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iPhone XS Max teardown reveals new sensor with more focus pixels

28 Sep

When Apple announced the new iPhone models XS and XS Max the company told us that the camera’s wide-angle module featured a larger sensor with 1.4 µm pixels compared to 1.22 µm on last year’s iPhone X.

Now a teardown performed by TechInsights has confirmed the new sensor, but has also revealed some additional detail about the wide-angle camera. The sensor is a stacked model provided by Sony and measures 7.01 mm x 5.79 mm (40.6 mm²). This is 7.8 mm² more than the wide-angle camera sensor on the iPhones X and 8 Plus.

TechInsights engineers noticed an increased density of Focus Pixels

In addition, the TechInsights engineers noticed an increased density of Focus Pixels. This means more regions of the sensor are available as autofocus points and should, at least in theory, improve autofocus performance in most light conditions and shooting situations. Focus Pixels is an Apple term for masked PDAF pixels which were first introduced in 2014 with the iPhone 6.

TechInsight’s teardown is still in progress, so we hope the team can provide some more information and also have a closer look at the camera’s 2x tele-module, which on paper looks unchanged from last year, over the coming days.

Articles: Digital Photography Review (dpreview.com)

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Photokina 2018: Hands-on with Panasonic Lumix S1R

27 Sep

First look at Panasonic Lumix S1R

One of the most interesting announcements at this year’s Photokina show in Germany was the Panasonic / Leica / Sigma L-mount partnership, the first fruits of which are two upcoming professional-oriented mirrorless ILCs from Panasonic.

We’ve seen non-functional mockups of the S1R already, but earlier today we were lucky enough to get access to a working prototype camera in the VIP area at Panasonic’s booth. Click through for a closer look.

First look at Panasonic Lumix S1R

We couldn’t power the camera up, so for now our impressions are limited to general handling and ergonomics but the S1R certainly feels good in the hand. It’s a large camera, especially for a mirrorless ILC but it doesn’t feel too heavy, and the camera+24-105mm combination shown here is nicely balanced.

Panasonic tells us that every aspect of the camera was decided upon on the basis of detailed customer feedback, including the demand from professional users for large, well-placed controls and a deep grip.

First look at Panasonic Lumix S1R

These blocks of plastic show the evolution of the S1R’s grip shape, over several prototype iterations.

First look at Panasonic Lumix S1R

Apparently what you get when you ask professional photographers what they want is something that looks an awful lot like a traditional DSLR. Resembling an upsized G9, Panasonic claims that ‘no compromise’ has been made in the S1R’s performance, which is intended to satisfy the needs of the most demanding professional photographers.

First look at Panasonic Lumix S1R

While final specs are still to be confirmed, Panasonic tells us that the viewfinder in the S1R will ‘rival human vision’, i.e, a hypothetically perfect optical finder. We’re curious to see for ourselves what this means in practice but judging by the excellent finder in the G9, Panasonic has what it takes to create very high quality, immersive EVFs.

This view shows the S1R’s conventional, button-laden rear control layout which includes an AF positioning joystick and twin rear dials. The grip texture is provisional – final shipping cameras will feature a textured faux leather finish.

First look at Panasonic Lumix S1R

The touch-sensitive rear LCD (specs are again TBD) is articulated, which means you can fold it out….

First look at Panasonic Lumix S1R

…and down, allowing for waist-level shooting in both landscape and portrait orientations.

First look at Panasonic Lumix S1R

Now there’s a thing – twin card slots. The S1R is aimed squarely at professional photographers, and the option of XQD and / or SD should fulfill demands for backup, redundancy, or ‘stills to this card, video to that one’ shooting. Like every point on the S1R’s body, the card door is gasketed to protect against dirt and moisture incursion. Panasonic claims that the S1R should rival the GH5/S for durability in unusually cold, hot or wet environments.

First look at Panasonic Lumix S1R

The S1R we handled was missing a battery, but Panasonic tells us that battery life was a priority in the new models and as such, both will take a new, larger-capacity battery than those found in the company’s M43 cameras.

First look at Panasonic Lumix S1R

This image shows the S1R without a lens attached. The S1R will accept existing Leica L-mount lenses marketed alongside the SL, as well as forthcoming Panasonic-branded lenses and future Sigma alternatives. This view shows off the S1R’s two customizable front-mounted buttons, to the left (as seen from this direction) of the lens mount. In a thoughtful touch the upper button is convex, while the lower is concave for ease of identification by touch.

First look at Panasonic Lumix S1R

The S1 and S1R will be sold alongside four lenses: a 50mm F1.4, 24-105mm, 28-70mm and a 70-200mm F2.8. Final specifications are still to be confirmed, and the lenses shown here are non-functional mockups, displayed under glass.

Learn more about the Panasonic S1/R

Articles: Digital Photography Review (dpreview.com)

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5 Tips for Photographing Handheld Without a Tripod

27 Sep

Are you frustrated by the inconvenience of a tripod and you prefer shooting handheld? Do you want to take sharp images, but without having to lug around such a large piece of equipment?

Fortunately, it is possible to get stunning images, even images in low light, without using a tripod. In fact, tripods often limit your flexibility.

