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Archive for May, 2019

DPReview TV: Fujifilm GFX 100 first impressions review

30 May

Fujifilm’s latest camera is a 100MP medium-format flagship, built to appeal to enthusiasts and professionals alike. Chris and Jordan were at the GFX 100 launch in Tokyo where they’ve been shooting with it for a couple of days. What do they think if this big, bold camera? Will Jordan embrace medium format for shooting video? Hit play to find out.

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  • Introduction
  • Body and handling
  • EVF
  • GFX 100 for street photography
  • Battery
  • Media and buffer
  • Image quality
  • Rolling shutter
  • Video
  • Tokyo at night
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Ricoh announces minor 1.11 firmware update for its GR III camera system

30 May

Ricoh has released firmware version 1.11 for its GR III camera. It’s not a major update, but if you own a GR III, it’s still worth your time to update it.

According to the changelog, firmware version 1.11, an upgrade from 1.10, corrects an issue where playing back a movie on the camera caused the frame rate to drop, as well as an issue where the incorrect firmware was displayed when the GR III was plugged into a macOS computer. Additionally, the update smooths out a number of under-the-hood problems for improved stability.

To update the firmware on your GR III, follow the following steps, as shared by Ricoh:

[1] Provide a formatted SD memory card for the update software. The download file is self-extracting. The following file is extracted. fwdc239b.bin: This is the updated firmware Copy the above Firmware file [fwdc239b.bin] to the root directory in the SD card.
[2] Insert the battery into the camera and confirm the battery is full by battery level indicator then turn the camera off.
[3] Insert the update SD card (prepared in step 1) into the camera and close card cover.
[4] Turn the camera power on while pressing [Menu] button.
[5] [Update the camera firmware] is displayed Select [Execute] by 4-way button and press [OK] button.
[6] The firmware update will start and [Updating] is displayed. *Do not turn OFF the camera while updating.
[7] When update is completed, “Update completed” will be displayed
[8] Turn OFF the camera and remove the SD card from camera. *Confirm the version of firmware with above [How to check version].
[Caution] When updating is finished, the update SD card still contains the Firmware file. If you want to use this card to take pictures, format the card by the camera to delete firmware file first.

You can download the firmware update (28MB) for macOS and Windows computers on the Ricoh GR III download page.

Articles: Digital Photography Review (dpreview.com)

 
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Moment launches new sling bags, wallet cases for mobile photographers

30 May

Moment has introduced a new range of sling-style bags and a series of wallet cases for photographers who like to travel light. Described as part fanny-pack, part sling the bags are intended to look good and be functional at the same time.

The bags are designed to hold a mobile phone as well as Moment’s accessory smartphone lenses and even a small compact camera, as well as the usual travel essentials like passports. The bags can be worn over the shoulder like a sling or around the waist like a fanny pack, and come in a range of materials and colors.

Smaller wallet cases are aimed at those who want to carry only daily essentials along with their phone, while a new line of phone cases come with pockets for credit cards for those who really want to travel light.

The Fanny Slings costs $ 69.99 and the Crossbody Wallets cost $ 74.99. To purchase either or for more information visit the Moment website.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Google’s Super Resolution algorithm explained in three minutes

30 May

Space constraints in the thin bodies of modern smartphones mean camera engineers are limited in terms of the size of image sensors they can use in their designs. Manufacturers have therefore been pushing computational imaging methods in order to improve the quality of their devices’ image output.

Google’s Super Resolution algorithm is one such method. It involves shooting a burst of raw photos every time the shutter is pressed and takes advantage of the user’s natural hand-shake, even if it is ever so slight. The pixel-level differences between each of the frames in the burst can be used to merge several images of the burst into an output file with optimized detail at each pixel location.

An illustration that shows how multiple frames are aligned to create the final image.

Google uses the Super Resolution in the Night Sight feature and Super-Res zoom of the Pixel 3 devices and has previously published an in-depth article about it on its blog . Our own Rishi Sanyal has also had a close look at the technology and the features it has been implemented in.

A visual representation of the steps used to create the final image from a burst of Raw input images.

