Tag Archives: RAW

Medium format camera with video recording?

Medium format camera with video recording?

I don’t know much about those two images of a Phase One 645DF camera with a Leaf Aptus-II 12 digital back mounted on a video rig with focus pulling and external mic, but I do know that back in 2010 there were some rumors that Phase One is working on a medium format digital back with live view and RAW video recording.

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March 02, 2012 at 12:32PM


Canon EOS 5D Mark III announcement

The Canon EOS 5D Mark III is now official: 22.3MP, 3,2″ LCD screen, DIGIC 5+ processor, 61 AF points, HD 1080/30p and 720/60p. Canon also announced a new Speedlite Transmitter ST-E3-RT and a new Speedlite 600EX-RT.

The 5D Mark III is now available for pre-order at B&H for ,499.00. The 600EX-RT priced at 29. Shipping is expected to start at the end of March, 2012.

Press release:

LAKE SUCCESS, N.Y., March 2, 2012 – On the 25th anniversary of its world-renowned EOS System, Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce its latest model, the new EOS 5D Mark III Digital SLR Camera. Positioned between the extremely popular EOS 5D Mark II and Canon‘s top-of-the-line professional EOS-1D X model, the EOS 5D Mark III delivers superb image quality, thanks to a new 22.3-megapixel full-frame Canon CMOS sensor, a high-performance DIGIC 5+ Imaging Processor, a 61-point High Density Reticular Autofocus (AF) System and six frames-per-second (fps) continuous shooting speed. Building upon the trailblazing success of the EOS 5D Mark II, the EOS 5D Mark III also incorporates enhanced video features for professionals in the fields of cinematography, television production and documentary filmmaking, including better noise reduction, longer recording times and a built-in headphone jack for audio monitoring. The EOS 5D Mark III is Canon‘s answer to hundreds of thousands of advanced amateurs and emerging professionals looking for a compact, high-quality camera system to help them achieve their artistic vision, whether it be through still or video imagery. The EOS 5D Mark III introduction coincides with Canon‘s 25th anniversary celebration of the EOS camera system. Canon‘s award-winning EOS system first debuted in March of 1987 with the introduction of the EOS 650 SLR camera and three EF lenses.

“We are extremely excited to announce the highly anticipated follow-up to our EOS 5D Mark II, a camera which has been called a ‘game-changer’ in most professional photography and videography circles. The EOS 5D Mark III will carry on that tradition, delivering better and more advanced features, helping our customers achieve excellent image quality for stills and video,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.

The EOS 5D Mark III inherits many features from Canon‘s recently announced flagship DSLR, the EOS-1D X, including a DIGIC 5+ Imaging Processor and a high-performance 61-point High Density Reticular AF array with up to 41 cross-type points and five dual cross-type points available, depending on the lens in use. The enhanced processing power enables fast continuous shooting of up to six fps, exceeding the speed of the EOS 5D Mark II model by more than 50 percent, and with improved weather resistance the EOS 5D Mark III is a serious option for sports and wildlife photographers.

EOS 5D Mark III Video: The Legacy Continues

The EOS 5D Mark II blazed the trail for EOS cameras and Canon to enter the professional video and cinema markets, paving the way for Canon‘s recent introduction of the Cinema EOS system of cameras and lenses. Now, the EOS 5D Mark III continues Canon‘s commitment to these new markets with new and requested features from cinematographers, television production professionals and independent filmmakers. This new model captures 1080p Full HD video at 24p (23.976), 25p, and 30p (29.97) fps; 720p HD recording at 60 (59.94) and 50 fps; and SD recording at 30 (29.97) and 25 fps, giving cinematographers and videographers more flexibility and options for video capture.

The EOS 5D Mark III includes new H.264 video compression formats to simplify and speed up post-production work: intraframe (ALL-I) compression for an editing-friendly format and interframe (IPB) compression for superior data storage efficiency, giving professionals options to help achieve their ideal workflow. Like the EOS-1D X, the 5D Mark III also includes two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, allowing video footage from multiple cameras and separate audio recordings to be synced together in post production.

The new full-frame CMOS sensor and DIGIC 5+ processor have enhanced the camera’s image processing performance over the 5D Mark II, significantly reducing moir‚ and color artifacts in scenes with horizontal lines. The video footage produced will exhibit less moir‚ than seen in previous DSLR models, resulting in a significant improvement in HD video quality. Accommodating documentary filmmakers, and event videographers using EOS DSLR cameras, the 5D Mark III includes the ability to record video continuously up to 29 minutes and 59 seconds across multiple 4GB files. Long-form filmmakers will enjoy the camera’s automatic file splitting in combination with the extended memory capacity offered by dual card slots.

The Canon EOS 5D Mark III also includes manual audio level control with 64 levels, adjustable both before and during movie recording. There is also an automatic audio level setting, or sound recording can be turned off entirely. A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input. Notably, the EOS 5D Mark III is the first EOS Digital SLR to feature a built-in headphone jack for real-time audio monitoring during video capture.

Newly Developed Canon CMOS Sensor

With its completely new 22.3-megapixel full-frame Canon CMOS image sensor, the EOS 5D Mark III becomes the highest resolution Canon Digital SLR released to date. It is eminently suitable for a wide variety of assignments including weddings and portraits, nature and wildlife, travel and landscapes as well as commercial and industrial photography. With a gapless microlens design, a new photodiode structure and improved on-chip noise reduction, the new sensor achieves higher sensitivity and lower noise levels for both RAW image data as well as in-camera JPEGs and EOS Movies compared to the 5D Mark II. The result is outstanding image quality in all shooting conditions, even low light. An eight-channel readout doubles the speed of image data throughput from the sensor to the DIGIC 5+ processor, resulting in better video image quality as well as six fps for still photos.

The low-light capability of the EOS 5D Mark III is evident in its incredible ISO range and image quality in poor lighting conditions. Adjustable from ISO 100 to 25,600 within its standard range, the new model also offers a low ISO 50 setting for studio and landscape photography and two extended ISO settings of 51,200 and 102,400, well suited for law enforcement, government or forensic field applications.

The new 5D Mark III is also equipped with Canon‘s EOS Integrated Cleaning System, featuring a Self Cleaning Sensor Unit with a fluorine coating that repels dust and dirt particles.

