The Sony Camera A6500 E-Mount is an unusual mirrorless camera “and ” without mirror”) E-mount from Sony. “Unusual” because it arrives a few months after the release of the Sony A6300, maybe the camera most desired of 2016, and already brings two significant new features to the line Alpha APS-C: the “SteadyShot INSIDE”, which is a stabilizer 5-axis, to avoid blurry photos in low-light conditions and assist you in recording videos, when the camera is held in the hands; and the LCD screen rear touch-sensitive, indispensable in the era of smartphones. A line of thought in shooting action, the Camera Sony A6500 E-Mount also brings the “front-end LSI” (large scale integration”), which combines effectively the image processor BIONZ X image sensor EXMOR, and allows more robust operation, with long sessions of shooting (the buffer is 4X larger), and also of recording 4K videos. Despite the Sony A6500 to keep the same focus system “4D focus” with 425 points, Stage and predictive control algorithm, and the same image of a 24MP 6000 x 4000 with copper wire, fast-read, the Sony Camera A6500 is better equipped for heavy-duty jobs.
At 11.8 x 5 x 6.6 cm 453gr with battery and memory card, the Camera Sony A6500 E-Mount is almost the same size as the Sony A6300, despite having won the module stabilizer internal, mounted around the sensor. As the Cameras full frame Sony A7II (normal, R, and S) grew compared with the A7 originals, when they made the SteadyShot INSIDE in 2015, expect the same logic in Sony’s A6300 and A6500. Both are made around a block of magnesium solid, far superior to other mirrorless cameras out there. And the feeling of durability has increased in the new Sony Camera A6500 E-Mount: the Sony states have reinforced even more the base of the bayonet E-mount, and also declares to have implemented a shutter more durable, rated for at least 200,000 cycles (when used for the first curtain as electronic shutter).
Being of the same size of the Sony Camera A6300, in the hands of the experience of the Sony Camera Alpha A6500 E-Mount is also the same. The whole orientation of the controls is to the right hand around the hilt designed in the body, although it still does not allow an operation “one hand only”; there is a shortage of dials to allow for this. As well as in the Camera Sony A6000 and the Sony Camera A6300, the Sony Camera A6500 E-Mount has the panel above, “smooth”, with disks flush with the block, with no bulges as the Fujifilm, which increases the durability since no piece will receive force of a possible impact. While the use of the “disk flush” Sony is still questionable, since what is left is only the area “outside” of the body to rotate them, at least the “teeth” of friction have been redone in the new model, with a “standard XXX” cut in the metal; the A6000/A6300 has a vertical texture “|||” more slippery. But what we lose in usability we gain in portability, and no APS-C is so compact, and offers so many features.
While the Sony Camera A6300 was already a camera fast, Camera Sony A6500 E-Mount “builds” on top of this speed with a new system “front-end LSI” (large scale integration), which makes the bridge between the image sensor EXMOR and BIONZ processor X, increasing processing speed and decreasing the temperature of the assembly. Because of him, the Camera Sony Alpha A6500 E-Mount it is even more able to “take the hit” process intensive (continuous shooting, recording, 4K), all with no changes in design, for example, to dissipate heat. In practice the experience is largely the same as the Sony A6300, with a cycle of connect/disconnect between 2-3 seconds, which is a surprise by the addition of SteadyShot INSIDE: it delayed the boot of the A7II compared to the A7, the original, but this has not happened in the transition from the A6300 for the Sony Alpha A6500 E-Mount. Once connected, the Sony A6500 it is a bit faster to activate menus and trigger the shutter, that seems to be always ready for the next photo, since the camera find the focus of the lens (we’ll talk about the AF later). While the Sony A6500 still does not compare to the experience of a DSLR, which is always in “stand-by” without activating anything (nor the LCD screen, not the sensor), to a Sony A6500 is reasonable, with no major chances in the decisive moments.
The Camera Sony Alpha A6500 E-Mount is far and away one of the cameras more “dense” in the buffer and shooting speed have already been tested by here, next to only the Camera Nikon D500; fantastic! Once connected, and as a mirrorless camera, the experience of the Sony Camera Alpha A6500 E-Mount is genuinely electronic. Different from DSLR’s in that you have a viewfinder optical through prisms and mirrors, for an experience that is organic, fluid, immediate between you and the subject, in the mirrorless cameras the lack of power translates into a electronic equipment necessarily operated by the screens (except the Leica and the Fuji X-Pro). Even though you may have experience of the viewfinder in mirrorless cameras, and you also be able to have the experience of the Live View in the DSLR, make no mistake: the two styles are essentially different from work, and a mirrorless camera will never be as smooth as a camera with the optical viewfinder of the truth. In the Camera A6500 E-Mount the Sony repeats the same panels of the sony A6300 with a viewfinder OLED with 2.360.000 points and 100% coverage of the image, bright, crisp and colourful, with the option of a refresh rate up to 120 frames per second; and an LCD panel rear of the tight 3” in 16:9, with a measly 921.000 points that, in addition to turn 90 ° up or 45º down, brings an addition to each time most common: sensitivity to the touch of the fingers.
