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Sony Overtakes Nikon for the #2 Spot Behind Canon http://bit.ly/2JIJyn1 Sony’s goal of becoming the #1 camera brand by 2021 is now one step closer. The company has announced that it has overtaken Nikon in worldwide interchangeable-lens camera revenue, putting it in the #2 spot behind Canon. While announcing plans in 2018 to invest about $9 billion in mostly image sensors over the next few years, Sony stated that one of its mid-range initiatives during that span is to “be the top brand in the overall camera market,” a spot that has been securely held by Canon for many years. Sony’s cameras have continued to make waves, and now the Canon/Nikon duopoly has been broken. In a earnings conference call with investors and analysis, first reported on by sonyalpharumors, Sony shared that its revenue share of the ~$11.9 billion global still camera market has jumped 4% from 20% in the 2017 fiscal year to a hefty 24% in 2018. Sony’s market share in compact cameras jumped from 26% to 29% during this span, moving it from #2 to #1. And in interchangeable-lens cameras, Sony went from 19% market share to 23%, leapfrogging Nikon for the #2 spot. Sony also announced that it had taken the #1 spot in full-frame cameras in the US in late 2018. The company now has two years left to overtake Canon for the #1 spot in the overall camera market if it is to accomplish its lofty goal. Photography News via PetaPixel https://petapixel.com May 28, 2019 at 11:49AM
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Nikon confirms some counterfeit EN-EL15b batteries were sold by authorized retailers http://bit.ly/2JKnMzA Last week, B&H Photo began emailing customers who had purchased Nikon EN-EL15b rechargeable Li-ion camera batteries, advising these buyers that they may have received units from a 'subpar batch.' The company didn't elaborate on what subpar meant in this instance, but did state that it would replace all Nikon EN-EL15b batteries it had shipped because it couldn't determine which customers had received the bad units. Following a leak that claimed as much, Nikon has confirmed counterfeit EN-EL15b batteries have been sold by authorized retailers to some of its camera owners. In a statement to DPReview, a Nikon spokesperson said: We have been made aware that some customers who purchased individual EN-EL15b batteries from authorized Nikon retailers received defective product. These batteries are not genuine and were not manufactured or distributed by Nikon USA. Concerned users can find a guide for determining if the battery they have purchased is a genuine Nikon battery at this link. Counterfeit batteries may be poorly constructed and cause damage to the camera hardware; lithium-ion batteries are known to be volatile and counterfeit units are particularly prone to overheating, which may result in fire or explosion. In addition to the fake EN-EL15b batteries, Nikon says it has been alerted to other counterfeit batteries intended for its hardware, including fake versions of its EN-EL11, EN-EL10, EN-EL9a, and others. Nikon customers who have purchased camera batteries from third-party sources can evaluate their products for signs of being counterfeit using Nikon's guide. Indications may include font differences in the logo and text on the battery and the possible inclusion of the battery model number on the front of the batteries. B&H Photo encourages its customers to recycle the EN-EL15b batteries they received from the retailer. These customers will receive free authentic replacement batteries from B&H, which will send both order processed and shipment emails to the customers. Photography News via Dpreview http://bit.ly/i0r8o5 May 28, 2019 at 11:16AM
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ASUS Raises the ‘Touch Bar’ with a 14″ 4K Secondary Display http://bit.ly/2K9wd6F Apple Touch Bar, move over — ASUS just one-upped you. The Taiwanese electronics company just unveiled the ZenBook Pro Duo, a laptop that features a 14-inch 4K touchscreen as a secondary display right above the keyboard. “[For years,] innovation has been focused on cramming increasing amounts of power into smaller form factors, and there hasn’t been much consideration of other ways to improve productivity,” ASUS says. “Outside of being slimmer, lighter, and more powerful, our computers look largely unchanged from nearly three decades ago.” The new ScreenPad Plus on the ZenBook Pro Duo is a second display that spans the full width of the keyboard on the 15.6-inch laptop. It improves workflow by allowing you to access quick controls, organize applications, position windows, and free up space on the main 15.6-inch NanoEdge OLED screen. Since the ScreenPad Plus has a width and resolution that matches the main screen, dragging windows between the two displays is smooth and seamless. For photographers, the secondary screen can serve as a large photo-editing tablet. The ScreenPad Plus pushes the keyboard to the front of the surface and the trackpad to the right. Instead of wresting your wrists on the laptop, they’ll hang off the edge like they do on a regular keyboard. Other features and specs of the ZenBook Pro Duo include 100% coverage of the DCI-P3 color space, powerful Intel processors (up to a Core i9-9980HK), up to 32GB RAM, an NVIDIA GeForce RTX 2060 GPU, fast PCIe SSD storage (up to 1TB), USB Type-A/C ports, a Thunderbolt 3 port, an HDMI port, a thickness of less than an inch, and a weight of 5.5 pounds. No word yet on pricing or availability. Photography News via PetaPixel https://petapixel.com May 28, 2019 at 10:50AM