5 Tips for Photographing Handheld Without a Tripod - dunlin

I rarely use a tripod, myself. While I do appreciate the added stability a tripod provides, I find myself struggling to compose images. I prefer the ability to quickly flow from composition to composition. I also like to shoot from angles that tripods struggle to cover. Hence, I have a lot of experience in photographing handheld.

In this article, I discuss various ways you can shoot without a tripod while still getting sharp images. I will show you how, with very little work, you can take your handheld photography to the next level.

5 Tips for Photographing Handheld Without a Tripod - golden retriever and woman

1. Stabilize Your Body Against an Object

I’ll start with the least technical tip for shooting handheld, that is to become a human tripod!

By this, I mean that you should seek to stabilize your body and arms against an object. I find that the ground is an excellent choice (after all, it’s reliably present).

So, when shooting handheld, I often get down on the ground. I’ll lie on my stomach and press my elbows firmly against the soil. Then I can feel fairly confident when taking my image that things will remain sharp.

Photographing Handheld Without a Tripod - aster

I stabilized my elbows against the ground in order to photograph this aster.

If you don’t want to get down on your stomach, that’s okay. You can also try out several other positions.

For instance, you can crouch down and put your elbows on your knees. Or you can tuck your elbows into your body.

You can also find some other object to stabilize yourself against. I sometimes use large rocks or fallen trees when shooting flowers. It pays to be creative.

2. Use Your Camera or Lens’s Built-In Image Stabilization

Does your camera or lens possess image stabilization technology? If so, switch it on!

You see, image stabilization technology is built in by clever camera manufacturers. It reduces (or eliminates) camera shake using image stabilization.

Image stabilization technology generally works in one of two ways. If it’s built into the camera, the sensor physically moves to counteract any camera shake that the camera has experienced. If it’s built into the lens, an optical element inside the lens is what moves.

Regardless, here’s the key takeaway: Image stabilization technology help to minimize or eliminate camera shake.

Photographing Handheld Without a Tripod - urban abstract

Without image stabilization, getting this urban abstract would have been very difficult.

The downside of image stabilization technology is that it’s expensive. Only some cameras and some lenses possess it, and they tend to be on the pricier side of things.

For those of us who dislike shooting with a tripod, however, image stabilization is a worthwhile investment.

3. Shoot with Shorter Lenses

An oft-cited rule in photography circles is this: you can handhold your lens at a shutter speed that is the reciprocal of the focal length (that is, 1/focal length).

This may sound complex, but it’s really not. To find an acceptably fast shutter speed, take the focal length and make it into a fraction with a one on top.

For instance, if you’re shooting with a 100mm lens, you can handhold at a shutter speed of 1/100th of a second or faster. When you’re shooting with a 400mm lens, you can handhold at a shutter speed of 1/400th of a second or faster. Finally, if you’re shooting with a 25mm lens, you can handhold at a shutter speed of 1/25th of a second.

Do you see the pattern? The longer the lens, the faster your shutter speed must be. Conversely, you can use a longer shutter speed when using a short lens.

Photographing Handheld Without a Tripod - golden retriever

I used a wide angle lens to capture this golden retriever in low light.

This is for a couple of reasons. First, long lenses tend to be bigger and heavier, causing more camera shake. Second, longer lenses magnify camera shake, resulting in blurrier pictures.

Therefore, if you don’t have a tripod to cut down on camera shake, you should use a lens that is more forgiving of the rule (based on the 1/focal length rule).

So if you’re shooting handheld, use shorter focal lengths for more success.

4. Shoot in Burst Mode

Another tip for photographing without a tripod is to shoot in burst mode (high-speed drive mode).

To activate burst mode, you simply have to set the camera to high-speed drive mode and hold down the shutter button. If you have a camera with this capability, you’ll hear the rapid-fire sound of images being taken.

Photographing Handheld Without a Tripod - white-morph reddish egret

Burst mode was essential for getting this early-morning shot of a White-Morph Reddish Egret.

This mode helps with handheld photography for two reasons.

First, when you jab the shutter button with your finger, it generates camera shake. When you use burst mode, however, you only press the shutter button at the beginning of your image sequence. This means that later photographs are taken with very little camera shake because the shutter button is not actually pressed just before the image is captured.

Second, when you shoot in burst mode, the mirror doesn’t cause extra vibrations. You see, many cameras (DSLRs) have mirrors in front of the sensor. When the shutter button is pressed, the mirror flips up, briefly exposing the sensor to light (to capture the image).

When the mirror flips up, this causes small vibrations throughout the camera, another form of camera shake. Yet when you activate burst mode, the mirror only flips up only at the beginning of the burst. The later shots aren’t affected by the vibrations caused by the mirror and as a consequence, they are sharper.

NOTE: This last point doesn’t apply to mirrorless cameras as they do not have a mirror, hence the name!

5. Use the self-timer

My final tip for photographing without a tripod is to use your camera’s self-timer.

The self-timer allows you to press the shutter button, and then it waits a specified number of seconds before the image is taken.

Photographing Handheld Without a Tripod - cosmos

I love using the self-timer when photographing flowers.

This useful for the same reason cited above in favor of burst mode. It prevents the camera shake generated when you press the shutter button.

