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Posts Tagged ‘allows’

DJI’s new Mavic Air 2 firmware update allows for 4x zoom, 4K hyperlapse, and more

14 Aug

A few days ago, DJI released firmware update for the Mavic Air 2 that gives users new capabilities. Coming in at 178.3MB, V01.00.0340 is the first major update since the consumer–grade drone started shipping a little over 3 months ago. It offers up digital zoom, a new hyperlapse resolution, improved obstacle avoidance, and more.

‘We are so excited to bring a unique zooming function to the Mavic Air 2 along with 4K hyperlapse. The zooming feature will help creators add a dynamic perspective to the scene, establish shots and so much more while the 4K hyperlapse offers high-quality content in a manageable format. The Mavic Air 2 continues to be one of the most versatile and capable drones to ever take to the skies,’ says Patrick Santucci, DJI’s Senior Communications Manager.

DPReview recently covered issues encountered when testing out the Mavic Air 2’s 8K hyperlapse feature. So it’s exciting that the drone manufacturer has now made it possible to record 4K hyperlapse clips. Users now have the ability to pause a hyperlapse and then resume recording as well. The number of waypoints you can select when pre-planning a flight has increased to 45 and there is added support for Task Library.

Mavic Air 2 users can now digitally zoom in on a subject. 4K Zoom mode supports 2x digital zoom up to 4K/30p.

Mavic Air 2 users can now digitally zoom in on a subject. 4K Zoom mode supports 2x digital zoom up to 4K/30p. 2x digital zoom is also possible up to 2.7K/60p while full 4x digital zoom is possible up to 1080p/60p in video mode. You can also press the ‘Fn’ button on the remote while using the dial to gradually zoom in and out.

With Obstacle Avoidance, you now have the ability to either bypass obstacles, brake in front of them, or you can turn it off entirely. The option to disable sideways flight is also available. Since the Mavic Air 2 does not have obstacle avoidance sensors on either side of the aircraft (only on the front, back, and bottom), this feature is useful for beginners or those wishing to fly in a straight line, forwards or backwards.

It’s easy to update the firmware within the DJI Fly app.

There are a few other improvements not mentioned above. To install the update, open up the DJI Fly app. You can also use the DJI Assistant 2 desktop app on your computer. At the top right–hand corner, you’ll see three dots. Click on that icon. From the top navigation bar, select ‘About.’ From there it will show you your latest firmware. Select ‘Check for Updates.’ You’ll need a full battery as it can take 10 minutes to install the latest firmware. Full release notes as follows:

• ZOOM – 4K Zoom 2x digital zoom 30/25/24 fps. 2.7 Zoom 2x 60/50/48/30/25/24 and 1080P 4x 60/50/48/30/25/24 in video mode.
• Added Safety Flight Mode. The aircraft avoids obstacles automatically and will not respond to commands to fly left or right.
• Optimized FPV mode for gimbal.
• Optimized hyperlapse. Pause shooting during hyperlapse, increased the number of waypoints to 45, and added support for Task Library.
• Optimized Sports Mode.
• Optimized ActiveTrack when tracking vehicles at low altitude.

Articles: Digital Photography Review (dpreview.com)

 
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Lumix Tether for Streaming allows some Lumix users to use their camera as a webcam

09 Jun

Following in the footsteps of Canon, Panasonic has released an additional version of its USB tethering software that allows compatible Lumix cameras to be used for streaming to social media and video conferencing applications. Lumix Tether for Streaming (Beta) works in the same way as the standard version of Lumix Tether, but it includes a button that clears the AF box graphics and the control panel from the Live View pane so can be used for broadcasting.

A third-party broadcasting application, such as OBS, is needed to capture the Live View window as the camera’s feed isn’t detected by the computer. An external microphone built-in or plugged-in to the computer is also needed as the camera’s audio isn’t captured via this beta version of Lumix Tether for Streaming.

With Live View quality set to Fine, the feed to the window has a resolution of 1280 pixels on the longest edge, and the Lumix Tether control panels allow users to access many of the camera’s features to control the way the image looks.

The idea of the software, as we have seen recently from other manufacturers, is to offer a free way of streaming for Lumix users, and to allow them to improve the quality of their streaming video beyond that which is usually offered by built-in webcams. The idea will have been sparked by the rise in the number of people using video streaming for work and keeping on contact with family during the coronavirus pandemic.