Now Google has published the above video that provides a great overview of the the technology in just over three minutes.

‘This approach, which includes no explicit demosaicing step, serves to both increase image resolution and boost signal to noise ratio,’ write the Google researchers in the paper the video is based on. ‘Our algorithm is robust to challenging scene conditions: local motion, occlusion, or scene changes. It runs at 100 milliseconds per 12-megapixel RAW input burst frame on mass-produced mobile phones.’

Articles: Digital Photography Review (dpreview.com)

 
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Photographer hit with ball during ceremonial pitch at recent White Sox game

30 May

Photographer Darren Georgia was struck with what is being called the ‘worst first pitch ever’ during the Royals and White Sox game that took place on May 28. Georgia was positioned near the mound to capture the ceremonial pitch, but the toss didn’t go as anticipated — instead of travelling to the catcher, the ball ended up bouncing off the photographer’s lens hood.

The ceremonial pitch was thrown by an unnamed White Sox employee, according to White Sox Talk, which shared a brief interview with Georgia. According to the photographer, both he and his camera gear survived the unanticipated contact without injury or damage. As well, Georgia successfully captured an image of the pitch seconds before the ball made contact with his camera.

This isn’t the first time a sports photographer has been hit while photographing a game. Last year, for example, Olympic skier Lara Gut collided with photographer Sean Haffey after one of her skis struck a gate.

Articles: Digital Photography Review (dpreview.com)

 
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Mastering Color Series – The Psychology and Evolution of the Color ORANGE and its Use in Photography

29 May

The post Mastering Color Series – The Psychology and Evolution of the Color ORANGE and its Use in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

Situated between yellow and red on the visible spectrum, orange has a long history in visual culture. Dubbed the “happiest color” by Frank Sinatra, we’ll take a look at the color orange and its significance from antiquity to contemporary art.

The psychology of orange

Named after the citrus fruit, the word orange is derived from the old French phrase orenge. The earliest use of the word orange in English dates back to the 1300s. However, orange’s use as the name of a color didn’t occur until the early 1500s. Before that, orange was simply called yellow-red.

The distinctive orange color of many fruits and vegetables comes from carotenes, a photosynthetic pigment. As a result, the orange pigmentation has fostered associations between orange and nourishment, refreshment and energy. Autumn leaves also get their orange color from carotenes, forging links between the color and Autumn, beauty, preparation, and change.

Orange cultivates optimism, enthusiasm, cheerfulness, and warm-heartedness. Orange’s boldness denotes confidence and creativity. Manifested in fire, orange can be associated with heat and destruction. Eye-catching and vibrant, orange is often used to direct attention. Furthermore, as the complementary color to azure, orange has the greatest contrast against sky blue tones. This means orange (or safety orange as it’s known) is often used in marine safety devices like life rafts, life jackets, and buoys.

In European and Western countries, orange is associated with harvest time, frivolity and extroversion. For Indian cultures, orange is considered to be lucky and sacred. In Japanese and Chinese cultures, orange denotes courage, happiness and good health. Buddhist monks’ of the Theravada tradition and Hindu swamis wear orange robes. Orange is the national color of the Netherlands, but in many Middle Eastern countries, orange can be associated with mourning.

The evolution of the color orange

Ocher

The history of orange pigment begins with ocher. As a family of natural clay earth pigments, ocher ranges in color from yellow to red, sienna and umber. Orange ocher is composed predominantly of limonite. Thanks to the pigment’s excellent light fastness, some of the worlds best-preserved cave painting sites still feature orange ocher today. The pigment continues to see application within modern art, in both traditional and contemporary practice.

Vermilion

Made with ground cinnabar, the use of vermilion pigment dates back to 8000–7000 BC. Produced artificially from the 8th century, the orange-red pigment was used by painters up until the 1800s. However, the cost, poor light fastness, and toxicity of vermilion led to it being superseded by modern synthetic pigments like cadmium red.

Realgar and orpiment

An arsenic sulfide, realgar is an orange-red mineral that saw artistic use in ancient Egypt, China, India, and Central Asia. Prized for its richness in color, realgar most commonly occurs as a low-temperature hydrothermal vein mineral. Highly toxic, realgar was the only pure orange pigment available until modern chrome orange.

