5 Frames with the Canon 800D by Rishabh Udgata

A LITTLE HISTORY

To begin with, I just wish to say that I have never been a photographer. I have never called myself a photographer. Yet, somebody sees a camera on you, and instantly takes you for the brooding, obsessed with life big-shot photographer roaming the streets. On some days I choose to go with it. Let them think I’m a photographer. It makes things easier.

Last year, my mother had gifted me a camera. A Canon 800D that she thought would push me to be more creative. She passed away a few months after. After that, I put off touching the camera for the longest time. It would only remind me of her. Even worse, the last few pictures I took were those of her. After several months of delaying my gratitude for my mother, I decided to photograph with it again, and little did I know about how liberating it would be. It was when stepping out to photograph, I experienced what they call a ‘flow’. The chattering in my mind would finally die down, and I would only be focused on the job at hand. It turned into a habit. Now, like I mentioned, I’m no photographer, but I’m drawn to photography like it’s the last worthwhile thing here on earth. And it’s my hope that my pictures improve and maybe, someday, I could end up calling myself one.

ONTO THE ASSIGNMENT

This excursion was impromptu, to be honest. I recently purchased a 24mm with a f/2.8 aperture on it and I was itching to try it out. I also use a 50mm 1.8 (which I absolutely love), but I realized that my pictures weren’t doing it. The portraits looked real nice, but somewhere I wouldn’t be happy with the work I was able to put out. I missed having a little background, a bit of scenery to go with my subjects (I shoot portraits as of now).

Our editor and chief, the magnetic Gorky M suggested that I take the time to shoot black and white. We do take the classic B&W for granted - it is an art-form in itself. And any person who can understand the way light affects the grays, the various blacks and whites, has the power to milk emotion. So I did as he suggested, and it’s true - a new world opens up to you. A nostalgic one, filled with reverence for all things little and large, where faces change and the eyes say a lot more. It’s like a spell being cast on the world, a beautiful lapse of time that was missing. It’s like hitting pause and realizing the magic of breath.

GHATKOPAR, MUMBAI

It was completely random, me stepping out one fine day to photograph. I wouldn’t say that I have covered all of South Mumbai (which they say is the real Mumbai) but I am tired of photographing there. At least for now. So this fine day, I took the tube to a central suburb called Ghatkopar.

Ghatkopar is like any suburb of Mumbai, cluttered and populated. There’s no place to walk here, and if there were - there’d be a shop there. The sidewalks cater to hawkers and serve as extra spaces for shop owners in front of them. It’s tough to pick out a moment here, there’s just too much chaos. An auto rickshaw stand is stationed right next to the bus stop, people are eating, smoking, buying clothes - all at once. So I tried to do what I think I do best, take pictures of people.

As I turned left from the bus stop, I saw this man seated on an old bike. These single-seat bikes aren’t available anymore. Or at least, they aren’t popular like they used to be. My uncle had one when I was little. You had to kick-start it till your feet bled before you could work up some life into this fickle thing.

My dependence on caffeine plays a vital part in this second picture. As the day was winding down, my morale too felt like calling it quits. Suddenly, lethargy crept into my body and I had the impulse to go grab a nice cup of chai. And here’s the amazing thing about Mumbai, or India, that there’s a tea stall somewhere nearby. There’s millions of us feeling lethargic throughout the day, and chai is able to keep our spirits high. As I walked into a grimy alley, I could smell a fresh batch of tea being concocted, with a hint of lemongrass.

At the tea stall, I saw two security guards - simple teetotalling men, taking a break from their duties to sip a cup of tea.

There’s something about uniforms that just makes look people great. When I saw these two gentlemen, I had to ask one of them for a picture. Once he had agreed, I decided to be a bit more bold and ask him to hold up his walkie.

The texture on the wall behind the man was deliciously photographic too, and once I sharpened the picture - it popped right out.

This guy was really kind enough to let me take a few pictures of him. I was fascinated by the text on his t-shirt. This is a thing I’ve run into on many occasions in my country. There are many non-English speaking people walking around with the most amazing captioned t-shirts. It’s really something. Not many of us could wear something as bold as this. You would have to be campaigning for something, or wear it in a protest, perhaps. I certainly couldn’t carry off something like this. For the simple reason that I could never practice what I preached.

Okay, there’s nothing to this photograph. It’s a candid picture of an auto-rickshaw driver laughing on a joke made by another rickshaw driver. He had a cool haircut, though.

While we’re still on the subject of learning, one thing continues to move me. It’s how human the art form of photography is. It’s a conversation starter like no other. You meet all kinds of people. You hear stories that have the power to change you and shape you.

As an effort to shoot with more confidence, I have begun talking to people who I take pictures of. It really adds to my day and it also becomes the reason for doing this so often.

One of the people I struck up a conversation with was this gentleman. He is the owner of a tobacco shop in Ghatkopar. We spoke for around fifteen minutes, talking about many different things. I complemented him on his look and he said, “I wish you had met me earlier, the beard was much, much longer.”

I had plenty of keepers (good photographs) from this random outing. These made it to the eventual cut. The 800D is a decent camera. It shoots quickly, the menu is easy to understand and has many options for lenses. With a 24mm 2.8 pancake lens, I was invisible. At least I felt invisible. Maybe, I’m getting better at this.

If you would like to contribute to “5 FRAMES” please fill the form here.

Rishabh Udgata is a writer and contributor at GMax Studios. He goes by @oodgata on Instagram.

Panasonic Full-Frame S1 & S1R Specifications Released

On Friday, Panasonic introduced the full specifications of their new full-frame mirrorless systems; Lumix S1 and Lumix S1R. The new cameras are based on the L-Mount standard, which boasts a well-balanced, large inner diameter and compact dimensions for a flange focus to realize optimum size and performance as a mirrorless camera system.

Panasonic’s new S series is endorsed as a photo as well as a video camera, much like the GH5, the people anticipate it to be one of the best in the market, minus the micro 4/3 sensor. As stated before, Panasonic has two different variants in it, which are, Lumix S1 and Lumix S1R.

Lets talk about the S1R first:

Lumix S1R

• 47.3-megapixel full-frame MOS sensor that provides a wide dynamic range and excellent performance at high sensitivity (ISO 25600 Max sensitivity)

• 4K VIDEO - Up to 4K 60p/50p recording plus 6K Photo functions and HLG Photo

• Integrated Body I.S. (Image Stabilizer) for powerful handshake correction

• PHOTO - The LUMIX S1R also boasts high speed burst shooting at 9 fps (AFS) or 6 fps (AFC)

• 187MP HIGH RESOLUTION MODE – A sensor shift technology suitable for taking very high-resolution landscapes and fine art photos via tripod with toggleable motion correction capabilities

• The Live View Finder (LVF) which boasts the world’s highest 5,760k-dot resolution

• Dust/splash*/freeze-resistant design withstands heavy field use under harsh conditions for high mobility

• Dual card slots - Supports both UHS II and XQD card

• Tri-axis tilting touch screen that is 2.1 million dots

Lumix S1

• FULL FRAME SENSOR – 24.2-megapixel full-frame (35.6mm x 23.8mm) MOS sensor that provides a wide dynamic range and excellent performance at high sensitivity (ISO 51200 Max sensitivity)

• 4K HDR VIDEO - 4K 60p/50p, 4K 24/30P unlimited recording, 4K60P 29:59 min limited recording. HDR Mode and Hybrid Log Gamma (HLG). V-Log with Internal 4:2:2 10-bit 4k30/24p (4K60p output only) available via optional software upgrade key

• Integrated Body I.S. (Image Stabilizer) for powerful handshake correction

• PHOTO - The LUMIX S1 also boasts high speed burst shooting at 9 fps (AFS) or 6 fps (AFC)

• 96MP HIGH RESOLUTION MODE – A sensor shift technology suitable for taking very high-resolution landscapes and fine art photos via tripod with toggleable motion correction capabilities

• The Live View Finder (LVF) which boasts the world’s highest 5,760k-dot resolution

• Dust/splash*/freeze-resistant design withstands heavy field use under harsh conditions for high mobility

• Dual card slots - Supports both UHS II and XQD card

• Tri-axis tilting touch screen that is 2.1 million dots

“The LUMIX S1R/S1 also incorporates advanced AI technology that detects specific subjects - humans and fast-moving animals, including dogs, cats and birds. The camera keeps tracking these subjects even when they turn their back to the camera.”

- Panasonic Global

Source: Panasonic Global

For the terminal, an HDMI Type A is provided. Plus, a cable lock holder for the HDMI cable is included in the LUMIX S1R/S1 to prevent unplugging trouble on location.
Other than that, both the cameras have:

• Photo Style Featuring a New Flat Mode

• Variable Aspect Ratios With New 65:24 and 2:1

• Flicker Decrease

• Highlight Weighted Light Metering Mode

• Bluetooth and Wi-Fi  

• Lumix Tether and Lumix Sync

These mirrorless systems will be using the L mount lenses. These lenses are made under an alliance between Leica, Panasonic and Sigma. At the moment, Panansonic has announced only three lenses, which are, 50MM F/1.4, 24-105MM F/4 and 70-200MM F/4. Panasonic has also released a road-map and has intentions of releasing more glass by the year 2020.

