Nastya | Fashion model Book review | Magazine publications | Shoots Details | ENG subs

Nastya | Fashion model Book review | Magazine publications | Shoots Details | ENG subs


let’s start with composite cards These I had in my trips This one is from Hong Kong Seoul And Shanghai. This compo card has only one side Talking about the photos. The agency just have have put to my bookt the photos I had at that moment Sometimes I couldn’t understand why… These are tests shot in St Petersburg And I went to my first working trip to Hong Kong with these photos OK… I didn’t have a lot og photos in my book at that moment – About 20 photos i guess? – Yes, something like that – So, most of the photos from your old book were tests and “magazine like” looking tests. – Yes, right, something like that So, next are the shoots from South Korea – Let me find it… – Finally I’ll have a chance to see this beauty! lol – Haven’t you seen any of it? – We only’ve looked at your publications online I haven’t seen the magazines themselves, haven’t looked through them 🙂 They have been seen hundrend times, so they look quite battered already What magazine is it? – Oh, honestly I don’t know the title… – Something local? – Yes, most of them are local Korean magazines And all the magazines I’ve worked with were really good. It’s a monthy magazines The weekly ones aren’t that good. I see most of the garments are for fall season. When were you in Seoul? I was there in winter time. And these publications have really helped me in my next trip in Shanghai I was in Shanghai… When was it? In spring time. And there were collections of clothes for autumn periiod too So all of my photos where I was wearing coats and other mid sesoned clothes were in my book in Shanghai I’ve been told once: if you don’t have photos wearing coats, Chinese clients just can’t imagine you wearing a coat. lol It’s crazy – Yes, I can see that these photos were shot in Korea… – Yes, and I would wear some of these clothes in real life… – As a lover of Korean fashion, I can totally relate Well, I don’t think these are Korean brands… But sure, you can some Korean sence of style here. The styling work speaks itself As you can see, I had a wedding shoot lol There are some strange facts about Korea too. They like to edit faces and overphotoshopping them – Yes… – Look, there’s nothing left of me on this photo – Yeah, they’ve just made of you a picture of Korean ideal beauty. I guess for the clients it didn’t matter how you look. They’ve just needed a perfect picture as a result I had 3 wedding shoots in Korea And I even’ve worket on wedding runway show this is my roommate lol So, it was an interesting shoot too. Here’s my roommate, then it’s me walking and me again it looks a little bit strange – Yes, you had many good jobs in Korea. Many publication can be added to your book. – Agree By the way, by the end of my trip, the agency have gave all of these magazines publication to me – Yes, it’s wonderful. – And they’ve even gave me a CD with all of my works It sounds like magic! Because many girls are asking models and just people who live in certain country to bring them magazines. The agencies often don’t pay attention to these things Even when I’ve been working in Paris Sme of the girls used to ask me to send the photos from our shoots to their personal e-mails, because the agency didn’t give them that photos And all those tests were paid, so it was such a surprise for me By the way, we shot this editorial in abandoned hospital I actually thought there are no abandoned buildings in Seoul, but I was wrong And the funny thing is… Not long time before we came There was a movie set there There was even fake blood left. Funny lol They’ve probably keep places like this specialy to use it as location for Korean horror movies lol Yes, or for the fashion magazine shoot Yeah, unexpected Oh, and it was kind of a luxury editorial We shot it in Dior boutique They’ve given me these bags and immediately took it back after each shot Were they scared that someone will steal them? I think they weren’t samples. So they’ve took it from the boutique for the shoot Oh, I remember that shoot. Is it from HK? No-no, it’s still Korean We had a really long road trip to this location To the mountains it was an autumn time, so the colors were so beautiful. And on my personal photos of the city too All of these colors look really poetic – Have you ever counted how many magazines shoots did you have? – No, I haven’t lol It looks really good! By the way, I was really happy with test shoots in Korea When it comes to free shoots, most of the times photographers try to create something “extraordinary” or very strange lol And when it comes to commercial shoots, they try to do something creative But in Seoul everything was fine So, here’s a magazines from Hong Kong. Where’s that shoot? – China…. – Yes – You can immediately notice that this shoot is from China – But I think it’s much better than a catalog shoot. – Yes, it’s much more interesting than just standing…. So, here’s more. Are there any reflections? No, everything’s OK So, China again I actually really like some of your shoots from Hong Kong Denim jeans… I don’t know why… So, I really “like” that half of my had is cut on this photo lol At least on the other photos I’m still with my head Which shoots were more common in HK? Luxury or Local brands? – I’ve noticed an H&M collection here… There were shooting for both local designers and famous luxury brands. Just everything I guess I was really happy that I finally got a chance to come to the sea Or the ocean… I don’t really remember what was it So, you were there during summer time? I remember you’ve told me there was a hot weather… There’s quite hot weather in HK almost the whole year. The winter isn’t that warm, but still… And if it’s cold, it’s really terrible because of high humidity there – Wonderful shoot lol – I think it’s actually really cute – I’d say it even reminds me Japanese style of shooting. – Yeah, they often eat something on the shoot lol I wound’t say they have too many shoots with food and eating… This shoot has reminded me Japan because they have so many magazines with such a cute shoots, pale tones in color palette, kinda country or village feeling… Natural material… Haha, I’m not sure in they’ve used organic material in HK though But it was a funny shoot, yeah And i even had a chance to play tennis lol So, it’s clearly Chinese style And these are stylist’s shoes I like the shoes, but the make-up, the eyebrows… Too “Chinese” – You know, partly it’s funny and I like it, but I would change few things too – Sure So, here are some huge format papers left Oh, the shoot from Korea with the dogs! Yes It’s just wonderful! lol – So, here’s an extraordinary shoot from Korea. – Yes, I don’t know why I forgot to mention it lol So, you can tell us few words about it now if you want I remember you’ve shown me the video from that shoot… Yes… The clients wanted the dog to put both of her legs to my shoulder, but the dog didn’t want to do it So, here’s only one… It was a little bit strange But the worst thing was that the dogs looked better than us lol – The girls hair matched the dogs. – Yes, those dogs’ hair was just amazing – So, you’re saying that the dog’s hair was better than yours? – Yeah, really The same shoot… This shot is from the pevious magazines too So’ here’s the hospital in HK. Yes, and here’s a dead cat’s body 🙁 – OMG, I actually didn’t notice that… – Yes, it’s a dead cat… There are bones left there… So, I look like a psycho here And I’m wearing a men’s suit So, here I look like i’ve hanged myself… lol Haha, these wonderful shoes looks like Japanese geta “The Ring” movie lol Oh, using watermelons on set is kinda common for Japanese and Chinese too Perfect! lol oh, and in this editorial all of titles and writings were turned upside down Yes, everything’s upside down I see And it was my first shoot in HK It’s a catalog for I.T Shop There are lots of I.T shops in Asia. They sell various brands Let me find that shoot… There’s something really original here Oh, yeah The craziness and mixture of everything But I think it’s cool – Was it a plastic material? – I don’t know… – They didn’t use that stuff on the shoot. – Oh, I see it’s a digital collage And every time we shot a new look…. I remember there were total 12 looks So, I had a different make-up and hairstyle for every look Next morning I woke up with terrible allergy and my eyes have just swelled up I couldn’t open my eyes I was shocked And the same day I’ve been told that we had to shoot snapshots. Yes, it was such a hurry The good thing is that in China you can shoot snaps with the make-up on Ueah, it always happens. Something’s coming up in the worst moment OK, thank you so much for these stories. It was really interesting. You’re welcome – Finally I’ve shown you this collection. lol – Yes, I’m really happy! 🙂

New image sensor – 35mm full-frame stacked CMOS sensor with integral memory | Alpha 9 | Sony | α

New image sensor – 35mm full-frame stacked CMOS sensor with integral memory | Alpha 9 | Sony | α


α9 key technologies
New image sensor for speed New image sensor for speed 35mm full-frame stacked CMOS sensor with integral memory Structual Differences
Conventional front-illuminated CMOS sensor Image processing engine
Pixel area
Hi-speed signal processing circuit Stacked CMOS sensor with integral memory Image processing engine
Integral memory
Hi-speed signal processing circuit
Pixel area 20x faster data readout α9 key technologies
New image sensor for speed

1. 20fps continuous shooting with AF/AR tracking Hi-end DSLR
14fps α9
20fps AF/AE tracking
60 calculations/sec. during
20 fps continuous shooting AF/AE tracking calculations 60 AF/AE tracking calculations per second α9 key technologies
New image sensor for speed

2. Blackout-free shooting Black out Blackout-free
Without mirror α9 key technologies
New image sensor for speed

3. Silent, vibration-free, anti-distortion shutter
vs. mechanical shutter/ vs. conventional electronic shutter Mechanical shutter Electronic shutter Shutter Speed

Mechanical shutter
Due to mechanical restriction Max. speed limited to 1/8000 sec. (approx.) Electronic shutter
Without mechanical restriction Max. speed up to 1/32000 sec. Silent/Vibration-free Mechanical shutter
Noise & vibration Electronic shutter
No noise or vibration Silent shooting Shoot
tense moments in silence Silent shooting
Shoot when absolute silence is required Vibration-free shooting
High resolution without blur caused by mirror slap and shutter shock Shutter Curtain Speed

Conventional electronic shutter
Relatively slow readout can result in distortion Anti-distortion shutter
Higher speed readout minimize distortion Distortioin Comparison
Conventional electronic shutter
Anti-distortion shutter α9 key technologies
New image sensor for speed

1. 20fps continuous shooting with AF/AR tracking
2. Blackout-free shooting
3. Silent, vibration-free, anti-distortion shutter
vs. mechanical shutter / vs. conventional electronic shutter Inspired worlds wait to be revealed

Medium Format Digital vs. 35mm DSLR Cameras – Which is better?

