Lens hoods: Do they really work?

Posted by Digital Photography Live Date April 8, 2018

Hate them love them but they are quintessential and most often than not help save your camera from a nasty bump. When Canon feels that every L lens that they manufacture must be accompanied with a lens hood, that means that they feel it is important to have one. As a matter of fact it is a personal opinion that they are as essential as your standard one or two stop neutral density filter; never leave home without it.

Lens hoods come in different shapes and sizes. There are ones that are specially designed for ultra wide angle lenses which however provide little protection from bumps but do give that little bit of protection against a light source that can create flares. To ensure there are no unwanted flares on the lens is the primary reason for using lens hoods. In fact there are two types of flares one that we can see and the other one that is invisible to the eye, which is responsible for creating unusual skin tones and subdued color saturation resulting in less contrast. For tele lens, specially designed hoods provide more protection from the Sun and of course from possible bumps. Hoods for tele lenses are more pronounced on the far end and they protrude out to prevent the more expensive front lens elements from taking a knock.

Lens hoods are normally not designed to provide weather sealing, although they can prevent a little drizzle from smearing the front lens elements. However, if your lens isn’t weather sealed, then it is a bad idea to take it out in the rain! Some lenses such as the Canon EF 16-35 f/2.8L II is weather sealed only when you have a filter screwed on to the front part. If that be the case with your lens, then always carry a filter when you are planning to shoot outside.

A lot of photographers who travel quite a lot with their equipment complain that the lens cannot be packed properly in their accompanying pouches with the lens hood on. Here is a tried and tested tip for them. Try screwing on the lens hood backwards and then fit it in the lens pouch. It should fit now and if it does not then you will need a specially designed camera bag to carry your equipment. In any case you will need a special bag to carry your professional equipment when you travel. This will prevent damages to your expensive photography gear. These bags have carefully designed compartments which can hold one to two DSLR bodies, lenses and other accessories. There are some excellent bags available for the same.

Speaking of screwing the lens hood in reverse, some people actually do that even when shooting! The basic idea for using a lens hood is so that it can provide protection against the sunlight (or for that matter any other light) from directly falling on the lens. It thus prevents the possibilities of creating lens flare. Lens flare is a problem in most lenses, even the most top end L series lenses from Canon. As such screwing the lens hood reverse when shooting beats common sense. If it is an annoyance, don’t carry it at all.

How to Shoot Food Photography?

Posted by Digital Photography Live Date April 2, 2018

Are you interested in food photography or want to know how chefs photograph their food for recipe books? Celebrity chef Jamie Oliver & Photographer David Loftus teamed up together for preparing and shooting food for recipe books and websites.

In this video, David (shooting on the Nikon D4) and Jamie (shooting on the Nikon D3200) show how they capture the food that Jamie cooks, and how they shoot food photography.

Learn your rights and protect your photos – Photographer’s Guide to Copyright

Posted by Digital Photography Live Date March 27, 2018

Do you know your rights as a photographer? Copyright law may seem like a confusing mater. However it’s important to protect yourself and your work. Thats why Photoshelter with help from the experts at the American Society of Media Photographers have created the free The Photographer’s Guide to Copyright to help you on how to protect your images. It will guide you to learn the ins-and-outs of U.S. copyright law, current trends and tips to avoid infringement.

From this guide you’ll learn:

Find out photographer’s exclusive rights under copyright law
How to protect yourself and your images
Tips on how to register your work through the U.S. Copyright Office
Things to consider before posting your photos to social networks
Ways to avoid infringement.

Get the free guide here.

Best Lenses for Nikon D800

Posted by Digital Photography Live Date March 13, 2018

DxOMark tested & scored 61 different lenses on the 36MP Nikon D800 camera and listed the best lens choices for Nikon D800 based on their DxOMark test result. Here are the lists

Best 50mm lenses for Nikon D800

Model	Score	Available at
Sigma 50mm f/1.4 EX DG HSM	32	Amazon \| Adorama \| B&H
AF NIKKOR 50mm f/1.4D	32	Amazon \| Adorama \| B&H
AF-S NIKKOR 50mm f/1.4G	32	Amazon \| Adorama \| B&H
Carl Zeiss Makro-Planar T 50mm f/2	31	Amazon \| Adorama \| B&H
AF NIKKOR 50mm f/1.8D	31	Amazon \| Adorama \| B&H
AF-S NIKKOR 50mm f/1.8G	29	Amazon \| Adorama \| B&H
Carl Zeiss Planar T 50mm f/1.4	26	Amazon \| Adorama \| B&H

