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etmonks · 4 years ago

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Right, here are the best cameras for bloggers for 2020!

Let me speak from my experience here. Finding the right camera for your blogging & vlogging needs can take a lot of time and even more money. That’s the horrible bit out the way.

When I upgraded from my Canon 6D to my Sony A7riii, I knew I wanted to switch from a DSLR to a mirrorless camera, I just didn’t know which one. It must’ve taken me at least 6 months to actually make a decision, and even then I wasn’t sure it was the right one.

To make your life a lot easier and to save your time and effort, I’ve put together the best cameras for blogging right now. Whether you’re a beauty blogger, a fashion blogger, a food blogger, or a travel blogger, I’d really recommend one of these cameras to take your photos and videos to the next level.

Unlike a boring tech or camera website, I speak from personal experience. I only recommend the best vlogging cameras, the ones that I know you’ll need. As I do this day in day out, I feel like I know what I’m talking about!

Mirrorless cameras are the best for serious vlogging. They have more powerful video features, combined with the versatility of interchangeable lenses — which gives you the ability to change your focal length, as well as complete control over creative aspects like depth of field. We don’t rule out DSLRs (especially the recent Canon EOS Rebel SL3 / Canon EOS 250D), but for now, mirrorless cameras definitely have the lead for vlogging.

Here I have some awesome camera for you, have a look :

1. Sony A6400

Brilliant for vloggers, the A6400 has 4K video and a front-facing screen

- Image quality and resolution

- 4K video performance

- Sophisticated autofocus

- Design feels dated

2. Panasonic Lumix G100

Panasonic’s new vlogging camera is pretty good at stills too

- Quality video and stills

- Audio-recording capabilities

- No in-body stabilization

- No headphone jack or USB-C por

3. Olympus OM-D E-M5 Mark III

With 4K video, flip-out screen, and great stabilization, it’s built for vlogging

- Rock-solid in-body image stabilization

- Phase detect AF is superb

- No headphone jack

- No 4K 60p option

4. Fujifilm X-T200

- 4K video upgraded

- Lightweight, ergonomic design

- A little pricey

- Sensor CMOS, not X-Trans

5. Olympus PEN E-PL10

A compact take-anywhere camera perfect for fashion-conscious influencers

-Stylish, highly compact design

- Intuitive and easy to use

- No viewfinder

- No microphone jack

6. Canon EOS M6 Mark II

Lightweight and versatile, with a massive megapixel count

- Useful tilting touchscreen

- Lightweight and portable

- Relatively few lenses

- No headphone socket

7. Sony ZV-1

Sony has adapted its RX100 design to make a brilliant vlogging camera

- Supplied mic windshield

- Super-fast AF

- Vari-angle screen

- The small-ish rear screen and not 16:9

8. Canon PowerShot G7 X Mark III

A flip-up screen, large sensor, and a compact body — ideal for vloggers

- 4K video with no crop

- Can Livestream and shoot vertically

- A little pricey

- No viewfinder

- For more details please visits your site:- https://electronicsmonk.com/electronics/camera/vlog-cameras/right-here-are-the-best-cameras-for-bloggers-for-2021/

#electronics #electronics gadgets #cameras #vlogger #video vlog #best cameras #best cameras 2020 #etmonks #4k video

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leafgreys · 2 years ago

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Mini motor racing gameplay

MINI MOTOR RACING GAMEPLAY UPGRADE

MINI MOTOR RACING GAMEPLAY SERIES

As for the online mode, it was quick to find other players, create a private room and have no apparent lag. With bumper ball you play a team game of football which plays out like an episode of a classic Top Gear episode – either with friends locally, online or AI.

MINI MOTOR RACING GAMEPLAY SERIES

Mini Motor Racing X is already an arcade game so with the arcade mode it’s a series of mini-games such as time trials, bumper ball, mirco motor and custom. There is a co-op career and four-player quick race that can be played with single cameras or split-screen, a quick solo race where you can compete in time trials on tracks you’ve already unlocked in career mode, and finally an arcade mode. There are plenty of modes in the game, including the career mode which is split into two variations (a Type X mode that features weapons like rockets and tornados). Switching to the hot rod, I was able to progress through the career mode without too much trouble. It took me a few races to get settled on a car – there’s a school bus that has great top speed but is the Donkey Kong of racing, and the small windy roads meant finishing last quite frequently. They’re all pretty self-explanatory, and in the early stages, you can play to the strengths of your preferred vehicle, upgrading gradually with your winnings (based on your finishing position as well as the money scattered around the tracks). Each vehicle has a set amount of stats such as handling, nitro, acceleration and top speed. There’s an excellent selection of cars to choose from at the beginning without needing to unlock them, with a decent range of liveries too. The main mode isn’t a Mario Kart-like title, but if you switch to Type X mode, you unlock weapons for the game.

MINI MOTOR RACING GAMEPLAY UPGRADE

As long as you steadily upgrade your car, you’ll be ok, but some tracks get very scrappy, and it’s next to impossible to get past the little moshpit of racers desperate to get ahead. However, that’s not the same for the AI vehicles as they nitro into your rear and fly past. The collisions with the track are absolutely fine, and aside from the odd moment where you get trapped behind a barricade and need to use nitro to get out of the mess, the environments won’t cause you too much hassle. That said, it’s a refreshing approach to just throwing your car around the corner without fear of totalling it or overegging your speed. Bear in mind that this is arcade through and through, so though the cars handle so well, it’s a much different experience to games such as Project CARS or Gran Turismo. As for the actual racing, the cars handle like a dream there’s no understeer, no lag and it’s so responsive when going around the numerous bends. Money is used to unlock the various upgrades which are essential for making progress in the game. Loading times are relatively quick, and after a quick fly-by of the track, the game begins, and you dash around aiming for first place for the most money. However, the standalone game has such great viewing angles, that it’s much better playing in non-VR, but a nice option to have. Whether you prefer a first-person perspective, third-person or cinematic setup, Mini Motor Racing X has them all and even includes a VR mode (if you have the equipment) which is equally great. Pressing triangle gives a variety of angles you can play the game with, which quite honestly are some of the best I’ve seen in any game and I spent most levels rapidly pressing the button to view in an alternative mode. The controls are the same as any other racing game R2 to accelerate, L2 to brake and the X button for nitrous. First impressions of Mini Motor Racing X were a tribute title with a few quirks, but pretty run-of-the-mill gameplay that would soon be forgotten. Micro Machines and Super Off-Road Racer were two of the better 16-bit racers that featured minuscule vehicles to play with, and a focus on arcade-like controls with physics that don’t always replicate real-life.

#Mini motor racing gameplay

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trendacorner · 3 years ago

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Panasonic LUMIX G7 16.00 MP 4K Mirrorless Interchangeable Lens Camera Kit with 14-42 mm Lens (Black)

Panasonic model Name DMC-G7KGW-K high range shooting mode.it is black color.Very lightweight 4k support Wifi support

Tilted touch screen Battery life is about 1.5 hour in video Image quality is super with its kit lens as this camera have 16mp only 16 megapixel Micro Four Thirds sensor with no low pass filter to confidently capture sharp images with a high dynamic range and artifact free performance; WiFi enabled. 3.5mm external mic port, 2.5mm remote port, USB 2.0 and micro HDMI Type D; Compatible with newer UHS I/UHS II SDXC/SDHC SD cards capable of storing high resolution 4K videos

#panasoniccamera #panasoniccameras #panasoniccamera4k #panasoniccamerasa

#câmera #cameraporn #cameragear #cameramama #cameraaccessories

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famousruinsdeer · 4 years ago

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Представлен объектив Voigtlander Super Nokton 29mm f/0.8 Aspherical

New Post has been published on https://v-m-shop.ru/2020/11/20/predstavlen-obektiv-voigtlander-super-nokton-29mm-f-0-8-aspherical/

Представлен объектив Voigtlander Super Nokton 29mm f/0.8 Aspherical

По словам производителя, это самый светосильный сменный фотообъектив, доступный сейчас на рынке

Компания Cosina представила объектив Voigtlander Super Nokton 29mm f/0.8 Aspherical, предварительные сведения о котором появились на прошлой неделе. По словам производителя, это самый светосильный сменный фотообъектив, доступный сейчас на рынке. Говоря точнее, прием заказов на это модель начнется 10 декабря. Стоит объектив с ручным управлением около 2000 долларов. Он спроектирован специально для камер системы Micro Four Thirds.