Like the original version of Lumix Tether, this new beta streaming application is compatible with Lumix G9, GH5, GH5s and Lumix S cameras, but this time Windows 10 is required – there’s no Mac version. Lumix Tether for Streaming can be downloaded from the Panasonic support pages.

Press release:

Panasonic releases ‘LUMIX Tether for Streaming (Beta)’ software program for PC integrating new LIVE VIEW mode for live streaming purpose

Panasonic has today released a ‘LUMIX Tether for Streaming’ beta software program for Windows, following the conventional ‘LUMIX Tether’ (Version.1.7). The new beta program includes a new display option designed for live-streaming, and makes it easy for the user to self-stream.

Originally, the ‘LUMIX Tether’ software program was designed for tethered shooting and therefore its GUIs, such as the focus area mark or control panels, are displayed with live view images on the PC monitor during USB tethering. However, in response to feedback from customers that these graphic items become a hindrance when the software is used to capture camera view for live streaming, LIVE VIEW mode has been added on ‘LUMIX Tether for Streaming (Beta)’. This update enables the display of camera-view only, making it easy for the separate streaming software read. Users can now choose to show or hide these graphic items during USB tethering according to the usage purpose.

‘LUMIX Tether for Streaming (Beta)’ is provided as a pre-release version that is currently still under development. Please note that this software is not eligible for operation warranty and customer support.

Compatible models: DC-GH5, DC-G9, DC-GH5S, DC-S1, DC-S1R, DC-S1H

LUMIX Tether for Streaming (Beta) Operating Environment

  • OS: Windows 10 (32bit/64bit)
  • CPU: Intel CPU of 1 GHz or higher
  • Display: 1024 x 768 pixels or more
  • RAM: 1GB or more (32bit),2GB or more (64bit)
  • HDD: Free space of 200 MB or more for installation
  • Interface: USB 3.0/3.1

LUMIX Tether for Streaming (Beta) is now available to download from:
https://www.panasonic.com/global/consumer/lumix/lumixtether.html

Articles: Digital Photography Review (dpreview.com)

 
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Google’s Night Sight allows for photography in near darkness

15 Nov

Google’s latest Pixel 3 smartphone generation comes with the company’s new Night Sight feature that allows for the capture of well-exposed and clean images in near darkness, without using a tripod or flash. Today Google published a post on its Research Blog, explaining in detail thecomputational photography and machine learning techniques used by the feature and describing the challenges the development team had to overcome in order to capture the desired image results.

Night Sight builds on Google’s multi-frame-merging HDR+ mode that was first introduced in 2014, but takes things a few steps further, merging a larger number of frames and aiming to improve image quality in extremely low light levels between 3 lux and 0.3 lux.

One key difference between HDR+ and Night Sight are longer exposure times for individual frames, allowing for lower noise levels. HDR+ uses short exposures to provide a minimum frame rate in the viewfinder image and instant image capture using zero-shutter-lag technology. Night Sight waits until after you press the shutter button before capturing images which means users need to hold still for a short time after pressing the shutter but achieve much cleaner images.

The longer per-frame exposure times could also result in motion blur caused by handshake or to moving objects in the scene. This problem is solved by measuring motion in a scene and setting an exposure time that minimizes blur. Exposure times also vary based on a number of other factors, including whether the camera features OIS and the device motion detected by the gyroscope.

In addition to per-frame exposure, Night Sight also varies the number of frames that are captured and merged, 6 if the phone is on a tripod and up to 15 if it is handheld.

Frame alignment and merging are additional challenges that you can read all about in detail on the Google Research Blog. Our science editor Rishi Sanyal also had a closer look at Night Sight and the Pixel 3’s other computational imaging features in this article.

Articles: Digital Photography Review (dpreview.com)

 
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Canon interview: ‘increased competition allows us to level-up’

18 Mar
Canon executives (L-R) Yoshiyuki Mizoguchi, Group Executive of Imaging Communications Business Group, Go Tokura, Chief Executive Officer of Canon’s Image Communications Products Operation, and Naoya Kaneda, Advisory Director and Group Executive of Canon’s Optical Business Group.

At this year’s CP+ show in Yokohama, we sat down with senior executives from several major manufacturers, including Canon. Topics covered during our conversation with Go Tokura, Yoshiyuki Mizoguchi and Naoya Kaneda included Canon’s ambitions for high-end mirrorless cameras, and the importance of responding to changing definitions of image capture from the smartphone generation.

