72 Hours Left to Save on Luminar 2018 and Aurora HDR 2018


Luminar 2018 is probably going to be my choice to replace Lightroom when they release the free digital asset manager later this year since I do not like what Adobe is doing with Lightroom. I like the results I am getting with Luminar more often than not now that I am getting more used to doing less work, but it is a different editor.

Pricing:

  • Current users of Luminar may upgrade at a Black Friday price of $49 ($39 with FUJIADDICT Here)

  • New users can purchase Luminar 2018 for $69 ($59 with FUJIADDICT Here)

  • A collection of bonuses will also be included with every purchase.

Bonuses:

  • The Shootkit ebook

  • Preset pack: 20 Festive Texture Presets

  • 500+ Sky overlays for Sky replacement

  • Video tutorial “How to replace Sky in Luminar”

EXTRA Bonus:

  • “Capture: Adventures in Photography” ebook by Simon & Lisa Thomas, the world’s foremost adventure motorcyclists


Pricing:

  • Current users of Aurora HDR may upgrade at a Special price of $39 ($29 with FUJIADDICT Here)

  • New users can purchase Aurora HDR 2018 for $79 ($69with FUJIADDICT Here)

  • A collection of bonuses will also be included with every purchase.

Bonuses:

  • Deep Dive video tutorial from Trey Ratcliff

  • “How to create realistic HDR images” Ebook

  • 2 Preset Packs – 40 presets! Preset Pack 1 – Winter Vibes. Preset Pack 2 – Wonderland.

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Sony Only Second to Canon on Lensrentals Most Popular Gear Rented in 2017 List


Sony and Canon dominated the overall most popular photography & videography gear of 2017 at lens rentals. It’s pretty safe to say Sony is now solidly #2 overall in the professional market and gaining on Canon. It’s unlikely that they will surpass Canon this year, but it is coming and Nikon is being relegated to a nostalgia brand as companies like Fujifilm, Panasonic, and Olympus continue to take up market share in addition to Sony. While Nikon will likely never recover their market share it is still possible for Canon to hang on if they release something incredible in 2018. You can read the full article here.

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Sony CES 2018 is Coming… Set Your Calendars For Monday, January 8th 5:00 pm PST


Sony is live streaming from CES January 8th 2018 at 5:00 PST or 8:00 EST this year and there might be some exciting announcements. While CES tends to not be a camera-centric event Sony has been trying to keep up with other camera companies lately, which is why the Sony a7RIII was released when it was, to combat the D850. Now the Fujifilm X-H1 is coming in February and Sony might try to preempt it’s announcement in some way with a camera like the a7SIII if we are lucky.

Nothing is for sure and Sony has more flexibility than any other company to move around release dates since they are highly vertically integrated. Sony’s ability to control every aspect of their supply chain allows them to ramp up products for producing in a way that other companies can’t, especially since most companies rely on Sony for their sensors today. Production ramp issues have caused numerous delays in recent years, but to the best of my knowledge, Sony has never had an issue with this, beyond maybe yield rates on a new sensor, which once again they have complete control over resolving, unlike other companies. So Sony might surprise us at CES this year.

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Add to Calendar
01/08/2018 05:00 PM
01/08/2018 7:00 PM
America/Los_Angeles
Sony CES 2018
Sony CES 2018 live stream event
www.sonyaddict.com

via Sony

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DC.Watch Sony G Master Interview


DC.Watch had the opportunity to speak with Sony about their G series of lenses and below you can find some excerpts from the interview. Since the interview is translated I will do my best to clear up the language.