Основные технические данные объектива Voigtlander Super Nokton 29mm f/0.8 Aspherical:

Фокусное расстояние — 29 мм (ЭФР 58 мм);

Диафрагма — f/0,8-f/16;

Оптическая схема — 11 элементов в 7 группах;

Угол поля зрения — 42,75°;

Количество лепестков диафрагмы — 12;

Минимальная дистан��ия фокусировки — 0,37 м;

Максимальное увеличение — 1:10;

Установочный диаметр фильтра — 62 мм;

Диаметр — 72,3 мм;

Длина — 88,9 мм;

Масса — 703 г.

В комплект входит бленда.

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karingottschalk · 4 years ago

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Fuji Rumors: Fujifilm Manager: XF18mmF1.4 Resolution Beast (Ready for Fujifilm X-H2?), Why No Focus Clutch, Better than XF16/1.4 and More

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thephoblographer · 7 years ago

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The Sigma 16mm f1.4 DC DN Contemporary is one of the best APS-C lenses the company has produced

When testing the Sigma 16mm f1.4 DC DN Contemporary lens, I realized that in many ways it has to be a perfect lens for photographers who use Sony APS-C mirrorless cameras. It’s around a 24mm f1.8 field of view when shooting wide open, and can suit the needs of so many photographers due to its versatility. Of course I’m talking about the focal length and how good it can be as a walkabout lens; but I’m also speaking to the autofocusing abilities, pure image quality, and the little bit of weather sealing that the Sigma 16mm f1.4 DC DN Contemporary boasts. The f1.4 aperture gives it the ability to shoot in very low light and also to be able to get beautiful bokeh when photographing people or things. As I found out with the Sony a6000, it’s also pretty solid for video.

Pros and Cons

Pros

Fast aperture

Weather sealing to a point

Fast autofocus performance for the most part

Nice bokeh

Sharp, surprisingly sharp

Cons

Nothing really to be honest.

Gear Used

We tested the Sigma 16mm f1.4 DC DN Contemporary with the Sony a6000.

Tech Specs

Lens Construction 16 Elements in 13 Groups Angle of View (DC) 83.4º Number of Diaphragm Blades 9 (Rounded) Mininum Aperture f16 Minimum Focusing Distance 9.8 in Filter Size (mm) 67mm Maximum Magnifications 1: 9.9 Dimensions (Diameter x Length) φ72.2mm×92.3mm / 2.8in. ×3.6in Weight 14.3 oz Corresponding Mounts

Micro Four Thirds Sony E-mount

Ergonomics

Taken from our first impressions post

In terms of ergonomics, the Sigma 16mm F1.4 C DN fits really well in the hand and is the perfect size to be a companion lens to your A6000 series body (including the A6300 and A6500). When holding the lens with a Sony A6300 at the Sigma booth we found the lens to balance well with that camera body. It is maybe a little on the long side, but in terms of weight and comfort, holding the Sigma 16mm felt great in our hands.

We did not get to try the lens on a Micro Four Thirds camera, but given the size, we imagine that on all but the larger Micro Four Thirds cameras this lens will be uncomfortably large. However, on a GH5 or E-M1 this lens should still be a good option and not be too much of a hassle.

Build Quality

The build of the Sigma lens is about what we have some to expect from Sigma out of their contemporary lenses here in the last several years. That is to say, not quite the level of construction we see in the art series, but still well built and should hold up well in a photographer’s bag. The focusing ring on the lens was smooth to turn and had a good amount of resistance.

The Sigma 16mm f1.4 DC DN Contemporary has a bit of a weather sealed rubber ring at the mount. As our testing continued, we took it out into the snow. The camera and lens both survived NYC’s recent downpour of four inches of snow. At one point, snow had really accumulated on the front of the lens hood. Eventually I was able to bring it inside where it was subjected to condensation. However, the lens and camera both continued to work. A few days there, they still show no signs of problems. The Sigma 16mm f1.4 DC DN Contemporary is built very well, and it must be acknowledged for this.

Ease of Use

This is an autofocus lens, so slapping the Sigma 16mm f1.4 DC DN Contemporary onto a camera, pointing, autofocusing and shooting is all you need to do. It’s not all that large and when attached to a camera I was still able to easily stick it into a camera bag. Gripping and focusing the lens is simple to do. Though I’d probably recommend adding in image stabilization at least for video.

Autofocus

The Sigma 16mm f1.4 DC DN Contemporary autofocuses very quickly in good lighting and when it comes to low lighting, it can hunt a bit more. Part of this is also due to the Sony a6000 that we were testing it on. Here’s a sample video that we shot. At times I was hammering the focus to ensure that it would stay in focus. However Sony’s AF-C system is usually pretty good about nailing that focus. When you’re this close to your subject, you should know that it will be slow but it will surely work.

When you’re shooting stills, the Sigma 16mm f1.4 DC DN Contemporary will be capable of grabbing the focus for sure. For the best results though, I’d probably still use the center focusing point and stop down a bit. As a result, be sure to raise your ISO–which is something you may not want to necessarily do with an APS-C camera.

Image Quality

The Sigma 16mm f1.4 DC DN Contemporary absolute strongest point is the image quality. Photographers who use APS-C cameras will really fall for the Sigma 16mm f1.4 DC DN Contemporary. Not only is it one of the sharpest lenses that we’ve seen for APS-C cameras, but it also has really nice bokeh, great colors, and keeps the fringing to a minimum. Those who use cameras like the a6000 series as backups (and I’ve totally seen this happen) should consider this lens for documentary style shooting, candid shooting, and street shooting.

Bokeh

Bokeh from the Sigma 16mm f1.4 DC DN Contemporary is really nice. It isn’t distracting but at the same time time it doesn’t feel as if it’s designed to make the subject pop as much as we see with Sigma’s full frame lenses. Sigma’s full frame Art series lenses seem to have Micro Contrast in many situations but this one doesn’t. To Sigma’s credit, it isn’t designed necessarily to.

While I don’t think that I would use it for portraiture, I do indeed think that the Sigma 16mm f1.4 DC DN Contemporary has nice bokeh. And I also highly doubt that anyone would be able to tell the difference unless perhaps they were pixel peeping between this and a full frame rendition.

Chromatic Aberration

The Sigma 16mm f1.4 DC DN Contemporary suffers from purple fringing in the most extreme areas, but it isn’t anywhere as much as something like Sigma’s 30mm f1.4 Contemporary lens. With that said, you don’t need to sit there, slam your cup of coffee on the desk and complain about it. Instead, you can push a slider just a bit in Lightroom or Capture One and then sync that edit to all the images in that session.

Relax. Breathe. Good!

Color Rendition

Color rendition with the Sigma 16mm f1.4 DC DN Contemporary really comes from the camera in many ways. I feel like this lens gives us a less contrasty and less saturated rendition than Sony’s own lenses do. With that said, I still like the look here. When you combine it with good white balance techniques, you can capture photos that have a really nice effect to them. For what it’s worth, there also really isn’t anything like this on the market. Some Sigma lenses tend to have this super saturated look when shot wide open due to vignetting. That also enhances the contrast. But this lens doesn’t have any of that.

Sharpness

The above image was shot with the Sigma 16mm f1.4 DC DN Contemporary and using the bounce flash on the Sony a6000. That’s a super, stupidly sharp photo. With an APS-C sensor I expect this though. But to be fair, I haven’t seen anything this sharp from Sony.

Here’s another photo; again it’s really, really sharp. Even at higher ISO settings the sharpness is so strong that you’re not going to see or really care about any effects that high ISO detail loss may have caused. It’s fantastic.

Extra Image Samples

Conclusions

Likes

Sharp image quality

Reliable autofocus in most situations

Bokeh is nice

A bit of weather sealing

Not an outrageous price

Dislikes

If Sigma has made this lens a full frame option for Sony E mount it would’ve been a no brainer Editor’s Choice Award

I like the Sigma 16mm f1.4 DC DN Contemporary. But I think that it’s time for Sigma to really start making FE lenses. This one is so good that it could easily seem like one. It’s sharp, has nice bokeh, contrast, fringing that is manageable, and autofocuses at a fair speed. Plus it has weather sealing. There isn’t a whole lot to hate with the Sigma 16mm f1.4 DC DN Contemporary. If you’re the type of photographer who shoots wide, does documentary style work, and needs a reliable lens in their bag, this is one of the best options you’ve got if you’re a Sony shooter.

The Sigma 16mm f1.4 DC DN Contemporary receives five out of five stars. Want one? Check out Amazon for the latest prices.

The Sigma 16mm f1.4 DC DN Contemporary surprised me quite a bit. It's nice! The Sigma 16mm f1.4 DC DN Contemporary is one of the best APS-C lenses the company has produced…

#16mm #autofocus #Bokeh #build quality #Chromatic Aberration #color rendition #ergonomics #sharpness #sigma #Sigma 16mm f1.4 DC DN Contemporary #weather sealing

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asfeedin · 5 years ago

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The Quickest Way to Do In-Camera Paintings: Lensbaby Velvet 28 Review

The blur is worth embracing with the Lensbaby Velvet 28.