So, next time you’re out in the field and you’re struggling to get sharp images without a tripod, try using the self-timer to reduce your camera shake.

Photographing Handheld Without a Tripod - purple abstract

Conclusion

Many photographers think that tripods are a necessity, but this isn’t necessarily the case. There are methods that you can use to shoot without a tripod while still capturing stellar images.

Photographing Handheld Without a Tripod - architecture ann arbor

First, steady yourself by placing your elbows against the ground.
Second, switch on your camera or lens’s image stabilization software.
Third, shoot with shorter (e.g., wide-angle) lenses.
Fourth, photograph using burst mode.
Fifth, use your camera’s self-timer.

photography without tripod yellow flower

photography without tripod cosmos

If you follow these tips, your tripod will become far less important, and you’ll take fantastic handheld images.

Have any more tips for photographing without a tripod? Please share them in the comments below.

photography without tripod little blue heron

The post 5 Tips for Photographing Handheld Without a Tripod appeared first on Digital Photography School.

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Venus Optics shows eight new Laowa models, including the widest Fujifilm GFX lens

27 Sep

A dramatic flurry of lenses has emerged from independent manufacturer Laowa at Photokina as the company shows a total of eight new models in a wide range of mounts. The company is showing a 17mm F4 for the Fujifilm GFX medium format system that will offer the angle of view we’d expect from a 13mm focal length on a 135 format camera. The lens will be the widest available lens for Fujifilm’s system and, as part of the Zero D series, it should have only the slightest amount of distortion.

Other lenses of note in the collection include a designed-for-cinema 25-100mm T2.9 zoom marking Laowa’s entry into the professional movie market. The lens is claimed to be parfocal, so focus doesn’t shift during zooming, and to display minimal breathing as focus is altered.

Drone and MFT users will both get versions of a 9mm F2.9 super wide, while macro lovers will be able to enjoy a 100mm macro that can reproduce a subject at double size on the sensor.

All the details are below and on the Venus Optics website. Pricing and availability are yet to be confirmed.

Press Release

Venus Optics unveil 8 new & unique Laowa lenses in Photokina, including the 25-100 T/2.9 Professional Cine Lens

Together with the 4 new lenses showed earlier in Beijing P&E, a total of 12 new Laowa lenses will make their Europe debut in Venus Optics’ booth in Photokina (Hall 2.1, D-040)

Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to unveil 8 new and unique lenses in Photokina.

Laowa OOOM 25-100mm t/2.9 Cine Lightweight Zoom
Laowa 17mm f/1.8 MFT
Laowa 12mm f/1.8 MFT
Laowa 9mm f/2.8 Zero-D (DJI DL)
Laowa 9mm f/2.8 Zero-D MFT
Laowa 7.5mm t/2.1 Cine
Laowa 9mm t/2.9 Zero-D Cine
Laowa 12mm t/2.9 Zero-D Cine
Laowa 10-18mm f/4.5-5.6 FE Zoom
Laowa 100mm f/2.8 2X Ultra Macro APO
Laowa 17mm f/4 GFX Zero-D
Laowa 4mm f/2.8 Fisheye MFT

Laowa OOOM 25-100 t/2.9 Cine Lightweight Zoom

Laowa OOOM Cine lightweight zoom is the first professional cinema style zoom lens offered by Venus Optics. The lens features a wide 25-100mm zoom range, making it a one-size-fits-all lens for different types of productions.

Unlike some cine lens in the market which were re-engineered from a photo zoom lens, Laowa OOOM Cine lens is designed for digital cinematography in the first place. It is truly parfocal, meaning the focus will never shift when you zoom in or zoom back out. It is designed to have nearly zero focus breathing throughout the whole zoom range. The aperture remains fixed at t/2.9 at all focal lengths.

It is built with the true cinema level mechanics. It comes with a stepless, t-stop independent aperture ring with an industry standard 0.8 mod /32 pitch gears. The 270° rotation flow provides room or precise focus pulls and the iris is clickless, enabling smooth iris pulls. The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range.

Laowa 17mm f/1.8 MFT

Laowa 17mm f/1.8 is a new compact, standard prime designed for Micro Four Thirds cameras and it gives a 35mm-equivalent field of view. The lens houses 9 elements in 7 groups and have a 5-blade aperture for the best sunstar rendering. The lens is extremely compact and lightweight, weighs only 160g (0.36lbs) and is 5cm (2”) long. A 46cm filter thread is included and the 15cm minimal focus distance make it a perfect lens for videography.

Laowa 12mm f/1.8 MFT

Laowa 12mm f/1.8 is a new compact, wide-angle prime for Micro Four Thirds cameras and it gives a 24mm-equivalent field of view. The ultra-fast f/1.8 aperture allows photographers to take astro photos with ease. The lens houses 13 elements in 10 groups and a 5-blade aperture. The lens can focus as close as 14cm (5.5”) and takes 46mm screw-in filters which gives extra convenience to videographers. It weighs only 165g (0.4 lbs) and its 5cm long (2”).

Laowa 9mm f/2.8 Zero-D (DJI DL)

Following the successful launch of the super compact and lightweight 7.5mm f/2 MFT lens for DJI Inspire drones (X5 gimbals) during 2017, Venus Optics is proud to introduce another ultra-wide option, Laowa 9mm f/2.8 Zero-D DL, to use on DJI Inspire 2 (X7 gimbals).

