I am in Istanbul for a short while with my family and I could not resist shooting the Blue Mosque at sunset earlier today, especially once I saw the potential for some color in the sky. I only took the Hasselblad X1D with two lenses (45mm f/3.5 and 90mm f/3.2) with me, since I have been using the Fuji GFX 50S quite a bit and this time I wanted to shift my attention to the Hassy. So far, I have been pretty frustrated with the Hasselblad for a number of reasons, mainly due to very slow startup, firmware instability and poor battery life. While I really enjoyed the Fuji GFX 50S as a travel camera, I cannot say that I would recommend the X1D as one. I have missed so many moments waiting for the camera to start up – sometimes it does not properly start up, giving me all kinds of strange errors.
Without a doubt, Lightroom is a powerful software package for editing images. But did you know that it is also one of the most preferred tools to stitch panoramic images? Ever since Adobe released Lightroom 6 and CC, the capability to stitch images into DNG files has been integrated right into the product core. If in the past one would have to either use Adobe Photoshop or third party software such as PTGui to stitch panoramas, with the latest versions of Lightroom, one can easily stitch single row and even multi-row panoramas directly from Lightroom. In this article, we will demonstrate how one can successfully stitch panoramas in Lightroom and explain why the use of Lightroom specifically might be a preferred method when compared to other third party tools on the market.
With so many new cameras being released each year that allow capturing images in RAW format using different compression levels, bit-rates and other proprietary data, it is becoming increasingly difficult for post-processing software to keep up with all the changes and provide full support for RAW formats. Although camera manufacturers have been bundling their own image converters, such tools are often underdeveloped, buggy and lack the necessary features to be able to rely on them for post-processing images. Despite the fact that some post-processing software tools as Adobe Lightroom and Capture One provide frequent updates to support new cameras, it is getting practically impossible to provide full support for every new camera and RAW format features. It is time for camera manufacturers to come up with a single universal RAW format that can be easily supported by all post-processing software and we as consumers need to push camera manufacturers to adopt this format.
In this article, I will show you how you can remove unused modules and sub-modules in Lightroom. Although Adobe Photoshop Lightroom comes with a lot of features, many photographers including myself, have particular modules and sub-modules that never get utilized. Instead of having such modules take up the precious space and clutter up the user interface, it might be a good idea to hide them from your view completely.
For our readers in Israel, I will be teaching a class on landscape photography next Thursday, May 4th at Galitz School of Photography at 6:30 PM. It will be a free event that is open to everyone, so if you would like to participate, please make sure to sign up right here. The auditorium has limited space, so I encourage to sign up sooner than later! In this lecture, I will be going over light, framing and composition, so the material is a bit more advanced. However, I will do my best to keep everything as simple as possible, so that photographers of all levels can benefit from the presented material. In addition to the lecture, I will also be doing a photo walk the following day on Friday, on May 5th to meet our readers from Israel and have a chance to take pictures and dine at a local restaurant after the walk. It is also a free event, so everyone is welcome to come and join us!
I am currently in Israel with a few very talented photographers from all over the world, thanks to a photography event organized by Vibe Israel. Although it has been pretty sunny today, two of us managed to get to the other side of Jerusalem and photograph it at sunset. While I have not had a chance to go through the images from today (we toured the city and walked over 15 miles!), I decided to share the last image I captured from the holy city, right after sunset:
It has been a while since we have given away a camera and we are excited once again to host another giveaway for our readers! This time, we are partnering up with our friends at MIOPS to give away a brand spanking new Fuji X-T20! The giveaway rules are going to be quite simple as usual – all you have to do is follow us and MIOPS on Instagram and you will be automatically entered into the drawing. We will announce one lucky random winner at the end of May.
Now that the Sony A9 is announced, it is a good time to take a closer look at the image samples produced by this amazing mirrorless camera. Sony has made a total of 12 full size JPEG images available that we can pixel peep at, so below are the same images presented in their full resolution at different focal lengths, apertures and ISOs. Since the A9 is a sports and wildlife camera, the most used lenses for the sample images were the Sony FE 70-200mm f/2.8 GM OSS and the new Sony FE 100-400mm f/4.5-5.6 GM OSS.
Step aside Canon 1D X Mark II and Nikon D5 – Sony has just announced its A9, a high-end, full-frame sports camera. With a 24 MP stacked CMOS sensor, a whopping 20 fps continuous shooting rate without blackouts, up to 1/32,000 shutter speed (electronic, mechanical up to 1/8000), a 241 RAW image buffer, 693 on-sensor phase detection autofocus points occupying 93% of the viewfinder, AF joystick, full-frame 4K video capture, in-body five-axis image stabilization, fully weather sealed body, larger battery capacity, a built-in Ethernet port and dual SD card slots, the Sony A9 is one serious monster aimed at directly competing with the top-tier DSLR cameras. It is a pricey camera at $4,500 MSRP, but it is still $2K cheaper than the Nikon D5 and offers features the D5 simply cannot compete with. The Sony A9 is a very exciting release for a number of reasons.
A couple of days ago, Synology announced its new DS1517+ and DS1817+ storage arrays that caught my attention. I have been using an 8-bay Synology Network Attached Storage (NAS) device for the past few years and as you have seen from my detailed Synology DS1815+ review, it is a very powerful and robust storage solution that allows me to use it not just as a backup device, but also as my primary storage. And when the DS1815+ is paired up with a fireproof and waterproof ioSafe, one can fully automate the backup process and alleviate the associated pains with potentially losing data due to hard drive or storage failure. However, one of the biggest bottlenecks I have been experiencing with any NAS device is network bottlenecks. Even when using link aggregation with several ports, it is impossible to achieve more than 1 Gbit throughput from the same machine, which means that I am always stuck at roughly 125 MB/sec storage speed, even if my storage unit is capable of handling more load (link aggregation can be very beneficial in a multi-user environment). So I have been anxiously waiting for storage companies to start releasing storage arrays that are capable of handling more network throughput, which is why it is exciting to see the new DS1517+ and DS1817+ units.