Source: Panasonic Global

We cannot wait to get our hands on either of these cameras. Being Panasonic’s first full-frame mirrorless cameras they wish to go neck on neck with the new Nikon Z series full-frame mirrorless systems.

What do you guys think about the specs?

Yay? or Nay? Let us know in the comments below.

How to shoot video on DSLR and mirrorless cameras

In this filmmaking and videography tutorial for beginners, you will learn what is a video, how to shoot a video, what are the best camera settings for shooting a video that is great quality - be it a DSLR or a Mirrorless camera, to get a cinematic video.

What is video?

Video is nothing but an optical illusion. When a series of images is played back to you quickly, due to persistence of vision, it seems that the object is moving seamlessly  - and this is video!

What frame rate to shoot on?

The basic minimum frame rate required to create an illusion of seamless movement is 24 frames a second ( 24 fps) or 24 images in 1 second. So 24 fps is the standard frame rate at which modern motion pictures are shot. Any slower than this and the image will not appear to move seamlessly.

So if you are after that film look the 24fps setting on your camera is the one that you should use to shoot your videos.

Is 24 fps the best frame rate for video?

But is 24fps the best frame rate to shoot at? Well, for me, living in India or for anybody living in India, Europe, rest of the world except the Americas, Japan and a few other countries - the best frame rate in my opinion is 25 fps.

Why shoot 25 frames per second ?

Why 25fps? Well, for one, 25 FPS is very close to the film rate of 24 fps. So much so, that it is practically impossible to make out the difference between the two.

Secondly, if you are shooting at 25 fps in these countries -  you can shoot outdoor and indoors without fear because if you're shooting indoor under domestic lights at any other frame rate like let's say 30fps you might encounter banding because the electricity in these countries is supplied at 50 Hertz.

Thirdly, the professional television broadcasting system followed in these countries is PAL which is based on the 25 fps frame rate. With lines between television and digital blurring, why would you want to rule out the possibility of your content or footage getting picked up by any major broadcaster?

What about 30 frames per second? When do I shoot that?

Well, if you live in the Americas, Japan or any other country that follows the NTSC system,  the standard frame rate for you would be 30fps. Of course if you're shooting for digital (YouTube, Vimeo etc) and you are outdoor, you can choose between any frame rate whether it is 25, 24 or 30.

What is the best shutter speed to shoot your videos at?

Well, our eyes are accustomed to a certain amount of motion blur in real life and in order to replicate that your shutter speed needs to be twice that of your frame rate. So, for example, if you are shooting at 24 fps your shutter speed will be 1/50th of a second since most cameras do not have an option of 1/48 shutter speed. Similarly, if you are shooting at 25 fps your shutter speed will still be 1/50th of a second and if you're shooting at 30fps your shutter speed will be 1/60th.

What happens if your shutter is faster or slower?

If your shutter speed is more or less than double the frame rate, the motion blur does not seem quite natural.

What should my aperture be?

The cinematic look of video has largely been associated with a shallow depth-of-field, and in order to achieve this you need a lens with a large aperture like the 50mm 1.8. If you don't have such a lens then you need to open the aperture on your existing lens as much as you can.

Now, opening the aperture comes with its own set of problems, especially if you're shooting in daylight. First, the shutter speed increases giving the video an unnatural look. In this case, you have no option but to use an ND filter on the lens to bring down your shutter speed. Secondly, opening the aperture creates a very shallow depth of field which makes it very difficult to focus on moving objects. In this case, it might be wise or prudent to stop down your aperture to f/2.8, f/4 or f/5.6

What should my ISO be when shooting video?

The ISO should be as low as possible, e.g. ISO 100.

Should I focus manually, or use the autofocus while shooting video?

Well, the short and the long answer to this is that you manually focus because the autofocus system on most of the cameras except for some top and ones is not really good and even if it is good it is not really predictable. It is the last thing that you want while shooting a video is that your camera starts hunting for focus or focuses on the wrong subject.

So, if you want absolute creative control in terms of focus and timing -  manual focus is the only way to go because this is the way it is done in even the biggest of films and television shows. In fact, the top end cine cameras like Reds and Arris do not have autofocus at all.

How do I get slow motion on my camera?

Now let's understand, what slow motion is. Slow motion is achieved by using a higher frame rate in the camera. The higher your frame rate is, the slower your footage will appear because the camera is trying to playback, let’s say 1000 frames in a single second. So, naturally, the footage appears very slowly in comparison to the more natural looking 24fps or 25fps. There are specialized slow motion cameras that capture slow motion footage up to 10,000 frames a second!

Speaking of mass market cameras like the dslr and mirrorless cameras, most cameras give you the option of shooting at 50fps, 60 fps or even 100 FPS. Many cinematographers believe that shooting at these high frame rates gives the footage a smoother look, but I kind of disagree. Even Peter Jackson shot "Hobbit" at 48 fps instead of 24 and the audience didn’t enjoy it, probably for the same reason that I do not like it, because it makes the footage look kind of unreal. But if we take the same footage say shot at 50 fps, lay it down in an editing software and play it back at the standard frame rate of 25 fps, it gives a beautiful slow-motion. The higher the frame rate, the slower the slow-motion will be. Remember: when shooting at a high frame rate, your shutter speed still needs to be twice the rate at which you are shooting. E.g: 100 fps = 1/200

A little more on frame rates

In some cameras you might have to switch between NTSC and PAL to access the other frame rates. Some cameras give you the option of shooting at 50i, 25p, ALL-l  or IPB. These are nothing but the methods to control the quality and the file size of your video. So remember that “p” is better than “i” even though the file size might be larger and similarly ALL-I is better than IPB. There is still a lot more to talk about as far as shooting video is concerned like HD, full HD, UHD, 4K, bit rates and aspect ratios but we will leave that for another time. If you have made it this far, please do subscribe to our channel GMax Studios on YouTube.

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Fujifilm X-T3 Review: The APS-C Champion!

We at GMax Studios, have been Fujifilm users for a pretty long time, from using their analog cameras and their films to their mirrorless cameras like the X-E1 and the X-100 series. Fujifilm were one of the first companies to introduce mirrorless cameras and slowly the traction caught on and Sony and Panasonic made up for the lost miles. But now, Fujifilm is back with a bang with its new mirrorless camera, with its predecessor: Fujifilm X-T3.

Also read: Fujifilm X-T3 price in India reduced

Source: Fujifilm Global

Body

• The Fujifilm’s magnesium alloy body makes it a very rugged and solid camera to feel and hold.

• It has got dials on top for the ISO exposure compensation and shutter speed, it is also sealed against dust and moisture which makes you very confident while using it extreme conditions.

• Almost all the dials and the buttons at the back of the camera are user customizable making using this camera truly a joy.

• You can even customise the touch screen patterns on the X-T3 by assigning the pattern that is; left, right, up and down.

• It also has two UHS two slots.

• Inside this camera it has a 26 megapixel X-Trans CMOS sensor, but thanks to the X-Processor 4 you can hardly feel any lag while taking pictures

Source: GMax Studios

The Fuji Colours

There is total of nine colour profiles in-built in the Fujifilm X-T3:

• PROVIA/STANDARD

• Velvia/VIVID

• ASTIA/SOFT

• CLASSIC CHROME

• PRO Neg.Hi

• PRO Neg.Std

• ACROSS (+YE/R/G FILTER)

• ETERNA

• MONOCHROME

Source: GMax Studios

What made Fujifilm great in the days of analog photography was their colours and it did some phenomenal work with their film. In fact, it was impossible to think of film photography without thinking of Fujifilm and when they came out with their mirrorless cameras they were able to replicate the same colour using the colour profiles in their mirrorless cameras. The Fujifilm X-T3 has a total of 16 film simulation modes including our personal favourites which are classic chrome and across in fact we will go as far as to say that the Fujifilm X-T3 is one of those cameras that make everything look good and we really don't feel like touching the JPEGs at all the images coming out of the Fujifilm X-T3 are extremely sharp thanks to the superb optics of the Fujinon lenses. This is one camera where even the kit lens shines.

Source: Fujifilm Global

ISO

The Fujifilm X-T3 has an ISO range of 160 to 12,800 and in the H-mode while taking photographs, you can go as high as 51,200. As far as noise is concerned, while we were shooting with it we did not see any noise up to 4000 ISO. In fact, the colour noise at ISO 4000 is practically zero.

Source: GMax Studios

Focus Points

This camera has a total of 425 Hybrid autofocus points which cover almost the entire frame. It also has face-detect and eye-detect which work pretty well. In fact, it is the only camera which allows you to choose whether you want to focus on the right eye or the left eye which makes it pretty unique, in our opinion. The face and eye detect also worked under streetlights which was personally quite surprising to us.