Canon-Exclusive DIGIC 5+ Imaging Processor

The EOS 5D Mark III’s new DIGIC 5+ Imaging Processor is 17 times faster than the DIGIC 4.The EOS 5D Mark III uses that extra speed not only for improved image quality, but also to add no less than nine new features that do not exist on the 5D Mark II. These new features include six fps continuous shooting, HDR and Multiple Exposure modes, in-camera RAW processing, a comparative playback function, Scene Intelligent Auto mode, two forms of movie compression, and support for high-speed UDMA 7 Compact Flash memory cards.

Another extremely valuable feature enhanced by the DIGIC 5+ Imaging Processor is the EOS 5D Mark III’s choice of reduced resolution M-RAW (10.5 megapixel) and S-RAW (5.5 megapixel) recording modes. These settings are particularly useful to wedding photographers for candid photos that do not require the EOS 5D Mark III’s 22 megapixel full resolution, because they take up less space on the memory cards and speed up post-processing without losing the critical benefits of RAW image data, such as highlight and shadow control as well as white balance adjustment. M-RAW and S-RAW also preserve the full field of view rather than cropping the image or resorting to JPEG mode to reduce resolution.

High-Performance 61-Point High Density Reticular AF

For still photographers, Canon has included its new 61-point High Density Reticular AF System, originally introduced with the top-of-the-line EOS-1D X professional camera. A significant advancement over previous 5D-series AF systems, the new 61-Point High Density Reticular AF included in the EOS 5D Mark III is the most sophisticated SLR AF system Canon has ever released. All 61 points are manually selectable and sensitive to horizontal contrast with maximum apertures larger than or equal to f/5.6. The camera’s twenty one focusing points in the central area are also standard precision cross-type and effective with maximum apertures larger than or equal to f/5.6. The center five points are ultra-high-precision diagonal cross-type points for maximum apertures larger than or equal to f/2.8. The 20 outer focusing points function as high-precision cross-type points with maximum apertures larger than or equal to f/4.0. Other innovations of the new 61-point High Density Reticular AF include expanded AF coverage area, superior focusing precision and low-light sensitivity to EV -2, and greater low-contrast subject detection capability compared to earlier EOS AF systems. (See image below for AF point configuration)

All AF functions now have their own menu tab for quick and easy access (formerly AF custom functions in previous EOS models). A new AF Configuration Tool allows for customized setting of tracking sensitivity, the acceleration and deceleration of tracking subjects, and AF point auto switching, all of which are easily accessed and adjusted via the new AF menu tab. A built-in Feature Guide advises photographers on which settings to use according to subject matter.

The EOS 5D Mark III uses the same high-performance AI Servo III AF tracking algorithm as the flagship EOS-1D X professional DSLR. This new feature works together with the 61-point High Density Reticular AF system to provide superb tracking performance that blends very well with the new camera’s 6 frames-per-second high-speed continuous shooting capabilities.

Similar to the AF point selection options offered in the EOS 7D and EOS-1D X camera models, the EOS 5D Mark III offers six AF point selection modes: Spot, Single Point, Single Point with surrounding four points, Single Point with surrounding eight points, Zone selection and Automatic AF point selection.

iFCL Metering

Complementing the EOS 5D Mark III camera’s 61-point AF system is Canon‘s 63-zone iFCL dual layer metering system. The ‘FCL’ stands for ‘Focus, Color and Luminance,’ and references the fact that the metering system not only measures color and luminance data, but also analyzes the data provided by each point of the AF system. Canon‘s iFCL metering keeps exposure levels stable from shot to shot, even as the light source changes. The camera’s autofocus information is also used to help determine which area of the scene is of greatest importance in determining exposure.

HDR Mode

The EOS 5D Mark III camera features a built-in HDR mode, merging three images at various exposure levels into a single image, in-camera, for stunning photographs of landscapes and architecture with enhanced tonal gradation beyond the range of the naked eye. The exposure levels in the camera’s HDR mode can be set to cover a range of up to ñ3 stops, in a choice of five settings: Natural, Art Standard, Art Vivid, Art Bold and Art Embossed providing unique visual effects. Individual source images can be saved as separate files, and the HDR mode has an optional automatic alignment function that can be useful for hand-held shooting. The EOS 5D Mark III’s standard Auto Exposure Bracketing function has been upgraded to allow for up to seven exposures per sequence, and exposure compensation can now be set for up to +/- 5EV.

Multiple Exposure Mode

The EOS 5D Mark III is the second EOS Digital SLR after the EOS-1D X to feature Multiple Exposure capabilities with the ability to combine up to nine individual images into a single composite image, with no need for post-processing in a computer. Four different compositing methods are provided for maximum creative control, including Additive, Average, Bright and Dark. Compositing results can be viewed in real time on the camera’s LCD monitor, and there is a one-step Undo command that allows photographers to delete an image and try again if desired. The EOS 5D Mark III camera’s Multiple Exposure mode even allows photographers to specify a previously captured RAW image as the starting point for a new Multiple Exposure composite image, or shoot continuously when photographing moving subjects.

Comparative Playback

A new feature seen for the first time in the EOS System on the 5D Mark III is Comparative Playback allowing photographers to display two images side by side on the camera’s 3.2-inch LCD screen. The images can be displayed with a histogram to check exposure levels, or magnified to check for focus or facial expressions.

Durability, Reliability and Other Features

The EOS 5D Mark III features a rugged camera body with magnesium alloy body covers and a stainless steel lens mount. The new camera also has dust- and moisture-resistant design with improved gaskets and seals. Although not quite as weatherproof as an EOS-1D-series camera, the EOS 5D Mark III does feature improved weather resistance over the EOS 5D Mark II model. The EOS 5D Mark III’s newly developed shutter unit has a durability rating of 150,000 exposures, and shutter release lag time has been reduced to 59 milliseconds, making the shutter button very responsive. Canon‘s locking mode dial is standard on the new model and a new custom function allows photographers to shut off other dials to prevent inadvertent operation.

The EOS 5D Mark III uses the same LP-E6 lithium-ion battery pack as other popular EOS cameras like the 5D Mark II, 7D and 60D. Battery life is estimated at 950 exposures at normal temperatures, an improvement of 100 exposures more than the EOS 5D Mark II. The EOS 5D Mark III body weighs approximately 33.5 oz. with a battery installed, and the dimensions are approximately 6.0 x 4.6 x 3.0 inches.

The EOS 5D Mark III incorporates Silent shooting modes, available for low-speed continuous shooting as well as single exposures. This feature is ideal when photographing in quiet environments. For better file management especially when working with multiple cameras, the new model also supports custom file names. There is also a new image rating feature that lets photographers rank their photos from 1 to 5 stars for quick editing.

