Canon Patent Application Hints at New Flip Screen for Mirrorless Cameras

A new kind of flip screen could be on the way for the next generation of Canon mirrorless cameras

Canon Watch Blog has recently reported of a Japanese patent application 2018-54913 which describes an articulating touchscreen that can be flipped in various directions. Part of the patent claims that the flip screen mechanism, which the illustration shows to be for mirrorless cameras, will also feature a smaller size.

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Matte vs Glossy Paper: What Should You Print on (Premium)

How does the old saying go? If I recall it’s something like “My photo isn’t done and isn’t a photo until it is printed.” This is an old saying, but one that holds true for many photographers as they grow and progress. Arguably speaking, one of the biggest accolades of photography as an art form is the idea of printing your photo. Seeing your photo in real life on something other than the screens that you stare at all day and night is a testament to your work. Some may consider printing to be a dying art and it is arguably a hard sell due to it being an experience that you need to have in person. With a world that has growing economic disparity and that puts more emphasis on getting that double tap on your photo vs seeing it in galleries live, printing is an art form in and of itself that black and white photographers really should look into.So let’s just start with the basics and explore things that many photographers have never even thought about.

Matte Paper

If you’ve ever had prints made or seen them, then chances are that they’re all from the same Fujifilm paper used by Walgreens, Costco, Duane Reade, etc. That’s a glossy paper and that’s what people are so used to seeing. I’m going to tackle glossy in a bit. But first, I should really emphasize and talk about matte paper. Instead of these pharmacy prints, you should liken matte paper more to the types of paper that one would typically write on. Even then, matte paper isn’t really done a whole lot of justice by saying that.

Unlike the paper that you write on typically, matte paper tends to be thicker and is sometimes called “cardboard stock.” For what it’s worth, it’s also much more durable. When you put your hands on the paper, it has a much different tactile experience than anything that you’ve felt before and that’s often due to how the strands of fibers are put together. Matte paper tends to absorb light in a scene rather than reflect it. If you’ve ever seen a matte computer display and a glossy computer display, you can immediately tell that one is much easier to edit on than the other–often times it’s the matte. It tends to cut down on reflections but also does different things to your photo. At the same, matte can make your colors more dull unless you calibrate your software and printer to know that you’ll be printing on matte paper. While that may sound complicated, it’s literally the case of one or two clicks of your mouse.

Some of my favorite Matte papers are made by Epson and Red River. Generally speaking, it requires greater amounts of ink to make the colors look more saturated. But that can also be offset by the lighting. Lighting for matte prints are a whole other story. For that reason, lots of photographers prefer the look of matte for black and white photos.

Glossy Paper

Glossy prints and paper tend to be what folks commonly associate photo prints with. Why? I honestly want to blame the industry. It’s sometimes cheaper to make and people are often spellbound by the look of their prints. I’m not going to lie here, it’s pretty difficult to make a photo look bad on glossy. But for what it’s worth, there are different types of glossy. What you’re most used to seeing from pharmacies are glossy prints but then there is semi-glossy, luster, pro luster, satin, etc. The marketing terms can be interchanged for forever, but glossy paper can be defined as paper that when you look at it and shine light on it, you’ll clearly see reflections. But just like your cell phone’s screen, it makes the colors, text and all pop so much more.

Glossy paper and prints can make for really great printing experiences. Colors often look fantastic with glossy paper. Despite my saying that Glossy paper is the most commonly used option, that doesn’t mean that it’s only a basic offering as I was lead to believe years ago. There’s lower end glossy and higher end glossy.

How You Light It Matters

Matte prints and glossy prints are both different beasts. I want you to imagine, if you will, the photos that you probably have in your home. Maybe they’re framed. But as you walk around them, are there reflections? Then note a few other things:

  • What color is the light in your room?
  • What color are the walls?
  • What colors are in the print?
  • At different times of the day, are there more or less reflections on the paper?

Those are just a basic number of questions to think about and the list can go on and on. But let’s set up some general rules. If you’re printing on matte paper, then make sure that the light source is directly hitting it. If you’ve got a matte print, try placing it closer to a window to absorb that light. If you’re printing with glossy paper, then make the light source either directly above it or indirect. This will give the paper full illumination, brighten the colors, and cut down on reflections.

Printing

Finally, there is the whole process of actually printing your images. When it comes to doing this, I strongly recommend getting a dedicated photo printer. You don’t need the highest end options, but the reason why you should strive for one of these printers is because they have multiple inks that work harder to get the colors more accurate according to the Adobe RGB scale. That also requires having a monitor that can cover a decent amount of that scale. Software like Lightroom, Photoshop and Capture One can do a great job with handling printing; arguably Lightroom does it the best. Then what you also need is some sort of color calibration tool. I’ve been using Datacolor’s tools for years. This will help you get more consistent results across the board and you can then create color profiles of your monitor to send to the printer to make your print match what you see on the screen.

