Canon R6 III vs Sony a7 V Dynamic Range: Which Mid-Range Camera Reigns Supreme? https://petapixel.com/2025/12/15/canon-r6-iii-vs-sony-a7-v-dynamic-range-which-mid-range-camera-reigns-supreme/ #canonr6iiidynamicrange #sonya7vdynamicrange #canoneosr6markiii #electronicshutter #canoneosr6iii #dynamicrange #Technology #canonr6iii #comparison #Equipment #fullframe #showdown #sonya7v #News #dgo
#electronicshutter
This Is How Much Dynamic Range the Sony a7 V Loses When Using Electronic Shutter https://petapixel.com/2025/12/11/this-is-how-much-dynamic-range-the-sony-a7-v-loses-when-using-electronic-shutter/ #partiallystackedsensor #electronicshutter #photonstophotos #dynamicrange #Technology #Equipment #sonya7v #News #Sony
Understanding the Shutter Options of my Fujifilm X-T3
The Fuji X-T3 has an electronic and mechanical shutter. There are trade-offs to using one over the other.
https://islandinthenet.com/understanding-the-shutter-options-of-my-fujifilm-x-t3/
Understanding the Shutter Options of my Fujifilm X-T3
I've had a Fujifilm X series camera since 2018, when I switched to Fujifilm X from Nikon. One would think that after all this time, and an upgrade to the X-T3, I would know about most of the features of the cameras. However, I do not.
As I worked to overcome the challenges of photographing fast-moving subjects such as birds, I started thinking about how I could increase the number of keepers. Like most X series cameras, the Fuji X-T3 has both an electronic and a mechanical shutter. I [...]
The Occasionally Severe Dynamic Range Cost of Electronic Shutters https://petapixel.com/2024/02/08/the-occasionally-severe-dynamic-range-cost-of-electronic-shutters/ #electronicshutter #mechanicalshutter #photonstophotos #dynamicrange #Equipment #News
Warum hat mir bisher keiner gesagt, dass ich an der #xt1 mal den #electronicShutter ausprobieren soll? Bin gerade schwer begeistert davon. 😂
Fujifilm X-E2 — Taking it to the Street
The Fujifilm X-E2 mirrorless camera is an excellent choice for street photography. Some of its advantages are:
- Discrete presence -- small, light, quiet, and understated
- Advanced features -- film simulations, and in-camera developing
- Varied lens options -- native and adapted, including rangefinder lenses
- Intuitive operation -- simple, direct and "film-camera" like
The Fujifilm X-E2 is capable of producing superb image quality, straight out of the camera.
The following describes in some detail, one photographer's approach to photography in the urban environment. It is not meant to be a "How To" guide, but rather an exercise in the free exchange of ideas. My methods can be quite idiosyncratic: extensive use of from-the-hip-shooting, and film simulations with "cranked-up" settings, for example. Please be aware that there are many styles, approaches and preferences for street photography, each with its own rationale and validity, and some other advice might better suit your personal street shooting goals.
Part 1 Equipping the X-E2 for the Street
The X-E2 body straight out of the box has many desirable street assets such as being compact and discrete. However, it can further benefit from a few customisations and accessory choices. This is my modified X-E2.
Bare body weight (without customisations) was 355 gms. With added components the weight is 508 gms (without lens).
[ 1 . a ] Combined L-bracket extended grip
This third-party aluminium L-bracket and grip is my main customisation.
It extends the finger grip at the front, and is the key to being able to hold the camera with one hand, for long periods of time without fatigue.
I typically don't use tripods for street work, however, the integrated horizontal and vertical Arca plates of the L-bracket are useful for standing the camera on the ground, or any other suitable flat surface, in either orientation. This enables very low shutter speeds, and is particularly useful for pinhole and zone-plate photography.
Also, the grip and L-bracket can act as a crash-bar for the camera body, which can be a useful thing on crowded streets. The grip is designed to give ready access to all access covers, and can essentially be left on the body permanently. Search: XE2 QR L Bracket Grip. Price: US$24 AU$30 €20. (Aug 2016).
[ 1 . b ] Wrist strap
I use a leather wrist strap with a slide-along loop constrictor.
The wrist strap gives security. Even if I lose my grip, the camera can't fall. Furthermore, it avoids the possibility of a grab-and-run incident.
Search: Leather Camera Wrist Strap. Price: US$2, AU$3, €2. (Aug 2016).
[ 1 . c ] Soft release button
This gives the shutter release a little more prominence, and makes it a bit more tactile, which is useful if I shoot in vertical orientation, and release with my thumb.
At the same time, it helps keep the cable-release thread clean, for when I want to use a cable, which I typically do for pinhole and zone-plate photography.
Search: Metal Soft Shutter Release Button. Price: US$2, AU$3, €2. (Aug 2016).
[ 1 . d ] Hot shoe cover
This helps to keep the hot shoe contacts clean.
The bubble level also assists with leveling for waist-level or ground level shooting (in cases where the finder is not being used). I mainly use it when doing horizontal-orientation waist-level shots to enable me to point the lens slightly up or down, depending on the composition requirements.
Pointing the lens up or down changes the perspective and also the dynamics of the scene.
Search: Hot Shoe Protector Bubble Level. Price: US$1, AU$2, €1. (Aug 2016).
[ 1 . e ] Toughened glass LCD protector
I like not having to worry about the LCD screen getting scratched, including scratches from cleaning.
If the glass ever becomes damaged, you can simply remove it, and apply a new one. Search: XE2 Self-adhesive Glass LCD Screen Protector. Price: US$13, AU$17, €12. (Aug 2016).
[ 1 . f ] Hanging ring
I added a hanging ring to the unused strap lug on the left side of the camera body. This helps in situations where I have to let go of the camera to do other things (like get out another lens) and I find that I don't have enough hands.
The leather apron under the ring is to avoid scratching of the camera body by the carabiner, and also to avoid the ring rattling.
I can use a carabiner to hang the camera from a D-ring on my camera bag or belt.
If there is nowhere to sit down, this hanging ring makes lens change-overs faster, safer and more convenient.
[ 1 . g ] Choice of Memory Card
I try to use the fastest cards that the camera can take. This assists with fast buffer clearing, and avoids missing shots due to a full processing queue. Prefer Speed Class 10, and UHS Speed Class 1 or 3, SDHC cards, from a reputable brand.
I find that for the X-E2, a 32 Gb card suits my purposes best, as it is a good match for my number of shots per battery. Shots per battery charge will be addressed in section [3.a].
I always change card and battery at the same time, regardless of how much space or power is left on either of them. That way, after a change, I can have realistic expectations about how much uninterrupted shooting I can do.
Part 2 Lens Selection
[ 2 . a ] Suitable Lenses
With the APSc sized sensor of the X-E2, you might choose between 35mm and 21mm (or even slightly shorter) focal length lenses, for street work. Primes are usually preferred to zooms, because they are smaller and lighter, they are not subject to zoom-creep or zoom-slippage, and the optics are optimized for one specific focal length. As a short registration distance mirrorless camera, the X-E2 can mount almost any lens, providing you have the correct mount adapter. Therefore it can use not only the extensive range of native X-mount lenses, but also a large number of adapted manual lenses.
The X-E2 has the ability to mount adapted rangefinder pancake lenses, which is particularly useful, due to their compact size.
If you do mount a non-auto-focus lens on the X-E2, you have to set menu item "SHOOT WITHOUT LENS" (Shooting Menu, Page 3) to ON. I just leave it on all the time, even when using auto-focus lenses.
[ 2 . b ] Going Manual
I often do shoot-from-the-hip photography. Unless you are using a Twin Lens Reflex camera, or working from a tilting back screen, then hip level shots will essentially be finder-less (view finder not used). This fundamentally changes your lens requirements. Focusing will be preset, probably zone focusing, and electronic focus point settings have little relevance. For preset focus methods, you could use one of the Fujifilm or Zeiss auto-focus lens set to manual mode, or alternatively a manual-only lens. My street preference is for the latter. I won't say any more about the auto-focus lenses, since there is plenty of information available elsewhere. The following chart gives a small selection of standard to slightly-wide manual primes, that I use on the X-E2.
For shoot-from-the-hip street work, an aperture ring with click stops and detented lever focusing, are excellent features which allow you to set aperture and focus by feel alone (through counting clicks).
Due to these features, along with optical performance, the Voigtländer Snapshot Skopar (25mm) is a lens worthy of special mention.
[ 2 . c ] Focal Length, Working Distance, and Field of View
Lens focal length affects image magnification, perspective, compression and field of view. Although many photographers associate field of view primarily with focal length, for people-oriented street photography, how much a person will "own" of the frame, is just as much dependent on the shooting distance to the person / persons.
The following charts are designed to address this specific consideration. The quoted ratios (eg, 1 : 1.5) compare the frame height to an arbitrary "typical" adult height, taken as "1 person height". (I used 1.75 m as the basis for that height.) Based on the type of ratio you would like to achieve, and the shooting distance that you feel comfortable with, you should easily be able to select an appropriate focal length lens. (Note that these charts are APSc sensor specific.)
Turning the camera to a vertical orientation increases the "head-room", so the applicable settings change. I like the vertical oriented frame because it naturally compliments the human form. You might find it useful to remember that in vertical orientation with a 24mm lens, the distance to the person being photographed is equal to the vertical height depicted by the frame. That can give you a starting point reference for making on the fly estimates, without using the chart.
VIEW THESE CHARTS AS A PDF DOCUMENT
Although you become very familiar with the lenses that you use frequently, I keep a pair of card sized prints of these charts as a ready reference for when I change to lenses I use less frequently.
As an example of using these charts, the height of the frame in the following vertical orientation shot, is more than half a person height, but less than one person height. So we would be looking at the meeting of the red and the orange bands (that is, between the 1 : 0.5 and 1 : 1 ratios). The shot was taken with a 32mm lens (APSc), so the distance to the subject would be about 2 metres, which was indeed my estimate of distance.
To get the person fully in the shot, plus a bit of space above and below, (so that the framing is not too tight, say a ratio of 1 : 1.5 ) then I can look at the yellow band and see that I would have to be between 3 and 4 metres away, for the 32mm lens. Of course, different lenses and distances will also affect the perspective of the shot. If I had used a longer focal length lens, and stood much further away, the bridge in the background would be much higher in the frame. Bear in mind that working distances will also affect depth of field. This will be addressed in section [3.e].
[ 2 . d ] Lens Accessories
Equipping the body with a lens may also entail acquiring lens adapters (if not using native x-mount lenses), and such things as hoods and UV filters (if you like to make the task of keeping your lens clean, easier).
