Sidste nyt

Voigtländer shares new information on its 75mm F1.5 Nokton for Leica M

Sidste nyt fra dpreview - 19 jun 2019 - 22:04

Optics manufacturer Cosina has released more details of its forthcoming 75mm F1.5 Nokton lens in its Voigtländer Vintage Line for rangefinder cameras using the Leica M mount. Cosina's intention to make the lens was first announced in February, but now the company has revealed more detailed specifications.

The Vintage Line lenses have a classic-style exterior, with an all-metal barrel and a design to suit more traditional cameras. Voigtländer says though that the optical design is thoroughly modern with the aim of excellent image quality in that matches today’s camera standards. The coupled rangefinder system will suit Leica M and Voigtländer’s own Bessa cameras, and allows focusing distances from 0.7m (2.25ft). The lens uses 7 elements in 6 groups, including aspherical correction and the iris features 12 blades.

Measuring 63.3mm (2.5in) long and 62.8mm (2.47in) in diameter, the lens weighs 350g (12.35oz) and will use a 58mm filter. A slit-style lens hood is included, and will match the black or chrome finish of the lens itself. Below is a small sample gallery of images provided by Voigtländer:

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The lens will be available in July and will cost 125,000 (approx. $1150). For more information visit Voigtländer's website.

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TikeePRO 2+ 6K time-lapse camera with GPS is made for professionals

Sidste nyt fra dpreview - 19 jun 2019 - 21:46

Enlaps, the company behind the Tikee and TikeePRO time-lapse cameras first introduced in 2015, is back with a new model: the TikeePRO 2+ professional time-lapse camera. The new model is described as entirely self-sufficient with both WiFi and 4G LTE wireless connectivity options. The camera can capture and send images in Full HD, 4K, and 6K resolutions.

The TikeePRO 2+ time-lapse camera automatically shuttles images to the cloud and the companion MyTikee web app automatically creates time-lapses from the images. Enlaps bills the new model as a camera for professionals, emphasizing its wide 220-degree field of view for capturing 'immersive' panoramas.

The device features two Sony EXMOR R 16MP sensors, each capable of capturing 4608 x 3456 images in JPEG and DNG formats. Enlaps describes the device as 'smaller than a laptop, lighter than a DSRL,' with the added benefit of a durable and waterproof housing for outdoor use.

The company redesigned how users access the camera's microSIM and microSD cards, and it has also added a 'breathable valve' that it says is suitable 'for all weather.' The device features a standard tripod mount, 4.1W solar panel, 12,800mAh battery, and a metal insert for securing the device with a padlock. With a fully charged battery, TikeePRO 2+ can run autonomously for 10 days with image uploads or for 30 days without image uploads.

Overall, the TikeePRO 2+ is distinguished from the TikeePRO 2 model by its 6K support, built-in GPS for geotagging images, support for 512GB microSD cards, and twice the autonomy for longer time-lapses. The model is available to pre-order from Enlaps now for 1300 EUR. The company expects to start shipping the camera to buyers in August 2019.

Kategorier: Sidste nyt

Nikon Z6 and Z7 scoring updated to reflect firmware v2.0

Sidste nyt fra dpreview - 19 jun 2019 - 21:29

The latest firmware for the Nikon Z6 and Z7 makes a significant difference to the cameras' usability and focus performance, so we've revisited the scoring for both cameras to address the improvements.

Read our analysis of the performance of Nikon's Eye AF system

We found the Eye AF system significantly improves the ease of shooting with the Z6 and also overcomes many of our concerns about the ability to fine-focus for portraiture. These improvements greatly change the user experience and are enough to bump the camera's overall score up to 89%, making it the joint high-scorer in its class.

The change to the Z7's score is less pronounced. This is partly because its 45MP sensor makes the slight inaccuracy of the Eye AF system more significant but also because the update doesn't appear to make a big improvement to the camera's low-light AF performance, which was a major factor in the camera's AF score.

Read our full Nikon Z7 review

Are you going to do this for other cameras?

There have been significant firmware updates for a number of other cameras and we'll be re-testing and updating those reviews wherever possible.

Kategorier: Sidste nyt

X-Rite announces new ColorChecker sizes

Sidste nyt fra dpreview - 19 jun 2019 - 21:23

Color calibration specialist X-Rite has announced a range of new sizes in its line of ColorChecker reference targets for photographers and videographers, including Nano, Mini, XL and MEGA.

With the expansion of the line-up X-Rite is now aiming to target a much larger spectrum of photographic applications than previously. Here is an overview of the new options:

  • ColorChecker Classic Nano: 24mm x 40mm (1 x 1.75") – for macro or close up photography.
  • ColorChecker Classic Mini: 6.4 x 11cm (2.5 x 4.25") – for archival photography
  • ColorChecker Classic XL: 37 x 53cm (21 x 14.75") – for photographers working in large studios, doing long distance photography or camera/lighting testing.
  • ColorChecker Classic Mega: 100 x 152cm (40 x 60") – for photographers working on large sets and doing extreme distance photography or camera/lighting testing.
  • ColorChecker Video Mega: 100 x 152cm (40 x 60") – for filmmakers working on large sets and doing extreme distance filmmaking or camera/lighting testing.

All ColorChecker Classic targets show an array of 24 natural object, chromatic, primary and greyscale colors, arranged in four rows. During capture or when editing it can be used to create custom DNG or ICC camera profiles, color grade video footage or visually compare, measure and analyze differences in color reproduction.

The ColorChecker Video was developed specifically for the filmmaker and includes chromatic color chips, skin tone chips and grey reference chips, allowing filmmakers to adjust exposure, match multiple cameras and speed up color grading. More information is available on the X-Rite website.

Kategorier: Sidste nyt

Leica's latest special edition is an ‘urban camouflage’ Leica CL with a matching strap

Sidste nyt fra dpreview - 19 jun 2019 - 20:22

Leica has teamed up with French-Italian photographer and art collector, Jean Pigozzi to release a special-edition version of its Leica CL camera system.

The camera, officially named the Leica CL ‘Urban Jungle by Jean Pigozzi,’ features the same internals as the standard Leica CL, including the 24.2-megapixel APS-C CMOS sensor and Maestro II image processor. The outside, however, features an urban camouflage print on its black leather wrap, a custom grey rope camera strap, and the words 'URBAN JUNGLE' etched alongside Pigozzi's signature on the rear of the camera underneath the LCD display.

The special edition kit also comes paired with the Leica Elmarit-TL 18mm F2.8 ASPH lens, which is neatly tucked alongside the camera body and custom strap in ‘an elegant presentation box.’ This is Leica's second collaboration with Pigozzi, the first being the Leica Sofort ‘Limoland’ camera released in 2017.

Only 150 Leica CL ‘Urban Jungle by Jean Pigozzi’ will be made and shipping will start June 25, 2019. You can get your hands on a kit at Leica Stores and Boutiques for $3,950. Alternatively, you can buy the standard black Leica CL kit, get yourself a silver Sharpie, scribble a little bit on the leather wrapping and save yourself approximately $750.

Press release:

Leica Releases Limited Edition Camera Inspired by the Aesthetic of the Concrete Jungle

The LEICA CL “URBAN JUNGLE by JEAN PIGOZZI” pairs unparalleled imaging quality with a unique camouflage design

June 19, 2019 – The visually-captivating LEICA CL “URBAN JUNGLE by JEAN PIGOZZI” is the newest special edition release of the Leica CL compact system camera presented by Leica Camera. Created in collaboration with French-Italian photographer, entrepreneur and art collector Jean Pigozzi, this eye-catching camera features a striking urban camouflage pattern on its leather covering, with an accompanying gray rope strap. Just as the Leica CL strikes a balance between traditional controls and contemporary design, Pigozzi’s thoughtful design language takes the functional pattern of camouflage and elevates it with a high-fashion and ultramodern aesthetic.

“With this design,” Pigozzi shares, “I wanted to do something completely different and create something is unique from all the other cameras around. To bring the urban aesthetic to life, I tried to visualize the structures of a big city like New York to replicate what I define as an ‘Urban Jungle.”

The LEICA CL “URBAN JUNGLE by JEAN PIGOZZI” sports the same top-level performance, intuitive handling and exceptional image quality as the standard production Leica CL. A few highlights include the built-in EyeRes® electronic viewfinder that enables users to preview the final image before the picture is taken, high-resolution image quality that performs exceptionally well in low light, and a supremely fast and accurate autofocus; all of which are packaged efficiently into a compact system camera that travels effortlessly to any urban jungle the world over. The special edition set is complete with a Leica Elmarit-TL 18 mm f/2.8 ASPH. lens, lovingly packaged together with the camera in an elegant presentation box. With a focal length ideal for everyday travel and street photography, the Elmarit-TL lens helps this set bring the urban spirit to life.