AF-C

When you're taking pictures with the Fujifilm X-T3 you can control the autofocus speed by using the various AF-C custom settings built into the camera. The setting include; tracking sensitivity speed tracking sensitivity, and zone area switching depending upon the subject that you are shooting.

In video mode, you can control the tracking sensitivity and the AF speed as well, if you are focusing manually. The Fujifilm X-T3 has a digital micro prism as well as a digital split image. As far as the burst mode is concerned, the X-T3 gives you extra 3 frames at a frame rate of 11 frames per second by using the mechanical shutter and gives you a speed of 30 frames a second if you are using the electronic shutter the 30 frames-per-second comes with a price though, and that is a 1.25X crop.

Source: Fujifilm Global

Source: Fujifilm Global

Source: Fujifilm Global

Video

This camera is capable of shooting 10-bit 4K up to 60 fps in 4:2:0 internally, using the HEVC codec. If that is not enough, you can shoot 10-bit 4:2:2 4K up to 60 frames per second using a compatible external recorder.

Source: GMax Studios

We know we have said this before, but the Fujifilm colours are absolutely fantastic. This is evident not only by taking photographs but shooting video as well. While they have especially made Eterna films simulation for getting the film look while shooting video, it is the classic chrome that is our personal favourite and which we feel that does not require any calibrating at all. While there are quite a few cameras on the market that do a great job with autofocus while taking photographs but while shooting video, not so much. This is where the Fujifilm X-T3 really shines.

Lens Compatibility

It is also possible to mount the Fujinon cine lenses onto this camera for some really serious video work and if all this was not enough you can shoot F log at a base ISO of 640.

Source: GMax Studios

Connectivity

As far as connectivity is concerned, there is an app for that. Using the Fujifilm camera mode you can connect the camera directly to the smartphone and control it as well as transfer photographs directly to be shared online.

Cons

So while we have absolutely loved using this camera so far there are few things that we don't like about it.

Source: GMax Studios

• The first being a simple design flaw. So taking the mode dial here for example, at one end you have the video mode and at the other end you have your panorama mode. Considering that most of the people would be using either shooting the movie mode or photography mode (S mode) either these modes should have been next to each other or they should have been at the extreme ends.

• Secondly, the battery life could really be improved. We know that this camera has got a new processor which is faster and the kind of data that it is processing is really a lot but then one can definitely hope.

• Thirdly, we really feel that this camera would have truly been complete had the screen flipped out totally to face the shooter while shooting that is a complete flip out screen but that is not the case it flips out it tilts it flips in this strange funny manner but it does not flip out completely to face the shooter as if you were taking a selfie.

Source: GMax Studios

• Last but not least, the lack of inbuilt image stabilisation that is one thing that we really missed in this camera wise shooting handheld.

The Fujifilm X-T3 is a truly spectacular camera not just for the price it comes at not just for the features that it offers but also for the colours and for the fact that it truly truly inspires you to shoot more pictures and that quality very few cameras have.
So this is what we really think about the new Fujifilm X-T3. Its small, robust, reliable and an extreme beast in a small size that it comes in.

Here are a few pictures as a result from the Fujifilm X-T3.

If you haven’t watched our latest comprehensive review on the Fujifilm X-T3, please watch it below and also do not forget to visit our YouTube channel and subscribe, if you haven’t already.

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CES 2019 - Highlights and things to watch out for

CES 2019 is a wrap folks. The show that brought us a week long of excitement and gadget goodness will return after a year.

Here were some of our favorite camera products that were showcased at CES 2019.

Nikon Z Series 14-30MM f/4.0 Lens

Source: Nikon Global

Nikon introduced the new Nikorr Z series 14-30 F/4 S ultra wide zoom lens on the first day at CES 2019. The NIKKOR Z 14-30mm f/4 S is an ultra-wide-angle zoom lens that covers a 14 mm to 30 mm range of focal lengths with a constant maximum aperture of f/4 throughout the range. According to Nikon, the lens is part of the S-Line, a newly designated grade of NIKKOR Z lenses that adhere to a new benchmark in optical performance, creating new definitions of design principles and quality control.

Nikon Firmware Upgrade

Nikon has announced a firmware update that will enable raw video output to an external recorder, Eye AF and CF Express card compatibility.  Nikon’s new mirrorless cameras, the Z6 and Z7 will be more than capable of outputting a RAW signal to the Atomos Ninja V.

It’s day two of CES 2019 and we’ve had a fantastic reaction to our news about Apple ProRes RAW recording with the Nikon Z series and Atomos Ninja V. Come see us at the Nikon booth #14006 to see the demo and learn more. https://t.co/nkzuRHUt1j pic.twitter.com/8XHMymNyAn

— ATOMOS (@Atomos_News) January 9, 2019

With this new firmware update Nikon intends to announce its long awaited Eye auto-focus feature in their mirrorless cameras like the Z6 and the Z7. The Eye AF is a very good helping-hand when it comes to taking pictures such as portraits, event or street photography scenario. According to Nikon, the technology/feature is in its last and final implementation phase. In the demonstration video below, you can see it acquires the eye as fast as a Sony/Fujifilm has been able to do with their mirrorless technology.

Source: Nikon Europe YouTube Channel

Nikon has also announced that their new mirrorless cameras will be compatible with the new CF express cards after the firmware update. These cards use the same form-factors as the XQD cards which are the only data transfer interface used in the Z6 and Z7.

Source: ProGrade Digital Website

DJI Smart Controller

Source: ProGrade Digital Website

Source: DJI Global

DJI has introduced a smart controller for some of the drones it makes. By some we mean the latest drones like the Mavic 2 Zoom and the Mavic 2 Pro. DJI Smart Controller comes with a built-in microphone and speaker for “expanded options” such as live streaming. It can also playback video through the HDMI output port at 4K with H.264 or H.265. Of course, wi-fi is required for live streaming.

Source: DJI YouTube Channel

Sharp Micro Four Thirds 8K Camera

Sharp 8K Pocket Camera

Sharp introduced a prototype 8K Micro Four Thirds pocket camera. The camera is more than just a concept and it will be officially announced this year. In a lot of ways, the camera looks quite similar in design to a 4K Black Magic Pocket Camera.
According to Sharp, the camera will record 8K (7680×4320) at up to 30fps using H.265 compression. Sharp also claims that they are working on giving the camera the ability to record 8K 60p. The camera looks to be very minimalistic in its design, with very few physical buttons or dials. It has an SD card slot and we believe it to be UHS II type, as per the requirement of the footage.
Sharp claims it to be the ideal Vlogger/YouTuber camera because of its 5 inch flip-out touchscreen. Sharp has incorporated a very large screen because getting critical focus when shooting in 8K is not an easy task.

Nikon Z6 Filmmaker’s Kit

Source: Nikon Global

For users who are looking to take full advantage of the Nikon Z 6’s industry-leading video capabilities, this powerfully cinematic camera is now available as part of a new Filmmaker’s Kit. The bundle includes a range of equipment that helps users unlock the Z 6’s advanced video features and powerful potential.

Here’s everything included in the filmmaker’s kit:

• NIKKOR Z 24-70mm f/4 S lens

• Mount Adapter FTZ

• Atomos Ninja V 4K HDR 5” Monitor Recorder

• Rode VideoMic Pro Plus

• MOZA Air 2 3-Axis Hand-Held Gimbal Stabilizer

• Additional EN-EL15b battery

• Coiled HDMI cable

• 12-month Vimeo Pro membership

• Complimentary Nikon School Online class

Lexar 1 Terabyte SD Card

Source: Lexar Global

Lexar announced a 1 TB 1TB 633x SDXC™ UHS-I card to end your sorrow.

The main features are:

• Leverages Class 10 UHS-I (U3, V30) technology for a read transfer speed up to 95MB/s (633x)*

• Capture high quality images and extended lengths of stunning 1080p full-HD, 3D, and 4K video**

• Enjoy shooting longer without changing cards with this high-capacity 1TB memory card

• High-speed file transfer from card to computer to dramatically accelerate workflow

Kodak Smile Camera

Source: Kodak Global

Kodak has announced a new Instant Camera range which offers you the choice of a real print out or a digital copy of your image. In all, two cameras have been revealed: the 16-megapixel Kodak Smile Classic and the Kodak Smile, which offers up an LCD screen, a 10-megapixel digital camera, and microSD card slot.

 Ista360 TITAN

Source: Insta360 Global

Launched at CES 2019, the Titan produces 10,560 x 5,280 video and stills. Not only that, it can capture both in 2D (monoscopic) and 3D (stereoscopic) formats.

Ordinary 360 cameras use a two small smartphone-size sensors back to back, with a 180+ degree fisheye lens over each, then stitch the two hemispherical images into a single 360 degree image in-camera in real time. The Titan uses the same advanced FlowState image stabilisation system used in its Insta360 One X model.