As this piece is being written, it’s becoming more difficult to drown out the cries of anger from photographers bound to misunderstand the Lensbaby Velvet 28. I didn’t get it either until I really started applying it to my own photography. This has to be Lensbaby’s softest and more blurry lens yet. And in fact, it’s very much designed to be that way. With an f2.5 aperture, photographers will be happy to know that the quirks about this lens allow it to be opened up slightly beyond that. I’m not going to call it a one-trick pony as it can become pretty sharp when stopped down. But, this lens is designed for a photographer that wants to embrace the world in a specific way. How often do you want the world to look like a Monet painting, though? Well, if you like long exposures, the painting method, or being experimental, then you’ll love the Lensbaby Velvet 28; this is a lens for an artist. However, you should know that this is very much a specialty tool.

Video Review

youtube

Pros and Cons

Pros

Solid metal build quality

Can be very fun

Very soft images at wider apertures

Very sharp when stopped down

Small

Cons

Hard to focus because it’s so soft, and the depth of field scale isn’t always reliable

Not quite sure I’d pay $549.95

It’s probably about time that Lensbaby started putting exposure and focusing contacts in their lenses

If this thing had weather sealing, it would be the single most enjoyable lens to use in the rain

Gear Used

We tested the Lensbaby Velvet 28 on the Canon EOS R.

Tech Specs

Focal Length: 28mm

Aperture Range: f/2.5 – 22 with bonus ⅓ stop of light (indicated by + on aperture dial) beyond 2.5

12 aperture blades

Minimum Focus Distance: 2 inches

Maximum Focus Distance: Infinity

67mm filter threads

Focus type: Manual

DSLR version Size/ Weight: 1.04 lb (471.74g)

MIL version Size/Weight: 1.31 lb (594.2g)

8 multi-coated glass elements, in 7 groups

The Velvet 28 comes in standard lens mounts, including Canon EF, Nikon F, Canon RF, Nikon Z, Sony E, Fujifilm X, and Micro Four Thirds. It will be available for pre-order $549.95

Ergonomics

Like any other Lensbaby lens, the Lensbaby Velvet 28 has a metal cap. In fact, the entire body is metal and built very solidly. Hit the cap against the body, and it’s going to sound like a Zeiss lens.

Here’s the front element. It’s recessed into the lens body a bit and allows you to put a filter on it. We found that using Polarizers gives the best image quality. The colors are better, the images are sharper, etc.

Here’s the main body of the Lensbaby Velvet 28. The aperture control is near the mount, and the focus ring is towards the front. There is a zone focusing scale that’s designed to work best with 20MP sensors. Here’s what Lensbaby told us:

The funny thing about being an expert TTL focuser with Leica lenses is that focusing with our Velvet lenses is nearly the opposite. We’d guess you are looking for contrast when you focus, but with Velvet lenses you want to focus for the details. So if you aim to give the eyes the most contrast with Velvet, you’ll miss they eyes but get the ears in focus. For more detail on the 20MP vs 30PM, etc: The current Hyperfocal scale is a bit too wide for f/8 & f/16. The f/16 hyper focal scale on the prototypes is close to the final f/22 hyper focal scale. If you use a 30MP camera it will have a slightly smaller depth of focus so you may find that setting focus just a little narrower than the lines will work. However, 30MP is overkill for all but the largest prints and so nearly any mode of displaying that image will be lower resolution than the error in the hyper focal scale. R&D has tested the focus scale at all marked distances on three random samples and it was spot on on all three. Stopping down to f/4 (or maybe f/5.6) is essential for setting focus to ensure best detail. Focusing wide open or at f/2.8 can yield an image with good contrast but poor detail.

With that said, you probably shouldn’t rely on the zone focusing scale.

Build Quality

There are both good and bad things about the Lensbaby Velvet 28. It’s made of metal on the exterior, and the build quality there is solid: folks will love that. But the problem is a lack of weather sealing. I’d typically never say this about a Lensbaby lens, but of any optic they’ve made, this is the single one I’d want to shoot with while in the rain. If you can imagine bright city lights reflecting off of the streets because of a storm, you understand what I’m talking about. Imagine all the reflections being blurry because of how this lens works. I feel like Lensbaby missed an opportunity here, especially for the price point.

But otherwise, the Lensbaby Velvet 28 is pretty solid. Something to note is that the aperture ring actually goes beyond f2.5 to open wider. Perhaps that’s why they’re calling it the Lensbaby Velvet 28 and not the f2.5. We’re just calling it the f2.5 because that’s the widest marked aperture.

Something else to expect: this lens is small and feels great in hand. That’s because of the design of the rings around the focusing and aperture rings. You’re always going to have a good grip on this lens.

Ease of Use

So basically, this lens is more natural to use on APS-C and Four Thirds bodies; on full-frame bodies, it’s more complicated. You have to rely on focus peaking when shooting on a full-frame body. Magnifying your subject helps too, but ever so slightly. The lens is pretty soft wide open, and details only become visible when stopping down past f4. I purposely shot the above photo at the slower shutter speed and dragged the camera down. It gave me a very painterly look I’m in love with. For photography like this, you’re never going to get bored as long as you’re careful about your subject matter. But the thing is that if you’re shooting like this, you’re putting foresight into your shots; you have to imagine what the shot will look like when blurred.

Focusing

The Lensbaby Velvet 28 is a manual focus lens. It would be a million times easier to work with if there was full communication with the camera you’re using, but you instead have to rely on focus peaking and magnification. And that’s annoying. When stopping the lens down a lot, you won’t have any trouble. F8 and landscapes with the Lensbaby Velvet 28 are lovely to look at. And when you add in a Circular Polarizer, you’ll be getting even better photos.

Image Quality

You can’t really compare the Lensbaby Velvet 28 to anything else out there. While many lenses play the measurbation game, the Lensbaby Velvet 28 slaps that in the face and lives its best life. The image quality is soft, and even when it’s sharp it’s not going to win any awards. The bokeh is always there, and it never disappears, really. And no matter what, photographers are going to like it once you understand the effect of the lens. The colors are punchy, and luckily it doesn’t have any issues with purple fringing. But my favorite thing about this lens is how you can be more creative and deliver truly unique images if you embrace its flaws.

Quick Note: The following images were edited by us:

One more quick note: we did no post-production to these images. But if you want to most from this lens, then we recommend doing some post.

Bokeh

IF you’re a fan of bokeh, this lens has all the bokeh. In fact, the Lensbaby Velvet 28 has so much that you’re never going to run out of it. If you want to think about it in a specific way, it’s like wearing glasses with oil on them at all times. The details are lost and even more so because it’s always soft.

Chromatic Aberration

We couldn’t find any issues with chromatic aberration in the images this lens produces. It’s got distortion, but we can live with that.

Color Rendition

The color rendition of the Lensbaby Velvet 28 is the best thing about it for sure. The colors are vivid, punchy, and gorgeous. This helps to add more to the painterly look it delivers. Again, the folks who like paintings will adore the Lensbaby Velvet 28 for the images it can provide.

Sharpness

Stop the lens down to get the best sharpness. At f5.6 the lens is acceptably sharp enough for most uses. But open the aperture up, and it’s going to get all blurry again. This really shouldn’t be a lens judged for its sharpness. It’s not really designed for that.

Extra Image Samples

Conclusions

Likes

Image quality

The painterly look

Dislikes

No weather sealing

A tad pricey

A bit too niche

I like the Lensbaby Velvet 28 for artistic purposes, but when I buy a lens, I want to be able to use it for pretty much anything. And you can say that about any Lensbaby lens, but the other ones aren’t this soft wide open. The Lensbaby Velvet 28 is purposely designed to be super soft. And if you want to embrace that look for creative purposes, then please do so. I encourage anyone looking to seriously experiment to purchase the Lensbaby Velvet 28, but know that you shouldn’t consider it a 28mm replacement. Think of it as a supplementary lens of some sort. And make no mistake that you’re paying for that novelty. If you want your images to have that lovely softness that you’re going to edit in post, then go right ahead.

The Lensbaby Velvet 28 receives four out of five stars.

