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Today Mark Evans from Smash and Peas Photography Blog shares an explanation and starting points with Exposure Fusion.

Image by Seb Przd

‘Less is more’, or so the saying goes. But in this case, I guess its true; less effort and less time equals more productivity and and better results, what more could one ask for? So from where I’m standing, Exposure Fusion looks to have everything going for it, and then some.

Lets set things straight from the start, Exposure Fusion is not a kind of HDR.

Exposure Fusion is a fairly new concept that is the process of creating a low dynamic range (LDR) image from a series of bracketed exposures.

In short, EF takes the best bits from each image in the sequence and seamlessly combines them to create a final ‘Fused’ image. Or more technically, the fusing process assigns weights to the pixels of each image in the sequence according to luminosity, saturation and contrast, then depending on these weights includes or excludes them from the final image. And because Exposure Fusion relies on these qualities, no exif data is required, and indeed, if you wanted to, you could include an image with flash to bring darker areas to life.

Exposure Fusion Advantages over HDR

Using this process actually has a few advantages over HDR.
For one, no intermediate HDR image needs to be created, and therefore no tone mapping step is required either, making Exposure Fusion a far more efficient and quicker process. Not only that, but due to the algorithm used in Exposure Fusion, halos around objects that would otherwise ruin a nice HDR image have been completely eliminated, resulting in a more natural looking final image.

Exposure Fusion also has one other trick up its virtual sleeve. It can also create extended Depth Of Field images by fusing together a sequence of images with different DOFs. This could actually be quite handy, say if lighting conditions at the time don’t allow the full DOF to be captured in one shot, or if you’re just limited by the DOF of your lens. This process could also be used creatively to get different DOFs in one image.
Here are some examples of both methods – click to enlarge.

Exposure Fusion Software

At this stage Exposure Fusion is still in its infancy, so there’s only a handful of programs to choose from.
Enfuse is the primary tool for Exposure Fusion at the moment, and although it is a command line utility, there are ‘‘droplets’‘ (batch files) available that you can drag and drop a series of images onto to create a fused image.

Ingemar Bergmark has produced a GUI for it, not surprisingly called EnfuseGui, which can be a little easier if you aren’t too keen on command lines. If you’ve got Lightroom then one of the more convenient ways is to use the plugin. It still uses the command line utility in the background (you have to tell it where your enfuse.exe is), but the process looks more refined. However, the plugin is donation-ware so its limited to 500px final images until you donate to get the full version. There is currently no plugin for Photoshop. If you’re into photo stitching then PTgui and Hugin may be of interest to you. These programs utilise Exposure Fusion by stitching and fusing bracketed sequences together, with some pretty nice results.

Die-hard HDR fans may not be too impressed by this new revelation, but I certainly am. With no tweaking at all, a pretty reasonable final image is spat out of Enfuse. I must admit though, to get the images looking their best, a little ‘fill light’ in Lightroom helps, and adding contrast and saturation layers also helps bring out the best in the Fused images I created. I’d have to say though, it was a lot less arduous than endlessly changing settings in Photomatix to get things looking right, and I like the end result better, but I suppose on the flip side, this means less control and less creative input from the user, and on the odd occasion, you just can’t beat a nice HDR. Tough choice. I’ll let you decide.

Read more: http://digital-photography-school.com/the-basics-of-a-stopped-motion-fusion-film-wedding-edition#ixzz2VOAphOBk

My three favourite things in the world are mountains, aurora and snow. In early 2012 I got all three of them in spades when I spent nine weeks in the frozen north of Canada’s Yukon Territory.

With four cameras and dozens of lenses, tripods and a truck full of extreme cold weather gear, I journeyed across the Yukon and chased every gap in the clouds I could find. Three terabytes and a long learning curve later, this video is short, fast and high-impact two minute compilation of some of the best footage I captured during my aurora adventures.

In this post, let me share some of the ‘behind the scenes’ work that went into producing it. First the video, which you really do have to watch in full-screen with the lights down and the music up!
The Yukon’s Northern Lights from Phil Hart on Vimeo.

Camera Gear

Cameras: 2 * Canon 5D Mark II and a Canon 1100D (aka Rebel T3).
Lenses: Canon 24mm f1.4L (I & II) and 14mm f2.8L with the full-frame cameras and Canon 10-22mm f3.5-5.6 and 15-85mm f3.5-5.6 with the cropped sensor camera.
Tripods: Various Manfrotto and Induro tripods with mainly ball-heads. The grease in the Manfrotto heads froze at around -25 ºC (~15 ºF) but were still workable.

