Photo news

Content of this site deals with photographs and not technique and equipment needed. This does not mean that development of technique and equipment must be ignored. To keep up to date this page offers headlines collected from various online resources.

Feb 11, 2016

Ricoh partners with 360° content social platform Spinnable

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 11 2016 - 09:37 PM (CET)

Ricoh has partnered with Spinnable, a social sharing platform dedicated to 360-degree content. The partnership allows Ricoh Theta S owners to directly upload 360-degree videos recorded with the camera to Spinnable. The Spinnable platform is currently available as an iOS app, and will soon be launched for Android, Samsung Gear, and desktop, as well. The Ricoh Theta S is a consumer handheld camera that records 360-degree high-definition video via a 14MP image sensor, wide-angle lenses, and Ricoh's own ultra-small twin-lens folded-optical system. Currently, Theta users can only upload their creations to YouTube, Google Street View and Ricoh's website. Spinnable opens up another option to Theta users, who will be able to view and pan around within the video using either their phone's integrated gyroscope or by swiping a finger. In a press statement on Wednesday, Spinnable co-founder and CEO Mark Demarest said, 'Although Spinnable is hardware agnostic, we've chosen the Ricoh Theta S as the first camera to directly integrate with Spinnable because of its compact form factor, image quality and price point.' Spinnable users can now purchase the Ricoh Theta S directly through the app, as well. Press release: Ricoh Theta S Offers an Immersive 360° Experience With Spinnable for Social Media Content LOS ANGELES, Feb. 10, 2016 -- Spinnable, an immersive technology company for 360 Social Sharing, today announced a strategic alliance with Ricoh, creator of the Theta S. Spinnable and the Ricoh Theta S -- the first handheld camera to capture truly spherical 360-degree images and high-definition (HD) video -- make it easy for anyone to create, consume and share content in full 360 degrees, capturing what is going on all around them, not just what is in front of them. Spinnable is working with Ricoh Imaging Americas Corporation to bring a massive shift in the way people experience media, while making production accessible to artists, brands, and the mass-market. Spinnable users can use the Ricoh Theta S to capture and then directly upload images to the Spinnable app, which is currently available for iOS, and will soon be available for Android devices. Once in the app, the media can be moved with theswipe of a finger, or by panning, using the phone's gyroscope. The Ricoh Theta S camera can also be purchased through the app. "Although Spinnable is hardware agnostic, we've chosen the Ricoh Theta S as the firstcamera to directly integrate with Spinnable because of its compact form factor, image quality and price point," said Mark Demarest, CEO and Co-Founder, Spinnable. The Ricoh Theta S captures the entirety of a scene in a high-resolution photo or video, in a sleek, pocket-sized design. It records high-resolution spherical images of nearly 14 mega-pixels and HD video at 30fps, with a maximum recording time of 25 minutes. Its high quality images are enabled by an enlarged image sensor and wide-angle lenses that allow more light through Ricoh's proprietary ultra-small twin-lens folded-optical system.  "Spinnable is creating a new, highly engaging way for consumers, companies and artists alike to share life's experiences with one another, and our Ricoh Theta S is the ideal camera to capture this content," said Jim Malcolm, president, Ricoh Imaging Americas. "We are excited to be a part of the new and growing Spinnable community." Spinnable is also enabling musicians, athletes and celebrities to provide fans with a more intimate, immersive look into their lives, from backstage, on the court, and in the studio, to red carpet events, and those beloved everyday selfies. With these relationships, Spinnable will be creating content that can be accessed exclusively through the app. The company will also be launching live-streaming events in 360 degrees directly through the app.

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Fujifilm X70 Shooting Experience: Taking it to the streets

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 11 2016 - 08:24 PM (CET)

Fujifilm X70 Shooting Experience The first thing you'll notice about the Fujifilm X70 is that it looks an awful lot like an X100T. The second thing you'll notice is how similar some core specifications are to an established cult classic among street photographers, the Ricoh GR II. And despite featuring retro-inspired dials-on-dials design coupled with a 16MP APS-C sensor and 28mm equiv. F2.8 lens, the X70 turns out to be very distinct from both of those cameras in real-world use. Basics and Handling The X70's X-Trans APS-C CMOS sensor is lifted from the X100T and offers the same 16.3MP resolution and hybrid AF system. The lens is new though - it's a fixed 18.5mm (28mm equiv.) F2.8 prime with two aspherical elements tucked behind a 9-bladed aperture diaphragm. Exposure is taken care of courtesy of a leaf shutter, allowing for near-silent operation, and if for some reason you need to be even quieter, the electronic shutter goes all the way to 1/32,000. That's a good thing for general daytime shooting as well, since the X70 doesn't get a built-in ND filter like the X100-series. Fly by night. SOOC JPEG, Classic Chrome mode. Photo by Carey Rose. F4 | 1/60 | ISO 200 The buttons and dials on the X70 leave a little to be desired. For the most part they function just fine, but the dials feel a little less-than-premium: kind of a halfway point between the X-A / X-M and X100-series of cameras. The buttons have positive feedback, but are a little too flush with the body. In fact, though you can reassign the movie button to something else, it's so flush that it's incredibly difficult to press. I've found that it's easiest to ignore it. Also, because the screen protrudes a bit when folded against the body, it gets in the way of you pressing the left-most button on the four-way controller. The playback buttons might seem oddly placed on the top of the touchscreen, but they actually work well there. All-in-all, though, the act of controlling core settings on the X70 is very similar to the experience of using the X100T, which is to say it works both very quickly and very well. One-man dance party. SOOC JPEG using Monochrome mode. Photo by Carey Rose. F5.6 | 1/60 | ISO 1000 The X70's rubberized front and rear grips are grippy and well-sculpted, and the camera feels comfortable and secure even in one hand. That said, the aperture control ring around the lens and the articulating touchscreen encourage two-handed operation. Performance But using two hands won't slow you down with the X70. In fact, not much will. The 0.5-second startup time (high performance mode) of the X70 means that the camera is ready to shoot very quickly. This is about three times faster to start up than the GR II and means that subjectively, the X70 just feels more responsive when shooting out and about. Play time. Processed to taste from Raw using the Pro Neg Standard color profile in ACR. Photo by Carey Rose. F2.8 | 1/125 | ISO 200 Focus times in Single-AF for the X70 are also on the sprightly side (at least for Fujifilm). The hybrid AF system does usually undergo a slight hunt before locking focus, but the live view never freezes up. Of course, street shooters will miss a thorough implementation of snap focus, but Single-AF was usually fast enough that we didn't miss it anyway. So while overall Single-AF speed is good, accuracy tended to vary more than we'd like. The focus would sometimes shift slightly in frames taken in immediate succession, even in daylight. To be fair, I found this mostly when shooting with the contrast-detect-only AF points near the edge of the frame. Your mileage may vary. This focus shifting didn't affect my images much for web viewing, but I definitely noticed it on even a moderate-sized monitor. The combination of close focus and a mild wide angle mean you can get pretty close to your subject, have some background isolation, and still have some context in the scene overall. SOOC JPEG using Classic Chrome mode. Photo by Carey Rose. F5.6 | 1/125 | ISO 1250 Continuous AF isn't really a strong point for cameras of this general type and price point. With the X70 in single-point AF-C mode, you'll get some lag if your subject is too quick, along with a whole lot of hunting. AF-C + Zone, which uses the PDAF area in the center of the frame works better, but the PDAF area is too small for really meaningful subject tracking. AF-C + Wide / Tracking does a reasonably good job of identifying the subject to track, but you'll often get excessive and incessant hunting behind and in front of the desired subject. This was noticeable even if the subject wasn't moving. I ended up using the X70 in the same way as I use other Fujifilm cameras - in AF-S mode.  The First Fujifilm Touchscreen What really sets the X70 apart from both the X100T and the GR II is its tilting touchscreen, a first on any Fujifilm X-series camera. Sure, it's made it really easy for me to take unflattering couch selfies, but it mostly makes for a very discreet shooting experience. Using the X70 with the screen as a waist-level finder, you can touch to acquire focus anywhere in the frame and capture your scene without ever lifting your head. Uninterested passers-by will assume you're texting or maybe fiddling with dials on your hipster film camera, and if someone does actually pay you some attention, it just looks like you're going a little heavy on the chimping. Just chimping, bro. Processed to taste in Raw using the Monochrome preset in ACR. Photo by Carey Rose. F5.6 | 1/60 | ISO 400 The tilting screen also helps when it comes to getting the most out of the 28mm field of view that the X70 offers. Unlike a 35mm or a 50mm, a 28mm focal length requires some careful attention to foreground and background elements to keep your images from feeling too flat. Being able to easily frame subjects from ground-level or above my head helped me get a little more accustomed to 28mm, a focal length I normally tend not to gravitate towards. Image Quality The sensor inside the X70 is quite literally nothing new. Though this 16.3MP X-Trans sensor is getting a little long in the tooth, overall dynamic range and noise performance are still very good, and as we'd expect, very comparable to the closely-related 16MP sensor in the GR II. We prefer the rendering from Fujifilm's X-Trans sensor in JPEG mode, but Raw files from the more conventional filter array in the GR are easier to handle.  Camouflage. Processed to taste from Raw using the Pro Neg Standard preset in ACR. Photo by Carey Rose. F2.8 | 1/60 | ISO 1000 The lens on the X70 though is an all-new design, but in both the studio and the real world, we found the lens on our particular X70 to be noticeably less sharp than that on the GR II. Of course, this could be an outlier (we are using a very early production model camera) but we'll keep an eye on it and do a control test with another sample as soon as we can.  It's worth noting that the lens on the X70 doesn't offer a dedicated macro mode. It doesn't really need to. The close focus distance of 10 cm (~4 in) allows you to get a little more creative with your compositions as well as get some reasonable subject separation despite the vaguely unimpressive maximum aperture. Overall Impressions It's time for a talk. SOOC JPEG, shot in monochrome mode. Photo by Carey Rose. 1/60 | F2.8 | ISO 2500 Time to be brutally honest. The spec sheet on the Fujifilm X70 isn't all that exciting. We've seen the sensor, processor and autofocus system before. The lens, a new design, only opens to F2.8. It's appreciably smaller than an X100T, but is more 'coat pocket' than 'jeans pocket.' In spite of all of this, the Fujifilm X70 is a thoroughly enjoyable and engaging camera to use. Full disclosure: I feel the same way about the GR II, but using it is a completely different experience. If you have a GR II and like it, there's really not enough of a reason to dump it for the X70. If you like your X100-series but were looking into a more portable option like the GR II, the X70 is definitely worth a look. Strictly speaking, these two cameras are capable of achieving very similar results. But as the files between them have their own unique signature, so does the handling, and handling is a very personal matter indeed. So in the end, is there room for two similarly-specced street-focused APS-C shooters in the marketplace? Time will tell, but with the X70, Fujifilm has created a compact, responsive camera that in terms of both specification and design, is greater than the sum of its parts. Additional Content Fujifilm X70 Updated Samples Gallery $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_6897602972","galleryId":"6897602972","isEmbeddedWidget":true,"standalone":false,"selectedImageIndex":0,"startInCommentsView":false,"isMobile":false}) }); See our updated Fujifilm X70 real-world gallery Studio Test Scene Comparison See the Fujifilm X70 in our studio test scene comparison tool

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Still Live: Canon EOS 5D Mark III at $1,899 (reg. $2,499)

Source/Copyright: CanonWatch at Feb 11 2016 - 07:34 PM (CET)

Top Rated Plus seller AllNewShop on eBay (99.4% positive ratings) has the Canon EOS 5D Mark III on sale at $1,899. Compare to $2,499. Free shipping. Please note: this may be a grey import item. More Canon deals on eBay.

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Sigma teases fast telephoto lens to be announced February 23

Source/Copyright: CanonWatch at Feb 11 2016 - 06:09 PM (CET)

Sigma Austria posted a teaser for a new lens on their Facebook page. The image above is accompanied by the text below (translation from German mine): Today we can announce another world’s first, and we will show it on February 23. For…

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Canon EOS 70D deal – $738 (reg. $999)

Source/Copyright: CanonWatch at Feb 11 2016 - 04:32 PM (CET)

Top Rated Plus seller GetItDigital on eBay (99.6% positive ratings) has the Canon EOS 70D on sale at $738.58. Compare at $999. Free shipping. Please note: this may be a grey import item. Product description after the break. More Canon deals…

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New "Philosophy of Nikkor" videos uploaded

Source/Copyright: Nikon Rumors at Feb 11 2016 - 03:46 PM (CET)

Nikon published two new videos from their Philosophy of Nikkor series: The previous "Philosophy of Nikkor" videos can be watched here. Related posts: New “Philosophy of Nikkor” video with some technical details on the 24-70mm f/2.8E ED VR lens Philosophy of Nikkor: Designers' Voice (video) New material added to nikkor.com website

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Eye-Fi Mobi Wifi 16GB SDHC Memory Card discounted at $34.50 (reg. $49.95, limited time offer)

Source/Copyright: CanonWatch at Feb 11 2016 - 03:26 PM (CET)

Adorama has the Eye-Fi Mobi Wifi 16GB SDHC Memory Card discounted at $34.50 for limited time (free shipping). Regular price is $49.95. The Eye-Fi Mobi Wireless SDHC Card connects your camera to your Android smartphone/tablet, iPhone/iPad via simple setup and…

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Fuji X100T & Kaizen Love? “High Chance of Firmware 2.00 for Fuji X100T” – SRP (NOTE: Long Term Rumor)

Source/Copyright: Fuji Rumors at Feb 11 2016 - 02:55 PM (CET)

There is hope, for Fujifilm X100T shooters A source right in the past told me that: There is a “high chance” for X100T Firmware 2.00 to come, but the source can’t give a 100% sure confirmation for now (and maybe…

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Another mention of 8K coming to Canon EOS C500 Mark II [CW4]

Source/Copyright: CanonWatch at Feb 11 2016 - 12:09 PM (CET)

Some time ago we were first to report a rumor from a very good source, stating that Canon will feature 8K on the replacement for the Canon Cinema C500. Today I got another confirmation that the Canon Cinema C500 replacement…

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Amazon Germany deal: Transcend UHS-I Premium Micro SDHC 32GB Class 10 at EUR10.49 (reg. EUR14.90)

Source/Copyright: CanonWatch at Feb 11 2016 - 11:14 AM (CET)

Amazon Germany has a Blitzangebot (Lightning Deal) for the Transcend UHS-I Premium Micro SDHC 32GB Class 10 memory card, selling at EUR10.49 instead of EUR14.90. Product description (in German) after the break. Geschwindigkeit (Max.): 60MB/s Lesen, 20MB/s Schreiben Inkl. SD-Adapter…

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How tough can it be? LensRentals looks at why it's so hard to make lenses

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 11 2016 - 08:59 AM (CET)

Just check it and fix it, it can't be that hard. Can it? Why can't you just make them better? It sounds like a reasonable question until you start unpacking exactly what it entails. This is exactly what Roger Cicala and company do in the latest LensRentals blog post. As usual with Cicala's posts, the closer he looks, the more complicated the question becomes. So why can't everyone just (repeatably and affordably) make lenses, you know... better? With his usual critical (and somewhat wry) eye, Cicala looks at the importance and challenges of quality assurance (the processes to ensure you build things to standard) as well as quality control (checking that you've done so). This includes a look at the impacts of design tolerances, manufacturing tolerances, repeatability and the need to make products affordably-enough that people will be willing to buy them. And just what can you do with the ones that aren't quite right? Click here to read Roger Cicala's take on Optical Quality Assurance It's a long article but if you've ever wondered why they don't just check and fix every lens as the last step of the production line, or you've found yourself using the phrase 'you get what you pay for' and you'd like to understand why it's often true, it's well worth a read. And, if you get a chance to read it all, we'd love to know whether you end up more impressed by Leica's ability to make expensive, mechanically simple, manual focus single-focal-length lenses really well or by the ability of the big brands to build collapsable, image stabilized kit zooms for next-to-nothing and have them work at all. Let us know in the comments.

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Canon patent for CN-E 24-70mm LS f/2.8 Cinema lens

Source/Copyright: CanonWatch at Feb 11 2016 - 06:54 AM (CET)

Canon patent for a CN-E 24-70mm f/2.8 LS Cinema lens for Super 35mm sensors, i.e. for Canon’s Cinema line-up. Patent Publication No. 2016-14816 Published 2016.1.28 Filing date 2014.7.3 Example Zoom ratio 3.00 Focal length 24.00 48.00 72.00 F-number 2.80 2.80 2.80…

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“A Conversation with the Fujifilm X-Pro2” (olafphotoblog) :: Fujifilm X-Pro2 MANUAL Delayed to “Early March”!