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Tags: 28, InCamera, Lensbaby, paintings, Quickest, Review, Velvet

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famousruinsdeer · 4 years ago

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Представлен объектив Voigtlander Super Nokton 29mm f/0.8 Aspherical

New Post has been published on https://v-m-shop.ru/2020/11/20/predstavlen-obektiv-voigtlander-super-nokton-29mm-f-0-8-aspherical/

Представлен объектив Voigtlander Super Nokton 29mm f/0.8 Aspherical

По словам производителя, это самый светосильный сменный фотообъектив, доступный сейчас на рынке

Основные технические данные объектива Voigtlander Super Nokton 29mm f/0.8 Aspherical:

Фокусное расстояние — 29 мм (ЭФР 58 мм);

Диафрагма — f/0,8-f/16;

Оптическая схема — 11 элементов в 7 группах;

Угол поля зрения — 42,75°;

Количество лепестков диафрагмы — 12;

Минимальная дистанция фокусировки — 0,37 м;

Максимальное увеличение — 1:10;

Установочный диаметр фильтра — 62 мм;

Диаметр — 72,3 мм;

Длина — 88,9 мм;

Масса — 703 г.

В комплект входит бленда.

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karingottschalk · 4 years ago

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Photo Gallery: National Day of Action: Stop Black Deaths in Custody at Sydney Town Hall on April 10, 2021

I attended and photographed the National Day of Action: Stop Black Deaths in Custody protest at the Town Hall in Sydney on Saturday, 10th April, 2021 and, expecting big crowds and tight spaces in one of my least favourite locations, went minimal with my trusty Panasonic Lumix DMC-GX8 rangefinder-style digital camera and my equally trusty Olympus M. Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom…

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bukanjoker · 7 years ago

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Hands on Sony a6000 + kit Thanks to @afkarshad, yang sudah mau minjemin Sony A6000nya kemarin buat diraba-raba hehe. Sony Alpha 6000 ini salah satu kamera wishlist gue, selain Panasonic Lumix GX85, dan sempat bikin galau mau ganti kamera ke sony atau lumix wkwk. Dan beruntungnya gue punya temen yang punya, jadi bisa dipinjem dulu sebelum dibeli hehe. Setelah dipake "begini begitu", gue jatuh hati sama body mungilnya yang bener bener ringan dan ramping banget. Dan juga lensa kitnya yang punya focal length cukup lebar yaitu 16-50mm, lebih lebar dari lensa kit Canon DSLR(aps-c), dan distorsinya yang asik banget kalo kata gue. Selain itu, yang bikin gue pingin banget ganti ke kamera ini itu fitur autofocus yang super-fast-banget dan dilengkapi focus-peaking. Tapi sayangnya, Sony a6000 tidak dikasih Cinestyle/Log-profile untuk menghasilkan foto/video yang flat. Karna gue sudah terbiasa main sama Cinestyle-nya Canon, jadi kalau gue jadi beli ini kamera harus nyari lagi tone untuk post-produksinya. Tapi gue ga kecewa, karena sebenarnya kamera ini ada fitur Dynamic Range yang bisa sampai level 5 dan bisa diinstall aplikasi "Liveview Grading" untuk mendapatkan flat-profile, tapi gue belum coba lebih jauh untuk fitur-fitur terselubung ini karena ini bukan kamera gue(takut kenapa kenapa) wkwk. Body dari Sony a6000 ini ringan banget sekitar 300-350 gram, enak untuk dibawa kemana mana, enak untuk foto-foto yang butuhnya cepat, tapi untuk beberapa steadycam kamera ini tidak cocok karena terlalu ringan, kecuali ditambah beban seperti lensa, smallrig, atau yang lain yang bisa menambah beban kamera. Kalau dibandingkan dengan kamera gue yang sekarang, jelas Sony a6000 lebih mumpuni. Tapi kalau dibandingkan dengan Panasonic Lumix GX85, Sony a6000 ini tidak ada In Body Image Stabilization(IBIS) dan flat-profile seperti di Lumix GX85. Tapi Sony a6000 ini lebih unggul untuk ukuran sensor(aps-c), megapixel(24mp), dan autofocus. Dan review dari teman gue yang pakai Lumix, Lumix bitratenya lebih kecil, focus-peakingnya yang kurang terlihat dibanding Sony a6000 ini. Tapi dari teman gue yang pake MFT(micro four third) yang lain bilang, "Sensor MFT udah cukup untuk produksi foto/video produk". MFT itu sensornya lebih kecil dibanding APS-C, gue sih ga suka aja sensornya lebih kecil karena selama ini pake APS-C aja ngerasa risih kalo dibandingin sama Fullframe apalagi MFT haha, tapi gatau juga sih belum bener bener test sensor ditangan sendiri. Jadi #TimSony atau #TimLumix? :v

#sony #a6000 #bandung #braga #streetphoto #review

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pixelrender · 5 years ago

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Every game on my wishlist, part 1

Let’s do this, I’ll share all games on all of my wishlists and write a short reasoning for every single one of them. My goal is to find out, whether I really want to own and play all of these games and how many I will be able to remove from them without much of a regret. There probably are more productive ways to spend free time, but let’s do this.

Itch.io

The list on itch.io is the messiest one of the three. I keep adding and removing and returning games a lot. Right now it features 6 times, 2 games I would like to write about here and 23 games I intended to buy and play at some point. I know I will only have time to play 3-4 or four big games in next 2 years and this list consist mostly of smaller and experimental projects. So, many of them have a good chance of getting played. Let's take a look at individual items now.

1. and 2. Far Future Tourism and Zones

I really want to play some of Sherlock Connor's walking sims. The world's he created are different, a personal expression through the medium of video games. It's not necessary to have two packs on the wishlist and I'll remove one for now.

3. Walden, a game

I guess I might read Thoreau's book first? He's a personality, who intrigues me a lot and a game based on his life could be an interesting time. Also, the game's nature looks stunning. It makes me want to go outside and I don't think I ought to play this instead. To keep my life simple, the game leaves the list.

4. Sagebrush

I'm excited about this one. It's a walking sim with little more direction, a disturbing theme and stunning lo-fi graphics. My cup of tea and an item of high priority on the list.

5. The Haunted Island: A Frog Detective Game

It just feel like a kind game, which can help you out, when you feel down. Together with Sagebrush, these are the two games I need to play asap.

6., 7. and 8. Sokpop Games

A small selection of Sokpop titles (kamer, moreas, huts). They're cheap, original and bite sized. The three selected titles focus more on ambiance than activity/action and that's why I'm interested in them. I don't see any reason in favour of removing them.

9. Voyageur

This game's very likely an underrated gem. It has trading and an interesting narrative but it's also way more stressful than survival space games. Just check out the trailer, this game stays.

10. EarthTongue

You care about an alien ecosystem mostly composed of fungi. That and a recommendation from Natalie Lawhead Is enough for the game to be kept on the list.

11. Of Gods and Men: Daybreak Empire

I want to keep track of this game, but there are so many other tactics games I'd rather play and I own many of them already. This has to go.

12. Dujanah

They say the story is incredible and the art direction reminds me of Catemites, but I'm tired of narrative games rn. Dujanah, you're off the list.

13. Seek Etyliv

This is the most minimalist grid based game I know. Everything about it intrigues me and that's why I need to play it.

14. Overland

I love polished low poly micro worlds of this tactics game. Also, it's a road trip. They say it's not as good as Into the Breach and I agree that they should have released it earlier. But I still want to play it. 15. Sunset

An ambient game about revolution and class, but I'm not all that interested in it and I probably wouldn't be able to run it on my potato of a machine. 16. Art Sqool

It rhymes with cool! Also, I think that it brings something new in video games, that this game indeed is art. I definitely need to play this soon.

17. The Stillness of the Wind

I appreciate a lot what is this game trying to accomplish with minimalist storytelling devices, but I can't get over the color palette.

18. Glass Staircase

I enjoy Puppet Combo. I admire their low poly approach to horror games. They def participated on the renaissance of the genre and ps one era graphics. This is probably their most polished game, but It would be possible to replace it with something else from their catalogue.

19. and 20. Far Blade and Backlands

The two Bcubedlabs' games have stunning graphics, simple mechanics and almost no stories. Their visual value and low price tag are the two reasons both games are staying.

21. The Space Between

A year ago, even six months ago, I would have been thrilled about it. But that was before I lost interest in stories of any kind. Now I only want an impression or an emotion. I don't want to follow a story to feel sad. I feel sad right now. This might return on my list in 2021, when I change mind again.

22. Caves of Qud

This a complicated hardcore retro hardcore everything ultima inspired features and death heavy rpg I'd love to try out one day. But it will take a long time for me to get there. Also, I don't think it fits with the rest of the list.

23. Pagan: Autogeny

I added this few days ago and I'm interested in it because the gamepage promises a bag of candy. In this game you roam around an abandoned mmo and occasionally come across content. I especially like the promise of 100 acres. It clearly invites the photographer in me in. This might be the right game to make paintings of too.

