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.

May 31, 2016

Photomyne app scans multiple prints at a time

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 31 2016 - 09:08 PM (CET)

Last week we wrote about the Unfade app that lets you to scan and restore old photos using an iPhone. One of Unfade's downsides, depending on your personal preference, is its simplistic approach that uses an almost fully automated process and hardly allows for any user input. The good news is that there are alternatives for those who want a little more control and efficiency. One of them is Photomyne. The app is currently available for iOS, with an Android version to be released in the near future. Its main advantage over Unfade is the ability to scan more than one print at once, allowing for faster throughput. You can simply lay out several prints on a desk or scan directly out of an album. Of course this means reduced scanning resolution compared to Unfade's one-print-at-a-time approach, but most users of this kind of app can probably live with the image quality.  Once images have been scanned, Photomyne gives a few more retouching and restoring options than Unfade and sharing features are on board as well. A 'discover' feature lets you see other users' scanned images in an Instagram-like image feed, as long as they have decided to make them public. Collaborative albums and cloud-only backup are currently in the development pipeline. Photomyme comes in several variants: you can either install a free version that lets you pay per session via in-app purchase, or a paid version for $5 that gives you a range of basic features. On top of that there is a $12 per year premium plan that includes unlimited saves, backup and access to your scans from desktop computers. 

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Waterfails: We test Pentax K-1's Pixel Shift

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 31 2016 - 08:54 PM (CET)

Punch Bowl Falls in the Columbia River Gorge of Oregon State offered a unique setting to push the limits of the K-1's pixel shift technology.  This is a conventional single exposure utilizing no Pixel Shift. Pentax K-1, HD Pentax D FA 24-70mm F2.8 ED SDM WR 70mm, F16, 0.3 sec, ISO 100. Introduction It's clear that the Pixel Shift Resolution shooting modes make a huge difference to image quality from our studio tests, but how does that translate to real world shooting situations? In previous iterations of this feature (in the K3 II) we found that movement within a scene could cause major issues during Pixel Shift Capture in ACR conversions. So if leaves rustled in the wind or your subject moved in any way the camera compensated poorly for the movement, which then resulted in pixel blur and artifacts in the regions where the movement occurred. The latest iteration of Ricoh's Pixel Shift technology found in the K-1 takes four separate images that it uses to build the final full resolution image upon and if movement occurred in subsequent images, the camera is supposedly able to differentiate the pixels that moved from the first frame it shot and clone in pixels for that area from the sharpest (for that region) of the four single (demosaiced) Raws to produce a much sharper final product then was possible in the Pentax K3 II. To determine just how much the technology has improved in the K-1 over the previous iterations, I took the camera out into the field to really push the limits of the Pixel Shift Resolution shooting modes. The Gorge The Columbia River Gorge, located along the Columbia River that borders Washington and Oregon state offers a variety of amazing scenic locations in addition to a number of challenging shooting environments. In order to test the capabilities and limitations of the Pixel Shift resolution mode in the K-1, I decided to focus on the seemingly endless amount of waterfalls that parallel the Columbia River about an hour or so outside of Portland, OR. In an effort to get the most bang for my buck I decided to hike along the Eagle Creek trail, heading toward Punch Bowl Falls. There are a number of beautiful spots to take in the views and two waterfalls (Punch Bowl and Metlako falls) to make the trip more than worthwhile. The weather conditions were, well, pretty miserable. My fiancé and I experienced moderate rain throughout most of the day which definitely put a damper (literally) on the trip. Most of the Eagle Creek trail is carved into some fairly steep cliffs and snakes its way back along the deep river valley that lies several hundred feet below the trail.  Pentax K-1, HD PENTAX-D FA 28-105mm F3.5-5.6 ED DC WR, 28mm, F6.3, 1/50, ISO 100 Pixel Shift Real World Testing Our first stop was Metlako Falls located about a mile from the trail head. The access trail to Metlako is poorly marked, so it's definitely easy to miss if you aren't careful. I chose this waterfall because it offers an excellent opportunity to examine not only how the Pixel Shift deals with movement but also detail resolution as well.   The widget below gives you an idea of the detail resolution that is possible when you are able to use the Pixel Shift Resolution shooting mode. The files were shot at an aperture of F10 to avoid the effects of diffraction at smaller apertures. The two files below were shot either (1) without Pixel Shift Resolution, or (2) with Pixel Shift Resolution with Motion Correction turned on. $(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-29020855","widgetId":363,"initialStateId":null}) }) As you can see, despite the issues with movement, there are benefits to shooting with the Pixel Shift Resolution mode turned on. The detail in the foliage is much better with Pixel Shift, and a nearly 2EV theoretical increase in dynamic range means greater latitude for Raw processing of contrasty scenes.  We already knew from our studio tests that in static environments with little to no movement, Pixel Shift mode allows you to attain a huge amount of noise-free detail in a single file. Unfortunately, at least when it comes to landscapes, finding truly static shooting environments can be difficult, if not impossible. To examine how the Pixel Shift modes handles movement, I took three separate exposures within a few seconds of each other, at the same settings, using the same lens for each test. The photos were shot with either (1) Pixel Shift Resolution mode turned off, (2) Pixel Shift Resolution Mode turned on without Motion Correction, or (3) Pixel Shift Resolution mode turned on with Motion Correction. $(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-11244314","widgetId":362,"initialStateId":null}) }) From looking at these shots, it's obvious that Pixel Shift Resolution shooting modes are challenged by motion of any kind. Immediately obvious are the large patches of green and magenta artifacts. You do see some improvement in the foliage of the trees when the Motion Correction setting is turned on in the JPEG renderings of the images, but the issues in the water seem to still be problematic (albeit less so) even with the correction setting turned on. You can also see some grid like pixelation from the top of the falls all of the way to the base - wherever there's motion essentially - which seems to coincide with the green and magenta color artifacts as well. We continued our trip up the Eagle Creek trail to the lower Punch Bowl falls trail where you can get up close and personal with one of the most gorgeous waterfalls in the Columbia River Gorge. I decided to focus on just the Motion Correction Pixel Shift Resolution shooting mode for this test as I really wanted to see how it handled subtle water movement away from the main waterfall compared to the normal shooting mode.    Normal Shooting Mode (Raw scaled 50%) HD Pentax D FA 24-70mm F2.8 ED SDM WR, 70mm, F16, 1/4, ISO 100 Download Raw (PEF) file Pixel Shift Resolution with Motion Correction (Raw scaled 50%) HD Pentax D FA 24-70mm F2.8 ED SDM WR, 70mm, F16, 1/4, ISO 100 Download Raw (PEF) file In the above image you can see how poorly the Pixel Shift mode faired in this test. It had a great deal of difficulty even in areas where movement was a lot more subtle such as water lapping at the rocks in the lower left-hand corner of the frame. The green and magenta artifacts can be seen here along with a fair amount of pixelation in any area that showed movement during the imaging process. If you don't mind JPEG output, there is some good news. You can retroactively add motion correction in-camera to an image shot as part of a Pixel Shift burst. After applying the Pixel Shift to the file you can export it as an out of camera JPEG. With that said, I don't know too many landscape photographers that shoot in JPEG or want to produce out of camera JPEGs, since they're mostly un-editable from a post processing standpoint. Out of Camera JPEG Pixel Shift (50% crop) No Motion Correction HD Pentax D FA 24-70mm F2.8 ED SDM WR, 70mm, F16, 1/4, ISO 100 Out of Camera JPEG Pixel Shift (50% crop) Motion Correction HD Pentax D FA 24-70mm F2.8 ED SDM WR, 70mm, F16, 1/4, ISO 100 There's another benefit to Pixel Shift we briefly alluded to: since information from four Raw files are essentially combined, noise is decreased, since you're effectively averaging 4 frames. This nearly 2 EV increase in dynamic range is evident in the example below: while the non-pixel shift file still shows respectable noise performance, thanks to the very high dynamic range sensor, the Pixel Shift file is even cleaner, particularly at 100%.  $(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-15532228","widgetId":364,"initialStateId":null}) }) So what does this mean? After analyzing the results from this test we determined that there really is no difference (outside of shooting variables such as water current and wind) between the Motion Corrected Raw files and the Normal Pixel Shift Raw files with no Motion Correction applied. It appears that Motion Correction is a JPEG only process that the camera's JPEG engine is able to apply to the Pixel Shift files (even retrospectively for Pixel Shift Raw files).   That explains why it appears that the Motion Corrected Raws actually looked worse in some cases than the non-motion corrected Raws in some of the examples provided above; there really wasn't a difference in what the camera 'did' per say but more in the shooting conditions at hand (water motion, wind, current etc). This also explains why the motion corrected in camera JPEGs looked much better than the non-Motion Corrected JPEGs that the camera produced.  With that said the waterfall Raw examples just provided too many variables (wind, variable water motion and current) to really nail down a firm explanation of what we were seeing from this small sample set of images.  We are currently working on a supplemental piece with some nice concrete image examples and data that will really solidify what the differences are between the Pixel Shift Motion Corrected and Non-Motion Corrected Raw and JPEG files.  Conclusion Overall, the results of this test were honestly a bit disappointing. I think that everyone here, myself included, had hoped that Pentax was able to get the Pixel Shift movement issues we saw in the K3-II resolved, but it looks as though the company still has a lot of work to do. The amount of detail in the Pixel Shift files is markedly better than those taken with the mode turned off, but for landscape work (assuming anything short of totally still conditions) artifacts caused by movement in the scene almost negate the benefits. In absolutely perfect conditions, the K-1's Pixel Shift shooting modes can offer outstanding results, but if there is a chance of any movement occurring in the frame I would definitely recommend staying away from them or at least backing your files up with non-pixel shift exposures as well. We'll be posting more sample images from my trip to the Gorge soon, and and be on the look out for our forthcoming full review of the K-1 as well! Please note that all of the images published in this article were processed using Adobe Camera Raw 9.5. We're currently examining the appearance of Pixel Shift files processed using other Raw converters and we'll continue to update this article with our findings.

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Vitrima lens aims to bring low-cost 3D video capture to GoPro action cameras

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 31 2016 - 08:45 PM (CET)

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_0450741422","galleryId":"0450741422","isEmbeddedWidget":true,"standalone":false,"selectedImageIndex":0,"startInCommentsView":false,"isMobile":false}) }); Looking to bring more excitement to your POV snowboarding videos? A new case called Vitrima is in the works, which would enable GoPro action cameras to record 3D video. The lens attachment uses mirrors to deliver two images to the GoPro camera's own lens. The resulting resulting stereoscopic videos appear to be 3D when viewed through a VR viewer like Google Cardboard or the Gear VR. The Vitrima lens is waterproof and will ship already attached to a standard GoPro camera housing, and can also be used with various mounts. Because the lens is simply composed of carefully arranged mirrors, it works out of the box without any software. Though the resulting videos won't feature 3D audio, the lens - which will cost $50 when the product launches - presents a low-cost way for someone to record 3D videos without purchasing a dedicated 3D camera like the $799 Vuze VR camera. The website lists Vitrima as 'launching soon.'

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Virtual Reality: It's not just for gamers anymore

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 31 2016 - 02:00 PM (CET)

