There’s a crazy new camera by Hasselblad and it will only set you back about $10,000. It’s a medium format mirrorless camera. It’s called the X1D-50C and it’s entirely new on many levels.

Generally, the term medium format applies to cameras that record images on a sensor larger than 24 by 36 mm (that’s full-frame, the standard in 35 mm photography), but smaller than 4 by 5 inches (which is considered to be large-format photography).

Here is a camera that can shoot 50MP on a huge sensor with crazy dynamic range but all in a package that’s only half the average weight of a medium-format camera.

Determined to shake up the photographic industry, Hasselblad has unleashed a world’s first in the form of the X1D-50c Medium Format Mirrorless Digital Camera. This camera takes the well-regarded 50MP 43.8 x 32.9mm CMOS sensor found in numerous medium format systems and incorporates it into a revolutionary mirrorless camera body. Designed and handmade in Sweden, this camera is a precision tool with exceptional ergonomics and a compact size that even rivals smaller format systems. Taking this system above and beyond the rest is a large sensor that works hand-in-hand with the Hasselblad Natural Color Solution to create phenomenal raw images with smooth tonal gradations thanks to 16-bit color depth and 14 stops of dynamic range.

If you can digest camera specs, try and soak these up. That’s a HUGE sensor producing 16-bit raw images spanning 14-stops of light (yes, massive detail in your shadows). The images must be stunning.

• 50MP 43.8 x 32.9mm CMOS Sensor
• 16-Bit Color, 14-Stop Dynamic Range
• Hasselblad Natural Color Solution
• Full HD 1080p H.264 Video at 25 fps
• ISO 100–25600, Shooting Up to 2.3 fps
• Central Shutter: 60 min to 1/2000 sec
• 2.36MP XGA Electronic Viewfinder
• 3.0" 920k-Dot Touchscreen LCD Monitor
• Dual SD Card Slots; XPan & Square Modes
• Built-In Wi-Fi & GPS, USB 3.0 Type C

More Images

New XCD Lens System

Beyond the price tag, the big issue will be lack of supported lenses. It’s a new Hasselblad “XCD system” and there are only two lenses to start. More will come out I’m sure.

• 90mm f/3.2 $2,695 USD
• 45mm f/3.5 $2,295 USD

So the camera and the only two lenses available will set you back $14,000 USD or $18,000 CAD. It will be available Aug 30th, 2016.

Start saving! Let me know if you buy one ;)

Medium Format Mirrorless is Here! was originally published in Learning DSLR on Medium, where people are continuing the conversation by highlighting and responding to this story.

20+ Unbelievable Photos Showing That Angle Is Everything

The photo above was shot in the 90’s by Philippe Ramette, learn more about him in his interview with The Guardian in 2009.

Perspective is Everything was originally published in Learning DSLR on Medium, where people are continuing the conversation by highlighting and responding to this story.

I’m just getting back to posting regularly on my Learning DSLR blog. I took a very long break.

I’m getting increasingly interested in shooting video with my DSLR but what topics interest you most?

Let me know by sending me topic suggestions at pdame@learningdslr.com (or use the envelope icon at https://LearningDSLR.com at any time).

Thanks for following!

What do you want to learn? was originally published in Learning DSLR on Medium, where people are continuing the conversation by highlighting and responding to this story.

Wistia is a popular business-oriented video hosting service — think of it like a professional version of YouTube (learn how they differ). I love their service and use it at work.

Beyond their great product, they also offer a huge library of resources on shooting video including a comprehensive one titled How to shoot video with a DSLR camera by Chris Lavigne.

How to shoot video with a DSLR camera

There’s a lot to learn from the Wistia Library. They cover video production, video content strategies, gear (of course), concepting and more. It’s definitely worth bookmarking.

How to Shoot Video With Your DSLR was originally published in Learning DSLR on Medium, where people are continuing the conversation by highlighting and responding to this story.