Best 85/105mm lenses for Nikon D800

Model	Score	Available at
AF-S NIKKOR 85mm f/1.4G	40	Amazon \| Adorama \| B&H
AF-S NIKKOR 85mm f/1.8G	40	Amazon \| Adorama \| B&H
Carl Zeiss Makro-Planar T 100mm f/2	36	Amazon \| Adorama \| B&H
Samyang 85mm f/1.4 Aspherical IF	36	Amazon \| Adorama \| B&H
Sigma 85mm f/1.4 EX DG HSM	35	Amazon \| Adorama \| B&H
Carl Zeiss Planar T 85mm f/1.4 ZF2	33	Amazon \| Adorama \| B&H
AF NIKKOR 85mm f/1.8D IF	32	Amazon \| Adorama \| B&H
AF-S Micro-NIKKOR 105mm f/2.8G VR	32	Amazon \| Adorama \| B&H
AF NIKKOR 85mm f/1.8D	29	Amazon \| Adorama \| B&H
Tamron SP 90mm f/2.8 Di 1:1 Macro	29	Amazon \| Adorama \| B&H
Sigma 105mm f/2.8 EX DG Macro	28	Amazon \| Adorama \| B&H
Sigma 105mm f/2.8 EX DG OS Macro	28	Amazon \| Adorama \| B&H

Best Zoom lenses for Nikon D800

Model	Score	Available at
AF-S NIKKOR 24-70mm f/2.8G ED	28	Amazon \| Adorama \| B&H
Sigma 24-70mm f/2.8 EX DG HSM	23	Amazon \| Adorama \| B&H
Tamron SP 28-75mm f/2.8 XR Di	23	Amazon \| Adorama \| B&H
AF-S NIKKOR 24-120mm f/4G ED VR	22	Amazon \| Adorama \| B&H
AF-S NIKKOR 24-120mm f/3.5-5.6G ED	18	Amazon \| Adorama \| B&H

Best Ultra-wide Prime lenses for Nikon D800

Model	Score	Available at
Carl Zeiss Distagon T* 2.8/15 ZF.2	27	Amazon \| Adorama \| B&H
Sigma 20mm F1.8 EX DG ASP RF	26
Carl Zeiss Distagon T 21mm f/2.8	25
Samyang 14mm f/2.8 IF ED UMC Asp	25
Nikon AF 20mm f/2.8D	25	Amazon \| Adorama \| B&H
Carl Zeiss Distagon T 18mm f/3.5	22
Sigma 14mm F2.8 EX Asp HSM	20

Best Wide-angle Prime lenses for Nikon D800

Model	Score	Available at
Sigma 35mm F1.4 DG HSM	39	Amazon \| Adorama \| B&H
Nikon AF-S 24mm f/1.4G ED	34	Amazon \| Adorama \| B&H
Samyang 35mm F1.4 AS UMC	34
Carl Zeiss Distagon T 35mm f/1.4	34
Nikon AF-S 28mm f/1.8G	33	Amazon \| Adorama \| B&H
Carl Zeiss Distagon T 35mm f/2	33
Nikon AF-S 35mm f/1.4G	33	Amazon \| Adorama \| B&H
Carl Zeiss Distagon T 28mm f/2	29
Nikon AF 28mm f/2.8D	26	Amazon \| Adorama \| B&H

Best Wide Angle Zoom lenses for Nikon D800

Model	Score	Available at
Nikon AF-S 14-24mm f/2.8G ED	28	Amazon \| Adorama \| B&H
Tokina AT-X 16-28 F2.8 PRO FX	24	Amazon \| Adorama \| B&H
Nikon AF-S 16-35mm f/4G ED VR	23	Amazon \| Adorama \| B&H
Nikon AF-S 17-35mm f/2.8D IF-ED	21	Amazon \| Adorama \| B&H
Nikon AF 18-35mm f/3.5-4.5D IF-ED	20	Amazon \| Adorama \| B&H
Sigma 12-24mm F4.5-5.6 EX DG HSM II	17
Sigma 12-24mm f4.5-5.6 EX DG	16