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Why I’ll Never Be a Wedding Photographer http://bit.ly/30QIJxJ I have seen so many posts across various websites and Facebook groups this week all centered around one theme: wedding photography. Wedding season is well and truly upon us and I guess that everyone who’s getting married this summer has already booked their photographer. But their guests who are getting married next year or the year after? They’re the ones probably starting to think about who’s going to photograph their big day. And it’s a huge decision to make. So why this article? What has riled me up so much that I feel the need to write about it?! Well to start with, I am not nor have I ever been a wedding photographer. So I’m not touting for business. But when people book a photographer — any kind of photographer — I want them to get what they’re paying for. I love value for money no matter what your budget. But certain threads and posts written recently by professional photographers make me think that not everyone has the same standards and that really winds me up. So why will I never be a wedding photographer? 1. I hate my own wedding photos. There it is, I’ve said it out loud. I’m not going to name and shame and I hope my photographer never reads this. I don’t have one single wedding photo up in my house. The only one you’ll ever see online is this one: I asked for documentary style photos, snapshots of the day. “I don’t want poses” is what I said. “Let’s spend 2 hours of your day doing posed photos” is what the photographer heard. You’d think that in all that time that every base would be covered. Apparently not, because there’s not one photo of me and my dad on my wedding day. He’s in some group ones, but not one photo exists of just me and him on that day. So the number one reason that I would never want to photograph someone else’s wedding is that I know how it feels to be disappointed with the results. And I would NEVER want that pressure on myself. When I take photos, I want my clients to be over the moon when they see them, and they are. The thing is with wedding photography that you don’t get a do-over. Not even if the client isn’t happy. There is no second chance to catch a shot, there’s no asking “can you just do that again please?”. You have to nail it, first time, every time, all day. 2. Which brings me to my second point. If you don’t know that you can nail it the first time, every time, all day, don’t tell people that you can. I can take great photos of your family for you, I know I can. But if you asked me to be your wedding photographer? I’d say that I really appreciate you asking, but that there are people who are better suited to what you need. But not every photographer will be that honest with you. And I have a real issue with that. “But all photographers are the same aren’t they?” Put it this way – would you ask a GP to perform a kidney transplant? Even if you asked, would an honest GP say they’d do it for you? Because a GP and a surgeon are both doctors, right? There are some people who really can be (and are) amazing family photographers and wedding photographers. Because they’ve had years of practice as second shooters, or they were wedding photographers first and then went into family photography. But there are others who’ve been asked to do wedding photos by existing family clients and thought “well why not?”. I’ll tell you why not – if you cock it up, they won’t be existing clients for much longer. And you will have ruined their wedding day. 3. We all know that weddings can be expensive. I say “can be” because loads of people can and do get married on a small budget. But it doesn’t seem to matter how much people are willing to spend on other aspects of their day; when it comes to booking a photographer, I hear the words “that’s so expensive!” stupidly often. I couldn’t cope with hearing that about my own work again and again. Does it cost a lot to hire a good wedding photographer? Most of the time – yes. But here’s why. Think of all the prep that goes into shooting a wedding — the meetings with the bride and groom, the countless emails back and forth, the recces to the church and reception venue. How about the 2 cameras and 2 sets of lenses, just in case one set breaks? And the second photographer that you want because you need photos of the bride and groom preparing for the ceremony. And then, of course, there’s the whole day of actual shooting. A whole day’s worth of photos to sort through and edit. If you’re a seasoned wedding photographer, then you’ll know all that it entails and you’ll know how to price accordingly. If you need to be told how much work being a wedding photographer is, then trust me, you’re not ready to be a wedding photographer. And when you break it down, the money you make for the work you put in isn’t as lucrative as it seems at first glance. It’s not okay to think that shooting a wedding will earn you a quick buck. So if you’re a bride-to-be reading this, please please please do your research. Ask your potential photographers to see their real-life work, ask them if they know your venue, ask them exactly what you get for your money and ask them why you should pick them over others that are on your list. (“I’m cheaper” shouldn’t be the answer you accept). And if you’re a photographer reading this, and you want to get into wedding photography, please please please learn your trade under an experienced wedding photographer’s wing, not at the expense of your client’s big day. If I save even one person from feeling the way I do about my wedding photos, I’ll consider my article worth the time it took me to write it. About the author: Clare Harding is a family photographer (and definitely not a wedding photographer) based in South Wales. The opinions expressed in this article are solely those of the author. You can find more of Harding’s work on her website, Facebook, Twitter, and Instagram. This article was also published here. Photography News via PetaPixel https://petapixel.com May 28, 2019 at 10:03AM