Note: Placing your subject under a tree is not the same as placing them in open shade unless there is a perfectly solid shadow for your entire subject. Speckles of light falling on their face or clothing will ruin the shot as your camera cannot expose for both the shadow and highlights at the same time (not on a bright day anyway).

See below for an open shade shot of my kids that I shot this past weekend (was only on my iPhone however). Being by the edge of sunlight explains why they appear to glow relative to the background. I was probably standing in direct sunlight to shoot this photo as they are very close to where the shade ends. Light from the street or opposing building was effectively bouncing into their faces to light them so well.

Shoot into the Light

Mark Wallace just covered this topic well for the AdoramaTV channel. He also explains when and how to shoot the other way as well (i.e. shoot towards the sunlit area while keeping your subject in the shade). Don’t forget to use exposure compensation when the background is a bright backlight (e.g. set exposure value to +1).

Many photography blogs have already covered this topic and they offer many sample photos to fully illustrate the technique.

You’ll create some amazing shots quite simply in open shade so give it a try.

Watch Episode 7: Qualities of Light of my Back to Basics series on YouTube to learn more about hard and soft light.

Use Open Shade for Better Outdoor Photos was originally published in Learning DSLR on Medium, where people are continuing the conversation by highlighting and responding to this story.

How do you share the video and collect useful commentary?

Frame.io is a compelling service that allows you to upload and share video clips as you would with Dropbox but with a video-optimized interface, one geared towards collaboration. A key feature is the ability to have time-coded comments with annotations drawn right on the video frames.

Try their free tier with a 2GB limit for one project and 5 collaborators.

Adobe Premiere Pro Integration

What really caught my eye today is their new integration with Adobe Premiere Pro.

Not only is the integration impressive, the launch video is breathtaking. It makes me want to use their product but also learn Adobe After Effects CC (which was used to create all those stunning animations).

Watch the video on this page: https://frame.io/premiere

The coolest thing about being an entrepreneur is working on big ideas. Today we’re launching our biggest idea yet. A real-time collaboration layer for Adobe Premiere Pro nearly 1 year in the making. It’s much more than an integration, it’s the entire Frame.io application, redesigned and reengineered for Adobe’s Panel architecture. I could tell you all about it, but being filmmakers ourselves we created a video to share our vision for the next generation of professional video collaboration.

Emery Wells (Co-Founder of Frame.io)

Video Collaboration with Frame.io was originally published in Learning DSLR on Medium, where people are continuing the conversation by highlighting and responding to this story.

Sigma recently released an APS-C lens that rivals nearly all other zoom lenses I’ve seen in its range, the Sigma 18–35mm f/1.8 DC HSM Art. I haven’t tried it myself but I’m dying to try it on my Canon EOS 7D to see how it performs given the rave reviews.

UPDATE March 2014: I bought it today and love it already. I’ll my post review shortly

UPDATE May 2016: Sigma now offers a telephoto zoom version of the Art series, the Sigma 50–100mm f/1.8 DC HSM Art ($1099). Get both and you’ve effectively got a prime lens for every focal length in the 27 to 52mm and 75 to 150mm range (based on Nikon 1.5x crop factor).

What’s remarkable about this lens is its extremely large and constant maximum aperture. That small f/1.8 value is fantastic as it means a lot of light gets into the lens AND it continues to do so even as you zoom in.

Most high-end constant aperture lenses are usually expensive and max out at f/2.8 or f/4. To have one that’s relatively affordable and has a constant max aperture of f/1.8 is literally unheard of. The suggested retail is $1160 but the promotional price is $800. At that price, it’s groundbreaking to say the least and it’s a game changer for those without a full-frame sensor camera.