Pigozzi’s latest design is his sophomore collaboration with Leica Camera, following the Leica Sofort “Limoland” by Jean Pigozzi in 2017, which sported vibrant, colorful graphics of "Mr Limo," the logo of Pigozzi’s LimoLand fashion label.

The LEICA CL “URBAN JUNGLE by JEAN PIGOZZI” is limited to 150 sets worldwide and will be on sale for $3,950 beginning June 25, exclusively available at Leica Stores and Boutiques.

Kategorier: Sidste nyt

Analysis: With new AF firmware, Nikon's Z6 & Z7 just got more competitive

Sidste nyt fra dpreview - 19 jun 2019 - 16:00
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Nikon has released a much-anticipated firmware update intended to improve autofocus performance from it Z-series mirrorless cameras. Specifically, Nikon promised improvements to autofocus in low contrast and low light shooting situations, but perhaps the most anticipated feature this firmware brings is continuous Eye AF.

As soon as the new firmware became available we updated our Z6 and Z7, and we've shot extensively with the updated cameras over the past few weeks. I routinely use a broad spectrum of Eye AF implementations, particularly Sony's best-in-class one, and I can state up-front that I've come away very impressed. But not without a fair share of caveats and suggestions for improvement.

Does the update address the autofocus usability and performance issues we detailed in our Nikon Z7 review? And how does it stack up under the microscope against the best Eye AF systems? Read on to learn more.

Table of contents:

Eye AF on the updated Z6 is so effective that it even found the coach's eye underneath his cap.

Nikon Z6 | Nikkor 70-200/2.8E FL ED VR Identifying eyes

When it comes to finding eyes and tracking them, the updated Z cameras compare very favorably to the a7R III.

The Z6 and Z7 are able to routinely identify eyes behind glasses, and even when all you see is a person's profile, as in the shot above, or this one. It then holds onto the eye nearly as tenaciously as the a7R III. As it turns out, it's often even better than the Sony at initially identifying eyes in sideways-turned or downward-looking faces. That said, once the a7R III has identified the eye of your subject, it tends to be better at sticking with it, even if their face is turned to a profile. Faces and eyes have to be a bit larger in the frame before Eye AF kicks in on the Nikon, but in practical use this difference is negligible.

A situation where the Nikon Z6 found my daughter's eye, but the Sony a7R III did not. Unfortunately, as you'll see in this series of shots, accuracy of focus was comparatively poor, an issue that particularly manifests itself as light levels drop.

Nikon Z6 | Nikkor 35/1.8 S

But simply identifying eyes and faces isn't all that useful, in and of itself. Accuracy of detection (i.e., not seeing faces where there aren't any) and accuracy of focus are the more important factors. Let's investigate.

Focusing on unintended subjects

A downside of Nikon's eagerness to find faces and eyes means sometimes it finds them where they don't exist, like in this featureless shag carpet or these trees in the background. When this happens, even if a real face re-appears the camera is often reticent to refocus on it, especially if it's at a vastly different distance-to-camera. Often the camera will hang on to the mis-identified 'face'. In comparison I've never found the a7R III to identify a non-human subject as a face or eye.

A downside of just how easily Nikon Z cameras find faces and eyes is that quite often it finds faces in objects that are not faces. In this case, the camera detected a face in the ladder in the background. It was then slow to re-focus on my daughter when she revealed her face again, and in some instances remained on the ladder.

Nikon Z6 | Nikkor 35/1.8 S

This problem with false positives could be worked around if the Z cameras worked more like (recent) Sonys and Canons in which Eye AF works over the top of their subject tracking modes, meaning you can point your initial AF point at your subject to tell the camera what to target.

The omission of Nikon's excellent 3D AF Tracking feature in the Z-series (and its replacement with an unintuitive, less effective subject tracking mode) was our biggest gripe about the Z-series when it launched. It would have been a perfect mode to layer Eye AF on top of.

Instead, Eye AF is only available in the Zs' 'Auto area' AF mode, where the camera is left to decide what to focus on. While it makes sense that an auto area AF mode might assume that the nearest thing to the camera is your intended subject (see below) this is not always true.

Despite there being two clearly identifiable faces within this scene, in 'Auto Area' mode the camera chose the nearest subject. But can you blame it? Most 'auto' AF systems are designed to focus on near, central objects because It makes sense, most of the time.

Nikon Z6 | Nikkor 70-200/2.8E FL ED VR

The soccer ball was not my intended subject in the image above, my daughter was. And that's the problem with Eye AF only being added onto an 'auto' mode: you have accept that sometimes the camera will focus with a mind of its own. Most 'Auto' area modes tend to prioritize central, nearer objects like the ball above, and that's not always the thing you want.

There is a way to force the camera to refocus on your subject once its focused on an unintended one (more on that below), but this doesn't always work reliably. If your subject is at a vastly different distance from the one the camera is currently focused on, the Z6 / Z7 can be particularly reticent to refocus. The AF system either flat out refuses to refocus, or does so hesitantly. This again highlights the need for a robust subject tracking autofocus mode, to which Eye AF should be coupled.

The Z7 initially chose to focus on the background in its 'Auto area' AF mode. This is unfortunately common behavior for the Z-series cameras. The bigger problem is that after the camera has focused on the background, it's reticent to refocus on a foreground subject if the subject is so far from the background that it's extremely blurred.

Nikon Z7 | Nikkor 50/1.8 S

Choosing your subject

As you can see, most of the problems come from the camera choosing the wrong subject. You are given some tools to rectify this, but these have their own drawbacks. Let first explain why this matters.

Event, wedding, and many other photographers trying to capture candid portraits have a very specific requirement that many manufacturers tended to overlook in the past: the desire to choose which face, among many, to focus on. On the latest Sony cameras you can simply place the AF point over your desired face and half-press the shutter button.

Nikon offers two ways to choose your subject: tap on a detected face or eye on the rear LCD or use the joystick or four-way controller to jump between eyes and faces.

I wasn't able to select my daughter (in the background) as the target because the Z6's AF system did not detect her face. If Eye AF were combined with a proper subject tracking mode, as it is for Sony's 'Real Time Tracking AF' or Canon's Face+Tracking on its EOS R/RP, then I could always rely on the camera at least tracking my daughter, whether or not it has detected her face or eyes.

Nikon Z6 | Nikkor 70-200/2.8E FL ED VR

Normally, tapping on the LCD from 'auto' area mode is one way of engaging subject tracking. But if you tap on a detected face, the camera will automatically enter Eye AF mode instead of subject tracking mode. Note though, if you are a bit sloppy with your tap such that the camera ends up tracking a part of your subject's shoulders or body, the camera may enter subject tracking mode and won't engage Eye AF until you manually cancel tracking and try again.

Using the joystick to select your subject works quite well on the Z-series cameras

Either way, repeatedly having to take your eye away from the EVF just to tap on the LCD isn't a great user experience, especially if you've just moved from a DSLR and are used to always having your eye to the viewfinder.

Thankfully, using the joystick to select your subject works quite well on the Z-series cameras, even allowing you to quickly toggle between the left and right eye of your subject. There's a caveat, though: in order for you to switch to a different person, the camera has to have identified that person's face. In candid shooting, if your subject is looking away, or for some reason isn't identified as a face, you'll find yourself repeatedly hitting the joystick or tapping the screen with no result.

Thankfully, a moment later, the Z6 did detect my daughter's face, and I was able to hit 'left' on the joystick to switch from the blonde child to my daughter (in-focus). But this way of choosing your subject can be a gamble, dependent upon whether or not the camera has detected your intended subject as a face / eye to switch to.

Nikon Z6 | Nikkor 70-200/2.8E FL ED VR

In practice, some of these concerns were allayed because the Z6 and Z7 are just so darn good at identifying eyes and faces that more often than not, I was able to select my daughter. And once I'd selected her, it stuck to her like glue. Even if she looked away, the Z6 continued to track her head, ready to jump back to her eye when she faced the camera again. Now, if your subject completely turns its back to you or looks away for long enough, the camera will eventually jump off to another eye in the scene.

So it's not bad, by any means. However, the very best current system don't have these problems. The systems introduced in the Sony a9 and a6400 will track a subject and automatically switch in and out of Eye AF as necessary, as it finds or loses them on the subject being tracked. And that's the bar the Nikons have to live up to.

Eye AF accuracy

Now that we've talked about the ability of the cameras to detect eyes and select the right one, let's get to an arguably more important question: how often are the resultant photos actually focused on the eyes?