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The 7 Best Exotic Lenses Of All Time http://bit.ly/2WaMGyF If you are like me, you may have a bit of a thing for lenses. Even the most basic barrel of glass and metal is so much more than the sum of its parts. Lenses are fundamental to the way we create our images; they have character and quirks. They are fascinating. I have owned a few, amazing lenses in my time. The Nikon 14-24, was dare I say it, sexy. Years ago, my Canon FD f4 was the sharpest lens I had ever put on a film camera. I even had an obscure mirror lens with its unique doughnut highlights. As fun and interesting as these lenses were, though, they were not what you might call exotic. Today we are doing to delve into some of the most incredible lenses ever made. It will be by no means an exhaustive list, but feel free to add your thoughts in the comments below. Nikkor 6mm f/2.8 Fisheye LensEver wanted to have eyes in the back of your head? With the Nikkor 6mm f/2.8 Fisheye lens, you can. Its incredible 220-degree field of view means you can actually see behind you. You might, of course, worry about getting filters to fit it, but fret not, Nikon have you covered, it has six built-in filters. Although designed in the early 70’s it should still fit Nikon DSLR cameras of today. There is a couple of issues though. Firstly finding one, they are rarer than hen's teeth. Secondly, and assuming you do find one, it will cost the price of an Aston Martin. On the bright side, it will probably hold its value better than the Aston. Sigma 200-500mm f/2.8 APO EX DGDo you feel your 70-210 2.8 is just not long enough for your needs? Looking for an f2.8 with a longer reach. Sigma has the answer for you, their 200-500mm f/2.8 APO EX DG. While their 50-500 EX gained the moniker of Bigma, as yet the 200-500 has not acquired its own nickname. I want to suggest “thickma” because it has some serious girth to it. A constant aperture zoom is always a desirable thing, but when that aperture is still f2.8 at 500mm, desirability becomes directly related to large bank accounts. Its current price at B&H is $26,000, but the good news is that you can get hold of one within 14 working days. Order yours as soon as you read this. Canon 1200mmOf course, some of you might laugh in the face of 500mm. You are not happy with less than 1000mm, perhaps more. Worry not, Canon has you covered or rather had you covered with their EF 1200mm f5.6. Originally created in a batch of 5 for the 1984 Olympic Games, this beast of a lens weighs in at 13lbs or 16.5kg. Not really for hand holding unless your biceps have a wider girth than the “thickma”. The good news is that it came with its own custom tripod and carrying case. The bad news is there are not many available, less than 100 and maybe as low as 20. If you have the spare $180,000 and can find one, let us know in the comments. We would love to do a review.! Carl Zeiss Apo Sonnar T* 1700mmContinuing the bigger is better theme, let’s take a look this beast from Carl Zeiss. Laughing in the face of the Canon’s f5.6 at 1200, the Sonnar T gives you f4 at 1700mm. Perfect for long wedding shots in dimly lit churches – if that church is several kilometres from where you are standing. Weighing in at a staggering (and you will be) 256kg, this lens is a one-off private order for an unnamed individual. Presumably, a very wealthy individual, although the price has not been disclosed. 50mm f/1.5 Zeiss SonnarStaying with Zeiss, they have been around for quite a while, and while the T 1700mm is a relatively new lens, they have, throughout their history, produced other stunning lenses. The 50mm f/1.5 Zeiss Sonnar dates from 1932. It was a legendary lens that often fetched huge sums of money. The interesting thing about this Sonnar is that Carl Zeiss have bought it back, for Leica lovers that cannot afford the original versions. Of course, that being said, it’s still a 50mm prime but being as it’s designed for the Leica mount, it weighs in at $1260 new. Carl Zeiss Planar 50mm f/0.7Another lens from Carl, this one from the 1960s. At a time when space exploration was in its infancy, NASA needed some nice large aperture lenses to shoot the dark side of the moon. Only 10 of these beauties were ever made, six went to NASA, Carl Zeiss kept one, and Stanley Kubrick invested in the remaining three. He did this to capture candlelit scenes in his upcoming film, Barry Lyndon. A German cinema rental company used to rent these lenses out to those channelling their inner Kubrick, but a quick look at their website suggests they no longer do that. Oh well, have to make do with an f0.95 instead. Samyang 650-1300mmFor something a little more affordable yet still exotic, look no further than the Samyang 650-1300mm. While lacking the large, constant apertures of the Sigma 200-500mm EX “thickma” (I wonder if this will catch on?) and the T 1700mm, the Samyang is somewhat more obtainable. If the Sigma 200-500mm EX is distinctive for its girth, the Samyang is distinctive for its length. At nearly half a meter long yet just over 10cm in diameter, it looks more like a telescope than a lens. With the aperture running from f8 to f16, it will not appeal to the Stanley Kubrick's among you; however, if you want to stand out in a crowd, quite literally, the Samyang will do you proud. Final ThoughtsSo there you have it, lenses ranging from 6mm to 1700mm with aperture maxing out at f0.7. Most of us will never see most of these lenses let alone use one. However, photography is for dreamers, and you never know, one day, you might just be able to lay your hands on one of these exotic beauties. Now if you will excuse me, I am off to buy a lottery ticket. Got any thoughts on weird and wonderful lenses? Tell us about them in the comments below Photography News via Light Stalking http://bit.ly/2kwTW5i May 28, 2019 at 10:01AM