The EOS 5D Mark III features a 3.2-inch Clear View II LCD screen with 1,040,000 dot resolution. This is the same screen that’s used in the top-of-the-line EOS-1D X. The camera’s optical viewfinder has been upgraded to approximately 100 percent coverage, and it features an Intelligent Viewfinder display with an optional grid on demand. The EOS 5D Mark III also has a built-in Dual Axis Electronic Level that can be displayed on both the LCD screen and the optical viewfinder.

The EOS 5D Mark III accepts both Compact Flash Type 1 and SD/SDHC/SDXC memory cards in a dual card slot configuration. Three recording methods are supported: Record the same data to both cards, record different file sizes or types to each card, or automatically switch to the second card when the first card is full.

Accessories

The EOS 5D Mark III DSLR also has a number of new optional accessories, including the new Canon Wireless File Transmitter WFT-E7A featuring wireless LAN support for 802.11 a/b/g/n signal protocols for various network environments. The WFT-E7A connects to the camera through its USB port and includes a built-in gigabit Ethernet connection, time syncing for multiple cameras on the same network, FTP mode, EOS Utility mode, WFT Server mode and Media Server mode. With this new WFT model, professionals can synchronize clocks on multiple cameras and use the unit to support linked shooting when utilizing multiple cameras. In addition, Bluetooth-compatible equipment can be easily linked to the device as well.

The EOS 5D Mark III also has an optional Canon GPS Receiver GP-E2, which can be connected to the camera via the accessory shoe or a USB cable. With a GPS logging function built-in, the GP-E2 will log latitude, longitude, elevation, and the Universal Time Code – and allow viewing of camera movement on a PC after shooting. With its built-in compass, the GP-E2 receiver will also record camera direction when shooting, even when shooting vertically. The Canon GPS Receiver GP-E2 is compatible with the EOS-1D X and EOS 7Di as well as the EOS 5D Mark III.ii

Battery Grip BG-E11 is an optional accessory for the EOS 5D Mark III that accepts one or two LP-E6 lithium-ion battery packs or a set of six AA-size batteries. This new grip has a multicontroller and a multifunction (M.Fn) button together a with a full set of grip controls for easy operation when shooting portraits or other vertical format photos. The BG-E11 is made from sturdy magnesium alloy and has the same degree of weather resistance as the EOS 5D Mark III.

Speedlite 600EX-RT

In addition to the EOS 5D Mark III, Canon is also announcing the first professional Speedlite on the market with a built-in wireless radio transmitter, the new Speedlite 600EX-RT. The new Canon Speedlite 600EX-RT is the flagship model in the Speedlite line, ideal for wedding portrait and photojournalism. Compatible with all EOS Digital SLRs, this new model eliminates the need for accessory radio slave units and their inherent limitations. Speedlite 600EX-RT features Master-Slave two-way transmission, letting the photographer control the Speedlite settings directly from the “Master” camera.

Radio-based Wireless E-TTL can be performed with up to 15 Speedlite 600EX-RT “slave units”, used off-camera up to 98.4 feet (30m) away, and triggered by either a “Master” 600EX-RT on-camera, or the optional new Speedlite Transmitter ST-E3-RT. Used with the EOS 5D Mark III or EOS-1D X, up to five groups of flashes can be completely controlled, independently, off-camera. And, it remains fully compatible with Canon‘s legacy optical-based Wireless E-TTL technology, for users already committed to existing EOS Speedlites. The Speedlite features enhanced weather-resistant construction – matching that of the EOS-1D X camera body – and a more reliable electrical contact. The flash head zoom range now reaches from 20mm to 200mm.The Speedlite also allows remote shutter release of a single EOS camera, or Linked Shooting (simultaneous firing of up to 15 cameras, when one “Master” camera is fired), and includes gelatin filters and a dedicated filter holder to help photographers match ambient light.

Speedlite Transmitter ST-E3-RT

Canon is also introducing the new Speedlite Transmitter ST-E3-RT. Providing full support of Canon‘s new radio-based wireless flash technology, the new ST-E3-RT can control up to five groups of flashes, up to 98.4 feet (30m) from the camera. The remote shutter release capability enables photographers to either fire a single camera remotely (by pressing a button on the ST-E3-RT), or to fire up to 15 EOS cameras with Canon‘s Linked Shooting feature. Making it easy to control and adjust, all of the Speedlite Transmitter features are accessible through the Flash control menu of the EOS-1D X and EOS 5D Mark III cameras.

Pricing and Availability

The Canon EOS 5D Mark III Digital SLR camera is expected to be available at the end of March 2012 and will be sold in a body-only configuration at an estimated retail price of ,499.00. The EOS 5D Mark III will also be available with the EF24-105mm f/4L IS USM zoom lens in a kit for an estimated retail price of ,299.00. The Wireless File Transmitter WFT-E7A is scheduled to be available by the end of April 2012 at an estimated retail price of 49.99. Availability for GPS Receiver GP-E2 is expected by the end of April 2012, with an estimated retail price of 90.00.Battery Grip BG-E11 is scheduled to be available at the end of April 2012 for an estimated retail price of 90.00. The Speedlite 600EX-RT and Speedlite Transmitter ST-E3-RT are also scheduled for end of March 2012 availability at estimated retail prices of 29.99 and 70.00 respectively.