Best 70-200mm Zoom lenses for Nikon D800

Model	Score	Available at
Nikon AF-S 70-200mm f/2.8G ED VR II	29	Amazon \| Adorama \| B&H
Nikon AF-S 70-200mm f/4G ED VR	28	Amazon \| Adorama \| B&H
Nikon AF-S VR 70-200mm f/2.8G IF-ED	26
Tamron SP AF 70-200mm F/2.8 Di LD IF	26	Amazon \| Adorama \| B&H
Sigma 70-200mm F2.8 EX DG OS HSM	25	Amazon \| Adorama \| B&H
Sigma 70-200 F2.8 EX DG APO HSM II	25
Sigma 70-200mm F2.8 EX DG APO HSM	23

Best 70-300mm Zoom lenses for Nikon D800

Model	Score	Available at
Nikon AF-S 70-300 f/4.5-5.6G IF ED VR	20	Amazon \| Adorama \| B&H
Nikon AF 70-300mm f/4-5.6D ED	20
Sigma 70-300mm F4-5.6 DG OS	19	Amazon \| Adorama \| B&H
Tamron SP 70-300F4-5.6 Di VC USD	19	Amazon \| Adorama \| B&H

Best Super Zoom lenses for Nikon D800

Model	Score	Available at
Sigma 120-400 F4.5-5.6 DG OS HSM	19	Amazon \| Adorama \| B&H
Nikon AF 28-200mm f/3.5-5.6G IF-ED	17	Amazon \| Adorama \| B&H
Nikon AF-S 28-300mm f/3.5-5.6G ED VR	17	Amazon \| Adorama \| B&H
Tamron 28-300 F3.5-6.3 XR I A	16	Amazon \| Adorama \| B&H

What is a RAW file?

Posted by Digital Photography Live Date March 8, 2018

It is often a hot topic for discussion whether to shoot RAW or JPEG. Professional photographers looking to do a bit of post production of their photographs before submitting for publishing prefer shooting their pictures in RAW. Again, sports photographers and photojournalists covering other interest areas may not have that luxury to do post processing because of the limited time frame within which they have to submit their photographs. They prefer to simply shoot large fine JPEGS. So, what is RAW and why the photography world is divided into two over RAW?

RAW is the unprocessed file format that the camera shoots which has approximately 12 to 14 bits of data and allows you a corresponding amount of brightness levels to start with during post processing. This again is directly related to what camera you use. Most DSLRs can shoot between 12 to 14 bits. There are some point and shoots which also offers the option to shoot RAW. However it is very rarely that a camera can shoot at 16 bits. Explaining this in other words, RAW is the same image that the sensor of the camera sees using the three primary colors of red, blue and green which has not been processed yet. It can be compared to a film of negatives that has not been developed.

The sensor plate of the camera has tiny pixels which are sensitive to light and capture photons. If we compare the sensor plate of the camera to individual cameras, then each single pixel can record only one of the three primary colors of red, green and blue. The reason is if they are made to collect all the primary colors then it will be impossible to determine how much of each has been accumulated by the pixels. A filter is placed over these sensors to ensure that they can record only one of the colors and reflect back the rest. Once the exposure is completed the photons collected by the pixels are then analyzed and then processed by the camera’s image processing system.

There are different types of filter arrangements used in digital cameras to collect the image information. The most common being the Bayer array or combination of filters. It has an arrangement of rows of filters representing the three primary colors. If we can magnify the filter array we will notice that the green filters outnumber the red and blue. There is a reason for this of course. The human eye is more susceptible to the green color.

Once the exposure is made and if the camera is set to record images in JPEGs the image processing system kicks in and does the post processing in-camera. However there is a definite drawback to that as most of the modern digital cameras do not have the processing power that is necessary to process RAW images correctly. Professional photographers and those who are looking for more accuracy in the process of demosaicing prefer to do their post processing on computers which are faster and have more processing speeds leading to a more accurate depiction of the actual scene.

