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Tag Archives: technology
Hasselblad and EIZO collaborate to equip imaging software with monitor self-calibrating capability
As part of a technical collaboration begun in 2013, Hasselblad has integrated the software development kit (SDK) for EIZO’s ColorEdge monitors into Phocus 2.8, the latest version of Hasselblad’s imaging software.
Phocus 2.8 activates the built-in calibration sensor housed inside select ColorEdge monitors. This allows photographers using Hasselblad cameras and ColorEdge monitors to view and edit photos as well as calibrate their monitors with just one piece of software and no external calibration device.
“We are delighted that Hasselblad is utilizing the self-calibration capability of our ColorEdge monitors and that together, we are able to give photographers a simplified workflow from shoot to digital display,” said Lucas Zastrow, Product Manager, Display Solutions. “Providing our own SDK assists manufacturers like Hasselblad to blend their software’s functionality seamlessly with our monitors, enabling our customers to work more easily and smarter.”
Ove Bengtson, Hasselblad Product Manager said: “At Hasselblad, we are constantly driven to further develop and fine tune not only our high-end camera systems but also our imaging software, Phocus, to provide professional photographers with the best possible tools for a well thought out, intuitive, fast and integrated workflow. The successful collaboration with EIZO enables Phocus users, with just a few clicks, to calibrate their ColorEdge monitor conveniently within the Phocus software itself, ensuring that the viewing experience lives up to the outstanding colour accuracy of Hasselblad RAW files.”
Photographers are invited to see this new feature in action on the Hasselblad booth (G-11) and the EIZO booth (G-10) at the CP+ Camera and Photo Imaging Show at Pacifico Yokohama, Japan, from February 13-16.
To find out more about Phocus and to download the software for free, please visit:www.hasselblad.com/products/phocus
About Hasselblad
Founded in 1941 in Gothenburg, Sweden, Hasselblad has been the leading manufacturer and partner for photographers working in the medium format environment for over half a century, consistently providing the highest level of quality and innovation. The extraordinary quality of the company’s products became famous in 1962 when Hasselblad cameras were selected for NASA space missions. Positive associations with Hasselblad’s past serve as the foundation for the company’s modern and energised brand.
In 2012, Hasselblad launched the Lunar – a state-of-the-art mirrorless interchangeable lens camera and a hybrid of Italian design and Swedish pedigree. Followed by the unveiling of the Hasselblad Stellar and the Hasselblad HV, this ushered the beginning of the company’s move to offer all fans of the iconic Hasselblad brand the chance to own one of their cameras.
The H Camera System with its professional lens family and unique advancements is the most comprehensive digital camera system of its kind available today. Hasselblad recently launched the first fully integrated medium format camera system incorporating the latest in CMOS sensor technology – the H5D-50c. The camera will be shown for the first time at the CP+ Camera and Photo Imaging Show in Japan.
About EIZO
Founded in 1968, EIZO Corporation is a leading global manufacturer of high-end visual display products. The image quality, long-term reliability, and innovative features of EIZO monitors make them the products of choice in many financial trading rooms, back offices, hospitals, air traffic control centers, and design studios throughout the world. EIZO is based in Japan and listed on the first section of the Tokyo Stock Exchange. It is represented in over sixty countries by a network of group companies and exclusive distributors.
Lens Filters Buying Guide…
The world of filters can be very confusing so here is a handy guide written by Giles Babbidge to shed some light and simplify their purposes and benefits.
Filters are curious things. So simple in their design and yet to the uninitiated they can be the cause of much confusion – both at the time of purchase and when put into use.
Very often, enthusiastic photographers readily part with their hard-earned cash, purchasing filters which they believe will improve their pictures, only to be disappointed with the results. This actually isn’t anyone’s fault, rather a matter of education; as ever, knowing how to pick the right tool for the job and, more importantly, knowing how to get the best out of it, should be your starting point.
In this guide, I’m going to give you a basic overview of what’s out there. Of course, not all shapes and varieties of filter will suit every photographer (or their budget), but there will be something that’s right for you. With a little thought and pre-purchase research, you can be sure that you’ll be spending your money wisely when the time comes to invest in a set of filters.
What is a filter?
Simply put, a filter is a piece of glass or resin which is (usually) placed in front of your camera’s lens. Some are more elaborate than others in their function, but all share the quality that they change how your pictures will look at the time of exposure (and, in most cases, beforehand through the viewfinder, too). Some filters, for example ultraviolet types, don’t really have a marked visual effect, while others can be quite dramatic, either in cutting out a lot of the light entering the lens or introducing colour and/or contrast to the scene in front of your camera.
So what are filters used for? Well, there are two main reasons why photographers use them – lens protection and creativity. In the case of the former, many people choose to leave a clear threaded filter attached to the front of each of their lenses from the word go. The argument for doing this is that, should the front of your lens get knocked, scratched or otherwise unfortunately damaged, there’s a fair chance the filter will take the brunt of the impact. With lens repair costs enough to send a chill down the photographer’s spine, the cost of merely replacing a damaged filter is understandably very attractive when you put things into perspective.
