Sony Unveils New 4K 1″ Sensor Camcorders with Phase Detection AF

Author: admin  |  Category: Best Photo Sharing, Digital Cameras

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Just in time for IBC, Sony announced three new camcorders, all based on a new 1″-type sensor. The Sony FDR-AX700, HXR-NX80, and PXW-Z90 feature similar compact form factors and some great new features that will satisfy hobbyists and professionals alike. The camera bodies all feature comfortable grips with large zoom rockers, a 12x optical zoom lens, and manual controls for setting your exposure precisely. 4K recording can be done internally to SDXC cards at up to 30 fps in all models. HD recording can be used to achieve slow-motion effects with frame rates up to 120 fps. The AX700 and NX80 record using the XAVC S format, while the Z90 utilizes the professional XAVC L format. Additionally, the Z90 also features broadcast-standard 10-bit 4:2:2 sampling in HD resolutions (MPEG2 is available using the optional CBKZ-SLMP license key). An SDI output is available on the Z90, further enabling integration with broadcast-grade equipment. For filmmakers and videographers who want more control over their image in post-production, grade-friendly S-Log and S-Gamut image options are available on all models.

The 1″-type sensor featured in these camcorders provides a perfect middle ground between the deep focus of 2/3″-type and smaller sensors and the shallower depth of field that larger 35mm sensors are known for. So, whether you’re running-and-gunning and need everything in focus, or you want to create images that incorporate some cinematic flare, these cameras can do it all. Another cool feature that was implemented into these sensors is phase-detection autofocus. Phase-detection, as opposed to contrast-detection (also known as edge-detection) autofocus can recognize how far out of focus the subject is and in which direction the lens needs to be focused to ensure the subject is in sharp focus. Focus points are arranged to cover most of the sensor surface, so your subject can be automatically tracked throughout the frame. Event and sports videographers will appreciate the ability to automatically keep their subjects in focus.

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Kodak Reveals PRINTOMATIC Instant Digital Camera

Author: admin  |  Category: Best Photo Sharing, Digital Cameras

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Enjoy digital images and physical prints with the Kodak PRINTOMATIC Instant Digital Camera. Combining a 10MP point-and-shoot with ZINK printing technology, you can capture moments quickly and easily and then almost immediately share the physical photographs with your friends. The camera is compact to make it easy to carry around as you go about your day, ensuring you always have it on hand. Color and black-and-white modes are available for different styles of shooting, along with a built-in flash for low light. An optical viewfinder helps users frame shots, while an 8mm f/2 lens provides the optics needed for sharp images. Additionally, it runs on a built-in lithium-ion battery pack.

The Zero Ink technology produces vibrant 2 x 3″ prints that are smudge proof and water resistant, as well as adhesive backed for sticking them almost anywhere you want. Along with this, the camera has slots for attaching a neck strap, and saves photos to a microSD card. The camera will be available in Yellow and Gray versions and the ZINK Media can be purchased in 20-sheet or 50-sheet packs.

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Kodak PRINTOMATIC Instant Digital Camera

digital cameras best photo sharing

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In the Field: Bergger Pancro 400 B&W Film and Model Railroading

Author: admin  |  Category: Best Photo Sharing, Digital Cameras

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As a film photographer, I rarely get to experience the joy and excitement of new products being released to the market. I’ve made my peace with this and have learned to work within a milieu of cameras and materials that have been on the shelves for decades. However, when Bergger recently released Pancro 400, I eagerly anticipated the chance to try a truly new film for one of the few times in my life.

Besides just being a new film, Bergger Pancro 400 is a serious new film, which contrasts with other more recent films that rely on very distinct, abstract qualities to produce a unique look. Whereas Lomography is producing films with a playful, kitschy quality to them, Bergger’s new film is akin to the more vanilla Kodak and Ilford options that have been around forever. Quickly running through the more technical side of this film, Bergger states that Pancro has a new dual-emulsion design that uses silver bromide and silver iodide layers to realize a more organic grain structure, while still achieving a long tonal range. Its box speed is ISO 400, although Bergger claims it can be pushed or pulled up to two stops with acceptable results, and it is available in 35mm and 120 roll sizes, as well as in 4 x 5, 5 x 7, and 8 x 10″ sheets. For my review, I worked with the 120 variant and shot the film at box speed.

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Documenting Dandies: An Interview with Rose Callahan

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Rose Callahan is a curator of character. From Florence to Johannesburg, London to Tokyo, she has captured photographs of some of the most dapper gentlemen and rakish beaus one could hope to encounter. Beginning as a blog dedicated to the resurging dandy personality, her project has since evolved into two impressive volumes: I Am Dandy: The Return of the Elegant Gentleman (Gestalten, 2013) and We Are Dandy: The Elegant Gentleman Around the World (Gestalten, 2017). In each, portraits of her subjects at home or in their favorite haunts are complemented by short bios written by her witty co-author, Nathaniel “Natty” Adams. Callahan’s striking photographs capture the reader’s attention, while Adams’s indulgent profiles satiate curiosity.