Full-Frame Equivalence

The key thing to understand with this lens is that it’s not for full-frame cameras. The most popular and comparable option for full-frame shooters is a 24–70mm f/2.8 zoom lens. Since full-frame cameras have inherently shallower depth of field and better performance at higher ISO, having a f/1.8 constant aperture zoom creates a true equivalent for those of us with cropped-sensor cameras. As noted in some early reviews, full-frame shooters still benefit from a slightly broader focal length zoom range with 24–70mm vs. Sigma’s 28.8–56mm equivalent, but this really levels the playing field and does so affordably. I say affordable given Canon’s version of the 24–70mm f/2.8 is a whopping $2300 while Nikon’s “only” at $1900.

CameraStuffReview summarizes this point well a bit more technically:

A picture taken with a 35mm lens on a camera with a full frame sensor, shot at f/2.8 and ISO 200, provides — in terms of depth of field and bokeh — a similar image as shot with the Sigma 18–35mm Art on a APS-C sensor camera with the same shutter speed, f/1.8 and ISO 100. Due to the difference in ISO is also full-frame relationship between cameras, and APS-C cameras wiped away a large part of the difference in signal-to-noise.

The Specs

Here’s a summary of the important technical details:

• Aperture Range: f/1.8–16
• Designed for APS-C-Sized Sensors
• 35mm Equivalent Focal Length: 28.8–56mm
• Hyper Sonic AF Motor
• Internal Focusing and Zoom Design
• Four Aspherical & 5 SLD Glass Elements
• 9 Rounded aperture blades for smooth bokeh
• Super Multi-Layer Coating
• Minimum focusing distance of 28cm (12cm in front of lens)
• Compatible with Sigma USB Dock for firmware upgrades and focus adjustments

Internal focusing and zoom means the lens doesn’t move in-and-out when you zoom or focus and the front element won’t rotate at all. This is ideal in that it’s more robust, won’t trap sand/dust/dirt and a filter or matt-box attached to the lens won’t rotate on you unexpectedly.

Sharpness

One might think such a lens would be quite soft but early reviews attest to its sharpness and the lens measuring scientists at DxOMark have proof in the numbers. This is a real winner for Sigma and it’s earned my respect for what they can produce.

This comparison table by DxOMark says it all given it’s now the best performing APS-C zoom in their entire database of lenses. It sits above the Canon EF 24–70mm f/2.8L II USM and even my beloved all-white Canon EF 70–200mm f/2.8L IS II USM! That’s amazing.

Weaknesses?

What it does not have is optical stabilization (OS). This is a little less important at wide angles and fast apertures but it would have been an amazing edition. That said, it would probably push the price above $1000 so it may have been a wise choice by Sigma to keep it priced for the general market. I would suspect a second generation of this lens may have stabilization.

The other obvious negative is it’s size and weight which are inevitable given the specs. It comes in at a hefty 1.78 lb (811g). The zoom range is a bit limiting (28.8 to 56mm equivalent) but it could still easily replace a couple primes you’d otherwise buy and have to carry around and switch out on-the-go.

Mounts and Availability

The Canon mount version is available now but on back order (understandably) and other mounts are coming soon it seems. Below are links to the lens pages on B&H for each of the available mounts. You can be notified when it will be available.

• Canon
• Nikon
• Pentax
• Sigma
• Sony

Myself, I’d order one now but I’m still thinking of going full-frame in a year or two so I’m hesitating. It’s so damn tempting however. If I had to repurchase my gear tomorrow, a Canon EOS 70D and this lens would be a killer combination for just $2000. Perhaps I’ll get this and hold off on a full-frame for a while!

Bokeh

The 9 rounded aperture blades appear to create pleasing and smooth areas in the out-of-focus areas we lovingly call bokeh. Here’s a video testing it out from f/1.8 to f/16 in a number of conditions:

It’s also reportedly very good at holding focus while you manually zoom in and out but not perfect as you can see here:

It’s also reportedly very good at holding focus while you manually zoom in and out but not perfect as you can see here:

Various Reviews

Here are some of the initial reviews I found

• Tony Northrup (video review)
• The Digital Picture
• DP Review
• CameraStuffReview
• Photography Bay
• SLR Lounge
• DxOMark

Let me know what you think of the lens or if you plan to buy one. Find it online at B&H (they ship to Canada affordably but check PhotoPrice.ca).