Humble Bundle

My second wishlist is neatly organized. It contains 16 items in a 4x4 grid. Each row is supposed to have a theme and every purchase breaks it a little. I removed some 30 items from this wishlist in May, so there aren't any items I think should be removed. But talking about every one of them might change that. 1. Gris

I used to be a Devolver fanboy and I still like their making off documentaries, but the majority of their releases are too violent and too much of a crowd pleaser. I still enjoy a game of theirs from time to time and I received a super strong recommendation to play Gris, which isn't violent. It's melancholic. And I think I might add to the discourse, which has been uncritical so far.

2. Timespinner

I like myself a good metroidvania and despite the average reviews, Timespinner has that Mega Drive aesthetic I can't resist.

3. Chasm

They say it's only decent, but let's consider two other factors. Comfort food is 7 out of 10 and so are Comfort Games. Metroidvanias became that for me as a genre and Chasm looks like a delightful diversion from all these superb titles coming out.

4. Feudal Alloy

Another decent non-linear platformer with rpg elements on my list. This one earned its spot with the unique combination of theme and graphic style. It's just lovely looking.

5. and 6. Banner Sagas

I like tactics games and for some reason the story of Banner Saga still appeals to me. I want to play through it and see how much I will have to sacrifice and to which end.

7. Expedition: Vikings

Expedition: Conquistador is one of the most underrated tactics games. It's because fights themselves are little less involved that the rest of game. You play with a flawed crew, which forces you into bad decisions all the time. I heard great thing about it in an episode of 3MA dedicated to Vikings.

8. Bad North: Jotunn Edition

Bad North is purty and it looks like delightful, smart little game made with minimalism on mind.

9. Titan Souls

To be totally honest, this one's on the list for graphics. They're great and I really appreciate selection of browns and greys, which are dominant, but without an effect of the game looking lifeless.

10. Samurai Gunn

I talked about this game many times. It looks pretty, it sounds amazing with the soundtrack from Doseone. The trailer is my favourite video game trailer of all times and the gameplay looks like fun if you have couch and friends, who enjoy games.

11. Nantucket

It's all about the theme of whale fishing and the swag this gem has. Mechanically it seems to be quite a journey too. I enjoyed FTL and this is building upon some of its mechanics, but makes it less about surviving and more about chaining successful hunts, methinks.

12. Dishonored

The last game from the row of giants and whales is the single first person modern AAA title I crave to play. Architecture and world-building in the series are exceptional and the whole design reminds me of Half-Life, the best shooter of all times.

13. Ultraworld

A weirdly available commercial piece from the creators of Secret Habitat, one of my favourite walking sims and my favourite digital gallery. Obviously, this can't be removed.

14. Koma

I wasn't interested in this atmospheric roaming game at first but the more I heard and saw, the more hooked I got. I don't care about the mystery being second tier. The atmosphere is dripping from screenshot and that's enough (btw can't run it, so it's of lower priority).

15. Californium

I like that it's a French game about America inspired by an American. I remember people talking about it quite fondly, when it was released. Californium is weird and colorful and filled with things to take a picture of.

16. Crying Suns

An upcoming game published by Humble Bundle. The hook is that it takes FTL and battles from games such a Homeworld and stories such as Dune and meshes it all together. If it turns out to be any good, this might be my next time submarine.

Steam

The third and last list has 22 items and more than a half of them are metroid inspired designs. Both released and upcoming. I curated this list a lot in the past as some of my friends can see it and I felt little embarrassed, when it was reaching over 100 items. Truth to be said, I bought most of these items meanwhile. Now let's see what I can do about the rest.By the end of 2019 I would love this list to consist only from Symphony of the Night clones.

1. Knights and Bikes

I bragged about this one a lot recently. Just scroll down for more. It's number one, because it's the next game I'm buying (unless sales).

2. Legendary Gary

I really hope I will find funds and time and play what could be the Bojack Horseman of nerds. The trailer for this game deeply resonated with the situation I've been for several last years and I think the game can have a deep impact on me if the writings as good as its soundtrack.

3. Anodyne 2: Return to Dust

Ok, one more time. Anodyne was unique and the sequel looks great in its low poly glory and promises to be bigger and better.

4. The Eternal Castle

The trailer for this one's stylish. I watched it at least five times in a row. But it doesn't tell a whole lot about the game and It's possible that the intro is the best part of the game. It probably will leave my list. 5. INFRA

Infra is s a puzzle game made in source (half-life engine, the best engine). Basically it all starts as a surveillance of pipes and ends up with you uncovering a conspiracy. What attracts me to it are beautiful environments and some well remembered textures and it should perform great on my rustworthy laptop. Also, I read great things about it on RPS before it became a completely different site.

6-22. Non-linear platformers

I won't be buying or playing any of these this or the next year. But 2022 should be a year for them to thrive. I will feature here some of them in a foreseeable future as some of them are pretty interesting and maybe make a comprehensive piece on castleoids for Christmas. The list goes: Axiom Verge, Timespinner, Chasm, Feudal Alloy, Visual Out, Redo!, Gato Roboto, Grizzland, Monster Boy and the Cursed Kingdom, Eagle Island, Minoria, Witch and 66 Mushrooms, Refoil, Nykra, Outbuddies, Biomass, Divinium

And that used to be my wishlist. I don’t know why I had such a sudden urge to make an article about it, but here it is and now I can delete some of these items without regret and always look back here if I need to find them.

#wishlist

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junker-town · 6 years ago

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2019 would be a great time for Miami (Ohio) to win some close games

Martin’s program-building bona fides are strong, but his close-game conservatism has held the RedHawks back.

One fact of life that becomes more true to me with each passing year is that we are all paradoxes in some way. The factors that give us our best traits also give us our worst.

In football terms, Miami (Ohio) head coach Chuck Martin might be the most perfect example of this. In his five seasons with the RedHawks, he has proven to be one of the country’s most methodical program builders.

When he moved to Oxford, Miami was at an all-time low point.

The RedHawks had gone 0-12 in 2013 with an S&P+ rating of minus-29.0 adjusted points per game, easily its worst ever.

In his first year, he improved that rating to minus-18.7.

In his second year, minus-13.5.

In his third year, minus-6.1.

In his fourth year, minus-2.2.

In his fifth year, minus-0.7.

By the end of 2018, he was fielding a top-80 team for the second straight season. Miami hadn’t advanced that high in S&P+ since 2005. That is undeniable, if relatively slow, success. But those same conservative, inch-at-a-time tendencies that have served Miami well in the macro sense have backfired quite a bit in the micro.

In five seasons under Martin, the RedHawks have gone 7-20 in one-possession games. The word “conservative” takes a darker tone here in the way that Miami appears to aim for risk-free, sure-to-punt play-calling.

Maybe the best recent example of this comes from one of their rare close wins.

Late in the 2018 season, riding a close-game losing streak of nine straight dating back to the woefully conservative 17-16 loss to Mississippi State in the 2016 St. Petersburg Bowl, the RedHawks exploded to a 28-7 halftime lead over an excellent Ohio. The defense had forced four punts and a turnover, but there was reason to believe that Ohio could still make a charge — the Bobcats were averaging 6.2 yards per play, after all. (Plus, in general, they had a really good offense, more than capable of scoring 21 or more points in the second half.) Miami’s offensive success, meanwhile, had been driven by the pass: Gus Ragland was 16-for-22 for 185 yards and a touchdown.

Ragland threw 10 passes in the second half, almost all of them conservative — and he completed four for 14 yards. Ohio averaged 6.7 yards per play in the second half to Miami’s 4.2, the RedHawks went three-and-out five times in seven possessions (the other two: a five-and-out and a turnover), and sure enough, Ohio had cut Miami’s lead to 30-28, then got the ball back with 30 seconds left and a chance to win with a field goal.

The Bobcats came up about 20 yards short of a field goal attempt, and the RedHawks held on after doing everything wrong.

But they were still talented enough to beat a good team! And they turned around and beat eventual MAC champ NIU the next week as well. They won five of seven to finish the year bowl eligible for the second time in three seasons. Miami had been to only one bowl in nine years before his arrival, so that’s not nothing. But the same methodical approach that has led to a steady build has kept the win total tamped down. Among active coaches, he’s at the bottom of the in-game underachievers list.

So is he a bad good coach? A great terrible one?

Either way, he’s Miami’s for another year. And at first glance, this five-year streak of steady improvement is in danger. Ragland, his two leading running backs, two of his four favorite targets, and the left side of the offensive line are all gone from a unit that has still climbed only as high as 90th in Off. S&P+ under Martin. The defense returns some play-makers but must replace about half its two-deep and do-everything linebacker Brad Koenig.

