We know that the Nikon D850 autofocus system isn't that great for video. This wasn't really going to be much of a surprise. But it seems that it's not as quite good as it could be when it comes to stills, either. The Nikon D850 autofocus is the same as that found in the flagship 
The post The Nikon D850 has the same autofocus system as the D5 but it's not as good appeared first on DIY Photography.
Large format photography is probably the most technical and methodical process of all methods of shooting, but you're rewarded with prints that have mind-blowing renderings and resolution. Along with that technical process come some pretty unique powers, however. This video shows off one such capability and how it helped the photographer realize his creative vision.
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During last week's Save Analog Cameras live broadcast, it was announced that Bellamy Hunt of Japan Camera Hunter (JCH) is working on a new 35mm compact camera project, according to Kosmo Foto. This revelation follows Hunt's recent launch of the JCH StreetPan 120 B&W film, which itself followed JCH's first film launch about a year and a half ago.
Hunt reportedly didn't reveal much about the planned 35mm camera, though he did refer to it as a 'premium compact,' indicating what potential future buyers can expect. The project aims to fill a growing void in the camera market, giving analog enthusiasts a modern compact 35mm option, although it could be many months before the camera actually launches.
Kosmo Foto reports that the camera may be ready for testing some time next year, though they didn't mention whether they got that information directly from Hunt or elsewhere. Hunt discussed the topic of compact film camera scarcity in a blog post earlier this year, saying, among other things:
I would dearly love to make a compact camera, and I know what I want too ... A simply [sic] point and shoot with a decent 28mm or 35mm lens, flash, iso selector and manual override. As simple as possible and made from metal for durability. The less electronic components the better, so that it can be easily serviceable and less prone to breaking down.
Whether the camera discussed last week will follow these design principles is yet to be seen, but we'll definitely be keeping a eye out for Hunt's creation.
With space exploration currently making bigger and bigger leaps in technology and scope, it's not surprising that more and more creative minds are filling the gaps with their imagination. It's interesting to see how conceptual photography has been picking up the pace, oftenborrowing themes, aesthetics, and story lines from some iconic space-themedscience fiction flicks. Portland-based Mako Miyamoto brings us yet another interesting take on mankind's quest to find the next alien lands to colonize.
DJI will announce a new product on 11 October that it says will introduce 'the future of aerial cinematography', according to reports.
The Digital Circuit reports that DJI has sent out a teaser for a new product that it will announce at 5pm PST in Los Angeles on 11 October.
The graphic published by The Digital Circuit bears the tag line 'Your Film. Our Innovation.' And The Digital Circuit says the invitation adds 'experience the future of aerial cinematography.'
After an exhaustive search, we could find nothing else about this on DJI's website, its social media channels nor even on any other website. So grains of salt and all that.
Nevertheless, we'll be watching in anticipation
The post Is DJI announcing the 'future of aerial cinematography' on 11 October? appeared first on Camera Jabber.
This is article #18 in theDSLR Video Weekly series. If you'd like the whole thing in one shot, check out the bookCreating DSLR Video: From Snapshots to Great Shots. Once you get the hang of video, be sure to monetize it by becoming a contributor to Adobe Stock. The greatest challenge you'll face when shooting
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Today's Photo Of The Day is Afternoon at the Oxbow by Michel Hersen. Location: Grand Teton National Park, Wyoming.
Equipment & Settings: Nikon D7100, Nikkor Zoom Lens (18-200mm), Hoya Circular Polarizer,Gitzo Tripod and Arca-Swiss Head. ISO 200, F/20, 1/8th-second exposure, and a focal length of 62mm.
Photo of the Day is chosen from various OP galleries, includingAssignments,Galleriesand theOP Contests. Assignments have weekly winners that are featured on the OP website homepage,Facebook,TwitterandInstagram. To get your photos in the running, all you have to do is submit them.
Fall foliage season is upon us, so I'm going to share some tips for you to try when you head to your favorite deciduous grove to capture it in its glory. The sound of shutters will ring louder than the whistling wind that causes leaves to detach themselves from their summer homes. Landscape photographers feel their adrenalin pump and await the arrival of reds, yellows, oranges and a morning chill in the air. If you've read this far, capturing nature's arboreal fireworks interests you. Read on to see what you can do to make your autumn captures as spectacular as the color you'll encounter.
Capture that Reflection: Early morning is a prime time to make autumn images. Be at your location before the sun comes up because dawn light may produce dramatic photos, there are less people, and animals may appear. Another reason to be out at sunrise is there's less wind, which translates to calm water. Calm water means clean reflections. Incorporate the reflection into your composition. Spin the polarizer to lighten it up. The effect is visible through the viewfinder and can be verified on the LCD. A graduated neutral-density filter can help darken the real part. This will bring the exposure value of the reflection and the real part close together to get an even exposure and softer contrast ratio.