Remote Releases: I was using both programmable and simpler push-button cable releases. Most often I simply had the camera in Manual mode, set with a particular aperture, ISO and exposure duration. With the camera set to Continuous Shooting mode (aka Sports mode) I could lock the button down on the cable release and the camera would fire off a long sequence of images with the same setting (and almost no gap in between) until I came back to stop the sequence (or the battery ran flat).

Dew Heaters: Dew is a common problem for night sky photography, but in sub-arctic climates like that in the Yukon, the air is so dry that it is less of a problem (although it forms as frost, not dew with the temperature well below freezing). Some nights when the cameras were running on long sequences, I did need a little protection from frost on the lenses, and was generally using little 2-inch heater straps from from Dew-Not.

Power Supplies: 12 volt lithium-ion batteries to power dew-heaters, motion control (below) and also one of the cameras via a DC-power adapter for long all-night sequences. Lithium-ion is about the only type of widely available battery-chemistry that can cope with extremely cold temperatures. While their capacity did drop, I could still get 1 hour of continuous operation out of my Canon 5D Mark II even at temperatures down to -40 degrees and a very respectable 2 hours at milder temperatures of -15 ºC (~0 ºF).

Exposure Settings

The aurora can vary enormously in brightness. When it is quiet, it can be as faint or fainter than the Milky Way, requiring 30 seconds with a high ISO setting (~1600-3200) to capture it nicely (like the final aurora sequences in the video). However, when it is bright it can be as bright as the Full Moon. On those few nights of the greatest aurora storms (like the two main sequences in the video), exposures of just 2-4 seconds can be enough (still with the aperture wide open and a high ISO).

The other challenge with aurora is how fast it can move. Generally there is a balance here with the brightness. Faint aurora displays are usually also quiet in terms of movement, so longer exposures do not blur out too much of the movement. The fast moving auroras also tend to be bright, and the curtains and rays move rapidly, enough to cause them to blur significantly even in 8-10 second exposures. So it’s important to keep carefully balancing the trade-off in this regard. You get more experienced at this quite quickly, but fast lenses also help a lot, which is why I particularly valued the 24mm f1.4 lenses I was using extensively during this trip for images like this one:

Focus

Focus at night is difficult already, but with timelapse you have the additional complexity of often incorporating some foreground elements without the daytime luxury of stopping the lens down to provide high depth-of-field. In most cases this can be avoided by trying to work with large foreground elements that can be kept a couple of meters away from the camera. Although focus on the stars and the foreground is not perfectly the same, at this distance the difference is not significant enough for most people to notice or object to. The eye is also a lot more forgiving of these kind of compromises in video than it is high with a large format still image.

Motion Control

Vixen Polarie: A compact little mount designed for taking tracked long-exposures of the stars but which can also be easily used as a simple panning mount when the motorized axis is pointed vertically.

Dynamic Perception Stage Zero Dolly: A six-foot long aluminium dolly rail with controller, used to provide the sliding sequences in the video. The LCD screen on this was very difficult to read and slow to update in extreme cold conditions.

Custom controller: Developed jointly with Fred Vanderhaven, this provided pan/tilt motion control and almost fully automated day-to-night twilight exposure control. It was only used for two of the clips in this video and the functionality in that case was similar to the Vixen Polarie.

One of the strongest sequences in the video (as the music really kicks in) has the camera moving in between two trees, with aurora on the left and moonrise on the right. Here is the scene as that sequence was being captured:
And here is a still from the resulting image sequence:

Image Processing and Video Editing

My workflow for editing timelapse video from the RAW image sequences has improved a lot, but it is still a very time-consuming process. And while I am very experienced at using Lightroom and Photoshop to process astrophotography images, I am still a relative beginner at video editing.

I do the most significant development of the RAW files in Lightroom, choosing one frame that is representative of the sequence and then sync the settings across all the images so that they have the same processing. In some cases, where there is a big change in brightness (which happens a lot with aurora) I use Gunther Wegner’s LRTimelapse software to interpolate development settings between keyframes in the sequence, to cope with large changes.