Martin just signed the third-best class in the MAC, and the foundation looks as healthy as ever. But you have to wonder if the missed opportunities through the years have soured his accomplishments a bit. And you have to wonder what might happen to the relationship if or when the RedHawks actually take a step backwards at some point. We might find out this year.

Offense

If Miami could run the ball on you in 2018, you were probably screwed. Not including Ragland, who would attempt about six non-sack carries per game, the RedHawks had four primary ball carriers: Alonzo Smith, Kenny Young (also Ragland’s second-most frequent target), Maurice Thomas, and Jaylen Bester. They were just slightly more effective in wins than losses.

Smith, Young, Thomas, and Bester in six wins: 15.8 carries per game, 199.7 yards per game, 6.4 yards per carry, 12 TDs

In six losses: 8.8 carries per game, 58.8 yards per game, 3.4 yards per carry, 3 TDs

If the run worked, offensive co-coordinators George Barnett and Eric Koehler would ride it pretty far. If it didn’t, they’d ditch it quickly and ask Ragland to save them. (Ragland would then frequently dump the ball to one of the backs on the perimeter.)

Smith and Young are gone after combining for 270 intended touches (rushes and pass targets), but Thomas and Bester (124 combined) played a role as well, and Bester was maybe the most exciting to watch of the foursome. On a per-intended-touch basis, he was the second most dangerous behind Young.

Trevor Ruszkowski-USA TODAY Sports

Jaylon Bester

Bester and Thomas should expect to play a pretty large role this year, as Miami doesn’t really seem to believe in the intermediate passes. Ragland’s successor — be it Michigan transfer Alex Malzone or one of many three-star youngsters (sophomore Jackson Williamson, redshirt freshmen AJ Mayer or Michael Bonds, or true freshman Brett Gabbert) — will be asked to throw basically screens, flares ... and lots of go routes.

The best go routes option might be a tight end: junior Andrew Homer should probably be asked to play a larger role after catching 16 of 23 passes for 231 yards and three scores. His vertical presence could distract safeties and prevent them from keying on a couple of targets on the outside. Jack Sorenson (742 yards, two touchdowns) is easily the most well-rounded of Miami receivers, while tight end-sized Luke Mayock (319 yards, three TDs) is a unique matchup.

Sorenson and Mayock are the only two returnees who caught more than 16 passes last year, but players like Homer, junior Dominique Robinson (another big target), sophomore Jalen Walker, and a boatload of three-star youngsters could be ready for larger roles.

The line has to replace two starters in LT Jordan Rigg and LG Sam McCollum but still features four players who have combined for 67 career starts. Two-year starting center Danny Godlevske was third-team All-MAC in 2018.

Despite some thinning out on the two-deep, there appears to be decent talent here. We just have to find out if there’s a quarterback. Malzone, a former four-star prospect, has attempted four career passes and has completed zero; he’s the most experienced guy here. There’s plenty of potential in the fact that Martin and his co-coordinators will have five former three- or four-star prospects to choose from, but someone still has to step up.

Defense

Despite the fact that he is a former offensive coordinator, Martin’s teams have been driven mostly by defenses — the RedHawks have ranked quite a bit higher in Def. S&P+ than in Off. S&P+ for each of the past four years. They were 66th this past season, a unit defined not by any one overriding strength but by a lack of outright weaknesses. They were 60th in marginal efficiency, 30th in marginal explosiveness, and between 47th and 54th in Rushing, Passing, Standard Downs and Passing Downs S&P+.

The balance here makes me feel better about their chances to deal with loss: defensive co-coordinators Spence Nowinsky and John Hauser have to replace three of their top seven linemen, two of three linebackers, and two of three safeties.

One loss does bear a lot of weight, though. Koenig was one of the best linebackers in the country at any level. He led the team in tackles (82, nearly double anyone else’s on the team), tackles for loss (13), run stuffs (18), and forced fumbles (four), and he was second in sacks (five) and third in passes defensed (five). Losing him is like losing two good players.

Photo by Michael Reaves/Getty Images

Doug Costin (58)

They do still return proven talent at each level of the defense, though.

Nose tackle Doug Costin logged 10.5 TFLs and six sacks — not bad for a 295-pounder. He’ll be joined by veteran ends Ben Kimpler and Dean Lemon, and sophomore tackle Andrew Sharp could be ready for a larger role. So could sophomore end Kameron Butler, for that matter.

Linebackers Myles Reid and Ryan McWood are now the defensive anchors. Koenig was special, but Reid’s been around a while, at least. (Depth here is perilous if either of these veterans go down.)

The secondary is still super exciting as long as cornerback Zedrick Raymond is still on the field. He might be the best corner in the conference, and in Raymond and former four-star Virginia commit Mike Brown, Miami’s got a couple of dangerous, physical weapons in the back. And I haven’t even mentioned safety Bart Baratti yet — he was an interesting havoc weapon, recording nine TFLs and three sacks from the back row.

The offense has question marks, but I’d be surprised if the Miami defense wasn’t again one of the best in the conference.

Special Teams

In a conference weighed down by lots of bad special teams units, Miami’s was a happy standout. The Redhawks’ unit was as balanced as their defense, ranking in the top 20 in kick return efficiency and in the top 50 in place-kicking, punting, and kickoffs.

Better yet: those responsible for all of those positive ratings are scheduled to return — punter Kyle Kramer, kicker Samuel Sloman, and a pair of dangerous return men in Maurice Thomas and Jaylen Bester. This should again be the best unit in the conference.

2019 outlook

2019 Schedule & Projection Factors

Date Opponent Proj. S&P+ Rk Proj. Margin Win Probability 31-Aug at Iowa 25 -19.9 13% 7-Sep Tennessee Tech NR 37.0 98% 14-Sep at Cincinnati 44 -14.5 20% 21-Sep at Ohio State 7 -31.7 3% TBD Akron 124 17.5 84% TBD Bowling Green 123 17.0 84% TBD Buffalo 97 4.6 60% TBD Northern Illinois 76 -1.8 46% TBD at Ball State 110 5.5 62% TBD at Kent State 111 6.3 64% TBD at Ohio 82 -5.5 37% TBD at Western Michigan 75 -6.9 34%

Projected S&P+ Rk 93 Proj. Off. / Def. Rk 95 / 82 Projected wins 6.1 Five-Year S&P+ Rk -8.2 (98) 2- and 5-Year Recruiting Rk 96 2018 TO Margin / Adj. TO Margin* 6 / 2.9 2018 TO Luck/Game +1.3 Returning Production (Off. / Def.) 57% (57%, 57%) 2018 Second-order wins (difference) 5.9 (0.1)

Martin’s program-building strengths have been strong enough to put his in-game weaknesses in the spotlight. Despite Miami’s obvious gains, the Redhawks are just 17-23 the last three seasons, and with just a .500 record in close games, they’d be at something closer to seven wins a year with three bowl bids.

This is probably another season that will be defined by close games. S&P+ projects three double-digit wins for the RedHawks (home games against BGSU, Akron, and Tennessee Tech), three double-digit losses (road games against Iowa, Cincinnati, and Ohio State), and six one-possession tossups. If Miami either executes better or receives better breaks, then there’s enough talent here, especially on defense, to make a conference title run.

But history suggests the RedHawks will only win one or two of those six close games. That could mean another year without a bowl.

If Martin’s been saving all of his close-game karma for a good moment, now would be the time to spend some of it. There is both a lot of opportunity, and a lot of threat, on the table.

Team preview stats

All 2019 preview data to date.

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updatedc-blog · 6 years ago

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New Post has been published on https://www.updatedc.com/2019/01/24/olympus-e-m1x/

Olympus E-M1X

The Olympus E-M1X is the Japanese companies new flagship camera. It features a 20.4 megapixel micro four thirds sensor with revolutionary image stabilization, and the ability to shoot in 4K in a Log profile. On the surface, it looks to be a relatively impressive camera, but it is expensive at $2999.99 USD.

It’s about time

Olympus OMD E-M1 II review: Can you really ditch your tripod and gimbal?

I think a lot of us thought Olympus had taken a long nap and forgotten to wake up. The OM-D E-M1 Mark II was debuted way back at Photokina 2016, and while it featured a lot of great video functions, such the ability to record 4K DCI at a bitrate of up to 237mbps, it has long been overtaken by the likes of the Panasonic GH5/GH5s, Sony a7, a7s, and a7R models, as well as the Nikon Z6.

The E-M1X is the successor to the Olympus OM-D E-M1 Mark II and while it looks to be using the exact same 20.4 megapixel micro four thirds sensor, Olympus has made a lot of changes under the hood.