Or at least that’s the goal…

The New Canon Powershot G1X Mk III Boasts an APS-C Sensor and Weather Resistance

The new Canon Powershot G1x Mk III has weather sealing and the same sensor in the M5.

It’s been a very long time since Canon updated their flagship point and shoot camera, but today we’re getting a refresh in the form of the new Canon Powershot G1x Mk III. And believe me, it’s quite the step ahead. The new camera has a 24MP APS-C sensor at its heart as well as what Digital Photo Magazine’s David Schloss tells us is “Drip proof construction.” There is no IP rating on this, but Canon is still calling it weather resistant and they’ve provided images on DPReview. What may be keeping folks away though could be the $1,299 price tag.

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Useful Photography Tip #182: When Shooting a Photo Using the LCD Screen, Bring Your Elbows Into Your Body

Want more Useful Photography Tips? Click here.

The lead photo of this blog post is surely not the way to take a photo when using the LCD screen of your camera. Instead, it’s actually the worst way; but lots of people do it when they shoot with their phone or even with a camera that has an LCD screen. Instead, what you should do is find a way to stabilize it by also stabilizing your body.

If you take karate or any other form of martial arts, depending on the art form, they may tell you to never fully extend your arms because they’re an easy point for you to be taken down. Instead, get very close and extend only to your elbow. This way you’re more stable. The same idea applies to photography. The closer the camera is to your body, the more stable it will be, so that you don’t produce photos that have camera shake in them.

I normally try to keep Useful Photography tips very short but check out the image after the jump.

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On Traveling with Film: 5 Reasons Why It’s So Incredible

Having the right camera with you on your travels is a vital step in any successful trip. Perhaps you already choose to travel with one or several trusted film cameras, and have reasons of your own for doing so. I wasn’t always a film camera traveler, but after years of tentative trials, I’ve now come around to the analog adventurer side. If you’re still mostly a digital photographer on the road, but curious about the other option, stick around. I’ve now traded my SD cards in for a bag full of film, and I don’t plan on going back.

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How to Get The Fastest Performance From Your Camera When Doing Street Photography

Some of the biggest problems with mirrorless cameras for photojournalists, street photographers, wedding photographers and others has to be the performance. Sometimes it’s just too slow when they need to capture a moment super quickly lest they completely miss it. In street photography, if you’ve already seen the moment, it’s gone. Surely, anticipation can help, but it can only do so much.

To get the most from your mirrorless camera, we’ve put together a number of tips on how to get faster performance.

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Review: Fujifilm GFX 50S Mirrorless Medium Format Digital Camera

For years and years, a lot of us have been drooling over the idea of mirrorless medium format digital cameras, and the Fujifilm GFX 50S is one of the first offerings to make it onto the scene. Fujifilm opted to take the same route that Leica, Pentax and Hasselblad have done with a sensor built into a body vs the more traditional SLR styles of Phase One and some of Hasselblad’s lineup. The Fujifilm GFX 50s (price) you’d think would be targeted at the photographer who needs that kind of resolution, but instead it’s aimed at the photographer who typically uses a Canon 1Dx Mk II or Nikon D5 type of camera. Essentially, the highest end of the highest end. Weddings? Yup, this is for that. Sports? Well, that’s where Fujifilm starts to hit a wall.

However, the camera is an alternative option: opting instead for better resolution and a larger sensor in the same way that wedding photographers years ago reached for 645 medium format film cameras.

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Digital to Film: Making 36 Exposures Count (Premium)

It is a crazy time to be a film photographer, with Kodak announcing earlier this year that they are bringing back Ektachrome and investigating the return of Kodachrome, it could be a matter of time until some of our favorite old black and white film emulsions make a comeback as well – who knows!

With all of that possibility in mind, there are still some great black and white film stocks out there as we speak. Black and White films like Acros, T-Max, Delta, and others. If you have been considering dusting off that old K1000 or pulling that AE-1 out of the storage bin you may find yourself wondering about best practices for film these days, and how to make your 36 exposures count – today we are here to try and help you with that.

 

That Magic Number

The first thing that you really need to remind yourself of when you try to start shooting film again is that you are limited to those 36 exposures (or 24). It is easy to stay in digital mode in your head and just shoot away once you have your settings down, but shooting this way with film, while possible, is not recommended, as it will be costly. A great way to ween yourself off of that shoot first, ask questions later mentality is to try this little exercise.