Featuring an effective 118° angle of view, the Laowa 9mm f/2.8 Zero-D DJI DL is currently the widest available option for DJI Inspire 2 drones with Zenmuse X7 gimbals. The bigger image circle can cover the size of Super35 sensors and the native DL mount allows an easy lens switching. The lens weighs only 215g and it is super tiny and compact. It comes with a 49mm filter thread and features a close-to-zero optical distortion.

Laowa 9mm f/2.8 Zero-D MFT

Laowa 9mm f/2.8 Zero-D (Micro Four Thirds mount) is the 4th variant added to the existing Fuji X, Sony E and EOS-M mounts. The 9mm lens provides a 18mm equivalent angle of view on the Micro Four Thirds sensor. It also has a better vignetting control over the other variants of the same lens. The close-to-zero distortion will remain unchanged.

Laowa 7.5mm t/2.1 Cine / Laowa 9mm t/2.9 Zero-D Cine

The new Laowa 7.5mm and 9mm Cine lenses are the cine-mod version of the existing photo version of Venus Optics best-selling models. Both lenses were re-housed with a step-less aperture rings and focus rings with standard 0.8 mod gears which give videographers extra convenience to use with follow-focus systems. Both of the lenses are the widest available in the market in its class and only weigh 180g (0.4lbs) & 250g (0.55lbs) respectively. Closest focusing distance is both 12cm (0.4 feet). The wide perspective and lightweight makes them the perfect companion for gimbal shooting. MFT mount is available for 7.5mm t/2.1 Cine and Sony E mount is available for 9mm t/2.9 Cine.

Laowa 12mm t/2.9 Zero-D Cine (PL)

The new Laowa 12mm t/2.9 Zero-D Cine in PL mount is the cine-mod version of the existing 12mm f/2.8 Zero-D lens. The lens was rehoused with a step-less, t-stop aperture rings and focus rings with standard 0.8 mod gears for iris and focus pulls. It successfully covers the 35mm Vista Vision sensor size and offers an ultra-wide 122° angle of view, making it one of the world’s widest and fastest available option for shooting with large sensors. Despite the ultra-wide field of view, it is perfectly rectilinear and features a close-to-zero distortion rate. The focus flow is extended to 270° for cinematographers to also take advantage of the 0.6 feet (18cm) closest focusing distance. The super lightweight (650g, 1.4lbs) is also an added benefit for cinematographers.

Laowa 10-18mm f/4.5-5.6 FE Zoom

This lens is currently the widest zoom lens available for Sony full frame E-mount cameras. Designed primarily for travel photography, Venus optics have managed to compress the size to smallest in its class, less than 4 inch (<10cm) and only 1.1 pounds (<500g). The 102? (18mm) to 130? (10mm) angle of view provides flexibility for photographers to compose landscape or architecture photos with ease. The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element to deliver exceptional performance. It can focus as close as 15cm for some mini-macro shooting. A rear filter slot is included to fit with 37mm filter. A dedicated filter holder is being developed to fit 100mm-wide filters. Click/clickless aperture can be toggled by the switch on the lens barrel. A 5-blade aperture design ensures a pleasing and clean sunstar rendering.

Multiple samples will be available for free rental during Photokina period.

Laowa 100mm f/2.8 2X Ultra Macro APO

Followed by the success of the Laowa 60mm f/2.8 2:1 Macro, the 100mm f/2.8 2:1 Macro is the 2nd member of Laowa 2:1 macro line-up. This new 100mm lens can cover full frame sensor size and focus from 2:1 magnification to infinity. The wide magnification range allows macro photographers to capture subject at any sizes. This 100mm portrait lens also features an apochromatic (APO) characteristic that no chromatic aberration can be found. The 12 elements in 10 groups optics design delivers a crystal sharpness image in both macro and tele distances. Automatic aperture control feature is available for Canon EF version and Aperture coupling is available for Nikon F mount version.

Laowa 17mm f/4 GFX Zero-D

This is currently the widest available native lens option for Fujifilm G-mount cameras. The new Laowa 17mm f/4 GFX has a field of view equivalent to 13mm in 35mm format (113?). Featuring a close-to-zero distortion and 86mm filter thread, this lens is ideally suited for landscape, architecture & interior photography. The 21 elements in 14 groups design with 2pcs of aspherical & 3pcs of Extra-low dispersion elements successfully help to control the distortion & chromatic aberrations to the minimal.

Laowa 4mm f/2.8 Fisheye MFT

Featuring a 210? angle of view, this lens delivers unique circular fisheye field of view on Micro four thirds cameras. The ultra-wide angle view allows photographers to create 360? panorama with ease. Despite the unique & ultra-wide perspective, the lens only weighs 0.3 pounds (135g).

Free Rental Programme
Venus Optics have prepared some copies of the Laowa 10-18mm f/4.5-5.6 FE Zoom and Laowa 24mm f/14 Probe lens (Canon) for free rental during Photokina period. For reservations, please contact Venus Optics via contact@venuslens.net.