So those were the best highlights of CES 2019 that caught our eye.

What do you think we missed? Comment down below.

Sony's major firmware adds new features to Sony A9, A7iii and A7Riii

After the big announcement of the new Sony α6400, Sony announced major firmware updates to its acclaimed full-frame α9 camera and the Sony Alpha A7III and Sony A7RIII cameras.

Source: Sony Global

Sony just released its new APS-C camera α6400, which will supposedly target Vlogger’s/YouTuber’s under various demographics.

Just after the announcement Sony released a statement on various platforms as well as on their official website that they shall be releasing their new firmware update for their mirrorless camera, Sony α9, they have named it the Version 5.0 update.

The upcoming firmware Version 5.0 for α9 adds Sony's newly developed Real-time Tracking mode for object tracking. This mode utilizes Sony's latest algorithm—including Artificial Intelligence-based object recognition—and processes color, subject distance (depth), pattern (brightness) as well as spatial (distance) information to ensure that all subjects can be captured with extreme accuracy and precision. When photographing or videographing humans or animals, face and eye position information is recognized by AI and the subject's eye is monitored in real time with extremely high tracking precision. In addition, "Tracking On" helps initiate real-time tracking at any time by simply pressing a custom-assigned button and "Touch Tracking," which quickly activates through the touch screen.

Source: Sony Global

Source: Sony Global

“With this new firmware version 5.0, Sony's acclaimed α9 camera will receive advanced "Real-time Eye AF," the latest version of Sony's acclaimed Eye AF technology. This exciting new capability employs AI-based object recognition to detect and process eye location data in real time, resulting in improved accuracy, speed and tracking performance of Eye AF. In all autofocus modes, the camera can automatically detect the eyes of the subject and activate Eye AF with a half press of the shutter button, and the camera will seamlessly track the eyes at all times when in AF-C mode. The new firmware will also enable photographers to select the preferred eye (left or right) of their subject as the focus point.” 

- Sony Global

Other focusing capabilities that will be available with the new firmware include Touch Pad, Touch Tracking, an extended phase-detection AF aperture range that has been increased from F11 to F16, and Fast Hybrid AF for movie shooting that provides smooth, automated focusing for movies.

Below are some of the points that Sony claims will help with the performance of the camera and what they have added to improve it.

• The new Version 5 will improve image quality. The camera will more accurately account for subtle changes in light for smoother, more natural tonal gradations in elements like the sky.

• Sony has added a new white balance algorithm in the firmware so that the images that are produced are more consistently balanced while burst shooting.

• There are new functions for efficient controls and data management which basically include the My Dial and Dual Slot media menu improvement, rating and protect functions.

• It also adds compatibility with Sony's new Imaging Edge Mobile application - the successor to the PlayMemories Mobile application.

The Version 6.0 firmware for the α9 camera will add Eye AF for animal eyes, an exciting new feature for wildlife photographers that will enable interval shooting functionality for creating time-lapse movies.

The new system firmware update Version 5.0 is scheduled for launch in March 2019, and Version 6.0 is scheduled for Summer 2019. 

Do not worry. Sony has not forgotten about the α7R III and α7 III full-frame cameras.

Source: Sony Global

Source: Sony Global

Sony's popular α7R III and α7 III full-frame cameras will both receive enhanced Real-time Eye AF performance with the upcoming firmware Version 3.0. This will be available in AF-C mode with a simple half-press of the shutter button. Real-Time Eye AF for animals will also be available. 

The cameras will also receive interval recording functionality that will allow for simple creation of time-lapse movies. The new feature can be set for anywhere between 1 and 60 seconds, with a total number of shots from 1 to 9999. AE tracking sensitivity can also be adjusted to "High", "Mid" or "Low" during interval recording, allowing for reduced changes in exposure over the shooting interval.

The new system firmware update Version 3.0 is scheduled in April 2019.

If you don’t know how to update the firmware of your Sony camera then watch our video below.

Source: GMax Studios YouTube Channel

Sony Alpha α6400 Mirrorless Camera Announcement and Specifications

Sony Announced the Next-Generation α6400 Mirrorless Camera With Real-time Eye Autofocus, Real-time Tracking & World’s Fastest Autofocus.

The α6400 brings many of Sony’s most advanced technologies from their acclaimed full-frame lineup to a compact, lightweight APS-C camera. The speedy new camera boasts the world’s fastest( autofocus (AF) acquisition of 0.02 seconds, while also introducing the new advanced “Real-time Eye AF” and ”Real-time Tracking” capabilities. Also included are high-speed shooting at up to 11 fps with AF/AE tracking, a new-generation BIONZ X image processing engine that produces excellent image quality, 4K video recording, a fully 180-degree tiltable LCD touch screen and much more, making it the ultimate tool for all types of creators ranging from professionals to vloggers.

MAIN FEATURES

• World’s Fastest (i) 0.02 seconds (ii) AF acquisition speed plus 425 phase-detection and contrast-detection AF points covering approximately 84% of image area

  Advanced Real-time Eye AF

• New Real-time Tracking for object tracking

• 24.2MP(iii) APS-C Exmor™ CMOS image sensor and latest-generation BIONZ X™ image processor

• 180-degree fully tiltable LCD touch screen for self-recording

• High-speed continuous shooting at up to 11 fps(iv) mechanical shutter / 8 fps(iv) silent shooting with continuous AF/AE tracking

• High-resolution 4K(vi) movie recording with full pixel readout and no pixel binning, plus advanced AF speed and stability

• Interval recording for time-lapse videos

View the sample photographs here OR download the brochure here.

THIS IS HOW THE REAL TIME TRACKING WORKS

“The α6400 represents another important step in the growth of Sony’s overall interchangeable lens camera lineup,” said Neal Manowitz, vice president of Imaging Solutions at Sony Electronics. “By bringing so many of our latest and most advanced technologies from full-frame cameras to a brand new APS-C model, we are giving today’s creators more options than ever to realize their vision.”

VIDEO FEATURES

The versatile α6400 is an exceptional video camera, offering internal 4K (QFHD: 3840 x 2160) movie recording with full pixel readout and no pixel binning to collect about 2.4x the amount of data required for 4K movies, and then over samples it to produce high quality 4K footage with exceptional detail and depth. Focusing during movie shooting is fast and stable thanks to upgraded Fast Hybrid AF technology, which keeps the subject in constant smooth focus no matter the scene, and even if an object crosses in front of the camera. This advanced AF plus touch focus functionality make it an ideal camera choice for many vloggers and video creators that are regularly creating and uploading content online.

For time-lapse movie creation(ix), the new camera features built-in interval recording that can be set anywhere between 1 and 60 seconds, with a total number of shots from 1 to 9999. AE tracking sensitivity can be adjusted to “High”, “Mid” or “Low” during interval shooting, allowing for reduced changes in exposure over the shooting interval.

Additionally, for the first time in Sony APS-C mirrorless camera, the new model includes an HLG (Hybrid Log-Gamma) picture profile, which supports an Instant HDR workflow, allowing HDR (HLG) compatible TV’s to playback beautiful, true-to-life 4K HDR(x) imagery. Further, both S-Log2 and S-Log3 (Note: S-Log2 and S-Log3 are premised on processing pictures- whatever that means!!!) are available for increased color grading flexibility, as well as Zebra functionality, Gamma Display assist and proxy recording. The camera can also record Full HD at 120 fps(xii) at up to 100 Mbps, allowing footage to be reviewed and eventually edited into 4x or 5x slow-motion video files in Full HD resolution with AF tracking.

AVAILABILITY AND PRICE

The α6400 will ship in February 2019 for a suggested retail price of $900 USD. It will also be offered as a kit with the 16-50mm F3.5 – 5.6 lens for a suggested retail price of $1,000 USD. It will also be offered as a kit with the 16-50mm F3.5 – 5.6 lens for a suggested retail price of $1,000 USD. As for the availability and price in India, it is matter of when Sony Alpha India releases it depending upon the demand in the US and International markets. We will let you know as soon as we hear anything. ubscribe to our newsletter to be in the loop.

At what price point would you buy the Sony Alpha A6400 camera in India? Let us know in the comments.

Medium format becomes affordable - finally!

Fujifilm India seems to be on a roll! After an amazing price cut on the Fujifilm X-T3, they have announced a great offer on the Fujfilm GFX 50R price in India. This is great news for photographers who wanted to embrace the medium format but found the prices a deterrant. Not only were the prices of the medium format camera bodies really expensive, one also had to think of the cost of lenses.

According to Fujifilm India, not only have they reduced the price of the medium format Fujifilm GFX 50R but also promise a saving of upto Rs. 75,000 on the MRP of the lens.