Medium Format Digital vs. 35mm DSLR Cameras – Which is better?


Hello guys Josh Geiger here. Product
photographer from Atlanta and instructor at photigy.com. Today we’re going to talk
about two types of cameras, 35 millimeter DSLR and medium format DSLR I like most
of you started out on a 35-millimeter system and its really all we’ll ever
need for the majority of our work but sometimes we find ourselves in a
situation where we need to upgrade or we’re looking to upgrade down the road
and when you start talking about systems like this you’re looking at big money
and it’s a good idea to have a little bit more information before diving
straight in when I was looking around online for more information about medium
format systems I found the basic information kind of hard to find if you
root around deep enough you can find you know a whole bunch of technical
information but I was really just want to start at the beginning the basics and
that’s kind of what we’re going to do today we’re going to break down each
camera system to their main parts talk a little bit about them and then we’re
going to dive a little bit deeper and do a pros and cons comparison we’re going
to look at some of the benefits of each system some of the negatives of each
system obviously it cost comparison maybe a little bit of photo comparisons
and you might be surprised at what you don’t get for fifteen to thirty thousand
dollars let’s check these out first we’re going to start with the 35
millimeter system that we’re all pretty familiar with but for those of you who
don’t know everything about these and we’re not going to go over everything we
are going to dive a little bit deeper and break this down so let’s go ahead
and do that alright so here we have a nikon d700 this belongs to a buddy of
mine i’m currently using my d800 making this video so it still gets plenty of
use this is a 12.1 megapixel camera it shoots like five to eight frames per
second and it’s a full-frame camera meaning that it’s chip is the same size
as a full piece of 35 millimeter film but that’s not all there is to this
camera so let’s take a deeper look inside okay
so looking at the 35 millimeter DSLR it’s pretty simple we have two main
parts here the body and the lens I’ll remove this lens cap real quick and a
lens hood and we see our front element our rear element and inside of this lens
we have aperture blades that open and close to varying amounts allowing more
or less light in which is actually referred to as your f-stop obviously the
more that is closed down the less light will come in the more open it is more
light will obviously come in looking at the body you can see inside here there’s
a mirror that mirror actually reflects the image up into the viewfinder behind
that mirror is the shutter curtain and the sensor when you press the shutter
button the mirror flips up the curtain does its thing in the sensors exposed
looking at the back we have our LCD screen which on the majority of new
DSLRs is really great our regular controls for the different functions
which will of course vary depending on the body that you have whether it’s
Nikon or Canon or any other brand that’s pretty simple LCD on the top for just
viewing more information and that’s the basics this camera actually happens to
have a pop-up flash most do and of course slots for memory cards and here
our battery slot very simple hasn’t changed much in a pretty long time with
the exception of maybe you know software options
and that’s it moving on from this we’re going to take a look at the medium
format system okay so now that we’ve seen the 35 millimeter system we’re
going to do the same thing to this here we have a medium format DSLR the body is
a mamiya 645 DF they also make a DF + and you’ll notice too that you see
cameras that look just like this thats a phase one on them phase one I believe
purchased mamaya leaf and so they produce the same bodies with you know
the different name on them I think now they might actually all be phase one but
it’s the same camera here we have the digital bag this is a leaf aptus to 10
it’s 56 megapixels and the chip in this is a little bit wider format then is
typically found in other medium format digital bags also you’ll notice that the
battery on this is external on newer backs a lot of the batteries are
internal which is kind of nice and it also helps with some weather proofing
I’m not sure I think they have some weather proofing digital bags not
positive anyway that said let’s take a deeper look inside this what I’m going
to do first is just go ahead and break these pieces down and then we’ll talk
about them individually so getting started I have here a really right stuff
L bracket on here so I’ll remove that and then I’ll remove the battery so we
can just set this down flat make it easier to deal with if I can manage to
get this piece on here oh that would help wouldn’t it okay so first let’s
take off the lens it’s a little bit different than we’re used to on the 35
millimeter systems normally you’d have a button on either side of the lens that
you would press and rotate the lens off here the button is actually over here
which is actually kind of dangerous because I’m always afraid I’m going to
hit that which is partially do I keep that L bracket on here it kind
of blocks that but anyway moving on let’s take that off for a second and put
the cap on and then our body we will remove our digital back and I’m just
going to put the cap on that real quick while we talk about some other stuff I’m
just a little protective of that to keep the chip clean so looking at this body
obviously it’s bigger than the 35 millimeter body but the first thing we
notice is we can see straight through it it does still have a mirror in here and
actually a focusing screen but when you take off the back it automatically flips
up it really works just like a regular 35 millimeter DSLR the only real
difference is the chip comes off the back there is a shutter in here it just
so happens that this lens is a mamaya sec or d schneider leaf shutter lens and
what that means is is unlike the 35 millimeter lens this not only has
aperture blades it also has its own built-in shutter which has its own
blades they call Leafs and the benefit to this really is just that you get very
high sync speeds on this it actually sinks up to 116 hundredth of a second
which can be quite handy in a myriad of situations but setting that aside again
with the rest of this body we have our LCD screen our control knob
your regular array of scroll wheels and doodads for changing your different
options and then actually i’ll move this over here here we have our digital bag
this is pretty cool because it’s basically a little computer what we have
here is our normal LCD screen on the back which as I said we’ll talk more
about in the pros and cons it is a touchscreen LCD this particular back is
a firewire tethered support back some of them will do USB 3 even some of the
newer ones you’ll get Wi-Fi support for tethering which is really nice but we’re
moving that if we put the battery back on you can see we have an external
battery some of the new digital backs have the bit battery um built in which
is kind of nice it just reduces a little bit of the bulkiness and then let’s just
take a look at this chip for a second look at the size of that bad boy typically a full frame medium format
chip is going to be twice the size of a 35-millimeter chip and without getting
too specific into technicalities here basically what that means is larger
depth of field more sharpness and all-around image goodness but breaking
them down they’re really pretty similar to the 35 millimeter systems biggest
difference being this little computer pops off the back and is incredibly
expensive so I guess now we’ll get into the meat of this situation which would
be the pros and cons where’s one beat the other and let’s do that now okay so
now that we’ve broken down both of these systems and taking a look at their main
parts we’re going to do a little pros and cons comparison let’s start with the
35 millimeter system first it’s got an accurate auto focus it’s fast it’s
accurate there are tons of auto focus points on the majority of these DSLRs
and having the ability to fly around the viewfinder with your selection wheel and
just pick a specific thing that you want to focus on is a real big help
especially if you’re looking through the viewfinder it’s sometimes hard to see
and check focus visually so the electronic focus check is pretty much
imperative if you’re not tethered to something with live view also is OS in
these cameras because of the chip they use the iso range is incredible most of
them come around standard or native a hundred ISO and go upwards of you know
6400 and then ridiculous numbers above that high one high 2 & 2 just crazy
numbers I normally wouldn’t go above 1600 iso I just happen to like it’s
clean of images as possible I know some people like noise especially in black
and white photography but needless to say the ISO ranges in here
are great and you can get some really clean photos with iso s in the four six
eight hundred range and that’s real beneficial in low-light conditions also
the capture rate another benefit to the chips and knees is that they can capture
images faster like I said this camera i think will do five frames or so some of
the higher-end cameras will go upwards of 10 or 11 frames a second which is
just so fast rear displays on these cameras talking about our LCD they’re
great they’re bright they produce color nicely which leads us into the other
thing is that a lot of these you can do video and having a nice screen that’s
got a high resolution is good to have when you’re doing video work easy access
to controls there’s tons of buttons on these cameras everything’s pretty much
right at your fingertips that’s really nice not having to dive down into menus
and select around and find what you’re looking for and make your adjustment it
just speeds up the workflow quite a bit weatherproofing most DSLRs are going to
have some degree of weather proofing I wouldn’t soak them in a tub or anything
like that but I’ve seen plenty of instances where in a light drizzle or
something you don’t really have to worry about it I’ve seen other instances where
somebody left their camera outside in a storm and it was just soaking wet and it
survived I wouldn’t suggest that but I’ve seen it done and they’re not too
expensive for what you get you know you can get upwards of probably seven or
eight thousand dollars on a high-end DSLR body and 35 millimeter format but
really for somewhere between you know one and three thousand dollars you can
get a really nice camera it’ll do pretty much anything you needed
to do and there’s tons of lenses available form a lot of manufacturers a
lot of specialty lenses macro lenses tilt-shift lens is really that kind of
boils down to the markets just so much larger you know when there’s a lot of
people out there with these cameras that’s a lot more customers out there
for companies to create products for I guess that kind of brings us to the
negatives the downsides I don’t really consider it a downside but when you’re
comparing it to a medium format system you could say image quality nowadays the
images you get out of these 35 millimeter systems are incredible but
you do get a little bit more out of a medium format camera they’re difficult
to clean as we saw earlier when you break one of these down and you look
inside you know if you want to clean the sensor you got to lock the mirror up and
then get a light so you can see what you’re doing down there and you know