Source/Copyright: Fuji Rumors at Feb 11 2016 - 01:40 AM (CET)

Fujifilm X-Pro2 USA: BHphoto / AmazonUS / Adorama / CANADA: AmazonCA / EUROPE: AmazonDE / AmazonUK / WexUK / PCHstore / AmazonITA / AmazonFR / AmazonESP /   AUSTRALIA: CameraPro Some readers made me notice, that AmazonUS still marks February 25…

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Techart Pro Leica M to Sony E AF lens adapter

Source/Copyright: Leica Rumors at Feb 11 2016 - 12:45 AM (CET)

TechartPro published additional information on their new Leica M to Sony E AF lens adapter (the full press release can be found here): Features: Turn your Manual Focus Leica M-mount Lens into Auto Focus Fast & Precise Focusing for Snapshot / Motion photography Support AF-S & AF-C mode Further adapting other lenses with other bayonet mounts […] Related posts: New Techart adapter will let you autofocus Leica M lenses on Sony A7 cameras Techart Leica M lens to Sony E-mount autofocus adapter demo videos Sony E mount adapter for Leica M lenses

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Feb 10, 2016

Tokina AT-X 11-20mm f/2.8 Pro DX lens tested at DxOMark

Source/Copyright: Nikon Rumors at Feb 10 2016 - 10:09 PM (CET)

DxOMark published their test results for the Tokina AT-X 11-20mm f/2.8 Pro DX lens: A useful lens in restricted space that's also capable of creating some dramatic images, a wide-angle lens is a great addition to any photographers' kit bag and a "must have" for landscape and architectural photo enthusiasts. The new Tokina 11-20mm f/2.8's increase […] Related posts: Nikon 20mm f/1.8G ED lens tested at DxOMark Tokina AT-X 11-20mm f/2.8 PRO DX lens for Nikon mount officially announced New Tokina SD 14-20mm f/2 IF DX lens for APS-C cameras leaked online

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Olympus SH-3 with 4K video recording announced in Japan

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 10 2016 - 08:35 PM (CET)

Olympus Japan has announced the Stylus SH-3, a relatively minor update to the SH-2 model introduced last March. The SH-3 offers 4K video at a paltry 15 fps and gains a half dozen new Art Filters. Otherwise, it features the same 16MP BSI CMOS sensor as the SH-2, as well as its predecessor's 25-600mm equivalent F3.0-6.9 24x optical zoom lens, 5-axis image stabilization and night scene capture mode.  The Stylus SH-3 will be available in Silver and Black in Japan on February 26 for just under ¥40,000 (~$350). It's unclear whether there are any plans to release the camera outside of Japan. Olympus Stylus SH-3 specifications Body typeBody typeCompactBody materialAluminum alloySensorMax resolution4608 x 3456Image ratio w:h1:1, 4:3, 3:2, 16:9Effective pixels16 megapixelsSensor photo detectors17 megapixelsSensor size1/2.3" (6.17 x 4.55 mm)Sensor typeBSI-CMOSProcessorTruePic VIIColor spacesRGBColor filter arrayPrimary color filterImageISOAuto, 125-6400White balance presets4Custom white balanceYesImage stabilizationSensor-shiftImage stabilization notes5-axis (yaw, pitch, roll, up/down, left/right)Uncompressed formatRAWJPEG quality levelsFine, normalFile format JPEG (Exif v2.3)Raw (Olympus ORF format) Optics & FocusFocal length (equiv.)25–600 mmOptical zoom24×Maximum apertureF3.0 - F6.9Autofocus Contrast Detect (sensor)Multi-areaCenterSelective single-pointTrackingSingleContinuousTouchFace DetectionLive View Autofocus assist lampYesDigital zoomYes (4x)Manual focusNoNormal focus range10 cm (3.94″)Macro focus range3 cm (1.18″)Screen / viewfinderArticulated LCDFixedScreen size3″Screen dots460,000Touch screenYesLive viewYesViewfinder typeNonePhotography featuresMinimum shutter speed30 secMaximum shutter speed1/2000 secExposure modes iAutoProgram AutoManual Scene modes Portraite-PortraitLandscapeIntervalSportIndoorSelf portraitSunsetCuisineDocumentsBeach & SnowSuper macroBacklight HDRNight captureNight+portraitNight sceneFireworksHandheld star lightLive composite Built-in flashYesFlash range8.30 m (at ISO 3200)External flashNoFlash modesAuto, redeye reduction, fill-in, offContinuous drive11.5 fpsSelf-timerYes (2 or 12 sec, custom)Metering modes MultiCenter-weightedSpot Exposure compensation±2 (at 1/3 EV steps)Videography featuresResolutions3840 x 2160 (15 fps), 1920 x 1080 (60p, 30p), 1280 x 720 (30p), 640 x 480 (30 fps)FormatH.264Videography notesHigh speed: 120 fps (1280 x 720), 240 fps (432 x 324)MicrophoneStereoSpeakerMonoStorageStorage typesSD, SDHC, SDXC, Internal MemoryStorage included37MBConnectivityUSB USB 2.0 (480 Mbit/sec)HDMIYes (micro-HDMI)Microphone portNoHeadphone portNoWirelessBuilt-InWireless notes802.11b/g/n with smartphone appRemote controlYes (wired or via smartphone)PhysicalEnvironmentally sealedNoBatteryBattery PackBattery descriptionLI-92B lithium-ion battery & USB chargerBattery Life (CIPA)380Weight (inc. batteries)271 g (0.60 lb / 9.56 oz)Dimensions109 x 63 x 42 mm (4.29 x 2.48 x 1.65″)Other featuresOrientation sensorYesTimelapse recordingYesGPSNone

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Nifty fifty: Hands-on with the Hasselblad H5D-50c Wi-Fi

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 10 2016 - 08:06 PM (CET)

Hasselblad H5D-50c Wi-Fi Hands-On Reviewwww.hasselblad.com Following our recent field test of the Phase One 645DF+ and an accompanying IQ250 back, we thought it would be interesting to see how the same 50MP CMOS sensor is employed by another medium-format beast: the Hasselblad H5D-50c Wi-Fi. This particular Sony sensor is interesting. It may not be the highest resolution sensor in its size class, but its CMOS technology allows ISO sensitivity ratings that its CCD rivals simply can't match. This extra sensitivity - largely due to the low noise CMOS architecture - lends immense flexibility to cameras that traditionally have been rather tied to the studio and are often only capable of location work when accompanied by a few powerful lights. The low noise sensor combined with the large surface area of the medium format sensor also lends the camera slightly more Raw dynamic range than even the best full-frame cameras, something landscape shooters are sure to appreciate. That the majority of medium-format camera brands want to be able to offer the features that this 50MP sensor makes possible is understandable, and in fact Pentax, Phase One, Leaf and Hasselblad have all built solutions around it. Of course, having the same sensor doesn't automatically guarantee that all of these cameras will give exactly the same results.  In Use Key Specification: 50MP CMOS sensor (32.9 x 43.8mm) ISO 100-6400 3.0" 460k-dot LCD Up to 1.5 fps continuous Built-in Wi-Fi 153 x 131 x 205mm / 6.0 x 5.2 x 8.1in 2290g / 5lb The Hasselblad H5D-50c Wi-Fi is a medium-format DSLR camera that uses a back fitted with a 50MP sensor. The sensor measures 43.8 x 32.9mm and has a pixel array of 8272 x 6200 that outputs Raw images weighing in between 65 and 90MB. The Raw files are saved in Hasselblad's own 3FR format that uses lossless compression. The camera is capable of simultaneous JPEG output as well - but JPEG files are only 12.7MP and measure 4128 x 3088. Think of them as the digital equivalent of a Polaroid proof print. The H5D-50c's CMOS sensor allows an ISO range of 100-6400 which is slightly wider and shifted towards higher sensitivities when compared to the 50-800 range of the company's CCD offering. Color is recorded in 16-bit 'definition' and rendered according to Hasselblad's Natural Color Solution color profile. The company recommends its own Phocus software for post-production work and for tethered shooting, but the files are also compatible with Adobe's Camera Raw application - all of which are included in the purchase price of the kit. Other primary specifications worth pointing out include a shutter speed range of 34 minutes to 1/800sec - more impressive at the longer end than the shorter - spot, center-weighted and center-spot metering across a EV1-21 range, and a single-spot AF system that works between EV1-19. The new features of the H5D-50c Wi-Fi obviously include the integration of Wi-Fi wireless communication in the digital back. This allows the user to connect the camera to an iOS smart device so that it can be controlled remotely and images can be viewed, before and after shooting, on the screen of an iPhone or iPad. An app called Phocus runs the connection and allows a good deal of control over the camera's settings, as well as the ability to browse images stored on the card loaded in the camera. Live View is another important 'new' feature, giving photographers the chance to see through the lens via the rear screen. At the same time you can use the built-in level to check the camera is straight, and once images are captured it's possible to preview focused areas via magnification or peaking, as well as see over- and under-exposure warnings. This is also the first new Hasselblad for some time to accept film backs, so users can switch easily between digital and traditional media. Handling The body of the H5D-50c is a good deal more modern than the 1980's Mamiya derivative that is the Phase One 645DF+ (which has since been replaced by the Phase One XF). The well-designed hand grip makes the weight of the body pleasant to hold, and the lens and back feel balanced. Although the kit - even with the small standard 80mm lens - is heavy, the designers have made a great job of reducing the strain through the way we are forced to hold the body. During my time with the camera, non-photographers consistently commented to me on how big it was, but also how comfortable it is to hold and use. Probably due to the form-factor, many people also thought it was a video camera. Hasselblad has arranged the majority of control points around the bulky grip of the right hand. An LCD panel on the top of the grip displays options and settings with the resolution and panache of yesterday's Casio digital watch - but without the screen size. This tiny display is the interface between the photographer and a mass of complicated functions, and while it can do the job it really isn't ideally suited to it. The grip is equipped to keep all of your fingers busy, with buttons on the back for the thumb, on the top for fingers and on the front for stretched out digits. It is remarkable how much can be accessed without changing the way the camera is held - including the mirror lock-up, depth-of-field preview and the True Focus button. With the HVD 90x prism head attached, as it was for the duration of this test, the photographer has access to an exposure compensation button - at a stretch - and the button for adjusting the exposure mode. All adjustments of features and functions are dealt with efficiently by a pair of small but comfortable wheels under the thumb and forefinger. Further control is afforded by the screen on the digital back and the accompanying small, spongy buttons. While 35mm-style DSLRs can host all their features on a rear screen, this screen only really allows us to alter white balance, image format and other issues relating directly to the operations of the back. The back is attached to the body alright, and the two communicate, but the two are not fully integrated. You can't adjust body functions via the back, so the real estate of that spacious rear screen is largely redundant when not being used to view what has just been captured. Working with a single AF point that is fixed in the middle of the frame is par for the course for a lot of medium-format shooters, but hardly ideal. Although the system is reasonably quick I think it is fair to say that autofocus isn't one of the camera's strongest points - as indeed it isn't in the Phase One 645DF+. When tripod-mounted, you're obviously better off focusing manually using the magnified view in Live View, but when working handheld, AF is much improved by the addition of Hasselblad's True Focus system. True Focus makes a real difference if you're a 'focus lock and recompose' kind of a photographer. After locking AF and recomposing your scene, the camera measures the angle that the camera has been shifted by, and adjusts the focus position accordingly to compensate for the fractionally greater subject to imaging plane distance. It is very clever, and works very well most of the time. As with other large-bodied medium-format cameras, some caution needs to be exercised when working with the H5D hand-held. No matter how comfortable the grip and how well suited the camera seems to off-tripod operation, the slap of the mirror is a significant hazard to image sharpness, especially at shutter speeds below 1/250sec. Image quality I think most experienced medium-format photographers will be inclined to forgive some handling irritations for the sake of the image quality (they're probably used to doing exactly that). And for me, the detail and dynamic range of the successful frames I shot with the H5D-50c worked like some memory-obliterating drug, making me forget about how awkward the camera can - sometimes - be to use.  Unsharpened Sharpened Images from this camera look really quite soft in their Raw state, which alarmed me at first. They need a good deal of sharpening applied. However, when used at low ISO settings and at an optimal aperture, the amount of detail captured is fabulous. Hasselblad seems to have set the processing in Phocus to prioritize noise reduction over detail, so images are less noisy than those shot on the Phase One IQ250 back and opened in Capture One Pro - but they need a good deal more sharpening to bring out textures in the subject matter. When the same images are opened in Adobe Camera Raw the amount of noise from the two backs is much more comparable.  Dynamic range is extensive, and the camera is capable of capturing a wider range of tones than the best full-frame DSLRs. As is the case generally with digital capture, it is easier to lift shadows than to recover blown highlights: once pixels saturate and clip, there's no information to recover. Modern CMOS sensors like this one can retain a truly astonishing amount of detail in shadow areas, with little of the noise and / or banding penalty that we might have expected in previous-generation CCD sensors. This low noise CMOS architecture combined with the massive amount of light the large medium format sensor can collect means photographers can deal with high contrast scenes by exposing for highlights and tone-mapping shadows in post. Unfortunately, exposing in this manner isn't helped by the camera's unsophisticated metering system, nor the fact that the rear screen is not a very reliable visual gauge of what has been captured - other than when the histogram display is showing. There is a clipping display option, but it is more a reflection of what will be lost in the JPEG images rather than what will be unrecoverable in the Raw files.  With HCD 28mm ISO 100, f/14, 0.3sec. Processed in ACR with -38 highlights, +100 blacks, no shadow correction. Processed in ACR with -38 highlights, +100 blacks, +90 shadow correction. I found Hasselblad's color quite difficult to get used to, and in some cases it took a while to make it work. I suppose it is hardly surprising that color, dynamic range and sharpness are easier to deal with in the company's Phocus software than they are in Adobe Camera Raw, but even so there were occasions I struggled to get images to look the way I remembered seeing the original scene. Summing up This is the third medium-format camera I have tested in recent months so it is almost impossible not to compare the Hasselblad H5D-50c Wi-Fi in some ways to the Phase One 645DF+ and the Leica S Type 007. Although different in handling and specification, the Hasselblad H5D-50c Wi-Fi is generally quite similar to the Phase One camera; as it is based on a older body, uses the same sensor, has Wi-Fi and Live View - but both seem very clunky when compared to the slick operation of the Leica. The Hasselblad mirror is less violent than the Phase One unit, and the body handling is overall more comfortable and better thought-out, but the integration of the digital back is less complete. I appreciate being able to use flash at all shutter speeds, but found it hard to accept that my fastest shutter speed under any type of light was a very restricted 1/800sec. To me, that is a serious short-coming. While obviously the quality of the images a camera produces is of the upmost importance, then surely the comfort of the photographer should take more precedence than it does with this H5D body. Most medium-format bodies are actually fairly old fashioned, and the H5D is a prime example. The company may have added some new features to jazz it up, but in my opinion, the whole system could do with a refresh. 'The image quality it produces is really excellent, but there are so many other things the H5D-50c Wi-Fi could do better.' Perry Oosting, the Hasselblad CEO, hinted in an interview with us that things are about to change and modernize at Hasselblad, and that the core products would be first on the list. I hope that means we will see something more suited to these modern times than this very able but imperfect machine. As I have said, the image quality it produces is really excellent, but there are so many other things the camera could do better. We like:  Fabulous image quality Great handling Flash sync at all speeds We don't like:  Body and back not fully integrated Top shutter speed is too slow Accuracy of rear screen preview Real-world Samples $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_8580589921","galleryId":"8580589921","isEmbeddedWidget":true,"standalone":false,"selectedImageIndex":0,"startInCommentsView":false,"isMobile":false}) });

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Canon refurbished gear listings stocked up

Source/Copyright: CanonWatch at Feb 10 2016 - 05:13 PM (CET)

The Canon Direct Store stocked up their refurbished gear listings. Many, many excellent deals can be found. Explore the listings…: Refurbished DSLR Refurbished lenses Refurbished Powershot cameras Refurbished printers Refurbished Speedlite flashes Refurbished camcorders Refurbished lenses have an additional 10% disocunt

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10 Reasons Why the Fujifilm X-Pro2 Surprised me… and Why the ACROS Film Simulation will (sadly) never go to X-T1 (& Co)

Source/Copyright: Fuji Rumors at Feb 10 2016 - 01:58 PM (CET)

My girlfriend is now officially addicted to my Fuji X-T1… what do you think, time for me to buy the X-Pro2? ? FR-facebook _ _ _ Fujifilm X-Pro2 USA: BHphoto / AmazonUS / Adorama / CANADA: AmazonCA / EUROPE: AmazonDE…

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Nikon ViewNX-i version 1.1.0a released

Source/Copyright: Nikon Rumors at Feb 10 2016 - 01:24 PM (CET)

Nikon released ViewNX-i version 1.1.0a for Windows with the following changes: Picture Control Utility 2 is now installed with ViewNX-i. Added an Edit workspace and an Adjustments palette for retouch features similar to those in ViewNX 2. Fixed an issue that caused the ViewNX-i Show Focus Point option to display the focus point in a position […] Related posts: Nikon ViewNX, Transfer 1.5.2 released Nikon RAW Codec v1.7.0 & Camera Control Pro 2 v2.5.0 released Nikon NEF Codec version 1.12.0 released

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Canon EF 24-70mm f/2.8L II deal – $1,399 (reg. $1,799, and EOS 5D3 at $1,899 still live)

Source/Copyright: CanonWatch at Feb 10 2016 - 01:24 PM (CET)

Top Rated Plus seller AllNewShop on eBay (99.4% positive ratings) has the Canon EF 24-70mm f/2.8L II lens on sale at $1,399. Great price for a highly regarded lens. Compare at $1,799. Free shipping. Please note: this may be a…

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Canon Lenses Dominate The Sidelines As The New EOS-1D X Mark II Makes Its Debut At The Big Game

Source/Copyright: CanonWatch at Feb 10 2016 - 07:28 AM (CET)

Canon press release: Canon Lenses Dominate The Sidelines As The New EOS-1D X Mark II Makes Its Debut At The Big Game MELVILLE, N.Y. - On February 7th, the top sports photographers from across the country gathered in the San…

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Eric Kim launches 'Henri' Neck Strap (Mark II) and Wrist Strap

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 10 2016 - 02:42 AM (CET)

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_9766143136","galleryId":"9766143136","isEmbeddedWidget":true,"standalone":false,"selectedImageIndex":0,"startInCommentsView":false,"isMobile":false}) }); If you're one to be tempted by fancy camera straps, you may be interested to know that street photographer Eric Kim has announced two new 'Henri' straps: the 'Henri' Neck Strap (Mark II) and the 'Henri' Wrist Strap. The newest neck strap is made from a darker leather than the previous version, the same color as 'a good cup of coffee,' according to Kim. The wrist strap is also made of leather and offers a similar design. The straps are handmade by a leather-maker in Saigon, and are then polished and packaged in Berkeley. Both items are available with limited stock. Buyers in the U.S. can purchase the neck strap for $79.95 and the wrist strap for $39.95 through Amazon. International buyers can purchase the straps through PayPal via Kim's website for the same rates plus $15 USD for shipping.