After saving the settings to the Metadata for the images, I then I import the sequences into Adobe After Effects, and use that to render the sequence of RAW files to a loss-less intermediate video file. One of the most common effects I apply in After Effects is to use the Neat Video noise reduction plug-in. This has a ‘neat’ temporal noise reduction algorithm which compares changes between frames to help reduce noise (which varies between frames) without smearing out real detail (which is constant, but perhaps moving between frames). The Neat Video plug-in makes a significant difference to the quality of the end-result.

The other plug-in that I made some use of is the Granite Bay Deflicker plug-in. This was essential for smoothing out flicker that is present in the evening and morning twilight sequences, and was also used in the moonset clip.
The final video was compiled from the individual sequences using Adobe Premier Pro.

Composition: Reflections and Mountains

Many classic and beautiful images of the northern lights involve reflections in the foreground. The problem for me was that there is very little open water anywhere in the Yukon in the back half of winter, with the temperature having dropped as cold as -40 ºC (~40 ºF). The only place I found was an artificial deep water outlet from Fish Lake, near the capital Whitehorse. The night that I was there the aurora was very quiet but I did manage to capture a short sequence late in the night.
Aside from that, one of my favourite locations was along Annie Lake Road which offered a nice mix of trees, open areas and mountain views as well. In this image, the reflections are in some relatively clean flat ice that had been cleared of snow by wind and some early spring sunshine during the day.
One of the reasons I was keen to be in the Yukon rather than the even more desolate and flat Northwest Territories (where the weather and aurora prospects may be better) is the more interesting terrain. However, with very few roads and even less open in winter getting access to interesting locations was quite a challenge.
The image below is the most spectacular mountain view I captured (technically in the northern part of British Columbia), looking south from the road between Haines Junction and Haines Alaska. However, except on the biggest storm nights, the aurora was generally viewed to the north. So I never saw aurora over these mountains but they did make for a great sunrise sequences to end the video with. Aside from that, my favourite mountain location was way up north in Tombstone Park, which you can see in the image of ‘fast and bright aurora’ above.

Music

Timelapse videos without music can still be interesting to watch, but are hardly captivating. Good music brings them alive, although it’s hard to suit everyone’s tastes. There are several online sites offering stock audio clips, but the images and the story flow so much stronger with music that is composed and produced to match the visuals. In this case, I again set my talented friend Dean Roberts (of ‘The Dirt Floor‘) the challenge of recording music for the video. Aside from watching the video the previous day, he recorded and edited the track for this in one (long) day. I hope you enjoy the rockin’ soundtrack he came up with.
If you’ve read this far and not watched the video yet, have a look – I know you’ll enjoy it! And if you’ve got a taste for aurora, you can read more about my adventures in the Yukon and see more videos on my

Read more: http://digital-photography-school.com/yukons-northern-lights#ixzz2VOA9Z75E

We've been lucky enough to get our hands on an early pre-production sample of one of the most anticipated lenses of the year, the Sigma 18-35mm F1.8 DC HSM, and bring you a gallery of full-resolution sample images shot with it. This lens is the fastest zoom ever made for SLRs and, in principle, should provide the depth-of-field control and low-light image quality on an APS-C DSLR that you'd get using an F2.8 zoom on 35mm full-frame. We've shot a samples gallery including a variety of subjects, using a range of apertures, focal lengths and subject distances, to try to give an initial flavor of how the lens performs. Note, though: this sample of the lens may not be fully representative of the image quality you'll get from the production version.

We'll be adding more images and some first impressions to the Sigma 18-35mm F1.8 DC HSM preview we've already written in the coming days. But, in the meantime, how much would you be willing to pay for a lens that gave your APS-C DSLR the ability to compete directly with a 28-50mm F2.8 on a full-frame camera? Let us know in the comments.

There are 30 images in our samples gallery. Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don't abuse it.

Unless otherwise noted images taken with no particular settings at full resolution. Note that the lens used for these samples was pre-production and image quality may not be fully representative of the final product. In particular it may be more prone to flare or autofocus inaccuracy.

Source:
http://www.dpreview.com

Spillars Cove lies at the tip of Cape Bonavista, with Bonavista Bay behind you and Trinity Bay ahead as you face east awaiting sunrise. For most of my many visits there the weather has been unbelievable: hurricane force-winds, driving rain and sleet — did I mention wind? Only a handful of times have I been blessed with a calm day, with bright sunny skies and temperatures hovering around 20 degrees; you know, the kind of day that is great for mosquitoes. I’ll take the wind, thank you very much.