special tools and there’s oil in there for the mirror to flip up and stuff and
you don’t want to touch anything and smear oil inside and it’s just really
kind of a hassle to get in there and most people actually suggest you just
have them done professionally I’d call that a downside and I guess probably
least of the worries is if you’re dealing with high-end clients or
something like that they’re just not that impressive you know a camera’s a
camera is a camera but if you’re dealing with a client it’s used to walking in
and seeing somebody using you know either large-format cameras or medium
format DSLRs and they come in and they see a 35-millimeter DSLR it doesn’t mean
you can’t do the job right or produce images they want necessarily but it
might make them feel not as comfortable as they were when they originally hired
you for the job but I wouldn’t let that hold you back that’s not reason enough
to upgrade to a medium format system that said I think that’s probably all
the cons that I could come up with on these things they’re just great little
cameras wonderful and I guess we’ll move on to
breaking down the medium format let’s go okay so now we’re going to do the same
thing with the medium format DSLR first the pros I would think that the first
pro that I have with this is if you’re going to work a system like this you
have to have a digital back and by having the digital back you have more
versatility because one thing that we know is you can take the digital back
off and put it on a technical camera that just opens up you know the
possibilities of what you can actually do with the equipment and that’s just
amazing of course the image quality you’re dealing with a sensor that’s
twice a size as a 35-millimeter sensor and that’s going to produce shallower
depth of field it’s going to capture more light it’s going to be sharper and
of course that’s all the stuff we’re going for but what it also does is
provides more color information more accurate color representation larger
dynamic ranges you know from the blacks to the whites you know you’re looking at
12 14 stops of dynamic range and easy to clean you know when you take that back
off that chip sitting right there you just get your swab wipe it clean it up
brand new of course you know it’s impressive that’s just kind of a little
ego driven thing there I guess and you have great lenses available on these
things now you don’t have the range of lenses like you do in here which will go
in the con list but the lenses you do have available for these are superb
they’re sharp they’re crisp you have the leaf shutter options in some of the
lenses they’re just magnificent and of course another thing that’s not
necessarily a benefit of the camera itself but when you get into a system
like this is the customer service you get from the company that you purchase
from I don’t know about all of the you know different companies and plans
available and stuff like that but I know that if something goes wrong with this
camera I can have it taken to the shop I’ll get something to use in exchange
for it it’ll be taken care of in no time and ship back to me I’ve heard some
horror stories of course on both sides and you can’t win them all all the time
but I have heard a lot of bad things about new models and cameras that come
out in the 35 millimeter world my d800 when it first came out had some issues
and luckily I ended up with a model that came out after those issues were taken
care of but I haven’t heard of that many issues out of medium format systems I
would think that’s mostly because when you have a customer forking out that
kind of money the last thing you want is for them to be angry with you because
you didn’t give them a functioning product that said I’m only saying that
because I personally haven’t heard of any of those issues and then I guess
we’ll get to the cons the bad sides and you might be surprised at some of these
a they’re super expensive no kidding no surprise the lenses super expensive
maybe a little bit of a surprise but um I guess it should have been expected
right working with these you have a single focal point unlike these where
you look through the viewfinder and you have a ton of little boxes and a ray to
choose from and you can flick it around in there and get whatever you need in
here you have one circle in the middle of the frame that’s your focusing point
you do have the ability to kind of decide where it’s going to weigh you
know where it’s focusing so I’m like the edges of the focusing circle or the
center of the focusing circle but you can’t move it around the frame and when
you’re shooting something like this with a shallower depth of field that becomes
even more difficult because if you have to say focus and recompose
you got to be really careful doing that because the slight change in your
recomposition can completely blow your focus so it’s not the easiest thing in
the world to deal with of course again if you’re shooting tethered and you have
a live view saying capture one or some other similar program and becomes less
of an issue I so capabilities basically I wouldn’t use this camera on anything
over its native iso 100 if I have to I might put it on 200 but like I said I
like clean images but these things produce a lot of noise I think it might
go up to 800 iso and that’s just completely unusable so you’re not going
to be using these for sporting events low-light situations you know and some
soccer in a field at night of your family you’re definitely not going to be
getting photos with this guy you’re going to want to take something like
this with the long wide aperture lens and just have a blast and capture rate
you know on these we were talking about five frames a second upwards of 10 or 11
frames a second something like this you’re looking at one frame a second
maybe one point zero five frames per second something like that but uh
they’re slow and I think a lot of that has to do is just how long it takes to
process such a large image image file it’s it’s not really that big of a deal
for the kind of work I do if your still life photographer or something like that
but you know if you’re shooting say hi fashion or something and you’ve got a
model that’s there’s just a whole bunch of energy and she’s going through these
tons of poses and you want to be able to capture as much of that as possible this
you’re not really going to be able to do that with you know it’s going to be
click click click and that’s about as fast as it’s going to get the LCD screen
on the back of these cameras I’m not going to say this about the new ones
because some of the newer ones the Krytos and the IQ to
forties or two 80s or 2 60’s or whatever they are probably have really nice
screens on them I haven’t had my hands on one yet but I do know that the older
digital backs or even some of the newer versions of older models like the Aptus
series from leaf the screens just aren’t very good you get a lot of banding and
gradients and stuff like that for color representation and it’s just kind of
difficult to deal with the touchscreen is nice but you end up with fingerprints
all over the screen and I find myself having to wipe it constantly and no
built-in live view some of the newer ones do like I said the sum of the
Krytos and the IQ series from phase have live view built in and I can tell you
that would definitely be at the top of the pro list if I had one of those but
as of right now it’s got to sit on my con list because it’s in the majority of
the older more affordable digital backs that you find the lower quality screens
and accessing some of the controls you know if you take a look at this you
don’t have all the buttons that you had on this I mean it’s just buttons
everywhere on this thing here you’ve got a knob you know your dial of three or
four buttons here and a button here you know what I mean the rest of it is in
your digital back so if you want to change your white balance or your ISO or
any of that kind of stuff you have to go in here route into your menu or whatever
it is go to wherever it is and you can set up a favorites folder that has your
most accessed options and that’s pretty convenient but still it’s not really as
easy as just pressing the button scroll to where it is and you’re good to go I
find with this I don’t have to really look at what I’m doing when I’m making
changes with this I do and complicated custom settings you know over here it’s
pretty easy to set up custom menus and settings but over here when you get into
the customizations nothing’s really named
intuitively it’s like c1 c2 c3 and then there’s all these just different
categories that don’t have even abbreviations that make sense so you
kind of to keep a little cheat sheet with you or something that tells you
what they all mean if you play with that kind of stuff a lot I find myself not
doing that I tend to just keep it in manual hundred iso and then I’m just
messing with you know shutter speed and aperture and even shutter speed not that
often because I’m using you know strobes and I typically keep it a it max ink so
that would be that talking about the lenses again you know I said that with
medium format the lenses that are available are incredible but where you
have a problem is there aren’t that many available at least not in comparison to
35 millimeter there are a couple tilt shift lens available a couple of macro
lenses available but really the choices are fairly limited good news is the
choices that are there are superb they’re also incredibly expensive I
think I say like a 85 millimeter tilt shift lens from Schneider or well let’s
go with Nikon which is pretty much just as good it’s 90 millimeters from
schneider i believe the 85 millimeter tilt shift lens from nikon is going to
run you a couple thousand dollars and that’s expensive but it’s a great lens
and it will do what you needed to do however on medium format the 90
millimeter Schneider tilt shift I’m sorry 120 millimeter Schneider tilt
shift lens is depending on where you get it going to run you somewhere between
five thousand and six and a half thousand dollars that’s pretty expensive
likewise just regular you know leaf shutter macro lenses 120 millimeter from
the same company you’re looking at four grand ish four or five thousand dollars
so it’s very expensive but you do get the quality out of that and that pretty
much wraps up for this pros and cons when I only
had my d800 system when I was dreaming about having a medium format system I
kind of expected that if i was going to fork out that kind of money everything
would just be better that this all the options that you had in this would
transfer to this and it would just do the job better maybe even provide me
some new trickier options that weren’t previously available in this kind of
system that turned out not to be the case actually a lot of the things that
are available here are not available here and when they are available here in
a handful of instances they actually don’t perform as well as they do in the
35 millimeter system so as I said at the beginning of this you might be really
surprised at what fifteen to thirty thousand dollars won’t buy you in a
future part of this series we are going to compare a medium format DSLR system
with this digital back on a cambo Ultima monorail camera and we’re just going to
compare the pros and cons of using both of those systems obviously using the
large format system is going to slow things down a bit but it might get us
some really nice results that we don’t expect to we’ll see I’ve been Josh
Geiger with photo gcom and we’ll talk to you later