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March 02, 2012 at 12:12PM


New Gear: Canon EOS 5D Mark III

The long-awaited follow-up to one of Canon‘s most popular DSLRs ever

When Nikon recently announced its D800 multimedia-machine DSLR, the internet was already abuzz with folks wondering how Canon would fire back. That follow up comes today in the form of the full-frame Canon 5D Mark III.On the photography front, the most notable improvement is the completely redesigned autofocus system. The Mark III offers 61 AF points, 41 of which are crosstype. That’s a huge upgrade from the nine total points offered by the 5D Mark II for which AF performance may have been its biggest detractor. That also bests Nikon’s D800, which has 51 total AF points, 15 of which are crosstype, and five which are double crosstype. The final number of points you have access to with either of those cameras when shooting ultimately depends on the maximum aperture of the lens attached. It also offers six different autofocusing modes, compared to 2 on the Mark II and the AF modes have been made much more prominent in the menus to make navigating them much faster.The Mark III checks in at 22.3-megapixels which is only a modest hop from the Mark II’s 21.1, but the sensor has received a complete overhaul. Gapless micro lenses, similar to those found on the sensor of the Canon 1D X, channel light into the photo diodes much more efficiently. As a result, the new sensor, according to Canon, offers nearly two additional stops of noise reduction in JPEG shooting at higher ISO’s compared to the Mark II. To compound the effect, Canon also incorporated “on chip noise reduction,” into its sensors, killing off potential noise before information even hits the Digic 5+ processor.Canon employs their latest, greatest Digic 5+ chip to handle the Mark III’s image processing, which they claim to be 17x faster than the Digic 4 processor found in the Mark II, and 30% faster than the ordinary Digic 5 processor. This helps bring the Mark III’s burst capabilities up to 6 fps, compared to 3.9 fps on the Mark II. That’s also two better than the 4 FPS max (without the battery grip) offered by Nikon’s D800.Metering is handled by a 63-zone (up from 35 in the Mark II), dual-layer metering system they’ve dubbed iFCL. It stands for Focus, Color, Luminance, and it uses information from the AF points to help provide more accurate and consistent exposures. Canon also shrunk the size of its spotmeter point, which now comprises just 1.5% of the sensor, compared to the 3% meter on the Mark II.The Mark III’s native ISO range of 100 to 25600 is expandable, when shooting stills, all the way up to 102,400 (two stops higher than the D800) and down to 50. When switched over to video mode there’s a hard-stop at 25,600, same as its predecessor.Expanding on the video capabilities, some folks will no doubt be slightly disappointed to see that 1080p capture is still capped at 30 fps rather than the smoother 60 fps frame rate. There are some notable video upgrades though, including an external microphone jack and a headphone jack, which film makers have been craving for years. Maximum clip time has been jacked up to about 30 minutes (up from 12 in the Mark II) and you can now manually control audio levels during video recording.While the video upgrades aren’t exactly monumental, Canon already has a rather large segment of the HDSLR market, so fixing a few long-standing gripes from users might be enough to keep users firmly entrenched in the Canon camp.From a design standpoint, the Mark III takes more than a few pages out of the 7D’s book. In fact, the top of the camera is exactly identical, with the exception of a locking mode dial (first made standard on the 60D). Mark II upgraders will have to get used to the on/off switch moving to directly below the mode dial. The backside of the camera also looks strikingly similar to the 7D. The Liveview button has moved to the top right portion on the back of the camera. Canon also incorporated a “Creative Photo Button,” and a “Photo Rating Button,” which saves on-the-fly star ratings in an image’s metadata. You’ll likely use the latter much more often than the former.Other physical upgrades include a slightly larger 3.2” 1.4 million dot LCD (compared to the 3” LCD found on the Mark II). It’s nice, but we were a bit surprised not to see a Vari-Angle screen on a machine with so much video firepower. Viewfinder coverage has also been nudged up to 100% as it is in the 7D. Canon placed great emphasis on improving weather seals on the Mark III body, and while its not quite as water and dust resistant as the 1D X, its ability to survive the elements definitely surpasses the Mark II.One simple, but crucial inclusion is that of a secondary card slot, giving it one CF and one SD. While most cameras with two slots allow users to split RAW and JPEG files on individual cards, Mark III users can take it even further, splitting two different size JPEG’s or two different size RAW files. Speaking of which, the Mark III offers three different RAW file sizes including RAW (which is 22.1 MP), M-RAW (10.5 MP) and S-RAW (5.5 MP).A newly redesigned shutter cuts lag time down to 59 milliseconds, compared to 75-millisecond lag time on the Mark II. Other new features include a “Silent Continuous Shooting Mode,” which we witnessed in person, and are pretty impressed with. When in this mode, the burst rate is cut down to 3 seconds, however the decrease in shutter noise is very noticeable.Set to ship late March, the 5D Mark III will run you 500 for body only, or 300 for the body and a 24-105 F4L IS lens. That makes it a full 00 more expensive than than the D800, which might make a significant difference. Needless to say, we’re excited to get the new camera in the lab and see just how much improvement Canon has made.

Canon has also released a few new accessories for the 5D Mark III. Here’s a quick rundown:

Wireless File Transmitter WFT-E7A 49.99

Plug it into the camera’s USB port and it’ll hop onto a WiFi network. From there, you can use it to transfer files and syncrhonize multiples cameras shooting at the same time. It also has built-in Bluetooth connectivity.

GP-E2 GPS Receiver 90

A pretty standard GPS tagging dongle tracks capture locations as well as universal time code. It also tracks camera movement and uses a compass to record the direction the camera is pointing when the shutter is fired.

BG-E11 Battery Grip 90

The 5D Mark III’s battery grip accepts two LP-E6 batteries and has a new multicontroller and M. Fn button in addition to a full set of grip controls. Like the camera body, it’s made from magnesium alloy and shares the same burly weatherproofing.

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March 02, 2012 at 05:26AM


Canon 5D Mark III Product Shots and Spec List Leak Day Before Launch

We’re less than 24 hours away from the official Canon 5D Mark III unveiling, but official product photos and a detailed spec list of the camera have already been leaked onto the Internet. The photos are consistent with the pictures of the camera in the wild that leaked earlier this week.

Here’s a detailed description of the camera’s features and specs:

Unsurpassed Image Quality
22.3 Megapixel Full Frame CMOS sensor
DIGIC 5+ Image Processor
ISO 100-25600 (expandable to L:50 H1:51200, H2: 102400)
Full HD Movie (ISO 100-12800 (H:25600))

High Performance Operation
61-point high-density reticular AF (up to 41 crosstype points)
6.0 fps for high continuous shooting
Intelligent viewfinder with approx. 100% coverage
3.2-type, approx. 1.04m dot (3:2 wide) Clear View LCD II
iFCL metering with 63-zone dual-layer sensor
Shutter durability of 150,000 cycles

High End Features
Silent & low vibration modes
Dual card slots (CF & SD)
High Dynamic Range (HDR) Mode
Multiple Exposures
Comparative Playback function
Improved durability & water and dust resistance

Specifications
Available Colours – Black
Megapixels – 22MP
Sensor Size – 36 x 24mm
ISO/Sensitivity – 100 – 25600
Autofocus Points – 61 points
Lens Mount – Canon
LCD Size – 3.2″
Liveview – Yes
Viewfinder – Optical TTL
Min Shutter Speed – 30 sec
Max Shutter Speed – 1/8000 sec
Continuous Shooting Speed – 6 fps
Self Timer – 10 sec, 2 sec
Metering – Centre-weighted, Spot, Evaluative, Partial
Video Resolution – Full HD 1080
Memory Type – Compact Flash
Connectivity – USB 2, HDMI, Mic Input, Wireless (optional)
Battery – LP-E6
Battery Type – Lithium-ion
Charger – Includes Li-Ion Charger
File Formats – AVI, RAW, H.264, MOV, MPEG-4
Dimensions – 152 x 116 x 76mm
Box Contents – Battery Pack LP-E6, Battery Charger LC-E6, AV Cable AVC-DC400ST, Interface Cable IFC-200U, Eyecup Eg, Wide Strap EWEOS5DMKIII, CR1616 Lithium Battery+

Also, if you’re in the market for a 5D Mark II, you should probably wait a few days to buy one — rumor has it that the price will be dropping by 00 on March 4th.