On the flip side, some people maintain that image sharpness is compromised by the use of these filters. While this may certainly have been true in the past, especially with cheap filters, the quality of materials used these days is so good that the average person would probably be unable to tell the difference in the resulting pictures. At the end of the day it’s your choice but, having had lenses saved by protective filters myself, I know what I’d rather do!
When it comes to creativity, the possibilities are limited only by your imagination. Filters can be used singularly or ‘stacked’ in front of the lens – it really depends on what visual effect you want to achieve. It might be that you want to cut out reflections in glass surfaces or perhaps you want to tone-down a bright white sky – either way, there’s an exhaustive number of combinations available to the photographer.
How is a filter attached to the camera?
There are several main designs but, regardless of the way they attach, all varieties of filter essentially work in the same way once firmly held in place. Perhaps the easiest design to use is the round, screw-in filter (note: this is not the same as a circular filter, which I’ll come on to later), which just screws into the filter thread on your lens. When making your choice, be sure to double-check the thread size of your lens (often clearly marked in millimeters – such as 67mm or 72mm – on the lens itself or on the underside of the lens cap) as this is the key bit of information needed for correctly matching both components.
Screw-in filters are arguably quicker to use, depending on your scenario, so if you are a photographer who is always on the go (such as at public events), they might provide the best option. They also don’t suffer the risk, as with slot-in filters, of slipping or sliding out of a holder if you happen to be changing position in a hurry.
The other route you could take, then, would be to use slot-in filters, which by their nature require you to use a dedicated holder (which can usually hold several filters at a time, if you so wish). For this, you’ll also need to purchase an adapter ring which attaches to the front of the lens in use, onto which the holder then slides. The holders and adapter rings themselves vary depending on manufacturer and individual product specifics, but so long as you stick with the same ‘system’ you’ll be absolutely fine.
Types of filter
As you might imagine, there are hundreds of creative filters available. These span every conceivable effect from colourful light correction to starbursts, soft focus and even aids to focusing. The following list covers the most popular choices, with a brief overview of what each can do for you.
Protective
As the name suggests, these threaded filters are designed to protect the front element of your lens from all manner of scrapes, as well as from dust, dirt, moisture and fingerprints. Because they are essentially just clear glass, they don’t have any discernible effect on the amount of light entering the lens (and therefore they don’t affect exposure time).
The rule of thumb here should be, as ever, buy the best that you can afford. Remember, the light will have to pass through the filter before travelling through the lens and onto the camera sensor, so the higher the quality of that glass, the better. Realistically, this equates to ensuring you get the sharpest pictures possible.
Ultraviolet (UV) and skylight
Before the days of dedicated ‘protective’ filters, threaded UV and skylight filters were popular choices for protecting lenses. Just as with protectors, they allow light to pass through almost uninterrupted. Aside from this, their main purpose is to cut out excessive ultraviolet light and haze, thus improving colour and contrast in your pictures.
A word of warning: if you happen to be heading off to photograph an epic waterfall such as Niagara Falls, do not use one of these filters. Many a time a photographer has come back from their day trip wondering just why the beautiful hazy rainbow they saw hasn’t been captured by their camera. Clearly, their filter did what it was designed to do, which is to cut through the mix of sunlight and moisture hanging in the air. If lens protection is what you’re after, go with a protector filter instead.
Polariser
Polarising filters are something of the golden child in the filter world because they are just so very useful. This is why a lot of people maintain that every photographer should have one in his/her bag.
By far and away the most popular use for them is to reduce (or completely remove) glare and reflections on reflective surfaces, as well as to darken blue skies and bump up the saturation and colours in a scene. For this reason, they are especially popular with photographers who regularly capture images of bright, shiny subjects (such as cars) and vivid landscapes. With the latter, a polariser will particularly make the clouds stand out against a rich sky, adding a sense of atmosphere and drama, with the blue of the sky and green of the land showing up particularly well.
Polarisers come in circular and linear types. The way circular polarisers work is via a rotating motion: with the filter in place, simply turn it one way or the other through 360 degrees; you will see the visual effect changing through the camera’s viewfinder, especially when the camera is positioned at a 90 degree angle to the sun (which is the most effective shooting position). In this way, you have complete control over just how pronounced the effect is, although bear in mind that you will lose two EV stops of light because the filter absorbs light in the process – so keep an eye on your shutter speed in order to prevent camera shake. Linear polarisers can confuse the AF and metering systems on modern DSLRs so, unless you’re using an older analogue model, it’s best to stick with circular polarisers for general use.
Neutral Density (ND)
Neutral Density filters are also regularly to be found on the serious landscape photographer’s kit list. Rather than having an immediately visible effect on the picture, the power of NDs can be seen on both the camera settings before the shutter is released and, of course, in the final images.
Simply put, the purpose of these filters is to reduce the amount of light entering the lens (and so hitting the camera’s sensor). Why would you want to do this? Well, there are times when a slow shutter speed or large aperture is required, but the conditions are too bright for the camera to accommodate them. For example, imagine you want to record the movement of a waterfall; for this, you’ll most likely want to capture the fast-flowing water as an artistic blur, rather than in pin-sharp detail. By cutting out overall brightness, the ND filter allows you to use a much slower shutter speed than would normally be permissible at a given aperture.