In good light, for the most part, the Nikon Z6 and Z7 do a great job of focusing on the eye. It's a good deal better than Canon, but it doesn't quite compete with the repeated pinpoint accuracy of Sony's system, particularly in challenging light as we'll see below.

While few would complain about the above result (this is a 50% crop), if you roll over to the a7R III example, you'll see that the eye itself is in better focus, while the Nikon Z7 shot is slightly front-focused. Interestingly, on those occasions when Eye AF accuracy struggled on the Nikon, I almost always found the result to be fractionally front-focused.

Nikon's Eye AF reticule tends to be rather large, especially compared to Sony's, and I wonder if this is at least part of the reason. After all, contrasty features around the eye like eyelashes and eyebrows fall in front of the eye. In the image below, focus seems to lie on my daughter's eyebrow, something that happened with quite some frequency:

I found Eye AF on the Z6 to front-focus more than I'd expect, sometimes significantly so. Here the camera appears to have focused on my daughter's eyebrow.

Nikon Z6 | Nikkor 35/1.8 S

The extent to which this inaccuracy might affect you will vary from lens to lens. With many lenses and subject distances, the slight difference in distance between an eyebrow and an eye won't matter. But for shallow depth-of-field applications, and particularly with fast wide primes like the 35/1.8 where the difference in camera-subject distance between the eye and the eyebrow can be significant, I found the inaccuracy to be problematic. Furthermore, if you're shooting a model with prominent eyelashes, you may end up experiencing more 'eyelash AF' than 'eye AF'.

As light levels drop, accuracy suffers even further. The shot below is severely front-focused, despite light levels being at a modest 4 EV (approx). Interestingly, the camera fared better under similarly dark daylight conditions (as opposed to artificial light). The a7R III did not struggle with accuracy under these conditions.

Even at 4 EV, Eye AF autofocus accuracy can take a dive with artificial lighting. Interestingly, I had better results at similar daylight levels.

Nikon Z6 | Nikkor 35/1.8 S

That's not to say the Z6 is incapable of capturing accurately focused shots in these lighting conditions. Quite the contrary: I achieved a number of successful shots, like the ones below.

In darker conditions though, down to around -1EV, I was only getting a hit-rate of around one shots in three from the Z6, compared to the Sony a7R III, which typically missed only one or zero shots in a comparable sequence in repeated testing. The Z7 in particular would often hunt, and in Release Priority take completely out-of-focus shots. The Z6 fared better.

Furthermore, the Nikon 35 S and 50 S primes tend to sometimes hesitate to refocus, and this problem was only made more obvious in low light as the AF system tended to slow down. I'd often depress the shutter button and shoot a number of out-of-focus shots before the focus element finally even started to move to the correct position. This seems to be a problem not with Eye AF, but with the default behavior of the AF system, particularly with native lenses (often I achieved better results with adapted F-mount lenses).

In ~1 EV lighting, at best only two of these six shots are critically focused (click image to view 1:1). I had the same hit-rate with a different subject under 1 EV artificial lighting, where only one or two of six shots were critically focused. In all these instances, the eye was successfully detected by the camera.

Nikon Z6 | Nikkor 35/1.8 S

Another (related) area where Eye AF, and focus in general, can struggle is under severely backlit conditions. Here, like many DSLRs, the Z6 can resort to hunting. While I was still able to get the perfectly focused shot on the left, the camera struggled, and many of the shots were misfocused like the one on the right.

In focus one moment...

Nikon Z6 | Nikkor 70-200/2.8E FL ED VR Out of focus the next.

Nikon Z6 | Nikkor 70-200/2.8E FL ED VR

My goal in this article was to determine when and where the newly introduced Nikon Z6 / 7 Eye AF worked well, and when it didn't. I tested the performance side-by-side with the Sony a7R III but also considered the best implementation from a usability point-of-view, which is the system in the Sony a9 and a6400.

Because this is a complicated thing to test (thanks for reading this far), I've broken our findings up according to four criteria, with winners indicated in bold.

  • Detecting eyes: Nikon Z
  • Avoiding false positives: Sony
  • Eye AF ease-of-use: Sony
  • Accuracy of Eye AF: Sony

Considering the updates in the Z6 and Z7 represent Nikon's first stab at Eye AF, this is really impressive.

Our main outstanding concerns are twofold: The first is false positives, where the camera will misidentify something as a face and stick to it, and a general tendency of 'Auto area' AF to focus and stay focused on the background. Second, and perhaps more important: we'd like to see Eye AF integrated with a reliable and easy-to-use subject tracking mode, like 3D Tracking on the company's own DSLRs. The only reason we might consider 'ergonomics of Eye AF' to be comparable is if we compare the updated Z cameras to the older Sony a7R III. The a9 and a6400, on the other hand, have the best Eye AF implementation to-date, both from a performance and usability standpoint (and as such should be a model for others to follow).

Nikon's introduction of an effective Eye AF system is a huge step in the right direction

For now, let's take a step back and give Nikon kudos for the fact that its improved face and eye detection allows me to get shots like the one below without having to think, whereas previously Auto Area mode may well have focused on my daughter's arm in the foreground.

Face detect worked beautifully here to quickly nail this shot.

Nikon Z7 | Nikkor 50/1.8 S

Nikon's introduction of an effective Eye AF system is a huge step in the right direction for its mirrorless line of cameras, which even before this update, were already in my opinion the most enjoyable and photographer-friendly of today's ILCs to shoot with.

If this firmware update is at all indicative of what's to come from the Nikon Z-series, then we're keen to see what's next. The rebirth of 3D Tracking, pretty please?

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Footnote: For the sake of completeness, we also compared the updated Z6 / Z7 to Canon's EOS R and RP. The Nikon Z cameras are considerably better at finding eyes than either of the Canons, where the eye has to be pretty big in the frame to even be identified. The updated Z-series cameras are also much more responsive when it comes to tracking the eye: like the Sony a7 / RIII they follow eyes around the frame quickly, whereas the EOS R / RP lag and frequently have to play 'catch up' with moving subjects.

Kategorier: Sidste nyt

This AI that can generate a 3D walking model from a single still image or painting

Sidste nyt fra dpreview - 19 jun 2019 - 15:52

Researchers with the University of Washington and Facebook have detailed a method using artificial intelligence to animate a person using a single still image. The algorithm is called Photo Wake-Up, and it will be presented at the Conference on Computer Vision and Pattern Recognition on June 19.

The Photo Wake-Up algorithm is given a single still image, such as a photo of a person standing or even an image of a less-than-realistic painting. The system animates the character or person featured in the still image, enabling it to step out of the photo and move forward in 3D space. The hole in the image where the character was located is automatically filled in by the software.

According to the study, the method can create a 3D character from the still image that is capable of walking, running, sitting, and jumping in 3D. The resulting animations can be experienced using augmented reality, enabling artwork in museums to literally walk off the wall, for example.

Despite the input image only providing a single camera position, the resulting 3D model can be viewed from the side and back, as well. The quality varies based on the image; a sample video shared by the researchers shows some 3D models that look more realistic than others.

As has already been demonstrated with AI-based faced generation technologies, it's likely the quality of this method will improve greatly over coming months and years. The study follows a different method revealed by Samsung in May that can transform a still image of a face into an animated, talking video.

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Hasselblad launches X1D II 50C with improved handling, faster responses and lower price

Sidste nyt fra dpreview - 19 jun 2019 - 14:00

Hasselblad has released a new version of its X1D medium format digital camera that offers a range of upgraded features and a speedier operating system. With improvements based around user feedback, the X1D II 50C offers a larger rear screen, a higher resolution EVF, faster startup and reduced lag, as well as a collection of menu and interface changes. Hasselblad says the new camera offers a ‘quicker and more intuitive medium format experience’. Critically though, the new version will cost a good deal less than the original X1D, presumably to bring it closer to the price of the Fujifilm GFX 50R.

Using the same body and pixel-count as the original X1D 50C, the Mark II is clearly an upgrade rather than a completely new camera, a fact reflected in the naming convention. A new processor appears to have been used that speeds up the operating system so that the time it takes the camera to start up is cut by 46%, shutter lag is cut and the blackout time between frames is reduced.

Users will get an extra 0.4 fps on the maximum drive mode taking the frame rate to 2.7 fps, and the time it takes to preview and scroll through recorded images has been decreased. The new processor allows a 62% better refresh rate in the viewfinder too – it’s now 60 fps – and focus accuracy has been improved.

Hasselblad claims the 3.6" rear screen is the largest available on a digital medium format camera, and has increased the resolution to 1024x768 pixels with the total number of dots standing at 2.36M compared to the 920,000 screen used on the original model. Likewise, the EVF resolution has jumped from 2.36M dots to 3.69M (1024x768 vs 1280x960), and the new 0.87x magnification gives users a bigger view.