The experience with the viewfinder electronic (EVF) of the Sony Camera Alpha A6500 E-Mount is the same as the Sony A6300: The good part is that the Sony didn’t skimp on the technology with a panel OLED 2.360.000 points of 0.39” extremely dense (imagine all of these points in a little smaller than the nail of your thumb), with the high contrast that we have known in the OLED (anyone who has used a mobile phone “Galaxy S” from Samsung, you know how it is), and the colors super saturated, in front of any LCD. Although the magnification is relatively small (1.07 x equivalent to 0.7 x of a DSLR, the same as an APS-C entry), away from the immersion that the Fujifilm does with the X-T2 (magnification 0.77 x), the screen of the Sony is very good. There are display options that show both basic things like focus points, the orientation of the camera and alerts, and sophisticated things like histograms, peaking (for manual focus) and also adjustments to the brightness automatic, automatic activation (just put the eye there and the screen connects), and even tone. On a day-to-day, this EVF is the best part of the experience of the Sony Camera Alpha A6500 E-Mount.
For those interested in recording video, the Camera Sony Alpha A6500 E-Mount continues the aggressiveness of the Sony in the photographic market hybrid, technically delivering camera most advanced of the story, in this price range. The resolution goes up to 2160P (3840×2160) 24fps mode S35mm with full read of the sensor 6K, lowered to 4K by pixel binning (!!!), or 30fps mode crop 1:1 (court of 1.23 x). 1080P (1920×1080) it will go up to 60fps mode S35mm, or 120fps with crop 1.14 x; in this case with variable speed 2, 4, 8, 15, 30, 60 and 120fps; all written up to 100mbps (12.5 MB/s) codec X-AVC S, packaged in a .MP4 with audio Linear-PCM. The processor BIONZ X provides curves for log gamma value and colour identical to the camcorders professional Sony (those from $35,000), with S-logging3 and S-gammut 2 that preserve up to 14 stops of dynamic range; although questionable in codec current 8-bit. On top of that we are able to record two concurrent files, a 4K and a 1080P, for example for sharing on social networks (by the Wi-Fi of the camera), or with the line editing, while the 4K original receive color treatment; in addition to the HDMI output, uncompressed 8-bit 4:2:2, active even during the internal recording to SD card.
The resolution of the files that 4K video from the Sony Camera Alpha A6500 E-Mount are amazing for the price and portability. Here tested with the Lens Sony E 50mm f/1.8 OSS, a prime wide aperture and usually used two, three stops closed at the peak of the resolution, the video from the Camera Sony Alpha A6500 E-Mount is the most detailed ever tested in the photographic world. Yes, there are more details Camera Canon EOS 5D Mark IV, Nikon D500 and Fujifilm X-T2; all more expensive than the Sony A6500 Even with the default profiles turned off, that are aggressive in sharpening artificial sensor, this thing is awesome to shoot landscapes with rich textures of stones, twigs, and leaves; amazing to shoot skin of models, actresses or presenters (properly red); incredible to shoot products and see them in panels UHD compatible. If your requirement is for resolution and sharpness, whether it be for a customer order today, or to prepare the portfolio for the resolution of tomorrow, do not think twice: this Camera Sony Alpha A6500 E-Mount is unbeatable for resolution.
Under ISOs low, the sensor of the Camera Sony Alpha A6500 E-Mount is awesome for generate detailed files and with dynamic range to spare, for adjustments reasonable. The display 100% of the pictures of 6000×4000 are “fun” on the computer screen, revealing all the textures of rocks, sand, objects; here tested with the Lens prime , And 50mm f/1.8 OSS, extremely sharp. Although the majority of these pixels “go away” with the “outputs” web today (Facebook, Instagram), it is interesting to see how we arrived at this level of quality in a product so affordable. Also it is at these ISOs low (up to 400) that the Camera-Sony Alpha A6500 E-Mount maintains the largest dynamic range of the sensor, with adjustments of lights and shadows in the exhibits complicated, without loss of quality. Here manipulated in Adobe Camera Raw, it is possible to play the “HDR” one click only, offsetting 100% of the shadows and blacks, revealing another exposure in the shadow areas. Is a and quiet to work. In ISOs low Camera Sony Alpha A6500 E-Mount is an excellent APS-C.
The Image Processor BIONZ X of the Camera Sony Alpha A6500 E-Mount is responsible for processing JPEG and 4K, with multiple profiles for photos (Creative Style) and videos (Picture Profile). And with the new “front-end LSI”, Sony promises the most processing power, which improves the quality of the image. The factory default “Standard” is “smart” with the sharpness sharp at all values of ISO, which reminds including cameras without the low-pass filter; that is not the case of the Sony Camera Alpha A6500 E-Mount. The pictures come with detailed “information” between areas of light and shadow, similar to the “Sharpening: 50” package from Adobe, which is quite high. There are options of “optimization” of shadows and highlights (DRO, dynamic range optimizer), which help in exhibitions tricky, especially against the light, with natural results directly on the JPEG. But it is in the aggressiveness of the processing against the noises, the output mode raw helps to keep details under ISOs high. The Sony insists on erasing any sign of the chroma together with the Luma noise, taking details of hair and textures, especially in portraits. So it’s good to turn it off in the camera and dealing on the computer, although even in the switch “OFF” the Camera Sony A6500 apply a light reduction. But on a day-to-day the JPEG are good: the front-end LSI actually makes a difference.