(via Canon Rumors)

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March 01, 2012 at 10:32PM


This is the Canon EOS 5D Mark III

Those are the full Canon EOS 5D Mark III specs:

Unsurpassed Image Quality 22.3 Megapixel Full Frame CMOS sensor
DiG!C 5+ Image Processor
ISO 100-25600 (expandable to L:50 H1:51200, H2: 102400
Full HD Movie (ISO 100-12800 (H:25600)

High Performance Operation 61-point high-density reticular AF (up to 41 crosstype points)
6.0 fps for high continuous shooting
Intelligent viewfinder with approx. 100% coverage
3.2-type, approx.1.04m dot (3:2 wide) Clear View LCD II
iFCL metering with 63-zone dual-layer sensor
Shutter durability of 150,000 cycles

High end features Silent & low vibration modes
Dual card slots (CF & SD)
High Dynamic Range (HDR) Mode
Multiple Exposures
Comparative Playback function
Improved durability & water and dust resistance

SPECIFICATIONS Available Colours – Black
Megapixels – 22MP
Sensor Size – 36 x 24mm
ISO/Sensitivity – 100 – 25600
Autofocus Points – 61 points
Lens Mount – Canon
LCD Size – 3.2″
Liveview – Yes
Viewfinder – Optical TTL
Min Shutter Speed – 30 sec
Max Shutter Speed – 1/8000 sec
Continuous Shooting Speed – 6 fps
Self Timer – 10 sec, 2 sec
Metering – Centre-weighted, Spot, Evaluative, Partial
Video Resolution – Full HD 1080
Memory Type – Compact Flash
Connectivity – USB 2, HDMI, Mic Input, Wireless (optional)
Battery – LP-E6
Battery Type – Lithium-ion
Charger – Includes Li-Ion Charger
File Formats – AVI, RAW, H.264, MOV, MPEG-4
Dimensions – 152 x 116 x 76mm
Box Contents – Battery Pack LP-E6 .. Battery Charger LC-E6 .. AV Cable AVC-DC400ST .. Interface Cable IFC-200U .. Eyecup Eg .. Wide Strap EWEOS5DMKIII .. CR1616 Lithium Battery+

Via CR

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February 21, 2012 at 12:17AM


Ricoh GXR camera + A12 Leica M-mount unit review

I was always curious to try out the Ricoh GXR system and with the announcement of the A12 Leica M-mount unit, I was able to borrow one and use it with my Leica lenses. Here is my quick review:

General

First, I have to say that this GXR A12 M-mount setup makes sense only if you already have Leica lenses and are looking for a backup or just want a smaller body. This combo may appear also to Leica M film shooters who are looking for a “cheaper” digital solution. The GXR body (49) and the A-12 M-mount unit (49) totals around 000 which is more expensive than other mirrorless solutions for Leica M lenses with similar sensor, like the 00 Sony NEX-5n for example (there are several different M-mount adapters for Sony NEX).

Some basic specs of the Ricoh GXR A12 unit:

12.3MP APS-C size CMOS sensor

ISO range: 200-3200 (including HI and LO)

1280x720p HD movie recording capabilities

1/4000 maximum shutter (1/8000 when electronic shutter is used in SCENE mode)

Maximum of 4fps RAW continuous shooting

No Anti-Aliasing (AA) filter

3.0-inch 920k dots, anti-reflection coated, display

86 MB internal memory

Magnesium alloy body

1.5x crop factor

The Ricoh GXR system has good ergonomics and feels solid. Both the camera and the unit have magnesium alloy body which adds some weight: the body + unit combo weights about 13 oz | 370 g which is on the heavy side for a mirrorless camera.

Similar to Leica, Ricoh did not go for proprietary RAW format – the GXR system uses Adobe’s DNG file standard. The DNG file size is around 16MB.

One of the reasons for the good image quality of the A12 unit is the lack of Anti-Aliasing (AA) filter. The sensor inside the Ricoh M-mount cartridge has optimized micro lenses that improve the image quality, especially in the corners when using wide angle lenses:

“Taking into account the use of lenses such as the symmetrical wide-angle lenses of the film era, this sensor optimizes on-chip micro-lens performance and suppresses peripheral light falloff and color balance changes.”

This is how the Ricoh GXR camera looks with the A12 M-mount attached – the unit release lever is located on top of the grip:

The mode dial has a lock, which I found very useful – I think every small camera should have that:

On several occasions I accidentally hit the zoom buttons with my thumb (with the A12 unit, those buttons are used for exposure compensation by default):

The Ricoh GXR body has a small built-in flash:

The GXR A12 unit contains also a “lens checker” that lets you test if some old wide angle lenses do not get too close to the sensor. You should check your lenses before using them with the A12 unit. You may also find this table of compatible Leica M lenses helpful.

Here is the Ricoh GXR + A12 camera with various Leica M lenses attached (Leica Elmarit 28mm/2.8 ASPH, Summilux 50mm f/1.4 ASPH, Summarit 90mm f/2.5 and Hektor 135mm f/4.5 lens):

What I don’t like in the Ricoh GRX + A12 combo:

12MP is enough for most situation, but the MP count is lower compared to the latest cameras with APS-C size sensor (Sony currently has 16MP and 24MP APS-C sensors). There are some unconfirmed reports that Ricoh can actually upgrade the sensor in the A12 unit with a newer 16MP version.

The GXR+A12 camera offers only 1280x720p HD movie recording. In HD you can get up to 15 minutes continuous video recording (the video file cannot go over 4GB).