Orpiment, also a sulphide of arsenic, was found in the same locations as realgar. Producing a golden yellow-orange pigment, orpiment was just as toxic as realgar and was also used as a fly killer and to taint arrows with poison. An important item of trade in the Roman Empire, orpiment was ground down and used in paintings up until the 19th century.

Chrome and cadmium orange

In 1797, French scientist Louis Vauquelin discovered the mineral crocoite. This led to the invention of the synthetic pigment chrome orange. Ranging from a light to deep orange, chrome orange was the first pure orange pigment since realgar. And while it’s no longer in production, chrome orange can be viewed in Renoir’s Boating on the Siene. 

As a by-product of zinc production, cadmium, was discovered by Friedrich Stromeyer in 1817. While heating zinc in his laboratory, Stromeyer observed a sample of zinc carbonate that formed a bright yellow oxide. Stromeyer realized the results of his experiment could prove useful to artists, but it wasn’t until the 1840s that cadmium pigments entered production industrially.

Quickly becoming popular among the Impressionists and post-Impressionists, the scarcity of cadmium meant that the availability of cadmium pigments was fairly limited up until the 1920s. Today, pigments like cadmium orange set the standard for coverage, tinting, and light-fastness.

Orange in visual arts

Prehistoric to pre-raphaelite

From prehistoric periods to the present day, orange has had a continuing presence in visual arts. Figures sketched into rock by neolithic artists were often filled out in orange ocher. Orange was present in the elaborate art and hieroglyphics of the ancient Egyptians. In ancient Rome, the orange-red vermilion was used to paint frescoes, decorate statues and color the faces of victors in Roman triumphs. Vermilion was also used by North and South Americans to paint burial sites, ceramics, figurines and murals.

In medieval art, shades of orange were used in the coloring of illuminated manuscripts. During the renaissance, orange was featured in lustrous drapery. Creating dramatic contrasts between brightness and shadow, Baroque artists used orange to illuminate detail and light. For instance, in The Abduction of Ganymede, Rembrandt centered on the boy Ganymede’s orange tassel as a visual pendulum, indicating momentum and resistance. Depicting lush landscapes and well-to-do inhabitants, rococo art featured light, airy oranges. And the red-orange hair of Elizabeth Siddal, model and wife of the painter Dante Gabriel Rossetti, became a symbol of the pre-raphaelite movement.

Impressionism to abstraction

In 1872, Claude Monet painted Impression, Sunrise. Featuring a luminous orange sun sprinkling light onto a hazy blue landscape, the painting lent its name to the impressionist movement. Post-impressionist Paul Gauguin used vivid oranges for backgrounds, clothing and skin color. And Vincent Van Gogh balanced rich blues and violets with bold oranges saying “there is no blue without yellow and without orange”.

Fauvists believed color should operate free from physical reality. Mountains at Collioure by André Derain expresses a landscape made up of patchwork oranges, an active contrast against the blues, greens and deep pinks that complete the image. Expressionist Edvard Munch used the visual activity of orange to suffuse his paintings with density and crowded movement. Later, abstract artists like Wassily Kandinsky and Robert Motherwell took advantage of orange’s internal buzz, generating movement and emotion within their canvasses.

Orange in contemporary art

As the possibilities of art have evolved, so has the application of color. As a color of great visual density, orange continues to have a significant role in contemporary art. Aboriginal and Torres Strait Islanders, painting in both traditional and contemporary styles, continue to use orange ocher in their artworks today.

Wilhelm Roseneder’s Orange Expansion uses orange to exaggerate a separation between art and setting. Roelof Louw’s Soul City (Pyramid of Oranges) invites viewers to take and eat one of the oranges that make up a pyramidic sculpture of citrus fruit. With each orange taken, the sculpture changes form and is eventually consumed in its entirety by the sculpture’s participants. Anish Kapoor’s Mirror (Pagan Gold to Orange to Pagan Gold) is a large concave dish that reflects the viewer within the orange haze of the artwork itself, re-expressing the self through materiality. And artist Alexander Knox chose orange as the prevailing color in his Moth Ascending the Capital, capturing the energy of a Bogong moth bursting into flight.