Availability
All 12 new lenses will make its Europe debut in Venus Optics’ booth (Hall 2.1, D-040) in Photokina, Cologne during 26th-29th Sept. Pricing and ship date are to be confirmed.

About Us
Anhui ChangGeng Optical Technology Company Limited (Venus Optics) is a new Chinese camera lens manufacturer based in Hefei, Anhui. We currently manufacture and distribute camera lenses under the brand name of ‘Laowa’.

For more information about Anhui ChangGeng Optical Technology Company Limited and our products information, visit http://www.venuslens.net/

Articles: Digital Photography Review (dpreview.com)

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Fujifilm developing 100MP medium format with phase detection and IBIS

27 Sep

Fujifilm has said it is developing a 100MP GFX medium format camera that will include both phase detection autofocus and in-body image stabilization. The 4K-capable camera will sell for around $ 10,000.

The development was announced at the company’s press conference at the Photokina trade show in Cologne, Germany, alongside the unveiling of the 50MP GFX 50R model.

A mockup on display at the event shows it to resemble a dual-grip variant of the existing GFX 50S model but without the protruding hump at the back of the body.

No details beyond these headline specs were made available but the company said the camera would be available in 2019.

Articles: Digital Photography Review (dpreview.com)

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Photokina 2018: First look at new Ricoh GR III

27 Sep

Our new favorite compact? Meet the Ricoh GR III

Ricoh has announced the development of a third model in its popular GR lineup: The forthcoming GR III will feature an updated sensor and redesigned lens. We’re at Photokina, where we took a quick look earlier at an early sample under glass.

The biggest upgrade to the GR III is invisible. The new camera features a 24MP APS-C sensor, which should substantially improve upon the rather old 16MP sensor used in the GR/II. The new sensor brings with it phase-detection autofocus, and in-camera stabilization. Both these changes are potentially of huge value to prospective buyers, and serve as a major differentiator against arguably the GR III’s main competitor, Fujfilm’s X100-series.

Our new favorite compact? Meet the Ricoh GR III

Externally, the magnesium alloy-bodied GR III is virtually indistinguishable from its predecessors, the GR and (extremely closely-related) GR II. The 28mm effective focal length of it 18.3mm F2.8 lens is unchanged, but it has been redesigned.

The new lens features six elements in four groups, including two aspheres. The GR/II’s lens was made up of seven elements in five groups, also including two aspherical elements. Beyond an improvement to minimum focusing distance from to 6cm (2.4″) from 10cm (3.9″) we don’t know what the practical effects of this redesign are (the GR/II’s original lens was stunningly sharp) but we’re keen to put it to the test as soon as we can.

Our new favorite compact? Meet the Ricoh GR III

Movie shooting has been moved from its old position on the main exposure mode dial, to a button on the left-hand side of the camera. This button can also be configured to activate the GR III’s wireless feature. Notice also the omission of the mechanical flash release switch, which was featured on the GR/II. The GR III does not include a built-in flash.

Our new favorite compact? Meet the Ricoh GR III

Sorry for the poor quality of this image, which was (obviously) shot through perspex, and against powerful spotlights. Hopefully it shows you what you need to know. From behind, the biggest difference to the GR III compared to its predecessors appears to be a larger LCD, but in fact this is partially an illusion. The GR III’s screen is now 3:2 aspect ratio (as opposed to 4:3) but the diagonal length is the same and resolution (1.03 million dots) is unchanged compared to its predecessor.

The biggest difference is that the GR III’s screen is touch-sensitive.

Our new favorite compact? Meet the Ricoh GR III

You might also notice that the GR/II’s AE/AFL / AF-C switch has been deleted in the new model – likewise the +/- toggle that used to live on the upper-right corner of the thumb grip. This is a shame, but the GR III does gain a rear control dial around the 4-way pad, and from the labeling it looks like the rear ‘ADJ’ jog switch can be used for quick exposure compensation.

Our new favorite compact? Meet the Ricoh GR III

From the top, the simplified exposure mode dial looks noticeably less cluttered than the older GR/II. Movie mode has gone, but so has the auto-everything ‘green’ camera mode, and TAv. Instead, we have the traditional PASM plus three user-configurable settings. The front control dial and trademark Ricoh pill-shaped shutter button are unchanged.

That’s it! At least for now. This camera was firmly behind glass but as soon as we can get our holds on a working sample, we’ll be posting a lot more about the GR III, which is already looking like it might become our new favorite compact.

Articles: Digital Photography Review (dpreview.com)

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Photokina 2018: Hands-on with Tamron’s 2nd-gen 15-30mm F2.8 lens

27 Sep

Open wide: Tamron’s 15-30mm F2.8 G2

Tamron has updated their SP 15-30mm F2.8 Di VC USD full-frame lens and we got a chance to check out version 2 as this year’s Photokina. It handles essentially the same as its predecessor but there are some cosmetic changes. The design now matches that of the SP 24-70mm F2.8 and SP 70-200 F2.8 – specifically the grey bit by the base is new and the switches on the side have been redesigned.

Aside from cosmetic changes, a list of improvements under the hood make the 15-30mm F2.8 version 2 all the more appealing, including: dual processors for faster AF and better stabilization, fresh coatings to reduce flare and a new aspherical element.