Possibly The Best Zoom Lens For Your DSLR was originally published in Learning DSLR on Medium, where people are continuing the conversation by highlighting and responding to this story.

Proof is National Geographic’s new online photography experience. It was launched to engage ongoing conversations about photography, art, and journalism. In addition to featuring selections from the magazine and other publications, books, and galleries, this site will offer new avenues for our audience to get a behind-the-scenes look at the National Geographic storytelling process. We view this as a work in progress and welcome feedback as the site evolves.

Click here to watch the video…

Background on Proof

Here’s some additional background about Proof from their inaugural blog post a few days ago…

For more than a century, National Geographic has been home to some of the very best photographic storytelling on (and, occasionally, off) the planet. We all know what the Yellow Border represents; we all have our favorite cover; we all remember the wonder of seeing, year after year, amazing photographs from unbelievable places alongside stories of our own communities and neighbors, living extraordinary lives right under our noses.

Indeed, many of us who work at National Geographic grew up with the magazine fueling our desire to explore, tell stories, and pick up a camera. Because of its view that the storyteller, the photographer, must be given the time, tools, and guidance to do their best work, Nat Geo has inspired writers, astronauts, and explorers, as well as photographers, to strive for perfection so that they could tell their own stories within the pages of National Geographic magazine.

Today’s stories, thanks to the Internet, are being told, minute by minute, at an incredible rate. The tools to tell these stories, whether we are talking photos, audio, video, or multimedia, are now so commonplace that almost anyone can be a content creator, sharing their work with the world.

With our new photo blog, Proof, we want to share our experiences and adventures with you — and hope you will share your stories with us.

Proof will offer a real-time look at our storytelling process — everything from how to edit down 60,000 photographs to 12, to which single item a photographer on a four-month assignment can’t live without. Equally important to us is finding more incredible stories that you, our members, have created, and then spreading them around the globe. We want to celebrate, with you, all the possibilities for visual storytelling that this new century offers.

We are launching our blog alongside our 125th anniversary issue on the Power of Photography with the hope that Proof will inspire you, as our editor Chris Johns likes to say, to “tell meaningful stories in unforgettable ways.” Join us on our latest adventure. — Keith Jenkins and Sarah Leen, Directors of Photography

Join the conversation on Twitter at #NatGeoProof.

You can also learn about the people behind Proof.

Martin Schoeller on Intimate Portraiture was originally published in Learning DSLR on Medium, where people are continuing the conversation by highlighting and responding to this story.

Starting tomorrow, the very cool folks at creativeLive (including co-found Chase Jarvis) are delivering an entirely free online conference they’re calling Photo Week. It’s a mega event for photographers and, again, it’s totally free IF you have time to watch it. There are over 50+ instructors broadcasting on three live channels for 6 days! They make money by selling you anytime access to their content and this entire conference is avaialble for $300.

Dates and Time

This event starts on Monday, September 16th and runs until Saturday, September 21st. Each starts at 9 AM Pacific and runs until about 4 PM. If you’re in the East like me, then it’s noon to 7 PM. They usually re-broadcast a day’s event two more times during the evening and night of the same day so there should be plenty of time to catch a few sessions. You can see the entire schedule online.

Tracks

The content has been grouped into three tracks that can also be purchased individually for anytime access ($180 each or $300 for all three):

Wedding and Family
Explore the art — and business — of capturing life’s most important moments.

Portrait and Commercial
Learn how to delight commercial and editorial clients with these 20 workshops.

Create What you Love
This series of 19 workshops covers everything you need to know about exploring your passion — whether it’s exploring toy cameras or getting back to the basics.