Although many people don't worry about a protective filter (for protection against getting dirty, not against breakage), it really is the best way of keeping your front lens in a pristine state. This is particularly important for some lenses with a very small front glass, where trying to clean it could be difficult, and you run the risk of causing damage.
For these reasons, I fit all of my lenses with a good multi-coated UV or similar filter, if available, and only ever clean the filter, not the front lens. In a city environment, and especially with the added factor of salt-air in a harbour-side city, air-deposited particle build-up on the front-most glass, can be significant over time. Its main effect is to reduce sharpness and contrast.
[ 2 . e ] About Exif data
The Fujifilm and Zeiss X-mount auto-focus lenses write numerous items of lens information to the Exif metadata of the image files produced by the camera. This is not the case with adapted manual lenses, which have no electronic communication with the camera body. For adapted lenses, you should set the menu item "MOUNT ADAPTER SETTING" (Shooting Menu, Page 3) to the focal length of the lens being used.
That way, the focal length will be recorded in the Exif data written to the image files, however what will be missing is the aperture that was used, as well as focusing information, etc.
When using non-auto-focus lenses, I highly recommend that you keep a notebook, for the purpose of recording specific lens used (you may have more than one lens of the same focal length), as well as aperture and focal distance settings, etc, of your street photo session. This allows you to identify camera set-ups that worked well, and also provides some of the missing information that would normally be recorded in the Exif data of your images, when using an auto-focus lens.
If you wish, you can later edit this information into the Exif data of selected image files. I generally use a stand-alone utility, such as either ExifToolGUI, or PhotoME.
Part 3 Camera Menus & Controls Setup
The various camera options and settings can affect both camera operation and the rendering of acquired images. A poorly set-up camera can be frustrating to use, and produce unsatisfying images leading to unnecessary post processing.
If the camera is new to you, you should fully read the manual, while trying out each of the cameras features. Be aware that, except for the body design, an X-E2 with Firmware version 4 is functionally the same as the X-T10. So, if you want to delve more deeply into the X-E2's capabilities, the recommended book would actually be Rico Pfirstinger's X-T10 book. It is available via this link - <http://www.rockynook.com/shop/photography/the-fujifilm-x-t10/?ref=21> , and you can use this coupon code, XPERT40 , to get a 40% discount.
[ 3 . a ] Power Saving
Mirrorless cameras are relatively power hungry (compared to DSLRs), so you may want to conserve power. My personal recommendation is to use these settings.
Regarding High Performance Mode, it is generally recognised that the camera responsiveness benefits far outweigh any power usage disadvantages. Besides the above setup, another factor which can lead to enhanced power efficiency, is the use of manual-only lenses, which, of course, do not consume any power.
1000+ is the number that I have been able to achieve, but due to differences in "Mostly Off" implementation and also battery condition, you may not achieve the same results.
[ 3 . b ] Function Buttons
The X-E2 has seven assignable function buttons. A short press of a Function Button will give you direct access to the assigned function. A long press will open a menu from which you can select the function you wish to assign to that button.
The following table gives my own recommendations, which are based on experience, and allow also the quick conversion of the camera to "non-street" shooting (for example, the "preview exposure in manual mode" setting often needs to be accessed in studio shooting).
When Photometry (AE), White Balance, and Custom Settings selection, are selected via Function Buttons, the selection menu is superimposed over the EVF or LCD view, so that you can see exactly what the effects of each option will be.
That is why, although Custom Settings can be selected from the Q menu, it is more informative to select them from an assigned Function Button.
[ 3 . c ] Image Quality
Even if you only want straight-out-of-camera Jpegs (Fuji's Jpeg engine is highly regarded), I still recommend that you always shoot Raw files, selecting either "Raw" or "Raw + Fine". When you review the shot, you will see an embedded Jpeg image that is included in the Raw file, and that embedded Jpeg is rendered according to the settings with which the shot was taken. But the Raw file also contains all of the original unprocessed image data. Having a Raw file allows you to virtually "re-shoot" the scene after the fact, because you can develop the Raw information (Fuji calls it Conversion) to produce a new Jpeg image as many times as you like, with freedom to change the settings as shown in the following chart. This re-developing is not possible from a Jpeg file, so shooting Jpeg only, locks out the in-camera developing (Conversion) functionality. However, "Jpeg only" still has its uses; -- for instance, when I shoot time-lapse sequences, I shoot Jpeg only.
To answer the question of whether to shoot Raw only, or Raw + Jpeg, I suggest that you look at your expected "keeper" rate. For low keeper rates, such as 10% or less, I would shoot Raw only, and use in-camera developing of only selected Raw files. However, for high keeper rates, such as 80% or higher (think about a wedding photographer), then because Fuji's Jpegs are so good, Raw + Fine (that is, best quality Jpeg) may be the most efficient way to proceed. For urban photography I shoot just Raw only, and then convert selected images to Jpeg files. Since I have said a lot about producing Jpeg files in-camera, I would like to clarify one thing: -- If I am going to produce a fine-art print from one of my shots, I will process the Raw file on the PC, using an external Raw converter. Although I have both Lightroom and CaptureOne, I usually use RawTherapee and then Krita (which although intended mainly for concept artists, digital painters and illustrators, happens to work very well for photography).
[ 3 . d ] Q button settings and Film Simulations
From the Q button, I can access all of the image rendering options, and I can also select or modify one of seven sets of Custom Settings. My preferred strategy is to assign a different Film Simulation to each Custom Presets bank. It is worthwhile becoming familiar with the particular characteristics of the various Fujifilm Film Simulations, so that you can better select different Film Sims according to your visual intent.
The difference between the various Film Simulations can be quite subtle. So, based on the above table, I have set up seven Custom sets, but with a further emphasis (or slight exaggeration) on the particular characteristics of each Film Sim. In this way, the suitability of a particular Film Sim for a specific scene can be more easily determined. Remember, the Raw data itself is not actually affected by these adjustments, only the embedded-jpeg image, so you can always wind-back that "emphasis" when you convert to Jpeg.
The following is an example of typical settings that I might use for my urban photography: I like my images to be warm and inviting. Since my intention is artistic rather than than documentary, I am not afraid to alter colour and tonality in order to establish the mood and sentiment that was felt at the time of image capture. My preference is for a palette leaning towards sanguine, with low saturation and understated hues, and drama from starkly contrasted shadows and glow, with the feel of an old, classic film that has its imperfections. This intention is reflected in the following Q menu settings.
Furthermore, the Cloudy White Balance has been shifted towards the Red and Yellow in order to give a strong warming effect, similar to the use of an 81C or even 85C Warming filter.
Later when I review my shot, it is displayed according to these settings. Note that my "virtual warming filter" plus a Skylight(1A) filter on the front of the lens, has removed any trace of blue from the sky.
However, if I think the result has been pushed too far, I can always re-develop in-camera according to different settings, because I have all the original capture information in the Raw file.
[ 3 . e ] Focus, Aperture, and Depth of Field
In my various types of photographic work, I use both manual and automatic methods, depending on the task. For shooting in the street I typically use Zone Focusing.
As a result, my aperture is often somewhere between F8 and F11. I recommend not going beyond F16 where, on an APSc sensor, you can start to experience the onset of diffraction effects. The depth of field scale may not be reliable on adapted lenses, if they were designed for 35mm film format. I prefer to use a table specially designed for APSc format.
VIEW THIS CHART AS A PDF DOCUMENT
The Depth of Field specifies a zone within which everything should be adequately in focus. As a general rule, the distribution of that in-focus space is considered to be one third in front of the set focal distance and the other two thirds behind it.
By using small apertures and longer focusing distances, you can easily achieve a very deep in-focus zone. However, I prefer to work at more "intimate" distances, and so the in-focus zone becomes more shallow. You need to learn to estimate distances well, if you want to use very shallow zone focusing. For daylight photography, I don't require fast lenses. However, for night-time photography, I often use fast or even ultra-fast (F0.95 and F0.85) lenses.
Night shooting might require wide apertures to make best use of the available light, so you just have to set the focus distance correspondingly further away to get a deep enough focus zone.
[ 3 . f ] Shutter Speed, ISO and Dynamic Range settings
I am treating these together, because their settings are very interdependent. I generally set the Shutter Speed dial to Auto, and use one of the Auto ISO settings. [Please note that each bank of custom settings can have its own set of Auto ISO settings.] Given the sensor's ISO invariance (up to 1600 ISO), and the benefits of Fuji's extended dynamic range, I don't feel compelled towards shooting at base ISO. The strategy behind the following chart is based on the assumptions that better lighting allows lower ISO and faster shutter speeds, while poorer lighting needs higher ISO and slower shutter speeds.
I always consider ISO settings in the context of Dynamic Range settings. I typically shoot in very contrasty situations where extended dynamic range settings can help avoid loss of detail in the highlights (except the Sun, of course, which should be blown out). One of the problems of doing a lot of from-the-hip photography is that you don't have the opportunity to look at the histogram, which would normally be a good guide as to whether or not extended dynamic range settings were required. Since I don't see the histogram, I just routinely shoot at 400% dynamic range, because you can always reduce the DR% in development, if necessary. So, if I shot at DR 400%, but the EV range of the scene didn't require it, then I can develop at 200% or 100%, which can have the effect of improving nuances in the tonality. However, the reverse is not true: -- you cannot increase the DR% in developing, above the DR% at which the image was shot. So basically, shooting at DR 400% gives me more development options (different tone mapping variations), but at the cost of limiting my minimum ISO to 800. I find that an acceptable trade-off.
[ 3 . g ] Electronic Shutter
I use the Electronic Shutter (ES) most of the time. For me, its advantages (silence, no shutter-induced camera shake, and reduced power consumption) outweigh its disadvantages. However, you should be aware of some strange effects that can result from use of the Electronic Shutter. Due to rolling shutter effects, movement during exposure (either camera or subject) can cause distortion, which might display as stretching, warping or smearing. The remedy is, of course, to practice a steady hand.
Also, some artificial lighting will cause banding when the Electronic Shutter is used at certain shutter speeds, due to interaction between the readout characteristics of the ES and the phase nature of the AC power supply. Banding is very characteristic of shooting under fluorescent lighting, but incandescent lighting is generally exempt from these effects.
As a rule, banding becomes worse (bands are darker or more underexposed) as the shutter speed gets higher. To avoid the bands, you may have to select the shutter speed manually. The shutter speeds which do not produce banding are dependent on the supply frequency of the local AC power grid (specified in Hertz, cycles per second).
If banding does not show the typical Signature (number of bands), then it is probably due to some other phase function of the power, such as the PWM (pulse width modulation) used to drive some LED lighting, and you may have to determine appropriate shutter speeds experimentally. Alternatively, you can simply switch to the Mechanical Shutter, which does not display banding problems.