Answers from the three interviewees have been combined, and this interview (which was conducted through an interpreter) has been edited for clarity and flow.


How important is it for Canon to add higher-end mirrorless products to your lineup?

At Canon we have what’s called a ‘full lineup strategy’. This means that we want to satisfy all of the demands in the market, so we have mirrorless and also DSLR, which combined makes an EOS hierarchy. We want to fill the gaps to satisfy customer demands across the board.

The new M50 is an entry-level model, because that’s where the high-volume sales are. We want to establish ourselves in this market, and then move forward [from there]. In accordance with the full lineup strategy, we will be tackling [the mid-range and high-end mirrorless market] going forward.

The EOS M50 offers 4K video and Dual Pixel CMOS AF, but not at the same time. Is there a technical reason for this limitation?

With the EOS 5D Mark IV, we do offer 4K video and Dual Pixel CMOS autofocus, so technically it is feasible. But given the position of the M50 in the lineup, we can’t include all of the features available in a product like the 5D IV. Given the position of the product, we wanted to achieve the optimal balance [of features] in a camera in that range. We’ve optimized the M50 as best we can [for its market position], and within those parameters, the combination of 4K video and Dual Pixel CMOS autofocus was not possible.

Canon’s new EOS M50 offers limited 4K video capability, making it the first of Canon’s mirrorless cameras to go beyond HD video capture.

Another manufacturer that we spoke to estimated that Canon would have a full-frame mirrorless camera within a year. Is that realistic?

That would be nice, wouldn’t it?

The Tokyo Olympics in 2020 is coming up – when we look at photographers shooting with Canon at Tokyo in two years time, what will we see?

The Tokyo Olympics is a very important opportunity for us. If we look at the professional camera market, we would like to introduce a professional model at that time. Having said that, we take reliability very seriously. So when we talk about [creating] a model for the Olympics, we’re not just talking about performance. We’re also want to make sure that we can achieve the same level of reliability that we’ve always delivered [in our professional DSLRs].

The Tokyo Olympics is a very important opportunity for us

We also want to raise Canon’s presence overall, with camera products and also events and services. We have been instructed [by our senior leadership] to maximize the opportunity!

Canon’s gear room at the 2016 Olympics in Rio. Major sporting events like this have always been a major focus for Canon, and have often served as showcases for new professional cameras and lenses. The next Olympic Games will be held in Tokyo, in 2020 and is sure to be a major event for Canon.

In your opinion, what is the most important quality for an entry-level camera?

We are always looking for speed, ease of use, and maximum resolution. We’re also thinking about how we can deliver better image quality than a smartphone. So it’s about really focusing on speed, ease of use and image quality. Small size and weight comes into [the calculation] as well, and also the GUI.

Looking beyond the entry-level class towards cameras aimed at high-end amateurs like the 5D class, those customers need even better image quality, and they also want to take more control over operation. They want to expand, and express their creativity. Reliability also comes into play.

The Canon EOS 5D Mark IV offers both 4K video capture and Dual Pixel autofocus – not a combination available lower down in Canon’s ILC lineup (for now).

Do you think that 4K video is a more important feature at the entry-level end of the market, or the enthusiast / professional segment?

We believe that 4K video is important for all market segments, and all users. Given that we have a range of products, we always have to think about how best [to implement 4K] in that class of camera. And you can do more with 4K video in a higher-end camera than in an entry-level model.

Why is that?

The cost required to introduce [features like 4K] into cameras dictates the kind of features that we can introduce [in products of different classes]. 4K is important to offer in all market segments, and in the M50 we’ve achieved 4K at 25 fps, and that’s the best we can do at this time. We can’t introduce all of the features [in an entry-level camera] that we could in a higher-end model. Another point is that consumption of 4K footage in terms of devices to view 4K video – the penetration of those devices in the market, and their adoption, was a little faster than we expected.

In the past, you’ve said that you won’t introduce a high-end mirrorless product until there would be no compromises compared to DSLR technology. Are we getting close?

In the EOS hierarchy we have cameras from entry-level to professional with different features. When it comes to mirrorless cameras, we have entry-level models, and we’ve just about started on the mid-range class. What that tells you is that Canon is confident about mirrorless technology within this range of products.