Pick a subject, it can be any subject; a friend, a bench at the local park, whatever. Then take your digital camera, go shoot that subject, but do it with your rear LCD screen turned off, and without looking at the images. Keep track of how many images you have taken and stop at 24 or 36 images. Go home and load your images, see them for the first time on your computer. Take a look at how similar they are, or how different and what you feel like you could have done differently. In most of your cases, you will probably notice that many of them look really similar, and that is due to the digital mentality of continuous shooting so that you can have multiple options when you get back home to the computer. When shooting with film, you can’t shoot this way, you have got to make each and every shot count.

Now pick another subject, and go out and run the exercise again, while trying to pay specific attention to things you wanted to work on from the first attempt. When you get home, you should find a couple things, your second attempt will likely be much better than your first, it will have more variety and variation. This is what you want to have happen, as this means you did well.

Now go out and pick another subject. Rinse and repeat. Keep doing this exercise until you feel like you have a good mix of quality across your 36 exposures, obviously, every shot doesn’t need to be an epic winner, but they should all be good and fit within the defined 36 frame story.

So that exercise will help you slow down and look for the right shots, rather than continuously shooting like you are probably used to. But that is not where mastering (or remastering) your film skills ends, in fact, that is really just the beginning. But beyond helping yourself tell a story, or at least have some variation within 36 frames, it has also begun to help you visualize your shots without being reliant on an EVF or LCD screen.

Now, To Stop Shooting For the Heck of It

This is one of the other areas that digital-to-film photographers can struggle with at first. Finding that ability to pre-visualize your image without the aid of a test shot or LCD screen to show you that you got it right. This will be especially hard for mirrorless camera owners to get because of the nature of the WYSIWYG EVF on their cameras. They are used to seeing a really close representation of what they will be capturing in real time, so there is no visualization or guessing needed, just tweak the settings until its how you want and press the shutter. Obviously on film that is not possible. DSLR owners will have an easier time at this since they are still used to an optical viewfinder and having to pre-visualize a shot to a certain degree. But many just chimp (take a shot and then look at the rear LCD to confirm its what they were going for) and will have the same issue as the mirrorless shooters.

Obviously, when shooting film, there is no instant feedback. No instant gratification. Pre-visualization is absolutely key to being able to take quality images in the film ecosystem. You need to be able to see the light, see the exposure and know how to adjust your settings without having any ability to see what you are getting ahead of time. The added wrinkle here is that as we all know, each film stock reacts differently. So not only do you need to know what you are going for in terms of exposure, but you need to know how the film that you are using at that point will react to the settings and the scene. This isn’t something that you have to deal with so much with digital because as long as you shoot RAW you can change how the image looks with little issue, which is not an option at all with film.

Practice

In order to practice this exposure pre-visualization, we are going to use our digital cameras as a go-between, similarly to what we did with the above exercise. Go out to a local park or somewhere with natural light, choose a subject that you like, and visualize an image that you would want of that subject. Now, take a guess at what you think your exposure should be (taking note to set your ISO to something static like 400 or 800) and take a shot or two. Now look on your back LCD and see how you did. If you nailed it then good for you, move on. If you didn’t, choose another subject and try again. Keep at this, using a new subject each time, until you are able to accurately nail the exposure correctly. Alternatively, you can invest in an external light meter and base your exposures off a light meter reading. If you go the light meter route, you still need to be able to visualize what you want from the shot and how to tweak the meter’s exposure to get the look.

Finally, going into your shoot with some sort of story that you want to tell can be a great way to help you keep a good flow and have those 36 exposures count. Start wide, get tight, pull back to a medium distance, then go in for some details. Keep your story in mind, and make sure the images you capture move that story along in some way. Stick to that, and utilize the above exercises, and your film work will turn out as good as you could have hoped for.

 

Xpert Advice: Gaining Confidence With Street Photography By Using the LCD Screen

Some of the most experienced street photographers wouldn’t dare not look through a viewfinder and let someone know that they’re in the act of capturing a photo of them. But when you’re just cutting your teeth, Street photography is a very intimidating task. There is that natural fear that you’re not going to know how people will react to you. For that reason, many street photographers like shooting from the hip. In truth though, many don’t leave this method because of the viewing experience that it allows. With the Fujifilm X-T2, you can use the tilting LCD screen to do just that with ease.

The Fujifilm X-T2 has an LCD screen with various displays. We recommend the Live View preview and slinging the camera around your shoulder or cross body. Then, simply go about shooting in the same way that medium format photographers used to: but looking down at the screen, focusing, composing and shooting. Be sure to choose a focusing point beforehand and set it to the largest focusing point setting; as that’s the easiest way to ensure that you get your subject in focus. The X-T2’s screen goes even further by also flipping out to the side, which can make photographing people at a higher level (in the case of sitting down and waiting for folks to go by) even easier by opening up more creative possibilities.

Before I go on, just a little bit of a disclaimer: street photography is all about intent. If you are photographing in this way because you simply want to document a beautiful candid moment, then please proceed. Be ready to explain yourself, apologize, possibly delete an image, or use the camera’s Wifi to beam the image to the person’s phone. Photography (especially street photography) is people work!