Not a great battery life.

There is no image stabilization.

There is no sensor cleaning mechanism.

Use of wide angle lenses is limited because:

There are not that many ultra-wide M-mount lenses (Leica currently makes the Super Elmar 18mm/3.8 and the Tri-Elmar 16-18-21/4 WA lenses, Zeis makes the Distagon T* 15mm/2.8 lens and Voigtlander has the Heliar Ultra Wide 12mm/5.6 lens). Consider the 1.5x crop factor when calculating the 35mm equivalent focal length.

The design of the wide angle lenses brings the back lens element too close to the sensor (you must use the “lens checker” to confirm if you can use a given WA lens).

Menu

The Ricoh GXR camera’s menu is clean and easy to navigate:

The DIRECT screen options gives quick access to the basic camera functionality (there is a dedicated DIRECT button):

Focusing

The Ricoh GXR + A12 system does not have auto focus but it provides two different ways to help you focus manually with M-mount lenses: focus peaking (very similar to the one in the Sony NEX cameras) and focus magnification. The focus peaking has two different modes. In Mode 1 the edges of the subject in focus will be highlighted:

In Mode 2 you can see a high contrast, grey scale version of the subject where the areas in focus will also be highlighted:

The second way to focus M-mount lenses on a Ricoh GXR camera is image magnification (by pressing and holding the menu button). You can select the magnification ratio by simultaneously pressing the self timer button. When using focus magnification, you can still see the “highlighted edges” of the in-focus areas:

For faster access, the fn1 and fn2 buttons can be assigned for focus assist magnification.

In bright sunlight, it is difficult to use the focus assist functions, even with the grey scale option. This is where the optional EVF (19) will probably come handy.

Of course you can also use the DOF markings on the M lens for zone focusing.

ISO performance

The ISO performance of the Ricoh A12 unit is on a par with today’s APS-C size CMOS sensor used in a mirrorless camera. ISO levels of 800, even 1600 are usable. The next three samples were taken at ISO 1600 with a Leica Summilux 50mm lens at f/1.4 (click on image for larger view, full size JPG available on flickr, no post processing):

Next are 100% crops taken at different ISO settings with the Ricoh GXR+A13 unit and Leica 50mm f/1.4 Summilux lens wide open:

Ricoh GXR at ISO 200

Ricoh GXR at ISO 400

Ricoh GXR at ISO 800

Ricoh GXR at ISO 1600

Ricoh GXR at ISO 3200

For comparison, this is how the Leica M9 looks at ISO 2500 with the same Leica 50mm f/1.4 Summilux lens wide open:

Leica M9 at ISO 2500

Sample images

Here are some more sample images taken with four different Leica lenses. I did not like the in-camera JPG processing – I got better results with Adobe Lightroom. The JPG files were produced straight from Lightroom from the original DNG files without any adjustments. The full size in-camera jpg files from the camera are available on flickr. My favorite Leica 50mm f/1.4 Summilux lens was also my preferred on the GXR system, even though the equivalent focal length is 75mm (because of the 1.5x crop factor):

Leica Elmarit 28mm/2.8 ASPH samples:

Leica Summarit 90mm f/2.5 samples:

With some luck in manual focusing, you can even try shooting wildlife with the Leica Hektor 135mm f/4.5 lens from 1958:

Ricoh also offers an optional VF-2 external LCD viewfinder with 920,000 dots for the GXR system (19), but I did not have a chance to try it out:

Additional Ricoh GXR accessories:

Ricoh GF-1 external flash

Ricoh SC-75B soft case + neck strap

Ricoh SC-75T unit cover

Ricoh also offers the following GXR lens units:

A12 28mm f/2.5 camera unit

A12 50mm f/2.5 macro camera unit

S10 24-72mm f/2.5-4.4 VC camera unit

P10 28-300mm f/3.5-5.6 VC camera unit

and the recently announced A16 24-85mm f/3.5-5.5 unit

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Ricoh GXR Mount A12 for Leica M lenses delayed *updated*

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February 09, 2012 at 12:55AM


Olympus Officially Announces the Retro-styled OM-D E-M5

Today Olympus finally announced its OM-series Micro Four Thirds camera, the OM-D E-M5. In chrome and without a battery grip, the camera actually looks a lot better than the leaked images we saw a couple days ago. Styled like an old school SLR, the E-M5 is a 16-megapixel camera with blazing 9fps continuous shooting, RAW capabilities, weatherproofing, 1080i video recording, the “world’s fastest autofocus” on any camera, 5-axis image stabilization, a 3-inch tilting LCD screen, an ISO range of 100-25,600, and a 1.44m dot electronic viewfinder. It’ll be available starting in April — though it’s already available for preorder on Amazon — at a price of ,000 for the body only, or 100 when bundled with a 14-42mm lens, or 300 when bundled with a 12-50mm lens.

Here’s a quick introduction to the camera by DPReview:

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February 09, 2012 at 12:05AM


Sigma DP1 Merrill and DP2 Merrill 46MP cameras announced

Sigma DP1 Merrill

Sigma DP2 Merrill

In addition to the SD1 price reduction, Sigma also announced the DP1 Merrill and DP2 Merrill compact cameras that will have the same 46MP APS-C X3 sensor from the SD1. Now, this is something interesting. Pricing was not announced.

The DP1 has a 19mm f/2.8 lens (equivalent to 28mm), the DP2 has a 30mm f/2.8 lens (45mm equivalent).

Press release:

Sigma Corporation announces next-generation compact cameras named in honor of Foveon innovatorDP1 Merrill and DP2 Merrill now incorporate 46-megapixel, full-color image sensor

Ronkonkoma, NY, Feb. 8, 2012 – Sigma Corporation of America (www.sigmaphoto.com), a leading researcher, developer, manufacturer and service provider for some of the world’s most impressive lines of lenses, cameras and flashes, today announced the new Merrill series of digital cameras with the introduction of the DP1 Merrill and DP2 Merrill. The Merrill series is named in honor of Richard “Dick” Merrill, the co-creator of the Foveon X3 Direct Image Sensor technology that powers Sigma’s unique lineup of cameras.

These upgraded, high resolution, fixed lens compact digital cameras now incorporate the same APS-C sized 46-megapixel X3 image sensor found in the company’s flagship SD1 SLR, now also known as the Sigma SD1 Merrill. This name change not only pays homage to Merrill, but it also reflects new production efficiencies that will result in a substantial reduction in the camera’s market price starting next month.