[ 3 . h ] Exposure Compensation Dial
I regularly set the exposure compensation dial on the basis of the time of day. Otherwise, the Auto-Exposure will try to increase the exposure for twilight and dark scenes, possibly giving them an un-natural look, and loosing their ambience.
The un-adjusted Auto-Exposure can also lead to slower shutter speeds and higher ISO settings than are actually necessary.
At night you already have the problem of low available light, and if you're trying to use higher shutter speeds for moving shots (in the above shot, both the subject and the photographer were moving towards each other), then the advantage offered by a 1 EV reduction in exposure, is very welcome.
Beyond this, I might adjust the exposure compensation for a particular shot, not to normalize the exposure, but to bias it, such as, to emphasise shadows or highlights.
[ 3 . i ] Drive Mode
Single shot mode is my usual setting, but if I'm trying to capture a scene where people are moving, then I sometimes use Continuous Low mode, which gives you the opportunity to select the best of several shots.
I keep release times short (1 second or less at a time) and I generally don't use Continuous High, which can quickly fill the buffer, and your card. The following are typical results when using the electronic shutter, but be aware that they can be affected by such factors as ambient temperature, and the specific card being used.
If you use Continuous mode, I recommend that you have the drive indicator show on your custom screen setup. Otherwise you may forget that you have it engaged, and then get a surprise when your card is suddenly full, way ahead of when you would normally expect.
[ 3 . j ] Metering (Photometry)
I generally set the metering to Averaging. I find that this gives better shot-to-shot consistency for a series of shots. I also feel that it handles scenes with a wide dynamic range better than the default Multi metering mode, since it tends not so affected by the brightness distribution of the scene.
However, if you have Photometry set to an assignable function button, you may find it useful to preview how Multi and Average modes are handling the scenes that you are shooting, and select the one you consider to be exposing best. As a general rule, Spot metering is not appropriate for no-finder and shoot-from-the-hip photography, since it presupposes that you can locate a target on a precise part of the scene.
In Conclusion
There are, of course, many other settings available on the X-E2, but I have addressed only those that I consider most relevant and important for candid photography in an urban environment. If you are new to urban photography, then this article may suggest some useful starting points. Even if you are a veteran "streetog", I hope you may have found some points of interest.
Either way, your image results will depend not only on your continuing practice and deep exploration of this photographic genre, but also on the personal choices that you make. I hope that you find the X-E2 the same excellent street tool that I have found it to be.
Fujifilm X-E2
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#photophilosophy #phototips #streetphotography #technologychoices #electronicshutter #filmsimulations #fujixe2 #manuallenses #pancakelenses #shootfromthehip #zonefocusing
The Nikon Z9 May Get Custom Shutter Sounds, Including a Cat’s Meow
#equipment #news #beta #camera #customshuttersounds #electronicshutter #firmware #firmwareupdate #nikon #nikonz9 #shuttersounds #unusual #weird #z9
Nikon Unveils the Z9: 45.7MP, 120FPS, 8K, and No Mechanical Shutter
Nikon today has announced the Z9, a new full-frame camera featuring a 45.7-megapixel stacked CMOS sensor, a new EXPEED 7 image-processing engine, 8K video with extended recording limits, and the complete elimination of a mechanical shutter.
The new flagship camera offers Nikon's most advanced autofocus system with a new scene detection system that has been built on deep learning technology that can also sustain fast continuous shooting bursts and is capable of in-camera 8K video recording for extended periods. The company also says the new Z9 has a sensor scan rate that is so fast it has completely eliminated the need for a traditional mechanical shutter, and so the Z9 does not have one.
The camera has a rugged body that is designed for a professional workflow with an integrated vertical grip and controls and a magnesium alloy chassis featuring a drip and dust resistant design similar to the Nikon D6 but in a 20% smaller body. This design includes a dual coating on the optical filter that has an electro-conductive coating and fluorine coating to repel dust in front of the sensor, in addition to a sensor shield that protects it when changing lenses.
With this new system comes a new four-axis 3.2-inch touch screen LCD giving photographers the ability to tilt the monitor both horizontally and vertically with the screen able to orient based on the camera position. The viewfinder has been improved to feature a bright Quad-VGA panel adjustable to 3000cd/m2 (nits) for better visibility when shooting in bright situations.
The company says the Z9 Vibration Reduction image stabilization system has been improved with a new Synchro VR that allows for up to six stops of shake compensation (when used in tandem with compatible lenses) and it has a VR safety lock to protect the sensor from damage caused by "unintentional movement" when the camera is powered off and in transit in rough conditions.
The new EXPEED 7 processer is Nikon's most powerful processing engine to date, boasting speeds approximately 10 times faster than the Z7 II is capable of and powers a sensor with what Nikon is calling the world's fastest image scan rate, allowing for an incredibly small amount of rolling shutter distortion. According to the company, it can avoid distortion even when shooting at 1/32,000 of a second -- of which it is capable. The sensor offers a native ISO range from 64 to 24,600 (Expandable from 32 to 102,400). The Z9 can also flash sync at up to 1/250 second and up to 1/8000 with high-speed sync (HSS) enabled.
Nikon claims that the autofocus system featured in the flagship Z9 is the most intelligent AF system the company has ever built. It has the fastest AF tracking performance ever for Nikon utilizing a new Subject Detection algorithm that can identify and track nine subject types including humans, pets, birds, airplanes, trains, cars, motorbikes, and bicycles. When shooting in the Auto-Area Autofocus mode, any of these subjects will automatically be detected and focused on, without having to adjust or change any settings manually. Other improvements to the autofocus include an enhanced eye-AF system that tracks a subject's eyes from further away and can change the color of the indicator to green to confirm the target is in focus.
The Z9 autofocus system is able to conduct fast and accurate calculations at up to 120 cycles per second even when shooting in a burst.
Nikon has also brought its 3D-tracking over to the Z9, which pairs with the subject tracking setting to track fast and erratically moving subjects such as a race car. In low light situations, the Z9 has a new "starlight" mode that enhances the ability to focus down to -8.5 EV, supposedly making it much easier for astrophotographers or event photographers to change settings and achieve proper focus in the dark.
The Z9 system is capable of capturing 20 frames per second (FPS) in RAW with a buffer of over 1,000 images. The system can hit 30 frames per second when switched to full resolution JPEG mode, and if a case of extreme speed is needed, the camera has a High-Speed Frame Capture mode capable of 120 frames per second with full AF/AE at 11-megapixels, which Nikon says makes it capable of capturing motion faster than the human eye can see.
In addition to the increased frames per second, High-Efficiency RAW files are now available with the Z9 system where the files retain all the detail of a conventional uncompressed RAW file but it is approximately one-third smaller in size.
The Z9 also offers an extensive suite of advanced video features that include recording at 8K UHD 24p/30p and 4K UHD 24p/30p/60p/120p (FX-format). The company says the system is capable of recording 8K 30p for more than two hours consecutively (125 minutes) which is more than needed for nearly any shooting scenario.
10-bit N-Log and HLG (Hybrid Log-Gamma) are available in-camera as well as support for multiple codecs including H.265 (HEVC), ProRes 422 HQ10, and H.264/MPEG-4 AVC to accomodate a variety of production workflows. Nikon says a free firmware upgrade will be released in 2022 that will enable internal 8K 60p capture in a new 12-bit N-raw high-efficiency video format, 12-bit ProRes RAW, as well as some additional new pro-level video features.
Below are a few sample images captured with the Z9, provided by Nikon:
In addition to the new flagship camera, Nikon will also be launching two new software solutions that include NX Mobile Air for managing and transferring images while working in the field that supports transmission of IPTC, Voice memos, and more, and NX Tether that will enable tethering a Nikon camera directly to a computer monitor so commercial photographers can easily output their work for client review in real-time.
The Nikon Z9 will be available to purchase by the end of 2021 for $5,500.
#equipment #news #120fps #45mp #4k #8k #electronicshutter #mirrorless #nikkor #nikon #nikonz9 #nikonzmount #pressrelease #professional #sportscamera #wildlifecamera #z9 #zmount
Fujifilm X-E2 — Taking it to the Street
The Fujifilm X-E2 mirrorless camera is an excellent choice for street photography. Some of its advantages are:
- Discrete presence -- small, light, quiet, and understated
- Advanced features -- film simulations, and in-camera developing
- Varied lens options -- native and adapted, including rangefinder lenses
- Intuitive operation -- simple, direct and "film-camera" like
The Fujifilm X-E2 is capable of producing superb image quality, straight out of the camera.
The following describes in some detail, one photographer's approach to photography in the urban environment. It is not meant to be a "How To" guide, but rather an exercise in the free exchange of ideas. My methods can be quite idiosyncratic: extensive use of from-the-hip-shooting, and film simulations with "cranked-up" settings, for example. Please be aware that there are many styles, approaches and preferences for street photography, each with its own rationale and validity, and some other advice might better suit your personal street shooting goals.
Part 1 Equipping the X-E2 for the Street
The X-E2 body straight out of the box has many desirable street assets such as being compact and discrete. However, it can further benefit from a few customisations and accessory choices. This is my modified X-E2.
Bare body weight (without customisations) was 355 gms. With added components the weight is 508 gms (without lens).
[ 1 . a ] Combined L-bracket extended grip
This third-party aluminium L-bracket and grip is my main customisation.
It extends the finger grip at the front, and is the key to being able to hold the camera with one hand, for long periods of time without fatigue.
I typically don't use tripods for street work, however, the integrated horizontal and vertical Arca plates of the L-bracket are useful for standing the camera on the ground, or any other suitable flat surface, in either orientation. This enables very low shutter speeds, and is particularly useful for pinhole and zone-plate photography.
Also, the grip and L-bracket can act as a crash-bar for the camera body, which can be a useful thing on crowded streets. The grip is designed to give ready access to all access covers, and can essentially be left on the body permanently. Search: XE2 QR L Bracket Grip. Price: US$24 AU$30 €20. (Aug 2016).
[ 1 . b ] Wrist strap
I use a leather wrist strap with a slide-along loop constrictor.
The wrist strap gives security. Even if I lose my grip, the camera can't fall. Furthermore, it avoids the possibility of a grab-and-run incident.
Search: Leather Camera Wrist Strap. Price: US$2, AU$3, €2. (Aug 2016).
[ 1 . c ] Soft release button
This gives the shutter release a little more prominence, and makes it a bit more tactile, which is useful if I shoot in vertical orientation, and release with my thumb.
At the same time, it helps keep the cable-release thread clean, for when I want to use a cable, which I typically do for pinhole and zone-plate photography.
Search: Metal Soft Shutter Release Button. Price: US$2, AU$3, €2. (Aug 2016).