In fact, the stronger the winds the better. This mean and rugged coastline lies generally northwest to southeast —perfect for photographs of the sunrise—and strong winds only add to the beauty. Use from two to four stops of graduated filter of various colours to add even more drama to the sky, or, alternatively, underexpose your bracketed frames in full-stop increments for masking via several post production techniques.  This incredible shoreline is typically far enough distant to permit lens apertures of f/5.6, to give shutter speeds high enough to keep the crashing waves from blurring while maintaining an acceptable depth of field.

There are several access roads leaving the Trans-Canada Highway between Clarenville and Port Blandford that meander toward Cape Bonavista, and if time is not a concern you should explore the bi-ways that will usually always lead to salt water and a tranquil and quaint fishing village. Once you reach the township of Bonavista be prepared to get lost, planned urban development and ease of transport were unheard of in the 17^th century – streets simply followed the coastline and houses were built … wherever. But this is a part of the charm of rural Newfoundland. If you follow your nose and a few scattered signs you should easily find the lighthouse. A few hundred metres before the ocean sentinel there is the gravel Lance Cove Road to your right that leads to “The Dungeon,” a provincial natural attraction. Take this road and drive south east for about two kilometres along the coast and you will see the Spillars Cove shoreline, as seen above, unfold in the distance.

Should the wind be blowing hard—and it often is—keep your tripod as close to the ground as you can, to minimize camera movement. Once you have composed the image in your viewfinder you can use your body as a wind shield during the exposure. Should the wind be particularly aggressive, the coastline here is firm enough that you can drive your vehicle close to the edge and position it as a wind block to ensure the tripod mounted camera is rock steady. Back absolutely certain the marsh is dry enough to support your car first, and stay safely back from the edge of the cliff however by walking it first.

Another great nearby location for incredible seacoast images is Cable John Cove. From the Dungeon continue driving the gravel road south for another ¾ kilometre until you reach the paved Highway 235 (Bonavista Bay Hwy), and turn left, heading east. Simply drive this road for about one kilometre until the road ends, at which time you can walk the additional 200 metres to the shoreline. Once at the water’s edge simply continue walking the coastline to your left and once atop the little knoll you will see a large and impressive sea stack that begs to be photographed. Be careful when walking along this shoreline – the moss and rocks can get slippery if wet, and the fall to the depths below will be unforgiving.

Another great side trip should be to nearby Elliston. Once in the community ask anyone for directions to the puffin site at Elliston Point. There are about 300 nesting pair of Atlantic puffin at this site and if the wind is blowing in the right direction you should easily be able to striking portraits with a 200mm lens.

If you happen to really lucky and are in this area in early summer ask the locals if they know of any icebergs in the area. You shouldn’t be surprised if there are a couple hidden in some cove; you are, after all, on the banks of Iceberg Alley.

Read more: http://digital-photography-school.com/canadian-travelogue-newfoundland-spillars-cove#ixzz2VO8CfJdV

The Nikon D3100 is Nikon’s latest “entry level” Digital SLR; however, if you look at the features you wouldn’t think so. The D3100 features full HD video recording, 3 inch screen, 14.2 megapixel sensor, ISO12800, and 11 focusing points, as well as a built in guide, Vibration Reduction (VR) optically stabilised 18-55mm kit lens, and live-view. Rather than simply being a minor upgrade to the Nikon D3000, the D3100 is more like a little brother to the Nikon D5000, and the price of the D3100 is also very similar to the D5000.

Nikon D3100: Features
The Nikon D3100 comes with a Nikon DX AF-S Nikkor 18-55mm VR lens that is equivalent to 27-82.5mm in 35mm film terms, and features a Silent Wave Motor (SWM) that should help keep lens noise down in videos. To make full use of the Full HD video recording, the camera has HDMI out, and SDXC memory card support, which lets you use cards up to 64gb in size. The camera and lens come with a 2 year warranty.

Another useful feature of the D3100 is a built in Guide, this will guide you through the various aspects of the camera including shooting, viewing, and setting up the camera. Selecting the playback and setup menus takes you to a simplified menu system with larger text and clear labels. Using the camera in the Guide mode, the camera will provide helpful information when you press the help / “?” button – this also provides a description in other modes.