The Nokia OZO is a state of the art VR camera. Virtual reality, or VR, has the potential to redefine the way we interact with images, including still images, movies, and other forms of visual storytelling. It's already being adopted by major news organizations to take you deeper into stories, Hollywood studios that want to generate more immersive entertainment, and content creators who want to share experiences that don't work as effectively on a flat screen. VR is still at a stage where it's mostly of interest to early adopters, but it's an exciting time to get involved with this new medium. In particular, it's great time for photographers and filmmakers to start thinking about VR as this technology will likely impact the way we share our work, tell stories, and even remain competitive in business over the next several years. Timing is everything My first VR experience came many years ago when a technology incubator next to the molecular biology lab where I worked asked for volunteers to test a new 'human interface technology.' I found myself standing in a room full of computers, wearing a large headset with wires hanging out, and with something that looked like a hockey glove on my hand. A nerdy grad student was on hand to guide me through a virtual world. The graphics in this world consisted of nothing more than rooms full of poorly shaded spheres, cubes, and cylinders. There was no illusion of reality, but I could navigate through doors and wonder around. I later discovered that the grad student was actually from the psychology department and that I was, for all intents and purposes, a lab rat trying to find my cheese in a virtual maze. The grad student never revealed whether I did a better job of navigating the maze than the real rat, but the VR experience stuck in my mind. My gut told me it had potential. "I was, for all intents and purposes, a lab rat trying to find my cheese in a virtual maze..." As Mark Banas' recent article discusses, and as my own ersatz rat experience confirms, VR has been around for a while and has even enjoyed some success, particularly in the gaming world. However, the technology behind VR may finally be sophisticated enough to give it a fighting chance of being useful to a wider audience, particularly photographers and filmmakers. When I discuss VR in this article I'll be specifically referring to VR in this context - for photographers, filmmakers, and also visual storytellers. I'm not a hard core computer gamer or a rabid VR enthusiast; it's likely that some of you reading this article know a lot more about VR than I do. However, I suspect I'm fairly representative of the typical photographer/filmmaker who's followed VR from afar with a healthy bit of skepticism, waiting for someone to make a convincing argument that VR is relevant to me. VR has enjoyed some success in the gaming world, but as a visual storyteller I've been waiting for someone to demonstrate how VR is relevant to me. That's not to say that I haven't experimented with VR, it's just that until recently it never seemed terribly compelling to me as a content creator. Almost every VR experience I tried boiled down the same basic formula: Videographer places a VR camera in an iconic location and captures video from a single spot. Viewer puts on a headset and watches video until he or she gets bored. At this point it seems like I've (virtually) stood around a lot of places: the pyramids of Egypt, next to the Eiffel Tower, Machu Picchu... you get the idea. But the key words are 'stood around'. The experience can be interesting at first, but after about 30 seconds you've spun in a circle, looked up and down, and pretty much seen all there is to see. But that's not what you do when you go to one of these places, in real life. You want to explore, to learn something, to understand the story of the people or the place that you're visiting. Viewing an iconic place, such as Machu Picchu, using VR can be interesting. However, unless you show your audience something unique, help them understand the place, or immerse them in a compelling experience, they will quickly lose interest. Virtual Experiences For VR to gain any type of traction it needs to go beyond this 'stand there and look around' model - and, fortunately, it has. This was particularly noticeable at the NAB trade show in April where VR technology appeared to be everywhere. There was even a Virtual and Augmented Reality Pavilion that served as a hub for numerous VR companies, including makers of capture devices, display systems, and even content creators. My personal VR epiphany occurred at a technology showcase run by Kaleidoscope VR, a VR studio. In a roped off area dozens of people sat in chairs spread across the floor, each engrossed in some virtual world. What set the experience apart from most other VR demos I've seen was that the focus was on putting viewers into immersive stories and experiences. Visitors trying virtual reality at the Kaleidoscope VR showcase. 'Content is King' may be one of the most overused phrases in modern media, but it keeps getting recycled because it's fundamentally true. Lack of good content is why VR always seemed dull or gimmicky to me in the past, but my experience at the VR Showcase proved that with the right content VR can be incredibly compelling. The first 'film' I selected was a VR experience called 'Notes on Blindness: Into Darkness.' Based on the audio diaries of a man named John Hull, who recorded hours of observations about how he learned to 'see' the world through sound after losing his sight in 1983, 'Notes on Blindness' isn't, strictly speaking, an actual film. (It is, after all, an effort to help the viewer understand what it's like to be blind.) Instead, it uses audio and 3D animations that mimic the real world. Each scene begins mostly in darkness, accompanied by Hull's narration of where he is and what he's hearing. As different sounds enter the space, he describes them and indicates directionality, using phrases like "Behind my right shoulder I hear a car starting," or "To my left I hear somebody running," in a way that prompts you to move your head around to look. In essence, he's directing you even if you don't realize it. After a while you discover that Hull is able to draw a mental picture of what's around him based on subtle cues such as the different sounds raindrops make when hitting objects, like a window or a teacup. As he speaks, scenes are gradually revealed in a manner reminiscent of The Matrix, but also rely on your imagination to complete the mental image. I hope I never experience real blindness, however for the first time in my life I feel like I might have a very basic understanding of what it's like for a blind person to try to 'see' the world using their other senses. The experience was more powerful than I anticipated. The trailer for 'Notes on Blindness' (above) will give you a rough idea of what I'm trying to describe here. The VR experience will be available for download on June 30 if you want to try it yourself. I also viewed 'Witness 360: 7/7,' a VR film that follows the experience of Jacqui Putnam, a commuter on the London Tube during the terrorist bombings of July 7, 2005. Shot documentary style, you see the places Jacqui went that day, including riding on the Tube itself, and hear her vivid descriptions of what happened. When she mentions something like "The person sitting next to me," you turn and, sure enough, there's a person sitting next to you that roughly matches her description. The experience was more tense than I expected. I knew what was going to happen, and yet as I stood there on the train next to everybody else - real people who just happened to be on the Tube - I kept thinking to myself 'These people are about to die.' The fact that I could look around and feel immersed in the situation, able to see the things Jacqui was describing, generated a visceral reaction that I'm not used to feeling while watching a documentary. It felt personal. Despite very different subjects and creative approaches, both these VR experiences had one critical thing in common: neither one would have worked as effectively on a flat screen. They depended on a VR environment to achieve their impact.  By now you're probably asking how still photography fits into the VR world. Quite nicely, it turns out. Of course, the obvious applications are things like real estate photography, where 360º views can be critically important to attracting eyeballs. The real estate industry has been finding ways of doing this for years already, and new tools will only make the experience better and smoother. But it's the creative possibilities that are really interesting. One thing photography has always been good at is closing distance, i.e. taking you to a faraway place you may not be able to visit in person. It's the reason we know what most of the world looks like despite never having been to most of it. VR has the potential to take this a step further. In the same way that color photography allowed us to see places differently than we could in black and white, VR will allow us to see places in an immersive way that we can't experience with a two dimensional picture. I'm not suggesting the VR is better than a still photo any more than I would suggest that a color photo is better than a black and white one. My point is that they are different, and each allows us to experience the world in a way the others don't. Nice kitty. Imagine using a VR camera to put your viewer right into the middle of a pride of lions. Photo: Jeff Keller The key to VR still photography will be figuring out how to leverage the strengths of the medium. For example, most people enjoy a great landscape or wildlife photo. If you show me a beautiful Serengeti landscape with a lion in it I'll probably love the photo. However, if you show me that same landscape in VR it might not be as compelling since I can't see it all at once. However, if you let me stand right in the middle of a pride of lions eating a wildebeest you'll get my attention, because that's something I haven't experienced in a normal photo. What all of these examples highlight is how important it will be for artists to take new and different approaches to capturing, editing, and presenting their work. It's an open canvas, and one that's still largely undefined. VR Requires New Grammar As Oscar-winning cinematographer Emmanuel Lubezki told us a couple months ago, the grammar and language of VR have yet to be written. This is true in a literal sense. Words like 'framing' and 'panning' simply don't apply to VR. New words are needed, and nobody has agreed on what those words are yet. The one thing they do agree on is that VR will require different approaches appropriate to the medium. This can be seen in the films described above, particularly 'Witness.' For example, the conventional documentary formula is to intercut interview footage with b-roll, but that never happens in 'Witness.' The convention works in flat films because you can lock the viewer into a rectangular frame and demand their attention. But what happens when the viewer has the freedom to look anywhere they want? Maybe they will get distracted by a picture hanging on the wall, or something happening outside a window. 'Witness' solves this by relying entirely on voiceover while featuring a few location shots of Jacqui Putnam throughout the film. This is just one example of where traditional filmmaking techniques don't translate easily to VR, and there are many others. It isn't the first time content creators have faced this challenge. In the early days of television, studios often tried to repackage shows made for radio into TV, such as American soap operas. Daytime soap operas on radio were aimed at homemakers who could listen while working around the house. Studio executives had reservations about whether soap operas would even work on TV since they would require the homemaker to actually watch a screen. Early soap operas were produced for radio; when TV came along producers had to figure out how to take advantage of the new medium. By Photo by G. Nelidoff, Chicago, for CBS/Columbia Broadcasting Company. (Library of Congress) [Public domain], via Wikimedia Commons Some production elements from radio didn't translate well to TV. For example, producers had to re-think product placement and advertisements in shows - the very reason for the existence of soap operas in the first place - because having an actress pick up a box of laundry detergent and talk about its virtues in the middle of a scene just didn't seem believable on TV. It took a few years before the industry perfected the formula. The reason I point this out is because we're still in the early days of VR. It's easy to look at VR as it exists now and think of it as a gimmick, a tool for gamers, or a toy for tech nerds. And that's OK - people thought similar things about TV at one point, but once content creators figured out how to effectively use the medium there was no turning back. I suspect the same will be true of VR: once the language of VR is fully developed, and hardware for consuming content becomes more convenient (it will), there's a lot of opportunity to do creative things that may not work on a flat screen.

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More Nikon mirrorless camera talk

Source/Copyright: Nikon Rumors at May 31 2016 - 11:09 AM (CET)

The online chatter about a new Nikon mirrorless camera has definitely increased in the past few weeks, but I still have nothing interesting to report. Either Nikon is keeping this new camera under very close supervision, or the official announcement will not take place at the Photokina show in September - both are a plausible scenarios. The only […] Related posts: Nikon mirrorless camera talk continues Nikon’s mirrorless camera recap Flashback: Nikon mirrorless camera will be “something that nobody is currently making”

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Important information about Li-Ion batteries for the Leica M8/M8.2/M9/M9-P/M-E/Monochnrom cameras

Source/Copyright: Leica Rumors at May 31 2016 - 10:51 AM (CET)

Important information about Li-Ion batteries for the Leica M8/M8.2/M9/M9-P/M(9) and MONOCHROM/M-E camera models We have determined that several rechargeable batteries (Order no. 14 464) manufactured at the end of 2015 and beginning of 2016 for cameras of the M series were supplied with a defective electronic component. The effect of this is that the camera […] Related posts: Leica’s official statement on the M9 battery issue What about the “Check battery age” error message on the Leica M 240 camera? Leica M9 sensor white spots/corrosion issues reported

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May 30, 2016

Asus announces Zenfone 3 Deluxe with stabilized 23MP camera

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 30 2016 - 07:04 PM (CET)

Asus has launched three new models in its Zenfone line, out of which the Zenfone 3 Deluxe is arguably the most interesting to mobile photographers. It comes with an impressive camera spec sheet that includes a 23MP 1/2.6-inch Sony IMX 318 sensor, F2.0 aperture, 4-axis optical image stabilization, electronic video stabilization in video mode and an AF-system that combines contrast-detect, phase-detect and laser technologies. At the front there is an 8MP sensor with F2.0 aperture and for video shooters there is a 4K mode.  Under the hood the Android OS is powered by a Snapdragon 820 chipset and up to an enormous 6GB of RAM. Storage ranges from 32 to 128GB and is expandable via a microSD slot. A fingerprint reader, 3,000mAh battery with QuickCharge technology and a Type-C USB connector are all features you would expect on a current flagship device although the 1080p resolution of the 5.7-inch display cannot quite keep up with the Quad-HD displays of most competitors. All the technology is nicely wrapped up in a full aluminum unibody with "invisible" antenna lines that don't disturb the overall design language.  Along with the Zenfone 3 Deluxe Asus has also launched the standard Zenfone 3 that comes with a less powerful chipset, a smaller 5.5-inch display and a 16MP camera. The Ultra model ups the screen size to a massive 6.8-inches and features the same camera as the Deluxe. No information on availability has been released yet but the Zenfone 3 will cost you US249, the Ultra will set you back $479 and the Deluxe is the most expensive new model at $499. Press release: Taipei, Taiwan (30th May, 2016) -- ASUS Chairman Jonney Shih took the stage today during the Zenvolution press event at Computex 2016 to unveil Zenbo, the first ASUS robot, along with a stunning portfolio of third-generation mobile products designed to provide users with revolutionary functionality for pursuing their passions. The incredible line-up includes the all-new ZenFone 3 family, featuring ZenFone 3 Deluxe, the new flagship ASUS smartphone with advanced camera technology that takes mobile photography to the next level; ZenFone 3, a feature-packed smartphone that brings premium design and empowering performance to users; and ZenFone 3 Ultra, an incredibly powerful smartphone with a 6.8-inch Full HD display that excels at entertainment. Also announced were ZenBook 3, an ultra-sleek and lightweight notebook with a premium aluminum design, along with ASUS Transformer 3 and ASUS Transformer 3 Pro, the world's most versatile PCs that feature an unrivalled combination of mobility, convenience, and expandability. While revealing ASUS Zenbo, Chairman Shih said, "For decades, humans have dreamed of owning such a companion: one that is smart, dear to our hearts, and always at our disposal. Our ambition is to enable robotic computing for every household." Joining Mr. Shih on stage, Intel's Corporate Vice President and General Manager of the Client Computing Group, Navin Shenoy said, "For nearly thirty years, Intel and ASUS have been collaborating to bring some of the most innovative PCs and devices to market. We are excited to continue that collaboration on the new ZenBook and Transformer 3 family powered by Intel Core processors, and we look forward to working closely with ASUS on expanding beyond traditional clients into new, emerging markets like robotics." ASUS Zenbo, the ZenFone 3 Series, the ASUS Transformer 3 Series, and a line-up of other all-new ASUS products are on display at the ASUS showroom at the Nangang Exhibition Hall at Taipei World Trade Center. Visitors to Computex 2016 are invited to visit the showroom to experience the revolutionary functionality of these latest ASUS innovations for themselves. ZenFone 3 Deluxe -- World's First Full-Metal Smartphone with Invisible Antenna Design ZenFone 3 Deluxe is the flagship model of the ZenFone 3 family and the ultimate expression of ASUS smartphone design. It is constructed with a strong and light aluminum alloy unibody, and has a rear surface free of unsightly antenna lines and an ultra-thin 4.2mm edge. ZenFone 3 Deluxe features a 5.7-inch Full HD (1920 by 1080) Super AMOLED display with a gamut of over 100% NTSC color space for rich, vibrant colors, even in harsh, outdoor lighting. An ultra-thin bezel gives ZenFone 3 Deluxe a 79% screen-to-body ratio for a maximized display in a compact package. Inside, ZenFone 3 Deluxe has a powerful Qualcomm® Snapdragon(TM) 820 Series processor, Adreno(TM) 530 GPU, and integrated X12 LTE modem, as well as up to 6GB RAM to deliver the best performance and fast connectivity for demanding apps, games, and media. ZenFone 3 Deluxe raises the bar for mobile photography with its incredible 23MP camera featuring the latest Sony IMX318 image sensor, a large f/2.0 aperture lens, and 4-axis optical image stabilization for high-resolution, blur-free, and low-noise photos in almost any lighting condition. It also features 3-axis electronic image stabilization for steady 4K UHD videos. Coupled with an ASUS TriTech autofocus system that automatically selects 2nd generation laser, phase detection, or continuous autofocus to provide accurate and nearly instant 0.03-second focusing and subject tracking, as well as exclusive PixelMaster 3.0 technology, ZenFone 3 Deluxe captures truly stunning photos and videos. ZenFone 3 Deluxe has a built-in fingerprint sensor that's perfectly positioned on the rear of the phone to sit underneath the user's finger and unlocks the phone in just a fraction of a second. Quick Charge 3.0 technology reduces battery recharge times and a reversible USB 3.0 Type-C port that makes connecting charging and accessory cables effortless. ZenFone 3 Deluxe also excels at audio with its powerful five-magnet speaker and NXP smart amplifier that provides clear, defined sound and also protects the speakers from damage. When listening over certified headphones, users can enjoy Hi-Res Audio (HRA) that provides up four-times-better sound quality than CDs.  ZenFone 3 -- Agility, Beauty, and Clarity Winner of a Computex 2016 d&i Award, ZenFone 3 is a feature-packed smartphone that brings premium design and empowering performance to everyone. Built around a gorgeous 5.5-inch Full HD (1920 by 1080) Super IPS+ display with up to 500cd/m2 brightness, ZenFone 3 delivers an incredible visual experience that makes apps, videos, and games look their best. With a narrow bezel, ZenFone 3 provides a 77.3% screen-to-body ratio for a maximized viewing area in a slim and compact body. The front and rear of the phone are encased with scratch-resistant 2.5D Corning® Gorilla® Glass that gently curves to make the edge of the phone completely smooth. ZenFone 3 is equipped with a 16MP camera with ASUS TriTech autofocus that automatically selects 2nd generation laser, phase detection and continuous auto focus to achieve precise focus in just 0.03 seconds, resulting in sharp images in any condition. ZenFone 3 is the first smartphone worldwide to be powered by the new Qualcomm Snapdragon 625 octa-core processor -- the first Snapdragon 600 Series processor with 14nm FinFET process technology, an integrated X9 LTE modem, and 802.11ac MU-MIMO Wi-Fi connectivity -- PC-grade graphics and up to 4GB RAM that together deliver outstanding mobile performance with improved efficiency and battery life. ZenFone 3 has a built-in fingerprint sensor that's perfectly positioned on the rear of the phone to sit underneath the user's finger and unlocks the phone in just a fraction of a second.  ZenFone 3 Ultra -- Unleashed, Unlimited, and Unrivaled Winner of a Computex 2016 Best Choice Golden Award, ZenFone 3 Ultra is a smartphone designed for multimedia lovers, featuring a 6.8-inch Full HD (1920 by 1080) display with a 95% NTSC color gamut for rich, vibrant images even outdoors in harsh lighting. It is the world's first smartphone to have ASUS-exclusive Tru2Life+ Video technology, which harnesses a high-end 4K UHD TV-grade image processor to optimize every pixel in each frame before it is displayed, resulting in superior contrast and clarity. ZenFone 3 Ultra also excels at audio with its two new powerful five-magnet stereo speakers and a NXP smart amplifier that provides clear, defined sound and protects the speakers from damage. When listening over certified headphones, users can enjoy Hi-Res Audio (HRA) that provides up to four-times-better sound quality than CDs and the world's first smartphone with virtual 7.1-channel surround sound with DTS Headphone:X. Like ZenFone 3 Deluxe, ZenFone 3 Ultra has an incredibly slim and elegant full-metal unibody chassis -- the world's first to have no antenna lines. An ultra slim bezel gives ZenFone 3 Ultra a 79% screen-to-body ratio, maximizing the viewing area while minimizing its overall size and weight. ZenFone 3 Ultra is equipped with the same high-resolution 23MP camera with ASUS TriTech autofocus system as ZenFone 3 Deluxe. Powered by the Qualcomm Snapdragon 652 octa-core processor, Adreno 510 graphics, and up to 4GB of RAM, ZenFone 3 Ultra delivers outstanding mobile performance. A built-in fingerprint sensor is perfectly positioned on the front of the phone beneath the user's finger and unlocks the phone in just a fraction of a second. ZenFone 3 Ultra also has a high-capacity 4600mAh battery for long-lasting performance and Quick Charge 3.0 technology for rapid recharge times. ZenFone 3 Ultra even works as a power bank with 1.5A output for quickly charging other mobile devices.