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The Ultimate Fujifilm X-Pro2 Guide :: Special Issue of the Interactive Fujifilm X Magazine (ed.13) – Chance to Win X-Pro2

Source/Copyright: Fuji Rumors at Feb 10 2016 - 12:56 AM (CET)

Edition 13 of the interactive Fujifilm X-Magazine just went online. This time it’s a special issue: The Ultimate Guide to the X-Pro2 – all you need to know about it. From the interview with T. Ueno: “It’s important to produce…

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Feb 9, 2016

SLR Magic announces anamorphic lenses for filmmakers

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 09 2016 - 09:57 PM (CET)

SLR Magic, a company known for making affordable optics and accessories for filmmakers, has announced a new set of anamorphic cinema lenses that can be adapted to a variety of lens mounts. The PL mount ANAMORPHOT-CINE line of lenses includes the 35mm T2.4, the 50mm T2.8 and the 70mm T4, all of which can be adapted for Canon EF, Nikon F, Micro Four Thirds and Sony E-mount. Anamorphic lenses are frequently used by filmmakers to capture wide-screen aspect ratios commonly associated with a more cinematic look. This is accomplished by squeezing the image horizontally onto the sensor or film to capture a wider horizontal angle of view. The image is later 'de-squeezed' either in post processing or by a special lens attached to a projector.  Digital filmmakers sometimes mimic the anamorphic effect by cropping off the top and the bottom of the frame in post processing to create a wider aspect ratio, however this effectively results in throwing away much of the data captured by the sensor. Additionally, anamorphic lenses are directly responsible for some of the looks often associated with cinematic productions, such as horizontal lens flare and elongated bokeh. The ANAMORPHOT-CINE lenses have a 1.33x squeeze factor, making it possible to create a 2.35:1 image from a 16:9 sensor. The ANAMORPHOT-CINE lenses also provide an alternative to anamorphic adapters that are often used to create an anamorphic image using a standard lens. The new lenses will be available for demo at the BVE Expo in London from February 23-25. Pricing is yet to be announced. Press release: NEW: The SLR Magic Anamorphot-CINE 1.33x PL lens set Hong Kong, China (Feb 9th, 2016) - SLR Magic is proud to announce the SLR Magic ANAMORPHOT-CINE 1.33x PL lens set for filmmakers which could be adapted to EF/F/mFT/E-mount via adapter. As a commitment to the film industry, SLR Magic developed the SLR Magic ANAMORPHOT-CINE lenses to deliver the classic contrast, distortion, chromatic, color aberration, and flare characteristics of vintage anamorphic lenses, but with the convenience of a matched lens set without the hassle of aligning and matching lenses to the already popular SLR Magic Rangefinder with Anamorphot adapter combination. To achieve the much loved scope aspect ratio, which gives a very pleasant, epic effect, filmmakers must crop off the top and bottom of standard 16:9 footage when using spherical lenses with modern digital cameras. As a result, 25% or more sensor/negative information is discarded. This 1.33x anamorphic lens help filmmakers to maximize their image quality by preventing this loss of vertical resolution. The unique 1.33x squeeze factor uses the entire 16:9 sensor/negative area to achieve the desired 2.35:1 aspect ratio. The SLR Magic ANAMORPHOT-CINE 1.33x does this by compressing a 33% wider field of view to fit the width of the 16:9 sensor/negative without compressing image height.  The SLR Magic ANAMORPHOT-CINE 1.33x create a unique "artifact" such as horizontal lens flare, commonly referred to as anamorphic streaks, and may create slightly elongated bokeh. Over the history of cinema, these same stylish effects have contributed to the cinematic "look" of epic motion picture photography. Characteristics that shape this anamorphic "look" come from "front-mounted" anamorphic designs such as the SLR Magic Anamorphot while "rear-mounted" anamorphic designs have more suppressed anamorphic characteristics. Lenses would be on demo at the BVE Expo in London, UK from February 23-25 in the Atomos booth K30 Technical Data: SLR Magic ANAMORPHOT-CINE 35mm T2.4 SLR Magic ANAMORPHOT-CINE 50mm T2.8 SLR Magic ANAMORPHOT-CINE 70mm T4 Lens Type: Anamorphic lens Squeeze factor: 1.33x Objective front filter thread: ?82 Mount: Titanium PL compatible with optional SLR Magic EF/F/mFT/E-mount Titanium adapter. Lens Coating: Multi Coated Close Focus: 3'6 Weight (oz./g): 38.8/1,100 Length (cm): 13.5 Diameter (cm): 10 Image Circle: S35 for 35mm T2.4, FF for 50mm T2.8 and 70mm T4

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Sekonic expands LiteMaster Pro meter series for wireless control of Elinchrom and Phottix flashes

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 09 2016 - 09:43 PM (CET)

Japanese light and color meter manufacturer Sekonic has introduced a pair of new ambient and flash light meters to the L-478 series that are dedicated to use with Elinchrom and Phottix flash units. The Sekonic LiteMaster Pro L-478DR-U-EL is designed to be used with Skyport-equipped Elinchrom heads, while the LiteMaster Pro L-478DR-U-PX is aimed at users of Phottix Indra studio heads, Mitros+ hotshoe flash guns, the Strato and Strato II receivers and the Atlas II transceiver. From the new meters Elinchrom users will be able to adjust flash output in 1/10th stops across four lighting groups, and the meter is capable of triggering and measuring individual groups as well as all the flashes as a whole. Photographers using the Phottix system will be able to make adjustments in 1/3rd stop steps, and can trigger individual or collections of groups at one time. Although the meters are primarily intended for wireless radio triggering they also support standard flash cables.  The LiteMaster Pro L-478 meters use a color touch-screen interface, and are designed to be used for still and motion picture work. These new models include an ISO 850 setting to suit users of the Canon cinema cameras, and have had their filter compensation factor increased from 5EV to 12EV for people using high-value neutral density filters. These features will be added to the current L-478D-U and L-478DR-U (PocketWizard) models via a firmware update in the near future.  An interesting feature of the series is the ability to store the dynamic range profile of ten camera/lens combinations so that you can ensure that your lighting set-ups don't create burnt-out highlights or blocked shadows.  The new LiteMaster Pro L-478 meters will cost $400/£400. For more information visit the Sekonic website.

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Instagram now supports multi-account use

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 09 2016 - 09:26 PM (CET)

If you're juggling multiple Instagram accounts for personal and professional use, the latest version of the app is about to make life a little easier. Version 7.15 for iOS and Android adds support for up to 5 accounts. Read more

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Finally! Adobe updates Bridge CC for improved performance

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 09 2016 - 08:57 PM (CET)

Adobe has released a significant update to Bridge CC, its venerable file management program. Where Photoshop and Lightroom have seen multiple incremental updates over the past few years, Bridge has been left somewhat alone. That all changes today with multiple improvements including improved cache management, and an option to import images from external devices including iOS and Android mobile devices. Sluggish performance, especially when displaying large numbers of thumbnails has been a perennial complaint among photographers who use Bridge. And although it has taken a while, Adobe seems to have listened to those complaints. Thumbnail previews are now generated on-demand rather than all at once, and metadata is loaded first so that filters can be used before all thumbnails have been generated. In another effort to boost performance, Adobe has introduced improvements to its cache management to automatically purge stale items when Bridge is idle. This Bridge update also re-instates a feature that automatically identifies and stacks images shot in a sequence either for an HDR or panoramic composite.  Bridge CC version 6.2 is available for download now. Press release: Bridge Reloaded Today we are pleased to announce the release of Adobe Bridge CC version 6.2. Bridge was brought back to be managed by Megan Donahue, Director, Creative Cloud and Arno Gourdol, Sr. Engineering Director, Creative Cloud and their awesome teams.  Arno is no stranger to Bridge since he has worked on several past releases.  Our team has been working on several new initiatives that enhance user experience around asset management used by Creative Cloud customers. Most recent initiatives launched by this team include collaboration features in Creative Cloud as well as Creative Cloud Assets, and Creative Cloud Libraries. This latest release of Adobe Bridge CC includes updates to the following feature set: Automated cache management The central cache of Adobe Bridge stores thumbnails, previews, and metadata information in a database. This database improves the performance when users browse or search files. However, the larger the cache, the more disk space it uses. Cache preferences help you manage the trade-off between performance and cache size. We have worked on improving purging cache capability, which is an existing feature in Bridge. In this update, automatic purging of stale cache items has been enabled when the application is idle. We are also providing a cache compaction option to set up cache clean-up at exit in case the database size increases beyond a certain size. Both these options improve performance of the application and help keep the cache and database clean over extended periods. For more information see, Work with the Adobe Bridge cache. On-demand thumbnail generation To improve the responsiveness of Bridge when you are browsing through a large set of assets, we have made improvements to the way the thumbnails, previews, and metadata are extracted/generated. Now when you select a folder, the thumbnails/previews are extracted on priority for only the on-screen assets. The thumbnails for the remaining files are either generated on demand (when you scroll down/up) or when the application is idle. The metadata extraction happens on priority for all assets, thereby enabling the filter panel and search to become functional sooner. This change enables you to work with bulky folders without any performance issues like hangs and not-responding states. With this change, you will now have a fully updated Filter panel even before all the thumbnails/previews are generated. This will also enable you to search for the files even before all the thumbnails/previews are generated. Import from device option on Mac On Mac OS 10.11.x, Bridge CC did not recognize the following types of devices: iOS mobile devices Android mobile devices and digital cameras connected in PTP (Picture Transfer Protocol) or MTP (Media Transfer Protocol) mode In this update, an alternative to import media from these devices has been provided. You can now choose File > Import From Device to import media from the devices. For more information, see Import from device on Mac OS 10.11.x. Note: This is a Mac only feature and launches Apple Image Capture to bring files from devices into Bridge. Other significant updates We also reinstated Autostack Panorama/HDR feature. Given our focus was on stability and performance of Bridge, we have made significant updates to the core technology components. This will set the foundation for a technology platform to enable future development and modernization of Bridge. Our team is very excited to bring this release as a stepping-stone for the work we have set out for 2016!

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BHphoto says X-Pro2 release postponed to March 25

Source/Copyright: Fuji Rumors at Feb 09 2016 - 08:04 PM (CET)

Back on February 5, Fujifilm said that due to “high demand”, the X-Pro2 release has been postponed to early March. Well, BHphoto seems not so optimistic, since they now say it will be available on March 25. I guess that…

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Leica UK announces support for award-winning charity PhotoVoice

Source/Copyright: Leica Rumors at Feb 09 2016 - 05:58 PM (CET)

Leica UK has made PhotoVoice its chosen charity for 2016, for the second year running. PhotoVoice is an award-winning charity that works all over the world using photography in under-represented communities for positive social change. PhotoVoice's participatory approach to photography contributes to their vision of a world in which no one is denied the opportunity […] Related posts: Leica introduces new support program for young photographers BAFTA, in association with Leica, announces Greg Williams as its inaugural photographer in residence The Leica User Forum charity book 2014 is now available

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New high-end Nikon compact cameras with fixed lens to be announced at CP+

Source/Copyright: Nikon Rumors at Feb 09 2016 - 05:09 PM (CET)

In December last year I reported a rumor about a new series of Nikon compact cameras with fixed lenses that will have different focal lengths and apertures. The cameras have been in development for a long time - rumors have been floating around since 2013. I am now pretty confident that at least two models […] Related posts: Three new Nikon compact cameras with 1″ sensor and different focal lengths coming in early 2016 Nikon to announce a high end compact camera: 16MP DX sensor, fixed 28mm f/2.8 lens, Expeed 2 processor Nikon Coolpix A, P330, S3500 and L320 compact cameras announced

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Fuji X-T2 & Sony A6300 :: Why the X70? :: X-T10 firmware update wishlist :: MF & XF200mmF2 rumors + more Top FXF Threads & Images

Source/Copyright: Fuji Rumors at Feb 09 2016 - 03:36 PM (CET)

Tibet 2015 shared by Xing TOP FXF THREADS TOC – Episode 18: X-Pro2, X100T or X-T1? :: XF100-400 Dilemma :: Absolutely Stunning Selection of Images & more – Episode 17: X-T2 rumors :: X-E3 wishlist :: Lens Advice on Primes…

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Sony Xperia Z5 camera review

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 09 2016 - 02:00 PM (CET)

The Sony Xperia Z5 currently shares the top spot in DxoMark's mobile rankings with the Samsung Galaxy S6 Edge Plus. With a 23MP BSI CMOS sensor, F2.0 lens and hybrid AF system it's easy to understand how it might have ended up at the top of the rankings. Our full review digs into image quality as well as our experience using the Z5 for photography. Read more

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XF100-400 available in Europe at AmazonDE :: First Fuji X-T1 IR shooter in Europe

Source/Copyright: Fuji Rumors at Feb 09 2016 - 06:09 AM (CET)

Fujinon XF100-400 USA: BHphoto / AmazonUS / Adorama / CANADA: AmazonCA / EUROPE: AmazonDE / AmazonUK / AmazonITA / AmazonFR / AmazonESP / PCHstore / WexUK / AUSTRALIA: CameraPro The XF100-400 is now available at AmazonDE. You can find it…

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Feb 8, 2016

Fujifilm X-E2 firmware 4.00 brings X-E2S features and interface

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 08 2016 - 08:59 PM (CET)

It may be over two years old, but that doesn't mean Fujifilm has given up on the X-E2. Fujifilm has released its promised firmware update for its X-E2 mid-range mirrorless camera. The firmware update adds a host of feature and operational improvements, including the AF upgrades from the recent X-T models, as well as a revised user interface and multiple Auto ISO settings. The firmware update for the over two-year-old model continues Fujifilm's habit of supporting existing users and brings the camera into line with most of the latest X-series models. The firmware can be downloaded now from the Fujifilm website The changes are so significant that, rather than publishing an addendum, Fujifilm has released a new version of the camera's owner's manual. Press Release: Substantial firmware updates for the X-E2, delivering a new AF system for better capture of moving subjects among other improvements and function enhancements [ Improvements and function enhancements with this firmware update ] New AF System (1) New AF system with Zone and Wide/Tracking modes for effortless capture of moving subjects (2) Improvement of AF accuracy (3) Eye Detection AF (4) Auto Macro mode (5) AF improvement in the Movie mode Function enhancements (6) High-speed electronic shutter with a maximum speed of 1/32000sec.* (7) White Balance Bracketing (8) Enhanced ISO Auto Setting to AUTO1/AUTO2/AUTO3 (9) Exposure Compensation control in Manual. (10) Natural Live View function is just like the naked eye. (11) Finer lines on the framing grid enhances visibility (12) New Video Frame rates (50P / 25P / 24P) (13) Manual Shooting in Video mode (14) Phase detection AF support for Instant AF (15) Expansion of shutter speed in Program Shift mode Operability improvements (16) The new user interface (17) Improved Shutter Speed Dial operation (18) Name of Silent mode changed to avoid confusion (19) Direct selection of AF area (20) Unlocked AE-L / AF-L Buttons (21) Variable Focus Area during MF (22) Q. Menu customization (23) Interlocking of Metering and Focus areas (24) Movie Recording Other changes with the update (25) Supports focus limiter function for XF100-400mmF4.5-5.6 R LM OIS WR (26) "BACKGROUND COLOR" menu (27) The maximum number of images taken in the continuous shooting mode