It is available in both Canon EF and Nikon F mounts – the Nikon mount just began shipping, Canon mount ships October 12th. The list price is $ 1299.

Open wide: Tamron’s 15-30mm F2.8 G2

Like version 1, the front element is large and bulbous and the front of the glass moves forward in the housing as you zoom in – it is shown here zoomed to 30mm. There’s no way to put a threaded filter on it but the Canon version has a rear filter holder that can accept gels. The Nikon does not due to the F mount’s flange distance.

Version 2 also features a new Anti-reflection eXpand coating that Tamron developed in house to ensure flaring is as well-controlled toward the edges as it is in the center. The lens has two additional coatings to combat flare and ghosting. It also features an updated fluorine coating on the front element that is ‘abrasion resistant.’ This should make it easy to wipe away dust, water or grime and provide some level of scratch resistance. Speaking of water, the whole thing is weather resistant.

Open wide: Tamron’s 15-30mm F2.8 G2

Vibration control has been improved thanks to the inclusion of a second processor – now one processor is dedicated to AF and one to VC. Tamron says the new VC-dedicated processor should result in up to 4.5 stops of stabilization.

In addition to a dedicated AF processor, the lens has an updated AF algorithm. All of this should result in faster AF speeds. And because focus is driven by an ultrasonic silent drive motor, AF noise shouldn’t be an issue for video shooters. Then again, if you are old-fashioned, a manual override switch has you covered.

Open wide: Tamron’s 15-30mm F2.8 G2

A rubber gasket along the mount ensures no water gets inside your DSLR. And as mentioned, the lens design is moisture-resistant with internal seals located in critical areas where water or dust might get in.

Also the 15-30mm can make use Tamron’s TAP-in console for AF fine-tuning, VC control adjustments and firmware updates. The console will set you back about $ 60.

Open wide: Tamron’s 15-30mm F2.8 G2

In terms of handling, version 2 is nearly identical in size and weight to version 1. At 1100 g, it is not light-weight. Nor is it small, but that’s the price of ice when it comes to a stabilized constant-aperture wide-angle full-frame zoom.

Overall we’re excited to get the Tamron 15-30mm F2.8 version 2 on a body and start shooting. We were big fans of version 1 and it will be nice to see how all these improvements affect overall image quality and the shooting experience. Stay tuned for a sample gallery!

Articles: Digital Photography Review (dpreview.com)

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Photokina 2018: Zenit and Leica collaborate on new ‘M’

27 Sep

Designed in Russia, made in… Germany? It’s the Zenit M

Leica is clearly in the mood for partnerships: A day after the company announced it was teaming up with Panasonic and Sigma on the L mount, Zenit took the wraps off the ‘M’, a Zenit-designed, Leica manufactured rangefinder camera which has (cough cough) rather a lot in common with Leica’s last-generation M Typ 240.

Designed in Russia, made in… Germany? It’s the Zenit M

Leica and Zenit aren’t necessarily names that you’d immediately associate, but hey, in the words of one Leica executive I talked to, “that’s globalization for you!” In the latest sign that this ain’t your Großvater’s Leica, it is currently assembling the 24MP full-frame Zenit M rangefinder alongside the M10 at its Wetzlar plant in Germany.

As far as division of labor is concerned, I’m told that Zenit was responsible for the external design, and everything else is done at Wetzlar.

Designed in Russia, made in… Germany? It’s the Zenit M

I must say, I rather like Zenit’s design touches. Somewhat more slab-sided than the Typ. 240, the Zenit M actually looks pretty cool to my eyes, and the asymmetrical curve of the top-plate acts as an optical illusion, making the M look slightly slimmer than the ‘original’ Leica.

Rather wonderfully, just like a Leica, the Zenit M has the model name and serial number engraved into the hotshoe assembly.

Designed in Russia, made in… Germany? It’s the Zenit M

So far, so Leica. From the rear, the Zenit M is almost indistinguishable from the Typ 240. Only the ‘DESIGNED IN KRASNOGORSK’ gives it away. With my eye to the viewfinder, there’s no discernible difference in use, either.

Designed in Russia, made in… Germany? It’s the Zenit M

At the heart of the Zenit M is the same full-frame 24MP CMOS sensor as – you guessed it – the Leica Typ 240. It also offers live view and HD movie recording.

Designed in Russia, made in… Germany? It’s the Zenit M

The battery and memory card are accessed in the same way, too, via the removable baseplate.

Designed in Russia, made in… Germany? It’s the Zenit M

The Zenit M will be available in a black or chrome finish, and will be shipping later this year or early 2019 for ‘between 4-5,000 Euros’ kitted with the Zenitar 35mm F1.0.

Articles: Digital Photography Review (dpreview.com)

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The Apple TV 4K Device is a Deeply Flawed and Frustrating Product… for Me

27 Sep

Pictures are so broken on Apple TV

About 12 years ago, in 2006, I had what at the time felt like the biggest technological change in my life. I switched from a PC to my first MacBook Pro. Switching computer operating systems at the time seemed like a massive chasm to overcome, but I did it and I’m glad I did. My main motivation was that I was tired of all of the errors that I was getting from PCs and all my friends with Macs just kept saying pretty much the exact same thing, “it just works.” After hearing that enough I broke down and made a decision that it was time for a change.