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Perfect Imperfections: Using a Flawed Camera Lens for Creative Photos http://bit.ly/2K60S4Q If you were to ask a photographer whether it’s better to invest in a camera or a lens, most would answer lens. After all, no amount of megapixels or camera features can save blurry or ill-rendered images. The lens is the eye of the camera, which is why photographers spend thousands of dollars on them. However, this doesn’t mean that you need an expensive lens to make compelling images. I, for one, am someone with a limited imagination. What I mean by that is that I need to get my images looking how I want them in camera so all I have left to do is color grade them. So if I want a lens flare or glitch or haziness in my image, I need to introduce that element into my shoot. All that’s to say that recently I’ve spent quite a bit of time scavenging eBay for broken or flawed camera lenses. I found an old Canon lens that appears to have some sort of fungus growing inside the glass. The investment set me back $30, meaning I didn’t have much to lose in this gamble. Worst case scenario was that it wouldn’t be anything special, in which case I’d at least be able to take a hammer to it until it produced something interesting. Once it arrived, I threw it on my Canon 5D Mark IV only to find that the sensors weren’t working on the lens, resulting in a communication error which couldn’t be overridden. I opted to attach it to my Sony a7S II with a Canon mount converter (I have one of the cheap converters which makes me manually focus). This shot of the flowers is an unedited raw file: The lens fungus was translating into a wonderful haziness. My gamble had paid off. Once I shot a few images and opened them in Lightroom, I lowered the clarity to help pronounce the haziness and then I dramatically tweaked the tone curves to give the images a solarized feeling. Now that I knew that this beat-up little lens was magical, I was ready to test it on a real person. Side note: I always do my initial photo experiments with an inanimate object, such as flowers, so that I don’t waste the models time should the images prove to be unusable. I had a brief portrait session with longtime collaborator Desiree Dahl in which I shot two light scenarios in about twenty minutes. For the first setup I placed a light slightly behind each side of her, aiming back toward the camera, in order to get some lens flare. The lens’ haziness complemented the lens flare rather nicely. For the second scenario I switched to a single, yellow-gelled flash, mimicking morning light through a window. The lens’ haziness, in combination with the yellow light, gave the resulting images a Blade Runner 2049 feel to them that made me very happy. I had to try out the lens in an outdoor setting. It seems like scenarios with bright spots really showcase the glowing flaws of the lens. I met Malaney at an abandoned overpass not far from my studio and waited for the sun to come back out from the clouds. I shot a range of scenarios, with her facing into the sun and with the sun at her back. My favorite shots were the ones where the sun was the brightest, making the glow the most pronounced. Consider my appetite for broken lenses whetted. Now I’m off to eBay to resume my quest. About the author: Nick Fancher is a Columbus, Ohio-based portrait and commerce photographer. You can also find more of his work and writing on his website. His popular books can be purchased on Amazon. This article was also published here. Photography News via PetaPixel https://petapixel.com May 28, 2019 at 09:35AM
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Automatic Vintage Lens II: A Harmonious Blend of Luxury Timepiece and Vintage Camera http://bit.ly/2QqM81u This isn’t the first time Japanese watchmakers, TACS, have launched a camera-inspired timepiece. Last year, they released the Automatic Vintage Lens II (AVL II), which proved to be their best seller. Now, this stunning timepiece is being released with a new variant that photography buffs will love — and it’s going to be available just in time for Father’s Day! Full disclosure: This article was sponsored by TACS. The original version of AVL II was met with tremendous approval by TACS’ customer base. However, feedback indicated that there was strong demand for a new version with a darker strap. After several months at the drawing board, TACS has officially redesigned the original AVL II timepiece and released the all-new Rustic Brown variant. The Rustic Brown version of AVL II retains the essence of what made the original AVL II such a hit but adds a new stylistic flair that takes into account customer feedback. The new variant is much more than just a darker strap, the strap back is now water resistant with extra padding for your