects to be photographed in-front of and against the softbox, with the light wrapping around the subject from behind. This is a popular technique previously only created by flagging off the softbox with a board, but the Edge Mask provides a professional, easy and uniform method for creating the effect. Simply attach the Edge Mask to your existing softbox as you would an external diffuser.

Focus 110
The new parabolic Focus 110 umbrella (110cm diameter) provides a quick an easy way of producing a focusable parabolic light effect. Simply pop it up and use the lamp heads umbrella holder to slide and focus the shaper.

Pricing and availability
The new Edge Masks and Focus 110 are ready and available to ship now!

33.612.00 – Edge Mask for Softbox 35 x 60 – £35 ex. VAT
33.613.00 – Edge Mask for Softbox 60 x 100 – £40 ex. VAT
33.614.00 – Edge Mask for Softbox 90 x 120 – £50 ex. VAT
33.615.00 – Edge Mask for Softbox 120 x 180 – £70 ex. VAT

33.576.00 – Focus 110 – £125 + VAT

 
 Share on Facebook Share on Twitter Share on Reddit Share on LinkedIn
formats

Vuze VR 3D 360 camera targets consumers with $799 price

Published on May 25, 2016 by in News

At the Cannes Film Festival, HumanEyes Technologies unveiled the Vuze VR, a consumer-grade 360-degree camera for VR applications. The camera was used to record the recently screened 3D VR short movie Summertime, and is now available to pre-order for $799 USD. In addition to capturing 3D stereoscopic content for VR platforms, Vuze VR can record 360 degree 2D video.

Vuze VR is equipped with eight cameras capable of recording full stereophonic audio and 360-degree Full HD video in both 2D and 3D. Each camera is fitted with lenses that capture a 120 degree FOV horizontally and 180 degree FOV vertically. When the videos are stitched together, the resulting video has a 4K resolution.

The camera is small at 12 x 12 x 3cm (4.7 x 4.7 x 1 in.), and features what HumanEyes calls ‘near real time processing,’ with each minute of footage requiring one minute of processing. The camera supports both PCs and Macs, and can be remotely controlled using related iOS and Android apps. 

The Vuze VR camera can be pre-ordered now for $799 from the product’s website. Shipping to buyers is estimated to start in October 2016.

Via: PRNewswire

 
 Share on Facebook Share on Twitter Share on Reddit Share on LinkedIn
formats

Back to the action: Nikon D500 Review

Published on May 25, 2016 by in News

The Nikon D500 is a 21MP APS-C DSLR capable of shooting at up to 10 frames per second and featuring an autofocus system derived from the one in the D5. In other words, it’s exactly the kind of high-end DX format body that appeared to have become extinct with the D300S.

The six-and-a-half years that have passed since the D300S’ launch have seen the camera market move on considerably but the D500 does much to reclaim the position as one of the pre-eminent APS-C camera on the market.

As you might expect, much of the improved capability of the camera centers around sports and high-speed shooting, with significant upgrades to the shooting rate and autofocus system, but there are also major upgrades to the viewfinder, video capabilities and connectivity options which expand its utility beyond one particular niche.

Key Features

  • 20.7 MP APS-C (DX Format) sensor
  • 153 point AF module with 99 cross-type points
  • 180,000 pixel RGB sensor for metering and subject recognition
  • AF point joystick
  • 10 fps shooting for up to 200 shots (lossless compressed 14-bit Raw to XQD card)
  • 4K (UHD) video from 1.5x crop of sensor
  • 100% coverage viewfinder with 1.0x magnification
  • 2.36m dot tilt up/down touchscreen
  • Wi-Fi and Bluetooth connectivity with NFC for setup
  • Mic and headphone sockets
  • USB 3.0 connector
  • Anti-flicker option for working under artificial lighting

A good sport

Much of the D500’s capability is built around the ability to focus and shoot very quickly. Its 153-point AF module offers near full-width coverage and is linked to a 180,000 pixel RGB metering sensor to further improve its AF tracking capabilities. Interestingly, and like the D5, the D500’s AF system now offers two parameters for fine-tuning the autofocus tracking behavior, letting the user specify the type of subject movement and the correct response to another object blocking the targeted subject. Existing Nikons only let you specify duration, suggesting Nikon is trying to expand the range of shooting situations for which the AF system can be optimized.