Over the last decade, that first decision has brought dozens of new Apple products into my life. Every three years or so I’d upgrade MacBook Pros. I bought a Mac Mini for the kitchen which I upgraded to a nicer iMac latter. I bought a high end iMac to edit my photos on for my home office. I bought a Cinema Display as a second monitor. I spent the night in line overnight to buy the very first iPhone. I bought the iPhone 3g, the iPhone 4, 5, 6s and most recently the 10. I’ve bought iPads, MacBook Pros and iPhones for my wife and kids. I always buy Apple Care. Apple iCloud storage, movies, tv shows, airpods, the list goes on and on.

I haven’t added it all up yet, but I’d say over the past decade I’ve easily spent tens of thousands of dollars on Apple products.

I feel like at some point I’ve just about purchased every product as a good Apple consumer is supposed to… except maybe the watch. The watch feels stupid to me. If I want to know what time it is I can just look at my phone. I haven’t worn a watch in 20 years. I don’t need an uncomfortable thing strapped to my hand and my health is good enough that I don’t need to constantly run ECGs or have someone notified if I fall down and can’t get back up (which hasn’t happened once yet in the 50+ years I’ve been on the planet).

Unfortunately for me though, it’s the Apple TV which I’ve always been the most excited about and which has also unfortunately frustrated me more than any Apple other gadget I’ve ever owned. I’ve bought every version of the Apple TV as they’ve been released dutifully. Giving Apple my hard earned money for the promise of something great, the ability to watch my photos in my living room — and it’s been a completely frustrating experience along the way.

I’m not sure exactly why I’m writing this blog post about Apple TV. I haven’t blogged in a while. In part it’s probably cathartic for me. In part I feel like I’m giving up on photos tonight and hope that maybe someday someone will Google one of my error codes and have a better answer. Maybe someone will read it and have some suggestion that I haven’t considered. Maybe someone will suggest a better way to watch photos on a TV.

My most recent problem revolves around the new Apple 4k TV. Of the six Apple TVs in my house I have two connected to Vizio 4k TVs. Of course I upgraded to the 4k Apple TV because what’s the point of having a 4k TV without a 4k device.

For the most part over the life of the AppleTV product photos have been frustrating. I have a large library of images that I want to play on my Apple TVs. I use home sharing and point my iTunes to a folder of images and ask for my Apple TVs to stream those images. (File >> Home Sharing >> Choose Photos to Share with Apple TV…) Frequently my AppleTVs lose their connections to my iTunes library and the only way to get the photos to play again is to quit iTunes and relaunch it. I frequently would have to restart the Apple TVs. The Apple TV in the living would be working but then the one in the attic couldn’t connect. The one in the attic would work but then the one in the bedroom wouldn’t connect. It was a constant exercise of frustration. I set all of the Apple TVs to update automatically and I’d constantly check for updates to apply them manually.

About a year ago I spent several weeks working with Apple Engineers. They sent these trace packet things to me by email and I’d do different things, run the logging software and send them log files. After several weeks and many log files I did get an answer back about a year ago that Apple engineers had found a problem related to my Apple TVs constantly disconnecting from home sharing that that a fix would be coming. They couldn’t tell me when but said that it was an issue on their end and to keep checking for updates. So at least I wasn’t totally crazy and at least there was hope… kind of?

Although this was a frustrating way to use my AppleTV, the payoff of being able to relax on the couch and watch my life’s work, my photos that I love so much, while enjoying a glass of wine was such a high payoff that I put up with it… until, unfortunately now, with the latest dreaded TVOS12 update.

Last week I updated all of my Apple TVs to TVOS12. On my non-4k Apple TVs, it’s the same sad, frustrating experience of having to restart Apple TVs, restart, my iMac, restart iTunes, constantly to get them to work. But when they do work it will play my photos for hours. Unfortunately on the two 4k Apple TVs photos crash 100% of the time. Usually within 10 seconds, but sometimes I can get them to play for 20 seconds or 45 seconds or maybe even 2 minutes before it crashes. But they crash 100% of the time. I’ve spent at least 20 hours trying to fix my photos over the past week (including a good 3 hour phone call last night with an Apple Care tech) but nothing seems to work.

If I try to stream photos on my iMac to my 4K Apple TVs the photos crash. If I try to stream photos on my MacBook Pro to my 4k Apple TVs the photos crash. If I try to stream photos on my home network to the 4k AppleTVs the photos crash. If I create a hotspot with my iPhone with just my MacBook Pro and one 4k Apple TV photos crash.

If instead of pointing home sharing to a folder, I import all the photos into Apple’s Photos app on my iMac (I hate the Apple Photos App on my iMac) and share from there instead still photos crash.

Every time after the photos crash there is a brief error message on the screen for about 1 second that reads “No iTunes libraries available. Home Sharing lets you stream content from your computer’s iTunes library to your Apple TV. To access your iTunes library, turn on Home Sharing on your computer and use the Apple ID. Retry.”

That message disappears and brings me right back to the main home sharing page on the Apple TV.