These filters are available in a range of strengths, measured in f-stop increments; the higher the number, the greater the effect (and so the longer the shutter speed). They can be bought individually or in sets covering 1, 2, 3 and 4 f-stops of light reduction.
Graduated Neutral Density
Also known as ND grads, or simply grads, Graduated Neutral Density filters are basically half-clear, half-tinted filters, which are usually produced for use with slot-in systems. They work by filtering only part of the scene once positioned accordingly.
When would you use them? A bright, overcast day where there is little or no detail in the sky is a common scenario. On such occasions, the photographer lines up the filter with the darkened area only covering the sky in order to retain what visual information there is (for example, cloud detail). This then helps the camera to capture the scene with detail retained in both brighter skies and darker foreground areas, rather than underexposing the latter or overexposing the former.
Offering a range of colours for you to experiment with, the most popular options are blue or grey tints – but in each case, it is important to make sure you line the filter up correctly for a ‘natural’ look in your scene. The square and rectangular slot-in designs are perfect for this as they allow precise positioning, including some rotation if required. What you don’t want with landscapes, for example, is to have a very obvious point between where the filter tint stops. Equally, overlap on buildings should also be avoided where possible.
Another factor to bear in mind when choosing your grads is what type of gradation you want between the tinted and non-tinted areas. For this, you have two options: ‘soft’, which gives a gentle blending area or ‘hard’ which is more sudden and harsh in its appearance. It’s the former which a great many photographers favour, again because it allows them to create a more natural appearance in the final picture.
Just as with ND filters, ND Grads are available both singularly and in sets to give you the greatest amount of creative flexibility.
Black and white (set)
Back in the days of film photography, you had to make the choice of whether to load black and white or colour film into your camera. On the basis that black and white was your preference, there was one set of filters in particular which would surely be in your kit bag.
Comprising of red, orange, yellow and green, these sets are still available to assist photographers who see the world in black and white (converting their colour digital files at the editing stage). These offer a variation of effects to suit different situations and personal preferences. Red and orange filters are great for bringing out clouds in skies, while yellow and green filters are more subtle in what they do, making them perfectly suited to more gentle tones and textures. The latter two also work well for portraits, having a really nice smoothing effect on your subject’s skin, so they’re good if you want to cover up small blemishes.
As well as the above, film users might also like to think about purchasing what’s known as a black and white viewing filter, which allows you to see contrast, tone, highlight and shadow densities within your pictures before releasing the shutter.
White Balance Filters
Colour casts are often a source of great frustration in a wide variety of situations and variable lighting arrangements. Whether you’re shooting in the studio, an office space, your living room or outdoors, a myriad of light sources can present their own warm or cold casts which have to be corrected either at the time or later on in post-production.
Rather than relying upon computer software, adjusting your camera’s white balance is, of course, what you need to do as a first step. By using the Custom white balance setting along with this filter, you can be more confident of capturing accurate colour right from the moment you prepare to take your pictures.
White balance filters are available in a range of thread sizes specific to the lens in use and are simple to use: simply place them over the front of your lens and take a reading. This is then stored in-camera to provide a constant white balance reference for all subsequent images.
Close-up (set)
Close-up filters (sometimes referred to as macro filters or close-up lenses) are typically the preserve of the macro photographer, offering the chance to really focus closely to one’s subject. For many wildlife enthusiasts, close-up filters provide the next logical step up from using a macro lens alone. They can also be attached to longer focal length lenses. Although they are available individually, close-up filters are often purchased as a set of three in varying strengths (designated by +1, +2 and +4). They can be used on their own or stacked up in order to get a maximum magnification considerably greater than life-size.
Accessories
Ok, so these aren’t actually filters, but it’s worth mentioning a couple of accessories which come handy when using filters. First of all, filters are no good if they are dirty, so make sure you keep them perfectly clean (free from dust, fingerprints etc) right up until the time you need to attach them to the front of your lens. Dedicated pouches and sleeves are available, complete with soft, no-scratch lining. Secondly, for those occasions when you do get a mark on them, be sure to have a soft, lens-friendly cloth to hand to gently remove the offending smudge.
Which is the right filter for you?
This is something of a ‘how long is a piece of string’ question, as everyone has their own requirements and preferences. As a starting point, here would be my suggestions:
Best filter for protection
A designated protector filter is a great choice here. Simply screw it onto the front of your lens and forget about it. It’s a much cheaper option than paying for lens repairs, should the worst-case-scenario happen!
Best filter for landscape photography
The humble circular polariser really is king of the hill if you’re looking for a general-purpose filter. It adds punch, improves colour and removes unwanted reflected detail.
Best filter for black and white
A four-colour set of filters (red, orange, yellow, green) is perfect for black and white photography. If you want to dip you toe into mono filters with just one choice, though, go for orange as a good all-round compromise.
Best filter for managing skies
A graduated neutral density filter is a wise choice here. Position it carefully to control areas of brightness and retain more detail.