We still believe there’s work to be done before we can achieve the level of satisfaction that our users are looking for before they could confidently move from DSLR to mirrorless

But if you look at the enthusiast and high-end product class, in terms of both autofocus and viewfinder [experience], we still believe there’s some work to be done before we can achieve the level of satisfaction that our users are looking for before they could confidently move from DSLR to mirrorless. That’s where we are right now. We’re still on the path to development.

So far, the EOS M5 is the nearest thing Canon has made to a high-end mirrorless camera. The M5 is a great product, but a far cry from some of the industry-changing cameras that Canon has been responsible for in the past.

Having said that, it’s not like we don’t have the components required to create a mirrorless model that would be on a par with DSLR models. For example Dual Pixel CMOS autofocus, lenses that can focus quickly, and optical components like the EVF. We have the technology required to create a camera that would be satisfactory. It’s just a matter of combining [those components] together. So you can look forward to our developments in the future.

There’s still a perception among our readers that Canon is a little conservative. Where is Canon innovating right now?

Rather than some of the very novel features that some of our competitors have been introducing, we believe that it’s really important to deliver the basics. Speed, ease of use, and good image quality. Dual Pixel CMOS autofocus is representative of that [philosophy]. It’s not only important for stills photography, but also for video. Only Canon is pursuing this area [of development] right now. We also have Dual Pixel Raw, and we’re looking for new ways of applying [this technology] currently.

Canon’s schematic of its Dual Pixel CMOS AF sensor structure. The top layer illustrates the light-gathering micro-lenses and conventional Bayer-type color filter array. The lower layer shows how each pixel is split into two photo-diodes, left and right, which are colored blue and red respectively. (Note that this does not indicate different color sensitivity.)

With lenses, we introduced the EF 70-300mm [EF70-300mm F4-5.6 IS II USM] zoom lens, and the EF-S 18-135mm [EF-S 18-135mm F3.5-5.6 IS USM] which both have Nano USM focus motors. This makes three focus actuators: ring type, stepping motor and Nano USM. This gives us more options when it comes to optical design. For a super wide lens like the 10-24mm L [EF11-24mm F4L USM] for example, we offer ring-type USM, which provides higher torque. Our optical technology is a strength that we’re proud of.

Maybe Canon lenses don’t look that different to our competitors, but in terms of performance, we’re able to create lenses that are superior

We also have a range of [special] optical materials, and methods to process these materials. If you just look at specs, maybe Canon lenses don’t look that different to our competitors, but in terms of performance, we’re able to create lenses that are superior. It’s also about post-purchase support. Durability, reliability, and the ability to withstand extreme temperatures. Our users are able to enjoy this level of performance and they appreciate that.

We also have a new product – our new Speedlite 470EX-AI flash, for automatic bounce photography. So we believe that we can provide innovation across the system of cameras, lenses and accessories. Our customer base is also diversifying, particularly generations ‘Y’ and ‘Z’. They’re looking for new things. We were just at CES in Las Vegas, where we showed some new concept models. We got a lot of feedback, and we want to turn [the concepts] into a marketable product pretty soon.

When we look at trends in mirrorless technology, we’re considering the technical advancements that are possible.

Clearly, the transition to mirrorless will be a big challenge, technically. When you look ahead to further mirrorless development, are you envisaging a new lens system?

It’s been more than 30 years since we launched our EF lens mount, and we’ve sold more than 130 million EF lenses during that time, so we can’t simply ignore that many lenses in the market. At the same time, when we look at trends in mirrorless technology, we’re considering the technical advancements that are possible. It’s a difficult question to answer, but maybe let your imagination suggest some possibilities!

The move from FD to EF in 1987 was bold but also controversial given the legacy of FD lenses and the lack of compatibility between the two platforms. Do you think that situation will happen again?

That’s a difficult question to answer. There was a lot of discussion and debate about that shift, in 1987, and we’re going through the same thing now. We want to nurture and support our [existing] EF customers and we’re in discussion about that at the moment.

Canon’s recently-announced EF 85mm F1.4L, showing the electronic contacts which are a defining element of the EF lens system, first introduced more than 30 years ago to replace the all-mechanical FD lens platform.

In 1987, the shift was from a mechanical interface to an electronic interface. That [precluded cross-compatibility]. Despite that shift, the change provided significantly more value for our customers, which is why we went ahead. If it turns out that [the introduction of mirrorless] will create a similar situation, this might be a decision that we would take [again]. But we’re not sure yet.