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Pocketable APS-C: Fujifilm X70 real-world samples

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 08 2016 - 08:36 PM (CET)

Fujifilm's new X70 compact camera puts the 16MP APS-C sensor from the X100T into a much smaller body, omitting an EVF but adding a 28mm equiv. F2.8 lens and articulating touch-sensitive screen. The X70 is certainly one of the nicest compact cameras to look at, and its specifications are pretty impressive, but what kind of images can it produce? We spent the weekend shooting with a production-quality camera. View our gallery of sample images from the Fujifilm X70

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Phase One adds the IQ3 100MP back to its A-series system

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 08 2016 - 08:30 PM (CET)

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_1625945477","galleryId":"1625945477","isEmbeddedWidget":true,"standalone":false,"selectedImageIndex":0,"startInCommentsView":false,"isMobile":false}) }); Danish camera manufacturer Phase One has expanded its range of A-Series offerings to include the new 100MP IQ3 digital back. The A-Series kits consist of an Alpa 12TC camera body with one of three lenses and a choice of IQ3 backs in 50-, 60-, 80- and 100-million-pixel resolutions. The A-Series is particularly interesting as the cameras have no mirror, so vibrations are kept to a minimum at the time of exposure. Images have to be composed on the rear touchscreen using the 30 fps live view feature, though the Wi-Fi functionality of the back allows connection to Apple iPod and iPhone devices via the Capture Pilot app for remote viewing, control and capture. The IQ3 backs also offer USB 3 and HDMI ports for tethered shooting to a computer running the Capture One Pro 9 software application, or for streaming live view content to a TV or field monitor. Each lens is calibrated with the body in the factory, so there should be no need for users to create custom color correction profiles themselves. The calibrations are stored in the IQ3 back, and users just have to select the matching menu item when changing lenses. The IQ3 100MP back in the kits is the standard model, and can also be used with the Phase One XF DSLR camera. The kits come with the Rodenstock ALPAR F4.0 35mm, but an ultra-wide Alpagon 23mm F5.6 and a 'standard' Alpagon 70mm F5.6 are also available. The A-series IQ3 100MP system is available now, and is priced at $56,000 with the 35mm lens. It comes with a 5-year warranty and personalized 24/7 support. For more information visit the Phase One website. Press release: Phase One introduces the A-series 100MP camera system COPENHAGEN, February 3, 2016 -- Phase One today introduced the A-series IQ3 100MP medium format camera system. In collaboration with ALPA, Phase One is pleased to offer this highly-integrated and specialty calibrated, precision camera system - one created to meet the needs of the world's most demanding fine art photographers.The A-series IQ3 100MP joins existing Phase One A-series models (the A-series IQ3 50MP, A-series IQ3 60MP and A-series IQ3 80MP) offering both the precision integration with the ALPA platform and complete compatibility with the Phase One XF camera system. Based on the ALPA 12TC mirrorless camera body, all specially calibrated Phase One medium format IQ3 A-series digital backs offer unprecedented quality and integration. Each model comes with the 35mm Rodenstock Alpar lens. Two optional lenses are available, including the ultra-wide 23mm, and the all-round 70mm, ALPA HR Alpagon - both offering perfect edge-to-edge sharpness and the ability to resolve full frame medium format sensors. Exclusive to the Phase One A-series system are factory configured in-camera lens calibrations (FLC), making the need to create and apply color cast correction profiles (LCCs) optional. One can simply attach an A-series lens and start shooting. Availability and PricingShipping immediately, the A-series IQ3 100MP Camera System is available through Phase One photography partners worldwide: www.phaseone.com/partners. The A-series IQ3 100MP Camera System comes with Phase One's unique 5-year warranty and uptime guarantee including personalized 24/7 support and assistance. The price of the Phase One A-series IQ3 100MP Camera System (with Rodenstock Alpar 35mm lens) is 56,000 USD. For a demo of the Phase One A-series IQ3 100MP Camera System, please sign up here: www.phaseone.com/demo

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Fujifilm X-Pro2 release moved to early March

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 08 2016 - 08:28 PM (CET)

Last month, Fujifilm unveiled the X-Pro2 mirrorless camera with a February 18 release date. Per a statement (in Japanese) issued on Friday, the camera maker has postponed the release until early March due to an unspecified production delay and higher than anticipated global orders. The postponement will 'ensure a sufficient supply amount' is available, according to Fujifilm. A specific release date will be revealed at a later time. This news follows last week's Nikon D500 delay announcement, with Nikon also citing high demand as the reason.  Ready for its close-up: See how the X-Pro2 defines a new era of video for Fujifilm Via: FujiAddict

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X-Pro2: “A new video era for Fuji” (dpr) :: Fuji’s SOOC Vs. Lightroom Film Simulations :: X-Pro2 IR Comparometer & more!

Source/Copyright: Fuji Rumors at Feb 08 2016 - 05:48 PM (CET)

Fujifilm X-Pro2 USA: BHphoto / AmazonUS / Adorama / CANADA: AmazonCA / EUROPE: AmazonDE / AmazonUK / WexUK / PCHstore / AmazonITA / AmazonFR / AmazonESP /   AUSTRALIA: CameraPro _ _ _ MUST READ: X-Pert Corner X-Pro2 First Look X-Pro2…

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Fuji Managers: “IBIS? Not compatible with X-mount (Read Why)! We are Observing the Progress of Organic Sensor”

Source/Copyright: Fuji Rumors at Feb 08 2016 - 11:39 AM (CET)

Fujifilm X-Pro2 USA: BHphoto / AmazonUS / Adorama / CANADA: AmazonCA / EUROPE: AmazonDE / AmazonUK / WexUK / PCHstore / AmazonITA / AmazonFR / AmazonESP /   AUSTRALIA: CameraPro _ _ _ Two of the big questions are…. will Fuji…

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Ready for its close-up: X-Pro2 defines a new era of video for Fujifilm

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 08 2016 - 08:54 AM (CET)

Video has previously been one of the great weaknesses of Fujifilm's X-Trans cameras but that's all changed with the X-Pro2. We've shot our test scene, pounded the streets of New York and captured all the visual clichés we could, to show you what the X-Pro2 can do. The X-Pro2's headline video specs are broadly unchanged compared to previous models but the quality has moved forwards dramatically. It's still not going to be the first choice for professional use but it's now more than competitive amongst its 1080-shooting peers. Add in the ability to apply Film Simulations to your shooting and video becomes another storytelling tool in the camera's arsenal. Click here to read more about the Fujifilm X-Pro2's video quality, handling and behavior

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Fuji X for Photojournalism: Martin Shkreli at the Congress “Captured” by 2 Fujis (via New York Times)

Source/Copyright: Fuji Rumors at Feb 08 2016 - 06:22 AM (CET)

Spotted on the New York Times: Martin Shkreli (the probably most hated person in USA right now – more at wikipedia) peppered with questions by the Congress. Amongst the Photojournalists, also at least 2 X-shooters. thanks to the FR-reader for…

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Match Technical Thumbs Up for Leica SL Typ 601 coming soon

Source/Copyright: Leica Rumors at Feb 08 2016 - 04:19 AM (CET)

A new MatchTechnical Thumbs Up EP-SL version for the Leica SL Typ 601 mirrorless camera is coming soon (pictured above with a Rock n' Roll strap, credit: Ashwin Rao). Update: the MatchTechnical Thumbs Up EP-SL for Leica SL Typ 601 is now available for pre-order at PopFlash. Few additional pictures: Related posts: Match Technical Thumbs Up EP-SQ grip for Leica Q Match Technical Thumbs Up EP-SQ grip for Leica Q now shipping, currently in stock Match Technical released a new EP-10S Titanium ThumbsUp for Leica M Typ 240

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Feb 7, 2016

Weekly Nikon news flash #353

Source/Copyright: Nikon Rumors at Feb 07 2016 - 06:55 PM (CET)

-> New Nikon deals: D750 now comes with a free Audio Technica mic D810 now comes with a free version of Adobe Lightroom 6 Refurbished Nikon D5500 with kit lens is now $549 B&H offers free hard drives and other accessories with the D750 and the D810 Nikon AF-S Nikkor 50mm f/1.8G lens open box available for $169.95 (orig. $216.95) […] Related posts: Weekly Nikon news flash #132 Weekly Nikon news flash #279 Weekly Nikon news flash #314

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Tokyo Drifter: Editorial and commercial photographer Alfie Goodrich on working in Japan

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 07 2016 - 02:00 PM (CET)