Best filter for cutting out reflections
Again, a polarising filter is going to be your friend in these situations.
Best filter for macro photography
A set of three close-up filters will give you multiple combinations of magnification, allowing you to create the level of pulling power you require.
Best filter for neutral white balance
A dedicated white balance filter is, of course, the answer here. Keep it handy to take the guess-work out of colour management on location.
About the Author
Giles Babbidge is a commercial and editorial photographer based in Hampshire. He travels all around the UK and works with a wide range of clients – you can find out more about his day-to-day activities over at his website.
Thanks Giles
www.glynridgersphotography.com
Hassleblad end production of the 503CW meaning the end for the V system
Hasselblad is to cease production of its 503CW model – the last V System camera in the company’s portfolio.
The decision, which comes into immediate effect, brings to an end over a half century of evolution of the company’s original camera line.
Dr. Larry Hansen, Hasselblad Chairman and CEO said: “Everything has its place in time. The veteran 503CW combined with an extensive V System range of interchangeable lenses and accessories, was for seventeen years the camera of choice for discerning professionals and aspirational amateur photographers.
But there has been a substantial decline in demand for this camera over the past five years or so and the time has now come for us to reluctantly consign the V System to history. In so doing we would like to thank all fans and customers for both their loyalty and their enthusiasm for our legacy Hasselblad V System.”
He added: “Now of course the focus on medium format capture is on our H System – the world’s most advanced camera system. The latest generation cameras represent medium format capture engineering at its most exemplary and are well-placed to secure and underpin the company’s unrivalled reputation for providing highest image quality and craftsmanship. Additionally we are focusing on new products for advanced enthusiasts.”
Hasselblad has confirmed that the last 503CW has rolled off the production line but the company will continue to provide V System accessories while stocks last. V System support will also still be available through current channels.
Goodbye V System…may your legacy live on.
Nikons new COOLPIX A….a DSLR in a compact body no less…
Nikon has made D-SLR performance in a compact body more accessible than ever before, incorporating a large, DX-format 16.2-megapixel CMOS sensor (23.6 x 15.6 mm) and an EXPEED 2 image processing engine into the new COOLPIX A, for capturing professional images on the go.
Meanwhile, the new COOLPIX P330 raises the standard for advanced compact cameras, with a bright f/1.8 NIKKOR 5x optical zoom lens, large back-illuminated 12-megapixel CMOS sensor (1/1.7-in.), advanced lens shift vibration reduction, Full HD movie recording, RAW (NRW) data processing and Wi-Fi compatibility (via an optional dongle).
James Loader, Product Manager for Consumer Products at Nikon UK, comments: “With an impressive high definition NIKKOR fixed wide-angle 28mm f/2.8 lens, DX-format CMOS sensor and high ISO capability, the COOLPIX A is an impressive camera that combines convenience with performance; making it ideal for reportage photography. Creative photographers will enjoy the creative effects of the P330 which delivers pin-sharp images in any light with its backlit, 1/1.7-in. CMOS sensor and full manual controls. Both new models are WiFi compatible, so high quality images can be uploaded via a dongle to any smart device for easy sharing*.”
The COOLPIX A — The professional choice of compact camera
Ideal for any photography enthusiast, the 16.2-megapixel COOLPIX A is the world’s smallest camera to feature a DX format sensor, and handles demanding shooting situations with ease. In pursuit of high resolution and high definition of the entire image, the COOLPIX A adopts a sensor unit that does not incorporate an optical low-pass filter. The result is an optical system that makes the most of the potential of the high-definition NIKKOR lens and the resolution of the DX-format sensor. Combined with the EXPEED 2 image processing engine, also used in DSLR models, the COOLPIX A guarantees superior performance and maximum image quality, all while consuming minimal energy.
When taking pictures in low light or capturing fast-moving subjects, a high ISO (100-6400, extendable to 25600) light sensitivity ensures superbly detailed images with minimal noise. When you want to control the quality of light, you can turn to the camera’s six different settings of active D-lighting, attach a compatible external Speedlight flash unit, or use the optional UR-E14 adaptor ring to create different effects by attaching lens filters (46mm) or an optional lens hood (HN-CP18) to reduce peripheral light.
Photographers used to shooting with digital SLR cameras may also enjoy using a traditional optional optical viewfinder for a clearer view, attachable via the hotshoe. Whatever light conditions you are shooting in, advanced Nikon lens technology ensures outstanding precision, sharp resolution and high contrast.The NIKKOR fixed wide-angle 18.5 mm f/2.8 lens (28mm equivalent) offers exceptional definition throughout the entire aperture range and all optical aberrations (e.g. spherical or coma) are minimised without the need for digital compensation. The seven blade rounded iris diaphragm reduces light where necessary and gives beautifully natural background blur.
Full creative control
PSAM exposure modes enable greater creative control, and two user modes let you recall your preferred camera settings instantly. A customisable function button means you can bypass the menu and set shortcuts to your favourite camera settings for fast setup, and the lens focusing ring enables manual focus and manual override when in Auto focus mode.