Variable Neutral Density Filters

Posted by Digital Photography Live Date March 7, 2018

Variable Neutral Density Filters

Before we can delve into what variable neutral density filters are and how they can make a significant impact to your photography and the weight of the camera bag let’s take a flashback on what neutral density (ND) filters are. Neutral density filters can be termed in a single phrase as an eyewear for your camera. When screwed onto the front part of the lens they immediately reduce the amount of light that comes through the lens. But wait a minute isn’t good photography about light and more light is better? Yes and no. Yes because good photography depends on light and no because excess amount of it has the effect of washing out your compositions. Say, when you are trying to capture a tide with a brightly illuminated sky in the background. You want to capture the tide moving in and want that dreamy effect where the water is all white and silky in appearance. This needs a long exposure. However the problem is with a long exposure, your camera sensor is going to capture so much light that the final image is going to be a white canvas. So what to do? This is where a neutral density filter comes in. They work just like sun glasses, stopping the excess amount of light and allow you to have a long exposure. They come in various f stops or amounts of light that they can stop.

So what is a variable neutral density filter? A neutral density filter is great except that it cannot be adjusted to variable densities. As a result a photographer who relies heavily on neutral density filters has to carry several of them designed to stop light in increasing stops (please note every stop here is a half of the previous, so that one stop means half and two stops means quarter and so on). This is why a variable neutral density filter is so much effective.

A variable neutral density filter sits in front of a camera lens just as a normal neutral density filter would. You will have to screw the filter on to the lens. Now turn it slightly in any direction and the amount of light stopped increases. As such it is like a sunglass for the eyes but that is conditioned with a turn screw. You turn it to adjust for the amount of sunlight that you wish to block. Sounds amazing? It is indeed so, it is almost like magic. Variable neutral density filters immediately creates a situation where there is less need to carry several different neutral density filters with different stops. Some people have tried using two ND filters to see if they can really cut out light for some very fast apertures. But that can cause some problem of vignetting and in that case if you are using full frame bodies you may have to zoom in a bit to avoid the corners. Having said that with a variable neutral density filter this problem will never arise and the photographer can simply turn the front end of the filter to adjust the amount of stop he needs.

Find out more on VND here Tiffen 82mm Variable ND filters review

How to photograph Milky Way (Night Sky) – Tips, Settings & Examples

Posted by Digital Photography Live Date February 20, 2018

How to photograph Milky Way or Night sky

Mother Nature’s wonderful creations are some of the best subjects for photography. Mighty waterfalls, sheer cliffs, mountains that stand with their heads in clouds and of course stars. Speaking of stars, our own Milky Way galaxy is a wonderful subject to photograph, given the right tools. Unlike the older days when sensors had trouble picking up things against the backdrop of the pitch black night sky, modern cameras, chiefly the DSLRs have become more powerful than we’ve ever imagined. Thanks to technological advances it is now possible to photograph the Milky Way in all its glory on a clear black night. Here are a few tips how on how to do it.

Photo: David Kingham

The tools

A DSLR camera is a must have. MILCs with full frame sensors such as the Sony Alpha 7 could be used too. Anything with a big sensor and a manual mode would do really.

A tripod is a must too. Ensure that it can be extended to at least 6’. Unless you are super-tall that should allow you to look up through the back of the camera. Remember slouching for long hours is not going to do any good to your back.

Lens can be any really. However, a wide angle lens will allow you to capture a big slice of the night sky. However, ensure that the lens has a fast maximum aperture. It is absolutely non-negotiable.

Optionally, you could get a cable release so that you can save the exposure from any shake having to keep the shutter button pressed down manually. Otherwise use camera’s self timer.

There are some useful software and apps that can really make a difference to your Milky Way photography. Star Walk Astronomy Guide for example is an excellent tool that tells you where the Milky Way will appear on the sky. Currently this app is only available for iPhones and iPads.

The final tool is an image editing software and Adobe Lightroom is a good one. We shall come to its uses later.

Sony DSLR-A550, 41 Sec, f/3.5, ISO 1600 | Photo: Kris Williams

The settings

It must be a dark night with absolutely no ambient light from the city or the surroundings. No street lights or car trails in the frame otherwise it will ruin the shot. Check the lunar phase and ensure it is a new moon night.