[ 1 . d ] Hot shoe cover
This helps to keep the hot shoe contacts clean.
The bubble level also assists with leveling for waist-level or ground level shooting (in cases where the finder is not being used). I mainly use it when doing horizontal-orientation waist-level shots to enable me to point the lens slightly up or down, depending on the composition requirements.
Pointing the lens up or down changes the perspective and also the dynamics of the scene.
Search: Hot Shoe Protector Bubble Level. Price: US$1, AU$2, €1. (Aug 2016).
[ 1 . e ] Toughened glass LCD protector
I like not having to worry about the LCD screen getting scratched, including scratches from cleaning.
If the glass ever becomes damaged, you can simply remove it, and apply a new one. Search: XE2 Self-adhesive Glass LCD Screen Protector. Price: US$13, AU$17, €12. (Aug 2016).
[ 1 . f ] Hanging ring
I added a hanging ring to the unused strap lug on the left side of the camera body. This helps in situations where I have to let go of the camera to do other things (like get out another lens) and I find that I don't have enough hands.
The leather apron under the ring is to avoid scratching of the camera body by the carabiner, and also to avoid the ring rattling.
I can use a carabiner to hang the camera from a D-ring on my camera bag or belt.
If there is nowhere to sit down, this hanging ring makes lens change-overs faster, safer and more convenient.
[ 1 . g ] Choice of Memory Card
I try to use the fastest cards that the camera can take. This assists with fast buffer clearing, and avoids missing shots due to a full processing queue. Prefer Speed Class 10, and UHS Speed Class 1 or 3, SDHC cards, from a reputable brand.
I find that for the X-E2, a 32 Gb card suits my purposes best, as it is a good match for my number of shots per battery. Shots per battery charge will be addressed in section [3.a].
I always change card and battery at the same time, regardless of how much space or power is left on either of them. That way, after a change, I can have realistic expectations about how much uninterrupted shooting I can do.
Part 2 Lens Selection
[ 2 . a ] Suitable Lenses
With the APSc sized sensor of the X-E2, you might choose between 35mm and 21mm (or even slightly shorter) focal length lenses, for street work. Primes are usually preferred to zooms, because they are smaller and lighter, they are not subject to zoom-creep or zoom-slippage, and the optics are optimized for one specific focal length. As a short registration distance mirrorless camera, the X-E2 can mount almost any lens, providing you have the correct mount adapter. Therefore it can use not only the extensive range of native X-mount lenses, but also a large number of adapted manual lenses.
The X-E2 has the ability to mount adapted rangefinder pancake lenses, which is particularly useful, due to their compact size.
If you do mount a non-auto-focus lens on the X-E2, you have to set menu item "SHOOT WITHOUT LENS" (Shooting Menu, Page 3) to ON. I just leave it on all the time, even when using auto-focus lenses.
[ 2 . b ] Going Manual
I often do shoot-from-the-hip photography. Unless you are using a Twin Lens Reflex camera, or working from a tilting back screen, then hip level shots will essentially be finder-less (view finder not used). This fundamentally changes your lens requirements. Focusing will be preset, probably zone focusing, and electronic focus point settings have little relevance. For preset focus methods, you could use one of the Fujifilm or Zeiss auto-focus lens set to manual mode, or alternatively a manual-only lens. My street preference is for the latter. I won't say any more about the auto-focus lenses, since there is plenty of information available elsewhere. The following chart gives a small selection of standard to slightly-wide manual primes, that I use on the X-E2.
For shoot-from-the-hip street work, an aperture ring with click stops and detented lever focusing, are excellent features which allow you to set aperture and focus by feel alone (through counting clicks).
Due to these features, along with optical performance, the Voigtländer Snapshot Skopar (25mm) is a lens worthy of special mention.
[ 2 . c ] Focal Length, Working Distance, and Field of View
Lens focal length affects image magnification, perspective, compression and field of view. Although many photographers associate field of view primarily with focal length, for people-oriented street photography, how much a person will "own" of the frame, is just as much dependent on the shooting distance to the person / persons.
The following charts are designed to address this specific consideration. The quoted ratios (eg, 1 : 1.5) compare the frame height to an arbitrary "typical" adult height, taken as "1 person height". (I used 1.75 m as the basis for that height.) Based on the type of ratio you would like to achieve, and the shooting distance that you feel comfortable with, you should easily be able to select an appropriate focal length lens. (Note that these charts are APSc sensor specific.)
Turning the camera to a vertical orientation increases the "head-room", so the applicable settings change. I like the vertical oriented frame because it naturally compliments the human form. You might find it useful to remember that in vertical orientation with a 24mm lens, the distance to the person being photographed is equal to the vertical height depicted by the frame. That can give you a starting point reference for making on the fly estimates, without using the chart.
VIEW THESE CHARTS AS A PDF DOCUMENT
Although you become very familiar with the lenses that you use frequently, I keep a pair of card sized prints of these charts as a ready reference for when I change to lenses I use less frequently.
As an example of using these charts, the height of the frame in the following vertical orientation shot, is more than half a person height, but less than one person height. So we would be looking at the meeting of the red and the orange bands (that is, between the 1 : 0.5 and 1 : 1 ratios). The shot was taken with a 32mm lens (APSc), so the distance to the subject would be about 2 metres, which was indeed my estimate of distance.
To get the person fully in the shot, plus a bit of space above and below, (so that the framing is not too tight, say a ratio of 1 : 1.5 ) then I can look at the yellow band and see that I would have to be between 3 and 4 metres away, for the 32mm lens. Of course, different lenses and distances will also affect the perspective of the shot. If I had used a longer focal length lens, and stood much further away, the bridge in the background would be much higher in the frame. Bear in mind that working distances will also affect depth of field. This will be addressed in section [3.e].
[ 2 . d ] Lens Accessories
Equipping the body with a lens may also entail acquiring lens adapters (if not using native x-mount lenses), and such things as hoods and UV filters (if you like to make the task of keeping your lens clean, easier).
Although many people don't worry about a protective filter (for protection against getting dirty, not against breakage), it really is the best way of keeping your front lens in a pristine state. This is particularly important for some lenses with a very small front glass, where trying to clean it could be difficult, and you run the risk of causing damage.
For these reasons, I fit all of my lenses with a good multi-coated UV or similar filter, if available, and only ever clean the filter, not the front lens. In a city environment, and especially with the added factor of salt-air in a harbour-side city, air-deposited particle build-up on the front-most glass, can be significant over time. Its main effect is to reduce sharpness and contrast.
[ 2 . e ] About Exif data
The Fujifilm and Zeiss X-mount auto-focus lenses write numerous items of lens information to the Exif metadata of the image files produced by the camera. This is not the case with adapted manual lenses, which have no electronic communication with the camera body. For adapted lenses, you should set the menu item "MOUNT ADAPTER SETTING" (Shooting Menu, Page 3) to the focal length of the lens being used.
That way, the focal length will be recorded in the Exif data written to the image files, however what will be missing is the aperture that was used, as well as focusing information, etc.
When using non-auto-focus lenses, I highly recommend that you keep a notebook, for the purpose of recording specific lens used (you may have more than one lens of the same focal length), as well as aperture and focal distance settings, etc, of your street photo session. This allows you to identify camera set-ups that worked well, and also provides some of the missing information that would normally be recorded in the Exif data of your images, when using an auto-focus lens.
If you wish, you can later edit this information into the Exif data of selected image files. I generally use a stand-alone utility, such as either ExifToolGUI, or PhotoME.
Part 3 Camera Menus & Controls Setup
The various camera options and settings can affect both camera operation and the rendering of acquired images. A poorly set-up camera can be frustrating to use, and produce unsatisfying images leading to unnecessary post processing.
If the camera is new to you, you should fully read the manual, while trying out each of the cameras features. Be aware that, except for the body design, an X-E2 with Firmware version 4 is functionally the same as the X-T10. So, if you want to delve more deeply into the X-E2's capabilities, the recommended book would actually be Rico Pfirstinger's X-T10 book. It is available via this link - <http://www.rockynook.com/shop/photography/the-fujifilm-x-t10/?ref=21> , and you can use this coupon code, XPERT40 , to get a 40% discount.
[ 3 . a ] Power Saving
Mirrorless cameras are relatively power hungry (compared to DSLRs), so you may want to conserve power. My personal recommendation is to use these settings.
Regarding High Performance Mode, it is generally recognised that the camera responsiveness benefits far outweigh any power usage disadvantages. Besides the above setup, another factor which can lead to enhanced power efficiency, is the use of manual-only lenses, which, of course, do not consume any power.
1000+ is the number that I have been able to achieve, but due to differences in "Mostly Off" implementation and also battery condition, you may not achieve the same results.
[ 3 . b ] Function Buttons
The X-E2 has seven assignable function buttons. A short press of a Function Button will give you direct access to the assigned function. A long press will open a menu from which you can select the function you wish to assign to that button.
The following table gives my own recommendations, which are based on experience, and allow also the quick conversion of the camera to "non-street" shooting (for example, the "preview exposure in manual mode" setting often needs to be accessed in studio shooting).
When Photometry (AE), White Balance, and Custom Settings selection, are selected via Function Buttons, the selection menu is superimposed over the EVF or LCD view, so that you can see exactly what the effects of each option will be.
That is why, although Custom Settings can be selected from the Q menu, it is more informative to select them from an assigned Function Button.
[ 3 . c ] Image Quality
Even if you only want straight-out-of-camera Jpegs (Fuji's Jpeg engine is highly regarded), I still recommend that you always shoot Raw files, selecting either "Raw" or "Raw + Fine". When you review the shot, you will see an embedded Jpeg image that is included in the Raw file, and that embedded Jpeg is rendered according to the settings with which the shot was taken. But the Raw file also contains all of the original unprocessed image data. Having a Raw file allows you to virtually "re-shoot" the scene after the fact, because you can develop the Raw information (Fuji calls it Conversion) to produce a new Jpeg image as many times as you like, with freedom to change the settings as shown in the following chart. This re-developing is not possible from a Jpeg file, so shooting Jpeg only, locks out the in-camera developing (Conversion) functionality. However, "Jpeg only" still has its uses; -- for instance, when I shoot time-lapse sequences, I shoot Jpeg only.
To answer the question of whether to shoot Raw only, or Raw + Jpeg, I suggest that you look at your expected "keeper" rate. For low keeper rates, such as 10% or less, I would shoot Raw only, and use in-camera developing of only selected Raw files. However, for high keeper rates, such as 80% or higher (think about a wedding photographer), then because Fuji's Jpegs are so good, Raw + Fine (that is, best quality Jpeg) may be the most efficient way to proceed. For urban photography I shoot just Raw only, and then convert selected images to Jpeg files. Since I have said a lot about producing Jpeg files in-camera, I would like to clarify one thing: -- If I am going to produce a fine-art print from one of my shots, I will process the Raw file on the PC, using an external Raw converter. Although I have both Lightroom and CaptureOne, I usually use RawTherapee and then Krita (which although intended mainly for concept artists, digital painters and illustrators, happens to work very well for photography).