The COOLPIX A also supports 14 bits compressed RAW (NEF) image data, conveniently in line with the format used in DSLRs. Pure, unprocessed images can be edited in-camera, on the large 7.5-cm (3.0-in. 921k dot) LCD monitor. Picture Control allows you to adjust the contrast and colour settings (Standard, Neutral, Vivid, Monochrome, Portrait, Landscape, and Custom) to match your situation. For those who want to have some fun with their images, photos can be enhanced on the spot with a wide range of filter effects such as Selective Colour mode, which converts images to monochrome and then adds a splash of the colour of your choice.
P330 — An exceptional performer
Worthy of any serious photographer looking for portability with performance, the COOLPIX P330 has a bright NIKKOR 5x optical zoom lens (24–120mm) which offers fast f/1.8 aperture at wide angle, HRI glass and a seven blade iris diaphragm for natural background blur, while a Neutral Density filter enables greater exposure control.
Worthy of any serious photographer looking for portability with performance, the COOLPIX P330 has a bright NIKKOR 5x optical zoom lens (24–120mm) which offers fast f/1.8 aperture at wide angle, HRI glass and a seven blade iris diaphragm for natural background blur, while a Neutral Density filter enables greater exposure control.
A highly sensitive, backlit, 1/1.7-in. 12-megapixel CMOS sensor produces superb results in all manner of tough shooting situations, while Nikon’s second-generation vibration reduction system reduces the effect of camera shake in real time, allowing the use of shutter speeds up to four stops slower. A new Active mode ensures clear shots even from moving vehicles.
Give full expression to your creative side in manual mode and access your favourite setting instantly with the ergonomic function button. To shoot movies, Full HD (1080p/60i) filming is available at the touch of a button, at 60, 50, 30 or 25 fps and it’s also possible to shoot in RAW (NRW) format. You can use the optical zoom with autofocus when recording, and film in slow or fast motion using speeds of up to 120 fps.
Creative features like Macro mode allow you to focus on subjects really close-up to capture the smallest of details, while Easy Panorama 360°/180° makes capturing breathtaking vistas as simple as panning the camera vertically or horizontally to take in the view.
For travellers on the go, a built-in Global Positioning System (GPS) records the exact location (latitude and longitude) of images as a ‘geotag’, and allows review of point-of-interest (POI) information in playback. To share adventures with friends and family, the camera’s Wi-Fi capability enables the transfer of high-quality images and movies to a smart device* via an optional Wi-Fi dongle (WU-1a).
Additional Key Features of the COOLPIX A
Wi-Fi compatible: use Wi-Fi to transfer your high-quality images and movies to your smart device* via an optional Wi-Fi dongle (WU-1a).
Full HD (1080p) movie recording: in 30, 25 or 24 fps and in stereo, through the built-in stereo microphone.
Advanced GUI: employs a graphical user interface (GUI) inherited from Nikon’s DSLR range.
Continuous shooting at 4 fps (up to 26 frames): capture fast-moving action at 4 frames per second.
Optional external optical viewfinder: for those who prefer a traditional viewfinder, this optional attachment (DF-CP1) offers an alternative to the LCD screen. The ‘hot shoe’ can also be used to attach a more powerful External Speedlight flash unit.
Compatible with Optional GPS (GPS-1): allowing you to record the exact location (latitude and longitude) of images as a ‘geotag’.
SD card compatible: increase storage capacity by using SD cards (SDHC, SDXC and UHS-I compliant) to save your images and movies.
Additional Key Features of the P330
High ISO (100-6400) light sensitivity (manually extendable up to 12800 using the Hi2 setting): enables faster shutter speeds for finely detailed images with minimal noise when you shoot fast-moving subjects or take pictures in low light.
Auto HDR mode: capture images with impressive tonal detail in any situation when you shoot in HDR mode. The camera combines two shots taken at different exposures during a single shutter release to create an image with wide dynamic range and rich color gradation.
High-speed continuous shooting: shoot up to 10 full-resolution shots at 10 fps, or up to 30 full-resolution shots at 1 fps.
Fast and accurate AF: when you want to capture complex subjects, you can shoot with a 99-point autofocus system for extra-sharp results.
Subject Tracking AF: capture sharp shots of subjects that can’t or won’t stay still. Subject Tracking AF keeps the camera focused on the selected subject even if it is moving around.
Retouch menu: enhance your photos on the spot with a wide range of filter effects. Examples include Selective Color, which converts your image to monochrome and then adds a splash of the color of your choice, while Cross Screen adds a starry effect to bright objects.
20 scene modes: automatically optimize the camera settings for popular photographic styles, effects and locations. Achieve great shots just by selecting the mode that matches your situation.
EXPEED C2: Nikon’s fast and powerful image processing system provides high-speed operation, enhanced movie recording, high-sensitivity performance and maximum image quality.
* Requires installation of the Nikon ‘Wireless Mobile Utility’ application (iOS and Android™ compatible) on your smart device.
Android, Google, Google Play, YouTube, and other marks are trademarks of Google Inc.
Digital Film Maker by Select Publishing.
