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Adobe Camera Raw, Lightroom add support for newer Sony, Panasonic and Fujifilm cameras

Adobe recently released the September update for its Camera Raw plugin, the software that enables users to import and edit Raw images in the company's creative software applications like Photoshop and Bridge.

Camera Raw version 11.4.1 adds support for four additional camera models: Fujifilm X-A7, Sony A7R IV (ILCE-7RM4), Panasonic Lumix DC-S1H, and the Sony RX100 VII (DSC-RX100M7). The new camera support is also available in Lightroom and Lightroom Classic starting with versions 2.4.1 and 8.4.1, respectively.

With the updated support, users can edit RAF images from the Fujifilm X-A7, as well as RW2 files from the Lumix DC-S1H and ARW files from the two newly added Sony cameras. Adobe Camera Raw 11.4.1 is available to download for Windows and macOS for free from Adobe's website. The Lightroom and Lightroom Classic updates should be available through Adobe's Creative Cloud desktop app.

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Rock Bar is a sleek and slim weighting system designed to replace sandbags

California company Rock Bar has introduced a much tidier solution to weighing down tripods and light stands with a new weight case that straps securely to legs and center columns to provide extra stability.

The Rock Bar system comprises a nylon zip-up tube that comes filled with seven pounds of recycled steel and which uses straps at either end of its body to attach to legs without swaying in windy conditions.

The number of weights in the body can be adjusted by the user depending on the conditions and the equipment being supported, and the slim-line pouch is designed not to get in the way or to catch the wind itself. Rock Bar is aimed at tripod users, and those hanging lights on high stands and boom arms, and is intended to replace sandbags and other types of hanging ballast.

The case measures 31.75x6.35x6.98cm (12.5x2.5x2.75in) and costs $45. For more information see the Rock Bar website.

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Rumor: The Olympus E-M5 III to be launched October 17th, use same 20MP sensor as E-M1 II

According to the most recent report from 4/3 Rumors, Olympus? next camera, presumed to be the E-M5 III, will be announced on October 17, 2019, and feature the same 20-megapixel sensor that?s inside the E-M1 II.

In its report, 4/3 Rumors breaks down the summary of the rumored information it's received thus far saying with ?99 percent? certainty that the announcement will be made on October 17, 2019, and with ?80 percent? certainty, the new camera will feature the same 20MP 121 cross-type phase-detection sensor as the E-M1 II.

The report also states with ?90 percent? certainty the new camera will come with a new processor that should, in theory, result in better image quality despite using the same sensor. Other details in the report say with ?60 percent? certainty that the camera will have a ?lighter, more plasticky but still weather-sealed body? and use the same BLS-50 battery also used by the Olympus PEN and E-M10 cameras.

If this information does end up holding true, the E-M5 III is shaping up to be an incremental improvement rather than a revolutionary advancement.

Update (September 23, 2019): Corrected to reflect the 20MP sensor the rumored E-M5 III will be based on is in fact the E-M1 II, not the E-M5 II.

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The ultra-wide camera in the iPhone 11 models is fixed-focus, doesn't support Raw capture

Last week, Apple debuted its new iPhone 11 devices, all three of which feature an ultra-wide camera module. This marks the first time Apple has put an ultra-wide camera in an iOS device and with the new camera comes all-new capabilities and shooting modes.

Not all of the cameras are made equal though. In addition to not having optical image stabilization, it?s been revealed the ultra-wide camera unit on all three models isn?t yet capable of capturing Raw image data or manual focus, unlike the wide-angle camera (and telephoto camera on the iPhone 11 Pro models).

Revealed by Halide developer Ben Sandofsky, the ultra-wide camera has a fixed-focus lens and doesn?t offer any Raw photo output. The reasoning isn?t yet known, but as noted by a number of responses to Sandofsky?s tweet, it?s possible the reason for not offering Raw output from the ultra-wide camera is due to the barrel distortion present in the uncorrected images from the ultra-wide camera. If not corrected, the distortion would be dramatic considering the 13mm (35mm equivalent) focal length, and without having iOS apps with that correction built-in it would result in rather distorted images.

It?s possible Apple could turn on Raw support in a later iOS update, but for now, Raw capture is limited to the other two camera modules.

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Yasuhara announces Anthy 35mm F1.8 lens for Canon RF, Nikon Z and Sony E mount cameras

Budget Japanese optics manufacturer Yasuhara has announced the Anthy 35mm F1.8 manual lens for full-frame mirrorless camera systems.