Orange in photography

Orange’s associations conveys a rich photographic landscape. Photojournalist Ozier Muhammad’s photograph Marines Move through Sandstorm is an insight into the nature of war. The density of orange, though natural, significantly dampens visibility, creating a palpable tension. Depicting humans and objects as things to be studied, Martin Parr’s ultra-saturated oranges pair with his inquisitive photography. And Uta Barth’s …and of time series documents the quality of light and the passage of time, an orange hue feeling out the dimensions of a room with ephemeral softness.

On the bucket list of many a photographer, Antelope Canyon, located just outside of Page, Arizona, is a natural photographic wonder. The warm orange tones of the canyon are captured in countless images online. Nevertheless, photographers still flock to the spot to make their own photographs of the beautiful eroded Navajo Sandstone.

Occurring during the golden hour, orange-to-yellow light floods the atmosphere, creating ideal opportunities for landscape and portrait photography. Often manifested in steel wool photography, photographers can create effervescent trails of burning orange light with a few kitchen items. Orange filters are also a popular general-purpose tool for black and white photography. Balancing out the extremes of red filters and the subtlety of yellow filters, orange filters add a moderate degree of contrast to an image, darkening skies and emphasizing clouds. Furthermore, orange filters deliver a warm, smooth skin tone, reducing the appearance of freckles and blemishes.

Conclusion

Wassily Kandinsky once said, “orange is red brought nearer to humanity by yellow.” Energizing the viewer, orange conveys optimism, enthusiasm, and cheerfulness. Capturing attention, orange imparts vibrant emotion and illuminates detail. Found in food, orange also communicates nourishment and health. And reflected in nature, orange can be a signal of seasonal change, fire, and heat. A color of tenacity, endurance, and impact, orange reflects bold emotions, its historic presence and versatility inspiring and energizing audiences at the same time.

We’d love for you to share with us and the dPS community your photos that make use of the color orange in the comments below.

See other articles in the Mastering Color Series here.

 

The post Mastering Color Series – The Psychology and Evolution of the Color ORANGE and its Use in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.


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Elgato announces Stream Deck XL and Stream Deck Mobile

29 May

Elgato, now a subsidiary of Corsair, has announced Stream Deck XL and Stream Deck Mobile. Stream Deck XL is a new, larger version of its original Stream Deck, while Stream Deck Mobile is an iOS app that emulates the Stream Deck experience on your iPhone or iPad.

Stream Deck XL

The Stream Deck XL features 32 keys (8×4), more than double that of the 15 keys (5×3) the original Stream Deck had. Like the original Stream Deck though, the Stream Deck XL features the same functionality, with the ability to almost infinitely customize various shortcuts and macros needed to streamline your video or photo editing workflow, thanks to built-in support for various post-production applications including Adobe Photoshop, Adobe Premiere and more.

The unit measures 182cm x 112cm x 34cm (7.17in x 4.41in x 1.34in) and fixes two of the biggest complaints we had in our review of the original Stream Deck: it now has a much more sturdy stand and it features a detachable USB-A to USB-C braided cable that measures 1.5m (60in). Not only is the 45-degree stand more robust, it’s also magnetic, making it an easy snap-on, snap-off for when you want to move it around and lay it flat on a desk.

The Stream Deck XL is available to purchase for $ 249.95.

Stream Deck software update

Elgato has also announced an update to its Stream Deck software (version 4.3) for macOS and Windows. The update now adds support for new programs, additional customizability options and overall addresses various bugs. It can be downloaded directly from Elgato’s download page.

Stream Deck Mobile

If you don’t want to purchase a physical Stream Deck, you can now have similar functionality using your iOS device. Elgato has taken the custom shortcut experience and brought it to iOS via a new app called Stream Deck Mobile. As its name suggests, the app effectively brings the Stream Deck experience to your smartphone by creating a collection of shortcuts that can be accessed and triggered via your iOS device.