Details: Don't overlook details that appear everywhere. Spend an entire session with nothing but your macro lens. Force yourself to go beyond the gorgeous tree, rolling hillside of color or iconic S curve in the river. Go close to the bank and look for small pockets of still water and capture the reflection on its surface. Find the fallen leaf that sits atop a stone and make an intimate portrait. Slow down the shutter to capture the effect of water dancing around its perimeter. Head back into the forest and look for details at your feet, at eye level and on branches. Find a lone leaf dangling from its stem that awaits its inevitable descent. Incorporate a blue-sky background or play with depth of field to create a wash of out-of-focus color. Study the forest floor to find a macro landscape. Look out at eye level for a leaf that may have gotten lodged in a section of bark. You may wind up with so many winners, you keep the macro lens on for more than one session.
Use a Polarizer: Deepen the blue sky with a polarizer. Not only will it enhance its color, it removes glare from the leaves, which allows more saturated color to come through. Work at right angles to the sun so the polarizer has its maximum impact. If you feel the sun warming either of your cheeks, you're in the right position. If the sun is in your eyes or hitting the back of your head, the polarizer will have little or no effect. Create compositions that have balance. Simply including blue sky and yellow foliage doesn't produce a winner. If the sky lacks interesting clouds, minimize it and include just a small section of blue at the top of the frame.
Sweet Light: Regardless of the subject matter you shoot, the time of day at which it's photographed is critical. Since photography is All About The Light, choosing the right time of day to make your photos determines their success. The quality of light at sunrise and sunset is unrivaled for its beauty and color. It provides a rich warm tone, it's low on the horizon and rakes your subjects with magnificent sidelight. There's a softness that can't be had at any other time of day. Getting up early for sunrise may not be easy, but in the autumn it's easier to accept, as the hour at which the sun rises is later than if you were photographing sunrise in mid-June. As if these factors weren't enough to convince you to photograph early and late in the day, there's also the potential for a magnificent autumn sunrise or sunset to add drama and intrigue to your photographs.
Colors That Have Contrast: Colors found on opposite sides of a color wheel are great to incorporate into a composition. If you're familiar with the color wheel, blue and yellow are opposites. Talk about an autumn match made in heaven. Crisp, clear, blue skies integrated with the fall color of yellow, and life is good. Since red and orange are in the same color family as yellow, it's no wonder why fall foliage set against a blue sky works so well.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
Nikon's latest DSLR, the D850, offers up 45.7MP of resolution that you can capture at a rate of seven frames per second (nine with the optional battery grip). Topped off with the autofocus system from the flagship D5, it's clear that the D850 is designed to be a highly versatile tool.
On a recent Nikon press trip to Bend, Oregon with our tester D850, we had a chance to stretch our legs a bit with some landscape shooting, fashion portraiture, peak action and more. Take a look at our latest samples and see for yourself just what Nikon's latest is capable of.
As photographers, keeping our data safe is of the utmost importance. Being able to trust your hard drives to work and survive all types of conditions and hardships is something to consider. As a wildlife photographer, I often find myself out in the elements, and when traveling, my gear has to put up with the rugged nature of travel, while still being ready to work when called upon. Recently I have been putting the G-Technology G-Drive ev ATC hard drives through their paces and I think these might just be one of the best rugged and solid ways to keep data safe on the move.
G-Drive ev ATC hard drive features
The ATC is part of the G-technology ev series, a set of drives offering a simple workflow from the field to the studio. The ATC builds upon the standard RaW and ev drives by adding a polycarbonate protective shell to the main drive offering protection from bumps, dust, sand and even full submergence in water to keep your drive and data safe.
The case itself is solid the simple blue and black design that is stylish and bright enough to easily find in dark conditions. The polycarbonate shell feels very solid in the hand and fits the drive like a glove. It seals closed with a latch system that might seem flimsy, but offers a solid click and seal to ensure the drive is closed off from the elements.
The G-Drive ev ATC comes in two varieties, offering Thunderbolt or USB-3 connections for your chosen device. The cords are built into the case itself so you don't need to worry about forgetting them, a really well thought out design. Of course, the case adds an extra amount of bulk to the setup that might be a problem for those photographers wanting to keep things as small as possible, but personally, I think the extra size is a worthy trade off for the added protection.