Conclusion On the Sony A6500
The Sony Camera A6500 E-Mount is an excellent APS-C, a video camera 24MP and image stabilization. He sits above the A6300 that look similar in the programming of Sony, by adding the ability of the touch screen and stabilization for enthusiasts willing to dig a little deeper into their pockets.
Small, light, fast, tough and makes great images.
Two modes of recovery of memory in the display top.
According to the dictionary, varifocal is the quality of a lens allowing the image adjustments allowing for the magnification of a distant object without a loss of sharpness, in the process commonly referred to as ZOOM.
The varifocal lens differs from that of parfocais, whose focus is already determined through the so-called progressive.
How it works a camera with a varifocal lens?
The varifocal lens you have two adjustments:
Focal length, which will determine the aperture angle.
Distance of pickup, the longer the focal length, the smaller the angle, and vice-versa.
Once you have adjusted to the focal length, you can adjust the focus to the focal distance fixed, the adjustment of “FOCUS” will make a fine adjustment of the image according to the defined scene.
The set Camera/Lens at the larger and smaller distances will not be possible to properly adjust the focus and for this you will need to adjust the inner ring of the fitting (Screw) of the camera, or some specific setting for this, but this concept refers to the older or simply analog, because today we have cameras which has this adjustment using a joystick or the controls on the screen:
What is the advantage of the zoom lens motorized?
A camera with a zoom lens motorized will reduce the work load
Installation without the need to adjust physical
Lower installation cost
Capture an angle of view different with a fixed lens camera
Disadvantages of camera Varifocal
The only “disadvantage” to purchase a camera varifocal lens is the cost, these cameras varifocal tend to be more expensive than the cameras with fixed lenses.
Well folks… today our article was short, but very informative, I hope that you have enjoyed and that has been helpful, I’m looking forward to your participation in the comments.
TurboHD TVI 2MP Motorized Eyeball Dome CCTV Camera …
Canon puts an end to the rumors with the official announcement of its new case full format: the EOS 5 d Mark IV. He goes upmarket and became more professional. With a price at the height.
The new Canon camera promises to do wonders: sensor CMOS of 30.4 Mpix, Wi-Fi, GPS, video in 4 K… What make the photos and videos more spectacular than ever.
Sensor: a breathtaking accuracy
If we compare the EOS 5 d Mark IV to its predecessor, the sensor has a much more important definition: 30.4 Mpix compared to 22.3 Mpix. The new sensor is equipped with an expandable 50 at 102.400 ISO sensitivity from 100 to 32,000 beach while the EOS 5 d Mark III was a rise in ISO ranging from 100 to 25 600. With this new sensor, Canon makes the camera an ideal for shooting in low light thanks to a new algorithm of electronic noise reduction.
Equipped with a processor DIGIC 6 +, the EOS 5 d Mark IV speed burst mode: 7 frames per second in full resolution against 6 for the EOS 5 d Mark III. The device offers two modes to the user to be as discreet as possible: a silent burst mode and a silent shooting mode.
Video recording in 4K
The EOS 5 d Mark IV offers new video perspectives: DCI 4 K video recording at 30/25/24 fps. The most: it is possible to extract directly from these videos in 4K of images to JPEG with 8.8 million pixels. But Cannon did not stop there: the camera allows shooting in 1080 p 60, 720p120 and also in HDR.
The Wi-Fi W-E1 adapter
Light and easy to carry, the Wi-Fi W-E1 adapter will quickly become indispensable to users of the Canon case. He moved into one of the two boxes have adapted firmware memory card slots. Once the photos are taken, it is possible to view them directly on a tablet or a laptop screen, post on social networks from a smartphone or a Tablet and also save them remotely.
Canon Camera Connect will help you, from a smartphone or a Tablet, to control the unit up to 10 meters (the setting of the exhibition and the update) and transfer your photos safely.
A GPS that geo images
The EOS 5 d Mark IV is the first high-end enjoy the built-in GPS. It will indicate the location of each image in their EXIF data, make the automatic update of local time to facilitate the management of your files. For the first time, metadata, IPTC and user information can be associated with images.
Canon has also announced two new objectives for the L series available both November 1: EF 24-105mm f / 4L IS II USM 2 €649.99 (left) and the EF 16-35mm f / 2.8 L USM III 1 €269.99 (right). The camera, available from 08 September and its price necessarily stick to the promise of excellence: €4 099.
Officially, the Nippon Kōgaku Kōgyō will blow his hundredth candle July 25, 2017. Nippon Kōgaku Kōgyō, is the former name of a photographic business that you all know: Nikon. The latter however did not summer to start the celebrations.The opportunity for follow us to suit and to revisit its century, focusing on the photographic side in a few key steps.
July 25, 1917: creation of the Nippon Kōgaku Kōgyō
The creation of the Nippon Kōgaku Kōgyō (Nippon K.K.), literally “Japanese s.a. Optics is unique in the photographic industry that it does not result from the passion of a man (contractor, engineer of engineering or other), but of the will of a State.”)Specifically the Japanese State which, in 1917, impressed by the optical equipment of the German army during the first world war, decided to establish its own specialist of optics. To get this new national champion, the merger of three Japanese opticians is decreed: the Tokyo Keiki Seisaku Sho, Iwaki Glass Manufacturing and Fujii Lens Seizo-Sho (not to be confused with Fujifilm, which will not be
created until 1934). They are now bound in a common destiny, all under the blessing and with the funds of Koyata Isawaki, heir and Chairman of the Mitsubishi empire. By the way, note that Nikon remains, a century later, a subsidiary of Mitsubishi, but the turnover of the optics specialist represented, in 2015, less than 0.4 percent of that group! Initially, the army is the main customer of the Nippon K.K., to whom it provides in binoculars, periscopes, viewfinders and rangefinders, etc.