There’s no word on whether or not Elgato plans on making an Android version, but on iOS, the app can be downloaded and used for free as a three-day trial. After the trial, you can opt to pay either $ 2.99 per month or $ 25 per year for the full experience.

Articles: Digital Photography Review (dpreview.com)

 
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Is the Olympus OM-D E-M1X right for you?

29 May

Is the Olympus E-M1X right for you?

Our comprehensive Olympus E-M1X review is live if you’d like to dive deep into the camera’s image quality, handling and autofocus performance. But for a more straightforward take on the E-M1X, here’s how well-suited it is for a few popular photographic use cases:

  • Sports and wildlife photography
  • Landscape photography
  • Wedding and event photography
  • Portrait photography
  • Video work

All photos by Dan Bracaglia unless noted otherwise

Sports and wildlife

Fast burst shooting, reliable autofocus and controls that don’t require you to take your eye from the finder – these are just some of the things you’ll want from a camera if capturing peak action is your aim. The E-M1X is advertised as a professional-grade sports and wildlife camera and it mostly lives up to this billing. Plus it’s got an enormous family of telephoto lenses to complement its aspirations.

Many sports and wildlife photographers rely on continuous autofocus and the E-M1X can shoot up to 10 fps (mechanical shutter) and 18 fps (electronic shutter) in AF-C. Continuous autofocus performance is good, but other sports cameras like the Nikon D5 and Canon 1DX II offer slightly more reliable results. Still, subject tracking is impressively sticky and the camera’s buffer depth is also solid. If you’re okay with focus being locked after the first frame it can do 15 fps (mechanical shutter) and 60 fps (e-shutter) – just be aware that using the e-shutter can result in banding under certain lighting and rolling shutter (though this is fairly well-controlled).

The finder offers a fast refresh rate and minimal resolution loss while the shutter’s pressed, making it easy to follow fast-moving subjects

The camera’s ergonomics are excellent, full stop. I’s one of a handful of bodies on the market with built-in vertical controls. Whether shooting vertically or horizontally, dialing in settings can be done without removing your eye from the finder. Speaking of the finder, it’s not the highest-resolution nor does it offer the highest contrast on the market, but it does offer a fast refresh rate and only minimal resolution loss while the shutter’s pressed, making it easy to follow fast-moving subjects. The camera’s also got a tank-like build and IPX1-rated weather-sealing. The only thing truly missing from this pro-level body is a top plate info display.

Image quality is excellent for its sensor size – with lovely out-of-camera JPEGs – but it can’t match the resolution of higher-resolution cameras, limiting your ability to crop in post. Similarly, shadow noise at higher ISOs is more prevalent than on larger-sensor bodies – this also limits your ability to push the exposure in post.

Landscape photography

High resolution is normally the name of the game when it comes to landscape photography, and we’re not going to pretend the E-M1X’s Four Thirds chips can match the resolution or image quality of larger sensors… on its own. But this camera has some tricks up its sleeve, including a 50MP hand-held high-resolution mode and an 80MP tripod-based high-resolution mode. The latter combines 8 images and even has the benefit of improved noise performance over a standalone file. However you’ll want to avoid scenes with a lot of movement when using either high-res mode.

The E-M1X also has some other nifty tricks landscape photographers will appreciate: there’s a ‘live ND’ filter for long exposure simulations and various in-camera time-lapse options. Sadly, the two can’t be combined.

In terms of ergonomics, the E-M1X is a bit of a beast to carry around for long periods of time. On the other hand, it’s got excellent weather-sealing and a tough build, so it’s doubtful the camera will let you down in nasty conditions. Plus a fully-articulating screen is great for high and low shots, and battery life is solid thanks to twin batteries.

Photo by Scott Everett

Wedding and event photography

For those already invested in Micro Four Thirds, the E-M1X could be a great addition to your wedding or event shooting kit. Vertical controls are extremely handy for shooting portraits. And the camera’s Face Detect and Eye Detect both work with good reliability if your subject fills most of the frame. Wedding ceremonies are moments when the E-M1X’s truly-silent e-shutter could be invaluable. And we doubt you’ll be able to chew through both the camera’s batteries, even with a full day of shooting.