I’ve made sure that the photos that I want to share are all on the internal hard drives of the devices I’m trying to stream. I even upgraded yesterday to the new Apple OS Mojave, in the hopes that this might fix things. I’ve turned my Comcast router on and off.

The bottom line is there is simply nothing that I can do to make photos work on my 4k Apple TVs since updating to TVOS 12. And, of course, Apple will not allow you to roll your OS on your Apple TV back to a previous version so there is no getting out of TVOS 12 hell. I did a reset of the entire device back to factory settings, but instead of resetting it back to the factory setting from when I bought it. It reset it back to the factory settings for TVOS 12.

The Apple Tech I spent hours on the phone with yesterday suggested that I take my Macbook Pro and my 4k AppleTV into the Apple store and set an appointment to show them there. I had an appointment this afternoon at 2pm to do just that, but after only getting three hours of sleep last night trying to troubleshoot my Apple TV I just couldn’t go through with it today. It’s just too much, too soon.

In the meantime it looks as though I wasted $ 200 each on some useless Apple hockey pucks, but maybe at some point I’ll regain the strength to try again, or maybe someday, somewhere I’ll find an answer on how to make these devices stream photos for me again.

Or maybe like I ditched Windows back in 2006, it’s now time to ditch Apple again and maybe go find something that you know, “just works.”

Needless to say, your 4k AppleTV may work flawlessly and perfectly for you. This is my personal experience though and it’s my blog and this is what the experience has been like for me.

I made a video of this problem here. If anyone does have any constructive advice I’d love to hear it. Thanks.

Thomas Hawk Digital Connection

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Blackrapid develops strap designed for women photographers

27 Sep

Accessories manufacturer Blackrapid has introduced a new version of its shoulder sling camera strap that is designed to be especially comfortable for female photographers. The Nicole Elliot by Blackrapid uses wide pad to hug the shoulder and take the pressure away from the neck and distribute weight more evenly. The company says the design is based on the way ‘women have been carrying their babies for centuries’, and promises the camera will feel virtually weightless.

The black shoulder pad is reversible to display a black and white pattern, and it contains pockets for memory cards and for accessories needed close at hand. The strap measures 63in and costs $ 69.95. For more information see the Blackrapid website.

Manufacturer’s description

Nicole Elliott by BLACKRAPID

Introducing a brand-new camera strap designed by women for women – Nicole Elliott by BLACKRAPID. With its innovative functionality, maximum comfort and unique style this strap will change the way you photograph life.

Your camera should be an extension of you, not an annoyance to carry. Your camera gear should add to your creative energy – not inhibit it. Taking its cue from the way women have been carrying their babies for centuries, Nicole Elliott by BLACKRAPID takes the pressure points away from your neck and shoulders by “hugging” your shoulder to evenly distribute the weight. Allowing you to have full mobility and making your camera feel virtually weightless. Shoot for hours without feeling fatigue, discomfort or pain!

The strap is reversible – black on one side, black and white pattern on the other – business and party in one unique design. The shoulder strap has two pockets for lens caps and two zippered pockets for memory cards, batteries and whatever other small accessories you want to keep close. The strap has a release trigger snap hook that locks in place when hooked to the 1/4″ screw that attaches securely to the bottom of your camera. And the strap adjusts to up to 63” in total length, ensuring a perfect fit for any body type.

Nicole Elliott by BLACKRAPID – #LiveTheMoment in Comfort and Style!

Features:

Ergonomically Correct. Even weight distribution takes the pressure off your neck and shoulders, making your camera feel weightless.
Durable, water resistant fabric.
Reversible – Pattern on one side, black on the other.
Reversible front or back adjustment for left or right handed users.
2 zippered pockets, 2 lens cap pockets.
Extendable up to 63” in circumference.
Swivel ConnectR (CR-3) and FastenR (FR-5) connection system. LockStar Breathe cover to secure carabiner. Camera Safety Tether included for extra security.
Front and back spring-loaded cam locks.

Product Specs

Reversible for Right- or Left-handed wear
Shoulder Piece – Removable, Reversible and Washable*
Strap length with shoulder piece – 63” (160cm) fully extended total circumference
Shoulder piece – approximately 7.5”x 23.5”
2 zippered pockets 4”x4.5”
2 lens cap pockets 4”x4.5”
2 front and back cam locks
Quick adjustment
Webbing 100% nylon
Webbing width 1”
Product weight 6.35oz
LockStar Breathe
2 Gate Keeper attachments for reversibility

*Laundering: Detach Shoulder Strap from nylon strap and rings. Wash by hand with mild soap. Lay flat to dry.”

The heart behind Nicole Elliott by BLACKRAPID:
“We are mothers, we are daughters, we are wives and friends…
We love deeply and live passionately.
We are surrounded by a world of wonder and amazement, from little laughs and giggles, to the beautiful people that surround us and the everyday moments that steal our hearts.
Life is a journey…. A bunch of little moments that together make up one big beautiful life.
My hope is that the Elliott strap helps you capture the life around you Confidently, Creatively, Passionately…without borders.
Here’s to a beautiful life captured one shot at a time – one moment at a time.
Every moment, #LiveTheMoment. In comfort and style.”
~ Nicole Elliott

Articles: Digital Photography Review (dpreview.com)

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