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To St. Helens and Back: Olympus TG-Tracker Shooting Experience

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 30 2016 - 02:00 PM (CET)

Olympus has been in the rugged camera business for a very long time, with its first model, the Stylus 720SW, released way back in 2006. Ten years later the company has made the leap to action cams.  The TG-Tracker is a camcorder-shaped device that can capture 4K/30p and 1080/60p video as well as timelapses. The F2 lens has a whopping 204° field-of-view 'on land' and 94 degrees when you take it diving with its included underwater lens protector. It features a 7.2MP, 1/2.3" BSI CMOS sensor paired with the company's latest TruePic VII processor. (If 7.2 Megapixels sounds a bit low for 4K, you're right - the camera has to interpolate in order to produce 4K as well as 8MP stills.) The TG-Tracker captures every data point you could possibly want from an action cam. Design-wise, there are two things that stand out. First is the camera's flip-out (but non-articulating) 1.5" LCD, which is mainly used for menu navigation. Second is what Olympus calls a built-in 'headlight,' capable of projecting up to 60 lumens of light. What really makes the TG-Tracker unique, as its name implies, is tracking. It records location, altitude or water depth, temperature, orientation, and acceleration. All of this data is shown on graphs in the app, allowing you to see the pictures you took at a certain altitude or in a specific area of the map. There are two other neat tricks the camera can do thanks to all these sensors. First, if the accelerometer detects a sudden change in equilibrium, it will put a chapter marker in your videos. Also, the TG-Tracker can detect when the camera goes underwater and switch the switch to the appropriate white balance setting. All of this metadata is viewable in the Olympus Image Track app, which is where you can preview your photos and videos and then transfer them to your mobile device (save for 4K video) To see how the TG-Tracker functions in the real world, we sent it to Mount St. Helens, an 8363 foot-tall stratovolcano most famous for its major eruption in 1980. But before we get into that, let's take a look at the design and what it's like to use this action camera.

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Never miss a video: Subscribe to DPReview on YouTube

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 30 2016 - 01:00 PM (CET)

We've been producing more video content than ever before, including tons of content from our last year's PIX show, our ongoing series of long-form Field Tests, overviews of the latest cameras and lenses, as well beginners' technique guides and interviews. We post videos right here on our homepage when they're first uploaded, but the best way of not missing anything is to subscribe to DPReview's channel on YouTube. We've organized our content into playlists, so you can head straight for the stuff that most interests you, whether that's long-form gear reviews or interviews, short overviews of the latest cameras and lenses, or beginners' technique guides.  Visit DPReview on YouTube

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May 29, 2016

Weekly Nikon news flash #369

Source/Copyright: Nikon Rumors at May 29 2016 - 07:38 PM (CET)

-> Confirmed: new Sigma 85mm f/1.4 Art lens is coming soon. -> Nikon Nikkor 6mm f2.8 AIs fisheye lens listed on eBay for $84,995. -> Meike announced four new mirrorless lenses for Nikon 1 cameras. -> 15% off at AdoramaPix with coupon code "PXWALL15". -> Nikon is selling pre-moistened lens cloths wipes and Moose likes them. -> Nikon started […] Related posts: Weekly Nikon news flash #114 Weekly Nikon news flash #357 Weekly Nikon news flash #148

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Looking Sharp: A focus stacking tutorial

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 29 2016 - 02:00 PM (CET)

This was taken in the deserts of Southern Utah at Snow Canyon State Park near St. George, Utah.   Photo: Chris Williams Exploration Photography Background: Understanding the Process One of the questions that I receive quite often from beginner photographers is "How do I produce tack sharp images from front to back in challenging shooting conditions or in cases where the foreground fills up nearly half the frame?" The answer in short is to utilize a process known as focus stacking. The answer is simple but the process can be very labor intensive from a shooting and processing standpoint. Even when working with a large depth of field there may be occasions where you still have to take more than one image due to low light, wind and or large foreground subjects. Most technique books will tell you that this is easily accomplished by stopping down to a very small aperture such as F22, focusing on a set focal point at about 1/3 of the way into the frame or determining the spot from your hyperfocal distance (the distance between a camera lens and the closest object that is in focus when the lens is focused at infinity), focus at that spot and take your image. Here's one of the images that I used during focus stacking.  This was shot at 35mm and at f/2.8 due to conditions at the time of shooting.  As you can see it was impossible to achieve sharp focus throughout the image. In principle this sounds like a very quick and easy fix to a somewhat complex problem that plagues most landscape photographers. In practice, however, it comes with a couple of big issues. Not only can using an aperture this small decrease image quality due to diffraction, it doesn't actually deliver the maximum possible depth of field. That's where stacking comes in. In the digital age we can now improve upon this technique and produce higher quality, tack sharp images from the front to the very back of the frame. Before diving into this process I should mention that you may not always need to use this technique and this process is really up for interpretation in regard to what you define as a 'sharp image'. The lens quality and aperture play a huge role in whether or not you wish to go through the work of focus stacking an image. In general, I always use this process now as I want my images to look tack sharp even when printed at very large sizes. Selecting the Aperture Choosing the aperture is an important first step to this process. I always try to choose an aperture in the 'sweet spot' of the lens. This is a bit of a loaded term; you have to decide whether you are after maximum resolving power or greater overall focus in your image. These differences may be subtle in some cases, but regardless I always try to choose optimal sharpness over depth of field in an individual image, bearing in mind that I'm going to be stacking multiple images. I would rather take a few extra shots to ensure that the RAW files are of the highest quality I can achieve given the conditions. Generally speaking, the sweet spot of a lens is about 2.5 to 3-stops from the maximum aperture. This does vary from lens to lens however; for example, I normally shoot between f/8 and f/11 when possible on my Canon 16-35mm f/2.8L ii to achieve the sharpest results possible (which I know is a few stops greater). The bottom line is to get to know your lens! You can even run it through an aperture progression and compare the images to find that coveted lens 'sweet spot'. Behind the Lens Focus stacking can be very tricky when you're out in the field. I use the following steps to ensure that I don't miss a focus point and to make adjustments on the fly in changing conditions such as light, wind and rain. Find your desired composition and make sure that your tripod is in safe position that won't allow for any movement or shifting while you're performing the in camera focus stacking. Place your camera on your tripod, turn on live view, switch your lens to manual mode, make sure that your camera is set to manual and dial in your composition.  Once you have the composition dialed in lock your camera down on your tripod and make sure that your ball-head or camera mount is completely locked down so no movement can occur during this process (if some movement does occur you can try to correct this using Auto-Align in Photoshop, but I always try to avoid this to the best of my ability). Use either your camera's in camera timer (set for 2-10 seconds) or use a remote shutter trigger to avoid any camera movement issues. Once you are 100% sure that you're happy with the composition it's time to adjust your settings; I always fire a few test shots to ensure that I can freeze the foreground subject (flowers etc.) and to see what I can get away with in regard to ISO/Aperture/Shutter-speed while still yielding an acceptable result with respect to proper exposure and the signal to noise ratio. This may sound trivial but play with your settings a bit to find the right exposure/sharpness balance; aim to keep the ISO at base and the aperture as close to the 'sweet spot' as possible (f/8-f/11 in most cases) this may not be possible depending upon conditions, so make adjustments as you see fit. Adjust your CPL or lens filter (ND etc.), if you're using one, to give the foreground more pop etc. The Progression Now comes the fun part: how do you make sure that you have everything in focus and that you don't miss a focus point? There's definitely more than one way to go about doing this, but I generally focus on the foreground elements that are closest to the lens; normally near the bottom 1/3 of the frame in live-view. I normally zoom in to my area of interest in Live-View and dial in my focus point using manual focus.  After taking the image I repeat the process for my next focus point. While in live-view, zoom in to the bottom most portion of your foreground subject and manually adjust the focus until everything is sharp and adjust your settings depending upon conditions (wind etc.) To find your next focus point stay in live-view, zoom in to the same area you just photographed and move up in the frame to find your next focus point Repeat this process until you reach the background elements in your image and take your final exposure. You may want to bracket your last exposure to keep the highlights and shadows from clipping or to catch a sunstar; if you're shooting on a camera that has a great deal of dynamic range (like a Sony a7r/ii or Nikon D810) then you may be able to do this with one exposure; it's completely up to you The toughest thing about focus stacking in the field is dealing with changing conditions such as wind, rain and light. When wind is an issue I always run through at least two or three focus stacking progressions to ensure that I have a sharp frame at each focus point. Even in perfect conditions I still run through a focus point progression at least twice to ensure that I haven't missed a point. There's nothing worse then getting home after a long day of shooting only to find that you completely missed a focus point. Once you take your camera off of your tripod or move your tripod, it will be a huge pain to get everything lined up again and you may not even be able to in most cases. Double and triple check your exposures to ensure that you've got all of your focus points nailed down before moving your camera and packing up your gear.

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May 28, 2016

Photographing a JNU protest march, Delhi, India

Source/Copyright: Nikon Rumors at May 28 2016 - 08:28 PM (CET)

Photographing a JNU protest march, Delhi, India by Harvinder Sunila (website | tumblr | instagram): My name is Harv, I'm a photographer in the UK, some of you may have seen my guest post on NikonRumors last year about the school under the bridge in Delhi. Earlier this year I had the chance to go to India again, these opportunities […] Related posts: The school under the bridge in Delhi Photographing in Iceland – overcoming limitations Photographing festivals by Steve Davey

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The old and new Leica 28mm Summicron Asph lenses tested on Leica M 240, SL and Sony A7 II cameras

Source/Copyright: Leica Rumors at May 28 2016 - 07:03 PM (CET)

Jono Slack (website | Facebook) tested the old and new Leica 28mm Summicron Asph lenses on the Leica M Typ 240, Leica SL and Sony A7 II cameras. Here are his findings (please make sure you check also the original article here for more sample photos you can download as a zip file): Introduction Leica […] Related posts: Diferences between the old and the new 2016 versions of the Leica Summicron-M 35mm f/2 ASPH and Leica Summicron-M 28mm f/2 ASPH lenses Leica introduces three new M lenses with improved performance: Summicron-M 35mm, Summicron-M 28mm and Elmarit-M 28mm New Techart adapter will let you autofocus Leica M lenses on Sony A7 cameras

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Huawei P9 camera is nice, but it's still a smartphone camera

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 28 2016 - 02:00 PM (CET)

To dismiss the Huawei P9's imager as 'just another smartphone camera' would be unfair. Its dual 12MP cameras aren't your average dual cameras - Huawei claims that by using one monochrome and one RGB sensor, the camera is 100% more sensitive to light than your standard smartphone camera. It offers Raw capture, full manual exposure control and laser-assisted autofocus. Oh, and Leica had a hand in designing the module. All-in-all, there's plenty going for it camera-wise.  Huawei P9 real-world sample gallery We approached the P9 eager to give it a try, but with a healthy dose of skepticism. And keeping our expectations measured, we were pleased by the Huawei P9's results. For one thing, shooting with it is a nice experience. There are multiple grid overlay options, a level gauge (praise hands emoji!) and you can easily toggle between full manual and full auto shooting. It's also possible to shoot exclusively with the monochrome camera, which opens up other creative possibilities. The P9 offers many of the comforts of an advanced point-and-shoot. So how's the image quality? It's pretty much as we expected. Good light JPEGs look just peachy on phone-sized screens, but at 100% they don't look exactly '100 emoji' 100. Grass turns mushy and halos start appearing around high contrast edges. Things obviously get quite noisy by the time you get to ISO 3200. $(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-61757429","widgetId":365,"initialStateId":null}) }) But wait, there's Raw! You can see some of the benefits in terms of detail retention in the studio scene widget$(document).ready(function() { $("#imageComparisonLink2550").click(function() { ImageComparisonWidgetLink(2550); }); }), but definitely check out the difference it makes in some of our real-world samples. It should be noted that Raw capture is only available in Pro mode, and can't be used when shooting with the monochrome camera. TL;DR, I'd be pretty happy if the Huawei P9 camera was the camera I had with me all the time. But the dual camera system hasn't solved the low light troubles inherent to small sensors.