Arzopa 10 inch Widescreen Digital Photo Frame Review

Arzopa 10 inch Widescreen Digital Photo Frame Review


Hello and today we’re going to take a
quick look at the Arzopa 10 inch digital display, this is available in white or
black trim, quite a nice thin frame. Around the back you’ve got some controls
in case you lose the little remote that’s included and you can use this
with an SD card USB or it also has an HDMI in. Frame can be wall mounted or it
can be stood up and I must admit I was a little bit confused because in the
provided manual it says there’s a screw in stand, but this wasn’t included
in fact you just get this little round stand and that just has these little
bits that you attach and that allows you to then stand this upright it stays nice
and firmly in place and looks really nice when it stood up. It is branded at
the bottom and there’s a little IR receiver you’ll need a memory card, I’m
going to be using an SD card, that just slots in the back and it’s hidden out of
sight unless you turn the frame around. The
included remotes quite chunky but it does the job it comes with the battery
pre-installed and it allows you to navigate around the frames menu from
afar, it’s got a little IR receiver on the front. You can choose to select
photos music video or calendar, there’s also the option of going through the
settings. Once you’re selecting your photos you can see it’s actually showing
folder views so if you wanted to just have everything in one folder that’s
probably for the best or if you want a particular selection of
photos you can do that as well by splitting them into folders. Once it’s
playing you’ll see that the photos themselves look really good I think from
any angle these look great and you have the option of zooming in if you want to,
so you can zoom right in, you can also rotate the picture around and you can
zoom out a little bit as well so if it’s a wider shot than is shown on the screen
you can zoom right out and you’ll have the black bar on the top bottom or
around size depending on the picture size. You’ve got a lot of options in the
settings menu so you can change the time that’s pictures are shown you can have
different modes repeat modes if you set the time correctly that also allows you
to have an auto power on and off which I’ll show you in a second. I think out of
the box the brightness, contrast, etc are fine but if you’re not quite happy
with them you can just those as well. This doesn’t have any kind of proximity
sensor so if you want it to turn off by itself you’ll need to go in and set the
auto power setting so you set the hour on and then the hour a minute off and
once that’s done it will automatically turn itself on or off. As you can see the
pitch quality is very good on this this were photos shot using a one plus five
and they’re coming out really nicely on this ten inch frame the colors in
particular great it was a beautiful day as you can see sandy beach, nice blue sea,
blue and red’s coming out there for the parachute the sand color is all good. One
thing I wasn’t so keen on was if you are using the video mode if you don’t
want to hear it you have to put it right down but if you put it to mute, mute
stays on in the top left corner and that’s a little bit annoying. So there you go overall a very good little photo frame for the price I think pictures look very good, video also very good as you can hear the speakers are a little bit tinny But it’s nice to be able to review old footage if you want to. I hope you’ve found this short review useful, if you have please consider hitting the subscribe button. I’ll see you next time!