wearing comfort. Staying true to the original AVL II. An exposed, Japanese Automatic Movement ensures that the wearer can truly appreciate the intricacy of timepiece engineering. Sapphire crystal recreates the look of a camera lens, adding an additional level of depth and protection to the timepiece. High-quality HORWEEN leather is used to craft the strap, which is not only extremely comfortable but also allows for a non-intrusive wearing experience. Hidden odes to cameras are also dotted all around the timepiece. For example, popular focal lengths replace traditional minute indicators, a camera loop evokes the look of vintage shooters and special textures give the watch the essential feel of a high-quality camera. While this timepiece has not yet been officially released to the public, you can preorder your very own AVL II Brown variant or the Vintage Brown variant with 30% and 20% off the original price of $550, respectively, with the exclusive code “PetaPixelVip” for PetaPixel readers by following this link. About TACS: TACS is a Japanese lifestyle watch brand that focuses all its timepieces on combining minimalistic styling with unique design concepts and relatable stories. Each timepiece TACS creates is meant to resonate with the wearer, making them not just time-telling tools, but an extension of the wearer’s ethos and style. Photography News via PetaPixel https://petapixel.com May 28, 2019 at 09:20AM
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Nvidia Studio will boost the performance of your creative apps http://bit.ly/2EDt1wL Nvidia has launched a new software and hardware initiative at the Computex Taipei trade show. Nvidia Studio is targeted at video editors, photographers and other content creators and consists of a collection of APIs, SDKs and drivers for Nvidia RTX GPUs that have all been designed to increase performance in use with creative software from providers like Adobe, Epic, Autodesk, Unity and Blackmagic Design. App developers can make use of an AI-powered software that provides automation of some tasks, including image upscaling or video color matching. Acer, Asus, Dell, Gigabyte, HP, MSI and Razer will all be announcing 17 RTX Studio-branded laptops between each other at the trade show this week. Graphics options in the new models include Nividia's RTX 2080, 2070, and 2060 GPUs as well as the Quadro 5000, 4000, and 3000 workstation models. Nvidia says that in testing with apps like Maya and RedCine-X Pro, an RTX Studio laptop with Intel Core i7 CPU and RTX 2080 Max-Q GPU was seven times faster than a top-end MacBook Pro with a Core i9 and AMD Radeon Pro Vega 20 GPU. The first RTX Studio laptops will be available in June, with pricing starting at $1,599. Photography News via Dpreview http://bit.ly/i0r8o5 May 28, 2019 at 09:13AM
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The post Image Resolution Explained – Seeing the Big Picture appeared first on Digital Photography School. It was authored by Herb Paynter. The very first thing you must understand about photography is that it is totally based on illusion; you choose to believe what you perceive. This concept didn’t originate with photography’s pixels and dots; it is the very basis for human sight. Your brain chooses to believe something to be true well beyond what your eyes can verify or recognize to be true. The very word “resolution” gives light to this concept. The resolving power of a lens is its ability to distinguish small elements of detail. This same issue is true concerning the human eye and its perception of images on a computer screen and the printed page. Each of these “interpretations” relies on a mechanism to carry out an illusion. The eye’s mechanism is rods and cones, cameras use photo receptors, computer screens use pixels, and printing machines use spots and halftone dots. The degree to which each device succeeds in their illusionary quest is dependent upon the resolution of the mechanism and the resolving power of the device. Each system requires two elements – a transmitter and a receiver. Just as a magic trick requires both a salesman (the magician) and a customer (the viewer), each “visual” process requires a good presenter and a willing observer. The common phrases, “seeing is believing,” and “perception is reality,” pretty much define the benchmark of success. Now let’s get image resolution explained and show you where it’s is most effectively used. Image resolutionThere comes a finite distance when viewing any image where your eye can no longer distinguish individual colors. Beyond that point, your brain must sell the idea that detail indeed exists beyond that point of distinction. The detail you see when viewing an object at close range continues to be perceived long after that object is too far away to verify that detail. There are limitations to the normal resolving power of the human eye with “normal” defined as 20-20 vision. In the image reproduction process, delivering an image with excess resolution becomes useless when the result of that extra resolution has no purpose. Thus, the gauge of all visual resolution must ultimately be framed by resolving capabilities of the human eye. Producing more image resolution than the eye can perceive doesn’t increase the detail or improve the definition, it just creates bigger files. While you feel more confident when you pass massive amounts of pixels on to your printer, your printer doesn’t appreciate the excess. It throws all those extra pixels away. More ain’t better; it’s just more. Dots, Pixels, Lines, and SpotsBeware of the numbers game that