Because we’re already using an electronic interface, the shift will be more gradual [than it was in 1987] so [we would better able to] maintain compatibility.

Looking ahead, what is Canon’s main priority?

We want to improve our product lineup, including lenses. We just released an entry-level model (the EOS M50), and because young people are really getting into photography more actively, the entry-level segment is one that we always need to make sure to tackle.

The entire concept of capturing images has changed over the past couple of years

When it comes to maintaining market share and ensuring growth, what is the most difficult challenge that Canon is facing?

We’ve been producing cameras for a long time, but the entire concept of capturing images has changed over the past couple of years, and we need to engage with this new style of capturing images. The first stage is our new concept cameras. It’s important for us to relax and expand our concepts of image capture.

This is of the several concept cameras that Canon has been showing this year – an ‘intelligent compact camera’ designed to automatically capture images, and intelligently learn about the kinds of pictures you want to take.

Now, maybe the camera can be beside you, or maybe even away from you, and still capture the image that you’re looking for. We need to have the technologies to respond to [these new ways of capturing images] in the way that Canon should.

For a very long time, Canon and Nikon dominated the professional market. There’s a lot more competition these days. Is more competition good for Canon?

More players means more activity in the industry, which is a positive thing. Having said that, of course it’s tough.

Does this pressure generate better ideas? More innovation?

Very much so, and it goes both ways. For all players, to be stimulated by increased competition allows us to level-up across the board.

Is it more important for camera manufacturers to design cameras that behave more like smartphones, or that they communicate the benefits of a dedicated camera to smartphone photographers?

I think we have to do both. We have to continue to evolve the traditional benefits that a camera can provide, and at the same time we have to consider the diversification of image capturing tools, including smartphones, and what they have to offer. Our mission is to pursue both approaches.


Editor’s note:

This interview was the fourth time I’ve spoken to Mr. Tokura in recent years, who has become more senior within Canon since we first met back in 2014. Our conversation at CP+ covered some old ground (the perception among some industry-watchers that Canon is a little conservative, increased competition from the likes of Sony, etc.) but this year I really got the sense from talking to him that Mr. Tokura and his team will have some pretty interesting products to show us in the not too distant future.

We know from previous conversations with both Mr. Tokura and his boss Mr. Maeda that increasing the speed of product development has been a priority at Canon in recent years. Since then, we’ve seen some solid refreshes at the top and middle of Canon’s DSLR lineup (along with some truly excellent new lenses), but a lot of the company’s energy seems to have been directed towards the lower-end, especially within the EOS M lineup. This focus on the entry-level segment of the camera market (‘where the sales are’, as Mr. Tokura said in our interview) makes sense, but I’ve expressed my own disappointment in the past about such a ‘slow and steady’ approach in the face of increasingly fast-moving competition.

Canon has the technology for high-end mirrorless – it just has to put all the pieces together

It’s been a long time coming, but in this interview Mr. Tokura came pretty close to at least hinting that higher-end, perhaps even full-frame mirrorless is imminent – and maybe even within the next 12 months. As he said, Canon has the technology – it just has to put all the pieces together.

Possibly even more exciting is the possibility of a professional model to come by 2020. Back in 2016, Mr. Tokura reminded me that Canon likes to launch flagship models in Olympic years, and the fact that the next Olympiad will be held in Tokyo is likely to present an irresistible opportunity. You heard it here first.

Canon has shaken up the photography market several times in the past, and has the potential to do so again.

Speaking of the future, the Canon executives I spoke to at CP+ were very keen to show me the mockups of a range of concept cameras that were first unveiled at this year’s CES show in Las Vegas, in January. While none are finished, marketable products (yet) it’s clear that Canon is keen to explore products that respond to what Mr. Tokura calls ‘a new style of capturing images’.

Canon is sometimes criticized for taking a conservative approach to product development, and in some cases this is true (although it isn’t always a bad thing). It’s important to remember though that Canon has shaken up the photography market several times in the past, and there’s every chance it could do so again.


Previous interviews with Canon executives:

An interview with the heads of Canon’s L lens factory (2017)

CP+ 2017: ‘We want to be number one in the overall ILC market’

CP+ 2015: ‘Every day I’m saying ‘speed up!’