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May 27, 2016

Novoflex releases Canon EF electronic adapter for Leica SL

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 27 2016 - 08:18 PM (CET)

Just bought a Leica SL but can't afford to buy a Leica lens to put on it? Don't worry - German manufacturer Novoflex has just the thing for you. The new Novoflex SL-EOS adapter allows certain Canon EF lenses and teleconverters to be used on the Leica SL, with support for several functions including autofocus.  Novoflex has launched its new SL - EOS electronic adapter which, according to the manufacturer allows 'around 30' Canon EF lenses to be used with the Leica SL camera. The adapter transmits focal distance and aperture EXIF data, has an AF/MF mode, and supports autofocus, aperture control, and depth of field indication. According to Novoflex, 'around 30' Canon EF lenses and teleconverters work with the adapter, and image stabilization is not supported. The SL-EOS adapter is currently listed on Novoflex's website for EUR499 (~$555)

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Dual-cam Duel: Sony and LG Innotek rumored to be competing for Apple orders

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 27 2016 - 04:22 PM (CET)

Judging by the number of rumors buzzing around the internet it seems almost certain that at least one version of the upcoming iPhone 7 will come with a dual-camera setup. Word on the street until now has been that in addition to the standard model Apple is planning to offer a premium version of the larger 'Plus' model with a dual-cam designed by Linx, an optical engineering company that was bought by Apple last year. According to new information this might be, at least partly, incorrect. Financial publication Barron's quotes Citi Research in saying that all 5.5-inch iPhone models coming this fall will have dual-cameras on the back, not just a premium model. Barron's also quotes Chris Chan of Asia-based financial services group Nomura: 'We think Sony may not be able to deliver its full share of dual cameras to Apple due to: (1) lower-than-expected yield, and (2) damage to its production facility from the April earthquake in Kumamoto. As a result, we think LGI will gain majority share of the initial dual camera orders from Apple...' Looking at the amount of information out in the open there is almost no doubt that whatever the manufacturer of the modules, we'll have a dual-cam iPhone to play with in September. The question is if the dual-lenses will be used for optical zooming, as on the LG G5, or to enhance image quality and simulate a shallow depth-of-field, as we've seen in the Huawei P9.  We'll only have to wait a few more months to find out...

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Critical eye: Picturesqe aims to highlight your best frames and throw out the worst

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 27 2016 - 02:00 PM (CET)

Picturesqe is a software application that's designed to speed up the process of selecting the best image from a sequence of frames and the most successful pictures from a day's shooting or a project. Load your images into the program and it applies artificial intelligence and machine learning to pick the best shots based on its own criteria and common preferences in photography. The idea is that the program analyzes the pictures as you import them, highlighting some and rejecting others, in an automated process that takes the strain out of determining which are the frames to use. All you have to do is review those Picturesqe selects and chose the best of three, for example, instead of the best of the 26 you shot in that sequence. I have to say at this very early stage that I'm not very keen on a machine making artistic decisions for me. It's enough to battle the wants and tastes of a pushy modern camera without then allowing a canned algorithm to replace the subtle process of appreciating line, form, focus, light, composition and atmospheric exposure. That is quite a lot to expect a computer program to do, no matter how 'intelligent' it is. Nevertheless, I endeavored to give Picturesque a shot. What it does The beginning of the process involves importing your images into Picturesqe, which sends thumbnails to its servers to create groups and then determine which pictures are the best of each group. Picturesqe is a desktop application that runs on PC and Mac platforms, using support from the cloud to run its more power-intensive tasks. Once installed the program invites the user to import images either from an external source, such as a memory card, or from files already stored on the hard drive. As images are imported they are analyzed so that they can be formed into groups of similar-looking images and then arranged in order so that the best frames of each group are positioned at the top left of the screen. The process of grouping and ordering is done via an algorithm that exists in the cloud - or Picturesqe's servers - so thumbnail images are sent from your machine for inspection and the information gleaned returns to Earth to inform the arrangement of images in the Picturesqe user window. The import process doesn't actually copy files from the memory card onto your main desk drive but acts as a filtering system in between the two - a sort of staging post - so that you'll eventually only have to save the best of your images. This way you'll stop clogging your machine with pictures that will never be used and never seem to get deleted. Does it work? I imported the contents of a memory card into the software and it sorted the 460 image into groups according to content and what it determined would be the pictures I would want to choose the best of. Pictures it couldn't find groups for, and lone images, are left floating freely. While most grouping exercises go well there are exceptions, such as this group in which the images clearly do not belong together. I found the results of an import and a dose of analysis to be a little mixed. At first I was impressed that Picturesqe was able to divide the contents of a memory card that contained street images, portraits and product shots into a number of mostly sensible groups. Images that feature the same color in about the same place get grouped easily, and those that contain the same objects in approximately the same composition are also bundled together with a decent degree of accuracy. Pictures that fall between stools are left ungrouped for us to leave floating on their own, to manually delete or to add to the group we think most appropriate. Opening a group reveals what the program thinks of your pictures, as it orders them according to its perception of their merits and labels those it doesn't think much of with a waste paper basket. Those with a sensitive nature should avoid this stage, as the program's mathematical opinion will not necessarily reflect everyone's perceptions of their artistic brilliance. I had to remind myself that it was a machine I was dealing with so I didn't have to take things personally In some instances I was glad of Picturesqe's help in selecting the best frames from each group, but in others I was left slightly mystified by the way my images had been treated - like entering a camera club competition. Pictures that I thought were the better of the group were often not placed ahead of others I thought less pleasing. On more than a few occasions pictures I had previously selected for printing were marked out for shredding by the algorithm in the cloud. I had to remind myself that it was a machine I was dealing with so I didn't have to take things personally. I hope Picturesqe has good insurance to pay for user's trauma therapy.  I wouldn't have grouped all of these images together as, while they are all from the same shoot, they represent the pool from which I'd hope to pull three quite different pictures. It doesn't make sense, to me at least, to group uprights and landscape format images together. The criteria for the grouping process is a little more open than I'd like as, for instance, it doesn't seem to take into account the orientation of the image. When shooting a portrait, for example, I'll shoot poses and locations in upright and landscape formats, and generally edit to offer the sitter one of each. To me then it doesn't make sense to group uprights and landscape format images together as though you'd pick one or the other instead of one of each. On the whole though the grouping process does a pretty decent job of working out which pictures belong together, and will only rarely drop an odd frame into a group in which it clearly doesn't belong. Groups can be edited, of course, once the program has made them, and we can reject individual images from the group so that they float free in the main browser window. A process of drag-and-drop then allows us to manually create our own groups by bunching images together. This is how the images look when they are first imported into the program - as they should. Picturesqe though then drops the camera-dictated color, contrast and styles for a much more 'Raw' looking image. Removing image characteristics doesn't make picking a winner easier. The application works with Raw and JPEG files, and I was impressed it is able to display the latest Raw files from the Panasonic Lumix DMC-GX80/85 even before Adobe can. It does it though at the expense of any in-camera processing settings so we see the Raw 'Raw' data with distortions that are usually corrected before we get to view the picture. Anything you've shot in black and white using Raw will also be displayed in color, though for a short few seconds images are shown as we intended before Picturesqe renders them flat and with native colors. Thus we have to make our judgements without a good deal of the qualities we might often weigh-up when selecting the best of our images - such as color. I found this quite irritating. JPEGs are rendered just as they should be though, but when fed simultaneously-shot Raw and JPEG files we only get to see the Raws but with the rendering of the JPEGs - though I found the relationship between what I'd shot and what was displayed a little inconsistent across camera brands. If you only shoot Raw though you get to look at slightly flat and unsharp images. Judgement Day It seems that the 'best' picture (top left) has been selected by the software because the subject is quite central in the frame. The picture the software likes least (bottom right) shows the subject against a distracting background. It's not completely clear on what grounds the program and analysis makes its judgements as it orders our images from good to bad. I spotted that it seems to like a subject that's in the middle of the frame, and one that sits on a third, and that it can tell within a group when the subject is against a clear background and when it's against one that's a bit distracting. Magnifying the eye of the sitter from this group of portraits makes it clear that the software doesn't place sharpness at the top of its list of priorities. The sharpest picture (bottom center) is actually marked with a waste paper basket, indicating that that Picturesqe thinks I should dump it. The shot it recommends is a good deal less focused. Things that humans might take into account though the software doesn't seem to - such as exposure, over-powering flash, focus and whether there are distractions in the background. It can work out when eyes are closed though, and it knows the difference between someone facing the camera straight on and someone at an angle - but it always prefers face-on as though that's the safe formula for a 'good' picture. It can't tell an unflattering angle from a complementary one though, and doesn't distinguish between a well-lit subject and lighting that makes a nose look big. The zoom feature identifies the part of the subject that you want to inspect and just magnifies that bit. The clever bit is that it doesn't just magnify the same area of the frame of each picture, but actually identifies the part of the subject - wherever that subject is in the frame. A very nice feature is the synchronized zoom that is great for checking focus across a number of images at the same time. With a collection of portraits, for example, you can zoom into the eye of one frame and the eye area of all the other frames get magnified along with it. What is particularly clever is that the eyes don't have to be at the same coordinates in the picture for the program to magnify them, as it can identify similar objects in the images across the series. This feature worked brilliantly for portraits, allowing closed eyes and missed focus to be spotted easily and early on, and on occasions it worked even when the images weren't all in the same orientation. The success rate is reduced for landscapes and more general scenes where the element you want to inspect isn't as distinct or as obvious as an eye, but the application can concentrate on rocks, trees and buildings so long as the object you are checking has reasonably powerful edges and outlines. When the images are less regular, such as in these street pictures, the software finds it more difficult to identify the subject. Using the zoom feature didn't allow me to compare the sharpness of the subjects in the street pictures, even though they have similar outlines and contrast in each frame. Export Once you have whittled your selections down to the best images in each group, or to the better groups in the collection, you are ready to export the pictures to their final destination. The editing process involves deleting the images that aren't wanted - not from the card or from their home on your hard drive, but from the imported collection. No files are actually deleted. To do this you'll have to click on the trash can icon on the image. And that will have to be done on every unwanted image. So, if you have shot a sequence of 100 images and only need one you have to delete 99. You can attend to each frame individually and delete each one in turn, or you can select them all and use the delete key on the keyboard. I'm a little unhappy about the solely subtractive nature of the process and feel I'd rather just select the best frame and export that without having to deal with the wreckage of the frames that didn't work, but the truth is it's more of a big deal in my head that in reality. Clearing away the duds doesn't take that long. Images can then be exported to a chosen folder on your hard drive or directly into Adobe Lightroom for editing.  The research program At the export stage the first option in the navigation is to send the images to Picturesqe's research program. The company wants users to send images that have been rated by humans so that it can compare the 'right' ranking and grouping with the way the software performed. The idea is that the company can study the differences and similarities and develop algorithms that select and grade more like the user does. The uploaded images, we are assured, will never be used for anything other than research, and the company takes only a 1500x1500 pixel thumbnail that is studied by a computer and not by a human. The idea is to build a database of how images are selected to allow the software to learn and get better at its job. In this example the software has compared a Raw file with a JPEG I processed from that same file, and has concluded that the Raw file isn't just weaker than the JPEG, but that it should be deleted. Had I used the software to select which Raw files I would save for processing in the first place, this one wouldn't have ever got to the black and white JPEG stage. Conclusion So, Picturesqe isn't perfect. Not by a long shot, in fact, but it gets enough right that shooters who work with long sequences of the same subject will find it useful. In more general work it is not much of a chore to compare three or four frames to select which is the better, but if your photography involves long bursts of action or multiple frames of the same thing, then what it does will be enough to make it useful and to save you time. As the engineers seem to have prioritized portraiture it makes sense that this is the area in which it works best, and for which I'd most recommend it, but motor sports and general action would suit it too. The company doesn't claim that Picturesqe can make judgements of taste As the selection process tends to judge on more formulaic principals you'll have more success with images that are more about content than artistic ideals. The company doesn't claim that Picturesqe can make judgements of taste, but that it uses math and obvious standards to rank images, and that is exactly what you get. There is a good deal of potential to make this a very powerful program for factual photographic subjects and the learning element of Picturesqe promises great things. Right now it needs a bit more work to make it of a standard that the majority of photographers will find it useful, but it is an interesting idea and even as it is will be useful for a good many. Fortunately we don't have to take its advice completely, and when you work together with the program, combining its literal mind with your own taste and style, it can work very well if you shoot the right sort of subject. What we like: A great concept Easy to use Very good for comparing magnified views  It does have some success Good for factual images What we don't like: Success rate just isn't high enough yet It doesn't sort by orientation Doesn't seem to take focus into consideration Interview Q&A with Picturesqe CEO Daniel Szollosi We got some time with Daniel Szollosi, the CEO and founder of Picturesqe, and questioned him about the way the application works and some of the issues we picked up during the review process.DPReview: The process to get to the pictures photographers want to save and work on means they have to delete those that they don't. So, in a collection of 100 pictures to get to one you want to keep you need to delete 99. Is there a way to just export the one you want instead of going through the process of deleting the 99? Daniel Szollosi: We realize it is not a perfect workflow concept, you are totally right. Originally our primary goal was to get rid of the digital trash - so image deletion was the main focus. Since then we have come up with a new workflow, which directly helps the selection of top quality photos. The new workflow is going to be released in the next version of Picturesqe. DPR: Raw files don't always look the way they were shot - when they are supposed to be black and white, for example. Does that only happen when there is no simultaneously shot JPEG imported with it? DS: We know about this bug. It's related to white balance, we have problems with setting the right value yet.  DPR: Your program displays Raw files from cameras that are new and which Adobe can't display yet. How does that happen? DS: We're using a 3rd party library for decoding Raw camera images. Another advantage of this library is that the user doesn't need to install any kind of camera drivers.  DPR: The program doesn't always detect when images are out of focus - is it supposed to or is that something you are working on? DS: We are definitely working on it! In the next version we expect a really big improvement regarding focus detection. We have developed a technology which seems to be better than the current state-of-the-art regarding local sharpness/blur evaluation.  DPR: Picturesqe seems to prioritize images where the subject is in the centre of the frame, or on a third. Is that part of the analysis? What other factors are taken into account? DS: We do take into account composition factors, like rule of thirds. The quality factors we take into account are: Location of visually attended area Exposure (globally and in the visually attended area) Focus (global blur, wrong focus localization) Lighting distribution Color harmony Composition Optical distortions Visual noise DPR: In some cases the program recommends deleting a Raw file but promotes a JPEG processed from that file to the top of the stack. Why does that happen? DS: Thanks for mentioning this, we have not thought about it. We resize the images to a smaller size when evaluating the quality and aesthetics and on this scale Raw information does not exist anymore. We can easily implement a filter which prioritize Raw images when compared to its JPEG descendant. DPR: Does Picturesqe assess exposure and the content of the background? DS: Semantically we do not interpret the content of the background, but visually we assess the background and the foreground separately. The quality attributes calculated from the foreground have more weights.