Set the camera on the tripod, lock focus and then switch to manual focusing. Set the lens on aperture priority and select the brightest f-stop you have. Let’s say you have f/1.8. Select that to ensure that your camera can pick up enough light to capture the distant stars.

Also ensure that the camera is set to shoot in RAW instead of JPEG. This will allow you to recover details during post-processing. The exposure should be for a minimum of 30 seconds. You can tinker with it depending on the results.The best way to approach is by starting with the 500 rule. Here is a spreadsheet that will explain the rules.

The actual process of photographing will require you to tweak the ISO, shutter speed and aperture intermittently and take plenty of photos to finally come to a few settings that you feel works for you. Some photographers recommend cranking the ISO to 2000-3000 or even higher. You will need to consider the noise factor and check the results after each shot.

A bit of post-processing will be required to give your image the final look that is going to induce a “wow” from others. This includes color correction, noise reduction, sharpening and of course converting the RAW image to its final JPEG format. All this is done in Adobe Lightroom.

Nikon D700, F/2.8, 30 secs, ISO 6400 | Photo: Carl Jones

EOS 5D II, EF15mm f/2.8, 30 Sec, f/2.8, ISO 3200 | Photo: Jon Martin

EOS 6D, 20 sec, ISO 6400 | Photo: Bill Shupp

Nikon D700, 30 sec, f/2.8, ISO 3200 | Photo: David Kingham

EOS 5D II, 25 Sec, f/2.8, ISO 3200 | Photo: Michael Matti

EOS 5D Mark II, 13 sec, ISO 3200 | Photo: Tor Even Mathisen

Nikon D7000, 20 Sec, f/2.8, ISO 3200 | Photo: Indigo Skies

EOS 5D Mark III, 30 sec, ISO 3200 | Photo: Scott Cresswell

Aurora Aperture Introduces World’s First Variable GND Filter Family

Posted by Admin Date January 20, 2018

Irvine, California, January 15th, 2018 – Aurora Aperture Inc., a Southern California company specialized in photography filters, today has introduced the world’s first variable graduated neutral density (GND) filter family, the Aurora PowerGXND.

The PowerGXND family is an hard transition GND filter with a continuous range up to 5 stops (ND 0 – 1.5). GND filters are widely used in photography and videography for balancing a high contrast scene for proper exposure.

“The Aurora PowerGXND family is the world’s first variable GND filter,” said Jeff Chen, founder and CEO of Aurora Aperture Inc. “offering a wide range of light balancing capability for both photographers and videographers. Until now users need to carry multiple fixed stop GND filters with light reduction values of one, two, and three stop with no fractional stop value. With our variable GND filters, all you need is one filter and just rotate the filter until you see the desired result, it is truly that easy.”

The Aurora PowerGXND filter is based on the innovative Aurora PowerXND variable ND filter introduced in 2016. While keeping the original thin frame profile, a new hard stop feature is added to limit the filter rotation within the minimum and maximum settings. Another new feature is a direct reading scale so users can quickly dial the filter to a stop value easily.

Designed in California by Aurora Aperture, the Aurora PowerND filters are made from Schott B 270® i Ultra-White Glass. Filter surfaces are applied with PFPE hydrophobic and oleophobic coatings to repel water, soil, and dirt. With these multi-layer nano coatings, the Aurora PowerGNXD filters are capable of answering the demands of 4k videos and modern high density sensors.

There are three sizes available, S (62mm), M (82mm), and L (105mm) to cover lens filter thread size from 37mm to 82mm. Adaption plates and square filter systems (75mm, 100mm, and 130mm) are available for using the variable GND filters on different lenses.

Aurora-Aperture PowerGXND

Availability and Pricing

The Aurora PowerND family will be available through Kickstarter starting in January 2018. Dealers and general availability will start in May 2018. List price starts from US$149 to $329, depending on filter sizes.

http://www.aurora-aperture.com

Fujifilm X-Pro2 & X-E3 – New Firmware Version

Posted by Admin Date January 19, 2018

Fujifilm X-E3 Firmware Version – 1.10

Change log

Auto Geotagging and Date/Time synchronization by Bluetooth pairing
When connecting to Bluetooth, Geotagging and Date/Time information of a camera can be synchronized with the information of a smartphone. “SMARTPHONE SYNC. SETTING” is added in Bluetooth SETTING.