Olympus E-M1X

Image Stabilization

The OM-D E-M1 Mark II was no slouch when it came to image stabilization. The camera featured three kinds of stabilization. There was lens-based image stabilisation with select Olympus lenses, there was in-body image stabilisation which works by moving the sensor itself, and lastly, there was digital stabilisation performed in-camera. While this system was critically acclaimed, it looks as though Olympus has significantly improved it on the E-M1X.

According to Olympus, the camera features images stabilization of 27.5 stops, which allows the camera to capture 50 megapixel shots when shooting handheld. If you use a tripod, Olympus claims that you can take an 80 megapixel image. Now there is a caveat, it is only capable of doing this when an M.Zuiko IS PRO lens is used.

Key Features

Effective resolution 20.4 megapixels

18 fps continuous shooting speed

World’s best Image Stabilization. This technology enables the 5-axis sync IS to compensate for approx. 7.5 shutter speed steps

Electronic ND filter

New AF system with intelligent subject tracking and a variety of AF target modes

Movie video capabilities: 4K and C4K, OM-Log400, various levels of IS, Full HD 120 fps

Integrated field sensors to add detailed metadata to pictures and video Live ND feature for slow shutter effects without an external filter

Dust, splash, and freezeproof. Weatherproofing is maintained even when a microphone, headphones, or remote control cable is connected

Metadata embedded in both photos and video

Dual UHS-II SD card slots

Dual batteries in a cartridge system and USB charging

Super Sonic Wave Filter (SSWF) with a special coating which vibrates 30,000 times per second to keep dust or dirt off the sensor

Weight 997 g (2.19 lb)

Body (WxHxD) 144.4 x 146.8 x 75.4mm

Video Capabilities

youtube

The Olympus E-M1X can shoot in 4K DCI (4096 x 2160) and UHD (3840 x 2160). When working in DCI, a true 24.00 fps frame rate is used, along with IPB compression and a 237 Mb/s bit-rate. UHD 4K is available in frame rates up to 30p and a 102 Mb/s bit-rate. Full HD 1080p and HD 720p recording are also supported. The camera can only record in frame rates above 30p when shooting HD. You can also only record for a maximum of 29 minutes.

Audio recording is possible using the built-in stereo microphone, and both an external mic jack and headphone jack are available.

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The camera uses an integrated OM-Log setting to extend the effective dynamic range and afford a greater range of control during post-production color grading when used with the accompanying LUT file. Use of an external recording monitor is also possible, via HDMI output, which supports 4:2:2 (8-bit).

Additionally, a Time-lapse Movie mode is also available for recording up to 4K UHD resolution with a 5 fps shooting rate to highlight subject changes or movement over a longer period of time. Full HD and HD time-lapse settings are available, too, as well as a high-speed Full HD setting with 120 fps frame rate.

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AF improvements for video shooting

Active use of On-chip Phase Detection AF and improved algorithms has resulted in precision focusing during video shooting. Group 9-point and Group 25-point have been added to AF Target for shooting video, and AF setting customisation has also been improved.

Handheld 4K and Cinema 4K shooting

In addition to the powerful 5-axis in-body image stabilization, the E-M1X has dedicated video electronic stabilization for handheld 4K and Cinema 4K (C4K) shooting. The image stabilization strength has three levels.

Video Specifications

Recording format

MOV (MPEG-4AVC / H.264)

Mode / frame rate / compression method [MOV]

4096 x 2160 (C4K) / 24p / IPB (approx. 237 Mbps)

3840 x 2160 (4K) / 30p, 25p, 24p / IPB (approx. 102 Mbps)

1920 x 1080 (FHD) / 30p, 25p, 24p / ALL-I (A-I), IPB (SF, F, N)

1920 x 1080 (FHD) / 60p, 50p / IPB (SF, F, N)

1280 x 720 (HD) / 60p, 50p, 30p, 25p, 24p / ALL-I (A-I), IPB (SF, F, N)

60p: 59.94 fps, 50p: 50.00 fps, 30p: 29.97 fps, 25p: 25.00 fps, 24p: 23.98 fps, C4K 24.00 fps

FHD ALL-I (A-I: ALL-Intra / approx. 202 Mbps),

FHD IPB (SF: Super Fine / approx. 52 Mbps, F: Fine / approx. 30 Mbps, N: Normal / approx. 18 Mbps)

HD ALL-I (A-I:ALL-Intra / approx. 102 Mbps),

HD IPB (SF: SuperFine / approx. 26 Mbps, F: Fine / approx. 14 Mbps, N: Normal / approx. 10 Mbps)

Frame rates may drop when particular Art Filters is used.

Media

Class 10 or higher SD card is recommended for shooting movies

UHS-II or UHS-I U3 card is recommended for 4K, C4K, ALL-I shooting.

Maximum recording time

Approx. 29 min.

Art Filter Movie

With (Frame rates may drop when certain Art Filters are used)

One-push Movie Digital Converter

Approx. 3x

Time Lapse Movie

3840 x 2160 (4K) / 5 fps

1920 x 1080 (FHD) / 5 fps, 10 fps, 15 fps

1280 x 720 (HD) / 5 fps, 10 fps, 15 fps, 30 fps

Quick Movie / Slow Movie

With (Both or either of the two may not be available depending on the frame rates.

High speed movie

120 fps (1920 x 1080 / MOV)

Image Stabilisation for Movie

M-IS1[*] (multi motion IS by Image sensor shift and electronic image stabilizer),

M-IS2 (multi motion IS by Image sensor shift), Off

Field of view varies when using M-IS1. Using lens which is equipped with image stabilization can be given top priority.

Grid Line / Focus Peaking

4 types of grid lines / 4 colors for focus peaking

Time code

Rec run / free run, drop frame / non-drop frame

Live View Output via HDMI

Monitor Mode (outputs video and info display to a connected monitor)[1]

Record Mode (outputs video only, with no info display)[2]

1 While recording, footage is simultaneously displayed on the HDMI monitor and on the camera, but the info display is shown only on either one of the two. While playing movies, footage is simultaneously displayed on the HDMI monitor (normal size) and on the camera (normal size or enlarged). However, the image cannot be enlarged on the camera when a movie is being recorded.

2 Movie quality is set to YCbCr 4:2:2 (8 bit), frame rate follows movie setting (24p, 30p and 60p settings are not recommended.), and sound will be recorded.

Movie Picture Mode

Flat, OM-Log 400

View assist compatible

Exposure Control

Program AE, aperture priority AE, shutter priority AE, manual Flicker scan[1] (1/250 – 1/30.0[2])

1 Available only when in S, M mode. Selectable from minimum increment of 0.1.

2 50 fps movie: 1/50.0 sec., 60 fps movie: 1/60.0 sec.

AE Lock With

Recording (Sound)

Recording format Wave Format (Stereo linear PCM / 16-bit, Sampling frequency 48 kHz)

High-Resolution Audio (Stereo linear PCM / 24-bit, Sampling frequency 96 kHz) compatible

Microphone / Speaker Built-in stereo microphone / built-in mono speaker

External stereo microphone can be attached

Microphone function Wind noise reduction, recording volume, microphone volume limiter,

Audio dubbing possible for still pictures (up to 30 sec.)

May affect audio quality.

IC recorder linkage Slate Tone / Synchronised Audio Rec-Movie Rec

LS-100 compatible

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Live ND

This new feature virtually extends the exposure time and allows the capture of images with slow shutter speed effect by merging multiple exposures together. Five levels of the LIVE ND effect can be selected from ND2 (1 step) and ND32 (5 steps) and the effect of the slow shutter speed can be seen LIVE in the viewfinder or LCD screen before capturing[1]. This feature not only removes the trouble of changing filters according to the shooting scene or lens, but is also useful for lenses that are difficult to attach filters to.

1: When LV simulation is on.

The expected effect may not be obtained depending on the subject and scene.

If the ND step setting increases when the flash is off, the maximum ISO sensitivity setting is 800, and the maximum shutter speed is 1/30 (set to ND2), the speed drops.

New AF System

Olympus has incorporated a new AF system with intelligent subject tracking and a variety of AF target modes. With locked AF, the E-M1X can achieve high-speed sequential shooting at a maximum of 60 fps. With AF/AE tracking, a maximum of 18 fps is possible.

Size

The E-M1X is not a small camera as far as Micro Four Thirds mirrorless cameras are concerned. With diameters of 144.4 x 146.8 x 75.4mm (WxHxD) and a weight of 997 g it a lot bigger and almost twice the weight of the OM-D E-M1 Mark II. I think a lot of shooters buy Micro Four Thirds sized cameras because of their small size and compact nature. Just how potential buyers will respond to the increased size and weight of the E-M1X will be interesting to see.