[ 3 . d ] Q button settings and Film Simulations
From the Q button, I can access all of the image rendering options, and I can also select or modify one of seven sets of Custom Settings. My preferred strategy is to assign a different Film Simulation to each Custom Presets bank. It is worthwhile becoming familiar with the particular characteristics of the various Fujifilm Film Simulations, so that you can better select different Film Sims according to your visual intent.
The difference between the various Film Simulations can be quite subtle. So, based on the above table, I have set up seven Custom sets, but with a further emphasis (or slight exaggeration) on the particular characteristics of each Film Sim. In this way, the suitability of a particular Film Sim for a specific scene can be more easily determined. Remember, the Raw data itself is not actually affected by these adjustments, only the embedded-jpeg image, so you can always wind-back that "emphasis" when you convert to Jpeg.
The following is an example of typical settings that I might use for my urban photography: I like my images to be warm and inviting. Since my intention is artistic rather than than documentary, I am not afraid to alter colour and tonality in order to establish the mood and sentiment that was felt at the time of image capture. My preference is for a palette leaning towards sanguine, with low saturation and understated hues, and drama from starkly contrasted shadows and glow, with the feel of an old, classic film that has its imperfections. This intention is reflected in the following Q menu settings.
Furthermore, the Cloudy White Balance has been shifted towards the Red and Yellow in order to give a strong warming effect, similar to the use of an 81C or even 85C Warming filter.
Later when I review my shot, it is displayed according to these settings. Note that my "virtual warming filter" plus a Skylight(1A) filter on the front of the lens, has removed any trace of blue from the sky.
However, if I think the result has been pushed too far, I can always re-develop in-camera according to different settings, because I have all the original capture information in the Raw file.
[ 3 . e ] Focus, Aperture, and Depth of Field
In my various types of photographic work, I use both manual and automatic methods, depending on the task. For shooting in the street I typically use Zone Focusing.
As a result, my aperture is often somewhere between F8 and F11. I recommend not going beyond F16 where, on an APSc sensor, you can start to experience the onset of diffraction effects. The depth of field scale may not be reliable on adapted lenses, if they were designed for 35mm film format. I prefer to use a table specially designed for APSc format.
VIEW THIS CHART AS A PDF DOCUMENT
The Depth of Field specifies a zone within which everything should be adequately in focus. As a general rule, the distribution of that in-focus space is considered to be one third in front of the set focal distance and the other two thirds behind it.
By using small apertures and longer focusing distances, you can easily achieve a very deep in-focus zone. However, I prefer to work at more "intimate" distances, and so the in-focus zone becomes more shallow. You need to learn to estimate distances well, if you want to use very shallow zone focusing. For daylight photography, I don't require fast lenses. However, for night-time photography, I often use fast or even ultra-fast (F0.95 and F0.85) lenses.
Night shooting might require wide apertures to make best use of the available light, so you just have to set the focus distance correspondingly further away to get a deep enough focus zone.
[ 3 . f ] Shutter Speed, ISO and Dynamic Range settings
I am treating these together, because their settings are very interdependent. I generally set the Shutter Speed dial to Auto, and use one of the Auto ISO settings. [Please note that each bank of custom settings can have its own set of Auto ISO settings.] Given the sensor's ISO invariance (up to 1600 ISO), and the benefits of Fuji's extended dynamic range, I don't feel compelled towards shooting at base ISO. The strategy behind the following chart is based on the assumptions that better lighting allows lower ISO and faster shutter speeds, while poorer lighting needs higher ISO and slower shutter speeds.
I always consider ISO settings in the context of Dynamic Range settings. I typically shoot in very contrasty situations where extended dynamic range settings can help avoid loss of detail in the highlights (except the Sun, of course, which should be blown out). One of the problems of doing a lot of from-the-hip photography is that you don't have the opportunity to look at the histogram, which would normally be a good guide as to whether or not extended dynamic range settings were required. Since I don't see the histogram, I just routinely shoot at 400% dynamic range, because you can always reduce the DR% in development, if necessary. So, if I shot at DR 400%, but the EV range of the scene didn't require it, then I can develop at 200% or 100%, which can have the effect of improving nuances in the tonality. However, the reverse is not true: -- you cannot increase the DR% in developing, above the DR% at which the image was shot. So basically, shooting at DR 400% gives me more development options (different tone mapping variations), but at the cost of limiting my minimum ISO to 800. I find that an acceptable trade-off.
[ 3 . g ] Electronic Shutter
I use the Electronic Shutter (ES) most of the time. For me, its advantages (silence, no shutter-induced camera shake, and reduced power consumption) outweigh its disadvantages. However, you should be aware of some strange effects that can result from use of the Electronic Shutter. Due to rolling shutter effects, movement during exposure (either camera or subject) can cause distortion, which might display as stretching, warping or smearing. The remedy is, of course, to practice a steady hand.
Also, some artificial lighting will cause banding when the Electronic Shutter is used at certain shutter speeds, due to interaction between the readout characteristics of the ES and the phase nature of the AC power supply. Banding is very characteristic of shooting under fluorescent lighting, but incandescent lighting is generally exempt from these effects.
As a rule, banding becomes worse (bands are darker or more underexposed) as the shutter speed gets higher. To avoid the bands, you may have to select the shutter speed manually. The shutter speeds which do not produce banding are dependent on the supply frequency of the local AC power grid (specified in Hertz, cycles per second).
If banding does not show the typical Signature (number of bands), then it is probably due to some other phase function of the power, such as the PWM (pulse width modulation) used to drive some LED lighting, and you may have to determine appropriate shutter speeds experimentally. Alternatively, you can simply switch to the Mechanical Shutter, which does not display banding problems.
[ 3 . h ] Exposure Compensation Dial
I regularly set the exposure compensation dial on the basis of the time of day. Otherwise, the Auto-Exposure will try to increase the exposure for twilight and dark scenes, possibly giving them an un-natural look, and loosing their ambience.
The un-adjusted Auto-Exposure can also lead to slower shutter speeds and higher ISO settings than are actually necessary.
At night you already have the problem of low available light, and if you're trying to use higher shutter speeds for moving shots (in the above shot, both the subject and the photographer were moving towards each other), then the advantage offered by a 1 EV reduction in exposure, is very welcome.
Beyond this, I might adjust the exposure compensation for a particular shot, not to normalize the exposure, but to bias it, such as, to emphasise shadows or highlights.
[ 3 . i ] Drive Mode
Single shot mode is my usual setting, but if I'm trying to capture a scene where people are moving, then I sometimes use Continuous Low mode, which gives you the opportunity to select the best of several shots.
I keep release times short (1 second or less at a time) and I generally don't use Continuous High, which can quickly fill the buffer, and your card. The following are typical results when using the electronic shutter, but be aware that they can be affected by such factors as ambient temperature, and the specific card being used.
If you use Continuous mode, I recommend that you have the drive indicator show on your custom screen setup. Otherwise you may forget that you have it engaged, and then get a surprise when your card is suddenly full, way ahead of when you would normally expect.
[ 3 . j ] Metering (Photometry)
I generally set the metering to Averaging. I find that this gives better shot-to-shot consistency for a series of shots. I also feel that it handles scenes with a wide dynamic range better than the default Multi metering mode, since it tends not so affected by the brightness distribution of the scene.
However, if you have Photometry set to an assignable function button, you may find it useful to preview how Multi and Average modes are handling the scenes that you are shooting, and select the one you consider to be exposing best. As a general rule, Spot metering is not appropriate for no-finder and shoot-from-the-hip photography, since it presupposes that you can locate a target on a precise part of the scene.
In Conclusion
There are, of course, many other settings available on the X-E2, but I have addressed only those that I consider most relevant and important for candid photography in an urban environment. If you are new to urban photography, then this article may suggest some useful starting points. Even if you are a veteran "streetog", I hope you may have found some points of interest.
Either way, your image results will depend not only on your continuing practice and deep exploration of this photographic genre, but also on the personal choices that you make. I hope that you find the X-E2 the same excellent street tool that I have found it to be.
Fujifilm X-E2
It takes me many days or even weeks to produce an article like this. In order to give you a distraction-free experience, I like to keep the site free of advertising, but it means I get no payment for that hard work. If you would like to support me in continuing to produce high quality articles like this one, please consider donating, even a dollar. Thank you.
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All images © 2013-2017 Dom Varney
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#photophilosophy #phototips #streetphotography #technologychoices #electronicshutter #filmsimulations #fujixe2 #manuallenses #pancakelenses #shootfromthehip #zonefocusing
Listen to the Canon EOS R3 Shutter Fire at 30FPS
Last week, Canon launched its latest high-end photojournalist-focused mirrorless camera, the EOS R3. It is capable of firing up to 30 frames per second in electronic shutter mode -- and the sound of it doing so is wild.
Uploaded by Youtuber and photographer GengHui Tan, the short video above delivers exactly what is promised: the sound of the EOS R3 firing 30 frames per second for about four straight seconds. In his video description, Tan states that the camera has a maximum 1/64,000 shutter speed and is capable of shooting up to 30 frames per second with the electronic shutter. The camera fires so quickly that the space between each click is almost indiscernible.
"During my short hands-on media session with the Canon EOS R3, I was able to have a feel of the amazing speed and precision of the Canon EOS R3. I would love to fully test out this feature when a review unit is available," Tan writes.
Of note, this sound is entirely artificial. When briefing the press about the R3, Canon spent a bit of time explaining that it made a specific effort to give photographers the ability to go completely silent with the R3, even when it is firing at maximum frame rates. There are settings in the camera that allow the sound heard in the video above to be turned off, but the company did not stop there. There are additional settings that remove all sounds from the camera at the cost of a bit of speed, allowing a photographer to shoot without making any sound at all.
The Canon R3 has significant technological advancements over any other Canon camera released to date. Not only can it fire at 30 frames per second, but it can also do so while maintaining full-time autofocus and delivers a blackout-free experience for the shooter. The camera can also shoot at up to 12 frames per second with a traditional mechanical shutter. Canon says that the readout speed of the sensor is so good that there is minimum rolling electronic shutter distortion.
The EOS R3 can support flash sync with its electronic shutter at up to 1/180 second at up to 15 frames per second.
For more on the EOS R3, make sure to read PetaPixel 's launch coverage as well as a hands-on first impression from photographer Martin Bissig, who was able to spend a week with the camera ahead of its announcement.