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Novoflex Leica SL mirrorless camera electronic adapter for Canon EF lenses

Source/Copyright: Leica Rumors at May 27 2016 - 01:10 PM (CET)

Novoflex announced a new Canon EF lens adapter for the Leica SL mirrorless camera. This is an electronic adapter "Made in Germany" that supports autofocus, aperture control and also has AF/MF mode, depth of field indication and EXIF data transmission (for aperture and focal length only). In the US Novoflex products can be found at […] Related posts: Novoflex already has various lens adapter for the Leica SL camera New: Novoflex macro LEM/VIS II adapter set for Leica M type 240 Panasonic G1 with Leica R lens (Novoflex adapter)

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May 26, 2016

Western Digital acquires SanDisk as more data moves to solid state memory

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 26 2016 - 09:50 PM (CET)

Hard disk drive giant Western Digital has completed its acquisition of flash manufacturer SanDisk in a deal that will create a partnership that WD hopes will help it leap into the future of computer memory. The company announced plans to buy SanDisk last fall. Western Digital's reliance on spinning disk technology in a world that is swiftly moving towards solid state drives has been a cause for concern for the company that currently claims 44% market share for HDDs. Acquiring the world's largest producer of NAND flash memory should settle some nerves. Western Digital is said to be interested in cloud storage and computing solutions as PC sales continue to decline, so SanDisk's know-how in flash data center technologies that provide more capacity in a smaller space, with less heat and faster communication have proven attractive.  All told, the deal cost Western Digital $17 billion in cash and shares, $2 billion short of initial estimates. The company expects to be able to make significant savings through economies of scale, expecting combined revenue of almost $20 billion with a better position to compete against Samsung and Micron. For more information visit the SanDisk and Western Digital websites. Press release: WESTERN DIGITAL COMPLETES ACQUISITION OF SANDISK, CREATING A GLOBAL LEADER IN STORAGE TECHNOLOGY Western Digital® Corporation (NASDAQ: WDC) today announced that its wholly-owned subsidiary Western Digital Technologies, Inc. has completed the acquisition of SanDisk Corporation (NASDAQ: SNDK). The addition of SanDisk makes Western Digital Corporation a comprehensive storage solutions provider with global reach, and an extensive product and technology platform that includes deep expertise in both rotating magnetic storage and non-volatile memory (NVM). The Company also indicated that the debt financing associated with this transaction has been consummated and that the previously obtained funds from this financing have been released from escrow to Western Digital Technologies, Inc. "Today is a significant day in the history of Western Digital," said Steve Milligan, chief executive officer of Western Digital. "We are delighted to welcome SanDisk into the Western Digital family. This transformational combination creates a media-agnostic leader in storage technology with a robust portfolio of products and solutions that will address a wide range of applications in almost all of the world's computing and mobile devices. We are excited to now begin focusing on the many opportunities before us, from leading innovation to bringing the best of what we can offer as a combined company to our customers. In addition, we will begin the work to fully realize the value of this combination through executing on our synergies, generating significant cash flow, as well as rapidly deleveraging our balance sheet, and creating significant long-term value for our shareholders." The integration process will begin immediately through the joint efforts of teams from both companies. As previously announced, Steve Milligan will continue to serve as chief executive officer of Western Digital, which will remain headquartered in Irvine, California. Sanjay Mehrotra, co-founder, president and chief executive officer of SanDisk, will serve as a member of the Western Digital Board of Directors, effective immediately. "As a combined company, we will be best positioned to address the demands for data storage, which is growing exponentially every year," said Sanjay Mehrotra. "Growth and change go hand in hand, and we couldn't be happier to grow and change together with Western Digital. I look forward to contributing to realizing the potential of this combination as a member of the board." Under the terms of the transaction, each outstanding share of SanDisk common stock was converted into the right to receive $67.50 per share in cash and 0.2387 shares of Western Digital common stock. SanDisk shareholders looking for information with regard to the payment of the merger consideration should review the Public FAQ available in the Investor Relations section of our website at investor.wdc.com or click here.

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Unfade for iOS scans and restores old prints

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 26 2016 - 09:13 PM (CET)

The team behind the document scanning app Scanbot has used its smartphone scanning expertise to create Unfade, a new app for the iPhone that lets you scan old photos and restore their color using automated filters. The app has been designed with ease-of-use in mind and works almost fully automatically. You simply need to hold your smartphone camera over a photo print and it will be scanned. The app then detects faded colors and presents the option to restore them using a filter function. Once images have been digitized and restored they can be sorted into albums. On the Unfade website the team also says that a range of new features are currently in the development pipeline, including editing features, image presentation options and sharing tools.  Unfade requires iOS 9 or later and is compatible with the iPhone 5s and newer models in addition to a number of recent iPad models. The app is currently available at a 40% launch discount but will still set you back $4.99 in the Apple App Store.

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Content-aware cropping coming soon to Adobe Photoshop CC

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 26 2016 - 07:54 PM (CET)

Adobe Photoshop CC will soon offer content-aware cropping, the company has announced. The feature, as demonstrated in a video released today, will allow Photoshop users to automatically fill any white space around an adjusted photo with content that matches the original image. The tool can be used to add content (to change the aspect ratio, for example), or to fill in gaps that result from rotating or repositioning the image. Content-aware cropping has been a frequently requested feature, says Adobe. The company will include the new cropping tool 'as part of an upcoming major release,' though it doesn't specify whether it will be the next major update or a later one. Via: Adobe

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ZTE Axon 7 features 20MP Samsung ISOCELL sensor

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 26 2016 - 07:41 PM (CET)

Chinese smartphone maker ZTE has announced its latest high-end device, the Axon 7. It comes with an impressive camera specification that includes a 20MP Samsung ISOCELL sensor, fast F1.8 aperture, a sapphire glass lens front element, optical image stabilization and on-sensor phase detection autofocus. A dual-LED flash helps with illumination in dim conditions, and in video mode the camera is capable of recording footage with 4K resolution. The front camera comes with an 8MP sensor.  The other components of the device match the camera's high-end specifications. The Axon's aluminum unibody houses a 5.5-inch AMOLED panel with 2560 x 1440 Quad-HD resolution that is covered by 2.5D curved Gorilla Glass 4 and the Android OS is powered by a Qualcomm Snapdragon 820 chipset. In terms of memory consumers get to choose between a version with 4GB RAM and 64GB storage or a 6GB/128GB premium model. There is also a microSD-slot for expansion. A hearty 3140 mAh battery supports the Quick-charge 3.0 standard. There are also a dedicated audio chip, dual speakers, a fingerprint reader and a USB Type-C connector. The Axon 7 will be launched in China first in July and make its way to international markets at a later stage. Official pricing will be revealed closer to launch, but is expected to be below $500 which sounds like an interesting offer for such a well-specified device.

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LFI artist talk - Bruce Gilden (video)

Source/Copyright: Leica Rumors at May 26 2016 - 04:48 PM (CET)

Magnum photographer Bruce Gilden is talking about his projects: Coney Island, Haiti, Black Country and American Made. Related posts: “American Made” by Bruce Gilden (video) Bruce Gilden on his project for RATP Bruce Gilden – Postcards from America, Magnum Miami (video)

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Lens shootout: Sony RX10 III destroys the competition

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 26 2016 - 04:00 PM (CET)

When the RX10 III was revealed as the 'top secret' Sony product launch in San Francisco earlier this year, I felt a bit cynical. 'Another RX10, Sony? Really?' I cried, along with a few bored commenters. 'The last one is hardly a year old!' Then I saw some telephoto sample images and was immediately impressed, wondering if I had been underestimating the 1" bridge camera segment. Then Barney described the RX10 III to me as 'magic', which is high praise indeed and warranted further investigation. Which is exactly what we've done, below. Note that our results here are only indicative of the one copy of each camera we have on hand, some of which appear to be slightly decentered. The Shootout Starting at the wide end, which is around 25mm for all the cameras tested, we see in the center of the image (where our RX10 II appears to perform as expected) improvements over the RX10 II aren't incredibly pronounced. Other areas$(document).ready(function() { $("#imageComparisonLink2506").click(function() { ImageComparisonWidgetLink(2506); }); }) of the scene show the advantage of the RX10 III, especially when it is stopped down from its maximum aperture of F2.4 to F2.8$(document).ready(function() { $("#imageComparisonLink2507").click(function() { ImageComparisonWidgetLink(2507); }); }). Its performance is definitely a step up from the Panasonic FZ1000$(document).ready(function() { $("#imageComparisonLink2510").click(function() { ImageComparisonWidgetLink(2510); }); }), and is miles ahead of the Canon G3 X$(document).ready(function() { $("#imageComparisonLink2511").click(function() { ImageComparisonWidgetLink(2511); }); }). Where crazy zoom lenses like these typically struggle is in the extremes$(document).ready(function() { $("#imageComparisonLink2513").click(function() { ImageComparisonWidgetLink(2513); }); }) of the frame, with neither the RX10 III or the FZ1000 being an exception. The sharpness fall-off is less severe$(document).ready(function() { $("#imageComparisonLink2515").click(function() { ImageComparisonWidgetLink(2515); }); }) with the RX10 III, though, and all in all, the RX10 III is the best performer on the wide end. $(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-13124845","widgetId":359,"initialStateId":null}) }) Moving on to 400mm$(document).ready(function() { $("#imageComparisonLink2517").click(function() { ImageComparisonWidgetLink(2517); }); }), the maximum focal length for the Panasonic FZ1000, we see a similar amount of detail between the Panasonic and Sony near the center of the image. Sharpness and resolution change for both throughout the frame, with the Sony showing a slightly iffy left side$(document).ready(function() { $("#imageComparisonLink2523").click(function() { ImageComparisonWidgetLink(2523); }); }), and a better right side$(document).ready(function() { $("#imageComparisonLink2524").click(function() { ImageComparisonWidgetLink(2524); }); }). Through most of the scene the two are practically neck and neck, with the G3 X turning in comparable performance as well, but let's not forget the Sony and Canon still have more zoom range to go.  The RX10 III's 24-600mm lens isn't only useful for distant details. The real reason people consider bridge cameras is for the reach, and Sony extended the RX10 III's reach by a full 400mm over the RX10 II. That means it now offers the same amount of reach as the G3 X's 600mm$(document).ready(function() { $("#imageComparisonLink2516").click(function() { ImageComparisonWidgetLink(2516); }); }) equivalent maximum focal length. The RX10 III's lens is clearly sharper, but it has another thing going for it: its faster maximum aperture helps it combat diffraction. Remember that F4 and F5.6 on 1"-type cameras are equivalent to F11 and F15, respectively. Both cameras are limited by atmospheric distortion at these focal lengths (hence the drop to 'print' resolution in the previous comparison link), but it's clear that the RX10 III exceeds the G3 X's performance, while offering just as much zoom versatility. The Canon PowerShot G3 X's trump card has been trumped. Even at 600mm (equiv), the Sony Cyber-shot RX10 III's lens delivers sharp results. In all, it seems the RX10 III does offer a bit more than similar 1" bridge cameras from other manufacturers. It exceeds, or at least matches, the competition with respect to zoom range, while offering sharper images, and brighter apertures than all but Sony's own RX10 II. Importantly, sharpness performance appears to be maintained throughout the zoom range, from wide to tele, which cannot be said for any of the other cameras in this test. Feel free to explore through these images and post your own findings below. Things to Consider As you look at the comparison widget, bear in mind that It appears our copy of the RX10 II appears to be slightly decentered$(document).ready(function() { $("#imageComparisonLink2509").click(function() { ImageComparisonWidgetLink(2509); }); }). This isn't really noticeable in normal shooting but it's obvious in a controlled test like this.  The second caveat to these results is the weather. Light varied over the course of the test, and had darkened so much that the Panasonic, the final camera tested, needed 2/3rds more exposure to produce a comparable image. All the exposures were processed in ACR with default sharpness and the 'Adobe Standard' profile used across the board. We'll be adding the RX10 III to our standard database of studio test images very soon - watch this space!

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Nikon D500 updates

Source/Copyright: Nikon Rumors at May 26 2016 - 12:01 AM (CET)

The Nikon D500 got a gold award at dpreview (91%). Their conclusion: "The D500 is the most well-rounded DSLR we've ever tested, and among the very best. Every one of us who has picked it up, regardless of which brands we've most often shot, has been impressed by its autofocus system's wide coverage and ability […] Related posts: Nikon D500 updates part 4 Nikon D500 updates (part 2) Nikon D500 updates

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May 25, 2016

Broncolor launches range of softbox edge masks for rim light effect

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 25 2016 - 08:56 PM (CET)

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_2696643628","galleryId":"2696643628","isEmbeddedWidget":true,"standalone":false,"selectedImageIndex":0,"startInCommentsView":false,"isMobile":false}) }); Swiss lighting brand broncolor has announced a range of diffuser panels for its softboxes that help to create a rim light effect when the subject is positioned in front of the softbox. The Edge Masks feature a large black panel in the center of the diffuser that prevents light from passing, but leaves strips all the way around the panel for the flash to pass through. The idea is that people posed in front of the panel will appear on a black background but highlighted with a rim of light all around them. The panels are designed to replace the usual white diffuser of the softbox, which is removed when the Edge Mask is in place. The effect is relatively easy to achieve using any softbox and a panel of black material, but these are a bit more convenient and look more professional. The company has also launched a 110cm parabolic umbrella that can be used to vary the focus of the reflected light. The umbrella has a particularly long arm that allows the light source to be placed at a range of distances from the reflective material. The Edge Masks come in a range of sizes and are available now, as is the Focus 110 umbrella. The Edge Masks are priced from £42/$54 to £84/$113, while the umbrella costs £150/$210. For more information visit the broncolor website. Press release: New Light Shaping Tools - Edge Masks & Focus 110 Hot on the heels of the new Siros L battery powered studio monobloc, broncolor have also released two brand new lights shaping tools - the Edge Mask diffuser and Focus 110 umbrella.Edge MasksUsing the broncolor range of softboxes just became even more creative and flexible. The new Edge Mask helps turn the rectangular sizes of the softboxes in to a rim light, allowing for subjects to be photographed in-front of and against the softbox, with the light wrapping around the subject from behind. This is a popular technique previously only created by flagging off the softbox with a board, but the Edge Mask provides a professional, easy and uniform method for creating the effect. Simply attach the Edge Mask to your existing softbox as you would an external diffuser. Focus 110The new parabolic Focus 110 umbrella (110cm diameter) provides a quick an easy way of producing a focusable parabolic light effect. Simply pop it up and use the lamp heads umbrella holder to slide and focus the shaper. Pricing and availability The new Edge Masks and Focus 110 are ready and available to ship now!33.612.00 - Edge Mask for Softbox 35 x 60 - £35 ex. VAT33.613.00 - Edge Mask for Softbox 60 x 100 - £40 ex. VAT33.614.00 - Edge Mask for Softbox 90 x 120 - £50 ex. VAT33.615.00 - Edge Mask for Softbox 120 x 180 - £70 ex. VAT33.576.00 - Focus 110 - £125 + VAT

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Vuze VR 3D 360 camera targets consumers with $799 price

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 25 2016 - 08:35 PM (CET)