Cinematic Retouching Deep Dive: Exploring Photography with Mark Wallace

Cinematic Retouching Deep Dive: Exploring Photography with Mark Wallace


Hi everybody welcome to another episode of Exploring Photography right here on AdoramaTV, I’m Mark Wallace and in this episode we’re going to revisit some post-production I did in an episode a few weeks ago, because I sort of got into a little bit of trouble because I didn’t show what I did. So I made this, ah really interesting video about emotional portraiture but because we didn’t have enough time, I didn’t show all of the post-production and instead I just smashed it all together and showed this really quick video clip and a lot of people have written and said “hey what the heck? Can you slow that down and show us what you did step-by-step?” And so first let me just show you this clip that got me into all the trouble. These images look great, straight out of the camera but they look even better with a few Lightroom adjustments, I took them to the next level by jumping over to Photoshop and doing some skin retouching and then I took them over to the Nik software collection specifically Analog Efex Pro 2, to add some texture. Now while I was in Analog Efex Pro 2, I discovered that the images, because of the color contrast, well they just lend themselves to all kinds of fun and so once you shoot your images like this, try some post-production to see the different effects you can get by just using the presets in Analog Efex Pro 2, you can get some startling results and it’s free software so why not play. I created my own Custom Preset and here are my results. Alright well I sort of liked the clip because it was fast based and it had some groovy music but so many people have written to me and asked me to slow it down and show the steps. Now the steps involve Lightroom, Photoshop and Nik software, specifically Nik software’s where a lot of people wanted to know a little bit more because one of the issues with Nik software is its destructive. Once you make changes to an image it sticks and then you can’t go back and change it, except there is a way to make it non-destructive, where you can make changes to see if you like them or not and if not, to go back, reverse it and make small minor changes, but that requires a jump through Photoshop and so that’s what I’m going to show you. I’m going to go back and revisit all the retouching that I did on those images but I’m going to show you the step by step process, so you can apply this to your post-production. So let’s hop in, right now we’re going to be using a technique called round-tripping and this is going to allow us to repeat our process, so if we have future photo shoots who want to do this all over again. We can repeat everything we did in the past. It’s also going to allow us to do non-destructive editing, so if we change our mind about how we’ve done something, we can always go back and change things to the original file without doing any damage. This is a four step process. We will begin in Lightroom, we’ll do our color and tonality changes, then we’ll hop over into Photoshop. In Photoshop we’ll do some basic skin retouching and then take our image into Analog Efex Pro 2. In Analog Efex Pro we’ll use a preset that we can use over and over. We’ll do some custom tweaking, then we’ll go back into Photoshop to save our image, which will then take us back into Lightroom where we can do our final Tonal Corrections, Color Corrections, Cropping and adding advent yet. So let me show you how all of these steps work together, you’ll notice in our final edited images they start out as .DNG files, this is what comes out of my camera, but they end up as Photoshop files. That’s one of the by-products of the round-tripping that we’re going to go from Lightroom over to Photoshop, to Nik back to Photoshop and then back into Lightroom. So they start out as one file form, at the end as a different file format, but because of the way we’re doing this, that’s okay, it’s still non-destructive. We can go back in the future and fix everything up or change things if we want without damaging anything, so what I’m going to do here is; I’ve selected two images and these haven’t been retouched at all, so we’re going to take this first image, we’re going to do all of our processes, all of our four steps and we’re going to do that a little bit slowly, so you can see exactly what’s going on and then really, really rapidly, what we’re going to do is, we’re going to apply all that stuff to the second image, so you can see how we can repeat our process and once we have it set up once, we can do it over and over again very, very quickly. So let’s start with step one. We’re going to go into Lightroom’s develop module. Remember we need to do our Color and Tonality changes and so I’ve already spent a lot of time figuring out all the values that I’m going to be plugging in here, so I’m going to be going through this to save time pretty rapidly, but normally you would take some time to adjust things. The first thing we want to do is we want to change our Color Temperature and our Tonality. Remember we want this blue background to really play with the warm colors, the oranges and the yellows and the reds in Nikki’s hair and clothes. So what I’m going to do here is just to take this Color Temperature down to 3000 Kelvin and then I also know that there is a shift here in our tint and so I’m going to make that 24. Again this took me a little while to figure this out but there we have that blue, really starting to pop. Now what we need to do is, we need to fix our Tonality, so the exposure here, I’m going to take that down by a just over 1/3 stop so -0.35 then I’m going to adjust the blacks down to about 44. I usually start with the exposure and the blacks just to start getting contrast, to know where I need to fix things. Now that the blacks are down this far, we’re going to start to see our shadows becoming blocked up so I’m going to open up those shadows to about 34 which is just about opposite of what we did with the blacks, then our highlights need to be fixed just a little bit so we’re going to take those highlights up to about 31. Remember I’ve played with this over time, so normally I would take some time, to sort of, fiddle with this and see exactly what I want to do. The other thing I want to do is take the Clarity Slider, I’m going to bump that up to about 16, just a little bit more clarity something I wouldn’t normally do with the portrait, but these will you want them to be gritty and really sort of clear, so we’re going to do that here. My default Vibrance is set to plus 15 for this camera so normally you might have to increase that, but that’s nice and vibrant. The other thing we want to do, remember there’s a background here, this blue background, we really want to play with that. The nice thing is in our Saturation Slider here on the HSL we can take that and we can just take this blue slider, take it left or right and you can see, we’re just affecting that blue background, so I’m going to take that up to +38 to really make this blue background punchy. Okay we have done all we need to do in Lightroom. We have done our Color and Tonality fixes. Now we want to do some effects. We want to add some grain and some grit and even more clarity to this, so to do this, what we want to do is do it in a way that we can recreate it and make it non-destructive, so instead of going straight over into Analog Efex Pro 2, we’re going to go into Adobe Photoshop CC 2018, so I’m going to click on that and then this is going to open up in Photoshop. We’re going to give that a second to do that, okay now we’re in Photoshop here, what we can do here, so I’m going to fill this frame, I’m going to duplicate this background layer, so we can do our skin retouching, so I’m going to do command or control J. I’m going to rename this layer to Skin Retouch, okay, now I’m going to go in here, go into full size, normally I would take, you know, as much time as I needed to do all the skin retouching but we’re just going to do a few quick fixes here. I’m using my Healing Brush tool, maybe I’ll get rid of Nikki’s little nose ringy, thingy here just to show you some things. We’re not going to spend any time doing some real skin retouching but this is where you would do that. Okay let’s say that our skin retouching is finished. We’ve got that done, if we need to go back and change anything we’ve got a layer just for our skin retouching. What we need to do next is duplicate this Skin Retouch Layer, so I’m going to do again command or control J, rename this layer to Analog Efex. You can name this whatever you want but this is where Analog Efex Pro effects are going to be applied. So what we’re going to do now, make sure you have this layer selected, we’re going to go to step 3. We’re going to click on filter. We’re going to go to Nik collection Analog Efex Pro, so we’ll click on that. That is now going to open Analog Efex Pro and apply your last used effects or camera or whatever you have, so it’s not going to be exactly what we want, right off the bat. We’re going to have to do some changes and good for us because this doesn’t look great. I need to give you a warning really quickly. If you’re using Adobe Photoshop CC 2018 there is a glitch with Analog Efex Pro and the Nik collection and Adobe Photoshop CC 2018 where things don’t work the way they used to, so go down to your settings in Analog Efex Pro and you need to go here and change one thing and that is, after clicking okay, make sure you have this set to; “apply the flter effect to the current layer. That’s not the default but if you don’t do that, you might have a crash in your editing. You don’t want that, so make sure you go to settings after clicking okay, apply the filtered effect to the current layer, that’s why we duplicated the layer. That should fix that little glitch. Okay after you do that once, you’re all set, forever hopefully. Okay now, what we need to do now is we need to create a Preset that we can use over and over, and over again for all of the photos we want to look the same way, so what we’re going to do here is, we’re to go to cameras. We’re going to go click this little right arrow here and we’re going to go to camera kit. Now we’re going to get rid of all the stuff that’s over here already, so I’m going to get rid of Dirt and Scratches in Lens Vignette and Film Type, whatever you have selected just get rid of it, so all you have are the Basic Adjustments. Now for the look that I want to use for Nikki and this stuff what we’re using is Basic Adjustments and we’re going to be using some light leaks, so I’ll add that and we’re going to be using a Photo Plate okay, that is, those are the three things that we’re going to be using to make the effect that I want. so what we’re going to do here is, I’m going to turn off light leaks and Photo Plate. I’m going to go into our Basic Adjustments and I’m just going to set these to what I’ve already figured out here so detail extraction we’re going to have that at 16. Again you’re going to spend some time doing this to make it look exactly like you want it, so this might take you in reality an hour or more. So I’ve already done that, I’m just going to type in the values that I already have and so our saturation is at 9, you can see exactly what I’ve done here so that’s the Basic Adjustments that we’re going to use on this. Now I’m going to go into my Light Leaks and I am going to use this really dynamic Light Leak, this guy right here and we don’t want it to be so powerful, so we’re going to take that strength down to about 15% and then the other thing I’m going to do with this Light Leak is, I’m going to move it up over here, so it’s just very very subtle that looks good and then the last thing I’ve done here is, I’ve added a Photo Plate and the Photo Plate that I’m going to be using is a corroded Photo Plate, this guy right here and we’re going to set that string to about 53, that’s what gives us that really grungy look. Alright so now we can go, zoom this in 200%, you can see we’ve started getting that really grunge cool effect that we like, now that the basics are set up, I need to save this as a Preset and so over here on the right hand side you’ll see this little button that says Save. I’m going to click that and then I need to name this something so I’m going to name this Nikki Grungy, Nikki Grungy. You can name it whatever you want, then I’m going to click okay. Now all of these settings are set you can use them over and over, and over in the future and they’ll show up in our Custom Area over here and so you see now we have all these different things that I’ve named in the past. The one that is selected is this guy right here; Nikki Grungy and that’s all good, okay. We’re going to use Nikki Grungy on our, all of our future edits of this but one of the things I don’t like about this, is if we go into 100% you can see that this Photo Plate is on her face and so we’ve got texture on her face, I don’t want that and so what I can do here is go into the Photo Plate or whatever different effect that you’ve added and you can click this, this little Disclosure Triangle here to open up the control points, now I can add a control point so I’m going to click on that and go over here right on her face, click and so what I can do is the top slider, I can set the size of this so about that size and then I can say the texture strength so I want that to be zero so I want this to have none of that Photo Plate so I don’t want that texture on her face. If we zoom in you can see that it’s removed it from here. We still have a lot of it over on the edges, so what I need to do is add a bunch of different control points. That’s very, very simple to do. Once you have your first control point set let me go back out here. You can click alt or option right on the control point, drag it over and it copies it so you can just do this really very quickly. Maybe you can make one down here, that’s a little bit larger so I’ll increase the size of that, however take some time to put these all over and we’re not going to save these as part of the preset because your subject is not going to be in the same place or size in the frame and so you want to do this later on. Okay. we’re going to call that good, if we zoom in you can see that now the texture is not on her face but it is blending in on the side. That is great now all we need to do is click on OK and we have just successfully finished step 3. So we’ve gone from Lightroom to Photoshop, into the Nik collection now we’re round-tripping back into Photoshop. Now you see we have this Analog Efex Pro layer right here that we created. All we need to do now is save this, so command S, ctrl S to save. What that’s going to do is save our new Photoshop file into Lightroom and now we can do our 4th step. We can do our final color, and color and cropping, and all of that stuf, so once this is saved we’ll get right on that. Okay this is saved, I’m going to close this out of Photoshop, hop back over here into Lightroom and now you can see here is that file, so here’s the edit PSD. It creates that automatically, we want to do some final tonality changes, you can see here we’ve got all of our grungy effects and everything, I’m going to go into the develop module hit D, to get into the develop module and we’re going to do just our final fixes here, so the things that I want to do here is I want to first fix our, our tonality here, so the blacks we lost a little bit of that juiciness that I like, so I’m going to take that down to about -37, I’m going to take the Exposure up by about a third stop, just to make this a little bit punchier so that’s starting to be exactly where we want to go. I’m going to go back down here to our Hue Saturation and Luminance panel, I’m going to take the orange down just a little bit because we got a little bit orangie, when we did that processing and we’re going to take the yellow, we’re going to take that up, way up, we want that atomic blond kind of look which I really like, so you can play with this. That’s the fun of this kind of imagery, you can make it anything you want. The other thing we need to do, this was a Photoshop file and so it needs to have a little bit of sharpening, so what I’m going to do here is, I’m going to zoom in to 100% just so we can see exactly what we’re doing and then I’m going to sharpen this up to about 39. Again this is stuff that, I’ve already played with, so when you’re doing yours, you might take you a little bit longer to do it, and that looks pretty good, I think when we zoom out that looks pretty good. The other thing that we’re going to do here is we want to add a vignette, so I’m just going to go down here to my Effects panel. I’m going to take this vignette down to about -23, something like that, just burn in the edges a little bit. I’m going to leave everything else, all the defaults set to normal and there you go, we just went from start to finish and now what we want to do, is we want to repeat this process. Well the good thing is we’ve set everything up to be repeatable, so how do we do that? So here is our first file that we started with, this is our DNG file, so I’ll make these a little bit larger so you can see this. What we wanted to do is we want to take the Lightroom step 1, Tonality and Color changes and if, and copy and paste those over to this other .DNG file, so I just click on this, then command click that, then go down to the right hand side, sync settings, I’m going to check everything click synchronize, boom now that’s done, now I can right click, go over here to say edit in Photoshop CC 2018, that’s going to take us to our second step and jump us over now that we’re in Photoshop here, we’ll go and make this really nice. We’ll duplicate this, we will rename the skin “retouch”. Then we would normally go in and do all of our skin retouching. I don’t want to take too much time here, so I’ll just do one little skin retouch right there, okay, let’s call that done. Then what we’ll do is we will copy this layer, we’re going to call it Analog Efex Pro, great now what we’re going to do here is we’re going to go filter Nik collection Analog Efex Pro 2, we don’t have to do all the stuff that we did before because remember, we saved this as a Custom Preset, it’s a little recipe that we can use over and over, so what we’ll do is as soon as this loads in on our custom cameras over here, we’re going to go find Niki, Niki Grungy, there we go, BAM there’s our Niki Grungy Preset, so all that stuff we did before, it’s already there, all we need to do is we need to go into this Photo Plate, now she’s not in the same place that she was before and add our control point, we’re going to add this control point, take this down, make this a little bit larger, there it is and then we can go through very quickly and spend the time to get this right, so we take all that stuff off. I’m not going to spend all the time to do that but you can see where we’re going with this. Once we have that done you can click OK. That’s going to take us back into Photoshop. Now that we’re in Photoshop, I’ll double click this so it fits, all I do is click Save. That’s going to take us back over into Lightroom, that’s all saved, so when it closed that out, zip over here to Lightroom, here’s our Photoshop file from this, so what we’re going to do is we’re going to take this Photoshop file click on that command or ctrl click, then second, sync our settings. We’re going to say check all synchronize blam! Everything we did with that is done, so you can see that this is very, very quick. The other thing that I would normally do here is add a crop, so in the video I think I crop these to 16X9 to make them cinematic, so I might do that as well. There you go I want to apply that to this guy over here, command click, sync settings, synchronize BAM. Now they are synced. There you go. Those are two final processed images. Well I hope you’ve learned a few things in this episode, I think you’ll agree that it’s beneficial to have Lightroom and Photoshop because you can do some things that you can’t do when you have Lightroom all by itself. Thanks so much for joining me, I want to remind you to subscribe to AdoramaTV it’s absolutely free, that way you won’t miss a single episode, also check out the Adorama Learning Center and follow me on Instagram. Here’s my Instagram for you right here. Thanks so much and I will see you again next time.