Hasselblad says the camera’s menu system has been tweaked to make it more logical and to deliver easier access to the functions, while new icons and clearer language make finding what you are looking for more straightforward. The menu can now be displayed and operated in the viewfinder, while a new system for touch AF has been incorporated and the control screen will now display more information, including self-timer and a Balance Scale to indicate exposure adjustments.

JPEG users will be pleased to hear that the X1D ll 50C allows not only full sized JPEG images but that JPEGs can be recorded on their own with no Raw accompaniment. And, the company says the quality of its JPEG files has improved – though we don’t get to know how exactly.

The camera’s 24.7Wh battery can be charged either in an external charging block or in-camera via the USB socket. This also allows the battery to be charged via a powerbank when on the location. Another new feature is that a GPS module is now built into the body instead of being supplied as a hot shoe accessory. This saves the $175 that it costs for the hotshoe model used with the original body if one wasn’t supplied with your camera, while freeing up the hot shoe for a flash unit.

The Hasselblad X1D II 50C will be available in July 2019 and will cost $5750 (before tax) or €6000/£5400 (inc VAT). For more information see the Hasselblad website.

Phocus Mobile 2 allows Raw download and cabled connection

Hasselblad has also updated its Phocus Mobile iOS app so that now users can not only control the camera and rate images, but additionally download Raw and JPEG files to their iPad Pro and iPad Air (2019) devices. The app can connect to the X1D II 50C either via Wi-Fi as before or via the camera’s USB-C port, and will now support tethered shooting.
Phocus Mobile 2 is free, and will be available on Apple’s App Store.

Press release


In the pursuit to continue the journey of taking medium format outside of the studio, Hasselblad is pleased to announce the next installment of the X System – the X1D II 50C Mirrorless Medium Format Digital Camera. Dedicated to optimising the X System for a wider audience of creatives, Hasselblad has listened to user feedback and improved upon the first generation with enhanced electronics for a quicker and more intuitive medium format experience.

Continuing in the legacy of being the most portable and lightweight digital medium format camera, the X1D II 50C lets you take the power of medium format in a footprint smaller than most full frame DSLRs in a beautifully designed, compact package. Its large, high resolution 50-megapixel CMOS sensor (43.8 x 32.9 mm) is 1.7 times larger than 35mm full format sensors, packing in huge pixels (5.3 x 5.3 nm) for capturing images with superb tonality. With outstanding colour depth and an impressive dynamic range of 14 stops, which allows for capturing immense details in both shadows and highlights, the photographer is left with plenty of room for adjustment in post-processing. With Hasselblad Natural Colour Solution (HNCS) technology integrated into the camera’s system, exceptional, true-to-life tones are delivered that match what the human eye sees.

Building upon the award-winning first generation, the X1D II 50C blends form and function with minimalistic, Scandinavian design aesthetics and a smooth handling experience with its ergonomic grip. The new X1D II 50C continues to provide creatives with incredible Hasselblad image quality, with 16-bit RAW images and now full resolution JPEGs, in a compact, lightweight design.

Developing upon the first generation of the X System, the X1D II 50C’s upgraded electronic platform includes a higher resolution 3.6-inch 2.36-million-dot touch display, which is physically the largest LCD display currently available on a digital medium format camera.

Additionally, the X1D II 50C features a higher resolution enhanced OLED electronic viewfinder (EVF) with 3.69-million dots and a high magnification of 0.87x, letting you see the bigger picture. The much higher resolution of the rear display screen (1024x768) gives a more vivid, true to life image viewing experience.

The X1D II 50C’s live view features a faster refresh rate, reduced shutter lag and black out time between frames, an improved continuous capture rate, and a startup time cut almost in half from the first generation. Building upon the highly-intuitive user interface of the previous model, further refinements have been made to the X1D II 50C to improve the camera’s handling experience, including the ability to access the menu system when looking in the EVF, giving greater usability in the sunniest conditions.

Enabling an even more portable medium format workflow, Hasselblad’s post production solutions now include the new Phocus Mobile 2. Connected via USB-C and Wi-Fi, photographers can transfer RAW and full quality JPEG files directly from the X1D II 50C and edit RAW images on their iPad Pro or iPad Air (2019) while out on the field.


Expanding the possibilities of the Hasselblad workflow, Phocus Mobile 2 takes the image editing process to a new, portable level. Compatible with the X1D II 50C via either USB-C or Wi-Fi, this application is currently supported on iPad Pro and iPad Air (2019) models, enabling the traveling photographer to have a quicker, more mobile workflow. With Phocus Mobile 2, users can import, edit and rate RAW images and import and rate full quality JPEG images directly on their portable device. In addition, Phocus Mobile 2 supports full quality image export, tethered shooting and direct camera control.

Kategorier: Sidste nyt

Hasselblad’s first XCD zoom, the 35-75mm F3.5-4.5, finally arrives this October

Sidste nyt fra dpreview - 19 jun 2019 - 14:00

Hasselblad’s press release says its first zoom lens for the X system is ‘eagerly awaited’, though some users might consider ‘much delayed’ a more accurate phrase. Promised in 2017, the XCD 35-75mm F3.5-4.5 should finally be arriving in stores in October this year.

The company seems to think it will all be worth the wait though, as its chief designer declares it to be the ‘best zoom lens available on the market’. Said to offer the same edge-to-edge image quality as a series of prime lenses, Hasselblad claims it is the best lens it has ever developed.

Using an internal focusing system that allows the lens to retain the same compact dimensions throughout the zoom range, the lens is said to provide fast AF in a lightweight package.

The Hasselblad XCD 3.5-4.5/35-75 Zoom lens will cost $5175 / €4500 / £4050. For more information see the Hasselblad website.

Hasselblad XCD 35-75mm F3.5-4.5 Focal length 35.9-73.1mm Focal length equiv 28-58mm Aperture range F3.5-32/F4.5-32 Angle of view (D, H, V) 77°/64°/50° Length/diameter 145 / 85 mm Weight (excl. covers and lens shade) 1115g Filter diameter 77 mm Minimum distance object to image plane 0.42 / 0.6 m

Press release


The ninth addition to the X System lens range is the eagerly awaited XCD 3,5-4,5/35-75 Zoom Lens. Delivering the same superb image quality from edge-to-edge as the XCD prime lenses, this extremely high performance, compact mid-range zoom covers moderate wide angle to short telephoto focal lengths. Its internal focusing keeps the lens’ dimensions constant, delivers quick autofocus and additionally keeps the overall weight down. Ideal for shooting anything from wide angle landscapes to portrait images, this lens is perfect for photographers who are looking to keep the amount of equipment they carry when travelling to a minimum but don’t want to compromise on image quality. “This really is the best lens Hasselblad has developed – its performance is extremely high, competing with our prime lenses. I can even go as far to say that it’s probably the best zoom lens currently available on the market,” says Per Nordlund, Hasselblad Lead Optical Designer.

Like the rest of the XCD lens range, the XCD 35-75 features an integral central lens shutter, offering exposure times from 68 minutes to 1/2000s with full flash synchronisation throughout.

Kategorier: Sidste nyt

Hasselblad updates CFV digital back for V-system film cameras, produces tiny 907X body

Sidste nyt fra dpreview - 19 jun 2019 - 14:00

Hasselblad will be reintroducing its medium format digital back for its V-system medium format film cameras, and has announced a new slimline X-series body to go with it. The new CFV II 50C will feature a tilting screen to emulate the waist level finder experience, while the 907X camera will create an interface between the digital back and the company’s XCD lenses.

The CFV II 50C digital back will work on the company's 'V-Series' cameras but can also be used with the new 907X camera, which uses XCD lenses to create a tiny combination.

The original CFV digital back disappeared at about the time the X1D arrived in 2016, with Hasselblad citing a shortage of 50 Megapixel (43.8 x 32.9 mm) CMOS sensors as it clambered to meet demand for the new medium format X body. This new version brings with it some of the advantages of the new X1D II 50C, including a touchscreen and the new style menu that the new camera has adopted. Of great relief will be that the battery is incorporated into the body of the back instead of hanging from below as in the original version. The battery will be the same 3400 mAh unit that is used in the X1D II 50C, and it can also be charged via USB while still in the back.

The 907X body with the new CFV ll 50C back compared to the X1D ll 50C

The new 907X camera is tiny slip of a camera that allows X-series lenses to be mounted on the CFV II 50C back. Designed in the classic Hasselblad style, the camera has a chrome shutter button on the front, and a black and chrome finish on the rest of the body. While the native mount will be for the X lenses, almost all H lenses will be able to be used via an adapter. Adapters will also allow XPan and classic V lenses to be used.