Testing the drives during travel
Testing the drives out, they have accompanied me on a few international trips, coming as my primary and backup drives for work in the Falklands, Canada, and Finland. On each trip I have worked with two drives, keeping one as a primary and the other as secondary backup. The fast data transfer speeds were great, 1GB of data transferred in less than a minute over USB-3 meaning backups were swift and simple.
On returning flights keeping data separate is important (in case of a lost bag) and I had no worries about packing one of these with the G-Drive ev ATC hard drives into my checked baggage, knowing the solid construction would keep it protected from any rough handling from the dreaded baggage handlers! On all of my trips, the hold drive never skipped a beat, being ready to upload as soon as I got home to my office.
In the office the workflow is simple. Popping the drives out of the housing I can easily slot them into the Ev docking station (called G-Dock) that gives me Thunderbolt speeds to upload images directly to my main drives for editing, backup and archiving. The ease of being able to just slot in one drive saves faffing around with multiple SD and CF cards again, keeping my workflow streamlined.
To further test the drives I wanted to put them through the mill so I decided to rough them up with some real world testing. Grabbing one of the drives in the ATC case I took it out onto location and basically treated it like I didn't care it was full of precious data. Dropping it onto the ground, into muddy puddles and even throwing it into my local river before rescuing it again down stream.
Each test was passed with flying colors and even after fully submerging the drive underwater with my hand for a minute, it was in perfect working order. Of course, one problem with the drive is that you do need to check that everything is latched down. Human error, not fully closing the latch or getting something stuck into the gasket could compromise the waterproofing and seal, so it's best to always be careful. I mean I doubt too many of us regularly throw our drives in a river intentionally
As a drive, they are built solidly, but one area that I feel would be a great improvement is the use of SSDs rather than normal disk drives. Including an SSD would just add another level to the rugged nature of the drives making them even more durable for life on the road, while also giving faster transfer speeds. This would be especially useful for those editing and working with video files on the move as well.
As a photographer, G-Drive ev ATC hard drives suit my needs very well. The large 1TB hard drive easily has enough storage for a long photoshoot on location and with the protective shell offering great durability to my drives I am sure they will be part of my workflow for many years to come.
The post Review and Field Test of G-Technology G-Drive ev ATC Portable Hard Drives by Tom Mason appeared first on Digital Photography School.
The RX10 IV, as the name suggests, is the fourth in Sony's series of 1"-type sensor, long zoom compacts. The Mark IV is the first to offer phase detection autofocus alongside a series of changes designed to boost the speed and capability of the camera, for both stills and video shooting.
Sony is adamant that the camera is much more than an RX10 III with an RX100 V sensor in it. Let's take a look at what the latest version brings.
One of the biggest changes in the Mark IV is the addition of on-sensor phase detection autofocus. There are a total of 315 phase-detect points, which cover 65% of the total sensor area. This is a significant update as it should eliminate the RX10 III's need to hunt for focus, which was a particular problem at the long end of the zoom.
In addition, we're told the camera has "exactly the same" processor as used in the company's flagship sports camera: the a9. This means the RX10 IV has the same autofocus algorithms for subject tracking and the improved Eye AF mode we saw on the a9.
The RX10 IV also becomes the first camera in the RX series to gain a touchscreen. This can be used for tap-to-focus in both stills and video mode. In video mode it is designed to offer a smooth focus transition between subjects which, combined with on-sensor PDAF, should make it relatively easy to shoot good-looking video without having to worry about manual focus.
The screen can also act as an AF touchpad when the camera is held to your eye, with the option of limiting the active area of the screen to one of nine regions of the rear panel, including the top (or bottom) right or left quadrants. There's also a choice as to whether the AF movement is 'absolute' (pressing the left of the screen places the AF point on the left of the image) or 'relative' (swiping left anywhere on the screen moves the AF point left from its current position), as different photographers prefer different methods. These are all welcome improvements over previous touchscreen implementations from Sony.
Continuous shooting speeds have been dramatically improved since the RX10 III, with the max frame rate increase from 14 to 24 fps, with continuous AF. The buffer is substantial, to say the least, topping out at 112 Raw and 249 Fine JPEGs.
If that's too fast for you, middle (10 fps) and low (3.5 fps) options are also available.
Speaking of (very) quick, the camera's electronic shutter allows for bullet-stopping 1/32,000 sec shutter speeds. The RX10 IV uses the e-shutter in order to shoot at 24 fps, by the way.
4K and proxy shooting
The RX10 IV can shoot 4K video from the full width of its sensor, which is rendered and downscaled to give very detailed, "oversampled" footage. This can be shot at 30, 25 or 24p in either 100Mbps or 60Mbps using the XAVC S codec. Dropping down to Full HD (1920 x 1080) you'll find 120p, 60p, 30p and 24p frame rates. If you're so inclined, a 60i option is available if you switch to AVCHD. (The PAL equivalents for these are also available, of course.)