1921: eight German engineers to explore photographic optics
At the beginning of the 20th century, the Germans are still the champions of optics, discipline they have mastered so for nearly fifty years. Henrich Acht, Ernst Bernick, Hermann Dillmann, Karl Weise, Albert Ruppert, Max Lange and Otto Strange engineers are recruited by the Nippon K.K. for a contract of five years – Heinrich Acht, head optician, until 1928. The first drawn objectives are Germanic inspiration and it shows in their name: Flieger goal, double Anastigmat, Dialyt Anastigmat, Porträt Anastimat. Several focal lengths are studied, the 7.5 cm to 50 cm, with maximum apertures between f/2 and f/6, 8. The drawings of German engineers will later inspire Japanese opticians to create the Anytar, taking a type of Zeiss Tessar formula. These objectives are not intended to be marketed and do not cross the stage of industrialization.
1948: Nikon S Model I, first camera of the company
If the Nikon name is today mostly known for its cameras, is only 31 years after its creation the Nippon K.K. released its first case 24 x 36 mm. Since the passage of German engineers, the firm nevertheless produced many photographic objectives to equip other brands boxes: Konishiroku (future Konica), Contessa-Nettel, Seica, and Mamiya and especially… Canon! Indeed, all the first boxes of the future great historical rival, the Hansa Canon (1936) to the Canon (1946), were fitted with Nikkor 5 cm f/3.5, until Canon develops its own Serenar.
The first camera Nippon K.K., which is also the first to wear the ‘Nikon’ brand, is so a rangefinder case – until 1952 that Asahi Optica Co. so the first DSLR. This Nikon I wants to stand out from the competition (Leitz, Contax, Zeiss Ikon, Minolta, FED gun, etc.) through the Japanese image format (24 x 32 mm), which allows to capture 40 images on a film type 135. Only 750 boxes will find takers, only on the domestic market, since the US administration then in place would oppose its export. In 1949 out the Nikon M, with a 24 x 34 mm image window, which remains until the Nikon S.
Did you know?
Brand ‘Nikon’ almost be called Nikorette, either “Nikko” followed by the suffix “-ette”, in reference to the small size of the case. Deemed too frivolous, this option was abandoned in favour of ‘Nikon’, the letter N with a more masculine connotation in Japanese. Some however see a tribute a little too hard to the Zeiss Ikon, which explains the disappearance of the second K, and also explains why, from 1963 to 1968, the Nikon F was sold under the name of Nikkor F.
1950: and David Douglas Duncan made discover the Nikon to the West…
David Douglas Duncan, American war photographer, the legendary Lifemagazine contributor, is an avid leicaiste. In 1950, in report in the Japan, it is taken in photo by the local correspondent of the journal, Jun Miki. This one uses a Nikkor 8.5 cm f/2 mounted on a Leica IIIf. Impressed by the level of contrast of the – much higher than that of its objectives Leitz – goal, Duncan decides to meet Masao Nagaoka, then President of Nippon K.K, which lends several boxes and brand objectives. Convinced by the quality of the optics, Duncan decides to be equipped with optical Nikkor.
This same year is declaring war in Korea. Many photographers of war, conquered by the images produced by Duncan, decide to equip themselves in Nikkor lenses and Nikon bodies (, locally, in the far East, it is easier to obtain equipment Nikon and Leica equipment). Why is this power differential solving and contrast? Some argue that the rare earths used in the Nikkor optics are of better quality than those used in the Leitz optics. others put it on account of different philosophies; some finally see above all a sign of the technological superiority of the Nippon K.K. always is that it is a photo taken with a Nikon S who won the U. S. Camera Prize of 1950; at the same time, the New York Times publishes an article touting the superiority of the Nikkor lenses and Nikon bodies.
1959: Nikon F, the era of the reflex
SLR cameras have been around for seven years but isn’t that in 1959 as the K.K. Nippon launches its own model. This takes up the majority of the features of the Nikon SP, on which it is based, by adding a mirror, a pentaprism and using for the first time in the photographic industry a shutter slat 0.02 mm thick titanium. The Nikon F knows an exceptional lifetime, as his replacement, the Nikon F2, happens in 1971. In the meantime, Nippon K.K. has had time to work with the Commander Jacques-Yves Cousteau to develop the Nikonos (1963), a case with interchangeable lenses completely waterproof. On the basis of a Nikon F Photomic FTn, Nippon K.K. will develop even a model designed for NASA, which will be shipped on the Apollo 15 mission. Some 46 years later, the International Space Station is exclusively equipped with Nikon SLR.
Did you know?
Isn’t that in 1988 that the Nippon Kōgaku Kōgyō abandoned its historic name to become ‘Nikon Corp.’