The company says a grip and an optical viewfinder will be available once the body is released.

Together with the CFV digital back, the new 907X isn’t a hundred miles from the V1D concept camera that Hasselblad displayed at Photokina in 2016. That idea was designed to be modular, and was shown with a grip and a moveable screen. This doesn’t have a screen that can be placed on the top of the body, but the CFV II 50C does have a flip up screen that might go some way towards feeling like the same thing.

Neither CFV II 50C or 907X have a price or a delivery date yet, but we are promised more information later this year. For more information see the Hasselblad website.

Press release


Hasselblad proudly announces the development of the modernised CFV II 50C digital back and the brand new 907X camera body, which together will connect Hasselblad’s photographic history into one system.

The CFV II 50C digital back, which will have an outstanding medium format 50-megapixel CMOS sensor (43.8 x 32.9 mm), will enable use with most V System cameras made from 1957 and onwards in addition to third party technical or view cameras. Improving upon the user experience of the previous generations, the CFV II 50C will feature a brilliant tilt screen with full touch support and Hasselblad’s renowned user interface for settings, image review, and menu navigation. Users of previous CFV digital backs will appreciate a new fully-integrated battery, the same used on the X System, which will reduce overall size and with the option to recharge in-camera via the USB-C port. Combining its iconic aesthetics with modern technology, the CFV II 50C gives a nod to Hasselblad’s history combined with the brand’s world-renowned image quality.

Coupling the CFV II 50C with Hasselblad’s smallest medium format camera body ever, the 907X, creates a highly compact package. This combination will offer a truly distinct photographic experience, including the classic waist-level shooting style of the V System enabled by the CFV II 50C’s tilt screen. With the 907X, the photographer will gain access to all of the high-quality X System Lenses in addition to a vast range of Hasselblad optics via adapters, including the H System, V System, and XPan Lenses. In addition, the 907X will enable compatibility with a wide range of third-party adapters and lenses. Planned accessories to beautifully complement the combination include the 907X Control Grip and 907X External Optical Viewfinder.

Kategorier: Sidste nyt

Firmware upgrade brings features from Olympus's E-M1X to the E-M1 Mark II

Sidste nyt fra dpreview - 19 jun 2019 - 08:00

Olympus has released a major firmware update for its nearly three-year-old OM-D E-M1 Mark II. Many of the additions come straight from the company's flagship E-M1X, so now you can have a camera that shares many of the same features but in a much smaller package.

The most significant features include:

  • Autofocus
    • Autofocus algorithms from the E-M1X improves performance tracking moving subjects and makes S-AF more accurate
    • Group 25-point AF mode added; Center priority mode sticks to center focus point and will use surrounding points if subject moves 'vigorously'
    • 'Active use' of PDAF improves performance when shooting video
    • Camera can now focus down to -6EV when using an F1.2 lens
  • Image quality
    • A new 'Detail Priority' mode reduces noise (at the expense of burst speed) at low ISOs in JPEGs
    • High ISO performance has been improved by 1/3-stop, according to Olympus
    • ISO 100 (Low) added
    • Anti-flicker mode added
  • Other
    • OM-Log400 added for more flexibility for color grading in video
    • Menus/playback mode can be entered while camera is writing to a memory card
    • Focus Stacking now offers choice of 3-15 shots
    • New Instant Film Art Filter
    • Support for USB Raw Data Edit with Olympus Workspace (see below)
    • Support for new MC-20 teleconverter

You can see the full list of changes in the press release further down this page.

The E-M1X has also received a firmware bump to v1.1, with the only new features being support for the MC-20 teleconverter and USB Raw Data Edit.

Finally, Olympus has updated its Workspace software to version 1.1. The big new feature is the ability to edit Raw images over USB, with the camera doing the processing. Other updates include Focus Stacking from images taken in Focus Bracketing mode and the ability to create Live Composite images.

Press Release


Version 3.0 for the OM-D® E-M1 Mark II, Version 1.1 for the OM-D E-M1X and Version 1.1 for Olympus® Workspace

CENTER VALLEY, Pa., June 19, 2019 – Olympus is pleased to announce availability of the latest firmware upgrade for two interchangeable lens cameras, Version 3.0 for the Olympus OM-D E-M1 Mark II and Version 1.1 for the Olympus OM-D E-M1X. Additionally, Firmware Version 1.1 is now available for Olympus Workspace. OM-D E-M1 Mark II firmware Version 3.0 adds high-precision autofocus (AF) performance and the high image quality currently available on Olympus’ newest OM-D, the E-M1X. Specifically designed for the professional models in the OM-D series, the OM-D E-M1 Mark II and OM-D E-M1X, this new firmware provides feature enhancements for photographers who require portability and smooth operation of the camera when shooting.

OM-D E-M1 Mark II Firmware Version 3.0: Main Features

Advanced AF Performance

This upgrade utilizes the OM-D E-M1X algorithm, which was developed based on the shooting needs of the professional photographer. With the goal of achieving performance that responds to demanding shooting conditions, such as fast movement in sports, etc., C-AF Center Priority delivers high-precision tracking of moving subjects and sudden subject movement. AF precision for still subjects when using S-AF is improved for various subjects compared to OM-D E-M1 Mark II firmware Version 2.3. Active use of information from the On-chip Phase Detection AF sensor also improves AF performance while shooting video.

Newest AutoFocus Features

Group 25-point has been added to AF Target, and is effective for photographing birds and other small subjects. C-AF Center Priority is now available, and repeatedly autofocuses with priority on the center point in Group 5-point, Group 9-point, and Group 25-point. If AF is not possible in the center point, the peripheral points in the group area assists, which is effective for subjects that move around quickly. In addition, C-AF+MF1 is included which allows users to instantly switch to MF by turning the focus ring while in C-AF for fine tuning the focus.

Low Light Limit Update

The AF low light limit when an f/1.2 lens is attached is -6.0 EV (ISO 100 equivalent for S-AF), enabling high precision focusing in both dark scenes and for low-contrast subjects.

Improved Image Quality

Low ISO Processing (Detail Priority) has been added for higher resolution when shooting at low ISO sensitivity[1], making it possible to reduce noise while shooting with low ISO settings. Compared with OM-D E-M1 Mark II firmware Version 2.3, noise that occurs when shooting at high ISO sensitivity is improved approximately 1/3 of a step.

Support for New Functions in Olympus Workspace

USB RAW Data Edit[2] is now supported for much faster RAW processing in Olympus Workspace by connecting the camera to a computer to use the power of the OM-D E-M1 Mark II TruePic™ VIII image processor.

Enhanced Operability

  • Anti-flicker shooting added to prevent unstable exposure, particularly when sequential shooting indoors.
  • OM-Log400 movie-exclusive picture mode added, allowing the user to shoot movies without loss of details in shadows or highlight blowouts, delivery greater freedom over video creativity through color grading.
  • Frame Rate Priority added to Live View Boost/On2 display, displaying images at a comfortable brightness, even in especially dark locations, such as under a starlit sky without lowering the frame rate.
  • From 3 to 15 shots can be selected in Focus Stacking and guide lines have been added to the shooting area
  • Quick image selection added
  • Setting changes and playback display while writing to card now possible, facilitating quick operation.
  • Instant Film added to Art Filter
  • ISO L100 (ISO 100 equivalent) added

OM-D E-M1X Firmware Version 1.1 Main Features

Support for New Functions in Olympus Workspace

USB RAW Data Edit is now supported for much faster RAW processing in Olympus Workspace by connecting the camera to a computer to use the power of the OM-D E-M1X TruePic VIII image processor.

Olympus Workspace Image Editing Software Version 1.1: Main Features

Focus Stacking added for compositing images shot in Focus Bracketing[3]

Previously, when using Focus Stacking on a computer, it was necessary to use commercially available third party software to composite images. Now, t is possible to composite up to 999 images in Olympus Workspace.

Lighten Composite added

Lighten Composite is now supported by Olympus Workspace, making it possible to create images similar to Live Composite on the camera. Darken Composite has also been added.

Support for New Functions in Olympus Workspace

USB RAW Data Edit has been added for much faster RAW processing in Olympus Workspace by connecting the camera to a computer, using the power of the OM-D E-M1 Mark II and OM-D E-M1X TruePic VIII image processor.

Function Support Chart

✓ reflects the functions that have been upgraded with the firmware.