As mentioned earlier, the new touchscreen display allows for tap focusing. You can use this to "rack focus" with zero effort, and there are three transition speeds to choose from. Unfortunately, 'Spot Focus' continues to confuse, and there's still no easy way to 'tap to track' a subject, as all Lock-on AF options are greyed out in 4K video mode. It is available in 1080p video, but only via the rather clunky (and old) 'Center Lock-on AF' method.
The Mark IV also gains a 'Proxy' shooting mode, where it captures a 720p stream of video alongside the main 4K stream, meaning you can edit using the proxies and then apply the edits to the full-res footage at the end of the process. This greatly speeds up the workflow, especially when using slower computers.
High frame rate shooting
In addition to 4K capture, the RX10 IV is able to shoot 1080 at up to 120p, which can either be saved as 100Mbps or 60Mbps clips or slowed down, in-camera, to 60, 30 or 24p.
The camera has the ability to capture at 240, 480 or 960 fps, with footage taken from increasingly low-res crops from the sensor (250, 500 or 1000 fps in PAL modes), which can then be output as 60, 30 or 24p super slow-mo footage (50 or 25p in PAL).
The RX10's focus peaking has also been improved, with three intensity settings designed to make the peaking easier to see and distinguish between, as you shoot.
A new focus limiter button, found on the left side of the camera, lets you choose between the whole focus range or 3m to infinity. Sony has also added an "AF-A" mode, which will choose between AF-S and AF-C based on its assessment of subject movement.
Fans of back-button focus will be pleased to hear that you can now activate autofocus with any of the custom buttons (we figure most folks will use the AE-lock button).
Another new feature is Bluetooth connectivity, which can be used to share location data with the camera. We'll see what else it can do when we spend more time with the camera.
Something that's a slight step backward is battery life, which drops from 420 to 400 shots per charge (CIPA standard).
The Mark IV uses the same 24-600mm equivalent, F2.4-4 zoom lens as its predecessor. As, no doubt, people will be highlighting in the comments, this is an equivalent aperture range of F6.5-10.9. This is not significantly less light than the F6.8-9.5 equivalent you'd get from an F4.5-6.3 tele zoom on an APS-C camera. On top of this, we've always been impressed with the quality of this lens, especially considering its long reach.
As one would expect, the lens is stabilized, and Sony claims 4.5 stops of shake reduction using CIPA's testing methods. The company says that it has improved the IS system at the long end of the focal range, which should framing subjects and keeping your AF point on them easier.
Those who were hoping for the return of an ND filter (found on the RX10 II) will be sorely disappointed, as the RX10 IV lacks one as well. The lens is threaded for 72mm filters, however.
$1700 is a lot of money, but Sony believes the combination of capabilities: high speed shooting, autofocus performance and 4K video capture, together with a 24-600mm equiv. zoom, is what makes the Mark IV a compelling offering.
What do you think? Share your thoughts in the comments below.
In the first of a three-part series, underwater shooter Alex Lindbloom travels to Mexico's most photogenic dive spots to put the Panasonic Lumix GH5 to the test. The journey begins in the cenotes of the Yucatn Peninsula
I am a landscape photographer based in Oklahoma and when I am not traveling and photographing, I enjoy peaceful living in the country with my horse, two dogs, and my husband and kids.
Immediately after its announcement in New York, we got a chance to shoot with the latest addition to Sony's RX series, the long zoom, fast shooting, 4K-capable RX10 IV.
The first thing that becomes apparent is that the addition of phase detection immediately sets right the biggest limitation we experienced with its predecessor. Even across a range of shooting subjects, the autofocus was fast and exhibited vey little in the way of hunting.
Shooting at 24 frames per second you get used to going a little easy on the shutter button
Shooting at 24 frames per second you get used to going a little easy on the shutter button: hold it down for too long and, especially if you're shooting Raw, you can expect to be locked out of the menu for a considerable period of time. Like recent Sony models, you can now enter playback mode while waiting for the buffer to clear, and the camera will show you the images it's had time to process.
Intelligently, the camera groups all the shots from a burst together, meaning your card doesn't become impossible to navigate, even if it's full of groups of >30 image bursts. As you scroll through, you can hit the center button to expand the group and see the individual images.
Overall, the camera is extremely responsive. The viewfinder doesn't give you updates quite as immediately as looking through an optical viewfinder but it's fast enough that, with a bit of practice, I was able to follow the relatively unpredictable action of a football (soccer) game, even when fairly zoomed-in.