Weather Proof

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The E-M1X looks to be well suited to life in the field as it features a dustproof, splash proof, and freezeproof body. Olympus claims that these features are maintained even when a microphone, headphones, or remote control cable are connected.

Dust Reduction System

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Olympus pioneered the Dust Reduction System and has a long track record of reliability. The Supersonic Wave Filter(SSWF) vibrates at a speed of more than 30,000 times per second to instantly remove dirt and dust. The E-M1X has a new coating on the sensor to reduce the possibility of dust in photos to a 10th of previous models, allowing for lenses to be swapped even in duty environments.

Dual batteries

In a nice feature, Olympus has made a dual battery system that comes in the form of two batteries being used in a single cartridge. According to Olympus, this allows you to capture up to 2,580 images before having to recharge the batteries. This dual battery system also has the added benefit of keeping the camera body smaller as you don’t need an optional battery grip. The camera also has a USB Power Delivery (USB-PD) system that can take power from up to 100 W power sources. By using this, both batteries in the camera body can be fully charged in approximately two hours.

Price and Availability

The Olympus E-M1X body is $2999.99 USD and it will start shipping late Febraury.

What do you think about this new camera? Let us know in the comments section below.

#camera #lens #mirrorless #news #Nikon #Olympus #om #Panasonic #production #sensor #Sony #technology #Tokina

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pogueman · 7 years ago

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The DJI Spark is the smallest, cheapest obstacle-avoiding drone yet

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If I’ve learned one thing from reviewing drones, it’s this: You, dear reader, either love ‘em or hate ‘em.

Some people are horrified that drone sales more than doubled last year, that they’re expected to increase 10X in the next five years, that the skies will soon fill up with noisy, dangerous spying machines.

Other people are exhilarated by the prospect of breaking free from our flat, two-dimensional existence. They love that they can come breathtakingly close to having jetpacks, going where they want, looking where they want. No wonder drones are revolutionizing filmmaking, engineering, farming, law enforcement, search and rescue, real estate, and on and on.

Both kinds of readers should be interested in this month’s drone news, then: The arrival of the smallest, least expensive smart drone ever made.

The Drone Spark’s body is smaller than your phone.

It’s the DJI Spark. At $500, it’s not the impulse buy for the masses that DJI seems to think it is (“great for spontaneous selfies!”). But it does bring smart, high-quality drones within reach of many more people. Which means more student filmmakers doing professional work, more real-estate offices shooting fly-throughs of homes, more gorgeously produced marching-band videos.

And more drones in the sky. Sorry about that, drone haters.

The size

The price of the Spark is a big deal—but the size of the Spark is an even bigger (smaller?) deal. It’s tiny.

Videos and photos don’t even capture it. The body of this thing is the size of your phone, or a soda can.

A size comparison. Caution: Do not drink.

The Spark’s shape resembles its big brother, the $1,000 Mavic Pro, which DJI released only eight months ago (here’s my review), and offers many of the same advantages. But the Spark is a mini-me Mavic, only 5.5 inches square, including the propellers; the Mavic is twice as big. (Then again, the Mavic’s struts and propellers fold down against the body, and the Spark’s don’t.)

Small is huge. Small means you can carry your drone with you more often, to more places. Small means you can capture video from inside smaller spaces. Small means less intimidating to whoever you’re filming, and less suspicious to authority figures. (Of course, you should always fly only where it’s legal. Here are the rules.)

The Spark is stable enough to fly indoors, although the optional propeller guards are a good idea.

How to fly

You can control the Spark in any of three ways.

First, you can use the optional remote control ($150, not available yet). (The remote also comes in the $700 “Fly More” kit, which includes the Spark, the remote, two batteries, four spare propellers, propeller guards for indoor flight, a fantastic three-battery charger, a shoulder bag, and all necessary cables. The $500 basic kit includes only the drone, two spare propellers, and one battery. You charge the drone by connecting it to a micro-USB cable, much as you would a phone.)

The Spark’s compact foam case accommodates two spare batteries (but not the optional propeller guards).

The remote doesn’t just give you flight joysticks; it also grants you Sport mode, which unlocks the Spark’s top speed of 31 mph, and a 4.3-mile range. Of course, you should take that figure, and all range and battery-life claims, with a grain of salt the size of Texas; you’ll never get that kind of range in the real world.

A second battery (and the handy three-battery charger) is highly desirable.

The second way to fly the drone is using your smartphone. It works great—the screen shows you what the drone’s camera is seeing—and you can tilt the camera up or down by tipping the phone up and down.

To use the phone app, you drag the two dime-sized circles with your thumbs, as though they’re joysticks.

The range with the phone, though, isn’t great. DJI says 50 yards up and 100 yards away. But in my testing, the drone lost signal with the phone sooner than that. Fortunately, whenever that happens, the Spark is religious about kicking into Return Home mode. Wait a couple of minutes, and it will calmly descend to the precise spot where it took off.

Using the Force

There’s a third way to control the Spark, though, and this may be the biggest headline of all: You can control it with hand gestures.

You can start holding the Spark on your hand at arm’s length, and double-press its power button. After about 15 seconds, the drone’s front-facing depth sensor recognizes your face, takes off from your hand, and hovers.

At this point, you can hold your palm out toward the drone and “drag” it up, down, or around you in any direction; the drone follows as though connected to your palm by a magnet. It’s the closest thing to The Force you’ll ever get to try.

You can’t help humming the “Star Wars” music when you’re using The Force.

Wave “goodbye,” and the Spark flies 10 feet up and 10 feet away and hovers; hold out your fingers like a director framing a shot, and the drone counts down and takes a photo of you; make a Y with your arms, and the drone flies back to you. Hold out your palm underneath, and the drone gently and reliably lowers itself into your hand and cuts power to the props.

This hand-control business is so cool and fun that people tend to forget its original purpose: To give you a simple way of positioning the drone in space for group photos and selfies.

That’s why, somewhat disappointingly, you can use The Force only when the drone is about three feet away from you. Any farther, and it doesn’t respond.

You can also use The Force only after fiddling with some settings in the phone app. (In other words, you still have to own a smartphone to use the Spark.) And even then, I sometimes had trouble getting it to work.

Why the Spark?

The Spark offers all the same intelligence as the Mavic Pro. For example, its Obstacle Avoidance feature prevents it from crashing into something ahead of it; it jerks to a halt about eight feet away and hovers. (It can, however, crash when flying in any other direction.) And its underbelly camera takes an internal video of the launch spot, so that when you tell the drone to Return Home, it lands in that exact spot.

The camera underneath provides a pseudo-GPS for flying indoors, and helps the drone return to the precise takeoff point.

Both drones are built like tanks. They feel solid, and they survive a lot of crashes.

Yet the Spark is about half the size of the Mavic, and costs one-third less. The Spark is also available in a choice of colors (white, green, yellow, blue, red), which the Mavic (gray) is not.

Both drones can fly themselves in preprogrammed flight paths while recording video. They both offer Orbit (flies around you, camera pointed at you), Active Track (the drone follows you as you run, drive, ski, unicycle, whatever), and Tap Fly (on the phone app’s screen, you draw a path with your finger for the drone to follow).

But the Spark also includes four QuickShots—preprogrammed flight stunts that capture 10-second videos for quick sharing from your phone. There’s Circle (one orbit around you), Helix (rising in bigger and bigger circles), Rocket (straight up, filming straight down), and Dronie (flies up and away).

The Spark also offers two new still-photo modes: Portrait, which creates a simulated blurry-background effect, and the very cool Panorama, in which the drone hovers in the air, taking a photo, turning a few degrees, taking another, and so on, and then stitching the shots into one super-wide result.

The drone rotated itself in the air several times to capture this panorama.

Given all of these advantages, why on earth would anyone still buy the Mavic?

Well, because there are two key limitations to the Spark.

Video quality. The Spark’s 1080p hi-def video (and 12 megapixel stills) look great, as you can see in the video above. The two-axis camera gimbal keeps the video rock solid, even in buffeting winds (yes, I tried it.) Still, the Mavic captures 4K video—four times as many pixels—if you care about such things.

Flight time. Each Spark battery lasts for “16 minutes” of flight, which is about 12 minutes in the real world. The Mavic’s battery lasts for “27 minutes,” which means about 20.

The drone of things to come

The DJI Spark really is an astonishing piece of technology. It carves out a new spot on the spectrum of drone size/price/performance.

Of course, it still doesn’t fit in your jeans pocket, still doesn’t fly for an hour on a charge, still isn’t crash-proof.

But clearly, those are the three goals DJI has set for itself. At this rate, the drones DJI comes up with this time next year will be more like mosquitoes than machines. Depending on how you feel about drones, that’s fantastic news—or terrible news.