Image credits: Elements of featured image licensed via Depositphotos.
#educational #equipment #30fps #canoneosr3 #electronicshutter #eosr3 #r3 #shuttersound #shutterspeed #silentshooting
Fujifilm X-E2 — Taking it to the Street
The Fujifilm X-E2 mirrorless camera is an excellent choice for street photography. Some of its advantages are:
- Discrete presence -- small, light, quiet, and understated
- Advanced features -- film simulations, and in-camera developing
- Varied lens options -- native and adapted, including rangefinder lenses
- Intuitive operation -- simple, direct and "film-camera" like
The Fujifilm X-E2 is capable of producing superb image quality, straight out of the camera.
The following describes in some detail, one photographer's approach to photography in the urban environment. It is not meant to be a "How To" guide, but rather an exercise in the free exchange of ideas. My methods can be quite idiosyncratic: extensive use of from-the-hip-shooting, and film simulations with "cranked-up" settings, for example. Please be aware that there are many styles, approaches and preferences for street photography, each with its own rationale and validity, and some other advice might better suit your personal street shooting goals.
Part 1 Equipping the X-E2 for the Street
The X-E2 body straight out of the box has many desirable street assets such as being compact and discrete. However, it can further benefit from a few customisations and accessory choices. This is my modified X-E2.
Bare body weight (without customisations) was 355 gms. With added components the weight is 508 gms (without lens).
[ 1 . a ] Combined L-bracket extended grip
This third-party aluminium L-bracket and grip is my main customisation.
It extends the finger grip at the front, and is the key to being able to hold the camera with one hand, for long periods of time without fatigue.
I typically don't use tripods for street work, however, the integrated horizontal and vertical Arca plates of the L-bracket are useful for standing the camera on the ground, or any other suitable flat surface, in either orientation. This enables very low shutter speeds, and is particularly useful for pinhole and zone-plate photography.
Also, the grip and L-bracket can act as a crash-bar for the camera body, which can be a useful thing on crowded streets. The grip is designed to give ready access to all access covers, and can essentially be left on the body permanently. Search: XE2 QR L Bracket Grip. Price: US$24 AU$30 €20. (Aug 2016).
[ 1 . b ] Wrist strap
I use a leather wrist strap with a slide-along loop constrictor.
The wrist strap gives security. Even if I lose my grip, the camera can't fall. Furthermore, it avoids the possibility of a grab-and-run incident.
Search: Leather Camera Wrist Strap. Price: US$2, AU$3, €2. (Aug 2016).
[ 1 . c ] Soft release button
This gives the shutter release a little more prominence, and makes it a bit more tactile, which is useful if I shoot in vertical orientation, and release with my thumb.
At the same time, it helps keep the cable-release thread clean, for when I want to use a cable, which I typically do for pinhole and zone-plate photography.
Search: Metal Soft Shutter Release Button. Price: US$2, AU$3, €2. (Aug 2016).
[ 1 . d ] Hot shoe cover
This helps to keep the hot shoe contacts clean.
The bubble level also assists with leveling for waist-level or ground level shooting (in cases where the finder is not being used). I mainly use it when doing horizontal-orientation waist-level shots to enable me to point the lens slightly up or down, depending on the composition requirements.
Pointing the lens up or down changes the perspective and also the dynamics of the scene.
Search: Hot Shoe Protector Bubble Level. Price: US$1, AU$2, €1. (Aug 2016).
[ 1 . e ] Toughened glass LCD protector
I like not having to worry about the LCD screen getting scratched, including scratches from cleaning.
If the glass ever becomes damaged, you can simply remove it, and apply a new one. Search: XE2 Self-adhesive Glass LCD Screen Protector. Price: US$13, AU$17, €12. (Aug 2016).
[ 1 . f ] Hanging ring
I added a hanging ring to the unused strap lug on the left side of the camera body. This helps in situations where I have to let go of the camera to do other things (like get out another lens) and I find that I don't have enough hands.
The leather apron under the ring is to avoid scratching of the camera body by the carabiner, and also to avoid the ring rattling.
I can use a carabiner to hang the camera from a D-ring on my camera bag or belt.
If there is nowhere to sit down, this hanging ring makes lens change-overs faster, safer and more convenient.
[ 1 . g ] Choice of Memory Card
I try to use the fastest cards that the camera can take. This assists with fast buffer clearing, and avoids missing shots due to a full processing queue. Prefer Speed Class 10, and UHS Speed Class 1 or 3, SDHC cards, from a reputable brand.
I find that for the X-E2, a 32 Gb card suits my purposes best, as it is a good match for my number of shots per battery. Shots per battery charge will be addressed in section [3.a].
I always change card and battery at the same time, regardless of how much space or power is left on either of them. That way, after a change, I can have realistic expectations about how much uninterrupted shooting I can do.
Part 2 Lens Selection
[ 2 . a ] Suitable Lenses
With the APSc sized sensor of the X-E2, you might choose between 35mm and 21mm (or even slightly shorter) focal length lenses, for street work. Primes are usually preferred to zooms, because they are smaller and lighter, they are not subject to zoom-creep or zoom-slippage, and the optics are optimized for one specific focal length. As a short registration distance mirrorless camera, the X-E2 can mount almost any lens, providing you have the correct mount adapter. Therefore it can use not only the extensive range of native X-mount lenses, but also a large number of adapted manual lenses.
The X-E2 has the ability to mount adapted rangefinder pancake lenses, which is particularly useful, due to their compact size.
If you do mount a non-auto-focus lens on the X-E2, you have to set menu item "SHOOT WITHOUT LENS" (Shooting Menu, Page 3) to ON. I just leave it on all the time, even when using auto-focus lenses.
[ 2 . b ] Going Manual
I often do shoot-from-the-hip photography. Unless you are using a Twin Lens Reflex camera, or working from a tilting back screen, then hip level shots will essentially be finder-less (view finder not used). This fundamentally changes your lens requirements. Focusing will be preset, probably zone focusing, and electronic focus point settings have little relevance. For preset focus methods, you could use one of the Fujifilm or Zeiss auto-focus lens set to manual mode, or alternatively a manual-only lens. My street preference is for the latter. I won't say any more about the auto-focus lenses, since there is plenty of information available elsewhere. The following chart gives a small selection of standard to slightly-wide manual primes, that I use on the X-E2.
For shoot-from-the-hip street work, an aperture ring with click stops and detented lever focusing, are excellent features which allow you to set aperture and focus by feel alone (through counting clicks).
Due to these features, along with optical performance, the Voigtländer Snapshot Skopar (25mm) is a lens worthy of special mention.
[ 2 . c ] Focal Length, Working Distance, and Field of View
Lens focal length affects image magnification, perspective, compression and field of view. Although many photographers associate field of view primarily with focal length, for people-oriented street photography, how much a person will "own" of the frame, is just as much dependent on the shooting distance to the person / persons.
The following charts are designed to address this specific consideration. The quoted ratios (eg, 1 : 1.5) compare the frame height to an arbitrary "typical" adult height, taken as "1 person height". (I used 1.75 m as the basis for that height.) Based on the type of ratio you would like to achieve, and the shooting distance that you feel comfortable with, you should easily be able to select an appropriate focal length lens. (Note that these charts are APSc sensor specific.)
Turning the camera to a vertical orientation increases the "head-room", so the applicable settings change. I like the vertical oriented frame because it naturally compliments the human form. You might find it useful to remember that in vertical orientation with a 24mm lens, the distance to the person being photographed is equal to the vertical height depicted by the frame. That can give you a starting point reference for making on the fly estimates, without using the chart.
VIEW THESE CHARTS AS A PDF DOCUMENT
Although you become very familiar with the lenses that you use frequently, I keep a pair of card sized prints of these charts as a ready reference for when I change to lenses I use less frequently.
As an example of using these charts, the height of the frame in the following vertical orientation shot, is more than half a person height, but less than one person height. So we would be looking at the meeting of the red and the orange bands (that is, between the 1 : 0.5 and 1 : 1 ratios). The shot was taken with a 32mm lens (APSc), so the distance to the subject would be about 2 metres, which was indeed my estimate of distance.
To get the person fully in the shot, plus a bit of space above and below, (so that the framing is not too tight, say a ratio of 1 : 1.5 ) then I can look at the yellow band and see that I would have to be between 3 and 4 metres away, for the 32mm lens. Of course, different lenses and distances will also affect the perspective of the shot. If I had used a longer focal length lens, and stood much further away, the bridge in the background would be much higher in the frame. Bear in mind that working distances will also affect depth of field. This will be addressed in section [3.e].
[ 2 . d ] Lens Accessories
Equipping the body with a lens may also entail acquiring lens adapters (if not using native x-mount lenses), and such things as hoods and UV filters (if you like to make the task of keeping your lens clean, easier).
Although many people don't worry about a protective filter (for protection against getting dirty, not against breakage), it really is the best way of keeping your front lens in a pristine state. This is particularly important for some lenses with a very small front glass, where trying to clean it could be difficult, and you run the risk of causing damage.
For these reasons, I fit all of my lenses with a good multi-coated UV or similar filter, if available, and only ever clean the filter, not the front lens. In a city environment, and especially with the added factor of salt-air in a harbour-side city, air-deposited particle build-up on the front-most glass, can be significant over time. Its main effect is to reduce sharpness and contrast.
[ 2 . e ] About Exif data
The Fujifilm and Zeiss X-mount auto-focus lenses write numerous items of lens information to the Exif metadata of the image files produced by the camera. This is not the case with adapted manual lenses, which have no electronic communication with the camera body. For adapted lenses, you should set the menu item "MOUNT ADAPTER SETTING" (Shooting Menu, Page 3) to the focal length of the lens being used.
That way, the focal length will be recorded in the Exif data written to the image files, however what will be missing is the aperture that was used, as well as focusing information, etc.
When using non-auto-focus lenses, I highly recommend that you keep a notebook, for the purpose of recording specific lens used (you may have more than one lens of the same focal length), as well as aperture and focal distance settings, etc, of your street photo session. This allows you to identify camera set-ups that worked well, and also provides some of the missing information that would normally be recorded in the Exif data of your images, when using an auto-focus lens.
If you wish, you can later edit this information into the Exif data of selected image files. I generally use a stand-alone utility, such as either ExifToolGUI, or PhotoME.
Part 3 Camera Menus & Controls Setup
The various camera options and settings can affect both camera operation and the rendering of acquired images. A poorly set-up camera can be frustrating to use, and produce unsatisfying images leading to unnecessary post processing.