*To use this function, the application software “FUJIFILM Camera Remote” needs to be upgrade to the latest version Ver.3.1.0.
2.The phenomenon is fixed that live view blinks on LCD and EVF with face detection and dynamic range 400% setting.

Download

Fujifilm X-Pro2 Firmware Version – 4.01

Change log:

A phenomenon of freeze is fixed. It will occur in case you try to shoot pictures when all the three settings below are set at the same time after the firmware has been upgraded to version 4.00.
1. IMAGE QUALITY : FINE+RAW or NORMAL + RAW
2. RAW RECORDING : LOSSLESS COMPRESSED
3. DRIVE : any of ADVANCED FILTER

Download

New Expanded Multi-View Shooting Capabilities for Sony the Compact RX0 Camera

Posted by Admin Date January 19, 2018

New Wired and Wireless Multi-Camera Solutions Enable More Flexibility and Creativity

LAS VEGAS, Jan 8, 2018 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today announced new wired and wireless multi-camera solutions for the versatile RX0 that enable more flexibility, creativity and operability for today’s creators.

The RX0, introduced late this past fall, brings the advanced imaging quality of Sony’s acclaimed RX camera lineup to a robust, waterproof¹, ultra-compact body measuring approximately 2 3/8 in. x 1.5/8 in x 1 3/16 in (WxHxD)² and weighing just 3.9 oz³. The miniature dimensions and all-around versatility of the new camera make it a powerful tool when used either as a single unit or when combined together with additional RX0 cameras in multi-angle, multi-view shooting situations. For flexible mounting options in tight spaces, the camera features a complete symmetrical lens position and an image flip function, adding to its wide range of creative potential.

The compact RX0 camera offers two different types of solutions for multiple camera shooting and control, including a wired solution for precisely accurate camera synchronization and control, and a wireless solution for added convenience and flexibility.

New RX0 Wired Multi-View Shooting with Camera Control Box

Sony has announced a new accessory Camera Control Box (model CCB-WD1) that connects to the RX0⁴ and enables PC control with web browser⁵ via wired IP (internet protocol) connection. By converting control signal to IP, camera settings can be reliably controlled⁶ from a single PC from any location. A wired connection also allows for much seamless control and synchronization of multiple pairs of RX0 cameras and Camera Control Boxes – up to 100 units⁷ in total – enabling creators to produce high quality movie effects like “bullet-time” or virtual reality, or to shoot high profile events from unique angles.

When using multiple pairs of RX0 cameras and camera control boxes, settings of all connected cameras can be changed simultaneously, and can be triggered to all start/stop recording at the same time. Additionally, a video sync function is also available, allowing frame timing to be synchronized between all connected cameras. This reduces any time gaps between cameras and supports the process of stitching multiple images together to create special effects.

Files can also be transferred directly to the connected PC⁸, with the ability to assign and change file names to avoid any confusion when dealing with multiple cameras. In total, up to 100⁷ separate RX0 cameras and CCB-WD1 Camera Control Boxes can be linked together for a live-view multi-camera feed. Additionally, via Camera Control Box, shooting settings and modes for all connected cameras can be easily programmed by the user.

The new CCB-WD1 Camera Control Box will ship next month for about $700 US or $900 CA.

Improved Wireless Multi-View Shooting with New PlayMemories™ Mobile Application

Sony’s latest version 6.2 of its PlayMemories Mobile application expands the multi-camera control capabilities when paired with the RX0⁴. With the new version of the mobile application, users will be able to link their smartphone or tablet to up to 50 RX0 cameras via an access point⁹ to control them simultaneously¹⁰. In addition to the current ability to change key camera settings, all connected cameras can be turned ON/OFF together¹¹, and users have the ability to control and shoot by separately assigned camera ‘groups’.

The new PlayMemories Mobile application version 6.2 will be available this month.