Live view – despite the 3 inch screen’s low resolution of 230k pixels, the screen updates quickly, has bright highly saturated colour, and good skin tones. The screen has accurate representation of image quality and colour when compared to viewing photos on the computer.

Movie mode – Full HD 1920x1080 / 1080p at 24fps – This makes the Nikon D3100 one of only a few entry level Digital SLRs, along with the Canon 550D and Canon 500D (albeit at 20fps) to offer full 1080p HD Video - this is the full resolution. Some other DSLRs such as the Sony Alpha A33 only offer 1080i, and the Pentax K-r and Nikon D5000 only offer 720p. Considering all of this, it makes the Canon 550D the closest competitor with Full HD video support.

Vibration Reduction (VR) optical image stabilisation is built into the kit lens, and can be switched on and off using the switch on the side of the lens - this will help avoid blur with low light or telephoto shots.

Additional features on the D3100, compared to the D3000, include a new live view switch and video button, shooting mode switch for continuous shooting, microphone, speaker, and HDMI out, a new 14.2 megapixel sensor, as well as an EXCEED 2 processor which should speed up performance of the camera.

Nikon D3100: Handling

Feel
A large hand grip and well positioned rubber thumb grip make it easy to hold on tight . A large rubber grip on the lens gives another good area to grip the camera to ensure it's held steadily at all times. The camera has well positioned controls with an easy to reach mode dial, and switches for on/off, live view and shooting mode.

Build quality
Despite the plastic body, the D3100 is well built with a solid construction, and large rubber eye cover. It has high quality switches and controls, and metal strap mounts. The memory card cover, however, doesn’t look like it would survive any mistreatment, or accidental damage while open. The buttons to the left of the main screen feel a little loose and wobbly although it’s unlikely this will actually cause any problems.

Ease-of-use / controls
There is one function button – pressing this lets you quickly set the option using the command dial / wheel. There is also a dedicated exposure compensation button. For other settings that you want to change you will need to go into the options on the back screen, or go into the menu of the camera.

The camera is very easy to use, and more advanced users may find it a little limiting, as a lot of options or settings require you to enter the menus to change or set them, and some useful options seem to be missing (such as exposure bracketing). However, the lack of complicated buttons also makes it easy to use for those who simply want the higher image quality a DSLR offers over a compact camera.

Menu systems
The menu system on the camera is split into five sections: Playback, Shooting, Setup, Retouch, and Recent Settings. Navigating the settings is fairly straightforward and you can press the “?” button to bring up help on any setting. Recent Settings brings up three pages of history showing your most recently changed or accessed settings, and the camera also remembers where you were the last time you accessed the menu to allow quicker changes to settings.

Battery life
The Nikon D3100 battery life is rated at 550 shots according to CIPA standards. I was able to take 480 shots including 7 videos, with some live view use, and minimal flash use. I suspect if you shoot stills only, limit live view use, and rarely use the flash then you should be able to easily match the CIPA results of 550 shots. The battery cover is solid and relatively easy to open, however it's the only thing that holds the battery in as there is no additional clip, so it is possible for the battery to fall out when you open the battery cover. (I prefer the lockable cover on the Olympus DSLRs, where there is a further clip inside holding the battery secure).

Nikon D3100: Performance

Exposure
Automatic exposure has a slight preference to overexpose and lose highlight detail rather than underexpose, this means that you keep detail in the shadow and more often than not have bright colourful photos, although it’s worth keeping an eye on, and using exposure compensation when necessary.

Focusing – single AF, continuous, speed, accuracy
Focusing is quick and accurate, even in low light thanks to the focus assist lamp. In the live view mode focusing is slightly slower, however I didn’t have any concerns using it, and found that live view was able to focus without having to use the focus assist lamp indoors.

Resolution

The camera provides excellent resolution and detail and there’s definitely enough resolution to provide embarrassing amounts of detail in people’s faces if the subject is too close. The camera’s kit lens provides sharp detailed images and at telephoto zoom it does a good job of getting close to the subject, almost doubling as a macro lens, although obviously it can’t get as close as a dedicated macro lens.

Noise
The Nikon D3000 with a 10 megapixel sensor, had ISO options up to 3200, the D3100 with a 14.2 megapixel sensor has ISO up to 3200 as well as two extended settings, Hi 1 ISO6400, and Hi 2 ISO12800! Whether these additional High ISO modes are beneficial or not is another thing. Let’s find out with some test shots.