シンガポール航空スイートクラス搭乗レビュー! シンガポール – 上海 |  空の上で最高の贅沢を満喫 (Singapore A380 NEW Suite Class Review ENG Sub)

シンガポール航空スイートクラス搭乗レビュー! シンガポール – 上海 | 空の上で最高の贅沢を満喫 (Singapore A380 NEW Suite Class Review ENG Sub)


Hey, it’s Kaz. Thanks for tuning in today.
At last the day I’ve been counting down have arrived! Today, I’m at Changi airport in Singapore. I’m about to check-in at Singapore Airline counter to take a flight to Shanghai. Today, I’m gonna check out Singapore Airline’s suite class which is one class above First Class. ow I’m going to go to the first and suite class customers only check-in counter. After checked in, I will move to the Private Room which is a very special lounge and relax. Are you ready? I am! ere is the First class and suite class customers check-in counter. This check-in counter is similar to Z counter; however, there is no direct access to this counter in the airport building. Straight forward from the check in counter is security check. You can see the Singapore Airline lounge from the security check point. heck out my review of Private Room which is located within this Singapore Airline Lounge. The card on the upper right corner will take you to the video. Singapore Airline offers Suite class that is considered more prestigious than First class. Suite class is located on upper deck of A380 and generally use the space by setting up only 2 seats per row. Singapore Airline suite class’ per customer space was larger than Etihad’s First Class Apartment. The seats were manufactured by Zodiac. There are total of 6 suite class seats and 1A and 1F are made larger than the rest of the seats. 2009 Dom Pérignon Vintage was served as welcome drink. You need to face towards the moving direction at the time of landing so there is a IFE monitor used when facing forward. Here’s a magazine rack near the footrest. You can charge your phone using the port and store the phone while charging. This seat is equipped with IFE remote controller and monitor angle can be changed using this controller. You can rotate the seat like this with the seat remote. See? This is a iPad size IFE remote. This one had excellent response and was easy to use. This 32 inch monitor is the largest for First Class in the industry. Massive! There is a storage space between the seat and the window area. This leather covered storage is luxurious and chic. It is not a large storage but there are lots of other storage so the size was not an issue. In the personal closet, you can put away shoes, jackets, and suitcase. A380 engine is so quiet, it took off before I noticed. The flight distance from Singapore and Shanghai is 3794 km and is an approximately 5 hour flight. There are two restrooms in the upper deck and they are located in the front end of the aircraft.
Next to the toilet seat, there’s a couch, isn’t that a little crazy? This couch is large enough for me to lay down. All Amenities are featured by a luxury line called Lalique. The restroom on the right side is even larger! Only A380 has the square footage that can hold this kind of huge restrooms. There is a vanity area. This drawer had toothbrushes, razors, and other personal care items. Usually airplane restrooms are not a pleasant place to be at but I don’t mind being in this restroom at all. Singapore Airline’s Suite class drink menus is pretty amazing. To name few alcoholic beverages offered, Dom Pérignon, Krug and many other. Non alcoholic beverage line up is pretty good as well. Especially, the variety of tea offered is impressive. If you are flying in business class or above, you can pre-order your meal from the menu via online using the service called Book the Cook. I ordered Boston Lobster which is a special menu offered only for first and suite class customers. And it was AMAZING! Singapore Airline does not care the weight of the champagne bottles they are adding to the aircraft at all! They are very generous with their champagne for sure. Vodka shot was served with my caviar. I usually don’t drink vodka but why not have a shot of vodka when you are flying Suite class? The door is closed during meal but dishes and drinks were served at the perfect timing. I was very impressed by the crews impeccable service timing. So this tomato soup has goat cheese which I usually don’t like. But honestly this goat cheese is the best goat cheese that I had before. There was almost no goat cheesy smell. My meal I ordered with Book the Cook was a whole lobster! I never thought you can get a whole lobster as a flight meal. It felt like dish after dishes were being served and they were all so delicious. got more than enough space even after the seat is reclined. Bang & Olufsen’s headphone got really high quality noise canceling function. I got this Singapore Airline teddy bear from the crew. They told me this green one is rare. Here’s my honest opinion about my experience with Singapore Airline suite class flight. First of all, crew members were very professional, friendly and were paying great attention to detail. Meal service took 2.5 hours. In this 2.5 hours, crews served canapés, appetizer, soup, salad, main dishe, desert, cheese tray, chocolates and coffee. My impression in two words, “incredible efficient.” The suite class seat was very comfortable, cabin was clean, and the restrooms were spacious. This was the top of the class flight. I highly recommend NEW Singapore Suite! Trust me on this. it blows your mind. Here is the bed I used. It looks comfortable and it does feel comfortable. The comfort was fluffy and soft. used 53,000 Singapore Airline KrisFlyer points for this flight ticket. A380 seems to be more popular than other models so you need to act fast to book award tickets for flights operated with A380. The price for this flight ticket is about 3000 dollars so per mile value is approximately 6 cents. If you like my contents, like to travel, are mileages geeks, please subscribe my channel!
As always, see you in the sky (Jeb Brook version 🙂

Vivo Nex S Teardown – Battle of the Pop Up Cameras!

Vivo Nex S Teardown – Battle of the Pop Up Cameras!