The price combinations are as follows:

• Fujifilm GFX 50R body with GF 63mm f2.8 R WR lens will be Rs. 3,84,923

• Fujifilm GFX 50R body with GF 32-64mm f4 R LM WR lens will be Rs. 4,61,923

• Fujifilm GFX 50R body with GF 45mm f2.8 R WR lens will be Rs. 4,00,323

As with any other camera and lens combination, your camera dealer might be willing to give you a further discount on the MRP (Maximum Retail Price).

Does this seriously make you consider buying a medium format camera like the Fujifilm GFX 50R? Let us know in the comments.

Wildlife Photography - The Sad Reality | Diinesh Kumble in frame with Gorky M

Wildlife Photography is supposed to be an art that’s bigger than itself. Because we, the ones with reasoning, have it upon us to show concern for these animals.

“Wildlife photography is a genre of photography concerned with documenting various forms of wildlife in their natural habitat.”

— Wikipedia

Photograph by © Diinesh Kumble

As a wildlife photographer, you try to capture the diversity and the behavior of these animals in their natural habitat because we don’t see them very often. But the burgeoning of social media and the availability of top end cameras in the hands of every person has also increased wildlife tourism in the last couple of years. What used to be a moment of awe has now turned into an opportunity to photograph a wild animal as a means of validation on social media. Enthusiastic tourists don't even read up on the rules and regulations before diving in with their cameras, and they seem to be getting more and more desensitized with every attempt or Safari.

There is also a need for high-end camera gear to be able to photograph these animals without becoming a nuisance, and most of the tourists forego these requirements because it’s a one time thing.

Live and let live. Photograph by © Diinesh Kumble

“Calling yourself a wildlife photographer adds a bit of glamour (to their personality). They think that they’ve done something. They’ve shot an animal for fun.”

— Diinesh Kumble

About a decade ago, wildlife photography was conducted by passionate photographers who had to stick out in the wild, with no amenities like electricity or food. There were certain challenges to the art and only the ones who had planned enough were able to make a difference. There was a major emphasis on not disrupting the laws of nature. You could forget about cellphone receptions, too.

“What brought me to wildlife photography was the passion to be out in the open and amongst nature. ”

— Diinesh Kumble

An increase in the popularity of wildlife photography combined with the desperation of forest officials to make a quick buck has enabled them to turn a blind eye to any unethical practices by the amateur and safari guides. This often has devastating consequences, and it’s mostly the animals that suffer.

Wildlife photography is an art that also needs your compassion. Photograph by © Diinesh Kumble

The disturbance caused by the increasing number of off-road trips taken by safari agents, camera flashes being triggered, catcalling and hooting have led some of the bigger animals to attack the jeeps and tourist vehicles, sometimes even wounding people fatally. And the number of these attacks is increasing by the day.

Wildlife tourism is booming, and with more and more people paying visits to wildlife sanctuaries, herds are motivated to migrate to a different territory, often encountering human settlements on the way and panic stricken villagers don’t always take kindly to a tiger in the vicinity.

ALSO READ: “There isn’t a demand for in-depth stories like there used to be" - National Geographic Photographer Ira Block

Some reckless photographers have resorted to feeding the animals, playing back recordings of mating calls to get a close-up shot of an exotic or preserved species. The safari guides bring their jeeps too close to the animals on the whim of their clients just so they can score a close-up photograph.

Rare Species: a lion tailed macaque photograph by © Diinesh Kumble

“Today wildlife photography has become like game-hunting. Instead of killing an animal, you’re taking a picture of it. But the way the people chase (the animal) sometimes, it hurts to look at it.”

— Diinesh Kumble

A lot of times, the malpractices are discovered and the responsible persons are suspended or fined, but it has become a mindset of forest officials to employ unethical means to help their clientele get their spectacular #WildlifeShot

SOURCE: Getty Images

To be able to make a difference, we have to practice patience and kindness in equal measure. Sometimes, not disrupting a natural habitat is more important than getting a coveted picture. The animals are not there for our amusement.

The surge in the wildlife tourism industry has also resulted in saturation of wildlife photography. Anyone with a camera thinks they can go on a Safari, come back with a few pictures and pass it off as wildlife photography. “There are not many people who can tell the difference between an image taken by a wildlife photographer, and a regular person”, says Diinesh Kumble.

“There’s a very thin line between safari photography and wildlife photography which is being muddled today. A lot of people think that by going on a safari three hundred times in a jeep is wildlife photography. It is not. You go in a jeep just to protect yourself.”

— Diinesh Kumble

Slender Loris are a genus that’s native to India and Sri Lanka. Picture by © Diinesh Kumble

And it’s not just the pictures you’re there for. As a wildlife photographer, you also have a responsibility towards the animals you’re photographing, believes Diinesh Kumble. He has an affinity for a small species called the Slender Loris, commonly known as Paapa or Kaadoo around Karnataka. However, there are many myths surrounding the creature, one of them being that it has magical properties - which has lead to the poaching of this little creature in order to be sold on the black market. Click here to watch a video documenting this unspeakable trade based on superstition and hearsay.

Every year, hundreds of Slender Lorises are smuggled illegally to meet the demands of the exotic pet trade. Photograph by © Diinesh Kumble

Diinesh has been instrumental in speaking and campaigning for the preservation of the Slender Loris, and has even adopted it as the mascot for Kaadoo, one of the companies he helped form. If your heart goes out to these little creatures and you would like to make a difference, please visit http://www.peopleforpaapa.org/

While ignorance and unethical behavior certainly wounds the art of wildlife photography, you shouldn’t be discouraged to give it a go. Wildlife photography is a crucial field in photography. It contributes to the conservation of and in helping raise awareness on a species, not to mention the role it plays in ecological and biological studies and the various aspects of science. To learn more about wildlife photography, watch Diinesh Kumble speak with Gorky M on the nuances of the craft by clicking on the video below.

Sharp Unveils It's New M4/3 8K Pocket Camera

8K video anyone? Sharp Global introduces the 8K micro four thirds pocket camera

Las Vegas, USA: Day 2 at the CES 2019, Sharp has introduced a prototype 8K Micro Four Thirds pocket camera. The camera is more than just a concept and it will be officially announced this year. In a lot of ways, the camera looks quite similar in design to a 4K Black Magic Pocket Camera.

Sharp 8K Pocket Camera

Black Magic Pocket Camera (4K)

According to Sharp, the camera will record 8K (7680×4320) at up to 30fps using H.265 compression. Sharp also claims that they are working on giving the camera the ability to record 8K 60p. The camera looks to be very minimalistic in its design, with very few physical buttons or dials. It has an SD card slot and we believe it to be UHS II type, as per the requirement of the footage.

Sharp claims it to be the ideal Vlogger/YouTuber camera because of its 5 inch flip-out touchscreen. Sharp has incorporated a very large screen because getting critical focus when shooting in 8K is not an easy task.

It has a Mini XLR port, full-size HDMI, USB-C, headphone, and a microphone jack.

As an 8K camera with a Micro Four Thirds sensor has tiny pixels, so we wouldn’t expect the camera to be very good in low light shooting conditions. Dynamic range could also be limited.

Let us know below what you think about the new Sharp 8K concept pocket camera.

Yay or Nay?

Fujifilm X-T3 price in India reduced

Fujifilm India seems to be going all out in a bid to woo visual artists in India. Fujifilm India recently announced a huge cut in the Fuji X-T3 kit (Camera body+18-55mm lens) as well as the Fujifilm X-T3 body only. On top of that they have announced that people who buy the camera or kit along with any of the three lenses listed below will get two additional batteries and a battery grip free. The price of this combination itself is worth Rs. 37,000.

The three listed lenses are:

• Fujinon XF 10-24mm f4 R OIS

• Fujinon XF 16-55mm f2.8 R LM WR

• Fujinon XF 50-140mm f2.8 r LM OIS WR

The new Fujifilm X-T3 price in India is Rs.1,38,199 for the kit and Rs. 1,08,699 for the body only.SEE THE IMAGE BELOW.

Since this is the MRP (maximum retail price) your dealer might offer you an additional discount (as mine always does!)

Does the new pricing make this more affordable for you? Leave us a comment.

Fujifilm XT3 price in India

READ THE FUJIFILM X-T3 REVIEW HERE

You can watch our review of the Fujifilm X-T3 here:

Fujifilm XT3 Review | Video & Photo Test

Fujifilm India XT3 review Earlier this month, we had brought you the Fujifilm X-T3 unboxing, and like we promised: in this photography video, we bring you the much awaited Fujifilm X-T3 review. Fujifilm X-T3 is a 26 Megapixel APS-C Sensor Camera that featuring Fujifilm's latest processor, The X-Processor 4.

Nikon Releases New Nikkor Z Series 14-30 F/4 S Ultra Wide Zoom Lens

The NIKKOR Z 14-30mm f/4 S is an ultra-wide-angle zoom lens that covers a 14 mm to 30 mm range of focal lengths with a constant maximum aperture of f/4 throughout the range.

Nikon introduced the new Nikorr Z series 14-30 F/4 S ultra wide zoom lens on the first day at CES 2019.