E-M1X Ver. 1.1

E-M1 mark II Ver. 3.0

AF Group Target 25-point

Already available

Custom AF Target

Already available


C-AF Center Priority

Already available

C-AF Center Start

Already available


Already available

Intelligent Subject Detection AF

Already available


Anti-flicker shooting

Already available

OM-Log 400

Already available

ISO L100 (ISO 100 equivalent)

Already available

Frame Rate Priority on Live View Boost/On2

Already available

Focus Stacking: Select from 3 to 15 images

Already available

Focus Stacking: Guide line display

Already available

Art Filter: Instant Film

Already available

Low ISO Processing (Detail Priority)

Already available

Setting changes and playback display while writing to card

Already available

Quick image selection

Already available

USB RAW Data Edit

Live ND shooting

Already available


Handheld High Res Shot

Already available


High-speed shooting: 120 fps (1920x1080/ MOV)

Already available


Bluetooth® connection

Already available


UHS-II compatible dual card slots

Already available


GPS® / Field Sensor System

Already available


USB power supply/battery charging

Already available


Multi Selector

Already available


Please visit the following URL for access to Olympus software and Digital Camera Updater:

Pricing and Availability

Firmware Version 3.0 for the Olympus OM-D E-M1 Mark II, Firmware Version 1.1 for the Olympus OM-D E-M1X and Firmware Version 1.1 for Olympus Workspace are available at no charge as an ongoing value demonstrating Olympus’ commitment to continuous product improvements.

[1] May affect the number of sequential shots in normal sequential shooting priority modes.

[2] This new function makes RAW processing much faster by using the TruePic VIII image processor on the camera via USB connection. Olympus Workspace and the supported camera must both be updated with required firmware. The available editing options from Olympus Workspace are limited to RAW editing options that can be handled internally in the camera. Compatible models are OM-D E-M1X and OM-D E-M1 Mark II, and images are saved in JPEG format.

[3] Images must be shot with a lens that supports Focus Stacking.

Kategorier: Sidste nyt

Olympus announces 2X teleconverter for 40-150mm F2.8 and 300mm F4 Pro lenses

Sidste nyt fra dpreview - 19 jun 2019 - 08:00

Olympus has announced a 2X teleconverter, the MC-20, which is compatible with the company's 40-150 F2.8 and 300mm F4 IS Pro lenses, along with the 150-400mm F4.5 TC1.25x IS Pro currently under development. On the 300mm F4 in particular, the MC-20 brings the maximum magnification up to 0.96x.

The teleconverter is weather-sealed and has nine elements, one of which is 'HR' to suppress aberrations. The 'ZERO' coating reduces ghosting and flare. Olympus says that there's 'virtually no loss' in AF performance when using the MC-20.

The MC-20 is now available for $429.

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Press Release


Expand the Field of Photography with Portability and Superb Image Quality of the Master Lens

CENTER VALLEY, Pa., June 19, 2019 – Olympus is pleased to announce the M.Zuiko Digital 2x Teleconverter MC-20. This teleconverter doubles the focal length of the master lens, and features dustproof, splashproof and freezeproof (-10°C) professional weatherproof construction for outstanding optical performance ideal for even the most severe environmental conditions. By doubling the maximum shooting magnification of the master lens, this teleconverter further expands the field of photography in super telephoto macro shooting. This product is compatible with the M.Zuiko Digital ED 40-150mm F2.8 PRO and M.Zuiko Digital ED 300mm F4.0 IS PRO, as well as the M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO, which is currently under development.

Super Telephoto and Super Telephoto Macro Shooting

Just like the M.Zuiko Digital 1.4x Teleconverter MC-14, the M.Zuiko Digital 2x Teleconverter MC-20 maintains the excellent imaging performance of the master lens while doubling the focal length, making it possible to capture intense shots of subjects that are usually difficult to approach, including small birds and animals. When attached to the M.Zuiko Digital ED 300mm F4.0 IS PRO, handheld super telephoto shooting at 1200mm equivalent (35mm equivalent) is possible.

When attached to the M.Zuiko Digital ED 300mm F4.0 IS PRO, the MC-20 allows the user to shoot near actual size at 0.96x (35mm equivalent) from the maximum shooting magnification of 0.48x. With performance like this, the photographer can capture close-up photos from far away without disturbing subjects that are sensitive to people, such as insects. Utilizing Focus Stacking results in photos that are in focus across the entire image, even on super telephoto lenses, which tend to have a shallow depth of field.

Outstanding Optical Performance

A 9-element, 4-group lens construction with an HR lens helps suppress various types of aberrations including chromatic aberration while maintaining the excellent optical performance of the master lens to double the focal length. The design also helps prevent ghosts and flares for superb image performance, thanks to ZERO coating.

Reliability to Capture the Moment

The master lens is designed to deliver excellent performance and dependable reliability, even when an Olympus teleconverter is attached. Virtually no loss in autofocus speed makes it possible to capture split-second photo opportunities using FAST AF performance. The dustproof, splashproof, and freezeproof professional weatherproof construction, coupled with powerful 5-axis image stabilization and FAST AF ensures that the user captures their shot even in the most severe environments.

Compatible Lenses

  • Zuiko Digital ED 40-150mm F2.8 PRO
  • Zuiko Digital ED 300mm F4.0 IS PRO
  • Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO (under development-planned for launch in 2020)

Pricing and Availability

The Olympus M.Zuiko Digital 2x Teleconverter MC-20 ships with the body cap BC-3, lens cap LR-2 and lens case LSC-0603 and is available now with suggested retail prices of $429.99 USD and $559.99 CAD.

Kategorier: Sidste nyt

Lensbaby OMNI Creative Filter System uses ‘Effect Wands’ to create in-camera image effects

Sidste nyt fra dpreview - 18 jun 2019 - 20:15

Lensbaby has launched pre-orders for its new OMNI Creative Filter System, a kit featuring a screw-on Filter Ring for existing lenses, as well as Effect Wands that magnetically attach to the ring in front of the lens. Each Effect Wand is designed to create in-camera photo effects similar to app filters, but with a greater level of control and repeatability.

The OMNI Creative Filter System is available with 58mm and 77mm Filter Ring options, both of which include step-down rings for use with different existing lenses. The system currently features three Effect Wands: Crystal Seahorse, Rainbow Film, and Stretch Glass. Two magnetic mounts, each capable of holding two Effect Wands each, are included with the kit.

The magnetic mounts attach to the Filter Ring, then the Effect Wands attach to the magnetic mounts. The wands can be repositioned by sliding them around the Filter Ring. According to Lensbaby, the kit is designed to work with the majority of prime and zoom lenses, including both auto and manual focus models, plus the company's own Velvet 56/85 and Burnside 35 lenses.

Below are a collection of sample images captured with in-camera effects from the wands:

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Each Effect Wand creates is own unique effects, including rainbows, light streaks, reflections and flares. The complete OMNI Creative Filter System is available to pre-order from Lensbaby for $99.95 USD. The product is currently listed as ‘backordered’ with no clear shipping dates.

Kategorier: Sidste nyt

Nikon's president confirms a 'D5' mirrorless equivalent is in the works

Sidste nyt fra dpreview - 18 jun 2019 - 18:18

Japanese business publication Nikkan Kogyo Shimbun has shared a quote from a recent interview with Nikon's CEO, Mr. Toshikazu Umatate, wherein he says a flagship mirrorless camera—equivalent to Nikon's D5 DSLR—will be introduced.

The quote, translated via Google from Nikkan Kogyo Shimbun's paywalled coverage (translated), reads:

Nikon to introduce a top-end model of the mirror-less camera. Time is a non-published, but Umatate Toshikazu president was revealed in response to the interview of the Nikkan Kogyo Shimbun. Top-end model of the digital single-lens reflex camera “D5.”

No specific time-frame was given for the impending release, but this marks the first time anyone from Nikon has officially confirmed a pro-style mirrorless camera designed to replace Nikon's flagship D4/D5 DSLR lineup.

Kategorier: Sidste nyt

Datacolor announces two new SpyderX Tool Kits for an all-in-one color correction workflow

Sidste nyt fra dpreview - 18 jun 2019 - 17:15

Datacolor has launched two new kits that bundle together some of its most popular color correction tools to simplify the color workflow of photographers from capture to print.

SpyderX Capture Pro tool suite

The SpyderX Capture Pro is a bundle designed to offer the most essential components in a color workflow. It includes Datacolor's Spyder LensCal, Spyder Cube, Spyder Checkr and SpyderX Elite, each of which are designed to play an integral role in the image capture and editing process.

SpyderX Studio tool suite

The SpyderX Studio bundle, on the other hand, includes tools not only for calibrating your camera and monitor, but also your printer. It includes the Spyder Cube, SpyderX Elite and Spyder Print.