If the camera is new to you, you should fully read the manual, while trying out each of the cameras features. Be aware that, except for the body design, an X-E2 with Firmware version 4 is functionally the same as the X-T10. So, if you want to delve more deeply into the X-E2's capabilities, the recommended book would actually be Rico Pfirstinger's X-T10 book. It is available via this link - <http://www.rockynook.com/shop/photography/the-fujifilm-x-t10/?ref=21> , and you can use this coupon code, XPERT40 , to get a 40% discount.
[ 3 . a ] Power Saving
Mirrorless cameras are relatively power hungry (compared to DSLRs), so you may want to conserve power. My personal recommendation is to use these settings.
Regarding High Performance Mode, it is generally recognised that the camera responsiveness benefits far outweigh any power usage disadvantages. Besides the above setup, another factor which can lead to enhanced power efficiency, is the use of manual-only lenses, which, of course, do not consume any power.
1000+ is the number that I have been able to achieve, but due to differences in "Mostly Off" implementation and also battery condition, you may not achieve the same results.
[ 3 . b ] Function Buttons
The X-E2 has seven assignable function buttons. A short press of a Function Button will give you direct access to the assigned function. A long press will open a menu from which you can select the function you wish to assign to that button.
The following table gives my own recommendations, which are based on experience, and allow also the quick conversion of the camera to "non-street" shooting (for example, the "preview exposure in manual mode" setting often needs to be accessed in studio shooting).
When Photometry (AE), White Balance, and Custom Settings selection, are selected via Function Buttons, the selection menu is superimposed over the EVF or LCD view, so that you can see exactly what the effects of each option will be.
That is why, although Custom Settings can be selected from the Q menu, it is more informative to select them from an assigned Function Button.
[ 3 . c ] Image Quality
Even if you only want straight-out-of-camera Jpegs (Fuji's Jpeg engine is highly regarded), I still recommend that you always shoot Raw files, selecting either "Raw" or "Raw + Fine". When you review the shot, you will see an embedded Jpeg image that is included in the Raw file, and that embedded Jpeg is rendered according to the settings with which the shot was taken. But the Raw file also contains all of the original unprocessed image data. Having a Raw file allows you to virtually "re-shoot" the scene after the fact, because you can develop the Raw information (Fuji calls it Conversion) to produce a new Jpeg image as many times as you like, with freedom to change the settings as shown in the following chart. This re-developing is not possible from a Jpeg file, so shooting Jpeg only, locks out the in-camera developing (Conversion) functionality. However, "Jpeg only" still has its uses; -- for instance, when I shoot time-lapse sequences, I shoot Jpeg only.
To answer the question of whether to shoot Raw only, or Raw + Jpeg, I suggest that you look at your expected "keeper" rate. For low keeper rates, such as 10% or less, I would shoot Raw only, and use in-camera developing of only selected Raw files. However, for high keeper rates, such as 80% or higher (think about a wedding photographer), then because Fuji's Jpegs are so good, Raw + Fine (that is, best quality Jpeg) may be the most efficient way to proceed. For urban photography I shoot just Raw only, and then convert selected images to Jpeg files. Since I have said a lot about producing Jpeg files in-camera, I would like to clarify one thing: -- If I am going to produce a fine-art print from one of my shots, I will process the Raw file on the PC, using an external Raw converter. Although I have both Lightroom and CaptureOne, I usually use RawTherapee and then Krita (which although intended mainly for concept artists, digital painters and illustrators, happens to work very well for photography).
[ 3 . d ] Q button settings and Film Simulations
From the Q button, I can access all of the image rendering options, and I can also select or modify one of seven sets of Custom Settings. My preferred strategy is to assign a different Film Simulation to each Custom Presets bank. It is worthwhile becoming familiar with the particular characteristics of the various Fujifilm Film Simulations, so that you can better select different Film Sims according to your visual intent.
The difference between the various Film Simulations can be quite subtle. So, based on the above table, I have set up seven Custom sets, but with a further emphasis (or slight exaggeration) on the particular characteristics of each Film Sim. In this way, the suitability of a particular Film Sim for a specific scene can be more easily determined. Remember, the Raw data itself is not actually affected by these adjustments, only the embedded-jpeg image, so you can always wind-back that "emphasis" when you convert to Jpeg.
The following is an example of typical settings that I might use for my urban photography: I like my images to be warm and inviting. Since my intention is artistic rather than than documentary, I am not afraid to alter colour and tonality in order to establish the mood and sentiment that was felt at the time of image capture. My preference is for a palette leaning towards sanguine, with low saturation and understated hues, and drama from starkly contrasted shadows and glow, with the feel of an old, classic film that has its imperfections. This intention is reflected in the following Q menu settings.
Furthermore, the Cloudy White Balance has been shifted towards the Red and Yellow in order to give a strong warming effect, similar to the use of an 81C or even 85C Warming filter.
Later when I review my shot, it is displayed according to these settings. Note that my "virtual warming filter" plus a Skylight(1A) filter on the front of the lens, has removed any trace of blue from the sky.
However, if I think the result has been pushed too far, I can always re-develop in-camera according to different settings, because I have all the original capture information in the Raw file.
[ 3 . e ] Focus, Aperture, and Depth of Field
In my various types of photographic work, I use both manual and automatic methods, depending on the task. For shooting in the street I typically use Zone Focusing.
As a result, my aperture is often somewhere between F8 and F11. I recommend not going beyond F16 where, on an APSc sensor, you can start to experience the onset of diffraction effects. The depth of field scale may not be reliable on adapted lenses, if they were designed for 35mm film format. I prefer to use a table specially designed for APSc format.
VIEW THIS CHART AS A PDF DOCUMENT
The Depth of Field specifies a zone within which everything should be adequately in focus. As a general rule, the distribution of that in-focus space is considered to be one third in front of the set focal distance and the other two thirds behind it.
By using small apertures and longer focusing distances, you can easily achieve a very deep in-focus zone. However, I prefer to work at more "intimate" distances, and so the in-focus zone becomes more shallow. You need to learn to estimate distances well, if you want to use very shallow zone focusing. For daylight photography, I don't require fast lenses. However, for night-time photography, I often use fast or even ultra-fast (F0.95 and F0.85) lenses.
Night shooting might require wide apertures to make best use of the available light, so you just have to set the focus distance correspondingly further away to get a deep enough focus zone.
[ 3 . f ] Shutter Speed, ISO and Dynamic Range settings
I am treating these together, because their settings are very interdependent. I generally set the Shutter Speed dial to Auto, and use one of the Auto ISO settings. [Please note that each bank of custom settings can have its own set of Auto ISO settings.] Given the sensor's ISO invariance (up to 1600 ISO), and the benefits of Fuji's extended dynamic range, I don't feel compelled towards shooting at base ISO. The strategy behind the following chart is based on the assumptions that better lighting allows lower ISO and faster shutter speeds, while poorer lighting needs higher ISO and slower shutter speeds.
I always consider ISO settings in the context of Dynamic Range settings. I typically shoot in very contrasty situations where extended dynamic range settings can help avoid loss of detail in the highlights (except the Sun, of course, which should be blown out). One of the problems of doing a lot of from-the-hip photography is that you don't have the opportunity to look at the histogram, which would normally be a good guide as to whether or not extended dynamic range settings were required. Since I don't see the histogram, I just routinely shoot at 400% dynamic range, because you can always reduce the DR% in development, if necessary. So, if I shot at DR 400%, but the EV range of the scene didn't require it, then I can develop at 200% or 100%, which can have the effect of improving nuances in the tonality. However, the reverse is not true: -- you cannot increase the DR% in developing, above the DR% at which the image was shot. So basically, shooting at DR 400% gives me more development options (different tone mapping variations), but at the cost of limiting my minimum ISO to 800. I find that an acceptable trade-off.
[ 3 . g ] Electronic Shutter
I use the Electronic Shutter (ES) most of the time. For me, its advantages (silence, no shutter-induced camera shake, and reduced power consumption) outweigh its disadvantages. However, you should be aware of some strange effects that can result from use of the Electronic Shutter. Due to rolling shutter effects, movement during exposure (either camera or subject) can cause distortion, which might display as stretching, warping or smearing. The remedy is, of course, to practice a steady hand.
Also, some artificial lighting will cause banding when the Electronic Shutter is used at certain shutter speeds, due to interaction between the readout characteristics of the ES and the phase nature of the AC power supply. Banding is very characteristic of shooting under fluorescent lighting, but incandescent lighting is generally exempt from these effects.
As a rule, banding becomes worse (bands are darker or more underexposed) as the shutter speed gets higher. To avoid the bands, you may have to select the shutter speed manually. The shutter speeds which do not produce banding are dependent on the supply frequency of the local AC power grid (specified in Hertz, cycles per second).
If banding does not show the typical Signature (number of bands), then it is probably due to some other phase function of the power, such as the PWM (pulse width modulation) used to drive some LED lighting, and you may have to determine appropriate shutter speeds experimentally. Alternatively, you can simply switch to the Mechanical Shutter, which does not display banding problems.
[ 3 . h ] Exposure Compensation Dial
I regularly set the exposure compensation dial on the basis of the time of day. Otherwise, the Auto-Exposure will try to increase the exposure for twilight and dark scenes, possibly giving them an un-natural look, and loosing their ambience.
The un-adjusted Auto-Exposure can also lead to slower shutter speeds and higher ISO settings than are actually necessary.
At night you already have the problem of low available light, and if you're trying to use higher shutter speeds for moving shots (in the above shot, both the subject and the photographer were moving towards each other), then the advantage offered by a 1 EV reduction in exposure, is very welcome.
Beyond this, I might adjust the exposure compensation for a particular shot, not to normalize the exposure, but to bias it, such as, to emphasise shadows or highlights.
[ 3 . i ] Drive Mode
Single shot mode is my usual setting, but if I'm trying to capture a scene where people are moving, then I sometimes use Continuous Low mode, which gives you the opportunity to select the best of several shots.
I keep release times short (1 second or less at a time) and I generally don't use Continuous High, which can quickly fill the buffer, and your card. The following are typical results when using the electronic shutter, but be aware that they can be affected by such factors as ambient temperature, and the specific card being used.
If you use Continuous mode, I recommend that you have the drive indicator show on your custom screen setup. Otherwise you may forget that you have it engaged, and then get a surprise when your card is suddenly full, way ahead of when you would normally expect.
[ 3 . j ] Metering (Photometry)
I generally set the metering to Averaging. I find that this gives better shot-to-shot consistency for a series of shots. I also feel that it handles scenes with a wide dynamic range better than the default Multi metering mode, since it tends not so affected by the brightness distribution of the scene.
However, if you have Photometry set to an assignable function button, you may find it useful to preview how Multi and Average modes are handling the scenes that you are shooting, and select the one you consider to be exposing best. As a general rule, Spot metering is not appropriate for no-finder and shoot-from-the-hip photography, since it presupposes that you can locate a target on a precise part of the scene.