Only 55 of the camera’s AF points can be directly selected and the D500 gains both a joystick and a touchscreen to make it as fast as possible to select the point you want to use. Add to this the ability to shoot up to 200 Raw frames before slowing down (if you use an XQD card), and it becomes obvious that the D500 is intended as a high-speed pro/semi-pro camera in a way the D7000 series never was.

How’s that for coverage? The D500 doesn’t just boast a lot of autofocus points, it also offers them across most of the width of the frame, which is useful whether you’re manually selecting a point or letting the camera track your subject.

The D500 also gains an anti-flicker option designed to ensure the camera shoots in-sync with the brightest point in the flickering cycle of artificial lights. It’s a feature we first saw on the Canon EOS 7D Mark II and we’d expect it to be particularly valuable for shooting indoor sports such as basketball.

Another sign that this is a true high-end camera is the inclusion of a larger viewfinder. Like previous DX00 class cameras it has 100% coverage but it also offers 1.0x magnification, which is the largest optical viewfinder we can remember seeing in an APS-C camera (electronic viewfinders are a different matter, since size and brightness isn’t constrained by sensor/mirror size).

The D500 can also shoot 4K video and includes both an input for using an external mic and a headphone socket for audio monitoring. The camera also offers a flat picture profile to provide more post-processing flexibility, on-screen highlight warnings and power aperture control that allows you to select and change the aperture when in movie mode. There’s no focus peaking option, though, and you can’t zoom-in while you record to confirm or adjust focus as you record.

Connectivity

One of the other big features Nikon is touting is its Snapbridge system that uses Bluetooth LE (a low-power variant of Bluetooth also known as Bluetooth Smart), and Wi-Fi to maintain a connection between the camera and a smart device. This includes the ability to auto-transfer images from the camera, as well as initiating the Wi-Fi connection for remote shooting or manual image transfer.

Context

To show where the D500 sits in the lineup, here are the major feature differences between it and the less expensive D7200, along with a comparison back to the D300S – not because we expect anyone to be choosing between them, but to show how much of a step forward the camera represents.

   Nikon D500 Nikon D7200 Nikon D300S
Sensor Resolution 21MP 24MP 12MP
AF points 153 (99 cross type) 51 (15 cross-type) 51 (15 cross-type)
Max frame rate 10 fps
  • 6 fps
  • 7 fps in 1.3x crop mode
  • 7 fps
  • 8 fps with battery grip
Buffer depths 200 lossless compressed 14-bit Raw

~17 14-bit Raw
~28 12-bit Raw

30 lossless compressed 14-bit Raw
Shutter durability rating 200,000  150,000  150,000
Viewfinder
  • 1.0x magnification
  • 100% coverage
  • 0.94x mag
  • 100% coverage
  • 0.94x mag
  • 100% coverage
Rear screen
  • 2.36m dots 3.2″
  • Tilting
  • Touch sensitive
  • 1.23m dots 3.2″
  • Fixed
  • 920k dots 3.0″
  • Fixed
Video Resolution
  • UHD/30p
  • 1080/60p
  • 1080/60p
  •  720/24p
Mic/Headphone? Yes/Yes Yes/Yes Yes/No
Wi-Fi? Yes (and Bluetooth) Yes No
Built-in flash? No Yes Yes
AF-On Button? Yes No Yes
Body construction Magnesium Alloy + Carbon fiber composite Magnesium Alloy + Carbon fiber composite Magnesium Alloy
Battery Life (CIPA) 1240 shots/charge 1100 shots/charge 950 shots/charge
Weight (Body Only) 760g 675g

840g

Review History

Review History
26 April 2016 Studio scene and Raw dynamic range published.
16 May 2016 Introduction, Body and Handling, Operation and Controls, Wi-Fi and Connectivity and Video pages published
25 May 2016 Autofocus, Loose Ends and Conclusion pages added. Review finalized

 
 Share on Facebook Share on Twitter Share on Reddit Share on LinkedIn