Photokina 2014: Mirrorless ‘in the very near future’

CP+ 2014: ‘We don’t see the smartphone as an enemy’

CP+ 2013: Interview with Canon’s Masaya Maeda

Articles: Digital Photography Review (dpreview.com)

 
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Plugin allows direct Instagram posting from Lightroom

21 Jun

Despite its success and millions of users, many people still think of Instagram as an image sharing platform for teenagers to post selfies and pictures of their breakfast. In reality, Instagram is full of inspiring photography as many professional photographers and talented amateurs have discovered the platform as a viable tool for promoting themselves and their work.

Problem is that, despite more and more ‘serious’ photographers using it, Instagram remains a mobile platform and posting pictures that have been taken with a non-connected camera and edited on a computer typically involves some third-party uploading tool or image transfer to a mobile device for upload. 

Now a new Lightroom plugin makes things considerably easier, at least for those users who rely on Adobe’s editing and image management software. LR/Instagram lets you post images to Instagram directly from Lightroom. Once installed you can authorize one or more Instagram accounts. Images are uploaded by dragging them into a publish collection and before you do so you can add hashtags or captions or crop your images to an aspect ratio that is supported by Instagram. By default images are auto-padded with a white border.

The plugin can be downloaded and installed for free from the LR/Instagram website but the developers ask for a $ 10 contribution via registration in the Lightroom Plugin Manager if you like the tool.

Articles: Digital Photography Review (dpreview.com)

 
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STG Uploader app allows Sony cameras to upload directly to Google Photos

14 Jun

A new unofficial app called STG Uploader enables Sony cameras compatible with PlayMemories Camera Apps to upload content directly to Google Photos. Running the application will prompt the user to set up a Wi-Fi access point, after which the user will authorize the app to place an oAuth token on the camera’s SD card, a safer alternative to saving the user’s Google username and password on the camera.

Full instructions on installing the app are located on the Sony-PMCA-RE Github. Once installed and set up, users are presented with a simple screen that shows how many photos are ready to be uploaded to Google Photos and how many have already been uploaded. An upload status bar is provided, as well as an option for erasing the upload database.

According to a user at SonyAlpha Rumors, the app uploads photos in full resolution. Images uploaded directly will appear in Google Photos with the name ‘SonyUpload’ followed by the date. Note that formatting the SD card will cause the oAuth token to be erased and the app setup process will have to be repeated.

Via: SonyAlpha Rumors

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2016: Sigma MC-11 adapter allows DSLR Sigma lenses full range of AF modes on Sony bodies

02 Mar

While photographing and filming our way through Sigma’s booth this year at CP+ 2016 in Yokohama, one rather understated product may have just stolen the show for a number of Sony shooters, as well as our Technical Editor Rishi Sanyal.

Put simply, the Sigma MC-11 adapter allows the use of Sigma-mount and Canon-mount Sigma lenses, such as the excellent Sigma Art 35mm F1.4, to be adapted to Sony bodies with no autofocus compromises whatsoever. That means Sigma is the first brand of DSLR lenses to support Eye AF and Lock-On AF modes on Sony cameras, as well as smooth phase-detection in video. What’s more, they work really well.

Don’t believe us? We didn’t believe it at first either. Watch the video and see for yourself why this is a huge step forward in realizing truly hybrid camera systems: where you can pair the best lens with the best camera body – for you – without severe compromises.

Pricing and availability of the Sigma MC-11 adapter has yet to be announced.

Articles: Digital Photography Review (dpreview.com)

 
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Outside of the box: Instagram now allows landscape and portrait formats

28 Aug

Instagram’s latest update brings a fundamental change with it. Since the app’s launch in 2010 users have been limited to posting images in square format. However, today this has changed. After installing version 7.5 of the app, you can post your images in portrait and landscape formats. Read more

Articles: Digital Photography Review (dpreview.com)

 
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Palette’s Cube sampler allows photographers to accurately match color

27 Aug

Australian company Palette has announced a sampling device that can read the color of items it is placed on, allowing photographers to match the exact chromatic values when processing images in Photoshop. Read more

Articles: Digital Photography Review (dpreview.com)

 
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Facebook’s Moments app allows for private sharing of images

17 Jun

Facebook has announced a new standalone app for iOS and Android called Moments. Moments allows you to share and sync images from events, such as trips, weddings, parties and the like, between a private group of users, in a very similar way to the Kolektio app that was launched only two weeks ago. Read more

Articles: Digital Photography Review (dpreview.com)

 
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