With the Nikon F comes the introduction of the eponymous mount, the oldest mount DSLR still in activity today. In 58 years, this mount has evolved with the times, by taking over the meter coupling, coupling the diaphragm, management of autofocus – the first attempt to AF date from 1983, with the Nikon F3AF, but until 1986 and the Nikon F-501 for a true case thought to autofocus-, etc. This longevity allows the use on modern SLRs of the brand, almost all Nikkor lenses produced since 1959 – F 100 million units has recently been reached – with only a few minor changes. The F-mount even exceeded the framework of photographic imaging as you can find in the world of video and medical and industrial.
Since 1995: The digital switchover
In 2004, Nikon released its silver case, the F6. However, its efforts are clearly focused on digital since 1995. Its first two digital SLRs, the E2 and E2s, are developed in collaboration with Fujifilm. In 1997, the Coolpix 100 and 300 are the first compact digital cameras from Nikon. The Coolpix 300 is far ahead of its time since it has, among other things, a touch screen that can be controlled with the stylus. In 1999 released the D1, first digital SLR developed entirely in-house, after a period of record point of only two years. Its CCD sensor has only 2.7 Mpx.
For fifteen years, Nikon surfing on the wave of digital technology and its brand image. Its products are rarely original and, frequently, the brand left to competitors to clear new technologies. Nikon lets propose Canon, his rival, with his EOS D60 (February 2002) the first DSLR to CMOS sensor (the Nikon D2H and its sensor JFET released in July 2003), then with his EOS – 1Ds (September 2002) the first enclosure to CMOS sensor of 24 x 36 mm which, at the same time, is also the first to exceed the 10 MP (11 Mpx). Initially, Nikon prefers to stay reasonable: the D2X and its 12 Mpx don’t land in September 2004, when the Nikon D3 and its CMOS 24 x 36 mm sensor doesn’t see the day in August 2007, the brand having spent all this time to explain at length, wide and cross o how a sensor “full format” was useless…
The Nikon D700, first DSLR 24 x 36 mm “general public” of the company, coming from his side with two years behind on the Canon EOS 5 d. However, it is the Nikon D90 which is the first SLR capable of filming in HD 720 p, which opens the way to a true revolution in the film industry. Revolution… by Canon. Nikon shows still several bursts of pride, making the race on the definition and the very high sensitivities, but does not anticipate the hybrid wave and, above all, the decline of the photography market.After 100 years of existence, therefore a weakened Nikon, seeking to renew itself at all costs by addressing, among other things, market action-cams with its KeyMission, which is presented to us.
The Nikon of Bruno
Which is good when one is struck by acute fit, it is that one has the opportunity to see a lot of material, all brands, all types, between his hands. For my part, I got several Nikon bodies: an F4, a FM2n, a 801… I have even a Coolpix 950 walking in one of my drawers! However, without a doubt, my favorite combination was the Nikon FM3a combined with the Nikkor 50 mm f/1.2 AIS. A formidable duo, which produces images of beauty breathtaking… or at least I suppose, since five years after having sold them I still not developed the film.
For four years I have been for The digital, certain Nikon products particularly marked me. So I’ll hold off the Nikon 1 AW1, distant heir to the Nikkonos, which I’m still waiting for a replacement. More recently, I was impressed by the Nikon D5-but who wouldn’t – and literally fell in love with theAF-S Nikkor 105 mm f/1,4E ED. And between you and me, I look forward to the day where Nikon will release a digital version of the SP…
The Nikon of Céline
I made my first steps in photography with the D90, acquired during my training photo. It was my first DSLR, I felt I could do anything and, over time, I realized its excellent quality/price ratio. I however quickly invested in the 50 mm f/1.4 since the kit zoom most suited me.
Unlike Bruno, I prefer the miniature version of D5, less imposing, namely the D500 to APS – C sensor. I love everything about this case: its ergonomics, its burst, its image quality, its viewfinder mode, etc. And then it is the first DSLR APS – C Nikon to shoot in 4 K/UHD! I expect however a real revolution on the side of the Nikon hybrids, including the ergonomic point of view. I would like a more manual and case less minimalist than what is currently done with the Nikon 1. I’m also excited to discover experts DL, even though their output ceases to be delayed.
There are now two decades refill (refilled) cartridges for ink-jet printers. This anniversary took John C. Dvorak, one of the authors for the online technology forum PCMag, as an opportunity to philosophize a bit about.
Clones or recycled?
For the uninitiated, it is often difficult to distinguish whether cartridge to a cheap clone or a remanufactured (refill). A differentiation is often only available via the price which is the cloning by up to ninety percent below the original, and the prices of remanufactured printer cartridges. Dvorak indicates to have tested even different variants of printer cartridges . While he has never seen projected losses caused by clogged print heads and still no loss of warranty on the printer that claims by the OEM (printer manufacturers).
As interesting aspect, Dvorak calls the fact that also compatible cartridges with chip the printer is detected and processed as original. As a concrete example, it leads to printers and cartridges of Epson and justified it with the possibility to be able to reset the chips with a chip Resetter.
John C. Dvorak is even the question of whether the chips not only serve that the original manufacturer want to bring themselves exclusively soon refilled printer cartridges on the market. That’s the only motivation for the use of chips that would make sense in his opinion. He suspects that the supposed ‘reports’ of high failure rates and damage to the printer when using alternate printer accessories are scattered deliberately to confuse the consumer. Really honest opinions are not to find his statement after in the forums on the Internet.