Two phones – the first flagships of their
kind with hidden motorized cameras. One that survived my durability test, and
one that, well…one that didn’t. Today we’ll be tearing down the survivor,
the Vivo Nex S, and reviewing it from the inside. And comparing the internal camera motor against
it’s fallen comrade: the Oppo Find X. This is seriously one of the coolest and unique
phones that I have ever opened up. Vivo is taking hardware to the next level
and the only place to see it from the inside is here. Let’s get started. [Intro] I’ve already turned this phone clear by removing
that psychedelic back coating under the glass, which allowed us a tiny glimpse or preview
of some of the internal hardware. It’ll be a little easier to remove the back
glass adhesive this time around since it’s already been done. But of course, the first step in any dissection
is putting the patient to sleep. We don’t want his waking up during what happens
next. I’m fairly confident he’ll survive the operation…mostly. Cross your fingers just in case. Heat is still important and then the whole
back glass panel should pull up and away from the phone body in one piece. Now we can access the metal plate covering
the motherboard and see parts of the camera motor mechanism. After removing all of the screws we can start
accessing the good stuff. I’ll unplug the battery first, which is actually
pretty unique. We’ll unbury the battery more in a second. The side button ribbons unplug, and then the
two super long extension ribbons unclip like little Legos. The black, blue, and white ribbons unsnap
from their circular connectors. And the front sensors up at the top also unplug. The dual rear cameras along with that vibrating
piezoelectric earpiece unclip as well. The earpiece is still under the motherboard,
but we’ll get to see it in just a second. The motherboard, unfortunately, is still rather
intertwined with that front camera mechanism. So I’ll remove the two screws holding down
the silver plate over that camera ribbon. One of the screws though, is the super tricky
stand-off screw that we’ve seen in some of the iPhones. A screw within a screw. A little trick to solving this is to take
a thin flathead and put it between the notches on the stand-off and twist it off axis, allowing
it to rotate and then I can move that metal plate and unclip the super long front facing
camera ribbon cable, releasing the motherboard and I can pull it away from the phone body. Nothing cool to see on the motherboard itself,
just the shape is definitely unique. Everything else interesting is still in the
frame, like these dual rear cameras. The 12 megapixel main camera has optical image
stabilization, but the top 5 megapixel depth sensor does not have any hardware stabilizing. Remember that this phone doesn’t actually
have an earpiece speaker or an earpiece grille. Instead it uses a little contraption called
a piezoelectric vibrator that literally turns the metal frame of the phone into a speaker. It sounds like everyone you call is on speakerphone
all of the time, so I’m not the biggest fan. But it is still cool and interesting technology. I showed an example of how it sounds during
my Nex S durability test video if you want to go back and get a taste of that. It’s interesting to see it now from the inside
though. Getting the front facing camera rails and
motor out was actually pretty complicated. There were a few hidden screws and little
black plastic contraption to keep the motor from jamming too far down into the phone body. But eventually I was able to pull out that
stepper motor…but the camera was a different story. On the left side of the camera mechanism there’s
a little metal stopper screwed into the camera shaft. Once that stopper is removed, then the whole
camera can pull up and out of the phone body from the top. It’s super smart of Vivo to include hard physical
stoppers at both ends of the camera track. Now that the Vivo’s disassembled, let’s jump
into the other mechanical camera smartphone for a second: the Oppo Find X, and we can
compare the motors side by side. Remember, Vivo is just moving one camera in
their phones. Oppo is moving 3 cameras and the whole top
of the phone. This guy’s had a rough couple days and didn’t
quite survive my durability test, so I can’t exactly turn it off either at this point since
the screen is shattered. So we’ll just have to operate while the patient
is still awake this time. There are quite a few screws holding on the
back plastic panel, but that’s all we have to remove to find the motor inside the Find
X. Surprisingly it’s smaller than the motor inside of the Vivo Nex, which is interesting
because the Find X payload, the whole top of the phone, is substantially larger and
heavier than the singular pop-up 8 megapixel camera on top of the Nex S. Oppo has said
their motor is good for 300,000 actuations, which, if you used your selfie camera 100
times a day, would last you about 8 years. The Nex S camera is rated by Vivo to get at
least 50,000 lifts, which at the same 100 selfies a day, would last you 1.3 years. Each of these claims, of course, are made
by the manufacturer, so take that how you want. All we know for sure is that Vivo’s motor
is bigger, more secure, and is lifting less. So Oppo’s claim of 300,000 might be a little
generous. Either way, I’m not going to count to 50,000
to find out. I bet we could talk Linus into it though. Remember how the Vivo battery is silver? Turns out it is covered with a metal plate. This phone has surprises around every corner. Down at the bottom of the phone we have 8
screws protecting our last bit of hardware. The black plastic comes up and it’s physically
attached to the loudspeaker. Nothing super surprising down here. That vibration motor though has got to be
feeling pretty inferior next to the camera motor. He’s much smaller than we normally see in
flagships. I know it might be embarrassing to have your
bits exposed, but there is one more thing we need to look at: the in-screen fingerprint
scanner. It’s buried under that last remaining board
which has 2 ribbon cables, and of course, the SIM card tray which comes out of the bottom. We’ll set that off to the side. The charging port board has the SIM card tray
and the USB-C charging port, which is all pretty normal. The only other in-screen fingerprint scanning
phone we’ve seen is the X20 Plus, also from Vivo, but the one on this Nex S is different. It’s still glued against the glass, so removing
it will be impossible without cracking the screen. But this time around it looks like it has
an extra sensor under the screen. It looks like a light sensor or a camera. I’m not totally sure. Either way, it’s part of the in-screen fingerprint
scanning technology and it has changed since last year’s X20 Plus. It’s does look like there’s a little bit of
ingress protection around the microphone hole. And a rubber ring around the charging port. So water-resistance wasn’t thrown entirely
out the window with this phone, but I still wouldn’t trust it around water. Some protection is always better than no protection
though. Speaking of protection, the metal plate covering
this battery has 6 screws of it’s own, and once those are out, the whole thousand milliamp
hour battery comes away from the phone body with zero adhesive holding it down. This is a pretty incredible phone from the
inside as well as the outside. I’ll get that charging port back into place. And believe it or not, the goal of my channel
is to not destroy phones but actually keep them working as long as possible. I do have my doubts about this little guy
coming back together in one piece though. Our friend Nex might never wake up again. This guy is a little more complicated than
normal. The fingerprint scanner and screen are clipped
in, and then all of our little wire cable buddies get routed into their positions before
the loudspeaker and it’s 8 screws plop into place to protect the phone’s bottom components
and hide that itty bitty vibrator. Getting the camera contraption back into place
is like playing one of those brain puzzles without any instructions, you’ve got to kind
of just put everything back into place and hope you don’t have any screws left over at
the end. The important bit is that tiny top stopper
though. Once that little guy is secure, and as long
as all the screws are still organized from the teardown, the reassembly process flows
pretty smoothly. After the motor gizmo is tightened down, the
motherboard can slip over top of the piezoelectric speaker and the rear camera modules, taking
special care of course to not pinch any ribbon cables on the underside of that board. This time around everything plugs into the
top of the motherboard, including that super long front facing camera ribbon which has
this little silver metal plate keeping the ribbon from pinching itself or coming disconnected
as the camera moves up and down. I’ll plug in the front sensor ribbon along
with the earpiece vibrator, both rear cameras and side buttons. And finally, the extension ribbons and the
battery plug itself. The metal motherboard plate with it’s screws
are set into place, and finally we can see if our buddy Nex wakes up from his full body
operation. Surprisingly enough, he turns on, and even
more impressive, the camera still works. Trust me, I’m just as surprised as you are. This phone is definitely not meant to be repaired. It’s a premium, high-tech phone, not built
for the masses, and really meant to not be taken apart or fixed, so be gentle with it. I’ll get my custom clear back glass panel
in place. I still seriously think this is one of the
coolest looking phones on the planet, even more so now that we’ve explored it from the
inside. I know this video is a bit longer than normal,
so thanks for sticking around all the way through it. Should I try to keep the video shorter from
now on or are you okay with projects taking longer than a few minutes? Let me know in the comments. Hit that subscribe button if you haven’t already,
and thanks a ton for watching. I’ll see you around.