1. Compliant with JIS/IEC protection levels (based on Sony tests). Shooting in depths of up to 10 meters (33 ft) is possible for up to 60 minutes (JIS: Japan Industrial Standards; IEC: International Electrotechnical Commission). Depending on usage conditions and circumstances, no guarantee is made regarding damage to, malfunction of, or waterproof performance of this camera

2. Approximate dimensions

3. Approximate weight with battery and media included

4. System software update for RX0 (scheduled in January 2018) is required

5. Recommended computer environment
OS: Windows 7/Windows 8.1/Windows 10, Mac OS X 10.11/macOS 10.12-10.13
Web browser: Google Chrome, Internet Explorer, Safari

6. Use only in a network environment with security measures

7. Depending on the specifications of the equipment to be used, the number of devices that can be connected will change. Up to 100 units connection have been tested (based on Sony tests)

8. Up to 4 GB per file can be transferred

9. Depending on the specifications of the access point, smartphone, tablet to be used, the radio wave environment of the installation location, the number of devices that can be connected will change. Up to 50 units connection have been tested (based on Sony tests)

10. Use only on Wi-Fi connection with security measures

11. Bluetooth connection required. Depending on the specifications of smartphone, tablet to be used, the number of devices that can be controlled will change.

400 Megapixel Camera – Hasselblad Introduces H6D-400c MS

Posted by Admin Date January 19, 2018

Product Summary

Model name: Hasselblad H6D-400c MS
Release Date: January 16, 2018
Focus Type: Autofocus
Format : Medium Format
Mount: Hasselblad H system lens
Availability: March 2018
Price: $ 47,995
Purchase options: Adorama | B&H | Amazon

Key features

100MP 53.4 x 40mm CMOS sensor
Multi-Shot Capture, 4 or 6 Shot Modes
15-Stop Dynamic Range
True Focus II
3.0-inch touch rear display
HD & 4K video
Dual media card slots

Building on a vast experience of developing exceptional, high-quality single and multi-shot cameras, Hasselblad once again has raised the bar for image quality captured with medium format system.

Multi-Shot capture has become an industry standard in the field of art reproduction and cultural heritage for the documentation of paintings, sculptures, and artwork. As the only professional medium format system to feature multi-shot technology, Hasselblad continues to be the leading choice for institutions, organizations, and museums worldwide to record historic treasures in the highest image quality possible.

With over 10 years of digital imaging expertise, the latest Multi-Shot digital camera combines the H6D’s unrivalled ease of use with a completely new frontier of image quality and detail. This new camera encompasses all of the technological functions of Hasselblad’s H6D single shot camera, and adds to that the resolution and colour fidelity leaps that only Multi-Shot photography can bring to image capture.

With an effective resolution of 400MP via 6 shot image capture, or 100MP resolution in either 4 shot Multi-Shot capture or single shot mode, the Multi-Shot capture requires the sensor and its mount to be moved at a high-precision of 1 or ½ a pixel at a time via a piezo unit. To capture Multi-Shot images the camera must be tethered to a PC or MAC.

In 400MP Multi-Shot mode, 6 images are captured, the first 4 involve moving the sensor by one pixel at a time to achieve real colour data (GRGB- see 4 shot diagrams below), this cycle then returns the sensor to its starting point. A further two exposures are made moving the sensor by ½ a pixel horizontally and then ½ a pixel vertically (see 6 shot diagram on next page). These 6 captures are then merged to give the equivalent of a single 400MP image, delivered as a 2.4GB 16-bit TIFF (23200 x 17400 pixels), for those seeking the utmost in image quality and resolving power.

The H6D-400c MS encompasses all the features and functionality of Hasselblad’s standard single shot cameras:

– USB 3.0 type c connection for tethered shooting, high speed data transfers & 30FPS live view
– Dual media card slots: CFast 2.0 and SD card
– 3.0-inch touch rear display
– Smartphone style user interface
– HD & UHD video
– Modular system with improved back removal process
– Technical camera connectivity (single shot)
– Wi-Fi
– HDMI & Audio I/O
– True Focus II

The H6D-400c MS will begin shipping March 2018 with a MSRP of € 39,999 / $ 47,995 / £ 36,250 / RMB 319,999 / JPY 5,391,380 excl. VAT. Pre-orders can start to be taken January 16th.