The Nikon D3100 provides excellent noise performance particularly at the lower ISO settings, and has exceptionally low noise at ISO100, with very smooth images, and excellent detail. At ISO200 there is very low noise and images are smooth with lots of detail; even up to ISO400 noise is low with smooth images.

At ISO800 noise starts increasing with some dots and colour, particularly noticeable when viewing images at 100% on screen. At ISO1600 detail starts to degrade as the noise increases, and so too the noise reduction applied to the image, although at this setting images are still quite good, and in my opinion they are usable.

ISO3200 is when you start to really notice the loss of detail, the loss of colour, and the loss of image quality, particularly in darker areas of the image, and along edges. At ISO6400 there are even higher levels of noise, including black dots.

ISO12800 images turn into mush, with objects blurring into the background, due to excessive noise. There’s also extreme loss of detail as the noise dominates the image. This leaves very little detail or definition and even black is destroyed by artificial colour from the noise. This option seems to be a marketing tool rather than actually being any use for creating photographs.

Studio shots bear out the same findings as can be seen above, click to view full size.

The camera has a number of customisable settings for colour tone, these are Standard, Neutral, Vivid, Monochrome, Portrait, Landscape. These options are fairly standard compared to other cameras’ new “Art” or “Creative” modes, however the Nikon D3100 has a number of filters, colour, and creative options available in playback mode. Examples can be seen here.

There’s also a miniature option, red-eye reduction, trim, resize, quick retouch, straighten, distortion control (auto or manual), fisheye, and further options for processing RAW (NEF) image such as: image overlay, and NEF RAW processing – this lets you alter the image quality, image size, white balance, exposure, and colour mode (standard, vivid, etc) and then saves the file as a JPEG.

The camera has excellent dynamic range. Using the D-Lighting setting further enhances dynamic range and can potentially help keep detail, both in bright skies and in shadow areas, as can be seen in these example shots. The results are impressive particularly when compared to a compact camera, or other cameras without extended dynamic range modes.

The camera has a wealth of white balance options, and all of them can be further customised (including the 7 sub-settings under fluorescent). The list includes Auto, Fluorescent (Sodium-vapour lamps, Warm-white fluorescent, White fluorescent, Cool-white fluorescent, Day white fluorescent, Daylight fluorescent, Mercury-vapour), Direct Sunlight, Flash, Cloudy, Shade, and Pre-set Manual.

Trying to match the lighting / light bulb can occasionally be a problem, however, with the number of options provided by the D3100 this shouldn’t be a problem. The camera does such a good job of auto white balance that you should rarely need to access the white balance options, and occasionally the auto white balance did a better job of matching the light than the fluorescent pre-set options. Auto white balance outdoors in daylight was excellent, and I never felt the need to manually set white balance or choose a pre-set. The only time I felt the need to use manual was when taking product shots indoors.

Flash performance – in low light, red-eye etc
The D3100 has good flash performance, and in low light focuses well thanks to the focus assist lamp. When using the flash the camera tends to increase the ISO setting to ISO3200 quite often, depending on the subject distance, which results in softer, noisier images. Red-eye however didn’t seem to be a problem in any of the photos I took with flash.

Write times – buffer size – Continuous shooting
The camera shoots at 3 fps, and the buffer will fit 15-20 JPEG shots or 7 RAW shots before slowing down. With flash continuous shooting is not possible - even though the camera has a very quick flash recharge time, you need to release the shutter before taking the next photo with flash.

Video performance
The kit lens has a SWM – which Nikon say provides super quiet operation, however, if you use the autofocus while recording videos the lens noise seems loud and is easily picked up by the built in microphone. There is no support for an additional microphone. If you need to refocus while recording you’re better off using the manual focus to avoid lens noise. With movement there is image roll / jelly effect.

Maximum recording time for all videos (regardless of size or quality) is 10 minutes. (Due to EU regulations – DSLRs cannot record video longer than 10-11 minutes or larger than 4GB whichever comes first.) Videos are recorded as Quicktime .MOV files (H.264 MPEG-4 AVC, 20mbps, Mono, 387kbps audio, 24khz).

Basic movie editing is built in – allowing you to cut movies, and also cut frames out of the video and use as a photo. Photo quality from the video is fairly good, even though the resolution of the photo is only 2.1mp (1920x1080).