The 14-30MM f/4 weighs up to 485 grams which if we compare it to the old 14-24MM f/2.8 (which is almost 10 years old) weighs at a 1,000 grams. This 14MM is the first full-frame FX lens that will allow the photographers to attach various types of screw-on filters (82MM) to the front of this ultra-wide lens. This will in-turn will expand creative possibilities for photographers and cinematographers, infinitely.

Introducing the NIKKOR Z 14-30mm f/4 S, the first ultra-wide #ZMount zoom lens. Perfect for packing light without sacrificing quality, it uses a new optical design to deliver amazing performance for photographers & videographers. https://t.co/1sdSodsW2r #MirrorlessReinvented pic.twitter.com/gRbP6ehIsO

— NikonUSA (@NikonUSA) January 8, 2019

“A compact 14 to 30mm zoom range with a fixed f/4 aperture and outstanding image quality. Experience edge-to-edge sharpness even when shooting wide open. Shoot stills or video in near-silence. This is an essential lens for travel, adventure, events, video and everything in between.”

-Nikon Global

The 14-30 mm is one of the most anticipated lens from Nikon in 2019.
According to the road map Nikon released last year, there are a few lenses due for this year which shall be released soon:

• NIKKOR Z 58MM F/0.95 S Noct (2019)

• NIKKOR Z 20MM F/1.8 (2019)

• NIKKOR Z 85MM F/1.8 (2019)

• NIKKOR Z 24-70MM F/2.8 (2019)

• NIKKOR Z 70-200MM F/2.8 (2019)

• NIKKOR Z 50MM F/1.2 (2020)

• NIKKOR Z 24MM F/1.8 (2020)

• NIKKOR Z 14-24MM F.2.8 (2020)

Source: Nikon Global

According to Nikon, the lens is part of the S-Line, a newly designated grade of NIKKOR Z lenses that adhere to a new benchmark in optical performance, creating new definitions of design principles and quality control. Nikon chose to start their year by releasing this lens which is a F/4.0 lens, instead of bringing out the big guns like; 85MM F/1.8 or the 70-200MM f/2.8.

For us, we don’t believe it is a professional lens, like Nikon promised us it would be.

Are you excited about the new 14-30MM f/4 lens?

Let us know your thoughts below.

Lexar announces 1TB Memory card

Having memory or storage problems?

Lexar announced a 1 TB 1TB 633x SDXC™ UHS-I card to end your sorrow.

The main features are:

• Leverages Class 10 UHS-I (U3, V30) technology for a read transfer speed up to 95MB/s (633x)*

• Capture high quality images and extended lengths of stunning 1080p full-HD, 3D, and 4K video**

• Enjoy shooting longer without changing cards with this high-capacity 1TB memory card

• High-speed file transfer from card to computer to dramatically accelerate workflow

“Almost fifteen years ago, Lexar announced a 1GB SD™ card. Today, we are excited to announce 1TB of storage capacity in the same convenient form factor. As consumers continue to demand greater storage for their cameras, the combination of high-speed performance with a 1TB option now offers a solution for content creators who shoot large volumes of high-resolution images and 4K video,” said Joey Lopez, Senior Marketing Manager.

The 1TB Lexar® Professional 633x SDXC™ UHS-I card is available now at an MSRP of $499.99. 

Would you buy it?

DJI Smart Controller for Drones

DJI has introduced a smart controller for some of the drones it makes. By some we mean the latest drones like the Mavic 2 Zoom and the Mavic 2 Pro.

DJI Smart Controller in the field.

The main features are:

• 5.5 inch 1080p screen

• Ultra bright built- in screen at 1000 cd/m2

• Ocusync 2.0 transmission

• Video feed upto 8kms distance

• Super fast setup speed of 30 seconds

• Real time auto switching between 2.4 GHz and 5.8 GHz

• 4K 60p output via HDMI

• Stable operation in temperatures ranging from -20°C to 40°C.

• The 5000mAh battery gets fully charged in 2 hours and you can use it for up to 2.5 hours

• Detachable control sticks

Also, the DJI Smart Controller comes with a built-in microphone and speaker for “expanded options” such as live streaming. It can also playback video through the HDMI output port at 4K with H.264 or H.265. Of course, wi-fi is required for live streaming.

The price of the Smart Controller is USD 649.

What do you think? Let us know in the comments.

According to DJI:

The DJI Smart Controller expands the ecosystem of accessories built around DJI's industry leading drone technology. Using a crisp 5.5” screen built into the controller itself, the Smart Controller allows pilots to quickly get their drone in the air without the need to connect a mobile device. It can be paired with DJI's newest drones including Mavic 2 Zoom and Mavic 2 Pro which use DJI's OcuSync 2.0 video transmission system, displaying vivid images in Full HD resolution. Drone pilots can take advantage of its compact, highly portable design that has been optimized for use in direct sunlight. It features an ultra-bright display with an output of 1000 cd/m2, twice the brightness of standard smart phones. A customizable Android dashboard supports DJI GO 4, DJI Pilot[2], along with various third-party apps such as editing programs. The DJI GO 4 app also touts several new features including SkyTalk, that allows pilots to livestream the drone’s camera feed to social channels including Facebook, Instagram and WeChat so that anyone can experience the thrill of flying a drone. Another new feature is DJI GO-Share which easily transfers imagery from the Controller to your mobile device. The DJI Smart Controller brings a new level of reliability when flying, with 2.5 hours of battery life and the ability to operate in adverse temperatures as cold as -4° Fahrenheit and as hot as 104° Fahrenheit.

Nikon Firmware Update Enables Raw Video, Eye AF And CF Express Cards On Z7 And Z6

Nikon has announced a firmware update that will enable raw video output to an external recorder, Eye AF and CF Express card compatibility. 

Apple ProsRes RAW Output

On the second day of the CES 2019, Atomos’ CEO Jeromy Young announced that the new Atomos Ninja V is compatible to record ProRes RAW with the new Nikon Z6 and Nikon Z7.

It’s day two of CES 2019 and we’ve had a fantastic reaction to our news about Apple ProRes RAW recording with the Nikon Z series and Atomos Ninja V. Come see us at the Nikon booth #14006 to see the demo and learn more. https://t.co/nkzuRHUt1j pic.twitter.com/8XHMymNyAn

— ATOMOS (@Atomos_News) January 9, 2019

“Atomos is excited to work with Nikon on the development of ProRes RAW recording from Nikon’s Z series. This expands ProRes RAW to Ninja V and is the world’s first true full frame mirrorless to give raw video output. The combination will enhance content creation at all levels, from Social, through Pro Video and into Entertainment.”

-  Atomos Global

According to Atomos, the Nikon Z6 and the Nikon Z7 output a stream of RAW data via a HDMi cable to the Ninja V. Capturing Apple ProsRes RAW with the Ninja V will unlock wider and complete control of the video image at highest quality possible.

Some believe that Atomos is using a closed loop protocol with-in the HDMi, which basically means that they are taking all the pixels and rearranging them.

Nikon’s new mirrorless cameras, the Z6 and Z7 will be more than capable of outputting a RAW signal to the Atomos Ninja V, it’s not unrealistic to expect that more cameras will be capable of doing this in the near future. We wouldn’t expect that we are likely to see either Canon or Sony enable a RAW output to be recorded from their cameras.

Eye AF

With this new firmware update Nikon intends to announce its long awaited Eye auto-focus feature in their mirrorless cameras like the Z6 and the Z7. The Eye AF is a very good helping-hand when it comes to taking pictures such as portraits, event or street photography scenario.

“Our much-anticipated Eye AF function that is currently in development for the Z7 and Z6 can effectively detect your subject’s eyes, making focusing so much easier! You’ll capture stunning shots where focus has been clearly acquired on the subject's eyes - good news for portrait and streetphotographers!”

-Nikon Global

According to Nikon, the technology/feature is in its last and final implementation phase. In the demonstration video below, you can see it acquires the eye as fast as a Sony/Fujifilm has been able to do with their mirrorless technology. The only difference being that the area of the box seems to be much larger than that of Sony’s or Fujifilm’s Eye AF.

Source: Nikon Europe YouTube Channel

It will be possible to select which eye to focus on if there are multiple subjects in the frame, in which case, this makes it easier for the shooter to prioritise the particular subject.

We expect the Nikon’s Eye AF to be as efficient as Sony’s or Fujifilm’s.

As of now, Nikon has not released an official date about when we can expect this new firmware upgrade, but we believe it will be soon.

If you would like to know further please visit:

https://www.nikonusa.com/en/about-nikon/press-room/press-release/jp1hklmi/Nikon-Delivers-Imaging-Innovation%2C-Inspires-Creators-at-CES-2019.html

CF Express Card

Nikon has also announced that their new mirrorless cameras will be compatible with the new CF express cards after the firmware update. These cards use the same form-factors as the XQD cards which are the only data transfer interface used in the Z6 and Z7.