Courses

You can see the entire schedule online but here’s what’s planned so far on all three channels for the next six days:

Day 1 (Sep 16th)

Day 2 (Sep 17th)

Day 3 (Sep 18th)

Day 4 (Sep 19th)

Day 5 (Sep 20th)

Day 6 (Sep 21st)

Instructors

With over 50 instructors, this an impressive round up of artists sharing their talent in one place at the same time…

• Ana Brandt
• Andrew Scrivani
• Andy Katz
• Bambi Cantrell
• Benjamin Von Wong
• Blair deLaubenfels
• Brooke Shaden
• Charles Lucima
• Chase Jarvis
• Christy Weber
• Cliff Mautner
• Corey Rich
• Craig Heidemann
• Dan Milnor
• Deanne Fitzmaurice
• Dixie Dixon
• Elle Muliarchyk
• Erik Almas
• Jared Bauman
• Jared Polin
• Jason Aten
• Jim Garner
• John Cornicello
• John Greengo
• John Keatley
• Julia Kelleher
• Kevin Jairaj
• Kevin Kubota
• Kyle Johnson
• Latasha and Ike Haynes
• Lindsay Adler
• Lou Freeman
• Lucas Gilman
• Marc and Tiffany Angeles
• Matt Hill
• Matthew the Body
• Michelle Bates
• Mike Corrado
• Rob Adams
• Robert Evans
• Roberto Valenzuela
• Robin Layton
• Ryan Brenizer
• Sal Cincotta
• Sally Cox
• Sarah Petty
• Scott Robert Lim
• Sean Flanigan
• Sue Bryce
• Susan Stripling
• Tim Tadder
• Vanessa Joy
• Zach and Jody Gray

If you plan to attend or do attend, let me know what you thought of it. Was there a favourite course or best take-away?

Photo Week: Free 6-day Online Conference by creativeLive was originally published in Learning DSLR on Medium, where people are continuing the conversation by highlighting and responding to this story.

Customers who own Adobe Photoshop CS3 or higher are eligible for a special Creative Cloud membership that includes Photoshop and Lightroom for just $9.99/month (with an annual commitment). That’s like 75% off as it was previously $20/month for any single Adobe software title.

See the official announcement. If you’re new to this entirely, read the Creative Cloud FAQ.

UPDATE June 18, 2014: Adobe has made this a permanent package and it’s available to everyone now, you don’t need to have a previous license of Adobe Creative Suite. Get it here: https://creative.adobe.com/plans/offer/photoshop+lightroom

This offer only last until December 31st, 2013 and the package will renew at this lower price in subsequent years (unlike some of their other promotions for Creative Cloud):

For your $10 a month, you will get…

• Photoshop CC
• Lightroom 5.2
• Free updates and full version upgrades
• 20 GB of online storage
• Behance ProSite
• Access to Creative Cloud Learn’s training resources

This might be the right package for me as I’ve been waiting to upgrade to Lightroom 5 but have been pondering the Creative Cloud subscription that is typically $50/month. Since I do own an older copy of Photoshop, I have been tempted by the the 40% sale that’s been ongoing since the Creative Cloud launched. That promotion offer is for all of Creative Cloud at $30/month for first year and then $50/month thereafter (purchased annually).

I typically only use Photoshop and Lightroom but sometimes use Illustrator. I’ve also been curious about Premiere and After Effects (not that I have much time to learn those). For me, $120 a year for a perpetually up-to-date copy of both Photoshop and Lightroom is quite tempting (vs. a one-time upgrade for Lightroom for $80). Over 3 years it would cost me $360 whereas the full cloud offering would run me $1,560 (that includes the 40% discount in the first year). If I change my mind, I can always upgrade later.

Have you bought into Creative Cloud already? Might you now with this new package? Get it here before December 31st, 2013.

Adobe Photoshop CC + Lightroom 5 Now Available for $10/month was originally published in Learning DSLR on Medium, where people are continuing the conversation by highlighting and responding to this story.