Tokyo Drifter: Editorial and commercial photographer Alfie Goodrich on working in Japan Azusa by Alfie Goodrich First published in 1991 at the age of 23, portrait photographer Alfie Goodrich has been shooting primarily in Japan since 2007. His eye as a photographer as well as a fluency in both English and Japanese has brought him a diverse portfolio of commercial and editorial clients, including Ferrari, Lamborghini, United Airlines, Condé Nast, Air Asia and so many more. Goodrich counts on more than just his bilingualism to bring him clients, however. He's a master of SEO, as well, with a daily blog that pulls in between 40,000 to 80,000 unique visitors a month, a self-produced online magazine and a Google+ page that sports more than a million followers. When he's not shooting, he also leads workshops and tours for photographers looking to work in Japan, and has even published his own Google guide to photogenic locations throughout urban Tokyo and Japan. Find out more about Goodrich by clicking through the slideshow and accompanying Q+A. For more imagery, visit his website, www.alfiegoodrich.com and subscribe to his magazine 'Stekki'. You can also follow him on his blog, Google+, Facebook, Instagram, 500px, and Flickr. Tokyo Drifter: Alfie Goodrich on working in Japan Kamakura by Alfie Goodrich You began your career as a music portraitist and photojournalist in the UK. What was behind the transition to travel reportage and editorial work? Actually, pretty much all of my professional photography work in the UK was done within the realm of the music business - which I was involved in from 1992 to 2002. Whilst I was PR Director for Nimbus Records, I shot a lot of stuff for CD covers, at recording sessions and events I was organising. Later, whilst general manager for Black Box Music in London, I did more of the same. Once I left music and started my own business, I started to mix up the subject matter a little more, providing a one-stop shop for people needing PR, websites, hosting and photography to promote and market their own companies. As my career changed, so did the subject of my photography. Tokyo Drifter: Alfie Goodrich on working in Japan Akari by Alfie Goodrich When did you decide to make the move from England to Japan, and why did you decide to stay there? My wife is Japanese. We met in the UK and lived together there for seven years, having two of our three children during that time. We'd been thinking of moving to Japan for some time. I lost both my parents within six months of each other, in 2005 and 2006. After that, we needed a change of scene. My parents had been very active in the local community, as had I. They were good times but, yes, a change was required. I had some friends in business, some of whom were doing very well from diverse, international businesses built up over decades. People like that generally have a good sense for what's in the wind. One of them, who had some experience of business in Asia, warned me that he felt Europe had some hard times ahead and that my thinking about a move to Japan was a good idea. Tokyo Drifter: Alfie Goodrich on working in Japan Fuji by Alfie Goodrich (cont.) We left the UK in October 2007 when the yen was 210 to the Pound. Under a year later, Lehman happened and the Yen-Pound rate dropped to 105 at one point. My friend was right. Asia and Japan have weathered the financial crisis a little easier than friends of mine have back in the UK. For me to work in the way I do in Japan but do that back in the UK, we'd be looking at living and raising a family in London. Tokyo is very different. It's safe, safe for the kids and safe for me to do my job - often dripping in camera equipment - without ever needing to look over my shoulder. That's one reason we've stayed here. Anther is that here I am different. I'm not a local. I have a different eye for Japan than a local photographer does; different working methods. I've made that work in my favour. Tokyo Drifter: Alfie Goodrich on working in Japan Johan - Akiko by Alfie Goodrich Have you found any significant differences working in Japan as compared to working in the UK - not just culturally, but on the business side of things? There are many differences between the UK and Japan and whilst nowhere is perfect, Japan and Tokyo tick a lot more boxes for us right now than London or the UK did. Little amusing things happen all the time, like asking if I could move a chair out of the background of a shot and having the company's PR team all look at each other as though that was something that needed a board-level decision. My response at those times is just to make light of the situation, move the chair myself and then say 'well, perfect... now you can blame the foreigner'. There is a very hierarchical decision making process at work in Japan. Responsibility is a collective thing, not really down to individuals. That's good in some ways but it can prolong decision making and during a shoot, things are often fluid and decisions need making quickly. Once you've built people's trust with you then it's different; they'll give you more of a free reign over things. One of the good things I would say here is that once you make business relationships, they tend to last. In the UK I would often come across the situation of having clients disappear to someone else based on cost: if Photographer X down the road was delivering Product A for £1 less an hour, then they'd move. That doesn't happen in Japan. Trust and relationships take longer to build, which can be frustrating at first, but once you've made that relationship it isn't really ever going to go south over trifling amounts of money. Tokyo Drifter: Alfie Goodrich on working in Japan Kawasaki Daishi by Alfie Goodrich You mention in an interview that budgets have shrunk so companies are looking for local photographers to carry out campaigns rather than flying out a production. What measures have you taken to ensure that you're the 'go-to' photographer that they will think of in Tokyo and these other cities? In terms of how I compare, from a client's perspective to, say, a Japanese photographer then I think the main difference is my eyes. I see things from a foreigner's perspective. Japan is still new and fascinating for me, after almost a decade of living here. I work differently to the locals. That can sometimes be a curse but usually it's a benefit; where it might take a Japanese photographer a team of seven people to do even a small fashion shoot, it takes me three. Working quicker, more efficiently is something I would say that is an advantage. I spent a lot of time getting my web presence sorted out and integrating it with SNS sites. So I have a good footprint on the web and on the search-engines. The photography teaching I do also helps a lot, making my network of contacts here and abroad more diverse and giving me a something different to blog about and publish online, which isn't just about my own work but about encouraging and championing others. Tokyo Drifter: Alfie Goodrich on working in Japan Asakusa by Alfie Goodrich Besides speaking English and Japanese, what is it about your expatriate status that has given you a leg up over other photographers in Japan? I am of course well-mannered and have respect for the local customs and culture, but being a foreigner means that it's possible to skirt many of the conventions that hold local people back from being true to themselves 100%. I think for me it's also about having come here at the right age. An old boss of mine once said that 'when you get to 30, people take you more seriously. By the time you reach 40, you don't give a shit whether they do or not!'. I was 38 when I came here, with a wife and two children and on the back of just losing both my parents. Since then, we've had another child, I hit 40 and, to be very honest, I just have no time for bullshit anymore. Or for games. I'm also pretty happy with who I am. Still not perfect, obviously, but happy with the imperfections. There really is only ONE me. Japanese people, because of the nature of their society, really don't tend to get much chance to be totally themselves except when they are by themselves. They have one face for themselves, one for inside the house and one for outside the house... for work. Being myself and being happy with that person has been a large part of doing well here. You obviously have to have the skills to do the job, that goes without saying. Tokyo Drifter: Alfie Goodrich on working in Japan Baja by Alfie Goodrich Since the beginning of the year, you've been an Ambassador for Hasselblad in Japan. How did that come about and what does that entail? The boss of Hasselblad Japan is a Brit. Once we met, that certainly helped: shared heritage, same daft sense of humour, same propensity to swear every other word. I think he'd heard my name crop up quite a few times around the time that Hasselblad opened their shop and gallery here in Tokyo. The same had happened to me with his name. The foreign photographer community here is fairly compact and we were bound to meet each other eventually. We had a meeting, talked about some of the things I was doing with photo education and which I was keen to explore with a camera company, especially one as legendary as Hasselblad. The boss and I got on well, we spent a bit more time hanging around with each other, I knew they had an ambassador programme and eventually we ended up talking about it and I was offered a post. It's been a lot of fun. Tokyo Drifter: Alfie Goodrich on working in Japan Alfie Goodrich and his travel pack What do you shoot with? Hasselblad H5D-50c Hasselblad H4D-40 as backup Nikon D800E Fujifilm X100 [borrowed from a friend] Countless lenses Tokyo Drifter: Alfie Goodrich on working in Japan Iambo-ishii by Alfie Goodrich What is it about the Hasselblad system that first appealed to you as a commercial portraitist? First of all, the people at Hasselblad are human, friendly, passionate and down to earth. Yes, it's business and of course it has to make money and be viable. But it's about more than that. It's about giving people an experience, sharing that feeling of joy and excitement that comes from having a truly awesome piece of machinery in your hands to take photos with... but at the same time, making sure it's not all about gear. It's about the image, the photo, the moment. The gear is crucial but it's not everything. As a perfectionist, I love being around people that are the same and Hasselbad are truly perfectionists. People often ask why the cameras are so expensive... well, part of the reason is that they are perfectionists. Craftsmen, perfectionists. And really, nowadays, buying a digital Hasselblad well of course they are not cheap but having one is the closest you will get to a 'camera for life'. In the digital, throwaway, planned obsolescence society we live in now that's a hard thing to say. But it's true. So now imagine that camera for life and having unlimited free film, forever... and it doesn't seem quite so expensive anymore. Tokyo Drifter: Alfie Goodrich on working in Japan Meijimura by Alfie Goodrich (cont.) For me, why does Hasselblad appeal to me? The colour rendition is amazing, very film-like. Skin tones are perfect straight out of the camera. The True Focus system [which uses a gyro in the camera to re-focus after you have re-framed] helps me shoot at the large apertures I like and still nail the focus every single time. The range of lenses is great and as ambassador I get to use what I like, as long as they have one available at the time. So, after really only using the 80mm and the 28mm a lot from the HC range before this year, I've been playing a lot with the amazing 300mm F4.5, the 210mm and the 120mm macro. I've also had a lot of fun with the CFV-50c digital back for the old film Hasselblads which is, for me, the fantasy come true of having all the wonderful usability of the older cameras but the convenience of the digital back. The Hassie flash syncs up to 1/800th sec. That and the range of lenses they have, which often stop down to F32 and F45, give you a lot of flexibility to kill the sun when you are shooting with flash outdoors. The Nikon only syncs to 1/250th. Tokyo Drifter: Alfie Goodrich on working in Japan Ruri by Alfie Goodrich As a Hasselblad Ambassador, you have 'kid in a candy store' access to their lenses. What have been a few of your favorite lenses so far? Like I said before, the 300mm is astonishing: super sharp wide open at F4.5 and still super sharp when you stop it down to F45. It's not light but it's perfectly balanced. A joy to use and I use it hand-held a lot. The 120mm macro is so sharp you could cut yourself on it. Lovely handling too. The first one I spent time with was the 100mm F2.2. I used to have the old Zeiss manual-focus 110mm F2 which was a beautiful lens. But it was seductive at F2, drawing you in what the lovely bokeh, only to leave you on the rocks of despair when you realised half the shots were out of focus. With Hasselblad's True Focus, you can shoot the 100mm all the way open at 2.2 and be sure to nail the focus every time. The 24mm is something also try to get my hands on when I can. Pretty much the widest lens for digital medium format and stunning on the right circumstances of subject matter. The TS1.5 tilt-shift converter has been fun too. I could go on... I mean, it's a nice candy store. Tokyo Drifter: Alfie Goodrich on working in Japan Shinyong Kimono by Alfie Goodrich You also shoot with the Nikon D800, D700 and D3X. When do you find yourself employing that system instead of Hasselblad? How do the two systems compare? When I need lighter more compact cameras I use the Nikons. I don't mind weight but if I need to hand-hold a shot at 1/4 sec then that's more likely to be doable with the Nikon. I also have a lot of old Nikon glass which I like using a lot on the new cameras. So, sometimes it's just because I have a lot of lenses at my fingertips that I use the Nikons. For shooting at a higher frame-rate, the Nikons win every time. Hasselblad is not built for that. You have to play a camera, any tool, at its strengths. That goes for weatherproofing too. My D700 now has about 650,000 pushes on the shutter and has been through five typhoon seasons with me... and it's been in the sea. The camera is practically bullet-proof. Best thing Nikon made since the F4, IMHO. Tokyo Drifter: Alfie Goodrich on working in Japan Keihincanal by Alfie Goodrich (cont.) The Hassie I shoot the most is a CCD sensor camera, the H4D-40. It's not a high ISO camera and I rarely shoot it above 400 ISO, although it's still doing OK at 1600. The colour on the CCD chip vs the CMOS in the Nikons is huge. The dynamic range too. If I need large dynamic range, if the colour is super important and required to be nailed in the camera then I use the Hassie. I hardly do any post- production on the Hasselblad shots. If I am in the studio, it's Hassie all the way. Tokyo Drifter: Alfie Goodrich on working in Japan Shinyong by Alfie Goodrich With more than a million followers of Google+, do you have any tips for managing a presence on the site? Why has it become your social media site of choice? I'm sort of getting back to Flickr too lately after a long break. Yeah, Google+... well I had a friend invite me to it very early, almost from day one of the site being open. The big thing for me was to investigate how well it integrated with other Google products, particularly whether it had any bearing on SEO and how far up Google you came. There are lots of articles out there on the net about G+ having no discernible effect on SEO. I'm not a techie but I can tell you that it has helped me get found. One of the first reasons I was also attracted to G+ was that, via a plugin I have called Google+ Blog which was developed by photographer and coder Daniel Treadwell. It's allowed me to post on Google Plus via by iPhone and have the posts pulled out and cross-published on my Wordpress sites by the plugin. That solved two issues for me: first was that there was really no decent app on the iPhone for blogging on a Wordpress site. Tokyo Drifter: Alfie Goodrich on working in Japan Rebel Rebel by Alfie Goodrich (cont.) Secondly, the cross-posting gave me three bites of the SEO cherry with a post that shared the exact same title as the one on G+. And Daniel's plugin preserves a link back to GPlus in the footer of each post. All these things have conspired to create a situation where, if I get clever about what I call my posts on G+, searches on Google's main search engine containing the same words can mean me getting listed on page one of Google within 40 minutes of making the post. That's powerful marketing for a small business or freelancer. I've made some good friends there and you always have to give something to get anything back in life. So, putting out rich posts that have a backstory about how I shot the pic and why; these posts have always got good attention and allowed me to cultivate a nice audience. Tokyo Drifter: Alfie Goodrich on working in Japan Yokohama Rain by Alfie Goodrich You're also quite active on several other social media fronts. Which do you recommend photographers invest their time in the most? Facebook is, for me, really just about keeping in touch with friends, making some new friends and having a personal place to chat informally. I don't really use it for work. It's my garden fence over which to gossip. The main thing I hate about FB for photography is that the JPEG compression is awful. It makes photos you post there look bad, so why would I use it so much for that? Google+ is all about photography. Flickr started in 2006 for me and now they have sorted out the look and the usability of the site, I am getting back to using it more. Tumblr I use as a scrapbook, moodboard and ideas archive. Twitter I am starting to use more but really just getting my head around it even now. I think the biggest thing for photographers to get sorted is their own website. Get a decent platform for it which for me is WordPress. Then make it look nice but don't over spec it. It's all about your work, not fancy animations, complicated navigation or anything too clever. People want to see images and to get to see a decent cross-section of your work as quickly as possible, in a mobile and web-friendly way. SNS should then relate back to your website. I post links on FB and link to my work on my sites. That generates traffic and sows links out there on the web and the amount of links a search engine sees to your site helps it bump you up the table for page ranking. As for what to post on SNS, give people something. It should not all be 'me, me me' and really not, on FB for instance, be about 'come and like my page'. You have to find a unique voice for yourself. Today is different. We have to be photographers and agent, promoter and marketer. That's hard to do for long without occasionally disappearing up your own backside. Find a way to promote yourself that also educates or enriches the people seeing your posts. That's really where the photography teaching has helped me; I like passing things on, helping people enjoy their photography more. A lot of what I post on SNS is slanted that way. Tokyo Drifter: Alfie Goodrich on working in Japan Yumi by Alfie Goodrich How does your Japanorama website tie into the rest of your endeavors?  Japanorama was the first domain I had outside of one in my own name. I bought it way back, at first just because I liked the name and it was a domain I used to point to my pics of Japan. When we moved here, I changed the site to be something the reflected more of everything I do: the teaching, the work, stuff not shot by me but done by people I teach etc. It's also the umbrella name under which I do business in Japan. Tokyo Drifter: Alfie Goodrich on working in Japan Mari by Alfie Goodrich Would you speak a bit about your self-published magazine Stekki and what the process of putting together a magazine is like? Stekki came about purely as a way to help students and workshop attendees get the experience of seeing their work in a magazine form. On workshops we'd shoot to a brief of making features to fill pages. People would need to think about a cover, double-page spreads, remembering to shoot vertical and horizontal. I get to see my work in magazines. That's nice for me. I wanted to share that experience and make a magazine for people. Plus, the discipline of shooting for the page, pre-visualising for the page, seeing someone edit your shots down and then fit them on to a page... this is good for people who are learning about photography. I'm shortly about to start designing and producing all the content for a real magazine here in Tokyo. That will help me move Stekki one step closer to being in print, which I think we can realistically see happening in 2016. Tokyo Drifter: Alfie Goodrich on working in Japan Momo Shoko Yoyogi by Alfie Goodrich As well as shooting, you teach photography in Tokyo. What are a few of the things that photographers can expect to learn in your workshops and photowalks? Are there any less known locations that you can recommend for photographers who are making a visit to Japan? I help people see. I help them pre-visualise, become visual literate as much as anything we do technically or physically with the camera. We'll always work to some kind of brief or project and since the Stekki magazine idea came along, very often we'll work together on shooting pages for that. I do one-to-one lessons, courses and workshops and at any one time there'll be something going on across a few genres of photography, from fashion to landscape, travel to documentary or street. I tend to get off the beaten track a lot and actually earlier this year made a Google Map with more than 100 places and walks on it, each with a photo. You can find that here: http://japanorama.co.uk/2015/04/30/a-photographers-map-of-tokyo-japan/ Tokyo Drifter: Alfie Goodrich on working in Japan Mone Ohashi Tripych by Alfie Goodrich You do a lot of location portraiture, what's your chosen lighting system for working in these urban areas? I've used lots of things and still do have a real mix of stuff. Recently I tried out the Profoto B2 kit for a few months and may well end up getting one. I like their B1 lights a lot as well. No cables. Huge benefit when working outdoors. I have an Einstein or two and the Paul Buff ring flash, which is fun. I still use a lot of small speed lights and radio triggers as well. I like the flexibility of clamping them onto a fence, railing or somewhere it would be hard to use stands or large lights. Tokyo Drifter: Alfie Goodrich on working in Japan Meijijingu by Alfie Goodrich Does Japan have similar permitting issues as the US or the UK when it comes to commercial photography? Japan is pretty good for photography. The main thing is about tripod and stand usage. There are plenty of areas in the cities where you can get away with light on a stand though. But the speed lights come in useful a lot for 'gun and run' type shoots. The police never really bother me. It's more the private security guards or guards that work for a building. If they think you are on their land, which at times can be hard to figure out, then they can be very persistent and annoying. Temples and shrines anywhere in Japan are pretty much either, 'yes we are cool with you but it's on a permission only basis' or, 'no, you can't shoot commercially here'. They are usually pretty approachable and the ones that will let you shoot will usually turn around a request for permission in two weeks or less. Some even use email now! But be prepared in Japan for the surprise of how popular the fax machine still is. Playing the 'stupid foreigner' card obviously is something I will do occasionally. I'm well mannered and polite but if I want a shot than I will try, within reason, plenty of things to try and get it. If pretending not to understand the rules is one, I'll do it. Tokyo Drifter: Alfie Goodrich on working in Japan Mari by Alfie Goodrich What was the experience of shooting Prince William, Duke of Cambridge like? The experience of a lifetime. I mean, whatever you think about the royal family, being on an assignment with any super-VVIP level people is amazingly interesting: the organisation, the pace, the things you get to see and experience.? I spent four days with the Duke, as the British Embassy in Tokyo's official photographer of his visit. I travelled in the convoy, went to all of the engagements in Tokyo and up in Tohoku. In four days I photographed the Duke, the Prime Minister, the Emperor and Empress, a Crown Prince and assorted other dignitaries. Not just from the press-pack perspective but as an embedded photographer. That opportunity doesn't come around very often. The Tohoku and Fukushima parts of the trip were especially poignant for me. My wife is from Fukushima and the majority of her family still live there. So when I got a chance, at the end of the trip, to speak with the Duke, I thanked him for taking the time to visit Fukushima. Lots of people had come out to see him. It meant a lot to them that someone like him would visit there home. Oh, and my two sons still hate me for the fact that - with the Duke - I managed to get inside the driver's compartment of the bullet-train. You can only really do that if you have a Prince to get you in the door.

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Feb 6, 2016

Nikon published their financial results for the third quarter

Source/Copyright: Nikon Rumors at Feb 06 2016 - 11:50 PM (CET)

Nikon published their financial results for the third quarter of the year ending in March 2016. Here are the highlights for the Imaging Business: Financial results for the 3rd quarter of the year ending March 31, 2016 (Imaging Business) Both sales and operating income decreased, year on year, for the 3rd quarter and three quarters total. […] Related posts: Nikon had another bad financial quarter Nikon announced financial results for the first quarter of 2016 fiscal year Nikon cuts yearly forecasts after reporting lower sales and income in first quarter

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Nikon D600 in the Philippines

Source/Copyright: Nikon Rumors at Feb 06 2016 - 09:28 PM (CET)

Nikon D600 in the Philippines is by Jan Berounský (website | Facebook): Last year I got offer to document a science project at Philippines. Our place to stay was Bohol island. I stayed here for almost 60 days. I have been very excited from this trip because I live in middle of Europe and this is totally […] Related posts: Nikon Philippines is promising an “important announcements in the days ahead” Is this the top LCD screen of the Nikon D600? Meike MK-D600 is a cheap alternative battery grip for Nikon D600

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Framing fashion with Dixie Dixon

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 06 2016 - 02:00 PM (CET)

At the age of 20, most people are just beginning to figure out what careers they want to pursue. Dixie Dixon got an early start in photography, so by 20 she had years of experience under her belt and a clear direction in mind - fashion photography. As New York prepares to host Fashion Week 2016 in a few days, we're re-visiting Dixon's PIX 2015 talk. An engaging speaker, she discusses getting her start in fashion photography and an unlikely first 'break' in the business photographing swimsuit models for a reality TV show. See more PIX 2015 videos

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Heavy hitter: Sony FE 24-70mm F2.8 GM first shots

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 06 2016 - 12:37 AM (CET)

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_9303055313","galleryId":"9303055313","isEmbeddedWidget":true,"standalone":false,"selectedImageIndex":0,"startInCommentsView":false,"isMobile":false}) }); Sony has made some strong claims about its new G Master lens series. Unveiled earlier this week, the FE 24-70mm F2.8 GM is one of three in the lineup to make its debut, giving Sony's full-frame mirrorless customers a fast, constant standard zoom for the first time. We had a few moments to shoot with the lens at Sony's press event in New York, and while we only provide a small sampling of shots at this time, we will be updating this gallery as soon as we can.  Our initial impressions are extremely positive: sharpness appears to rival prime levels wide open, and there's very little axial chromatic aberration to speak of. Sony's claims may not be exaggerated at all. We need to make a note about lens corrections: it seems that the camera we were handed had vignetting and chromatic aberration corrections turned on. The way this feature works is that these corrections are applied even in Raw mode (technically, vignetting correction is applied prior to writing the Raw file, while chromatic aberration correction information is embedded in the Raw and irreversibly applied by ACR). The good news is that we've looked at Raw conversions from third-party converters that ignore the CA correction profile, and CA from this lens appears to be very minimal. Watch this space for more sample images, hopefully very soon.