To make this even easier, we recommending using a wide angle prime lens from Fujifilm’s great offerings. These lenses have a focusing ring that shifts backwards and lets you do something called zone focusing. It’s a sort of manual focusing that lets you always get the subject tack sharp in focus as long as you keep a certain distance away from them. It’s how photographers have shot for years!

However, the wider lenses are also great because they focus faster. Due to the laws of physics and depth of field effects, the X Trans sensor inside the X-T2 has a 1.5x crop factor that makes an f1.4 lens have the same depth of field as an f2.1 lens in full frame standards. To that end, more is in focus and you can shoot at a faster shutter speed–making it better for street photography.

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Samsung’s New NX300M Gets Announced Only in South Korea

nx300m-425x640

Samsung’s NX300 was an excellent camera, and it already seems to have received a refresh. The NX300M, which seemingly is a slight update to the camera, has basically the same specifications as the original. But what’s changed is that the LCD screen now flips to a 180 degree angle. Otherwise, it has the same specs that you can see in our full review of the NX300.

This is an interesting choice for the company, and we’re not totally sure how it might do if it went worldwide.

Via UberGizmo

Review: Olympus EPM2

Chris Gampat The Phoblographer Olympus EPM2 product photos (1 of 5)ISO 16001-60 sec at f - 4.0

The Olympus EPM2 is the successor to the EPM1: a camera that was very much the barebones of the Olympus PEN system. With the upgrade to the EPM2 though, the camera is in many ways the EP3 but even better in many aspects. Targeted at the user that wants something very simple, it can indeed be that type of a camera providing that you don’t go digging through the menus. Once you do that, you subject yourself to a couple of user problems that might not be the easiest to deal with.

Despite those inconveniences, the camera can still wow you at times. Oh, and before you ask, the strap in the image is the from the Olympus Pen Premium Case.

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First Impressions: Sony NEX 3N

Chris Gampat The Phoblographer Sony NEX 3N First Impressions product shots (6 of 8)ISO 2001-125 sec at f - 5.6

Sony recently announced the NEX 3N in the US and we were fortunate enough to join the company at the Museum of Natural History on a little tour of the area as well as some personal hands on time. The 3N and 3 series in general have always been amazingly great when it comes to ergonomics and the 3N is no exception. But the weird thing is the zoom lever now added in around the shutter release. Otherwise, the camera was very comfortable to hold and shoot with–though sometimes limiting. Despite that, this is one stylish looking camera.

We tested a pre-production version and our copy was literally right out of Japan. In fact, the menus were all in Japanese and I had to use my knowledge to try to navigate around. I was able to shoot some JPEG files but for some odd reason, the camera mostly saved the RAWs instead. However, the JPEG files I shot were final production quality–which tells us that Sony is using a previous sensor in this camera.

 

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First Impressions: Canon Powershot N

Chris Gampat The Phoblographer CES 2013 Fujifilm first impressions canon powershot n (8 of 8)ISO 32001-105 sec at f - 4.0

Canon released an interesting new point and shoot in the form of the Powershot N. The new camera has a very futuristic interface that lacks most of the buttons that Powershot users are accustomed to and instead puts emphasis on a giant touch screen for the most part.

But the overall appeal of the N comes from its coolness factor; which sets its level up really high.

 

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The Complete Olympus E-5 Field Review

Speculation has been abound on the interwebs about the death of the Four Thirds format of cameras and the embrace of the extremely popular Micro Four Thirds cameras. The Olympus E-5 is Olympus’s latest DSLR at the time of writing this posting, and it is perhaps one of the best DSLRs I’ve tested. This complete review of the Olympus E-5 is not only a compilation of the entire review that I’ve here on The Phoblographer, but will also include my experiences with it at the workplace. Finally, it is a desperate plea to Olympus to not kill the format, but instead find a different way to market it.

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Field Review: Nikon D3100 (Day 2)

Camera Nikon D3100 Exposure 0.002 sec (1/500) Aperture f/4.0 Focal Length 35 mm ISO Speed 100

New Jersey was recently hit with very light snowfall and a good day to take pictures. I took the Nikon D3100with me to my day job. Having a good understanding of how the focusing works from Day 1, I turned off the auto area selection feature to really give it a go. Nothing was planned I just had a little fun with my commute.

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Field Review: Olympus E-5 (Day 1)

 

It’s been a long time since I’ve spent this long with an Olympus product: around two years! My first DSLR was the Olympus E-510 and I loved it to death, but had to move to Canon for the features they provided me. With that said, the Olympus E-5 is a camera that I had hands-on time with and knew that I just had to test it out. Enough about me though: let’s get this thing started!

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