A fantastic new magazine aimed towards film makers who use DSLR’s has launched..and I have to say it is BRILLIANT!…
The magazine published by Select publishing who also produced the equally fantastic Digital Photography Enthusiast Magazine have again managed to come up trumps with this new title for aspiring and pro film-makers that use DSLR cameras.
It covers everything you need to know about this growing trend from FilmMaker News which gives the low-down of the latest developments from the world of digital film-making to how to set your camera for the fundementals of digital film making, competitions, interviews with leading film makers, equipment guides informing us of what we need and dont’ need to create fantastic movies, how to schedule shoots,editing techniques and so much more…
This really is the ultimate magazine for filmmakers and one I know that I will be subscribing to…you can by clicking the link below.
Nikon reveals 800mm prime lens
AF-S NIKKOR 800mm f/5.6E FL ED VR primary features
Nikon today launches a new super-telephoto, single-focal-length lens with dedicated teleconverter; the AF-S NIKKOR 800mm f/5.6E FL ED VR with AF-S TELECONVERTER TC800-1.25E ED.
The new lens uses high-end components and advanced technologies to lower weight, improve handling, and enhance image quality. It’s the first NIKKOR lens to use sophisticated technologies and materials such as electromagnetic diaphragm control and fluorite lens elements, alongside tried-and-tested features like Vibration Reduction and Nano Crystal Coat.
Boasting the longest focal length in the NIKKOR range, this premium lens is an ideal choice for professional sports and press photographers. When moving nearer to the subject is not an option, the AF-S NIKKOR 800mm f/5.6E FL ED VR delivers the extra reach that brings the subject closer to the camera.
“This lens has been developed with the demands of the most discerning professional photographers in mind,” says Hiro Sebata, Product Manager, Lenses, Accessories & Software, Nikon UK. “Not only is the lens lighter than most other super-telephoto lenses, it is packed with new NIKKOR technologies and features a custom-tuned teleconverter to extend the lens’s focal length and ensure that it rightfully occupies the flagship role in our super-telephoto lens lineup.”
Nikon announced the development of the AF-S NIKKOR 800mm f/5.6E FL ED VR in the summer of 2012. Prototypes of the lens were displayed at Photokina in Cologne and tested at major sporting events, where they received highly positive reactions.
Lightweight body with fluorite elements
For a lens that delivers such extreme reach, the AF-S NIKKOR 800mm f/5.6E FL ED VR is surprisingly light and well-balanced. This has been achieved by manufacturing the body from a lightweight, rugged magnesium alloy, and by crafting an improved optical construction that includes two fluorite elements.
The optical system contains a total of 20 elements in 13 groups, including two fluorite and two ED elements. Using fluorite for the front two elements makes the lens’s front portion lighter, and shifts its centre of gravity to the rear, ensuring comfortable handling and stable operation. The fluorite elements also deliver superior optical performance, achieving high transmission rates with minimal chromatic aberration and much lower dispersion properties than even super ED glass. Nikon’s antireflective Nano Crystal Coat is employed to ensure clear images with minimal flare and ghosting.
The lens also includes a curved meniscus protective glass, and is supplied with a 52mm NC filter. There’s even a convenient slip-in 52mm filter holder located at the back of the lens.
Highly accurate electromagnetic diaphragm control
The electromagnetic diaphragm reliably achieves highly accurate aperture control with an extremely low incidence of errors. This precise mechanism also provides enhanced stability in auto exposure control during continuous shooting, and increased accuracy—especially when the lens is used with its teleconverter, requiring double aperture linkage.
To improve stability, the VR (Vibration Reduction) mechanism provides compensation equivalent to a shutter speed approximately four stops faster. Normal and Active VR modes deliver stable shooting for different amounts and rates of camera movement, while automatic tripod detection reduces vibration from shutter release when the camera is mounted on a tripod. The AF-S NIKKOR 800mm f/5.6E FL ED VR also has an integrated tripod foot for improved balance when attached to a tripod.
The lens incorporates SWM (Silent Wave Motor) for fast, accurate focus acquisition. Three focus modes are employed: A/M (autofocus with manual override, AF priority mode), M/A (switch from autofocus to manual operation in any AF mode instantly), and M (manual).
Dedicated teleconverter
Every AF-S NIKKOR 800mm f/5.6E FL ED VR is supplied with an AF-S TELECONVERTER TC800-1.25E ED—the first teleconverter to employ an ED glass element to correct chromatic aberration, an issue to which long focal length lenses are especially prone.
Developed exclusively for use with the AF-S NIKKOR 800mm f/5.6E FL ED VR (not sold separately), each teleconverter is custom-tuned with the individual lens in order to maintain its superior optical performance, while extending the lens’s focal length to 1,000 mm.
The lens and its dedicated teleconverter are supplied in a hard carrying case (TC-801) for convenient, safe transportation.
Specifications
– Focal length: 800 mm
– Max. aperture: f/5.6
– Min. aperture: f/32
– Lens construction: 20 elements in 13 groups (plus one protective glass)
– No. diaphragm blades: 9 (rounded)
– Closest focusing distance: 5.9 m (19.4 ft) in AF mode; 5.8 m (19.0 ft) in MF mode
– Filter/attachment size: 52 mm
– Diameter x length: Approximately 160 x 461 mm (6.3 x 18.1 in.)