Dvorak takes initial equipment of inkjet printers on the grain
There were times, as the normal cartridge sets were given with when buying a printer, you can order as original consumables. So buying a new device worth more than buying a complete set of cartridge at the low for many inkjet printers. Recently there are an only half filled Starter Kit often so very fast replacement cartridges must be purchased.
The buy recommendation of the experts
Dvorak quite openly urged users of inkjet printers to get their ink by alternative providers. There’s a great choice for almost every single printer model now. The question of the firmware of the printer, whether you want to run the risk of alternate cartridge, cannot be answered confidently Dvorak with a ‘yes’. As evidence is hardly a real risk that, Dvorak shows the large printing companies that just buy alternative printer ink in huge bottles. And they wouldn’t do that, if there would be problems on their typography there.
However the expert doesn’t dare, to advise people to use alternative ink cartridges and printer ink on a new loading device. It is recommended to test this inexpensive consumable materials in which it is not would be annoyed, if there would be technical problems because you wanted to discard it anyway on an older device. After this test, everyone should assess whether the purchase of inexpensive refilled printer cartridges or cheap clones in the long term is really worth.
Basically, I can understand his mind and believe also largely for right. But if he is so confident of the refill cartridges, why should you use them also for new printers? I am of the opinion, that can be used easily compatible or refill cartridges also with new printers. If you buy the cartridges from a reputable dealer or manufacturer, you have a warranty. And should the printer actually take out any reason damage, is clearly the duty to regulate this damage the cartridge manufacturer. Either to repair the printer or the customer gets a new. In the many years in which we deal with compatible cartridges, we had really only a handful of cases where there was damage. But there was never ruled out that’s due to improper handling or non-compliance with our user manuals and instructions, as well as non-compliance with the specifications of the device manufacturers are.
Anyway, resolves all issues for the customer satisfaction. That’s why I can emphasize once again: even in new printers our compatible or refill cartridges are easily usable!
Leica is launching its first outdoor and underwater camera with the XU. The APS-C sensor in this model is an absolute unique feature, as tiny compact camera sensors are used in almost all competition models. We have tested the Leixa XU.
The design of the robust and valuable Leica XU housing is characterized by a straight-line design.
Leicas XU can work in up to 15 m water depth for an hour. Powerful is the 3.250 Euro expensive camera in its 140 x 80 x 88 mm large, 620 g heavy housing including lens. Only the small bay window with the mini-flash (LZ 4) above the lens is set up. The Leica X (test in ColorFoto 1/2015) with a 16-megapixel CMOS sensor in the APS-C format and a Summilux 1.7 / 23 mm Asph is the basis.
The housing, coated with a grippy rubber coating, with aluminum top and bottom plates, protects the technology from water and dust. In addition, it is resistant to impact, breakage and colder. Leica names JIS / IEC protection class 68 and MIL standard 810G, method 516.5 as references. The XU makes a correspondingly solid, robust and high-quality impression.
Equipment and Operation
The operation of time, aperture and focus takes place classic by means of setting wheels. For further settings, there are relatively large function buttons next to the LC display, which displays 35 easy-to-read menu items on five panels. These can not be called up individually, but you have to scroll through the individual items from table to board. After all, the XU remembers the last used menu point and starts again with the next menu call. A special feature is the “UW” button on the control, which performs a white balance adjusted to the underwater photography as well as optical corrections. The XU also offers a menu for film mode, sharpness, saturation and contrast.
Thanks to the few, clearly arranged operating elements including the video button, the XU is easy to operate in all situations. Particularly practical: the large AF / MF ring. The aperture wheel should be slightly larger.
The contrast AF system works with spot, single-field or multi-field measurement with 11 points, which can also be combined with facial recognition. The shortest distance is 0.2 m. The manual focus by live view is also easy to operate, especially as an electronic magnifying glass shows the central image section enlarged to 6x magnification. The change between automatic and manual focusing is done quickly and easily on the knurled lens ring. At the right end of the scale behind the? Symbol, the slightly resting AF position follows.
Lens & Exposure
Also the fixed built-in wide-angle lens Summilux 1.7 / 23 mm Asph. Is the same as in the X. With light intensity f / 1.7 and 23 mm focal length, which approximates the 35 mm report focal length at KB, it is a versatile tool. Underwater, this focal length extends to 35 mm (KB equiv.) Because of the changed light refraction.
For exposure, Leica offers the not-defined function “multi-field” measurement, mid-range concentra- tion and spot. By pressing the EV button several times, exposure compensation, exposure series and flash exposure series can be called up to ± 3EV. The shutter speeds range from 1/2000 to 30 s. Since the XU operates with a central shutter, the flash synchronization is possible at all times up to 1/2000 s. The times are selected on the classic time wheel on the top of the XU. The very small diaphragm selection ring at the top right of the camera shows the F-values plus “A”. A classic aperture ring on the lens would be desirable, especially with regard to the use of underwater water. If the two rings are set to “A”, the XU works with automatic program. A program shift can then be performed quickly with the right thumb over the plus / minus keys. The XU user has to dispense with motif programs.