Insta360 One X: WHY IT’S AWESOME

Insta360 One X: WHY IT’S AWESOME


I’ve had the ONE X for a month now, and spoiler alert, it’s awesome! To find out why, stay tuned
till the end of this video. And hey, if you haven’t seen
part one of my ONE X review, then check it out down
there on my channel. The ONE X feels like a
camera that is ready to go much faster than all the other cameras. A lot of them will be released and they don’t have all the
features they’re advertising. With the ONE X, you get 90-plus percent of the features on the box straight away. I’m honestly in shock about
how good this camera is because previous Insta360
cameras have been a little bit underwhelming
in a lot of ways, and this is a camera I’m
finding really hard to fault. Let’s start with the photo
quality with 18 megapixels, which is a reduction from
their previous camera I would have thought
it would be way worse, but it’s actually way better. They’ve optimized the ONE
X to have bigger pixels, which means the dynamic range is better, the low light shooting is better. And believe it or not,
the sharpness was better than what it was at 24 megapixels. No question, my favorite
photo feature of the ONE X is its in built HDR. This thing is amazing. You can shoot handheld HDR
with no motion blur at all. It instantly shoots three exposures, blends them together
seamlessly and produces a photo with excellent dynamic range. This works in almost every
single lighting situation. Even at night time, HDR performs great. I can’t think of many situations where I wouldn’t use this feature. You can choose from anywhere
from one to four stops of dynamic range, and I found
two to be the sweet spot in the vast majority of situations. You need to be careful
about using four stops especially in situations
where there’s people and faces because it will make all
your distinguishing features blend into each other so
you may look like a dude without eyebrows like in this photo here. You do need to be careful
though because sometimes four stops is turned on automatically without you realizing and you
shoot that image accidentally. Another great feature for intermediate to pro 360 photographers is
you have full manual control over the ONE X. You can adjust factors like
shutter speed and your ISO. This is especially helpful at night time when trying to achieve
the perfect exposure, but also during the day as well. If you want a really fast shutter speed, you have the option to go
from 1/8000 of a second to a 55-second exposure. I’ve even been shooting hand
held with the ONE X at night and there hasn’t been much motion blur. With low light video however, it’s good, but don’t expect miracles. All 360 camera struggle
at night time for video because of a number of factors. You can’t yet adjust your aperture, and there’s a limit on the ISO, which means if you’re
shooting in really low light, it’s not gonna capture
a whole lot of detail, but that’s to be expected
for where we’re at in 2018 with low light 360 video. This is what a raw photo
from the ONE X looks like. And real quick, I’m gonna color correct it and see what I can do to it. Alright, here it is. Before, after. Before, after. Before, after. Yes, I think we can all
agree it’s way better after. Now I’ve color corrected
the exact same photo except the JPEG version, and that’s also looking really good. Here’s the JPEG, and here’s the raw. The differences in my eyes are marginal. I think there’s strengths and
weaknesses to both of them. Both have pretty decent dynamic range. So in my opinion, it’s not
really worth going to a computer because you can get a good
enough result with the JPEG, unless you have really
challenging lighting you might wanna do this. Otherwise, I wouldn’t bother. This camera is also Google
Street View compatible and because of the improved image quality, this is going to be a
decent camera for uploading your photos to Street View. I’ve found the video quality
to be extremely impressive. 5.7K looks really good 4K looks good, and even
3K 100 frames a second doesn’t look like 3K. It looks like high resolution. And because it has the ability
to shoot at awesome slow mo, it takes the viewer’s eye away from sharpness and towards the awesome slow mo effects you can get with the ONE X. If you saw my video ‘Best
Feature of the ONE X’, you’ll see how much I love
the TimeShift feature, which essentially allows you to switch between hyperlapse
and super slow motion within the same clip. A month later in my opinion, this is still the best
feature of the ONE X. It’s totally amazing, and
I love the slow motion. It just looks so good on this camera. This was all done in the app. I have not gone to my computer yet. The ONE X records 5.7K
video for 30 minutes and then it stops. So that’s the limit, 30 minutes. It’s not ideal, but I don’t
see why you’d really need to record for any longer than that. You can press the button
again, but if you’re someone that likes recording for an hour plus, then you will need to be mindful of this. I haven’t experienced any
overheating with the ONE X yet. I would say this is mostly because of the card I’ve been using. It’s been super fast. It has V30 written on it,
and this is super important. You need a card that is
this fast with your ONE X. Don’t go buying a 10
megabits a second SD card because it’s very likely
your camera will overheat. It really pays to buy the right card, and you can find my suggested
SD card for the ONE X down in the description. In terms of recording time, a 64 gigabyte card will
give you roughly 81 minutes of 5.7K video. So if you do the math, which I suck at, I think that’s roughly
just under one gigabyte per minute of video. You can also plug the ONE X
into power while recording. So that’s another great feature. This brings me to
possibly the biggest issue I have with the ONE X,
and that is the colors. I’ve been finding, especially for video, the look straight out of the camera is lacking in contrast
and accuracy of color to what I see in real life. Don’t get me wrong, it’s still very good, but basically everything you shoot will need color correction, and you won’t always be able to get the colors you’re after. It doesn’t happen all the time. It really does depend on
the lighting and exposure of your scene. I know they are trying to address this by offering log mode,
which essentially means you’re shooting the image
flat with desaturated colors and contrast and
you can add it all later. However I found I still can’t
get the exact colors I need when shooting in log. I haven’t found this
issue with photos however. Generally, the exposure was
good, the colors are good, and I can fix just about
anything I need to fix. Especially with raw, HDR
and manual shooting options, you can get basically
any kind of exposure. It’s just with video, it’s more difficult to do those things. Another early complaint to the ONE X has been the sound quality. People have been saying it’s
shocking, it’s horrible. Oh my god! They have improved it a
bit in the most recent firmware update, however
this is what you get with 360 cameras. They’re not sound recorders, and you’re never gonna get anything better than what your phone would record. One, two, three, four, five,
six, seven, eight, nine, TEN So if you want proper sound regardless of the 360 camera you’re using, record externally. Now real quick, I wanna
talk about workflow and cover some of the
things I didn’t cover in my first video. Firstly, the live preview
of the ONE X is so good. It transmits a high quality
photo or video signal instantly. This is probably the best
quality preview screen I’ve ever seen, and it
just helps when you’re fine tuning things like your
exposure and your composition, to be able to see that level of detail before you’ve even taken
your photo or video. The app is still the best
app of all 360 cameras, and it’s getting better and
better with each update. Reframing is so easy. You simply just tap the
screen in one direction to lock onto a view points, and
then you tap your next point to look at your next point. You can also track individual
things within the scene. So if you wanted to follow a person as they’re walking, it will
automatically track them and stabilize based on their movement. You really have lots of editing
controls within the app. You can trim clips, change the color, change your viewpoints,
change between fast, slow and regular motion. As you may have seen in my comparison with the GoPro Fusion,
it’s really similar. The sharpness is almost the same, while the color and contrast
were better straight out of the camera with the Fusion the workflow is a thousand times better. And for me, it makes the
ONE X the obvious choice over the GoPro Fusion,
unless you have a lot of time and a beefy computer to
get those kinds of results from the Fusion. I feel like this camera is
a Frankenstein’s monster of 360 cameras. It’s absorbed all the best
features of its competitors. It has the amazing stabilization and hyperlapse effect of the Rylo. It has the super fast transfer speeds and the better lenses of the Theta V. It has the sharpness of the GoPro Fusion, the price of the YI 360 VR, and it’s better than the
previous Insta360 ONE in basically every single way. If you want versatility, the
ONE X is the camera to go to. It does really good video,
no question the best of the under $500 360 cameras. It does really good photo as well. While some of the other
cameras may beat it at very small things, for all around photo versatility, the ONE X is very likely
going to beat its competitors. When I first got this camera, to me it seemed more like a video camera than a photo camera. However, the more I use it for photos, the more I really like what it can do. Like I said in my last video, the ONE X fixes a lot of the issues I’ve had with previous 360 cameras. It’s like they’ve created
a wish list of mistakes and fixed them one by one. Two cool features that are coming soon are one, GPS overlays just
like with the Garmin VIRB where you can show statistics on screen like speed and the course you’ve taken. Also very soon there’s
going to be a Premiere non-stitch editing workflow. It’s like a plugin where
you don’t have to stitch your INSV files, you just
import them to Premiere. They’ll playback as equirectangular automatically as you edit,
then when you export, that’s when the stitching
happens automatically. So in conclusion, the ONE X is
the best 360 camera of 2018. Those are very hard words to say, but when you’re looking at
all these amazing features and the overall
versatility of this camera, how it’s not just an awesome video camera but it’s a great photo camera too. You could shoot professional
5.7K 360 video on this thing, reframe it as HD and blend it in with other footage shot on other cameras. This is the beauty of 360. You shoot first and
choose your angle later. So whether it’s photos or videos, all you need to do is
press the record button and later you can choose your angle. To me this is what gets
me excited as a creative. You’ve probably seen my Instagram by now and it’s full of tiny planets which are reframed 360 photos. And you wouldn’t be able to do this with any other kind of camera. And the better news is this
camera will improve further through constant firmware
updates, app updates and software updates. Insta360 are a company
that we see regular updates on all three things all the time. So no doubt this camera will
become significantly better as time passes. Is this worth $399? Hell yes it is. Check out the link in the description to get the best price
possible on the ONE X and it’s accessories. Be sure to hit that subscribe
button for more videos around the ONE X, and hey
I’d be curious to know what’s your personal favorite
feature of the ONE X and why? let me know down there. And that’s it, time to go
on a long romantic stroll on my own around the tiny planet.