In Conclusion
There are, of course, many other settings available on the X-E2, but I have addressed only those that I consider most relevant and important for candid photography in an urban environment. If you are new to urban photography, then this article may suggest some useful starting points. Even if you are a veteran "streetog", I hope you may have found some points of interest.
Either way, your image results will depend not only on your continuing practice and deep exploration of this photographic genre, but also on the personal choices that you make. I hope that you find the X-E2 the same excellent street tool that I have found it to be.
Fujifilm X-E2
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#photophilosophy #phototips #streetphotography #technologychoices #electronicshutter #filmsimulations #fujixe2 #manuallenses #pancakelenses #shootfromthehip #zonefocusing
The Resolution of Photos Captured on the Sigma fp L Looks Promising
On March 25, Sigma announced the 61-megapixel fp L camera that features a new autofocus system and much more resolution than the original fp. The company has provided a few images captured on the camera, and the quality looks impressive.
Sigma's latest takes what made the original fp desirable -- its small size -- and added features that would make it something more photographers would be interested in. For starters, a true hybrid autofocus system is a boon, making the fp the first camera released in the L-mount alliance to feature phase detection autofocus. You can read more about it here.
But more than that, Sigma integrated features that take advantage of the resolution, which will be interesting to see for applications such as wildlife photography. While none of the images Sigma shared with PetaPixel use this new crop zoom option, we can get an idea of what to expect by taking a closer look at full resolution images.
The photos below were captured by photographer Aya Iwasaki, and the first one is a macro photo that really shows off the resolving power of the new camera. The original file size is massive: 53.4 MB at a 9520 x 6328 resolution and was captured with the Sigma 105mm f/2.8 DDG DN Macro Art lens at f/5.6, 1/640 second, and ISO 400. Here is the full image:
And this is a fully-zoomed crop:
The next image from Iwasaki is a landscape photo and give an indication of the dynamic range of the sensor. This image was captured with the 65mm f/2 DG DN Contemporary lens at f/4, 1/500 second, and ISO 100:
And this is a fully-zoomed crop:
Two more landscape images were provided by Sigma, these ones captured by photographer Yang Su Tie. The first is a panoramic crop shot with the 65mm f/2 DG DN Contemporary lens at f/4, 1/1600 second, and ISO 100:
And again a crop:
Finally, a photo shot on the 14-24mm f/2.8 DG DN Art at f/16, 1/15 second, and ISO 100:
And again a fully-zoomed crop:
Based on these images, the question isn't so much if the sensor is good, but more about what lenses can be used to fully take advantage of that resolution. Other questions that still remain center around how good the new autofocus system is and if Sigma addressed issues with the rolling shutter that plagued the original fp, as both cameras feature a fully electronic shutter. These are questions PetaPixel intends to answer in our review of the camera.
In related news, for those interested in using the camera for filmmaking, SmallRig and Sigma teamed up to create a custom cage solution for both the fp and fp L:
The Sigma fp L is set to become available in mid-April for $2,499.
#equipment #news #4k #61megapixels #bayersensor #cropzoom #dynamicrange #electronicshutter #externalviewfinder #lmount #lmountalliance #resolution #sigma #sigmafp #sigmafpl #viewfinder
Sigma fp L Unveiled: Tiny Size, Full Frame 61MP Sensor, Hybrid AF
Sigma has announced the fp L, a 61-megapixel, L-mount, full-frame camera that the company claims is the "world's smallest and lightest single lens mirrorless camera." It shares the same dimensions as the original Sigma fp, but makes notable upgrades to resolution and performance that combine to make it far more appealing.
Sigma notes that the fp L has four main key features: the 61-megapixel resolution, a "crop zoom" feature, hybrid autofocus, and unlimited power supply via USB-C.
The Sigma fp L features a Bayer sensor with approximately 61 effective megapixels -- the most in any Sigma camera -- which equates to photos with a resolution of 9,520 x 6,328 pixels. Sigma also says that thanks to its work with Foveon sensors, it was able to pack the fp L with incredible resolving power, rich color, and nuanced color gradients "due to the unique nature of the X3 sensor." This camera does have a low pass filter to reduce moire to minimum levels and adding it was an active choice the company made as Sigma seems to believe the benefits outweighed the downsides since the camera has so many megapixels to work with.
Sigma says that thanks to that huge amount of resolution, it was able to include what the company calls Crop Zoom. This gives the fp L a zooming feature that works in both still and movie modes and can record in full HD quality even at a maximum 5x zoom. Sigma states that because this is done by cropping in without digital enhancement, there is no image quality loss. To make this process more intuitive, you can pinch to zoom on the rear LCD touch screen.
A major complaint with L-Mount cameras has been the lack of phase detection autofocus. That changes with the fp L, as Sigma's latest boasts both what it describes as a "high precision" contrast-based autofocus combined with image plane phase-detection autofocus. This hybrid will allow for smooth, fast, and accurate autofocus for tracking moving subjects both in still capture and video.
Finally, the Sigma fp L supports USB charging while the camera is on. The camera can be used continuously as long as it is plugged into power, whether that is a traditional wall socket or a mobile battery. Sigma also says that it can be used as a webcam, as it can receive power directly from a PC.
With these updates, Sigma is positioning the fp L as a pocketable, scalable, hybrid capture device that is capable of making excellent high-quality photos as well as reliable video.
The fp L also supports custom camera settings that can be saved as a QR code, allowing for multiple users to share custom settings with one another, or jumping onto any fp L (rented or otherwise) and immediately loading personal settings to it for fast and easy familiarity.
Sigma has also included two new color modes (that can work in photo or video mode) called "Powder Blue" and "Duotone."
"Powder Blue is a color mode with a bright and clear feel, featuring a refreshing blue color, while Duotone turns the colors of an image into a striking two-color gradient," the company writes. "With the addition of these two new modes to Sigma's ample choice of color modes originally featured on the fp series, there are now a total of 15 color modes to choose from."
It should be noted that Sigma has opted to keep the fully electronic shutter on the fp L, which was a concern with the original fp because of the significant rolling shutter. With many more megapixels to now work with, it will be interesting to see if this issue has been addressed.
The fp L can record CinemaDNG in 8-bit, 10-bit, and 12-bit internally as well as in MOV H.264 in both All-I and GOP. IT can shoot in 4K up to 30 frames per second, and in Full HD 1080p at up to 120 frames per second (with an automatic zoom of 1.67x applied at both 100 fps and 120 fps). The camera can record continuously for up to two hours and records to both SD cards and portable SSDs.
Sigma notes that additional framerates commonly used in filmmaking will be available at a later date via firmware update, but did not specify.
Finally, Sigma is making an external electronic viewfinder, the EVF-11, an optional pairing with the fp L. The EVF-11 is designed exclusively for use with the fp L at launch (though it will become compatible with the original fp via firmware update at a later date) and adds a 0.5-inch 3.68m dot OLED panel viewfinder that connects to the camera via the side ports. The viewfinder has 90-degree tilting functionality, approximately 100% viewfinder coverage, audio monitoring capability, and allows for external recording to a portable SSD via the dedicated USB-C port located on the side of the viewfinder. The EVF-11 is powered by the camera and cannot charge the camera via USB. If you plan to use the unlimited power delivery mentioned above, you'll have to remove the viewfinder to do so.
"The EVF-11 has an eyepoint set at approximately 21mm to ensure a full field-of-view without a dark vignette around the viewfinder," Sigma writes. "This helps photographers see the entire scene with complete clarity, even when wearing glasses. It has a wide diopter adjustment range of −4.0 to +3.0 dpt, and comes with two eyecups of different sizes to suit your preference. The EVF is designed for the best visibility, ease of use and comfort for photographers, giving them a complete view of their subject in perfect detail."
The Sigma fp L will be available for $2,499 and can come bundled with the EVF-11 viewfinder at launch for $2,999. The viewfinder can also be purchased separately for $699. Both it and the camera are set to become available in mid-April.
#equipment #news #4k #61megapixels #bayersensor #cropzoom #electronicshutter #externalviewfinder #lmount #lmountalliance #sigma #sigmafp #sigmafpl #viewfinder
The Resolution of Photos Captured on the Sigma fp L Looks Promising
On March 25, Sigma announced the 61-megapixel fp L camera that features a new autofocus system and much more resolution than the original fp. The company has provided a few images captured on the camera, and the quality looks impressive.
Sigma's latest takes what made the original fp desirable -- its small size -- and added features that would make it something more photographers would be interested in. For starters, a true hybrid autofocus system is a boon, making the fp the first camera released in the L-mount alliance to feature phase detection autofocus. You can read more about it here.
But more than that, Sigma integrated features that take advantage of the resolution, which will be interesting to see for applications such as wildlife photography. While none of the images Sigma shared with PetaPixel use this new crop zoom option, we can get an idea of what to expect by taking a closer look at full resolution images.
The photos below were captured by photographer Aya Iwasaki, and the first one is a macro photo that really shows off the resolving power of the new camera. The original file size is massive: 53.4 MB at a 9520 x 6328 resolution and was captured with the Sigma 105mm f/2.8 DDG DN Macro Art lens at f/5.6, 1/640 second, and ISO 400. Here is the full image:
And this is a fully-zoomed crop:
The next image from Iwasaki is a landscape photo and give an indication of the dynamic range of the sensor. This image was captured with the 65mm f/2 DG DN Contemporary lens at f/4, 1/500 second, and ISO 100:
And this is a fully-zoomed crop:
Two more landscape images were provided by Sigma, these ones captured by photographer Yang Su Tie. The first is a panoramic crop shot with the 65mm f/2 DG DN Contemporary lens at f/4, 1/1600 second, and ISO 100:
And again a crop:
Finally, a photo shot on the 14-24mm f/2.8 DG DN Art at f/16, 1/15 second, and ISO 100:
And again a fully-zoomed crop:
Based on these images, the question isn't so much if the sensor is good, but more about what lenses can be used to fully take advantage of that resolution. Other questions that still remain center around how good the new autofocus system is and if Sigma addressed issues with the rolling shutter that plagued the original fp, as both cameras feature a fully electronic shutter. These are questions PetaPixel intends to answer in our review of the camera.
In related news, for those interested in using the camera for filmmaking, SmallRig and Sigma teamed up to create a custom cage solution for both the fp and fp L:
The Sigma fp L is set to become available in mid-April for $2,499.
#equipment #news #4k #61megapixels #bayersensor #cropzoom #dynamicrange #electronicshutter #externalviewfinder #lmount #lmountalliance #resolution #sigma #sigmafp #sigmafpl #viewfinder
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