If the items in these bundles were purchased on their own, the SpyderX Capture Pro tool suite would cost around $370 and the SpyderX Studio around $675, based on the retail price of the individual components. Through July 14, 2019, Datacolor is selling the SpyderX Capture Pro bundle through its website and authorized retailers for $320 and the SpyderX Studio bundle for $400 as part of an introductory offer. After that, the prices will increase to $400 and $500, respectively.

Press release:

Datacolor Launches SpyderX Tool Kits for Digital Photographers

Lawrenceville, New Jersey, USA, June 18, 2019 - Datacolor®, a global leader in color management solutions, announced the launch of two new product bundles for photographers to manage their color workflow: SpyderX Capture Pro and SpyderX Studio. Both include the recently launched SpyderX color calibrator for monitors – the most accurate, fastest (4X faster) and easiest-to-use Spyder, ever.

SpyderX Capture Pro provides all the essentials needed to precisely manage color from image capture through editing, and includes:

  • Spyder LensCal - Calibrate cameras, lenses and DSLR components.
  • Spyder Cube – Set white balance and RAW conversion.
  • Spyder Checkr – Next-level camera color calibration.
  • SpyderX Elite – Professional monitor calibration.

SpyderX Studio is the essential all-in-one photographic workflow solution for precision control from capture, to editing to print, and includes:

  • Spyder Cube – Set white balance and RAW conversion.
  • SpyderX Elite– Professional monitor calibration.
  • Spyder Print – Printer profiling for any printer/ink/paper combination.

Datacolor is kicking off the launch of these two products with a special 20% savings introductory offer. From June 18 through July 14, 2019, you can purchase the SpyderX Capture Pro for $319.99 (reg. $399.99) or the SpyderX Studio for $399.99 (reg. $499.99).

SpyderX Capture Pro and SpyderX Studio can be purchased at, Amazon or with authorized resellers.

Kategorier: Sidste nyt

Shooting with PolarPro's six-pack ND filter set for the DJI Osmo Pocket

Sidste nyt fra dpreview - 18 jun 2019 - 15:00
PolarPro filter 6-pack for the DJI Osmo Pocket
$80 | Grand Turk, Turks and Caicos Islands, taken early in the morning using an ND16 filter.

DJI introduced the Osmo Pocket, a three-axis stabilized handheld camera, late last year. The portable device is an ideal tool for content creators and casual consumers. It's designed for creating decent video clips and photos on the fly. Since I couldn't bring a drone onboard a recent cruise, I opted to purchase this device to document my journey.

Neutral density (ND) filters are a must-have for anyone aiming to capture smooth, cinematic footage. Selecting the proper one can be tricky, but PolarPro prints out a simple guide on which filter is most appropriate based on weather conditions, including how cloudy or sunny it is outside.

Neutral density (ND) filters are a must-have for anyone aiming to capture smooth, cinematic footage.

More advanced users can access manual settings by connecting their smartphone, accessing the DJI Mimo app and selecting a shutter speed that doubles the frame rate. For example, when applying the 180-degree rule, if I wanted to take advantage of 4K/60fps, I would select a shutter speed of 1/125. One thing to keep in mind is that the Osmo Pocket has a tiny 1/2.3-inch sensor and a fixed F2.0 lens, so you can't control aperture as an exposure variable.

Captured with the PolarPro ND4 filter.

Since I was going to be in the sun, surrounded by water, most of the time on this cruise, I invested in the Standard Filter Six-pack from PolarPro consisting of PL (fixed polarizer), ND4, ND8, ND16, ND32, and ND64 filters. In addition to the polarizer, the ND filters allow 1/4, 1/8, 1/16, 1/32, and 1/64 of incoming light to stream into the sensor, respectively. Think of them as sunglasses for your camera.

Selecting the right ND filter slows the shutter for video on the Osmo pocket, and can also add some motion blur to a timelapse for a more dramatic effect. The polarizer enhances colors and reduces reflection and glare on surfaces including water, glass, ice, and snow.

PolarPro's ND filters snap into place easily.

A compact case houses two rows of three filters, arranged by stop. Each filter was a bit challenging to remove, and the case design could be ergonomically improved. Once out of the bearings, though, the clever magnetic design made it easy to snap the filters on and remove them from the Osmo Pocket's camera.

Though they come in a sleek compact case, the ND filters can be a bit challenging to remove at times.

I found PolarPro's filters to be effective at cutting down the glare on water and enhancing hues (polarizer) while also letting me dial in my desired shutter speed for video (NDs). They're a recommended investment for capturing the highest quality footage possible with the Osmo Pocket and minimizing any post-production efforts.

Below are example photos I shot with different filters from the set, along with the story behind each one, which provide some real world examples of where each is useful.

PolarPro PL (polarizer) ND filter for the Osmo Pocket About the photo: Walking the colorful streets of San Juan, Puerto Rico, was a highlight of the trip. The sun was completely obscured from this scene, so I opted for the fixed polarizing filter to retain the vivid hues of the buildings. PolarPro ND4 filter for the Osmo Pocket About the photo: ND4 filters are recommended for use at dawn or dusk. While sailing along the Atlantic, back toward Florida, this combination of sun setting behind a group of clouds, illuminating an unknown island, and nearby rainstorm caught my attention from the 12th floor deck of the ship. PolarPro ND8 filter for the Osmo Pocket About the photo: It was overcast when we visited the only tropical rainforest in the US. The ND8 filter worked great in this situation. (Yokahu Tower in the background.) PolarPro ND16 filter for the Osmo Pocket About the photo: When pulling into Puerto Rico, everyone pulled out their cameras to capture Castillo San Felipe del Morro - one of the most impressive historical attractions in the Caribbean. As it was 10:00 am, local time, an ND16 filter was enough for a mostly sunny scene. PolarPro ND32 filter for the Osmo Pocket About the photo: A partially-cloudy day, on a tropical resort island in the Bahamas, still calls for the second most powerful filter in the kit. PolarPro ND64 filter for the Osmo Pocket About the photo: There were few clouds in the sky at Trunk Cay, a small resort beach located in the Virgin Islands. Since the noon sunlight was bearing down, I used the ND64 to eliminate glare and capture the contrasting dark blue and turquoise patterns in the bay. Wrap-up

The DJI Osmo Pocket is a fantastic camera that's great for capturing photos and videos while you travel, but PolarPro's standard 6-pack of filters is a valuable addition. As one would expect, the fixed polarizer can make your photos pop thanks to improved contrast, increased saturation, and reduced glare, and unlike screw-in filters it fits perfectly on the Osmo Pocket.

Additionally, the selection of ND filters make it possible to capture more natural looking video when used to dial in the appropriate shutter speed on the camera – something that's particularly useful given that the Osmo Pocket's aperture is locked at F2.0, eliminating the option to use aperture to adjust exposure.

Overall, I found the PolarPro filters to be a great addition to my Osmo Pocket. This 6-pack of filters should definitely be on your list if you want to get the most out of DJI's pint-sized camera.

What we liked
  • Useful range of filters
  • Magnetic design makes it easy to attach and remove filters
  • Good optical quality
What we'd like to see improved
  • Filters can be a bit difficult to remove from case
Kategorier: Sidste nyt

Dallas photojournalist recounts capturing photo of gunman during yesterday's shooting

Sidste nyt fra dpreview - 18 jun 2019 - 14:48

Yesterday morning, a gunman dressed in tactical gear opened fire at the Earle Cabell Federal Building in Dallas, Texas with a semi-automatic rifle. While at the courthouse for a separate assignment, Dallas Morning News photojournalist Tom Fox was caught in the middle of the chaos and managed to capture a stunning image, embedded below, of the gunman as he appeared to be reloading his weapon outside of the building he fired into.

DMN staff photographer @TomFoxPhoto captured this image shortly before a gunman opened fire on the Earle Cabell Federal Building Monday morning in downtown Dallas. Fox was waiting to enter the building to cover a trial when the attack took place.

— Dallas Morning News (@dallasnews) June 17, 2019

As Fox explains in the above interview conducted with Dallas Morning News, he was at the courthouse waiting for a defendant to arrive for jury duty when he heard what he believed to be a backfire from a vehicle. What he heard though was the sound of gunshots that were being fired toward the federal courthouse.

After realizing it was gunshots he heard, Fox says he instinctually looked around to discover where the shots were coming from and ‘establish a safe perimeter and take a knee [to] see what I could [photograph].’

Shortly after hearing the first shots, Fox says a security guard and another individual, with whom he was talking with earlier, started running in his direction as pieces of granite from the Earle Cabell Federal Building were being kicked in the air from gunfire (the first photo in the embedded tweet below is implied to be the individuals he was referring to in the interview and shows both the gunman [left, in front of the blue sedan] and the granite turning to powder [top of the image, above the security guard's head]).