Merrill (1949-2008) was a brilliant engineer, talented photographer and Foveon co-founder. He tapped into his passion for electronics to build an innovative pixel structure that uniquely demonstrated the ability to capture RGB information in each pixel location. This revolutionary discovery led the Foveon team to the development of the X3 Direct Image Sensor and, ultimately, to the creation of some of the most vibrantly colored and detailed imagery the photography industry has ever seen. Sigma acquired Foveon in late 2008.

“This revolutionary image capture system reflects both the artistic and technological sides of Merrill’s personality,” said Kazuto Yamaki, CEO of Sigma Corporation. “As an expression of Sigma’s passion for photography and in honor of Dick Merrill’s genius, we have named the latest generation of the Foveon X3 Direct Image Sensor the Foveon Merrill.”

The Sigma DP1 Merrill and DP2 Merrill each boast exclusively-designed, high-performance telecentric fixed lenses. The DP1 Merrill features a wide, 19mm F2.8 lens, which is the equivalent to a 28mm lens on a 35mm SLR camera. The DP2 Merrill, however, offers a 30mm F2.8 lens, which is the equivalent to a 45mm lens on a 35mm camera. Both cameras are compact and lightweight, and feature Sigma’s own “F” Low Dispersion (FLD) glass, which performs like fluorite glass and significantly improves lens performance, as well as Super Multi Layer Coating to reduce flare and ghosting. With the 46-megapixel, full-color Foveon X3 Direct Image Sensor, the new DP cameras capture all primary RGB colors at each pixel location with three layers, which results in incredibly detailed images with a three-dimensional feel.

The Sigma DP Merrill cameras also include the following features:

A dual, three-layer responsive ultimate (TRUE II) engine now incorporates two TRUE II processors toimprove the processing speed and overall quality of the final image. Sigma’s unique image-processing algorithm also provides high-resolution power and reproduces high-definition images with richly graduated tones that offer a three-dimensional feel.

RAW and JPEG format recording retains the full image detail of the utmost quality captured through the direct image sensor, as well as a JPEG recording format for convenience. The RAW data format provides pure data for high-resolution images, and uses lossless compression for more compact, yet uncompromised, data files. The RAW data format of the DP Merrill series keep brightness and color data in a 1:1 ratio without relying on interpolation. When the image is processed in Sigma Photo Pro, it will preserve the balance of the natural data for the best photos with the best image quality.

Sigma Photo Pro processing software converts RAW data quickly and easily. It incorporates functions such as a loupe, exposure picker, print, JPEG conversion, and batch white balance settings.

Manual focus is available for use when autofocus or focus-lock is not desired.

An advanced user interface is complete with acustom Quick Set (QS) menu and the metallic command dial to improve usability. The diaphragm, shutter speed and menu can be changed quickly using the command dial. The QS menu consists of the most commonly used functions and can be easily displayed by pressing the QS button, allowing photographers to change the menu content and the order depending on preferences.

A large, highly visible three-inch TFT color LCD monitor ensures great visibility even outdoors in the daytime. This approximately 920,000 pixel resolution LCD monitor benefits from a wide viewing angle, making it easy to capture details and check focusing and composition.

A hot shoe allows the use of the dedicated external flashgun EF-140 DG (optional) as well as Sigma electronic flashguns for SD series such as EF-610 DG Super (optional) and EF-610 DG ST (optional).

Movie mode enables movie recording with VGA (640×480) size, with 30 shooting frames per second.

Pricing and availability of the Sigma DP1 Merrill and DP2 Merrill are pending.

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January 31, 2012 at 09:29PM


New Gear: Panasonic Lumix TS4 and TS20 Rugged, Waterproof Compacts

Panasonic has two new tough cameras that want to go where cell phone cameras can’t

There are some places that cell phone cameras just can’t go, which is why the rugged, waterproof compact camera segment seems to be one of the fastest growing. Panasonic has two new tough cams ready for release, including a new flagship in the TS4 and a budget-minded option in the TS20.

The TS4 is about as tough as they come in this category. It’s waterproof to a depth of 40-feet, shockproof from 6.6-feet, dustproof, and freezeproof to 14-degrees F. From a photographic standpoint, it has a 12.1-megapixel CCD sensor and a 4.6x optical zoom lens that gives a 35mm equivalent of 28-128mm. Like most of Panasonic’s high-end compacts, it also shoots 1920 x 1080 HD video in AVCHD format.

In addition to its burly case, the TS4 also has built-in GPS for geotagging and use as a compass. There’s also a barometer and an altimeter, all of which provides data that can be recorded and tied to images upon upload.

As a nice finishing touch, the TS4 has Panasonic’s Intelligent Auto shooting mode, but it also has full-on manual control, something we like to see at a camera of this level. But, the TS4 is ultimately a pretty granular update over the TS3 that came before it. We’ll be interested to see how much their tweaking has bumped the performance. Still, we would liked to have seen RAW capture or rule 1080p video.

The TS20 is slimmer than its burlier brother, but it’s also not as tough. It’s waterproof to 16-feet and shockproof from up to five-feet, which is actually still pretty good at this level.

Photographically speaking, the TS20 has a 16.1-megapixel sensor, a 4x zoom lens (25-100mm full-frame equivalent), and a 2.7-inch LCD display. Its video performance is capped at 720p at 30 fps.

Predictably, you also lose the option for manual mode in the TS20 in exchange for more robust automatic modes. But, that’s to be expected in a camera that’s only 79.

The TS20 will be available this month in orange, blue, black, and red for 79. The TS4 will be out in mid-March, offering orange, blue, black, and silver options for 99.