– Weight: Approximately 4,590 g (161.9 oz) or 4,725 g (166.7 oz) with the teleconverter attached
– Remarks: Dedicated AF-S TELECONVERTER TC800-1.25E ED supplied
Creativity with a twist; Canon unveils the PowerShot N
Canon today unveils the PowerShot N – a totally new type of camera that offers a different approach to capturing creative, spontaneous photos and sharing them instantly with social networks. The unconventional square design, innovative zoom and shoot operation lens rings and tilting touch screen encourage people to capture their world from a fresh angle, whilst the new Creative Shot mode automatically generates a selection of unexpected creative treatments with every shot taken. The perfect smartphone companion, the PowerShot N has been designed to simplify image sharing with intuitive Wi-Fi connectivity allowing a new generation of high-quality, artistic images and Full HD videos to be shared in near real-time¹.
Inject every shot with artistic flair
Thanks to the new Creative Shot mode, anyone can impress their friends and followers with unique, creative images that offer a different perspective on a typical scene or subject. When an image is captured in Creative Shot mode, the PowerShot N intelligently analyses the scene and determines which of a host of creative elements could enhance the scene or offer a different creative angle. Multiple variables including composition, exposure, point of focus, white balance, gradation and contrast are considered before five alternative versions of the original shot are automatically generated, which can then be shared at the touch of a button.
Alternatively, a creative edge can be added to a single shot with Canon’s creative modes, including Miniature Effect, Soft Focus, Toy Camera Effect and Monochrome. Users can also add drama to a movie clip with Super Slow Motion Movie mode.
Combining creative flexibility with point-and-shoot ease of use, the PowerShot N features new Hybrid Auto mode which records the four seconds before every shot in 720p resolution, before using Canon’s acclaimed Smart Auto technology to determine the best settings to capture the perfect shot. At the end of each day, the four-second clips are merged into one to tell the “behind-the-scenes” story of the day’s images – perfect for adding new context to an online album.
Shoot and share in an instant
Making it the ultimate mobile companion, the PowerShot N features integrated Wi-Fi and one-touch connectivity to smartphones or tablets, thanks to the Mobile Device Connect Button. Users can upload images or movies to social networks such as Facebook® and YouTube™ just moments after they’ve been captured, no matter where they may be. Once home, the best shots can be printed wirelessly or transferred to a PC thanks to the swift, reliable connection. The GPS via mobile feature, using the free Canon smartphone app, can also add location information from a GPS-enabled smartphone or tablet to an image, allowing users to share the exact location of their fun with friends.
Revolutionary design, ‘Any Way Up’ operation
The unusual, eye-catching design of the PowerShot N sets this model apart from every other – just like the images it captures. The compact, symmetrical design, tilting touch screen and an innovative system of lens rings – the twist lens ring can be turned in either direction to operate the zoom function, while a second ring is used as the shutter release – allow the camera to be used any way up, even upside-down, unleashing the ability to view the world from a completely different perspective.
The advanced capacitive 7.1 cm (2.8”) touch screen also allows users to control essential functions, such as focus or the shutter, with a simple touch, and review their images with familiar, intuitive gestures. Available in white or black, the square, metal body is dominated by a 28mm, 8x optical zoom lens, making it easy to shoot groups and landscapes. Thanks to Canon’s advanced ZoomPlus technology, which provides detailed, full-resolution shooting with up to 16x zoom, users can also get even closer to the action or frame a subject tightly for compositions with impact.
Measuring just 78.6 x 60.2 x 29.3 mm when the screen and lens are closed, the PowerShot N’s extremely compact dimensions allow it to be slipped into any pocket and carried anywhere, so scenes, subjects and situations that might usually be missed can now be immortalised in the superb quality offered by Canon’s advanced compact imaging technology. USB charging also provides added convenience, allowing the camera to be charged quickly and easily on the move.
Canon signature image quality
Despite its compact size, the PowerShot N inherits much of Canon’s latest imaging technology to deliver superior, Canon-quality images and movies. Combining a high-sensitivity 12.1 Megapixel CMOS sensor and an advanced DIGIC 5 image processor, the HS System featured in this camera supports a maximum ISO of 6400 to produce sharp and clear images in challenging low-light conditions.
The powerful 8x optical zoom lens is supported by Intelligent IS, which automatically applies the most appropriate image stabilisation for smooth video and crisp stills. Complementing the artistic still images, Full HD video (1080p) can also be recorded.
PowerShot N key features:
Creative Shot
Unique design
8x zoom, 28mm lens; Intelligent IS
HS System: 12.1 MP CMOS sensor, DIGIC 5
Wi-Fi; GPS via mobile
Mobile Device Connect Button
Any Way Up operation; Tilt-up touchscreen
Full HD video capture
Hybrid Auto; Smart Auto (58 scenes)
Blurb… A Fantastic Photo Book Service
OK let’s talk about making books out of your wonderful images….There are many on-line print labs that provide this book making service however in my opinion there are few as easy to use that produce outstanding quality books for a realistic price than Blurb.