At the Cannes Film Festival, HumanEyes Technologies unveiled the Vuze VR, a consumer-grade 360-degree camera for VR applications. The camera was used to record the recently screened 3D VR short movie Summertime, and is now available to pre-order for $799 USD. In addition to capturing 3D stereoscopic content for VR platforms, Vuze VR can record 360 degree 2D video. Vuze VR is equipped with eight cameras capable of recording full stereophonic audio and 360-degree Full HD video in both 2D and 3D. Each camera is fitted with lenses that capture a 120 degree FOV horizontally and 180 degree FOV vertically. When the videos are stitched together, the resulting video has a 4K resolution. The camera is small at 12 x 12 x 3cm (4.7 x 4.7 x 1 in.), and features what HumanEyes calls 'near real time processing,' with each minute of footage requiring one minute of processing. The camera supports both PCs and Macs, and can be remotely controlled using related iOS and Android apps.  The Vuze VR camera can be pre-ordered now for $799 from the product's website. Shipping to buyers is estimated to start in October 2016. Via: PRNewswire

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Back to the action: Nikon D500 Review

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 25 2016 - 07:42 PM (CET)

The Nikon D500 is a 21MP APS-C DSLR capable of shooting at up to 10 frames per second and featuring an autofocus system derived from the one in the D5. In other words, it's exactly the kind of high-end DX format body that appeared to have become extinct with the D300S. The six-and-a-half years that have passed since the D300S' launch have seen the camera market move on considerably but the D500 does much to reclaim the position as one of the pre-eminent APS-C camera on the market. As you might expect, much of the improved capability of the camera centers around sports and high-speed shooting, with significant upgrades to the shooting rate and autofocus system, but there are also major upgrades to the viewfinder, video capabilities and connectivity options which expand its utility beyond one particular niche. Key Features 20.7 MP APS-C (DX Format) sensor 153 point AF module with 99 cross-type points 180,000 pixel RGB sensor for metering and subject recognition AF point joystick 10 fps shooting for up to 200 shots (lossless compressed 14-bit Raw to XQD card) 4K (UHD) video from 1.5x crop of sensor 100% coverage viewfinder with 1.0x magnification 2.36m dot tilt up/down touchscreen Wi-Fi and Bluetooth connectivity with NFC for setup Mic and headphone sockets USB 3.0 connector Anti-flicker option for working under artificial lighting A good sport Much of the D500's capability is built around the ability to focus and shoot very quickly. Its 153-point AF module offers near full-width coverage and is linked to a 180,000 pixel RGB metering sensor to further improve its AF tracking capabilities. Interestingly, and like the D5, the D500's AF system now offers two parameters for fine-tuning the autofocus tracking behavior, letting the user specify the type of subject movement and the correct response to another object blocking the targeted subject. Existing Nikons only let you specify duration, suggesting Nikon is trying to expand the range of shooting situations for which the AF system can be optimized. Only 55 of the camera's AF points can be directly selected and the D500 gains both a joystick and a touchscreen to make it as fast as possible to select the point you want to use. Add to this the ability to shoot up to 200 Raw frames before slowing down (if you use an XQD card), and it becomes obvious that the D500 is intended as a high-speed pro/semi-pro camera in a way the D7000 series never was. How's that for coverage? The D500 doesn't just boast a lot of autofocus points, it also offers them across most of the width of the frame, which is useful whether you're manually selecting a point or letting the camera track your subject. The D500 also gains an anti-flicker option designed to ensure the camera shoots in-sync with the brightest point in the flickering cycle of artificial lights. It's a feature we first saw on the Canon EOS 7D Mark II and we'd expect it to be particularly valuable for shooting indoor sports such as basketball. Another sign that this is a true high-end camera is the inclusion of a larger viewfinder. Like previous DX00 class cameras it has 100% coverage but it also offers 1.0x magnification, which is the largest optical viewfinder we can remember seeing in an APS-C camera (electronic viewfinders are a different matter, since size and brightness isn't constrained by sensor/mirror size). The D500 can also shoot 4K video and includes both an input for using an external mic and a headphone socket for audio monitoring. The camera also offers a flat picture profile to provide more post-processing flexibility, on-screen highlight warnings and power aperture control that allows you to select and change the aperture when in movie mode. There's no focus peaking option, though, and you can't zoom-in while you record to confirm or adjust focus as you record. Connectivity One of the other big features Nikon is touting is its Snapbridge system that uses Bluetooth LE (a low-power variant of Bluetooth also known as Bluetooth Smart), and Wi-Fi to maintain a connection between the camera and a smart device. This includes the ability to auto-transfer images from the camera, as well as initiating the Wi-Fi connection for remote shooting or manual image transfer. Context To show where the D500 sits in the lineup, here are the major feature differences between it and the less expensive D7200, along with a comparison back to the D300S - not because we expect anyone to be choosing between them, but to show how much of a step forward the camera represents.    Nikon D500 Nikon D7200 Nikon D300S Sensor Resolution 21MP 24MP 12MP AF points 153 (99 cross type) 51 (15 cross-type) 51 (15 cross-type) Max frame rate 10 fps 6 fps 7 fps in 1.3x crop mode 7 fps 8 fps with battery grip Buffer depths 200 lossless compressed 14-bit Raw ~17 14-bit Raw~28 12-bit Raw 30 lossless compressed 14-bit Raw Shutter durability rating 200,000  150,000  150,000 Viewfinder 1.0x magnification 100% coverage 0.94x mag 100% coverage 0.94x mag 100% coverage Rear screen 2.36m dots 3.2" Tilting Touch sensitive 1.23m dots 3.2" Fixed 920k dots 3.0" Fixed Video Resolution UHD/30p 1080/60p 1080/60p  720/24p Mic/Headphone? Yes/Yes Yes/Yes Yes/No Wi-Fi? Yes (and Bluetooth) Yes No Built-in flash? No Yes Yes AF-On Button? Yes No Yes Body construction Magnesium Alloy + Carbon fiber composite Magnesium Alloy + Carbon fiber composite Magnesium Alloy Battery Life (CIPA) 1240 shots/charge 1100 shots/charge 950 shots/charge Weight (Body Only) 760g 675g 840g Review History Review History 26 April 2016 Studio scene and Raw dynamic range published. 16 May 2016 Introduction, Body and Handling, Operation and Controls, Wi-Fi and Connectivity and Video pages published 25 May 2016 Autofocus, Loose Ends and Conclusion pages added. Review finalized

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2016 Roundups: Fixed Prime Lens Cameras

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 25 2016 - 02:00 PM (CET)

The fixed lens camera market may be a bit niche, but it's here that you'll find some of the best cameras you can buy. Sensors ranging from APS-C to full-frame are designed to match their lenses, which cover ranges from 28-75mm equiv., so image quality is top-notch.  This segment includes both pocketable models without viewfinders to 'best worn over your shoulder' cameras with unique or ultra-high-resolution EVFs. There's a gigantic spread in pricing, as well. The Fujifilm X70 and Ricoh GR II can be had for under $700, while the Leica Q sells for nearly $4500.For those who want to zoom with their feet,  here are the fixed-lens cameras we think are worth a look: Fujifilm X70 Fujifilm X100T Leica Q (Typ 116) Ricoh GR II Sigma dp Quattro series Sony Cyber-shot DSC-RX1R II

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Macphun Aurora HDR Pro version 1.2.2 released with support for the Leica M Typ 262

Source/Copyright: Leica Rumors at May 25 2016 - 05:00 AM (CET)

Macphun released Aurora HDR Pro version 1.2.2 with added RAW support for the Leica M Typ 262 camera. Several performance improvements were also introduced: Various performance improvements to Photos extension, Alignment, Luminosity histogram, and preview on Layer Tone Mapping result is now set as default First launch in full screen mode Sync Favourites presets between Aurora HDR Pro […] Related posts: Macphun Aurora HDR Pro v1.2 released with support for the Leica M Monochrom (Typ 246) camera New version of Macphun Tonality supports multiple Leica cameras Leica Q Typ 116 firmware update version 1.1 released

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May 24, 2016

Nikon D5 tested at DxOMark, the Df still remains the "Lord of Darkness"

Source/Copyright: Nikon Rumors at May 24 2016 - 11:46 PM (CET)

DxOMark published their test results for the Nikon D5 camera: For reference, here are the test results of the Nikon D750, D810 and Df cameras - the Nikon Df remains the "Lord of Darkness": The compassion with the older D4s and D3s models is even more interesting: Against its predecessor, the 16-Mpix Nikon D4s, the […] Related posts: There is a new “Lord of Darkness” (Nikon Df DxOMark test scores, low light ISO comparison with D800, 6D) Nikon D800 tested at DxOMark, gets the #1 spot Nikon D750 camera tested at DxOMark: another Nikon sensor in the top 10

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Nikon D500, D5 now in stock in the US

Source/Copyright: Nikon Rumors at May 24 2016 - 11:10 PM (CET)

The Nikon D500 camera is currently in stock: B&H (kit lens only in stock) Adorama (body only and kit lens in stock) Amazon BestBuy Amazon (UK) also has few D500 cameras in stock. The Nikon D5 - both versions - are also currently in stock at B&H and Adorama. Related posts: Nikon D500 lens kit is currently in stock *UPDATED* Second wave of Nikon D500 cameras now shipping Nikon USA started shipping D500 cameras to US dealers

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Brian May launches smartphone adapter for stereoscopic virtual reality viewer

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 24 2016 - 10:00 PM (CET)

Brian May, guitarist with the band Queen and a stereo photography enthusiast, has launched a kit that allows users to view 3D stereo pairs and virtual reality content on a smartphone for just £25 (approx. US $37). The OWL VR Smart Phone Kit is an adaptation of a traditional Victorian-style stereo viewer sold by May's London Stereoscopic Company. Instead of inserting card-mounted stereo pairs, users fix a plate to the viewer's aperture that holds the smartphone in place. May says that the device provides a much better value alternative to standard VR headsets, and it is more adaptable and of higher quality than low cost models. It's in much the same vein as Google's Cardboard VR and other budget-friendly viewers designed for Google's VR app. The OWL has a rigid structure but folds flat for storage, is made from 'high-grade' polypropylene and features 'high quality' lenses with adjustable focus. The adapter allows access to all the phone's controls while it is in place, including the headphone socket so audio can be enjoyed during 3D movies and VR experiences. Although not in continuous existence, the London Stereoscopic Company was founded in 1854. Over the years it created and sold stereo equipment and cards showing scenes from all around the world. Its fortunes have undulated along with the popularity of stereo photography, and was dissolved a number of times. It was revived in 2008 to promote and preserve the work of the photographer Thomas Richard Williams. Brian May has been one of the directors of the business since 2008. The OWL VR Smart Phone kit will be available from June and will ship internationally. For more information visit the London Stereoscopic Company's website. Press release: Virtual Reality from Brian May. It's real. Lifelong stereoscopy enthusiast and collector, and, incidentally, world-famous rock guitarist, Brian May this month launches the OWL VR Smart Phone Kit, a Virtual Reality and 3-D stereo image viewer that brings all the excitement of VR within reach of anyone with a smart phone. Brian's London Stereoscopic Company has been supplying his unique original patent OWL Stereo Viewer to 3-D enthusiasts since 2009, enabling a whole new audience to view the company's reproductions of classic Victorian stereo cards, as well as the originals, plus recently released astronomy and Queen-focused 3-D images. The OWL has been recognised and adopted by 3-D organisations world-wide, as a high quality immersive device. The new OWL VR Smart Phone Kit takes the existing OWL Stereo Viewer and, through use of a simple but ingenious adaptor, enables its use with a smart phone not only to view online 3-D images, but also those taken by the user, and commercially available virtual reality content. Manufactured from high-grade polypropylene, and fully collapsible to a thin flat configuration, the OWL is supplied ready for use in seconds. Its carefully positioned high-quality optical lenses, plus fully adjustable focus, present every user with the ideal optical geometry for perfect viewing of side-by-side 3-D images. Working with any smart phone, the OWL VR Kit has a significant advantage over most other VR devices, which are usually tied to just one particular make or model of phone. And, in contrast with most of the low cost viewers available, the OWL kit offers full access to the controls on the phone at all times. Access to the headphone socket is also unobstructed. This is particularly useful when using the OWL to watch virtual reality films of concerts, or other content with a soundtrack. It also enables users to connect their smart phone to a home cinema system to generate surround sound to complement the 360° 3-D visuals. Commenting on the launch, Brian May said, "Virtual Reality has taken the consumer electronics world by storm over recent months and masses of content is now rapidly becoming available. However, until now, users have had the choice of an expensive VR viewer that puts it out of reach of many people or a very low cost alternative that just doesn't do the format justice." He continues, "The OWL Smart Phone Kit changes all that; for a very modest outlay, anyone can now enjoy the VR experience, and also gain access to the fascinating world of Stereoscopy. Plus, with the apps that are available for smart phones, it's now possible to take your own 3-D images and enjoy them instantly using this simple OWL Kit." The OWL Smart Phone VR Kit will be available from mid June 2016 for £25, direct fromwww.londonstereo.com/lsc_shop.html

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Canon EOS 80D Field Test: Barney builds a boat

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 24 2016 - 08:33 PM (CET)

The Canon EOS 80D is a 24MP APS-C format enthusiast DSLR, with a strong stills and video feature set. When the opportunity presented itself to build a traditional Greenland-style skin-on-frame kayak with craftsman and friend of DPR Kiliii Yuyan, DPReview editor Barnaby Britton used the EOS 80D to document the process. This is sponsored content, created with the support of Canon. What does this mean?