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January 18, 2012 at 04:57AM


8 Steps for Perfect Prints

Great photos deserve great prints, here’s how to do it like a pro

Mpix, MpixPro, and Miller’s Professional Imaging, all part of the same family-owned company based in Kansas, offer different levels of products and services to different types of clients. Above, a poster-sized image comes out of the printer. Photo: Steve Herbert
Printing at home can be a good thing, but sometimes it’s best to let someone else do it. Maybe you want to make a whole bunch of 4×6 prints, or you need a print larger than your home printer can produce. Or maybe you have an image you love, but you can’t seem to make a print that matches your vision of it. A lab, whether accessed online or in person, can even obviate the need for a printer of your own; if you don’t print much, it can be more economical to have your prints made for you.
There are lots of labs to choose from, ranging from consumer-friendly, automated online systems all the way up to high-end labs where you can work one-on-one with in-house master printers. The higher up the scale you go, the more control and, most likely, the more printing options you will have. And, of course, the more you will spend.1. Find the right lab for you.
Before you print, decide which kind of lab you will need. You may even want to work with several, depending on your requirements at the time: It could be that you’ll use a consumer-friendly lab, such as Mpix, for quick, small prints; order your bigger prints from a site like AdoramaPix that will allow you to download profiles; and save your big, serious prints for a master printer such as the Icon lab in Los Angeles. Or you might stick with a do-it-all site such as Kodak Gallery, which takes care of color management for you, makes prints from small to large (including posters), and also offers the typical mugs and mousepads you’d expect from an online lab.
If all you need is big, an online lab might do it. But if you choose to work in person with a high-end lab (most major cities have one), you’ll get hands-on guidance the likes of which you could never match working remotely. Says Bonny Diadhiou of the Icon, “It takes about five people to make one beautiful print. There’s no just pressing a button—it’s even hand-trimmed. There’s so much love and labor that goes into making a single print.”
A custom lab like this will make an appointment with you to sit in a gray-walled room with optimized lighting while a seasoned printer works on your image on a color-correct monitor; the printer may even rework your RAW file if need be.
If you plan to begin a long-term relationship with a given lab, try calling customer service and see how long it takes to get a human on the phone. Ask for its policy on unsatisfactory print quality. Find out if the lab takes rush orders. Consider its output sizes: Is there enough variety? How big do they go? And finally, of course, consider the cost. Is the lab a good value for the money? Bear in mind, though, that some pro-level print services such as MpixPro require that its clients make at least some portion of their income from photography to access the professional site.

Kole Montross, a retouching artist in Icon’s fine-art department, looks over a restoration project for a client. Photo: Bonny Diadhiou; Gabe Palacio Photography2. Calibrate and profile your display.
We’ve said this before, and we’ll say it again: A good-quality, calibrated, and profiled display is essential for making great prints, particularly if you plan to do any image editing at home. When you standardize your monitor’s color and contrast using a calibration device, such as X-Rite’s i1DisplayPro or Datacolor’s Spyder3Pro, you can have more confidence that the edits you make to your images will reproduce in prints the way you expect them to.
Labs that cater to more digitally adept photographers, such as AdoramaPix, will often allow you to download profiles for the printer/paper combinations they offer. If your at-home setup is color-managed, and you are comfortable using those profiles to soft-proof and preview your result in Adobe Photoshop, you can take on the job of color correcting your images yourself. You may even be able to take your setup for a hard-proof trial run: MpixPro’s service, for instance, will use your images to make five test prints for you to see how well the systems match.3. If you can’t calibrate, let the lab do the color correcting.
Most labs catering to enthusiasts, advanced amateurs, and even pros will fix the color for you, so you don’t have to worry about it. This is a good option if you don’t have a calibration device, or if you are simply not so great at making color corrections. The benefit of letting the lab handle it is that its technicians are intimately familiar with the vagaries of its printers and papers.
Consider a service like Kodak Gallery’s Professional Prints option. When we asked Mark Cook, vice president of products for Kodak Gallery, about color management, he replied, “There’s a setting where you can turn it on or off. Color management is done by a human.” In other words, this is not the service for those who want to manage their color with soft-proofing and profiles. If you want your color or exposure corrected before your prints get made, a Kodak technician at the lab will make the call for you.

An Mpix technician applies a surface layer to a photo by hand. Photo: Steve Herbert4. Set the right color space.
Can your lab accept Adobe RGB or Pro Photo RGB, or must you submit your files in the smaller-gamut sRGB color space? Similarly, consider file type and size. Some labs have file-size limits, and some accept only JPEGs, not TIFFs.5. Pick your medium.
Unless you go for a high-end lab, your prints probably won’t be made on inkjet printers. Instead, you’ll get what’s commonly called digital c-prints. These are made using a chemical process in which your images are projected onto photo paper using a series of lasers. This affords different paper options: Lots of labs offer Kodak’s papers such as Endura, a matte surface that works best for portraits, or Metallic, which works well when your shot includes metal, water, or sky.
However, high-end labs often print with inkjet machines as well and can help choose the best method and medium for output. The Icon, like many such professional printers, offers more than 25 kinds of paper, and can print using a wide variety of methods. They can also print extremely large—Icon recently had a job making prints nearly 60 inches wide by 15 feet long. Try ordering a print that big online. Finally, consider archivability. How long do you want your prints to last? According to Diadhiou, black-and-white pigment-based inkjet prints can last as long as 200–300 years, and color 100–200, depending on how they’re stored and displayed. A digital c-print, however, probably won’t last more than about 60 years.6. Order your own test strips.
If you’re planning to have a bunch of images printed, but you’re not sure of the best paper type to suit the pictures, order test strips. Use your editing software to gang a bunch of them up on a single big print, and then have it made on various papers to compare how the same set of images look on each. Or, if you’re not sure how much contrast or brightness will work best on the paper you’ve chosen, send out a similar big print with five or six variations of the image on a single piece of paper. Once you figure out what works best, order away.

One of the print specialists at AdoramaPix inspects prints for a wedding shooter. Photo: Bonny Diadhiou; Gabe Palacio Photography7. Find out about black-and- white.
If you’re working with a lab that can make inkjet prints, you’ll have more paper options than you would with digital c-prints. For instance, you’ll likely be able to print on fiber-based papers in a range of finishes from matte to glossy, which can give you a more traditional darkroom look. You’ll also be able to send RGB files that contain some tone.
Labs that make digital c-prints sometimes offer printing on true b&w resin-coated paper; both Kodak Gallery and Mpix are two examples. But it is essential that you find out what kind of b&w file your lab recommends.Some labs prefer to do the conversion for you using their own software, others request you send a grayscale (rather than an RGB) image. If you don’t give the printer what it expects, you could end up with strange color casts you don’t want, or a neutral image when what you were expecting was a nicely toned one.8. Consider your image’s aspect ratio.
If your photo doesn’t fit the same dimensions as a lab’s print size, its technicians—or automated program—may do the cropping for you. To control this yourself, you can crop your own image before uploading. Or, to get the aspect ratio you want at the largest size, open the image in your image editor, then make a white border around your shot so that the total image area, including the border, matches the print size you’re ordering. If you want to display your print without the border, you would then need to trim it yourself or frame it using a mat that covers the border.

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