I had a lot of fun creating my book and with a multitude of layout styles including image only, text and image, image and title, landscape, portrait, double page spreads, montage, multi image and many more styles makes it possible to create photo books to suit all styles of photography.
You can also sell your books on-line by using Blurbs services which is a good opportunity to earn some extra cash from your images rather than them just sitting on your hard drive never to see the light of day..
You have a choice of soft cover, hard cover and dust jackets and image wrap around covers.
Receiving my book through the post within a few days of ordering and how well the book was packaged has bolstered my confidence in using this service to produce books for my clients knowing that they will be more than pleased with finished results.
These books are a great way of showing off your work to certain clients that require a particular genre of photography, I know you can show images via an iPad or laptop etc but there is something special about printed work that brings life to an image and for the rapid service, quality and excellent price of these books you can’t go wrong.
Above all for me was opening the package to reveal my work published in a book that has my name on the cover and knowing the images inside are all of my own work and this gives me a great buzz as I am certain it will for you.
There are many easy ways of producing your photo book which are listed below:
Lightroom 4
You can create books directly from Lightroom 4, Adobe’s photo workflow and editing tool. The new Book module enables you produce a photo book quickly and easily. And if you create your books via Lightroom you will automatically save 20% on the first Blurb book you make with Lightroom 4
Beautiful design options and seamless editing: Choose from more than 100 layouts, use rich text formatting options, and incorporate caption metadata. Edit photos even after you’ve placed them in layouts.
Custom book finishing options: Select from Blurb’s range of high-quality papers, covers and end sheets and get the estimated book price – all within Lightroom 4.
Blurb e-books for the iPad: Upload your finished book to Blurb and convert it to an e-book for the iPad using Blurb’s online e-book editor.
Sell your book and make a profit: List any print book or e-book for sale in Blurb’s online bookshop and keep up to 100% of the profits.
Adobe InDesign
You can also use Adobe’s In Design which with Blurbs new and updated, free plug-in gives you quicker, easier access to blank starter templates for Blurb’s entire book sizes and lets you create fixed-format e-books for the iPad
Automatic template creation: Download the plug-in and simply input book details like book size and page count, and it will generate blank templates with the correct specifications.
Complete creative control: You have full reign over the design and layout of your book’s pages and cover.
Bookstore quality: Blurb books are printed on HP® Indigo presses and include high-end paper options from Mohawk Fine Papers®.
Flexible printing options: Print one or many. Volume discounts start at just seven copies. Books are delivered 7-10 days after order.
The latest plug-in allows you to upload your completed files directly from within InDesign, create e-books for the iPad (available for CS4 and above), and offers two new formats, Brochures and Magazines, in 8.5 x 11 inches (22 x 28cm).
However with the convenience of using Adobe’s outstanding software I chose opt for Blurbs very own Blurb BookSmart, this was a pleasure to use and quite fun as you can preview your book every step of the way and see how the book is coming together, The other great thing is that you have the option to add text either to the top, side or bottom of the image, I used this text to show what camera settings I used for each of the images presented within the book giving further interest to the reader.
No other consumer book-making software gives you this much freedom to build beautiful custom books.
Make books that feature your own page layouts and designs, from large format coffee table books to paperbacks and more.
Whether your project is large or small, Blurb BookSmart® gives you:
Full control and customisation – Use our professional page layouts or push your creative edge by designing your own custom layouts.
Powerful book-making software – Download our software and easily tackle book projects, large or small, online or offline.
More than photo books – With BookSmart, you can create photo books, novels, diaries, portfolios, notebooks and more.
Effortless e-books – Turn any book made with BookSmart into a beautiful e-book for your iPad® and take your book everywhere your iPad goes.
Bookshop-quality print books – Hardcover or softcover, seven different book sizes, and a full range of papers including our Proline range.
Here are just a few of BookSmart’s newest features:
Beautiful two-page spread layouts
Diaries and notebook templates
E-book-friendly, fully licensed fonts
So all in all I would give Blurb products and services 5 stars for their ease of use, quality and fast delivery and would find it difficult to find a better alternative.
Check them out at www.blurb.co.uk
Best wishes
Glyn
Leica M3D Camera Used by Picasso's Photographer Sold for £1.4m
The Leica M3D
A camera used by one of the world’s most influential photographers, who documented Spanish artist Pablo Picasso‘s life, has sold in Vienna for a record €1.7m (£1.4m).
The Leica M3D, which had attracted an opening bid of €150,000, belonged to former Life magazine photographer David Douglas Duncan. The 96-year-old photojournalist was a close friend of Picasso and published hundreds of exclusive photos of him.
Manufactured in 1955, the camera is one of only four ever made, and the price set a world record for a commercially produced camera. It is the second highest price paid for any camera after a Leica 0-Series was sold for €2.2m last May.
The Westlicht gallery in Vienna said the second-highest price in the sale, held on Saturday, was for a gold-plated Leica made in 1929, which sold for €1m. A third, the first serial-production M3, sold for €900,000.
Glyn Ridgers Photography 