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Feb 5, 2016

Samyang adds 14mm and 35mm lenses to Xeen cinema system

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 05 2016 - 09:19 PM (CET)

The 14mm T3.1 Samyang Xeen lens Korean lens manufacturer Samyang has added two new wide angle lenses to its Xeen series of full-frame video lenses. The new focal lengths are 14mm and 35mm, and while the 35mm conforms to the family-standard maximum aperture of T1.5 the 14mm opens only to T3.1. The Xeen system now contains a total of five lenses as these two join the existing 24mm, 50mm and 85mm. All the lenses are manual focus only, and feature focus and aperture gear rings in identical positions so that they can be switched quickly in and out of the same rig. Filter rings also match, and users have a choice of metric or imperial focus scales. The lenses come with interchangeable mounts, and adapters are available for Canon EF, Nikon F, Sony E, PL and Micro Four Thirds bodies. The 35mm T1.5 Samyang Xeen lens Samyang is proud of the way its lenses render out-of-focus highlights, and the new 35mm complements the existing lenses with its 11-blade diaphragm. The wider lens uses a 9-bladed iris. The lenses should be on sale by March at a cost of £1599. For more information visit the Samyang Xeen website.  Press Release: Two more XEEN Lenses announced by Samyang to complete a Perfect Five-Lens-Set SEOUL, February 5th, 2016 -Global optics brand, Samyang Optics, has announced the release of 2 new lenses: XEEN 14mm T3.1 and 35mm T1.5. These two lenses, along with the existing 24mm T1.5, 50mm T1.5 and 85mm T1.5 lenses, create a perfect balanced five-lens-set for filming video and cinema with the outstanding image quality from resolving power for 4K+ production. XEEN is a specialized brand in professional video-cine lens launched by Samyang Optics in 2015. The XEEN lenses are designed with Samyang Optics' know-how and have outstanding optical performance for 4K+ with the X-Coating Technology, ensuring maximum image quality to create a cinematic look. The 24mm x 36mm negative size allows XEEN to not only work with full frame cameras, but also with Super 35, APS-C and APS-H cameras. The lenses are available in five different mounts - PL, EF, F, E, and MFT and two different focus scales - metric and imperial units. Also, the aluminum metal housing is known for its reliability in various shooting conditions. Most of the XEEN lenses come in a bright T1.5 aperture. The lenses deliver high quality footage with clear contrast and impressive colours, even under less-than-optimal lighting conditions. The large aperture also creates a pleasing bokeh effect for a cinematic look. "Thanks to the rise of multi-channel networks, the demands for video creation is internationally surging and the expectation of video quality is also increasing," stated a XEEN official. He continued, "to satisfy the international needs, we have completed the first five lenses which deliver a high-quality cinematic image." As an answer to the future product plan, he carefully disclosed that two more XEEN lenses will be announced in the second half of the year. Created to deliver infinite possibilities, XEEN14mm and 35mm lenses will be globally available in early March. The recommended retail price of each lens is £1599.00 inc VAT. More detailed product information is available on the official website (http://www.xeenglobal.com) and Facebook (http://www.facebook.com/xeenglobal) or Samyang Lens Global Facebook (http://www.facebook.com/samyanglensglobal).

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GoPro to discontinue three cameras and exit entry-level market

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 05 2016 - 08:41 PM (CET)

This week, GoPro announced it will discontinue three of its six available action cameras and abandon the entry-level market. This follows the company's preliminary fourth quarter results revealed last month. GoPro had stated at the time that poor holiday sales would likely result in low quarterly revenue, and that it would layoff 7% of its workforce as a result. In a conference call this week, GoPro's founder and CEO Nick Woodman said the company's recent misfortunes aren't due to increased competition. 'Growth slowed in the second half of the year,' said Woodman, 'and we recognize the need to develop software solutions that make it easier for our customers to offload, access and edit their GoPro content.' GoPro is banking on the improved software reversing its sales numbers, but it isn't clear what other plans may be in place. Woodman said the company will be 'delivering this new experience in 2016, period.' In the meantime, though, GoPro anticipates its first quarter sales will be below analysts' $300 million expectation, falling between $160 and $180 million. GoPro will stop selling its HERO+ LCD, HERO+ and HERO entry-level cameras in April, making the $200 HERO4 Session its least expensive model. Via: Financial Times

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Nikon D5 vs. Canon EOS 1D X Mark II specifications comparison

Source/Copyright: Nikon Rumors at Feb 05 2016 - 06:19 AM (CET)

The title says it all - this is a specifications comparison between the Nikon D5 and the new Canon EOS 1D X Mark II: Nikon D5 Specs Canon EOS 1D X mark II 2x CF OR 2x XQD, serviceable Recording media 1x CF + 1x Cfast 2.0 unspecified Filesystem exFAT Nikon D5 Photo stats Canon […] Related posts: Nikon D800 vs. Canon EOS 5D Mark III specs comparison DxOMark verdict: Nikon D800 – 95, Canon 5D Mark III – 81 Nikon D3s, Canon EOS-1 Mark IV compared

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Leica SL video tutorials

Source/Copyright: Leica Rumors at Feb 05 2016 - 06:16 AM (CET)

Several new Leica SL video tutorials were published online by Leica Camera: Leica SL handling and design: Leica SL layout and handling: Leica SL vision: Leica SL EyeRes viewfinder: Update - here is one more video: Related posts: Leica SL tutorial: the EyeRes viewfinder (video) Leica S2 video tutorials Craig Semetko’s video on how to use a Leica M rangefinder is back online

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Feb 4, 2016

Leica T firmware version 1.5 update adds Wi-Fi Direct feature

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 04 2016 - 08:23 PM (CET)

Leica has released firmware version 1.5 for the Leica T, adding Wi-Fi Direct functionality for transferring images wirelessly. After updating, Leica T owners can set up a mobile hotspot through which images are shuttled between the camera and an iOS mobile device running the Leica T app. In addition, firmware 1.5 speeds up the camera's wireless reconnection with known networks and improves reconnection reliability. The Leica T for iOS app is available from iTunes. The new firmware version 1.5 update is available through the Leica T website. Via: Leica Rumors

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'We want to make lenses that can be used forever': Sony engineer discusses G Master lenses

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 04 2016 - 08:05 PM (CET)

'We want to make lenses that can be used forever,' says a senior engineer behind Sony's new G master lenses. At the launch of the 'G Master' range of high end lenses, we spoke to Motoyuki Ohtake, Distinguished Engineer in Sony's Lens Design Department about the process and the philosophy behind the latest lenses. The development process series involved re-thinking several parts of the design and manufacturing process, he says. Motoyuji Ohtake, Distinguished Engineer, Opto Design Department, Core Technology Division, Digital Imaging Business Group at Sony. To understand how the lenses came about, he explained the usual process of lens development. 'Sometimes we propose a new lens but often it comes from the product planning department [the marketing department that assesses potential requirements and demands]. We then make a series of rough designs, some are big, with high optical performance, others are more compact but maybe not so optically strong. We discuss which design to proceed with, based on what we think is the optimal balance or cost, performance and size to make the perfect product.' After deciding which of the initial designs to pursue, there's a great deal of collaboration between teams, he explains: 'we work with the mechanical team, the lens motor team, the lens control team, the lens element team and maybe the equipment team who will have to prepare the manufacturing process.' Each of these team feeds its expertise into the design. 'Maybe the optical team proposes a new lens design and the motor team tells us which motor is best. Or warn us if the focus will be too slow. They feed back about the mechanical aspects,' he says. The G Master series required many of these teams to re-think their parts of the process, from design to manufacture. Re-thinking basic assumptions 'For the G Master lenses we decided we would assess the spatial frequency at 50 lines per mm,' says Ohtake: 'Usually lens makers, including ourselves, evaluate lenses at 10 and 30 lpmm (or 10, 20 and 40 for Carl Zeiss-branded optics).' 'At the start of the process we all agreed we should change the spacial frequency [to a more challenging target],' he says: 'but which is best to get good performance? We could design for 100 lpmm but the lens would become very bulky and long - which might not be a very practical lens. A balance of the size and the optical performance was very important.' The target of 50 lpmm wasn't dictated by the company's 40MP camera or 4K video, he says. 'All our FE lenses were designed for at least 40MP. Because we have an image sensor team within Sony, we get to see the sensor roadmap, so we've been designing for this all along with FE. With the G Master we'd like to make lenses that can be used forever.' A focus on bokeh But it's not just the more stringent frequency assessment that was developed for the G Master lenses, Ohtake explains: 'We had to discuss what good bokeh means. We have some designers from Minolta who understand that the spirit of the 'G' lenses was good bokeh in the background but we had no way to evaluate that. 'We looked at what is considered good bokeh and how it affects not just the background rendering but also the transition from perfectly sharp to out-of-focus regions. We developed a way to evaluate bokeh and were able to make a simulation. This meant we didn't have to build a lens to see how it performed, we could now computer model it before taking a design too far.' This is a significant change, Sony says, as it means bokeh can be one of the primary design considerations, rather than being something that can only be adjusted later in the process, once the main aspects of the design have been settled upon. Another piece of the puzzle - shape and smoothness This analysis of the factors that affect bokeh showed that both the precision of the lens molding and the smoothness of the lens surface could have an effect. 'Traditionally it was very hard to achieve both: current technology gives a roughness on the scale of 20-30nm on the aspheric surface. Improving this usually involved polishing, which can then lead to the lens element being slightly unevenly shaped.' 'We developed a new way of making the lens element and a new molding process, including a new machine. Now we can get roughness down to around 10nm and get a more accurate shape to the aspherical surface.' AF technologies Ohtake wouldn't budge when we asked which his favorite lens was, but immediately reached for the 85mm F1.4 when we took this group shot. The first three G Master lenses use three different AF motor technologies between them - emphasizing Ohtake's point that different technologies work better in different contexts. The 24-70mm F2.8 uses a Direct Drive SSM system (piezoelectric element). This is very fast, very quiet and very precise. We used a linear motor for the 24-70mm F4 but this lens has a heavier focus element, so direct drive was a better choice. The focus element in the 85mm F1.4 was even heavier, however. 'For the 85mm we use a ring type focus motor. This is very good for heavy lens elements and our lens software team developed a good algorithm so that it works well with contrast-detection autofocus' (a traditional weakness for ring-type designs). Finally, the 70-200mm uses a combination of a linear actuator and a ring-type focus motor. 'The focus group had become too heavy so we separated the two focusing lenses. One is very heavy, so we used a ring type motor for that one, then used a linear motor for the other. The ring type is used to quickly achieve approximate focus and the linear motor is used for the high precision aspect.' Still correct to optically correct Discussing the idea that bokeh and sharpness have previously been in conflict, we asked Ohtake about other trade-offs. We've been told that the ability to correct lateral chromatic aberration in software makes lens design easier, since you don't have to correct it optically, which can quickly complicate the lens design and detract from other parameters. Not for G Master lenses, he explains. 'Light doesn't separate nicely into red, green and blue' (the color channels that most cameras capture, and which can be adjusted, relative to one another, to correct lateral CA). It's a continuum with each wavelength being displaced slightly differently. 'To get the really high contrast we wanted in G Master, we had to suppress it in the lens.' The future of APS-C We also asked Ohtake about Sony's APS-C lenses for E-mount. His team likes designing APS-C lenses, he says: 'The focus elements are light, so it's easier to design. We have all these focus motor technologies in-house and we'd like to try them in APS-C lenses if that's what the Product Planning team says is required.'

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Panasonic and Fujifilm reveal joint sensor development, offering global shutter

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 04 2016 - 07:38 PM (CET)

Cross-sectional image of conventional Back Side Illumination (BSI) CMOS sensor compared to Panasonic's Organic Photoconductive Film (OPF) sensor. (Image courtesy of Panasonic.) Panasonic has announced that it has developed a new sensor using Organic Photoconductive Film (OPF), developed by Fujifilm, that is capable of recording a much wider range of tones (up to 3 EV greater dynamic range) than current silicon-based sensors, and in which each pixel is read out simultaneously to effect a true global shutter. We first heard about this collaboration back in 2013, and it appears that the companies have made progress during that time. Similar to InVisage Quantum Film technology, the OPF sensor employs a thin, light-sensitive film on top of CMOS silicon circuitry. Panasonic says that the separation of the light conversion medium and electronic charge storage removes some design trade-offs that need to be made with conventional CMOS designs. The design allows for a larger active pixel area that makes it 1.2x more sensitive to light than normal photodiodes. Decoupling the photoconversion and storage areas also allows for the ability to store more total charge (higher full well capacity), resulting in 10x, or 3 EV, greater dynamic range.  Additionally, the OPF layer is only 0.5 microns thick, or four to six times thinner than silicon photodiodes that are typically 2-3 microns in depth. According to Panasonic this expands the incident angle of light that can be collected to 60 degrees, compared to 30-40 degrees for conventional silicon sensors, which should allow greater flexibility in lens design. It should also help reduce false color and vignetting. In addition to better sensitivity and dynamic range, the new technology brings other benefits as well. In particular, the OPF-based sensor will provide global shutter, by allowing all pixels to be exposed essentially at the same time by turning on and off the entire photosensitive area at once. The net effect is that all the lines of the sensor are essentially exposed simultaneously, as opposed to line-by-line as is the case with traditional 'rolling' electronic shutters. This helps avoid the dreaded 'jello effect' often seen in video, or the distortion of fast moving objects. It also helps avoid flickering and banding with artificial light sources, which with a 'rolling' shutter otherwise result in different rows on the sensor being exposed while the pulsating light source is on vs. off. When combined with Panasonic's historical strength in video-oriented products this will likely get the attention of the videography crowd. The potential benefits don't stop there though. Panasonic has also developed a method of recording sequences of images at slightly different exposure values, that it calls Variable Sensitivity Multiple Exposure Technology. The process can track the direction of motion in the scene by tracing the subject as it moves across the scene becoming gradually darker from one frame to the next. If the camera knows it applied less exposure to the second frame than to the first, it can determine in which direction the subject is moving and at what speed. This could be of great assistance to AF algorithms. The company is not absolutely clear about what practical uses it will put this new sensor to, but says 'We expect this technology to be used widely in motion capture applications and also extend to other applications that have been thought to be difficult to realize unless high saturation global shutter or variable sensitivity multiple exposure.' Panasonic is also developing a system for using cameras that replace wing mirrors in cars, and this technology will probably see the light of day in that area first, but the lessons learned will be very useful for its regular camera business.  Press release: Panasonic develops 10times Higher Saturation & Highly Functional Global Shutter Technology by controlling of Organic-Photoconductive-Film on CMOS Image Sensor Osaka, Japan - Panasonic Corporation today announced that it has developed a new highly functional global shutter[1] technology for CMOS image sensor using organic photoconductive film (OPF)*1. This technology enables to capture high speed moving object up to 10 times brighter*2 scene in global shutter mode. In OPF CMOS image sensor, charge-storage function and photoelectric-conversion function can be set independently. By utilizing the unique feature of OPF CMOS image sensor, this technology solves the degradation of saturation signal[2] in conventional image sensor with global shutter function. Motion direction can be detected from acquired object's signal level in one picture by fine control of shutter sensitivity by changing applied voltage to OPF which is hardly realized by conventional CMOS image sensors. The newly developed highly functional global shutter technology contributes to high speed image sensing of moving objects without image distortion which appears in conventional shutter operation under very bright scene. We expect this technology to be used widely in motion capture applications and also extend to other applications that have been thought to be difficult to realize unless high saturation global shutter or variable sensitivity multiple exposure. The new technology has the following advantages. 1. Wide incident angle (60 degrees), high sensitivity, high saturation and highly-functional circuits due to a unique feature of OPF, in which an OPF for photoelectric-conversion and a readout circuits are independent. 2. High saturation signal up to 10 times larger*3 than conventional image sensors with global shutter function due to Photoelectric Conversion Controlled Global Shutter Technology. This development is based on the following new technologies. 1. CMOS Image Sensor Design Technology, in that, an OPF photoelectric-conversion part and a circuit part can be designed independently. 2. Photoelectric Conversion Controlled Global Shutter Technology that is realized by controlling of organic photoconductive film sensitivity. 3. Variable Sensitivity Multiple Exposure Technology which can detect the motion and its direction by changing image capturing sensitivity in each frame. Panasonic holds 60 Japanese patents and 41 overseas patents (including pending) related to this technology. Panasonic will present part of the research at the international conference ISSCC (International Solid-State Circuit Conference) 2016 which is to be held in San Francisco, USA on January 31 to February 4. Notes: *1: We are using an organic photoconductive film (OPF) that FUJIFILM Corporation has developed. *2: Saturation signal per pixel area, compared with conventional silicon based CMOS image sensor with global shutter function. More on the Technology 1. The OPF CMOS Image Sensor Design Technology, in that, photoelectric-conversion part and a circuit part can be designed independently. The conventional image sensor consists of a silicon photodiode for capturing light, metal interconnects and an on-chip micro-lens. And, both a photoelectric-conversion function and a signal charge-storage function are executed by a silicon photodiode. On the other hand, in an OPF CMOS image sensor, a photoelectric-conversion function is executed by an OPF, instead of a silicon photodiode, and a signal charge-storage function is executed by circuits beneath the OPF. Both functions are almost independent, so an OPF CMOS image sensor can achieve the following features. Expansion of the incident light range to 60 degrees and reproduction of faithful color. An OPF with high optical absorption coefficient[3], instead of a silicon photodiode, is adopted, the thickness of an OPF has been reduced to just 0.5 microns, four to six times thinner than silicon photodiodes. Since the conventional silicon photodiode needs at least 2 - 3 microns in depth, the range of incident angles was limited to around 30 - 40 degrees. An OPF, achieved with the OPF CMOS image sensor technology, has enabled the expansion of this range to 60 degrees, efficiently utilizing light entering at an angle for faithful color reproduction with no color mixing. It also gives greater flexibility in lens designs, facilitating the reduction of overall camera size. Boost of sensor sensitivity by 1.2 times compared to conventional silicon image sensors to deliver clear images, particularly in dark conditions. The transistors and metal interconnects in each pixel, fabricated using Panasonic's semiconductor device technology, are coated with an OPF. The area of the light receiving section becomes limited in conventional image sensors because of the existence of metal interconnects and the need to form a light shield film to prevent light incidence into areas other than the photodiode in each pixel. However, an OPF CMOS image sensor technology coats the sensor with an OPF, which can harvest all the light received on the sensor. This unique structure and high quantum efficiency of OPF boosts sensor sensitivity by 1.2 times compared to conventional silicon image sensors to deliver clear images, particularly in dark conditions. Cross-sectional image of conventional Back Side Illumination (BSI) CMOS image sensor and OPF CMOS image Sensor Design of OPF and circuits completely independent and realization of high-performance (high-saturation) In the architecture of an OPF CMOS image sensor, the OPF, that converts light into electric signals, and the circuits, that store electric signal charges and readout electric signals, are designed completely independently. Therefore, by selecting an OPF, photoelectric-conversion characteristics, wavelength, sensitivity, etc., can be set with flexibility. Moreover, in conventional image sensors, it is necessary to place both a silicon photodiode and circuits (transistors and capacitors) on silicon substrate in each pixel, so an area of circuits is limited. On the other hand, in an OPF CMOS image sensor, it is not necessary to place a silicon photodiode, so high-performance circuits, such as high-speed or wide dynamic range[4], can be formed on a silicon substrate. In particular, in an OPF CMOS image sensor, by providing a large capacitor for storing signal charge, a saturation value[2] of electric signal can be significantly increased from conventional image sensors. 2. Photoelectric Conversion Controlled Global Shutter Technology that is realized by controlling of organic photoconductive film sensitivity. Conventional CMOS image sensors with global shutter function require storage located near photoconversion area which makes it difficult to simultaneously shrink the pixel size and enlarge the saturation signal. Developed "Photoelectric conversion controlled global shutter technology" realizes shutter function by controlling of photoelectric conversion efficiency by only modulating applied voltage to OPF, without additional in-pixel circuit and no degradation of saturation signal. And developed "high saturation pixel technology" by pixel gain switching operation can capture under extremely bright scene, up to 10 times or more saturation signal per unit square pixel than conventional CMOS image sensor with global shutter function. This technology will solve imaging problems caused by rolling shutter distortion, flash bands[5] and LED flickers[6] in very bright scene. Comparison of Global shutter pixel structure 3. Variable Sensitivity Multiple Exposure Technology which can detect the motion and its direction by changing image capturing sensitivity in each frame. Conventional multiple exposure cannot detect the direction of motion because the capture sensitivity is fixed. Panasonic have developed "variable sensitivity multiple exposure technology" by controlling the voltage applied to OPF with elapse of time, which is hardly realized in conventional silicon based image sensor. We can get several images of different exposure time and different exposure sensitivity in one picture that enables character recognition by choosing optimum exposure time, so direction of motion can be detected by acquired object's signal level. This technology enables sensing of moving object detection and motion directions. Technical Terms: [1] Global shutter Shutter operation which can capture the image at the same time in all pixels. Ordinary CMOS image sensor operates in rolling shutter mode in which exposure and shutter operation is executed row by row. [2] Saturation/Saturation signals Maximum amount of electric signal that can be handled by image sensors. Receiving a signal greater than this value leads to highlight clipping. [3] Optical absorption coefficient A constant value that indicates how much light is absorbed into a material, when incident light enter to the material. [4] Dynamic range Range of brightness that can be captured. (the ratio between highest and lowest signal can be captured by image sensor) [5] Flash band stripe shaped contrast appears in captured image, because light flashes during image sensor capture the image row by row pixel (rolling shutter operation). [6] LED flicker Imaging phenomenon resulting in incomplete image capture, caused by a LED's (traffic, headlights, signs, etc.) frequency and a camera's imaging speed. Captured images of rotating propeller by different shutter mode Multiple exposure images by Variable exposure time and sensitivity