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Lensbaby Circular 180+ ultra-wide-angle GoPro lens launches on Kickstarter

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 24 2016 - 08:25 PM (CET)

Lensbaby has launched a Kickstarter campaign for the Lensbaby Circular 180+, a lens that attaches to a GoPro Hero's waterproof housing. The Circular 180+ has an ultra-wide 185° field-of-view and features 'tack sharp edge-to-edge focus,' according to Lensbaby, as well as 'intense depth' and rugged construction. The new lens is designed specifically for GoPro's Hero action cameras, attaching to the waterproof housing with a mount that screws tightly into place. The lens housing is likewise waterproof with an IP68 standard rating, enabling it to handle 'extended immersion' to depths down to 3m/9.8ft. The lens is joined by a water-resistant mount, and there's a waterproof add-on mount as well. Compatibility includes the GoPro Hero, Hero+, Hero+ LCD, and the current standard housing, which supports the Hero4 Silver and Black, Hero3+, and Hero3. Lensbaby is seeking $30,000 in funding on Kickstarter, where the Circular 180+ lens is offered at various price points as low as $69. Backers are expected to receive their orders in August 2016, assuming the funding campaign is successful. Via: Kickstarter

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Leica Oskar Barnack Award presentation to return to Germany

Source/Copyright: Leica Rumors at May 24 2016 - 04:05 PM (CET)

Leica Oskar Barnack Award presentation to return to Germany Submission phase of prestigious international photographic competition closes with record number of entries 2016 awards to be presented in Berlin Leica has today revealed that the presentation of the Leica Oscar Barnack Award 2016 will take place in Berlin, Germany, on 28 September. The announcement of […] Related posts: Leica Oskar Barnack Award 2015: cash prize for the winner has been raised to 25,000 Euros Record number of entries for the Leica Oskar Barnack Award 2012 Leica Oskar Barnack Award 2014: vote on i-shot-it.com

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Olympus TG-Tracker keeps up with your outdoor adventures

Source/Copyright: Articles: Digital Photography Review (dpreview.com) at May 24 2016 - 08:00 AM (CET)

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_6448570778","galleryId":"6448570778","isEmbeddedWidget":true,"standalone":false,"selectedImageIndex":0,"startInCommentsView":false,"isMobile":false}) }); Olympus has updated its tough camera lineup with the Stylus Tough TG-Tracker, a rugged action-cam that specializes in tracking location, temperature, altitude and more. The TG-Tracker takes 8MP stills with a 1/2.3" sensor and provides 4K/30p and 1080/60p video recording options. It offers a fixed F2.0 13.9mm equiv. lens and the whole unit is rated to be waterproof to 30m/100ft, shockproof from 2.1m/7ft, freezeproof to -10C/+14F and crushproof to 100kgf/220lbf. Also provided are a 1.5" flip-out (but non-rotating) LCD and a built-in lamp with 30 and 60 lumen settings, the latter of which can be used for a flashlight mode. The tracking features for which the camera is named for include built-in GPS, barometric pressure sensor, temperature sensor, compass and an accelerometer. A pistol-style SG-T01 grip is bundled with the camera to help keep shots steady. The grip itself bends into a few different configurations to enable high or low angle shooting, and of course, selfies. The camera syncs with Olympus' Image Track app via Wi-Fi to display data logs including the user's route and elevation, and can display detailed summaries of excursions including total elapsed time, distance traveled, average speed and minimum/maximum elevation, among other data points. Images and video (though not 4K clips) can be transferred to the user's smartphone using the app as well.  The Olympus Stylus Tough TG-Tracker is due to hit retailers in June for $349.99 in green and black body options. Press release: TRACK THE EXTRORDINARY: NEW OLYMPUS STYLUS TOUGH TG-TRACKER CAPTURES EVERY DETAIL OF YOUR ADVENTURES Ultra HD 4K Video Comes Alive with High-Quality Imaging and Rich Log Data That Tells an Immersive Story CENTER VALLEY, PA, May 24, 2016 -- Olympus expands the outdoor video experience with the latest member of the Tough product family, the new Olympus Stylus Tough TG-Tracker. The Stylus Tough TG-Tracker is the first rugged experiential camera that combines Olympus's Tough rugged capabilities with an advanced Field Sensor System,*1 a 204° ultra-wide-angle F2.0 high-speed lens and Ultra HD 4K 30p video capture to record brilliant action video with corresponding activity data. The Stylus Tough TG-Tracker's built-in Field Sensors include GPS,*2 a barometric-pressure sensor, a temperature sensor, an e.Compass and an accelerometer. Data logs can be displayed simultaneously with recorded images using the Olympus Image Track app, enhancing the excitement of reliving outdoor action with an immersive, data-rich viewing experience. Like all other cameras in the Olympus Tough(TM) series, the Stylus Tough TG-Tracker is optimized for the most extreme shooting environments, with five rugged capabilities: waterproof to depths of 100 feet,*3 dustproof,*4 shockproof from 7 feet,*5 freezeproof to 14°F,*6 and crushproof up to 220 pounds of force,*7 -- no protective case required. The Stylus Tough TG-Tracker represents a new category of rugged cameras with its Field Sensor System that's capable of capturing location, altitude and depth, g-force and air and water temperature while users record videos and still images of their outdoor adventures. A high-intensity LED headlight is integrated into the camera body for shooting support in low-light conditions. The bundled SG-T01 Steady Grip helps with stable framing during hand-held shooting. The Olympus Stylus Tough TG-Tracker's compact body and tilt-out LCD monitor provide for quick and easy video capture, including low- and high-angle shooting. *1 Because the GPS and other field sensors are not intended for use as strictly accurate measurement functions, under no circumstances are measured values (such as longitude and latitude, altitude, shooting direction and temperature) guaranteed. Additionally, information may differ from actual circumstances due to the effects of events such as natural disasters. *2 Depending on the country/region of use, different laws and regulations may be applicable regarding the use of the GPS function. Be sure to follow local laws and regulations. Turn off the GPS function in places where its use is forbidden or restricted, such as inside airplanes. Either the A-GPS Utility computer software or the Olympus Image Track app is required to update the Assist GPS data. *3 Waterproof functionality is equivalent to JIS/IEC protection class 8 (IPX8) according to tests performed following our in-house methods. *4 Equivalent to JIS/IEC protection class 6 (IPX6) according to tests performed following our in-house methods. *5 When the LCD monitor is closed, the Lens Protector is attached and the Mount Coupling, grip and Underwater Lens Protector are not attached, according to tests performed following our in-house methods. *6 The number of shots that can be recorded is reduced at very low temperatures. *7 When the LCD monitor is closed, the Lens Protector is attached and the Mount Coupling, grip and Underwater Lens Protector are not attached, according to tests performed following our in-house methods. U.S. Pricing and Availability The Olympus Stylus Tough TG-Tracker will be available in green and black beginning in June 2016 with an estimated street price of $349.99 (U.S.) and $479.99 (Canada). For a complete list of specifications, visit the Olympus website: http://www.getolympus.com/us/en/digitalcameras/tough/tg-tracker.html Main Features Field Sensor System for capturing all the action of outdoor adventures The wearable-device market has expanded in recent years, offering ways to automatically record location information, steps walked, calories burned and other life-logging data. In the same spirit, the new Olympus Stylus Tough TG-Tracker is equipped with the Field Sensor System, which includes GPS, a barometric-pressure sensor, a temperature sensor, an e.Compass and an accelerometer. Users can select from three different display options on the LCD monitor, including a compass display, level display, and log display, to show the data captured via these sensors. Log Mode records data without video for extended time periods. GPS The camera uses GPS (with GLONASS and QZSS functionality) to precisely calculate the user's latitude and longitude from satellite signals. Additionally, Assist GPS can significantly increase the speed of the system's positioning calculations by downloading satellite information ahead of time using the Olympus A-GPS Utility computer app or the Olympus Image Track smart-device app. Barometric-pressure sensor Altitude and water depth are calculated based on air- and water-pressure information. When the camera is submerged below a depth of half a meter, the Underwater Detector will automatically switch the camera to the optimal mode for shooting underwater so you can focus on getting the best shot without worrying about complicated controls. The monitor log display will also automatically switch from altitude to water-depth information. Temperature sensor This sensor records ambient temperature with a high degree of precision. The Stylus Tough TG-Tracker captures water temperature in both Video and Log Mode, and air temperature in Log Mode only. e.Compass This sensor tracks the direction in which the camera lens is being pointed. It provides an easy way to confirm direction when shooting outdoors. Accelerometer This sensor measures acceleration (g-force) on three axes to record the photographer's movements. When a preset acceleration level is detected while a video is being recorded, the Chapter Function*1 automatically identifies and bookmarks the moment. This feature supports editing and playback of exciting scenes, like when jumping and landing in intense sports such as snowboarding and motocross. Users may choose from two levels of acceleration or may turn this feature off. Rugged capabilities: waterproof, dustproof, shockproof, freezeproof and crushproof With its sealed construction, the Stylus Tough TG-Tracker is waterproof to depths of 100 feet (30 meters). The waterproof seal also makes the camera dustproof, so users don't have to worry when operating the Stylus Tough TG-Tracker in dusty areas. The dual-layer chassis makes for superb shockproof performance, allowing the camera to clear drop tests from heights of up to 7 feet (2.1 meters). Operation is guaranteed in temperatures as low as 14°F (-10°C), so you can shoot in cold-weather environments where other digital devices fear to tread. The Stylus Tough TG-Tracker also boasts a rigid construction that can withstand loads of up to 220 pounds of force (100 kilograms of force). High-quality images captured with an ultra-wide-angle lens 204° ultra-wide-angle F2.0 high-speed lens The Stylus Tough TG-Tracker's ultra-wide-angle lens was developed using advanced optical technology. Its 204° angle of view is wider than that which can be captured by the human eye, allowing it to record action videos with a dramatic perspective, especially useful for ultra-wide views of outdoor sports scenes. TruePicTM VII for 4K Image Processor and backlit CMOS sensorThe Stylus Tough TG-Tracker is equipped with the TruePicTM VII for 4K Image Processor, the latest iteration of the TruePicTM image processors used in the Olympus OM-D and PEN compact system cameras, now with 4K video capability.*2 It quickly processes data from the high-sensitivity, low-noise backlit CMOS sensor to produce high-quality images. Versatile shooting style and superb controls The compact body provides for quick and easy video capture no matter your shooting style, allowing low- and high-angle camerawork. An SG-T01 Steady Grip is bundled with the camera to help with stable framing during hand-held shooting.*3 The MC-T01 Mount Coupling comes with a small mirror on the front to assist in capturing wide-angle group selfies.*4 The high-intensity LED Headlight is built into the camera body for shooting support in low-light conditions.*5 Its quick-action operation lets you swiftly illuminate subjects for high-quality imaging. Even when the camera is turned off, users can press and hold the Info button to activate the headlight for standalone use. Compatibility with the Olympus Image Track smart-device app The Stylus Tough TG-Tracker is equipped with built-in Wi-Fi.*6 Using the exclusive Olympus Image Track app, users can easily transfer videos recorded on the camera, along with field data, to a smart device. Users can also display the log data and view images simultaneously, enjoying the experience of the shooting environment during playback. Within the app, the data display can be switched between geographical information and altitude/depth information to best match the scene, and data is saved so that users can conveniently check the information at any time. Other Features Time Lapse Movie mode*7 for fixed-point observation of movement such as crowds of people, clouds crossing the sky or flowers opening. Loop Recording function for easier video-data handling. Bundled with the UP-T01 Underwater Lens Protector for underwater shooting.*8  Graphical user interface (GUI) for intuitive control. Electronic 5-Axis Image Stabilization*9 for compensation of every kind of camera motion. 4K Video playback via HDMI connection. Remote control and image transfer with the Olympus Image Share app. *1 A "chapter" is a bookmark designating a scene transition in a movie. This feature lets you quickly find the exact spot you want during movie playback. Chapters can be manually inserted by pressing the OK button on the top of the camera, but manually inserted chapters cannot be transferred to the Olympus Image Track smartphone app. *2 4K videos cannot be transferred to a smartphone. They should be viewed on a large TV that supports 4K playback. *3 Because the Stylus Tough TG-Tracker's angle of view is a diagonal 204°, part of the tripod will appear on the monitor when it is connected directly to the camera. This can be prevented by using the tripod baseplate on the bottom of the Steady Grip. *4 The Mount Coupling attaches to the top of the Steady Grip for mounting on the camera. *5 The LED Headlight can be used only for a limited duration. *6 "Wi-Fi" is a registered trademark of the Wi-Fi Alliance. *7 Users can select from 1080p, 720p or VGA and can record at up to 30 FPS in full HD. *8 The bundled UP-T01 Underwater Lens Protector is required to shoot underwater. Without it, the camera will not be able to focus underwater. The angle of view becomes narrower underwater; users must change the camera's angle-of-view setting to Underwater. *9 When the Electronic 5-Axis IS is activated, the angle of view becomes narrower. Optional Accessories CSCH-125 TG-Tracker Case This case can be attached to a backpack or belt, and data logs can be recorded while on the go with the camera inside. The camera can be stored in the case on its own or with the Steady Grip attached. The case is equipped with a carabiner and spiral safety cord so users never have to worry about losing the camera. This accessory can even be used in the rain or in saltwater, so it's perfect for use during outdoor sports or in harsh environments.

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Flashback: Nikon N90S film camera with Kodak NC2000 digital back

Source/Copyright: Nikon Rumors at May 24 2016 - 03:28 AM (CET)

The Camera Store put the Nikon N90S camera with Kodak NC2000 digital back to the test. Here is their video review: Related posts: Flashback from 1998: Navy SEALs training with mysterious Nikon underwater digital camera Interview with Kodak’s lead engineer on the early Nikon-based Kodak DCS cameras The Kodak Hawkeye II / Nikon F3 was one of the first electronic stills cameras used by NASA in space

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Taos Photographic is the official European distributor for the MS Optics lenses of Mr. Miyazaki

Source/Copyright: Leica Rumors at May 24 2016 - 01:55 AM (CET)

     Taos Photographic is now the official European distributor for the MS Optics lenses of Mr. Miyazaki. They are currently selling the MS Optics Apoqualia-G 35mm f/1.4 MC lens for EUR1,220 (also available for $1,299 on eBay). Here is a sample photo taken with that lens: Related posts: More info on the new MS-Optics Apoqualia 35mm f/1.4 MC lens for Leica M mount Coming soon: MS Optical 35mm f/1.4 APOQUARIA lens MS-Optical Reiroal M 35mm f/1.4 MC Platinum Chrome lens

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Leica Store Shanghai XinTianDi

Source/Copyright: Leica Rumors at May 24 2016 - 01:47 AM (CET)

A new Leica Store Shanghai XinTianDi had a soft launch last week. The grand opening will be held on June 3rd, 2016. Related posts: Leica opens a new store in Shanghai Leica Store Milan grand opening on May 17th Leica Store San Francisco grand opening

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May 23, 2016

Nikon's Q&A for latest financial results

Source/Copyright: Nikon Rumors at May 23 2016 - 09:01 PM (CET)

Nikon issued Q&A for their latest Imaging Products Business financial results: Q: Can you tell us about the impact of the "2016 Kumamoto earthquakes" on your business performance? A: The earthquakes have affected suppliers of parts for a wide range of our products, including digital cameras-interchangeable lens type, interchangeable lenses and compact digital cameras. We anticipate that […] Related posts: Nikon had another bad financial quarter Nikon announced Q2 financial results Nikon’s yearly financial results are out

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Weekly Nikon news flash #368

Source/Copyright: Nikon Rumors at May 23 2016 - 01:27 AM (CET)

-> The Nikon Coolpix B500 camera is now shipping. -> Sigma has a new patent for a 70-200mm f/2.8 DG OS HSM | Sport lens. -> Nikon D5 wins the Camera GP 2016 Readers Award. -> There are still few good Nikon grey market deals out there (selected grey market Nikon gear can now be repaired […] Related posts: Weekly Nikon news flash #258 Weekly Nikon news flash #138 Weekly Nikon news flash #148