The main switch, which is arranged concentrically around the release button, switches between single or series exposure. A red marked button starts the recording of full HDVideos with 1920 x 1080 pixels and a maximum of 30 full frames / s. The accessory shoe lacks a lightning-mid-contact. This is due to the UW-suitability of the XU, as well as the missing USB and HDMI outputs.
Camera with Life
A rather well-intentioned as a well-made Leica feature is that the camera “for the highest possible picture quality” (according to Leica in the manual) according to its own choice manually or pre-set the automatic settings without warning. The photographer does not recognize this until he sees the displayed recording data during playback. Thus, when testing under daylight conditions, it was not possible to make comparative surveys with all ISO values from 100 to 12,500. The XU refused to expose with more than ISO 400. This only worked again at dusk. Such an incapacitation seems to be a little inappropriate in the case of such an ambitious target group as the Leica buyers.
The “image stabilization” of the Leica, as soon as it is activated, leads to a quite uncontrolled individual life. It is not a “real” image stabilizer with lens or sensor shift. By means of multi-shot technology, the XU consists of two individual photos, which are as sharp as possible. From what exposure time the stabilization begins to work, Leica does not give. It works according to instructions with exposure times between 1 s and 1/2000 s (the question is: What is to stabilize 1/2000 s?) And up to ISO 6400. Since she works with two shots, she can not synonymous with Moving objects in the image.
LCD Monitor & Displays
The 3-inch LC display with 306 667 RGB pixels shows a sharp image. Pans cause minor drag-out blurs, but no jerks. As a result of UW-fitness, a connection for an electronic viewfinder is missing. Instead of a wheel for the right thumb – as with the Leica X – the XU has ± keys. The grid and the histogram can be displayed during recording, during playback the XU shows overlaid motif areas marked red. After pressing the “Play” button, the subject appears full-screened with time and aperture information, pressing the “Info” button changes to the mode with the image in the stamp format and detailed shooting information.
The Leica XU saves the photos to SD cards in JPEG, RAW or JPEG format. With RAW, Leica continues to rely on Adobe’s DNG-RAW. Who wants and it needs, can also use in the XU also EyeFi SD cards for wireless transmission via WLAN.
Speed & Picture Quality
Speed is not a strength of the Leica XU. The measured turn-on delay is 1.9 s, where the Leica X still came to 1.1 s. Also the AF times of 0.55 s / 1.67 s (300/30 Lux) are not a fame sheet for the XU. It has to be defeated not only of the X, but also far cheaper cameras.
The Leica Q proves that the Leica Q has a 0.17 s AF time at 300 as well as 30 lux. The XU focusses virtually practically noiseless from 0.2 m to infinity. The promised serial image rate holds the XU at 5 fps for JPEGs, and with RAW it even makes 6 fps, in both cases up to 6 shots at a time instead of 7 as the X. For videos with normal panes followed the continuous multi-field -AF with the focus mostly reliable with occasionally slight delay. The fact that the autofocus did its work was not only seen on the videos, but in silent surroundings, you could also hear a ticking sound during playback. This was also the case with manual focus tracking.
Surprisingly, the XU shows very similar results to the X in image quality. At ISO 100, the XU uses the resolving power in the center of the image with a measured 1628 LP / BH up to the Nyquist limit. The resolution falls barely to ISO 1600 with 1557 LP / BH.
In noise, the XU is less cautious. With a VN value of 0.6, it works largely free of noise at ISO 100, but at ISO 800, the VN value rises to 1.8 and already reaches 2.6 at ISO 1600. The Dead-Leaves-Cross curves up to ISO 800 show a strong contrast enhancement at the low ISO values, particularly in the case of ISO 100, especially in the high-contrast range, which is accompanied by an even higher increase in the dead- Leaves direct values.
In the same direction, the edge concreting of the XU also works to an extent of up to ISO 800 and strongly interferes with the image design. This creates a crisp image impression, but at the expense of a natural image impression and with the appearance of artifacts. In the dynamic, the XU surpasses the sister model X by 11.3 EV by more than 1 EV. The dynamics are only slowly declining to 8.7 at ISO 1600, and are only noticeable.
For 3250 euros, Leica offers the same good optical quality as the Leica X, which is identical in essential points, but is also quite aggressive. The light-weight 35 mm wide-angle fixed focal length makes the XU versatile. The classic, simple operating concept will find friends even under water or in inhospitable environments, especially as the rear control buttons turn out to be bigger and more gripping than other cameras. Also the practical switch between autofocus and manual focus is pleasing.
On the other hand, the autofocus is simply too slow in bad light. At this point, the XU remains far behind the Q with a full-size sensor, which makes it costly to buy – despite the unrivaled combination of a rugged outdoor housing with an APS-C sensor.
Assessment of Tester Horst Gottfried
Rarely has underwater photography felt more dignified than with the haptics of the Leica XU. For this, one has to bring a few sacrifices in the form of more size and weight on the one hand and missing connections on the other hand. The center-to-center or cable flash connector was also sacrificed for water density, as well as HDMI and USB jacks or an optional electronic viewfinder.
It is less logical to say that in the XU, too, Leica incurs his ambitious and ambitious clientele again and again. The arbitrary change of selected time or ISO values by the camera, if it considers itself to be smarter than the photographer, can hardly be described.