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Delayed: Nikon Japan pushes D500 to end of April

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at Feb 04 2016 - 05:43 PM (CET)

Nikon shooters have waited a long time for a D300S replacement, and it appears that they're going to have to keep waiting a little longer. Nikon Japan has released a statement (in Japanese) pushing the D500's initial March release back to late April 2016. Nikon cites high demand for the camera as the cause of the delay. It seems that the D500's battery grip and WT-7A wireless transmitter are also delayed. Come April, the D500 will be available for $1,999.95 body only or with the 16-80mm F2.8-4E ED VR lens for $3,069.95. See our hands-on with the Nikon D500

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New Leica accessories

Source/Copyright: Leica Rumors at Feb 04 2016 - 03:34 PM (CET)

Yosemite camera strap is a new product from Japan CO.,LTD. The strap is made in Japan out of 8mm or 10mm high-strength climbing rope. Each color strap will be a limited run of 30 to 70 pieces. New color designs will be introduced every season. The strap is 126cm long (with attachment ring). Additional information can be […] Related posts: New Artisan&Artist leather case for Leica D-Lux 5 This exotic Leica M9 case costs over $1600 New bag: Artisan & Artist DCAM-7200

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Firmware update version 1.5 for Leica T released

Source/Copyright: Leica Rumors at Feb 04 2016 - 03:33 PM (CET)

Today Leica released firmware update version 1.5 for the Leica T camera (direct download link, manual, instructions). The changes in this update are: Performance Improvements: WiFi DIRECT Mode: The camera can create a WiFi Access Point (AP) and by that enables smart devices to connect to the camera directly. WiFi connection: Automatic reconnection to known networks […] Related posts: Leica Q Typ 116 firmware update version 1.1 released Leica released new S lens firmware update and a new Image Shuttle software version Leica S Type 006 firmware update version 2.4.1.0 released

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Leica partners with COOPH photographers' apparel designer

Source/Copyright: Leica Rumors at Feb 04 2016 - 02:11 PM (CET)

Leica partnered with COOPH for photographers' apparel designer items. Check out the current COOPH inventory at Leica Store Miami and Leica Store PRA. Press release: Leica to a T: premium camera company partners with Cooperative of Photography apparel designer Leica Camera has today announced a collaboration with COOPH - the Cooperative of Photography - which will […] Related posts: Making a case for fashion: Leica announces collaboration with British designer Paul Smith Mandarin Oriental KL partners with Leica to launch photography promotion New Leica store opening at the The Royal Exchange, London

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Nikon D500 delayed till the end of April

Source/Copyright: Nikon Rumors at Feb 04 2016 - 01:32 PM (CET)

Nikon Japan announced a delay for the release of the new D500 DSLR camera. The new shipping date for the following products is end of April, 2016: Product name Release Date D500 Late April 2016 D500 16-80 VR lens kit Late April 2016 Wireless Transmitter WT-7 Late April 2016 Multi-Power Battery Pack MB-D17 Late April […] Related posts: Nikon D800 delayed till October 2011, D4 in early 2012? First Nikon D4 shipment delayed till March 15th Nikkor AF-S 800mm f/5.6E FL ED VR lens delayed till May 31

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Feb 3, 2016

New Subal underwater housing for Leica M cameras

Source/Copyright: Leica Rumors at Feb 03 2016 - 11:09 PM (CET)

Check out this new Leica M camera underwater housing from Subal. The price is EUR5,500. No technical information is available at that point. From their Facebook page: SUBAL at the 47th BOOT Show in Dusseldorf announces proudly the new system of the LEICA M housing. This housing allows you to use Leica lenses, Voigtländer lenses […] Related posts: Underwater housing for Leica M8 Yes, there was a underwater housing for the Leica Digilux 2 camera Underwater housing options for Leica D-Lux 4

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Nikon D5 and D500 updates

Source/Copyright: Nikon Rumors at Feb 03 2016 - 09:25 PM (CET)

Few Nikon D5+D500 updates: B&H will be hosting a Nikon D5 & D500 launch event in NYC. Adorama will also host a similar event: register here, press release (check also Nikon's own launch events) The D5 is listed to start shipping on February 5th on Nikon USA website. Both the D5 and D500 are scheduled to start shipping in […] Related posts: Nikon D5 and D500 launch events scheduled in the US New Nikon D500 sample photos published online Additional Nikon D500 coverage

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Nikon has a patent for a smart watch that emits fragrance

Source/Copyright: Nikon Rumors at Feb 03 2016 - 12:58 AM (CET)

In December 2015 a new Nikon patent application was published in Japan for a smart watch that can emit fragrance: The patent was filed in June, 2014. Via Egami, picture: eBay Related posts: The latest Nikon patents: waterproof 1 Nikkor 7.2-13.6mm f/3.5-4.5 lens and… a smart water bottle The latest patents from Nikon: camera that can be attached to a smart phone, 28mm f/2.8 lens and more Nikon has a lens patent designed for APS-C mirrorless camera

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Feb 2, 2016

Leica SL Typ 601 and Leica X-U Typ 113 cameras now in stock in the US

Source/Copyright: Leica Rumors at Feb 02 2016 - 11:56 PM (CET)

The Leica SL Typ 601 camera is now in stock at: B&H Adorama Leica Store Miami Leica Store Palm Beach Popflash The new Leica X-U Typ 113 is also in stock at: Amazon PopFlash Related posts: Leica X1 now in stock @ Adorama Leica V-Lux (Typ 114), X (Typ 113) and X-E (Typ 102) cameras now in stock Leica M9 in stock now!

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Nikon Distortion Control Data version 2.013 released

Source/Copyright: Nikon Rumors at Feb 02 2016 - 07:59 PM (CET)

Today Nikon released version 2.013 of their distortion control data. More information on distortion control can be found here. The following cameras support distortion control lens data updates from the firmware versions show: Camera Supported from firmware version D5 C:1.00 D4S C:1.00 D4 A:1.10, B:1.10 D810A C:1.00 D810 C:1.00 D800E A:1.10, B:1.10 D800 A:1.10, B:1.10 Df C:1.00 […] Related posts: Nikon Distortion Control Data firmware update 1.009 released Distortion control data upgrade for D90 and D5000 released Nikon updates lens distortion control data for many DSLR cameras

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Three different Leica magnifiers compared (MGR Production Bresson vs. Leica vs. MS Optical)

Source/Copyright: Leica Rumors at Feb 02 2016 - 05:59 AM (CET)

By day, Nathan sometimes shoots audiophile gear and jewelry and sometimes wine and suit meets at various British Embassy of Tokyo associated events. By night he's a HiFi, headphone, and DAC geek, reviewing mainly earphones and headphone amps at headfonia.com. When the weekend hits, he's all about Dungeons & Dragons; if you're in the area, he'd […] Related posts: New: MGR Production zoomable viewfinder magnifier for Leica M cameras New MGR adjustable viewfinder magnifiers for Leica M cameras Alternative Phottix 0.85x and 1.25x viewfinders magnifiers for Leica M rangefinders

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Feb 1, 2016

Nikon US rebates for February

Source/Copyright: Nikon Rumors at Feb 01 2016 - 10:24 PM (CET)

Nikon did not announce any new "lens only" rebates for February (they have been doing it for few years now). In the US we already got a permanent Nikkor lens price drop few months ago, while prices are going up in other regions. The Nikon combo rebates are updated for February but I do not see any significant changes. […] Related posts: Nikon instant rebates for February Top 10 NikonRumors posts for February 2015 New Nikon rebates program starting in 3 days (US only)

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Nikon KeyMission 360 action camera priced at EUR499?

Source/Copyright: Nikon Rumors at Feb 01 2016 - 04:43 PM (CET)

When Nikon announced their new KeyMission 360 action camera, they did not provide any pricing. A major European retailer currently lists the camera for EUR499 (around $500). Here are the available specifications I was able to collect: Waterproof (approx. 100 ft./30m) rugged camera Resolution: 3,840 x 2,160 pixels Shockproof up to 6.6' Resistant to dust and low temperatures […] Related posts: Nikon announces new action camera KeyMission 360 Nikon KeyMission 360 action camera additional coverage Nikon D5, D500, SB-5000, KeyMission 360 and SnapBridge promo and hands-on videos

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Top 10 NikonRumors posts for January 2016

Source/Copyright: Nikon Rumors at Feb 01 2016 - 12:49 AM (CET)

         These are the top 10 most visited NikonRumors posts for January, 2016: Nikon D500 DSLR DX camera officially announced Nikon D5 detailed specifications: CF and XQD versions confirmed Nikon D5 high ISO sample (LCD screenshots only) Nikon D500 high ISO sample (LCD screenshots only) Nikon D500 specifications and features explained (confidential Nikon internal document) […] Related posts: Nikon D500 specifications and features explained (confidential Nikon internal document) Nikon D5 specifications and features explained (confidential Nikon internal document) Discuss the Nikon D5 and D500 specs here

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Top 10 LeicaRumors posts for January 2016

Source/Copyright: Leica Rumors at Feb 01 2016 - 12:20 AM (CET)

      These are the top 10 most visited LeicaRumors posts for January, 2016: DxOMark on the Leica SL: best-performing Leica to date (with Nikon D750, Leica Q and Sony A7 II comparisons) The Year of The M Leica introduces three new M lenses with improved performance: Summicron-M 35mm, Summicron-M 28mm and Elmarit-M 28mm Leica X-U Typ 113 […] Related posts: New Techart adapter will let you autofocus Leica M lenses on Sony A7 cameras Top 10 LeicaRumors posts for January 2012 Top 10 LeicaRumors posts for January 2014

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Jan 31, 2016

Weekly Nikon news flash #352

Source/Copyright: Nikon Rumors at Jan 31 2016 - 01:18 AM (CET)

-> The 2016 BCN camera sales rankings for Japan are out: Nikon sold more compact cameras and fewer DSLRs compared to 2015, while lens sales remain unchanged. -> New Nikon D500 and D5 workshops announced in Germany and Austria (see US launch events here) -> Nikon Singapore awarded a prize to a badly photoshopped photo (above) and the Internet responded appropriately: […] Related posts: Nikon D5 and D500 launch events scheduled in the US Weekly Nikon news flash #337 Weekly Nikon news flash #150

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Photographing birds in Cuba with Nikon 1

Source/Copyright: Nikon Rumors at Jan 31 2016 - 12:55 AM (CET)

Photographing birds in Cuba with Nikon 1 is by Thomas Stirr (photography website | general website | YouTube): While on vacation I always enjoy wandering around the resort with my camera and capturing a variety of images. During our recent, return visit to the Rafael Freyre area of Cuba I had the opportunity to capture a number of images of […] Related posts: Birds in flight with the Nikon D800 Guest post: birds of prey in a studio environment with the Nikon D800 Birds in flight photography with the Nikon D800 and D600 cameras

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Jan 29, 2016

Complete Leica factory authorized service business for sale on eBay

Source/Copyright: Leica Rumors at Jan 29 2016 - 05:00 PM (CET)

A Complete Leica factory authorized service business is currently for sale on eBay for US $138,000 (or best offer). Here is the description and few additional images: This is a once in a generation opportunity to buy the complete set of tools, manuals and spare parts from a now retired Factory Authorized Leica service Agent. This […] Related posts: Leica partners with Pro Centre for professional equipment rental & sales service Leica to launch a new cloud service for photographers at Photokina Leica SIS in Palm Beach is now open for business

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Jan 28, 2016

New low price: refurbished Nikon D7200 now $769.99

Source/Copyright: Nikon Rumors at Jan 28 2016 - 05:21 PM (CET)

The price of refurbished Nikon D7200 DSLR cameras is now down to $769.99 (was $899 before). Free shipping included. This offer expires February 10th or while supplies last. Refurbished Nikon products come with 90 days manufacturer's warranty. Related posts: Another week, another refurbished Nikon D600 price drop Today only: refurbished Nikon D800 for $2,099.99 (new low price) Refurbished Nikon D800 cameras now available for $2499.95

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Nikon announced price increase in Japan

Source/Copyright: Nikon Rumors at Jan 28 2016 - 05:14 PM (CET)

Nikon announced a new price increase in Japan for Nikkor lenses and Speedlight flashes. The full list of impacted products can be found here (PDF file). The new pricing will be active on March 1st, 2016. The reason for the new pricing is the increased cost of raw materials. Related posts: Reminder: up to 30% price increase on Nikon lenses in Europe Second price increase from Nikon UK now official Up to 30% price increase on Nikon lenses coming to Europe on January 1st, 2016