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May 21, 2016

Nikon D5 review: The dark night rises

Source/Copyright: Nikon Rumors at May 21 2016 - 11:44 PM (CET)

Nikon D5 review by Ross Harvey (Web, Facebook, Twitter, Instagram): "Powerful, insanely fast, supremely agile, hauntingly accurate and a master of the dark. The Batman of the camera world." I could end the review there, but what fun would that be? INTRODUCTION As with my Nikon D750 Review, this Nikon D5 review is founded upon […] Related posts: Quick Nikon D750 review with macro pictures Nikon D750 camera review and comparison with the D810 Nikon 24mm f/1.8G ED quick lens review

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The top 10 new features on the Nikon D5

Source/Copyright: Nikon Rumors at May 21 2016 - 11:42 PM (CET)

The top 10 new features on the Nikon D5 by Aaron Baggenstos (website, Facebook, YouTube): I spent the last month in Costa Rica field testing the Nikon D5 in comparison to the D4S, which I have shot with extensively since its release. Below I have listed are what I consider to be the top 10 new features […] Related posts: Nikon D5 specifications and features explained (confidential Nikon internal document) Nikon D3200 coming in April with a 24MP sensor and many new features Nikon HD-SLR cameras video features compared (D750 vs. D4s, D810, D610, D7100, D5300, D3300)

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Nikon has started massive cost cutting measures all over the world

Source/Copyright: Nikon Rumors at May 21 2016 - 01:15 AM (CET)

Nikon has started massive cost cutting measures all over the world. They already canceled many of their rebates after expecting a significant sales and income drop in the next 12 months.  Here are some of the tips/rumors I have been receiving in the past few days: -> Nikon laid off almost everyone at Nikon Nordic (Sweden) in oder to centralize […] Related posts: Nikon Q&A: low inventory, high profit margins, cost cutting, fewer models Amazon UK started canceling Nikon D800 pre-orders due to “restricted supply from the manufacturer” *updated* Nikon to start a massive marketing campaign this Fall

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May 20, 2016

LeicaRumors is now on Instagram

Source/Copyright: Leica Rumors at May 20 2016 - 04:55 AM (CET)

LeicaRumors is now on IG #leica A photo posted by LeicaRumors (@leicarumors) on May 19, 2016 at 1:53pm PDT Starting today, LeicaRumors has a new Instagram account (@leicarumors). You can also follow LR on Facebook, Twitter and Google+. Related posts: New LeicaRumors Facebook fan page How to follow LeicaRumors How to follow LeicaRumors

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May 19, 2016

Leica M-D Typ 262 has a much faster start-up time compared to other M models?

Source/Copyright: Leica Rumors at May 19 2016 - 08:48 PM (CET)

Based on this video from street.silhouettes, it seems that the new Leica M-D Typ 262 camera has a much faster start-up time compared to previous M 240 and 246 models: The #decisivemoment. See how the #LeicaMD shoots right away after you turn it on from the off position, (also true from idle) since there's no need […] Related posts: Jessops to start selling Leica cameras Fuji X100 priced at $1,199.00 (quickly compared with Leica X1) Three different Leica magnifiers compared (MGR Production Bresson vs. Leica vs. MS Optical)

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Nikon Corporation owns the .nikon top-level domain name

Source/Copyright: Nikon Rumors at May 19 2016 - 05:21 PM (CET)

Just like Canon, Nikon also owns the .nikon top-level domain name. Nikon Corporation already has a live website at http://nic.nikon. More information on top level domain names can be found here. Related posts: Nikon Corporation’s stock now traded in US (NINOY), downgraded by Goldman Sachs to "sell" Nikon to release new entry level DSLR camera, “revised” compact cameras New entry level Nikon DSLR and D90 refresh expected, no word on D700 replacement

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May 18, 2016

Deal of the day: Nikon AF-S Nikkor 24mm f/1.4G ED lens (open box) now $500 off

Source/Copyright: Nikon Rumors at May 18 2016 - 04:58 PM (CET)

B&H has few open boxes of the Nikon AF-S Nikkor 24mm f/1.4G ED lens and they are selling them for $500 off from the regular price ($1,499 vs. $1,996.95). They also have Nikkor 50mm f/1.8G lens open box for $169.95. Related posts: Deal of the day: Nikon D810 open box at B&H for $2,900 Nikkor PC-E Micro 24mm f/2.8 lens: typo or a leak? The real deal: Nikon AF-S Nikkor 10-24mm 1:3.5-4.5G ED DX

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Leica Boutique Sheffield to open this Friday

Source/Copyright: Leica Rumors at May 18 2016 - 05:08 AM (CET)

The grand opening of the new Leica Boutique Sheffield at Harrison Cameras will take place this Friday, May 20th, 2016 from 11am to 5pm at: Leica Boutique Sheffield Harrison Cameras, London Road, Sheffield, S2 4LR For more information, visit this page. Related posts: New Leica boutique to open in Lund, Sweden New Leica Boutique to open in Milan Leica Boutique VivoCity is now open

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May 17, 2016

"Fake Leica" sculpture by Liao Yibai for sale on eBay

Source/Copyright: Leica Rumors at May 17 2016 - 04:50 AM (CET)

The samller version of the "Fake Leica" sculpture by Liao Yibai is currently listed for sale on eBay for $99,995 (you can also make an offer). The "Fake Leica" magazine is also available for sale. Item description and additional pictures: On a commission base were proud to offer you this very rare and sold out edition […] Related posts: “Fake Leica” camera sculpture by Liao Yibai listed for sale The giant “Fake Leica” sculpture inside the Leica LA store is valued at $1 million Sylvester Stallone’s Leica M9 used in the movie Expendables II is for sale on eBay

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Nikon D500 lens kit is currently in stock *UPDATED*

Source/Copyright: Nikon Rumors at May 17 2016 - 02:27 AM (CET)

As I reported last week, a second wave of Nikon D500 cameras has reached US stores. The D500 lens kit is currently in stock at B&H. It seems that even the second shipment was not sufficient to fulfill all existing pre-orders. Future D500 shipments could be delayed even further due to the impact of the recent Kumamoto earthquakes […] Related posts: Nikon D500, D5 now in stock in the US Nikon USA started shipping D500 cameras to US dealers Nikon D4 now in stock at J&R, OneCall (UPDATED)

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May 16, 2016

Great news: you can now repair some Nikon grey market cameras at third party US repair facilities

Source/Copyright: Nikon Rumors at May 16 2016 - 09:29 PM (CET)

The D7100, D610, D800, D810 and D4s DSLR cameras were recently added to Nikon's list of bodies that are authorized for repair in the USA by Nikon authorized third party repair centers. This means owners of grey market bodies now have a means for servicing them in the USA. A reader already checked with the two […] Related posts: Grey market Nikon D800 cameras now sale for $2,100 Grey market Nikon D800 for $2,099.99 on eBay New low price: Grey market Nikon D810 for $2,299.99

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Weekly Nikon news flash #367

Source/Copyright: Nikon Rumors at May 16 2016 - 06:16 AM (CET)

-> Zeiss is currently offering up to $600 rebates on selected Zeiss ZF.2 lenses (for Nikon F mount). Both B&H and Adorama are eligible for those rebates (Amazon is not). This offer is valid till June 30th. Additional details can be found here or on the main Zeiss rebate page. -> A perfect copy of the Nikon […] Related posts: Weekly Nikon news flash #360 Weekly Nikon news flash #200 Weekly Nikon news flash #359

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More info on the upcoming Leica Summaron-M 28mm f/5.6 lens

Source/Copyright: Leica Rumors at May 16 2016 - 05:38 AM (CET)

Some more information on the upcoming/rumored Leica Summaron-M 28mm f/5.6 lens: The new Summaron is the same design as the old one Updated coatings Same size and weight as the original version (see specs below) Likely to be part of a new family of lenses Will nor compete with the currently available Leica M lens designs […] Related posts: Leica rumored to announce a new Summaron-M 28mm f/5.6 lens More info on the new MS-Optics Apoqualia 35mm f/1.4 MC lens for Leica M mount MS-Optical Perar Super Triplet 28mm F/4 lens

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May 15, 2016

Power/battery grip for the Leica M8 camera under development

Source/Copyright: Leica Rumors at May 15 2016 - 06:06 PM (CET)

A reader sent me this picture of an ongoing project for a power/battery grip for Leica M8 cameras (the picture above shows the first step: designing a dummy battery). After the project is completed, it will be available for funding on Kickstarter. Stay tuned for updates. Related posts: Leica D-Lux 4 battery promotion Checkout this new J.B. Camera Designs bamboo grip for Leica M240 camera What about the “Check battery age” error message on the Leica M 240 camera?

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Many Nikon rebates, grey market and refurbished deals are now gone

Source/Copyright: Nikon Rumors at May 15 2016 - 05:28 PM (CET)

As previously reported many of the Nikon rebates were canceled yesterday in the US including the free battery grip offer that was just recently introduced. Here is an update on the current Nikon rebates: Currently available Nikon DSLR rebates (note that the D750 and D810 are both out of stock - probably the first consequence of […] Related posts: Available now: refurbished Nikon D4 camera for $2,995.95, grey market D810 for $2,249 Refurbished Nikon deals Grey market Nikon Coolpix A camera for $659.99 on eBay

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The Nikon Museum in Tokyo

Source/Copyright: Nikon Rumors at May 15 2016 - 12:19 AM (CET)

The Nikon Museum in Tokyo by Jeff Lewis (Facebook): I visited the Nikon Museum in Tokyo a couple weeks ago - it's situated in a large office block in Shinagawa. The museum had a lot of old and new gear as well as multimedia displays, scientific exhibits, etc.  they also sell nikon pins and some other […] Related posts: At the Nikon museum The Nikon Museum will open on October 17, 2015 in Japan The Nikon Museum opens today in Japan

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May 14, 2016

Please welcome our new sponsor: Leicaism

Source/Copyright: Leica Rumors at May 14 2016 - 07:24 PM (CET)

Leicaism.jp is new Leica dedicated website from Japan - in addition to news and blog sections, they also have an online store where they will be selling some interesting products later this summer - for now they only have t-shirts, camera cleaning kits and straps (they ship worldwide):     Related posts: "Official" Leica T-shirts now in stock Leica cameras now available at Jessops (UK) Leica Camera released new screen protectors for the M and T models

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LockCircle released a new Metal Jacket cinematic production cage for Leica SL (Typ 601)

Source/Copyright: Leica Rumors at May 14 2016 - 07:01 PM (CET)

LockCircle released a new Metal Jacket cinematic production cage for Leica SL (Typ 601): Metal Jacket Cinematic Production cage for Leica SL (Typ 601) The Metal Jacket is a special LockCircle cage project designed to fit like a glove around the Leica SL (Typ 601) camera, to enhance the cinematic feeling when shooting motion pictures. […] Related posts: Leica Minilux to Leica M mount lens conversion adapter from MGR Production New: MGR Production zoomable viewfinder magnifier for Leica M cameras Leica X1 production version is out for review

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May 13, 2016

Can't find any good news in the latest Nikon financial results

Source/Copyright: Nikon Rumors at May 13 2016 - 11:38 PM (CET)

Nikon released their financial results for the 2016 FY (ending in March 2016). I could not see any positive signs except the fact that the company had a 20% higher overall net income compared to the previous year. For the Imaging Business net sales and operating income were both down and are expected to get even worse […] Related posts: Latest Nikon finance statement: “Imaging Products business is expected to exceed the previous estimate” Nikon’s yearly financial results are out Nikon published their financial results for the third quarter

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Up to $250 rebates on selected Zeiss ZM lenses

Source/Copyright: Leica Rumors at May 13 2016 - 01:06 AM (CET)

Zeiss is currently offering up to $250 rebates on selected Zeiss ZM lenses (for Leica M mount): Product UPC Code Rebate Value ZM-Lenses Biogon T* 2.0/35 ZM (B) 4047865200103 $100.00 Biogon T* 2.0/35 ZM (S) 4047865200097 $100.00 Biogon T* 2.8/21 ZM (B) 4047865200042 $150.00 Biogon T* 2.8/21 ZM (S) 4047865200035 $150.00 Biogon T* 2.8/25 ZM […] Related posts: Deal of the day: $100 off Zeiss ZM lenses for Leica M mount The latest Adobe Lightroom update supports several new Leica cameras and lenses A new Zeiss Distagon 35/1.4 ZM lens (Leica M mount) to be announced for Photokina

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May 12, 2016

Diferences between the old and the new 2016 versions of the Leica Summicron-M 35mm f/2 ASPH and Leica Summicron-M 28mm f/2 ASPH lenses

Source/Copyright: Leica Rumors at May 12 2016 - 09:17 PM (CET)

Several readers have asked me about the differences between the old and the new 2016 versions of the Leica Summicron-M 35mm f/2 ASPH ($2,995) and Leica Summicron-M 28mm f/2 ASPH ($4,095) lenses that were announced back in January. Here are two videos from the Brooklyn Shooters YouTube channel that should cover the main differences between both versions: Leica […] Related posts: Black chrome finish versions of the Leica Summicron 35mm f/2 ASPH and Summilux 50mm f/1.4 ASPH lenses announced Leica introduces three new M lenses with improved performance: Summicron-M 35mm, Summicron-M 28mm and Elmarit-M 28mm Rumors of a new Leica Summicron-M 28mm f/2 ASPH lens are back

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May 11, 2016

Leica highlights from the upcoming Westlicht Camera Auction

Source/Copyright: Leica Rumors at May 11 2016 - 06:31 PM (CET)

Here are the highlights of the upcoming 29th Westlicht Camera Auction that will take place on June 11th, 2016: Leica I Mod.A Elmax Year: 1925, Sn. 955 Rare first model Leica with Elmax lens in fully original condition Startprice: EUR 6,000 Leica 250 FF Year: 1935, Sn. 150049 Leica Reporter for 250 exposures, rare first […] Related posts: Highlights of the upcoming 23rd WestLicht Photographica Camera Auction Leica highlights from the upcoming Westlicht Camera Auction Leica, Nikon and other highlights from the upcoming 25th Westlicht camera auction

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New: Walter Strap Stedi D Luxe

Source/Copyright: Leica Rumors at May 11 2016 - 06:07 PM (CET)

Walter Leica has a new product: Walter Strap Stedi D Luxe - this is a new WALTER design where the Stedi is incorporated in a leather strap with a unique solid brass clasp. More details: Authentic soft leather. Easily adjustable/solid brass adjustable clasp. Camera rest in hand. No gripping. Relaxed shooting/faster F-STOP. Fits any camera. One […] Related posts: New accessory from Walter Leica: “Strap Stedi” Walter Leica’s new contrast lens accessory for easier focusing M-Stedi grip for Leica M cameras

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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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