The touchscreen isn't the most responsive we've encountered but felt quicker than the one on the a6500. Tap quickly around the screen and you'll notice the AF point will sometimes noticeably lag behind your current location, but this lag is much less apparent in touchpad mode. Touching the active region of the rear screen causes the AF point to light up and it follows your finger's movement around the scene quickly enough.
We totally forgot we weren't shooting with a high-end sports camera
Focus tracking also seemed pretty effective and, between the ability to easily register a default AF point (with a different one selected for each camera orientation) and use the touchpad to move it, it proved to be pretty quick and easy to get the AF point where it was needed before hammering on a button assigned to be AF-On.
There wasn't time to completely familiarize ourselves with the full capability of the autofocus system but we'll be testing it more thoroughly as soon as we get a camera into the office. We'll also try to post some video samples in the coming days.
Our first impressions, though, were that anyone getting outraged by the camera's not inconsiderable price should try shooting with the camera for a while. Even in an initial phase of getting to know the camera, we'd find we totally forgot we weren't shooting with a sports-capable camera, only to occasionally be surprised when we took it away from our eye and realized it doesn't have high-end DSLR levels of direct settings control. This isn't something that tends to happen with a typical superzoom.
From time to time, photography could get you in trouble. For Photographer Jesse Walker and model Marisa Papen, the trouble came while they were shooting nudes in an ancient temple in Luxor, Egypt. They tried hiding from the guards to take the shots, but they got busted. As a result, they faced extremely unpleasant situations 
The post Photographer and model arrested over nude photoshoot at ancient Egyptian temple appeared first on DIY Photography.
Studio accessories manufacturer Lastolite has introduced a pair of new stone effects to its panoramic background range. Granite and Limestone are the first textured materials to join the range that currently just includes white, black and Chromakey Green plain finishes.
The Lastolite Panoramic Background system consists of a three-part collapsible frame that is self-supporting once erected. Plain or patterned covers stretch over the frame to form a 4x2.3m/13x7.5ft backdrop suitable for shooting groups, and once packed away the kit measures just 100cmx30cmx35cm/39x12x14in.
The new patterns will be available with or without the panoramic frame, and will cost 306 on their own or 600 with the frame (US prices still to be released). For more information see the Manfrotto website.
Lastolite by Manfrotto presents new Granite and Limestone panoramic backgrounds to the collection
Lastolite By Manfrotto, the world's leading manufacturer of backgrounds and lighting control systems has announced the launch of the new Panoramic Background in Granite and Limestone.
The Panoramic Background has quickly become the go to background for busy photographers needing a 4m wide, seamless, crease free, collapsible solution. Built around a three-panel collapsible lightweight aluminium framework, the Panoramic background is completely self-supporting so there is no need for additional stands and crossbars. The Panoramic Background is assembled in a matter of minutes and, once assembled, is simply clipped onto the framework. The stretchable cover fabric ensures a flat, crease free surface at all times. Unlike other large seamless background solutions, the Panoramic collapses down to an impressive 100cm x 30cm x 35cm size, making it very easy to transport. The Panoramic Background is perfect for shooting larger groups, shooting with props or creating the negative space in a photograph that agencies so often request.
The new themed covers now bring textured surfaces to the range and perfectly complement the existing black, white and Chromakey Green solid colour surfaces. There are two new covers available Granite and Limestone. Granite offers a stone texture effect with a full range of grey tones and a dark vignette around the edges, whilst Limestone is much lighter, offering a subtle range of mid to light greys giving the effect of a Limestone surface.
The Granite and Limestone Panoramic background includes the framework and the cover. For existing Panoramic background users the new covers are also available separately.
Click here to see a video of the new Panoramic Background in action https://vimeo.com/230936776
The Granite and Limestone Panoramic Background has an RRP of 600.
For more information, please visit www.manfrotto.co.uk/lastolite
There's been quite a hype about the new Nikon D850. Even me, generally not obsessed with gear, am thinking of saving up and treat myself with this beast of a camera someday. But, judging from the list of Nikon Asia, Middle East and Africa Ambassadors this camera may not be for women. Their promotional 
The post Nikon promotes D850 with 32 men and 0 women, community reacts fiercely appeared first on DIY Photography.
All the time, I see new flash and strobe owners ask How do I fire these things?, which isn't an unreasonable question. For speedlights, it's fairly straightforward. You buy the one that fits your camera's hotshoe, slide it on, and beyond that you read the manual to figure out what all the different functions do. 
The post How to fire your strobes 3 different ways and when to use each one appeared first on DIY Photography.