What’s really surprising is that Sony was the first one to introduce XQD cards and yet they have not incorporated the technology to any of their camera devices.

In a recent statement given by Pro Grade Digital states that they will be introducing a 1 terabyte CF Express card demonstrated 1,400 MB/s read speed and over 700 MB/s burst write speed.

Source: ProGrade Digital Website

“ProGrade Digital is delighted to be participating in this exciting technology demonstration highlighting the speed of the ProGrade Digital 1TB CFexpress card and Thunderbolt™ 3.0 in the digital workflow,”

-Wes Brewer, founder and CEO of ProGrade Digital.

“With read speeds up to 1400MB/s, this technology provides peak performance for offloading cinema-quality, video and still image files at speeds that are at least three times faster than ever before.”

- ProGrade Digital Global

If you would like to know further, please visit:

https://progradedigital.com/2019/01/08/prograde-digital-cfexpress-1-0-demonstrated-at-ces-show/

Atomos Announces Raw Video Recording With Ninja V and Nikon Z7 and Z6

Just when we thought that the dust had settled on the flurry of announcements that 2018 brought, Atomos has announced that it will enable raw video recording for the Nikon Mirrorless Z7 and Nikon Z6 cameras with Atomos Ninja V. 

“Photographers have long known about the benefits of RAW for stills, now Nikon Z series users will be able to get the same power of RAW in video. Capturing Apple ProRes RAW video with the Ninja V unlocks complete control of the video image at the highest quality possible. The maximum dynamic range, color accuracy and detail is preserved, while at the same time every aspect of the video image can be controlled with precision for maximum creativity. Colors can be easily matched and the extra information means footage can be easily be manipulated in post-production, which is especially useful for grading and VFX shots. – read more about ProRes RAW. ”

— www.atomos.com

“2019 is all about taking content creation to the next level. Video makers everywhere are looking to add that elusive cinematic quality to their work, whether that be on social media, YouTube or on TV. To answer those needs, Atomos today unveils the next revolution in digital imaging - RAW video output and capture from Nikon’s full frame mirrorless cameras. The Nikon Z 7 and Z 6 full-frame mirrorless cameras will work together with the Atomos Ninja V 4K HDR monitor/recorder to record Apple’s ProRes RAW video format.”

— Atomos Global

As per Atomos, the 4K data input from the Nikon Z6 and Z7 mirrorless cameras in the Ninja V is transformed into Apple’s ProRes format once recorded via a detachable SSD drive. When the SSD drive is connected to a computer, the footage is then decrypted for editing that gives you the highest quality control. ProRes is also able to keep the RAW data from the cameras into smaller, more manageable file sizes that makes them easier to transfer; having them on a universal format also makes them future proof.

Much more is said to be revealed at CES 2019 in Vegas, but it appears that Atomos is able to achieve this by a “Closed-loop protocol” which essentially means that the ProRes rearranges the pixels from the output of these cameras into a more practical, less-heavy solution for RAW footage. And by using ProRes as the standard, it gives more camera companies to work with RAW because everybody can make use of ProRes RAW without having their processing details handed over.

CREDIT: ENGADGET.COM

Atomos also mentioned on their Instagram that Atomos and Nikon will be unveiling a ‘filmmaker’s kit’ for video creators; the Nikon Z6 being at the center of that kit; along with the Atomos Ninja V and some accessories necessary for professional video shooting and photography. There’s much more to come from CES 2019, but this seems like a great start to the new year.

Panorama Portait Photography | Brenizer Method

This photography video is a portrait photography tutorial, where we show you just one of the many ways you can shoot a panoramic portrait also known as the Impossible Portrait. This particular style of shooting a portrait is known as the ‘Brenizer Method’ pioneered by wedding photographer Ryan Brenizer.

If you’re new to panoramas or panoramic photography, you should watch this short photography tutorial on how to shoot panoramas correctly here:

The Brenizer Method is an easy to learn but difficult to master photography technique which is also referred to as Bokeh Panorama or Bokehrama. With this creative photography method, you can shoot a ultra wide-angle portrait while retaining the shallow depth of field that is so popular in modern portrait photography and on Instagram.

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5 Wildlife & Macro Photography Tips For Beginners By Photographer Yuwaraj Gurjar | In Frame With Gorky M, Episode 3

In the third episode of our latest photography series, ‘In Frame With Gorky M’, one of India’s authority figures on wildlife and macro photography, Yuwaraj Gurjar, sits down with filmmaker and photographer Gorky M - and shares some very important tips and secrets for beginners or those looking to get into wildlife photography and macro photography full-time. Be sure to note these down before going out to photograph.

You Cannot Pursue Wildlife Photography Full Time

Wildlife photography isn’t one of the commercial or the most glamorous photography genres out there. While there is a niche and a demand for it, it is also important that you’re taking up commercial assignments to keep yourself afloat. Wildlife photography is a fascinating genre, but not a high-income genre in photography unless you’re an established wildlife photographer.

Do Your Homework & Come With The Right Gear

According to wildlife photographer Yuwaraj Gurjar, preparation for a wildlife photography expedition begins three to six months in advance.

Going to wildlife sanctuaries and conservatories and photographing animals and birds is fine, but you must read up on your subjects before photographing them. It is important you know how to work your camera and you have the right lenses for photographing the birds and the wild animals you might see. Read the rules, regulations, and brochures of the safari or national park you’re visiting to avoid breaking any laws or committing any offenses, and talk to local guides and figure out where you might find a particular bird or an animal, so you’re in the vicinity when there is an opportunity to photograph them.

READ: Photography Tips From National Geographic Photographer Ira Block!

Having A Love For Nature Is The Bare Minimum

Be prepared to get down and dirty when you’re out in nature. © Yuwaraj Gurjar Photography

Those who pursue wildlife photography and the various genres that it encompasses such as nature, animals, flora and fauna, landscapes, birds, macro - have a genuine love for mother nature. You must ask yourself if you’re passionate enough about it. There will be times when you have to climb hills, photograph in the rain, climb down ditches and unsavory places to photograph, which requires a level of patience and dedication that isn’t always possible. This is why it’s important that you are passionate enough about wildlife photography and only then will you be able to make somewhat of an impact with your work.

There Is Already A Lot Of Work On Tigers and Elephants

An Indian Tiger Photographed by © Yuwaraj Gurjar Photography

Don’t be discouraged by this, we’re simply saying this so you’re aware. Established wildlife photographers have already done a lot of work on Bengal Tigers, Indian Elephants and Dolphins etc. So make sure, if you’re photographing similar species, that you look at it from a different perspective - so your work is able to stand out. There are also many species that people aren’t looking into. They could be unique to the area you live in, or a variation on the species that are already out there. “People are still discovering new birds in the Himalayas,” says Yuwaraj Gurjar. Maybe you could try Macro photography - where there’s a higher chance of finding something new or coming across a rare species.

Macro shot of a Vine Snake gulping a Frog, © Yuwaraj Gurjar Photography

Macro Photography is a versatile genre of wildlife photography where there are tonnes of species to photograph and new things to find.

Travel With A Group Or An Experienced Professional

Even accomplished photographers prefer to travel in a group on a wildlife photography excursion, says Yuwaraj Gurjar. Image © Yuwaraj Gurjar Photography

This really matters. If you’re looking to learn the ropes of wildlife photography or macro photography, it is better if you travel with an experienced wildlife photographer so you learn more quickly than you would on your own. The cost of a wildlife safari also becomes more manageable when divided between 4-6 people. Not to mention that it is also a safety concern, so traveling to jungles and forests in groups or with local guides becomes essential. The local guides are usually chatty, and if you were to engage them in conversation, they would be more than willing to help you and give you an idea of the species or animals that live in a particular habitat.

And that’s not all. There are many more insights and little tips to help you start your journey as a wildlife photographer in the video below. Yuwaraj Gurjar also has advice on which lenses and camera gear to use for wildlife photography. Be sure to subscribe to us on YouTube if you want to watch more videos like the one below.

Presenting Episode 3 of the series - In Frame with Gorky M. In this episode, Gorky M. speaks with accomplished wildlife and macro photographer Yuwaraj Gurjar. Yuwaraj Gurjar is one of India's best wildlife photographers and one of the authority figures on macro photography worldwide.

ALSO READ: Joseph Radhik Interview | Lessons In Wedding Photography | In Frame With Gorky M Episode 1

Gorky M

Nikon Noct 0.95 58mm lens

NIKKOR Z 58mm f/0.95 S Noct Lens

We got our hands on a model of the Nikon Noct 0.95 58mm lens at the studio, courtesy Nikon India. While the weight is not exactly the same as it will be in the final release but the dimensions are the same as they will be upon final release.

Let me start off by saying - it is HUGE! Till now you have probably only seen standalone photographs of this lens and they nowhere give you an idea of how big this lens is going to be.

The Nikon Noct 0.95 58mm

It dwarfs both the Nikon 85mm 1.4 and the Nikon 105mm 1.4 lenses in size and to be honest, I quite never expected it to be this big.