Above Photograph by Rose Callahan, from We are Dandy © Gestalten 2016

In addition to her work with dandies, Callahan is the photographer for the Metropolitan Opera House’s “Last Night at the Met,” a blog that documents the eccentric attendees of the storied venue. Her work has been featured in numerous publications including L’Uomo Vogue, Esquire, and the Wall Street Journal. A selection of Callahan’s dandy portraits is currently included in the Museum of Contemporary Photography’s traveling exhibition: Dandy Lion: (Re)Articulating Black Masculine Identity.

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Photography by Rose Callahan, from We are Dandy © Gestalten 2016

Cory Rice: One of the first questions that comes to mind when looking through your work is how were you able to track down so many interesting subjects?

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The Need For Speed and Space: What Do You Need To Store Video?

Author: admin  |  Category: Best Photo Sharing, Digital Cameras

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To record, edit, or do just about anything with digital video, you need adequate storage space to store your video files. However, stating this obvious truth doesn’t really help anyone, does it? You may be asking yourself, “How much storage do I need on my drives?” Or, “Is any old hard drive good enough for playing back my video files?” For the TL;DR folks out there, the answers are “a reasonable amount” and “not necessarily,” respectively. If that’s not enough information, read on! I’m going to discuss computer-connected video storage in general, some drive-speed guidelines, and how you can check to make sure that your storage devices can support the media you’re dealing with.

How Much Storage Do I Need on My Drives?

The partially sarcastic response that I could give to this question would be “Well, how much storage do you need?” I only say that with partial sarcasm because the amount of storage one may need depends on what kind of video that individual intends to store, and what they intend to do with it. Logic dictates that higher-resolution video demands more space. Generally speaking, 4K video needs more space than HD video, and HD video requires more space than SD video. Luckily, the storage density of individual drives seems to have kept up with the times, so you don’t need a mountain of drives to store a single 4K project.

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B&H Event Space Celebrates Portfolio Development

Author: admin  |  Category: Best Photo Sharing, Digital Cameras

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Photography tends to be a solitary practice, which can often make it hard to maintain a sense of direction, and dedication to a given project amid the hustle and bustle of daily life. One noteworthy resource helping photographers to negotiate such hurdles is the eight-month Portfolio Development program, organized by the B&H Event Space.

Above photograph © Danielle Goldstein

Goldstein self-published her photographic exploration of people viewing, ignoring, or interacting with art in museums for the book, On Display.

“Portfolio Development arose out of me seeing a need our customers had,” says B&H Event Space producer Deborah Gilbert. “Many had taken our classes to master their camera’s technical aspects. They were at that ‘what next?’ phase with their work, and weren’t sure what to do. They needed direction, goals, and deadlines to work towards to push to the next level.”

After hatching a basic idea for a guided independent study program that would give participants the needed framework, Gilbert contacted lower Manhattan’s Soho Photo Gallery with an invitation to participate. “Once they were on board, we had this prestigious gallery, and an exciting concrete goal for the participants to work towards, so I knew we had something,” she says.

B&H Portfolio Development: It Begins

Now in its fifth season, this innovative program is offered free of charge to a growing number of enthusiastic attendees. The eight-month curriculum is an outgrowth of regular Event Space programming that has been a popular facet of the B&H SuperStore since its inception, in November 2007.

“I’ve attended many lectures and workshops, through B&H and other sources,” says Gene Nemeth, program participant and registered architect. “The Portfolio Development course allowed me to grow and self-chart my growth all in one place. But, more importantly, it forced me to ‘work’ at getting better. It’s very easy to say I will go out and shoot today, but then get lazy and do it tomorrow. If you did that in this program, it would show in your work.”

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Photography Gearcast: Tilt-Shift Lenses

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Canon has recently announced the addition of three new tilt-shift lenses to its lineup, a relatively big deal for a type of lens often considered merely a tool for architecture photography. The truth is that tilt-shift lenses are used in many photographic applications, from landscape to portraiture, and their creative possibilities are limitless. Also, with this release, Canon has expanded the format to include a TS-E 135mm lens, pushing the boundaries of what can be achieved with perspective-control optics.

Using this news as the keystone, we have built an episode of the B&H Photography Podcast around tilt-shift and perspective-control lenses. We discuss the history and general principles of these types of lenses, as well as their common (and not so common) applications. We explain the difference between tilt and shift and address the fact that perspective corrections can now be made in post-production and, despite that, the value that in-camera control offers. We wrap up with an inventory of the many tilt-shift lenses available from B&H, including those from Nikon, Canon, Schneider and Rokinon, as well as those available in the used market and those for medium format cameras.

Join us for this informative discussion and let us know about your most valued tilt-shift lens and what you photograph with it, in the Comments section, below.