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UHD and 4K: the GH4’s eye to the world of video professional. We almost forget it’s a camera!
As it is difficult for brands photo to differentiate one from the other, they grow more and more their differences: for Olympus is the speed, the retro Fujifilm and Panasonic… video. With its GH1, GH2 and GH3, the brand had already begun to do shadow in Canon and its 5 d Mark II, Mark III, but the new GH4 has other ambitions!
GH3 photographic database
The similarity between the GH4 and his grandfather the GH3 is not coincidental: both devices are also close on the only photographic cosmetic plan. It is a small change in the same Live MOS 16 Mpix sensor and the grip of the two devices is almost identical. The image processor is logically new (it must manage the 4K) and the viewfinder is a little more defined. But, overall, the qualitative leap is not to look for in the field of photography, but in the video.
4K, UHD, 200 Mbps: a monster of video
Not only the GH4 filmed in Ultra HD (3860 x 2160), it’s say double homothetic famous Full HD mode, but in addition it allows to run 4 k cinema, i.e. 4096 x 2160. Add to that a mode Full HD All – I at 200 Mbps (!) per second, a 4K mode to 100 Mbps and a special grip equipped with professional plugs (see below) and it is clear that this hybrid camera is not at all intended to photography, but to the video. Or more precisely – and unlike its competitors – is not a camera that makes the video, it’s rather a video camera that makes pictures.
A photo, a video grip grip
With a guaranteed 1/8000 shutter hold 200,000 triggers, a burst at 12 fps with a buffer of 50 images in RAW + Jpeg, the GH4 is far from being a Penguin in photo. Those who consider it so can add the same grip ‘photo’ as the GH3.
But Panasonic goes further by offering, a priori right out of the camera, a different grip dedicated to video. On the menu, two jacks XLR, four SDI and a string of oriented functions ‘broadcast’. A ventilated and very large grip (see photo No. x) to provide better stability on foot including.
If Panasonic told us that his GH4 will be available in March, the Japanese brand however provided no price, for the device itself, or for the video grip.
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At this point the most fans to the photograph which are initiated know what RAW digital format. But if in your case you don’t clear what it is, then take a look at the types of image files. The infographic below show was conducted by infografiasencastellano.
You have a link if you want to download it in pdf format.
As you can see in the infographic, I file Raw is the digital negative of the camera. It does not suffer any process of adjustment of the camera, it’s like the film in the analog era. On the other hand the files to TIFF and JPEG if they are modified by the values you have set up in the Chamber. For example, brightness, white balance, contrast, etc. A last very important fact is that files JPEG is applied to a compression and also reduced from 12 to 8 bit depth.
Although gets very good quality photos directly from the camera, shooting in jpeg, you limited to enhance or adjust the parameters of the image to the computer, since the resulting photo quality decreases. All this because as mentioned before on compression and bit-depth reduction.
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DxOMark tested the photographic quality of the new Motorola Droid 2 Turbo aka Moto X Force, smartphones equipped with a camera similar to that of Moto X Style, a 21 megapixel camera with Aperture f 2.0.
DxOMark tests ended with 84 points, value that is immediately pounce on the third place of the new Droid 2 Turbo, on a par with the Nexus 6 p , made by Huawei forGoogle. Recall that in the first place is listed on Sony Xperia Z5 with 87 points followed by Galaxy S6 of Samsung with 86.
Entering into more detail of the texts made by DxOMark, regarding the photographic sector, the site highlights a great detail preservation in good lighting conditions of the scene, a good exposure adjustment and a careful balance of white and colors. Minus points are the small details in low light condition, some effects “ghosting” and some reflections and disruption at the corners when using flash.
Videos marked with great detail, good stability, quick adjustment of white balance and exposure and good colour rendition. In low light conditions, however, the autofocus is slow and there are visible at the corners.
Overall, however, DxOMark has definitely promoted the camera of this new Motorola Droid 2 Turbo.
It needs time, effort and acuity to be one of the most recognized stylist of Argentina and Latin America food. And it is not more, Marcela Lovegrove has worked in this art for more than 35 years. Many of you will wonder at the moment, but what about Food Styling? Well, before telling them about Marcela and what I learned it in one of his studios in Buenos Aires, I want to explain to them that it is.
It is the art of preparing food and their environment to put them in front of a camera, whether it is to photograph them or film them. It is important to highlight that the important thing is not the flavor, but the image. Which look do you want to give the photo?, what do I want to show? and in that angle is best seen my food? they are some of the questions we must ask before taking the photo. “Today the photography is very open, but it is essential to organize themselves for good results,” says Marcela. Search for references and make list of shopping and props (plates, bowls, glasses, fabrics, accessories, kitchen, etc) are some of the tips she gives us for the pre-production of our photos.
Tips and advice which we must take into account:
Nothing easier than taking photos with white.
The food should always be paramount, else accompanies.
How much closer I’m meal, wins over food.
If you are working with natural light, look at that time of day is the best light.
What product have to photograph? Where you see better? Do it look like better? they are the three vital questions before making any decision.
It works in your own style. If you haven’t found it yet, still looking for it to discover it!
These photos make them Food Styling with Marcela Lovegrove workshop. If you are in Buenos Aires, please do not hesitate to contact her! I leave your website: our site.
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