Considering that there is a small collar around the lens - Nikon knows this!

NIKKOR Z 58mm f/0.95 S Noct Lens - Nikon Side by side with the Nikon 85mm/1.4 lens

The Noct display or the lens information panel which will confirm aperture, focus distance and depth of field - right on the lens.

Comparison with Leica Noctilux 50mm 0.95

I use the Leica Noctilux 50mm 0.95 on almost a daily basis and to be honest, I find that lens to be pretty big and heavy (by Leica standards anyway!) I don’t know but subconsciously I was thinking that the Nikon Noct would be somewhat the same size. How mistaken I was and I did realise immediately that a focal length of 58mm means that the iris would have to be almost 9mm bigger to make a f0.95

Nikon Noct 58mm vs Leica Noctilux 50mm (Both ).95) size comparison

ADDITION FEATURES OF THE NIKON NOCT:

When the lens releases it also promises some extra features like:

• Dust, dirt and moisture repellent flourine coating

• Arneo coat and Nano Crystal coating For the first time, Nikon has combined two anti-reflection coatings to combat ghosting and flare from multiple directions—new ARNEOCoat for vertical incidental light and Nano Crystal Coat for diagonal incidental light.

• A large diameter ground aspherical lens element which will remove aberration correction.

• Since this is going to be a manual focus lens, it also promises a “high precision” focus ring.

• There is also Fn (function) button the lens which along with the intuitive control ring will increase the ease of usability of the lens.

• Also, there is a small display - the lens information panel which will confirm aperture, focus distance and depth of field - right on the lens.

With all of this? I wonder what the lens will be priced at? Any ideas? Leave your thoughts in the comments.

Ira Block Interview | Photography wasn’t easy then, it isn’t now | In Frame with Gorky M Episode 2

The world in photography has changed. Print journalism is dying, and so is the photographer who would rummage the earth for stories. Today, there are more photographs taken in a single day than an entire year prior to the smartphone era. While smartphones and social media platforms have given people a place to showcase their work, it is now difficult to separate the good from the bad like never before. A hobbyist with a financial reservoir can now photograph the Northern Lights on a holiday and submit it as his or her ‘work’.

And publications aren’t willing to spend money to acquire images because people are willing to give them for free just to get published.

“There’s a lot less demand for in-depth stories”, says American Photographer Ira Block. And while that’s true, it doesn’t bother him as much. To prove it, he has over 330,000 followers on Instagram. Ira has also recently published a book documenting a country’s fascination with a mainstream sport in ‘Cuba loves Baseball’

Cuba loves Baseball, available now on amazon. Photograph by © Ira Block

Ira starts of by saying that photography wasn’t easy back then, and it isn’t now.

“When you find something you love, (something) that you want to do, those are the things that are usually difficult to get money out of. ”

Ira Block has been behind the lens since the 70’s. Born in a time of great imagery and when the photographer was the one bringing stories to the world, Ira prefers the term ‘Cultural Documentarian’ over documentary photographer. While he does have a bunch of commercial work to his credit, a lot of Ira’s work revolves around culture and people.

Caravan of Bactrian camels resting in South Gobi Desert, Mongolia. Photographed by Ira Block ©www.irablock.com

Over the years, Ira has photographed a ton of memorable stories for the National Geographic magazine, the National Geographic Traveler and National Geographic Adventure (not to mention the countless photographic expeditions commissioned by the magazine). A Sony Artisan of Imagery, Ira also conducts several workshops around the year mentoring aspiring photographers in the art of telling stories through the camera.

In a career spanning several decades and still counting, Ira’s photographed countries that are known for their tourism opportunities as well as some of the most remote locations in the world.

Japanese explorer Naomi Uemura at the North Pole, photographed by Ira Block © Ira Block

Ira Block likes to distinguish recurring visits to each country by at least a couple of years so he can can document the changes first-hand through his lens. Surprisingly, this was Ira’s first visit to India. He was speaking at Indian Photographer Joseph Radhik’s event - Pep Summit, where GMax Studios’ commander-in-chief Gorky M, managed to catch up with him. And we’d love for you to hear that conversation, the second episode of our latest series, ‘In Frame with Gorky M.

In Frame with Gorky M is a half hour conversation featuring some of the world’s best photographers. If you haven’t seen the first episode featuring Joseph Radhik, you can see that video here.

In a candid conversation with Gorky M, Ira Block talks about the uncertainty and confusion in the world of photography right now. Ira and Gorky M also reminisce about the good old days of shooting film.

Was the switch from film to digital easy for you, and do feel nostalgic about working with film?

I switched from film to digital in 2004. When I first switched, I was nervous. I remember one of the first stories I was doing (with a digital camera), I had to go to Malaysia to photograph. I basically shot it with digital and I also shot it with film because I was so nervous. As I progressed, I thought that digital was great. I had multiple copies of my images, I could email or send pictures around the world. It’s something I couldn’t do with film.

I do miss shooting with film though, especially black and white. Maybe someday I’ll go back to it.

You have taken exceptionally well to social media, especially Instagram. Did that take a mental leap or did you go in all guns blazing?

The world in photography is totally changed. Not just photography, but everything in the world has changed because of the digital age. I realized I didn’t want to be a dinosaur. With social media and digital platforms, I embraced it. I thought, let’s make this work for me.

View this post on Instagram

The sides of buildings here in New York are a great canvas for murals. This one is being painted just around the corner from me - it's been fascinating watching the process. If anyone knows this artist let me know so I can credit or hashtag him/her. Update - @kobrastreetart is the creator @natgeo @thephotosociety . - - - #mural #urbanlife #muralart #einstein #grafittiart #bealpha #kobrastreetart

A post shared by Ira Block (@irablockphoto) on Oct 2, 2018 at 9:44am PDT

And it has worked for Ira. He posts regularly, and he also writes about his experiences in his blog. If you haven’t checked it out, it’s highly recommended. It’s the photographic word of God.

Each social media platform has a different aspect ratio for pictures. Do you keep that in mind when you’re taking pictures?

It does cross my mind (when I’m taking a picture), that I want to make it the right size, the right feel for Instagram. But then I realize that if I get a really nice image, I can’t use it for something else. It's not the right style. I can’t make a print (of it). I get torn at times.

What’s your typical gear, now that you’ve switched to mirrorless cameras?

I’m using the Sony mirrorless cameras, which are pretty small and lightweight. Typically, I carry two, maybe three (camera) bodies. I usually have three zoom lenses with me. The wide zoom, the mid-range zoom and a long zoom. With digital, you don’t want to change lenses that much because of dust on the sensors. Back in the days of shooting film, I’d have two or three cameras around my neck. These days most of my stuff (images) are done between 24-105 mm.

Tell us a little about the kind of gear you carried back in the day

I remember going through the airport with 10-12 cases of equipment. And now, with digital (cameras) being able to pump up the ISO’s to a higher number, I carry less lights. There are smaller lights that are transportable and easy. Those days of carrying equipment and having assistants and getting that stuff on airplanes was always iffy.

Tell us about the importance of accumulating personal work, as a professional photographer

If you really want to be a good photographer, and if you really love photography, you need to have personal projects. With commissioned work, you can’t be as creative, you’re being told what to do by the client. Personal work is where all your creativity is, where you can try out new things, develop a new style. You’re not worried about what the client is going to say. I think personal projects are very important.

Ira Block spent three years documenting Cuba’s culture in his book, ‘Cuba Loves Baseball’. Photograph by © Ira Block

Point out some of the primary differences that you see between photographers in your generation versus some of the younger photographers today

When I look at some of the newer photographers today, I sometimes get the feeling that they’re not going to work as hard. Because of what you can do in post production, a lot of people think “I don’t have to get it right now, I’ll do it later”. I came from a generation of “you have to get it right in the camera.” For me, the joy of photography is being in the moment and not being in front of a computer screen.

Fireworks galore on the 4th of July. New York City, 2017. Photograph by © Ira Block

Who are some of the photographers that have inspired you over the years?

Henri Cartier Bresson is one of the classic photographers that everyone looks up to. His reportage, his decisive moment was an important changing point in the world of photography. When I started doing color, it was Ernst Haas - the German photographer. He took color and made imagery out of it; using color as an art-form in itself. And then there are some early Nat-Geo photographers. There’s guys like Wynn Parks and Bill Allard - a friend of mine who’s a great photographer. These are photographers that I look up to.

Ira continues to talk about his style of photography, his choice of composition and some very important assignments he worked on during the episode. He also stresses on the importance of having a regular income that doesn’t always come from photography.

Watch the entire episode with featuring Ira Block below

In the episode, Gorky M speaks with National Geographic Photographer and Cultural Documentarian Ira Block. Ira has shot multiple photographic stories for the National Geographic Magazine including Nat Geo Traveler and NatGeo Adventure. Ira is also a Sony Artisan of Imagery and conducts multiple photography workshops around the world.