is played by manufacturers in the imaging industry. There is ample misinformation and misused terminology floating around that causes significant confusion about imaging resolution. Allow me to clarify some very foggy air beginning with terminology. DPI (Dots per inch)The term DPI is probably the most misconstrued acronym in the digital imaging world as it is loosely cast about in digital imaging and applied to just about every device. DPI, or dots per inch, is a reference to printing device’s resolution and describes the dots and spots that each technology uses in various combinations to simulate “tones.” Dots are neither pixels nor halftone dots. We’d all be a bit better off not using this term as it has little practical application. PPI (pixels per inch)The basic structure of every digital image is the pixel. Pixels are the square blocks of tones and colors that you see when images are enlarged on computer screens (see the Eye illustration below). The measure of those pixels (typically in a linear inch) determines an image’s resolution and should always be addressed as PPI, or pixels per inch. This setting is affected by the Image Size dialog box in editing software. The higher the number of pixels in an inch, the higher the image resolution. Scanners, digital cameras, and paint programs all use the PPI terminology. Of all the resolution terms in the industry, this is one that deserves top billing. While the rest of the terms need to be recognized, rarely will they have to enter the conversation. LPI (lines per inch)LPI refers to the halftone dot structure used by laser printers and the offset printing process to simulate the continuous tones of photographic images. LPI refers to the number of “lines” of halftone dots used by various printing processes. “Lines” is a throwback reference to the days when actual lines were etched in glass plates to interpret photographic tones in early printing processes. This LPI number is specific to the printing industry. Lower numbers refer to larger, more visible halftone dots (newspapers) while higher numbers refer to much smaller and less visible dots (magazines and artwork). I’ll get into the numbers later. Spots and SPI (spots per inch)A spot is a rarely used term that refers to both inkjet and imagesetter processes. With inkjet, it is the measure of micro-droplets of ink sprayed during the inkjet printing process. SPI, or spots per inch is a User-Selectable issue concerning the resolution choices when using some inkjet printers. Higher SPI also affects the quality of the printing process by slowing the speed at which the paper is fed through the printer. The spot “marking” size of both plate and imagesetters determines the quality of the shape of halftone dots produced and only applies to high-end lithographers and service bureaus. Device real-world requirements for optimal resolutionNow we’ll look at each device’s real-world requirements for optimal resolution. How much is too little and how much is too much? The answers require a bit of explanation because there are some variables involved in the projects and the printing devices. First I’ll clarify some misconceptions about digital camera files, then I’ll address three specific printing technologies and give you some concrete examples. Digital CamerasThe most common reference to camera resolution relates to the camera’s image sensor. These sensors contain a grid of cells called photosites, each cell measuring the light value (in lumens) striking it during an exposure. The actual number of cells contained in an image sensor varies depending on the camera model. When the number of horizontal cells gets multiplied by the number of vertical cells on the sensor, the “size” of the sensor is defined. The Nikon D500 sensor measures 4,288 x 2,848, or 12,212,224 pixels, making it a 12.3 mega (million) pixel camera. These pixels can produce any number of different size pictures for various purposes. Each printing process requires a different number of pixels per inch (PPI) to deliver optimal quality prints at a given size. This is because the technology used for each type of printing is different. For example, high-quality inkjet printers spray liquid inks onto paper using very small nozzles (usually 1440 spots per inch). Laser printersMost laser printers are either 600 or 1200 dpi devices meaning that a solid line printed horizontally will be composed of either 600 or 1200 dots. Type is printed using all these dots while halftone images can be effectively reproduced from 220-300 pixel-per-inch (PPI) images. Inside these laser printers is a raster image processor (RIP) that generates halftone dots from square pixels. The value of each image pixel gets transposed into a halftone cell. The formula for exchanging this grid of square pixels into a diagonal pattern of variable-size dots goes way beyond explanation in this article, but it’s kind of like magic. Laser printers simulate gray tones using the halftoning process provided by the printer’s RIP. Inkjet printersInkjet printers use totally different technology to translate color pixels into printed images. Tiny spray nozzles distribute ink to specific parts of the image to deliver their version of the imaging illusion. The resolution (PPI) required to deliver accurate inkjet images differs from laser printers. This is because they do not use the geometric mechanism of halftone cells but instead, spray microscopic amounts of each ink to precise locations as determined by the pixel values. Inkjet printers require significantly fewer pixels per inch (PPI) than laser printers