The Anthy 35mm F1.8 lens (translated) is constructed of nine elements in seven groups and features a nine-blade aperture diaphragm with an F1.8 to F16 range. The front filter thread is 52mm, it has a minimum focusing distance of 40cm (15.75in) and the lens weighs 409g (14.3oz).

The lens is entirely manual and doesn?t feature electrical contacts, meaning no metadata will be sent to the camera it?s attached to and, if applicable, the ?release without lens? setting will need to be turned on.

The lens is set for a fall 2019 release and will be available in Canon RF, Nikon Z and Sony E mounts. No pricing information has been given at this time. We have contacted Yasuhara and will update this article if we hear back about pricing information.

Below are three full-resolution sample images captured with the lens on a Canon EOS R:

We haven?t heard much about Yasuhara in the past and its lens lineup is rather limited, so we can?t attest to the image quality or durability of its lenses, but the company recently celebrated its seventh year in business. Yasuhara also has Anthy-branded 50mm and 85mm lenses in development (translated).

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Sony E 16-55mm F2.8 G sample gallery

The 16-55mm F2.8 provides Sony APS-C shooters with a useful 24-82.5mm equivalent range and a bright, constant aperture. We put it on a6500 to see if Sony's claims of excellent edge-to-edge sharpness hold up ? take a look for yourself.

See our Sony E 16-55mm F2.8 G
sample gallery

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GoPro is teasing its upcoming action cam, 360 camera set for an October 1st announcement

This screenshot from the teaser video appears to show off what we presume will be the GoPro HERO8 Black.

GoPro has posted a new teaser on its website showing off a few renderings and clips from what we believe to be its next-generation action cams.

Earlier this month we saw leaked product images, but this is the first official info we?ve seen regarding the impending launch. The announcement reads ?This is Action? and notes October 1, 2019, which we presume will be the official announcement. Below is the teaser in its entirety:

Two distinct devices appear to shown in the footage, as noted in the above screenshots, which echoes leaked information and images that in addition to a GoPro HERO8, GoPro will also reveal the GoPro Max, a second-generation 360 cameras that will be the successor to the GoPro Fusion.

A screenshot depicting what we assume, based on leaked images, will be the GoPro Fusion successor, the GoPro Max.

GoPro has also posted a video to YouTube where a livestream will take place for the announcement of what?s anticipated to be two new devices.

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Landscape photography with a drone: the advantages - part 1

In the first article of this series I explained what drones are, how they are built and controlled by the user. The next question to naturally arise is "Why does one need a drone?" What is a drone good for, and why should you get one?

The answer to this question is long and complicated, but could be summed up by saying that a drone gives the photographer opportunities for shots not achievable in any other way. That's quite the statement, but I stand firmly behind it, and I intend to explain this position in depth in this article and in the ones to follow.

The first order of business would be to compare the drone to the ubiquitous tool of the photographer: the DSLR, or any hand-held camera for that matter. Indeed, I have written extensively about the advantages of aerial photography in a previous series, but that was in the context of hand-held shooting from an aircraft, and in any case, these advantages need to be presented here if this series is to be self-contained. I'll rephrase them shortly in a way that better relates to droning.

What the drone offers compared to ground-based shooting is as follows: you have a miniature friggin' helicopter in your hands, and it allows you to shoot aerials, get the shots from any angle, get there quickly and safely, all without any real danger to your body (caveats to that coming in the future).

Need to separate compositional elements that overlap from the ground? No problemo - take the drone higher and viola - objects are separated. Want to shoot flowing lava without burning your ears off? The drone feels no pain. Can't walk on water? Can't breathe toxic fumes? Can't fly? Too lazy to hike? Send the drone. You get the idea, let's explore some examples.

Infinite Perspectives

Landscape photography is all about composition ? the base layer to any image. Good light and colors are nice, but without an underlying arrangement of objects that's appealing to the eye, you have nothing. An aerial perspective and the choice over the height, angle and distance from which an image is taken allow for an unprecedented degree of control over composition.

The towers of this ice-castle fit perfectly in the dents in the cloud-cover. I took the drone up to a height which would show this concordance, yet allow separation of the elements.
DJI Mavic II Pro, 1/30 sec, F8, ISO 100. Disko Bay, Greenland

Natural elements often look totally different from the ground level and from the air, but it's also true that different aerial angles also result in completely distinct compositions. The two images below are the same exact iceberg. Both were taken from the air during one shoot. Would you have guessed? This goes to show the extent of diversity offered by shooting from the air.