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New Nikon D500 sample photos published online

Source/Copyright: Nikon Rumors at Jan 28 2016 - 04:13 PM (CET)

Nikon published a new set of D500 sample photos online with actual EXIF data (still no full resolution, but one of the pictures is at ISO 51,200). The previous set of sample photos can be found here. The Nikon D500 is scheduled to start shipping in March. Additional D500 coverage can be found here. Related posts: Nikon D500 high ISO sample (LCD screenshots only) Nikon D500 official sample 4k UHD video released Nikon D5 and D500 updates

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Jan 27, 2016

This beautiful Leica M9-P white limited edition camera set is now available in the US for $50k

Source/Copyright: Leica Rumors at Jan 27 2016 - 08:42 PM (CET)

The Leica Store Miami just listed for sale this Leica M9-P white limited edition camera set on their website (#23 out of 50). The price is $49,995. This model was introduced back in 2012. Here is some additional information: In 2012, Leica Camera released the Leica M9-P White Edition Set. Limited to 50 pieces, the set was […] Related posts: You can have this beautiful Leica MP Titanium limited edition camera for $40k Leica Monochrom "Ralph Gibson" limited edition camera NEW LEICA LIMITED EDITIONS: LEICA M9-P "EDITION HERMÈS" / LEICA M9-P "EDITION HERMÈS – SÉRIE LIMITÉE JEAN-LOUIS DUMAS"

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Adobe Lightroom CC 2015.4 / 6.4 released with support for the latest Leica cameras

Source/Copyright: Leica Rumors at Jan 27 2016 - 06:52 PM (CET)

Adobe released Lightroom version CC 2015.4 / 6.4 with support for the Leica M Typ 262 and Leica X-U Typ 113 cameras. Support was added also for the following two lenses with Leica M mount: Mount Leica M MS Optical Perar 28mm f/4 Super Triplet Leica M MS Optical Sonnetar 50mm f/1.1 MC Related posts: Adobe Lightroom 5.7 released with support for the latest Leica cameras and lenses Adobe released Lightroom CC 2015.3 / 6.3 with Leica SL support Adobe Lightroom 4.2, Camera Raw 7.2 released with support for some of the latest Leica products

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Jan 26, 2016

Leica Store San Francisco is offering 10% off on all used Leica

Source/Copyright: Leica Rumors at Jan 26 2016 - 05:42 PM (CET)

For a limited time Leica Store San Francisco is offering 10% off on all used Leica cameras and lenses. Navigate to the used section for the full list of available equipment (direct links: used Leica M | Leica T | Leica R | Leica S | Leica compacts |Leica screwmount). Here is a picture of some of the used Leica […] Related posts: Large batch of used Leica cameras and lenses now available at the Leica Store in San Francisco Leica Store San Francisco coming this summer Leica Store San Francisco to open on June 30th

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Leica M-P "Panda" limited edition camera announced in Asia

Source/Copyright: Leica Rumors at Jan 26 2016 - 06:26 AM (CET)

Leica Camera announced a new Leica M-P "Panda Edition" camera for the Chinese market. Two different sets will be available: with a Leica Summicron-M 28mm f/2 ASPH and Summilux-M 35mm f/1.4 ASPH lenses. Only 30 sets for each edition will are available for sale. Additional information and pictures: German technology encounters Chinese National Treasure Leica M-P "Panda […] Related posts: Leica M8 “Panda” limited edition – is this old news? New Leica M9-P limited edition to be announced soon Leica M9-P “Meister Camera” limited edition with a redesigned Summicron-M 28mm f/2 ASPH lens

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Jan 25, 2016

Techart Leica M lens to Sony E-mount autofocus adapter demo videos

Source/Copyright: Leica Rumors at Jan 25 2016 - 03:41 AM (CET)

Here are few more demo videos from the upcoming Techart adapter that will let you autofocus Leica M lenses on Sony a7 cameras (I will have more details on this adapter in early February, stay tuned): Via Advancegearbymx (contains also few sample images) Related posts: New Techart adapter will let you autofocus Leica M lenses on Sony A7 cameras Sony E mount adapter for Leica M lenses Leica-M lenses adapter for E mount (Sony NEX) again

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Jan 24, 2016

The Year of The M

Source/Copyright: Leica Rumors at Jan 24 2016 - 02:52 AM (CET)

The Year of The M by Louis Ferreira (http://500px.com/LouisFerreira) Like many Leica faithful, I'm an M fan first. It's one of the only cameras I have ever owned that compels me to get out and shoot. It's also due for updating in the immediate future and I think we can make some predictions from the […] Related posts: Happy New Year! (and the best of 2015) Another announcement for next week: Leica X-U Typ 113 camera New Leica M lenses now available for pre-order

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Jan 21, 2016

DxOMark on the Leica SL: best-performing Leica to date (with Nikon D750, Leica Q and Sony A7 II comparisons)

Source/Copyright: Leica Rumors at Jan 21 2016 - 05:49 PM (CET)

DxOMark published their test results from the Leica SL Typ 601 camera - as you can see the SL offers a slightly better dynamic range compared to the M 240 and the Q, something Louis mentioned in his SL review: Leica seems to have set up the SL sensor to offer better dynamic range around base […] Related posts: Leica Q Typ 116 camera tested at DxOMark Leica M type 240 DxoMark score: better than the M9, not as good as Nikon’s full frame cameras Nikon to announce camera similar to Leica X1?

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2016 Leica Oskar Barnack Awards to open in 40 days

Source/Copyright: Leica Rumors at Jan 21 2016 - 05:22 PM (CET)

The Leica Oskar Barnack Awards will be returning in 2016. Photographers can submit their applications and projects at www.leica-oskar-barnack-award.com for the chance to win one of several prizes, amounting to a total cash value of over EUR80,000. Entry for the 2016 Leica Oskar Barnack Awards begins on March 1, 2016 and runs through April 15, 2016. Full […] Related posts: Leica Oskar Barnack Award 2012 competition now open Leica Oskar Barnack Award 2015: cash prize for the winner has been raised to 25,000 Euros Leica Camera now accepting applications for the 2014 Oskar Barnack Award

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Mar 19, 2014

Taking hip shots at HIPA

Source/Copyright: dPhotoexpert at Mar 19 2014 - 08:35 PM (CET)

Today a great debate broke out on internet about the Grand winner of the HIPA awards, following the release of the $120,000-winning image by Chinese photographer Fuyang Zhou. Zhou, who does not read or write English according to our good friend ‘on the ground’ in Dubai Martin Grahame-Dunn, may be unaware of the accusations levelled […]

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Sep 19, 2013

Nikon's AW1 is set to make a splash...

Source/Copyright: dPhotoexpert at Sep 19 2013 - 06:00 AM (CET)

How many outlets will use that original headline, I wonder, and what inspiration leads to it… Today, Nikon released the world’s first interchangeable lens digital camera – if you ignore the military version of the Nikonos RS underwater SLR produced with Kodak. Unlike that specialised system, the AW1 is intended for the consumer and is […]

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Dec 30, 2012

Nikon Coolpix S800c Android camera reviewed -- my final review!

Source/Copyright: Digital Camera Resource Page at Dec 30 2012 - 11:00 PM (CET)

I've posted my review of the Nikon Coolpix S800c, a compact ultra zoom powered by the Android operating system.

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Dec 27, 2012

Coolpix S800c gallery update

Source/Copyright: Digital Camera Resource Page at Dec 27 2012 - 11:00 PM (CET)

I've added a few more photos to the Nikon Coolpix S800c gallery. I'm hoping to get everything finished by Monday, assuming that I can figure out how to capture the menus and screens on this Android-based camera!

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Dec 17, 2012

DCResource to close at end of year; Jeff headed to Digital Photography Review

Source/Copyright: Digital Camera Resource Page at Dec 17 2012 - 06:00 AM (CET)

Fifteen years ago I created the Digital Camera Resource Page with the goal of helping regular people find the right camera for their needs. The site started off slow, but soon the camera market picked up, and things took off. At the peak of the digital camera revolution, three million people per month were visiting the DCRP.

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Dec 13, 2012

Canon PowerShot SX50 reviewed

Source/Copyright: Digital Camera Resource Page at Dec 13 2012 - 01:00 AM (CET)

I've posted my review of the Canon PowerShot SX50 HS, a super zoom camera with a whopping 50X zoom lens! Don't forget your tripod!

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Dec 10, 2012

Canon PowerShot SX50 gallery posted

Source/Copyright: Digital Camera Resource Page at Dec 10 2012 - 06:00 AM (CET)

I've posted the gallery for the Canon PowerShot SX50 HS super zoom camera. The review should be finished in the next day or two!

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Dec 1, 2012

Nikon Coolpix P7700 review posted

Source/Copyright: Digital Camera Resource Page at Dec 01 2012 - 06:00 AM (CET)

It took forever, but I finally managed to finish my review of the Nikon Coolpix P7700. Read the review to find out how Nikon's flagship compact camera performed!

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Nov 29, 2012

Happy 15th anniversary DCRP!

Source/Copyright: Digital Camera Resource Page at Nov 29 2012 - 06:00 AM (CET)

I'm a bit late (thank you never-ending cough), but I wanted to mention that Thanksgiving weekend marked the fifteenth anniversary of the Digital Camera Resource Page. 2012 has been another difficult year, but I'm still at it. Thanks to each and every one of our readers for your support over all these years!

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Nov 15, 2012

Olympus intros new F1.8, 17 mm M. Zuiko lens

Source/Copyright: Digital Camera Resource Page at Nov 15 2012 - 06:00 PM (CET)

Olympus has introduced a compact F1.8, 17 mm M. Zuiko lens for their Micro Four Thirds cameras. This lens has Olympus' ZERO (Zuiko Extra-low reflection optical coating) to reduce flare, and it's movie and still compatible (MSC) for fast and quiet focusing when you're recording movies. It has an all-metal body and a snapshot focus mechanism with a distance indicator. You'll be able to pick up one for yourself next month for $499.

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Nov 12, 2012

Samsung Galaxy Camera now available in the U.S.

Source/Copyright: Digital Camera Resource Page at Nov 12 2012 - 06:00 PM (CET)

Remember the Samsung Galaxy Camera from back in August? This compact, Android-powered super zoom will finally be available in the USA later this week, exclusively through AT&T. The Galaxy Camera runs Android 4.1 (Jelly Bean) and sports a 21X optical zoom lens, 16 Megapixel CMOS sensor, 4.8" Super Clear LCD, tons of point-and-shoot features, and Full HD video recording. It's priced at a hefty $499, and you will need a data plan in order to use AT&T's 4G network. There are a few more details in the press release after the break.

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Sep 13, 2012

Nikon's D600 - FX goes Prosumer

Source/Copyright: dPhotoexpert at Sep 13 2012 - 06:00 AM (CET)

Nikon announced the D600 at 5am today, confirming rumours which were beaten only by Apple’s iPhone 5 leaks for accuracy. The 24Mp entrant seems to be part of ‘full-frame fever’ undoubtedly driven by Sony’s CMOS sensor development, pricing and more crucially, packaging the definitive 35mm format to appeal to mainstream consumers. Despite a D3X matching […]

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Sep 5, 2012

Cameracraft magazine

Source/Copyright: dPhotoexpert at Sep 05 2012 - 11:18 PM (CET)

One year ago we took the difficult decision to end the publication of Photoworld, though Photoclubalpha continues as an active and well supported site. dPhotoexpert, though a quiet site by comparison, was originally intended to be the companion website for a magazine called dPhotoexpert for which we did designs and content plans. But then along came […]

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Apr 15, 2012

Nikon D4 and Canon 5D MkIII video test clip

Source/Copyright: dPhotoexpert at Apr 15 2012 - 11:58 PM (CET)

These short clips are not intended to test all aspects of the cameras, of course. They are taken from a number of tests made with the cameras, and show some reasonable comparisons of quality.

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Feb 27, 2012

41Mp compact - from Nokia!

Source/Copyright: dPhotoexpert at Feb 27 2012 - 09:35 PM (CET)

Once, Nokia were the largest camera manufacturer in the world. Pioneering the combined camera and smartphone market with for the time, sophisticated Symbian-based phones with Zeiss lenses. Such a short time ago, relatively, is an epoch in the technology industry and Android, combined with the sales success of Apple’s iPhone, has eroded the early gains […]

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Nov 17, 2011

Channel Islands VAT dodge to end in 2012

Source/Copyright: dPhotoexpert at Nov 17 2011 - 04:57 PM (CET)

The story below may not seem very important to photographers, but actually, it affects suppliers including 7DayShop, MyMemory, and indeed all the digital and photo processing companies who have used the Channel Islands VAT loopholes. —————————————————- The group of retailers campaigning against an industrial-scale offshore VAT avoidance scheme that has destroyed scores of viable, job-creating […]

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Oct 5, 2011

Master Photography Awards - merits video

Source/Copyright: dPhotoexpert at Oct 05 2011 - 12:36 PM (CET)

You can now watch a low resolution, 33-minute video of the original HD1080p movie slide show produced from all the 550-plus merits awarded for the 2011 Master Photography Awards. From these merits, the Awards of Excellence and the category winners, the International Master Photographer of the Year, the UK/European/World Portfolio winners, and the UK and […]

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Aug 15, 2011

EISA Awards 2011-2012

Source/Copyright: dPhotoexpert at Aug 15 2011 - 12:18 PM (CET)

So far three photographic products have been announced for EISA Awards – as announcements continue to come in, we’ll update this post. European Advanced SLR Camera of the Year 2011-2012 Nikon’s D7000 has fought off some extremely stiff competition, including the Pentax K-5 and Sony 16.2Mp models for this prestigious award. The judges’ statement hints […]

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Jul 20, 2011

Mapping the planes

Source/Copyright: dPhotoexpert at Jul 20 2011 - 01:18 PM (CET)

Samsung has a patent and a plan for using two lenses with triangulation (image offset) depth detection between two images in what is roughly a stereo pair. Here’s a link: http://www.photographybay.com/2011/07/19/samsung-working-on-dslr-like-bokeh-for-compact-cameras/ Pentax also have a system on the new Q range which takes more than one exposure, changes the focus point between them, and uses […]

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Apr 28, 2008

Mark Hamburg’s Going Away Party

Source/Copyright: Photoshop News at Apr 28 2008 - 07:37 PM (CET)

Posted By Jeff Schewe Mark Hamburg, founder of Adobe Photoshop Lightroom and former architect of Photoshop is leaving Adobe for a post at Microsoft. Mark, who was the second engineer

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May 31, 2007

About Camera Raw 4.1

Source/Copyright: Photoshop News at May 31 2007 - 07:43 PM (CET)

Posted By Jeff Schewe Adobe has released Camera Raw 4.1, and rather than a small update just for new cameras, this one is major. New features and new functionality are

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Dec 14, 2006

Photoshop CS3 Beta Q&A

Source/Copyright: Photoshop News at Dec 14 2006 - 06:40 PM (CET)

Posted By PSN Editorial Staff Got questions about the Adobe Photoshop CS3 beta release? These are the official answers from Adobe... Q. What is the Adobe¨ Photoshop¨ CS3 beta? A.

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Feb 9, 2006

Calgary Wedding Photography

Source/Copyright: Photoshop News at Feb 09 2006 - 10:47 AM (CET)

How to Choose a Calgary Wedding Photographer Choosing the right photographer for your Calgary wedding is crucial to preserving the memories of your special day on film. You want perfect

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Jan 9, 2006

Adobe Lightroom FAQ’s

Source/Copyright: Photoshop News at Jan 09 2006 - 06:44 PM (CET)

Posted By PSN Editorial Staff Adobe has written a Lightroom FAQ. It answers, from Adobe's point of view, some of the questions that are bound to surface regarding Adobe's intentions

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Announcing Adobe Lightroom

Source/Copyright: Photoshop News at Jan 09 2006 - 06:23 PM (CET)

Posted By Jeff Schewe Adobe announces Adobe® Lightroom®, a new digital photography application and provides a free Public Beta download. Adobe Lightroom Public Beta 1 splash screen. While not known for

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The Shadowland/Lightroom Development Story

Source/Copyright: Photoshop News at Jan 09 2006 - 06:04 PM (CET)

Posted By Jeff Schewe The development of Adobe Lightroom, code named Shadowland, was not something Adobe started after Apple announced Aperture. The Shadowland project has been going on for years.

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Apr 17, 2005

Nikin Encrypts D2X White Balance Meta Data

Source/Copyright: Photoshop News at Apr 17 2005 - 07:47 PM (CET)

Posted By PSN Editorial Staff In a post on Adobe's User to User Forum for Camera Raw, Thomas Knoll, chief engineer for Camera Raw and the original author of Photoshop (developed along

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