The H6D-400c MS will also be available to rent through your local Hasselblad sales representative.
The rental fee is approx. €399/day for short term loans, but you can save up to 50% of that cost if you rent for a longer period, excluding shipping, insurance, and other rental service related fees.

More Info..

Product Photo

Sample Image

Specification

Sensor Type	CMOS, 100 megapixels (11600 × 8700 pixels, 4.6 × 4.6 µm)
Sensor Dimensions	53.4 × 40.0mm
Image Size	Stills: RAW 3FR capture: Single-shot (100MP): 211MB. TIFF 8 bit: 300MB. 4-shot (100MP): 650MB. TIFF 8 bit: 300MB. 6-shot (400MP): 925MB. TIFF 8 bit: 1.2GB. TIFF 16 bit: 2.4GB. Video: HD (1920 x 1080p), UHD (3840 x 2160p)
File Format	Stills: Hasselblad 3FR, JPEG (12.5 MPixel) Video: Hasselblad RAW (UHD, 25 fps), H.264 Compressed (HD, 25 fps)
Shooting Mode	Stills: Single shot, 4-shot and 6-shot, Video
Colour Definition	16 bit; Dynamic range approx. 15 stops
ISO Speed Range	ISO: 64, 100, 200, 400, 800, 1600, 3200, 6400, 12800
Storage Options	CFast card, SD card (UHS-I) or tethered to Mac or PC
Colour Management	Hasselblad Natural Colour Solution, HNCS
Storage Capacity	32GB card holds 144 signle shot images on average
Histogram Feedback	Yes, on Sensor Unit Display
IR Filter	Mounted in front of sensor
Software	Phocus for Mac and Windows
Platform Support	Macintosh: mac OS version 10.9 or later; PC: XP/Vista/Windows 7 (64 bit)/ 8 / 10 or later.
Host Connection Type	USB 3.0 (5 Gbit/s) Type-C connector, Mini HDMI, Audio In/Out
Additional Connections	Mini HDMI, Audio In/Out, Flash sync In/Out, Power In
View camera compatibility	Yes, Mechanical shutters controlled via flash sync.
Film compatibility	Yes
Shutter Speed Range	60 minutes to 1/2000 sec (depending on lens type used)
Flash Sync Speed	Flash can be used at all shutter speeds
Viewfinder Options	HV 90x II: 90° eye-level viewfinder w. dioptre adjustment (-4 to +2.5D). Image magnification 2.7x. Integral fill-flash (GN. 12 @ ISO100). Hot shoe for SCA3002-system flashes from Metz™ HVM: Waist-level viewfinder. Image magnification 3.2x
Focusing	Autofocus metering with passive central cross-type sensor. Ultra focus digital feedback. Instant manual focus override. Metering range EV 1 to 19 at ISO 100
Flash Control	Automatic TTL centre weighted system. Uses built-in flash or flashes compatible with SCA3002 (Metz™). Output can be adjusted from -3 to +3EV. For manual flashes a built-in metering system is available
Exposure Metering	Spot, Centre Weighted and Centre Spot Metering range Spot: EV2 to 21, Centre Weighted: EV1 to 21, Centre Spot: EV1 to 21
Operating Temperature	-10 – 45 ˚C / 14 – 113 ˚F
Dimensions	Complete camera w/ HC80 lens: 153 x 131 x 205mm [W x H x D]
Weight	2180g (Complete camera w/ HC80 lens, Li-Ion battery and card)

Adobe Camera Raw 9.12.1 & 10.1 Update Download

Posted by Admin Date January 16, 2018

Adobe Camera Raw 9.12.1 & Camera Raw 10.1 adds support for new cameras and lenses, rolls out GPU performance improvements, and fixes several issues.

Camera Raw 9.12.1 for Photoshop CC/2014/2015/2017

Download Camera Raw – Mac | Windows

macOS 10.10-10.12, Microsoft® Windows® 7, Windows 8/8.1, or Windows 10

Camera Raw 10.1 for Photoshop CC/2014/2015/2017

Download Camera Raw – Mac | Windows

macOS 10.11–10.13, Microsoft® Windows® 7, Windows 8.1, or Windows 10

Latest Adobe DNG Converter

Download Adobe DNG Converter – Mac | Windows