Guest: Todd Vorenkamp

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Run Windows on macOS High Sierra with Parallels Desktop 13 for Mac

Author: admin  |  Category: Best Photo Sharing, Digital Cameras

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Optimized and ready for macOS High Sierra and the Windows 10 Creators Update, Parallels Desktop 13 for Mac allows you to run Windows 10, 8.1, and 7, as well as Linux, Google Chrome OS, and other operating systems on your Mac without rebooting. Building on the already powerful Parallels Desktop 12 for Mac, this version adds several noteworthy features, including MacBook Pro Touch Bar integration with Windows and the Parallels Desktop, Touch Bar ID integration with the Parallels Desktop, picture-in-picture, smooth resolution changes, and a Facelift light color user interface across the entire app. Users will also be able to download Windows 10 in one click, and the look of individual applications has been improved on Retina displays, thanks to Scaled Mode.

Included with Parallels 13 is Parallels Access, which allows users to access their Windows and Mac applications and files remotely from their iPad, iPhone, and Android phone or tablet, or from virtually any computer with an Internet connection. Also available is Parallels Toolbox, which offers more than 30 one-touch tools for tasks such as cleaning your drive, securing private files, taking screenshots, and downloading videos.

Have you wanted to switch from PC to Mac, or are you someone who frequently needs to use non-Mac apps, but doesn’t want to invest in a PC setup and don’t want to use Apple’s Boot Camp? If so, Parallels 13 is worth checking out. If you don’t have the latest version of macOS Sierra 10.12.5, don’t worry—there is legacy compatibility with Mac OS X El Capitan 10.11.6 or later and Mac OS X Yosemite 10.10.5 or later.

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VisLink HEROCast: What is it Good For?

Author: admin  |  Category: Best Photo Sharing, Digital Cameras

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To some, VisLink’s HEROCast product might be a bit confusing. At its heart, it’s a wireless transmission system and interface between a GoPro HERO camera and professional broadcast equipment. Some might still ask about consumer devices that perform similar tasks for a lesser cost, so let’s delve into what makes the HEROCast special, and how it is designed to be implemented.

The qualities that separate consumer and professional solutions in video equipment are usually obvious. Professionals require the utmost in quality and reliability. In most cases, many of these robust solutions involve large pieces of equipment, not only to fit all the recording, timecode, genlock, wireless, power, and other technical goodies inside, but also for ergonomics and familiarity. Occasionally, however, a disruptive technology will come along to rock the industry, piquing the interest of consumers and seasoned pros alike.

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Why the GoPro HERO?

The GoPro camera was one such product. Being small, impact-resistant, and even waterproof, these relatively miniscule cameras didn’t only gain popularity with extreme sports enthusiasts, but with professional DPs that needed crash cameras or required special angles that could only be captured with a small and light camera. The relatively miniscule replacement cost was also another plus. With earlier GoPro camera models, the video quality could suffice for quick cuts on HD episodic TV or for playback on broadcast TV, though, not really up to snuff for serious screen time.

Advancements and miniaturizations of technology allowed GoPro cameras to be used as part of mainstream productions. With the advent of the HERO3 and HERO4 generations that could record in 1080 and higher resolutions, there was no longer as much of a significant quality compromise. Sports productions could attach HERO cameras on players’ and referees’ helmets. Musical performance productions could use footage from GoPros mounted on the drum kit, a guitar headstock, or even high above the stage. Reality television could use a few as hidden cameras for extra angles. The video quality was adequate for professional use in these special cases; however, some practical limitations remained.

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Upgrade Now or Later, Part 2: The Hardware Exchange

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In Part 1 of the Upgrade Now or Later series, we looked at some potential problems and rewards when upgrading software. In Part 2, the focus will be on changing and upgrading hardware, which could be analog, digital, or both. There is something uniquely satisfying about getting new hardware. The excitement tied to unboxing a glorious new THING seems to be encoded in our DNA. It doesn’t matter if that thing is a gift or a self-purchased necessity—no one had to teach us to look forward to the unboxing. Disregarding any concern for sonic differences between hardware and software, interacting with physical devices produces a drastically different feeling than interacting with virtual components. Obtaining and installing hardware upgrades is often more expensive than software upgrades, but is also generally easier to switch back.

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The Big Question: Why?

Due to the expense of hardware upgrades, it’s important to identify why you want them. Will the new hardware give you functionality that you did not previously have? Will it improve your workflow efficiency or creativity? Can the added gear expand your client base? Will it enhance the sonic glory of your signal chain? Will it make you a better person? Even if the new equipment would increase your happiness exponentially, be cautious about installing it in the middle of a project. In some cases, it will be risk-free. For example, it’s not a problem to add an outboard compressor in addition to (not in place of) existing gear. However, swapping your stereo bus equalizer for a completely different EQ could be problematic if you need to recall earlier mixes to make changes. Adding more RAM to your computer mid-project might not be a big deal, but switching your whole computer could yield some unpleasant surprises. If you will be removing old equipment, keep it around for a little while. Doing so will give you the ability to restore your original configuration if you end up disliking the new gear.

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