Many times today I have heard someone say of the downtown Dallas shooting, "Reminds me of July 7, 2016."

Said Thomas Castro (@DPDTCastro): "I just thought to get down here and protect the citizens. Not anything that brought back, 'Here we go again.'"

— Robert Wilonsky (@RobertWilonsky) June 17, 2019

It was at this point that Fox turned and ran to seek cover. Eventually, he noticed an alcove near the entrance of the building and took shelter behind it (Fox can be seen behind the alcove, just feet away from the shooter, in a screenshot from a video captured by a citizen in an adjacent apartment building in the embedded tweet below [second image]). When he peeked around the corner, he saw an individual down the street. At this point, he took out his telephoto lens and composed a shot when he realized the individual he saw 'looked to be someone that would fit the shooter profile and made some frames.' Fox says it was when the shooter went to pick something up and he saw the ‘nozzle’ of the gun that he got up and ran to safety.

What news photogs do. @dallasnews staff photographer @TomFoxPhoto captured gunman shortly before dude opened fire on Dallas Fed Building Monday. Someone pictured Fox as it played out. Gunman killed.

— Kevin B. Blackistone (@ProfBlackistone) June 17, 2019

According to Dallas Morning News, the shooter was shot and killed by federal agents as he was running away from the building he opened fire at. No one else was injured or killed.

Dallas Morning News has put together a video using footage captured by Fox that shows the moments shortly after he captured what has become a viral image in the aftermath of the events. We had originally planned to include it in the article, but the thumbnail used for the video shows the shooter collapsed in a parking lot adjacent to the federal building after being shot by a federal agent, so we decided to link out instead. Bear in mind the video is graphic in nature.

Photojournalists are warriors of our profession.
They are often first in, and last out. Without their images, the story feels incomplete.
They run toward news, acting on instinct. I’ve never met @TomFoxPhoto but my adrenaline surged when I saw this photo & read how it came about.

— David Begnaud (@DavidBegnaud) June 17, 2019

Fox said he thought he ‘was gone’ in a follow-up interview with Dallas Morning News that dives into more details of the shooting. In 2017, Fox won Dallas Morning News staff photographer of the year.

Update (June 18, 2019): This article had originally stated the photo Tom Fox captured of the gunman was done so as the gunman was running from the building. However, it appears the image was captured at a different point in the timeline of the events and the article has been updated to reflect this.

Kategorier: Sidste nyt

WANDRD'S new DUO Daypack raised $250K in Kickstarter funding in just 24 hours

Sidste nyt fra dpreview - 17 jun 2019 - 22:09

Bag company WANDRD has launched its new DUO Daypack on Kickstarter, where it has already greatly exceeded its funding goal. The backpack is designed for 'dawn-to-dusk' use, according to the company, with features for photographers in addition to travellers, commuters, and everyone else.

DUO Daypack features the InfiniteZip system, which involves a single zipper with multiple sliders for accessing the part of the bag that contains the needed item. The bag is described as weather-resistant against rain (and power washers, as demonstrated in the campaign).

The bag's interior features a POP cube that can be expanded to create a 'multifunctional space' within which items, such as a camera, are better protected. The cube includes a padded EVA foam divider for accommodating different types of gear.

Joining the protective cube are a number of pockets, including two padded expansion pockets for lenses, hard drives, or other modestly sized items. Those two slots are joined by small mesh pockets, a large mesh pocket, zipper pockets, and a hidden passport pocket.

The DUO Daypack has a 20L capacity and measures 29cm x 16.5cm x 49.5cm (11.5in x 6.5in x 19.5in) with a weight of 1.2kg (2.6lbs). WANDRD is offering the bag to Kickstarter backers with an 'early bird' price of $175 USD, a discount off the anticipated $219 USD retail price. Assuming the campaign is successful, WANDRD expects to start shipping to campaign backers in December 2019.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there's always the risk of the product or service never coming to fruition.

Kategorier: Sidste nyt

Video: Canon explains how its new RF lens mount is better than smaller, older mounts

Sidste nyt fra dpreview - 17 jun 2019 - 20:02

Canon Imaging Plaza, an official Canon YouTube channel dedicated to showing off the latest Canon technologies and cameras, has shared a video highlighting the benefits of its new full-frame RF lens mount and the advantages it has over older lens mounts, such as its own EF mount.

The four-and-a-half-minute video uses CGI renderings and example images to show off the various benefits Canon's RF mount offers and the technology that goes into its RF lenses.

A rendering comparison from the video showing how the light can be better controlled through elements when the elements are able to be placed close to the imaging sensor.

The narrator addresses the shorter back focus distance and larger diameter mount, which allows Canon to move the rear-most elements in lenses closer to the sensor, which it says helps to minimize chromatic aberration and allows engineers to get more creative with lens designs. Having the rear-most lens elements close to the sensor creates its own problems though, which leads the video to Canon's SubWavelength Structure Coating (SWC) and Air Sphere Coating (ASC) technologies, which are designed to minimize ghosting and flaring in images.

A comparison shot from the video that shows how the shorter back focus distance and larger diameter mount can yield better image quality—especially near the edges of the frame—thanks to better aberration control.

The video also mentions the additional contacts found in the RF lens mount, which are designed to increase the bandwidth of data and power that flows to and from the lens through the camera.

While this video is clearly about Canon's RF mount, the pros (and cons) of larger-diameter lens mounts and shorter back focus distances also apply to Nikon's new Z mount, which is both larger in diameter (55mm to the RF's 54mm) and features a closer flange focal distance (16mm to the RF's 20mm).

Kategorier: Sidste nyt

Here's how you can change the default camera app in iOS 13 with a clever workaround

Sidste nyt fra dpreview - 17 jun 2019 - 19:22

One of the smaller updates inside the recently-announced iOS 13 is the addition of Automation, a feature within Apple's Shortcut app that allows you to automate various functions on your iOS device through the use of pre-defined triggers.

While the options are seemingly limitless with the new Automation feature, one particular Automation has all but resolved an issue iOS photographers have faced since the first iPhone—you can now make it so a third-party camera application opens by default when opening the Camera app from the home screen (or Control Center). Technically, this Automation doesn't change the default app that's opened, but it will make it so the camera app of your choice ends up being opened rather than Apple's default Camera app.

As we walk through in the video embedded below, the end result is achieved through the Automation trigger of opening a certain app. In the example we provide, we've made it so the camera app Halide opens when the Camera app icon is press on the home screen. Beneath the video is a text explanation of the process we used to create the Automation.

If the video isn't clear enough, here's a brief text explainer of how we set this Automation up: First, open the Shortcuts app and select the Automation tab (the middle tab in the navigation with a clock as its icon). From there, press the '+' icon in the top-right corner of the app and select the 'Create Personal Automation' button. At this point, you'll be provided with three distinct sections: Events, Travel and Settings. Each of these have a subset of triggers that can be used for Automations.

For this Automation, you'll want to scroll all the way to the bottom of the 'Settings' section and choose the 'Open App' option. On the next screen, iOS will ask you to pick an app that you want to be the trigger. In the case of this particular Automation, you want to choose the Camera app as the trigger. After selecting the Camera app, press 'Done' and then 'Next' to move to the next step. Here, you will choose what you want to happen when you open the Camera app. Tap on the 'Add Action' button and choose the 'Apps' icon (it will be the first icon in the options presented).

From there, choose the 'Open App' action. This is where you will select what third-party camera app will be opened in place of Apple's default Camera app. As we mentioned, we opted to open the third-party camera app Halide. After selecting the app and pressing both 'Done' and 'Next' again, you're at the final stage. You can choose to have iOS 'Ask Before Running' or turn that option off to remove an extra step. Now, click 'Done' and you should be good to go.

Again, this doesn't technically change the default camera app. As you can see in the below video, the default Camera app still opens, albeit very quickly, before triggering the Automation to open Halide. Still though, it's a pretty quick transition, even on the first beta of iOS 13.

Keep in mind that this particular Automation is being run on a developer beta version of iOS 13. Apple will release a public beta for those interested sometime in July (you can sign up to receive an invite here), but even if you get the invite to test the public beta of iOS 13, we suggest not putting it on your main device(s). The developer beta of iOS 13 has proven fairly bug-free since we've downloaded it, but there's always the risk that certain apps and features won't work and the last thing you want to do is effectively render your iOS device useless.

Disclaimer aside, it's a neat little trick. There are countless other photo-related Automations that could be made, but we had to start somewhere. Between the Automation feature, the ability to access external storage and other features, iOS 13 should prove to be a substantial update for photographers and their workflows.

Kategorier: Sidste nyt


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