More examples: Mount Zinn is a beautiful mesa erosion-mountain in Israel. Taking the drone around it during morning twilight and sunrise resulted in several distinct compositions.

Hidden parts of the photographed natural elements can be discovered and conveyed to the viewer in a visually pleasing way when shooting them from the air. It's sometimes unbelievable how many phenomenal features are hidden in plain sight, simply because we lack the aerial perspective.

This amazing whirlpool was hiding about 10-20 meters from where I was standing. There was no way I could've detected or shot it without the drone.
DJI Mavic II Pro, 1/80 sec, F4, ISO 100. Haukland Beach, the Lofoten Islands, Arctic Norway

Top-down shooting, albeit sometimes over-done, can also be a good creative tool for imagery. It doesn't always work, though ? bear that in mind when trying it.

Amazing natural colors and patterns in the Argentinean high-altitude desert. Shooting this top-down gave the image a painting-like appearance.
DJI Mavic II Pro, 1/240 sec, F9, ISO 100. Puna De Argentina
Lava surface-flows in Kilauea Volcano, Hawaii. A top-down perspective resulted in a deliberate lack of depth, which in turn allowed me to concentrate the viewer on the shape of the flows.
DJI Phantom 4 Pro, 1/25 sec, F6.3, ISO 400. Taken outside of Volcanoes NP, Island of Hawaii.


A specific aspect of composition is the separation between the different compositional elements. Separation serves to make the composition more appealing. Not having subjects obscured by others is satisfying for the eye, and helps the image have a cleaner, more ordered feel.

A gigantic iceberg floating in Disko Bay, Greenland. The position of the iceberg meant is was impossible to get separation of its two parts when still showing the light passing through the arch and hitting the back segment from the water level. Another clear advantage is the fact that the submerged part of the iceberg is beautifully showing, in addition to debris from a recent collapse in the arch.
DJI Mavic II Pro, vertical stitch, 1/40 sec, F6.3, ISO 100

Separation is especially important where the photographer struggles to convey the grandeur of a location. When shooting Cono Arita (see below) from the ground, it's impossible to convey the cone's true shape or its place in the salt flat, not to mention separate it from other elements.

Cono Arita is a sandstone hill in the middle of the Arizaro salt flat in the Argentinean Puna (high-altitude desert). When morning light strikes, the beautiful shadow is cast upon the plain. Taking the drone up allowed me to show this, while creating separation between the cone, its shadow and the surrounding hills and mountains.
DJI Mavic II Pro, 1/60 sec, F8, ISO 100. Salar De Arizaro, Argentina

Just as a ground-based photographer tries to separate his or her foreground and background, the aerial photographer has the same exact considerations ? only many more options, as the height constraint is relaxed. See, for example, the near-far composition below.

The drone allowed me to separate the five volcanoes visible in this image: in the bottom of the frame is Ijen crater. To its left, the lush, green Gurung Ranti. Then farther away, from left to right: Pendil, Raung and Suket. There was even room for the shadow (bottom-left to mid-right) cast by Gurung Merapi, just behind the camera.
DJI Mavic II Pro, F8, 1/25 sec, ISO 100. Kawah Ijen, Indonesia

Separation doesn't always mean the subjects aren't touching ? it can mean a subtler expansion of the distances between the subjects, to create a more pleasant arrangement.

I used the aerial perspective to expand the distances between these interlacing hills and their shadows at sundown.
DJI Mavic II Pro, 1/60 sec, F10, ISO 100. Desierto Del Labirinto, Puna De Argentina

In the next article, I will continue discussing the advantages of the drone, specifically its availability.

Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you'd like to experience and shoot some of the world's most fascinating landscapes with Erez as your guide, take a look at his unique photography workshops in The Lofoten Islands, Greenland, Namibia, the Argentinean Puna, the Faroe Islands and Ethiopia.

Erez offers video tutorials discussing his images and explaining how he achieved them.

More in This Series:

Selected Articles by Erez Marom:

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DPReview TV: Canon EOS 90D review

The EOS 90D is Canon's newest DSLR camera, sporting a new 32.5MP sensor and 4K video without a crop. As Chris and Jordan discovered during their testing, there's a lot to like.

Make sure to visit our Canon 90D initial review for more information on this camera.

Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Sample gallery from this episode

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Canon EOS 90D sample gallery (DPReview TV)

A new gallery from the Canon EOS 90D, shot by Chris and Jordan while filming this week's episode of DPReview TV. As usual, it comes complete with reflected images in puddles.

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