to carry the illusion. Typically 150-200 PPI is quite sufficient. Lithographic printingOffset printing includes newspapers, magazines, and brochures. Each requires a slightly different lines-per-inch (LPI) pattern of dots. Newspapers are typically 85 LPI, magazines are 150 LPI, and high-end brochures and other collateral material require up to 200 LPI resolution. Each line screen value is produced by a different PPI formula. While all these types of printing can be produced from 300 PPI files, all that resolution is certainly not required and is technically overkill. Even those high-end brochures technically don’t require this much resolution, but the early-adopted myth of 2xLPI persists yet today. The actual requirement for all high-end printing is only 1.4xLPI. Any more resolution simply gets discarded by the platesetter’s RIP. In this calculation, newspapers (85LPI) need only 120 PPI, magazines require only 212 PPI, and even the best quality print is ideally produced with just 283 PPI. In case you’re thinking that this is splitting hairs and irrelevant, consider this… using the 1.4 rule totally meets the mathematical requirement and saves a whopping 50% of the file size in storage real estate and transfer time. I fully expect to hear some pushback about these numbers, but science and math don’t lie. Phobias about resolution are long entrenched, respected, and expected. However, in the end, it really doesn’t matter that much. No-nosThere are two unforgivable sins in preparing your images for proper resolution. Low-res and up-res. Low-resThe biggest sin of all is sending files to the printer/publisher with too little resolution. That is a certain formula for poor results and shows up in the form of soft detail and bitmapped edges caused by normal sharpening. Every form of print technology requires a minimum of pixels to produce fully-detailed and sharp images. So do not shortchange your project in this respect. Remember, size your images for the final appearance and assign the PPI at that final size. If you want to see an 8”x10” image appear in print, make sure you address the issue of PPI in the Image Size dialog and before you save the file. Up-resMake it a rule never to increase your image size as it is a sure-fire recipe for disaster. You can’t create detail; you can only destroy it. Whatever size file (pixel count) you begin with is the largest pixel count you should print unless you’re okay with soft images. Pixels are not rubber, and you cannot stretch them to a larger size without sacrificing the sharpness of the image. Your digital camera most likely provides you with ample original pixels to print most projects, try to stay within that original ratio. You can increase the image size, but you can’t increase its detail. Every time you enlarge an image, you distort the pixels. So if you want to print sharp images, don’t enlarge them! The major advantage to maintaining higher resolution files for an archive is that if an image ever needs to be cropped or enlarged, that extra resolution will undoubtedly come in handy. It remains standard operating procedure in the printing industry to send all files to the printer with 300 PPI resolution. Cloud services, backup systems, and storage media sales folks certainly want you to continue the 300 PPI trend and rent more parking space on their sites. Final thoughtMake it your goal to make the best of this visual illusion called photography. Your camera, your computer, and your printer provide all the tools you need to perform your magic with great success. Enjoy.
The post Image Resolution Explained – Seeing the Big Picture appeared first on Digital Photography School. It was authored by Herb Paynter. Photography via Digital Photography School http://bit.ly/29wB9CX May 28, 2019 at 09:11AM
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Is the Olympus OM-D E-M1X right for you? http://bit.ly/2EACi8Q Is the Olympus E-M1X right for you?Our comprehensive Olympus E-M1X review is live if you'd like to dive deep into the camera's image quality, handling and autofocus performance. But for a more straightforward take on the E-M1X, here's how well-suited it is for a few popular photographic use cases:
All photos by Dan Bracaglia unless noted otherwise Sports and wildlifeFast burst shooting, reliable autofocus and controls that don't require you to take your eye from the finder - these are just some of the things you'll want from a camera if capturing peak action is your aim. The E-M1X is advertised as a professional-grade sports and wildlife camera and it mostly lives up to this billing. Plus it's got an enormous family of telephoto lenses to complement its aspirations. Many sports and wildlife photographers rely on continuous autofocus and the E-M1X can shoot up to 10 fps (mechanical shutter) and 18 fps (electronic shutter) in AF-C. Continuous autofocus performance is good, but other sports cameras like the Nikon D5 and Canon 1DX II offer slightly more reliable results. Still, subject tracking is impressively sticky and the camera's buffer depth is also solid. If you're okay with focus being locked after the first frame it can do 15 fps (mechanical shutter) and 60 fps (e-shutter) – just be aware that using the e-shutter can result in banding under certain lighting and rolling shutter (though this is fairly well-controlled). The finder offers a fast refresh rate and minimal resolution loss while the shutter's pressed, making it easy to follow fast-moving subjects The camera's ergonomics are excellent, full stop. I's one of a handful of bodies on the market with