  • G Master lenses weren’t around when E-mount started because Sony focused on making compact/lightweight lenses for mirrorless since A-mount was pretty much complete.
  • The focus on compact/lightweight glass is why Sony released f/4 zooms, FE 55mm f/1.8 ZA and FE 35mm f/2.8
  • The release of the a7RII necessitated the development of G Master glass to satisfy professionals.
  • Similarly, the release of the Sony a9 required lenses like the FE 100-400mm f/4.5-56 GM  OSS be developed for sports and press.
  • Sony is trying to make their E-mount system complete thanks to the a9, which is why the development of the FE 400mm f/2.8 is actually ahead of schedule.
  • G Master glass is 100% developed by Sony with no compromises to get the best possible performance and bokeh.
  • G Master lenses are also designed for video functionality and the lenses coming were designed with the a7RIII and a9 in mind.
  • G Master lenses are Sony’s most durable and robust lenses.
  • Operational feeling, sound, image shake and focus movement are all taken into consideration for movies with G Master lenses.
  • Sony claims their G Master designs expand on what Zeiss has done for Sony in the past with lenses like the A-Mount 85mm f/1.4 from Zeiss.
  • Sony won’t flat out say their G Master designs are better than Zeiss and leaves it up to consumers to decide.
  • The only clarification given about the difference between Zeiss and G Master designs is that Zeiss designs focus on resolution and contrast, while G Master designs focus on resolution and bokeh.
  • G Master lenses are designed to a higher standard than G lenses like the excellent FE 12-24mm f/4 G and FE 90 f/2.8 Macro G OSS
  • It’s unlikely we will see G Master 35mm or 50mm f/1.4 lenses for at least 2 years since Zeiss versions of these lenses were released fairly recently and they are excellent.
  • The FE 100-400mm G Master is the only G Master lens currently made in Japan. The Others are made in Thailand at the moment.
  • Sony somewhat acknowledges that the very popular FE 85mm f/1.8 can rival the FE 85mm f/1.4 GM, but says the feal of the lenses also plays a part.
  • Sony thinks that the use of the 1.4x and 2x teleconverters will help fill gaps when the FE 400mm f/2.8 is released because the teleconverters don’t slow down the lenses ability to AF at all and you simply get more depth of field.
  • Lens development should outpace camera development in the coming years and lenses will become outdated after 10 years.

Via DC.Watch Interview Part 1

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RawDigger and FastRaw Viewer Now Support Pixel Shift ARQ Files


What’s new:

  • Camera support added:
  • Sony ARQ format support (these files are  4 single ARW files taken in Multi-Shot mode and stitched by Sony Imaging Edge software)
  • Exiftool updated to version 10.67

RawDigger Beta 1.2.24.550

New features

Apart from support for ARQ files, this version adds a convenient method for copying or moving files into subfolders.

FastRawViewer Beta 2 1.4.6

Posted in Sony a7RIII| Leave a comment

Sony a7RIII: Reviews and Holiday Impressions

There’s a lot of interesting Sony a7RIII testing going on right now and it’s kind of funny to see digital rev try to poorly imitate Kai, but for me, the difference between a good and bad camera begins with do I want to work with the camera. This holiday season I did end up grabbing the Sony a7RIII more than my GFX, which was a bit shocking at first, but there’s a good reason for it. The Fujifilm GFX 50S is often fast enough to grab a great photo and it has a unique look that I prefer, so for a portion of the holiday season I was carrying the GFX and a7RIII everywhere I went, but I found bursting kids at 8fps took some of the stress out of shooting kids.

If you have ever worked with kids it can be really hard to get one or two of them looking in the right direction at the right time, never mind 10 or 20 of them when they are hyper and running around. Almost no one stands still or says cheese where I live anymore because everyone is constantly hustling. This is where having a high frame rate camera really benefits me because I can ensure my kids and their friends have the best expressions in the photos I choose to share with family and friends. I can also photograph them playing football and can even play football with them while shooting. So the Sony a7RIII lets me capture a lot of unique photos that I would otherwise miss or not even attempt with the GFX.

That being said, no one was interested in the a7RIII again, but everyone wanted to see the Fujifilm GFX 50S. Fujifilm design draws interest from photographers and nonphotographers alike because it reminds them of the cameras they used when they were kids. Most people that haven’t been actively drawn to photography over the past decade thanks to the smartphone seem to be completely uninterested in Sony/Canon/Nikon cameras, but they like Fujifilm and I think that’s something the camera companies need to pay more attention too. The smartphone pretty much killed off the compact camera and it’s affecting low-end camera sales quite a bit now, but a more retro dial driven design might bring some of those people back to photography. The feel of a camera is almost as important as the images you can create with it and Sony still doesn’t have a great feel.

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Sony a7RIII: B&H Photo / Amazon / Adorama

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