built-in vertical controls. Whether shooting vertically or horizontally, dialing in settings can be done without removing your eye from the finder. Speaking of the finder, it's not the highest-resolution nor does it offer the highest contrast on the market, but it does offer a fast refresh rate and only minimal resolution loss while the shutter's pressed, making it easy to follow fast-moving subjects. The camera's also got a tank-like build and IPX1-rated weather-sealing. The only thing truly missing from this pro-level body is a top plate info display. Image quality is excellent for its sensor size – with lovely out-of-camera JPEGs – but it can't match the resolution of higher-resolution cameras, limiting your ability to crop in post. Similarly, shadow noise at higher ISOs is more prevalent than on larger-sensor bodies – this also limits your ability to push the exposure in post. Landscape photographyHigh resolution is normally the name of the game when it comes to landscape photography, and we're not going to pretend the E-M1X's Four Thirds chips can match the resolution or image quality of larger sensors... on its own. But this camera has some tricks up its sleeve, including a 50MP hand-held high-resolution mode and an 80MP tripod-based high-resolution mode. The latter combines 8 images and even has the benefit of improved noise performance over a standalone file. However you'll want to avoid scenes with a lot of movement when using either high-res mode. The E-M1X also has some other nifty tricks landscape photographers will appreciate: there's a 'live ND' filter for long exposure simulations and various in-camera time-lapse options. Sadly, the two can't be combined. In terms of ergonomics, the E-M1X is a bit of a beast to carry around for long periods of time. On the other hand, it's got excellent weather-sealing and a tough build, so it's doubtful the camera will let you down in nasty conditions. Plus a fully-articulating screen is great for high and low shots, and battery life is solid thanks to twin batteries. Photo by Scott Everett Wedding and event photographyFor those already invested in Micro Four Thirds, the E-M1X could be a great addition to your wedding or event shooting kit. Vertical controls are extremely handy for shooting portraits. And the camera's Face Detect and Eye Detect both work with good reliability if your subject fills most of the frame. Wedding ceremonies are moments when the E-M1X's truly-silent e-shutter could be invaluable. And we doubt you'll be able to chew through both the camera's batteries, even with a full day of shooting. The E-M1X is compatible with Olympus' flash system, however as of writing, there are no Olympus flash units that can fire an AF assist beam without triggering the strobe - something wedding and event photographers often rely on for precise autofocus in very dark scenarios. Still, the camera's high-resolution modes can be handy for detail shots of say, a dress or the bridal bouquet. Photo by Carey Rose Portrait photographyAs with landscape photography, resolution is also an important factor for portrait photographers. So right off the bat, the E-M1X is at a disadvantage here over its larger-sensor competition. And don't count on the high-res modes to save the day - these are intended for static subjects, not people. Still, vertical controls are handy for shooting in the traditional portraiture orientation and the E-M1X's Face and Eye detect both work well. We're also fans of Olympus' JPEG rendition of skin tones. Plus, if you're shooting portraits using controlled lighting, shadow noise shouldn't be an issue. There's also a wide range of excellent portrait-appropriate glass available for this system. Photo by Scott Everett VideoThe E-M1X is a sports and action-oriented camera, so why use it for video? Here are a few compelling reasons: It can shoot good-looking Cinema 4K (24p only) as well as 1080/120p slow motion footage. It offers a fully-articulating touchscreen with sticky video AF. And the camera's Sensor+Digital image stabilization offers the smoothest in-camera, hand-held shooting we've experienced (it does come with a slight crop, though). Other call-outs include headphone and microphone ports, Flat profiles and Log capture. Sadly the latter is limited to 8-bit compared to 10-bit offered by some of its peers. This means you won't get the same video dynamic range as say, a Panasonic Lumix GH5. Still, for more-casual filmmaking, without the need for a tripod or stabilization rig, the E-M1X can be a solid option. The wrapThe Olympus OM-D E-M1X is a sports and action camera that also happens to function quite well for a number of other photographic situation. However for most of these scenarios, unless you're already invested in the system, there are other cameras that will likely serve you better for less money. But back to sports and action. For way less money, the E-M1X shoots faster than even the most expensive sports cameras, like the Nikon D5 or Canon 1DX II, while offering similar ergonomics and build quality. It doesn't quite offer the same level of autofocus reliability as these cameras, nor can it match the resolution/noise performance of their larger sensors. Still, it's an outstanding choice for Micro Four Thirds shooters who want a no-compromise camera to point at fast-moving subjects. And if you end up also photographing portraits, landscapes, events or video, well, the camera will be able to handle that too. Photography News via Dpreview http://bit.ly/i0r8o5 May 28, 2019 at 08:02AM |
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