The E-M1X is compatible with Olympus’ flash system, however as of writing, there are no Olympus flash units that can fire an AF assist beam without triggering the strobe – something wedding and event photographers often rely on for precise autofocus in very dark scenarios. Still, the camera’s high-resolution modes can be handy for detail shots of say, a dress or the bridal bouquet.

Photo by Carey Rose

Portrait photography

As with landscape photography, resolution is also an important factor for portrait photographers. So right off the bat, the E-M1X is at a disadvantage here over its larger-sensor competition. And don’t count on the high-res modes to save the day – these are intended for static subjects, not people. Still, vertical controls are handy for shooting in the traditional portraiture orientation and the E-M1X’s Face and Eye detect both work well.

We’re also fans of Olympus’ JPEG rendition of skin tones. Plus, if you’re shooting portraits using controlled lighting, shadow noise shouldn’t be an issue. There’s also a wide range of excellent portrait-appropriate glass available for this system.

Photo by Scott Everett

Video

The E-M1X is a sports and action-oriented camera, so why use it for video? Here are a few compelling reasons: It can shoot good-looking Cinema 4K (24p only) as well as 1080/120p slow motion footage. It offers a fully-articulating touchscreen with sticky video AF. And the camera’s Sensor+Digital image stabilization offers the smoothest in-camera, hand-held shooting we’ve experienced (it does come with a slight crop, though).

Other call-outs include headphone and microphone ports, Flat profiles and Log capture. Sadly the latter is limited to 8-bit compared to 10-bit offered by some of its peers. This means you won’t get the same video dynamic range as say, a Panasonic Lumix GH5. Still, for more-casual filmmaking, without the need for a tripod or stabilization rig, the E-M1X can be a solid option.

The wrap

The Olympus OM-D E-M1X is a sports and action camera that also happens to function quite well for a number of other photographic situation. However for most of these scenarios, unless you’re already invested in the system, there are other cameras that will likely serve you better for less money.

But back to sports and action. For way less money, the E-M1X shoots faster than even the most expensive sports cameras, like the Nikon D5 or Canon 1DX II, while offering similar ergonomics and build quality. It doesn’t quite offer the same level of autofocus reliability as these cameras, nor can it match the resolution/noise performance of their larger sensors. Still, it’s an outstanding choice for Micro Four Thirds shooters who want a no-compromise camera to point at fast-moving subjects. And if you end up also photographing portraits, landscapes, events or video, well, the camera will be able to handle that too.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon confirms some counterfeit EN-EL15b batteries were sold by authorized retailers

29 May

Last week, B&H Photo began emailing customers who had purchased Nikon EN-EL15b rechargeable Li-ion camera batteries, advising these buyers that they may have received units from a ‘subpar batch.’ The company didn’t elaborate on what subpar meant in this instance, but did state that it would replace all Nikon EN-EL15b batteries it had shipped because it couldn’t determine which customers had received the bad units.

Following a leak that claimed as much, Nikon has confirmed counterfeit EN-EL15b batteries have been sold by authorized retailers to some of its camera owners. In a statement to DPReview, a Nikon spokesperson said:

We have been made aware that some customers who purchased individual EN-EL15b batteries from authorized Nikon retailers received defective product. These batteries are not genuine and were not manufactured or distributed by Nikon USA. Concerned users can find a guide for determining if the battery they have purchased is a genuine Nikon battery at this link.

Counterfeit batteries may be poorly constructed and cause damage to the camera hardware; lithium-ion batteries are known to be volatile and counterfeit units are particularly prone to overheating, which may result in fire or explosion. In addition to the fake EN-EL15b batteries, Nikon says it has been alerted to other counterfeit batteries intended for its hardware, including fake versions of its EN-EL11, EN-EL10, EN-EL9a, and others.

Nikon customers who have purchased camera batteries from third-party sources can evaluate their products for signs of being counterfeit using Nikon’s guide. Indications may include font differences in the logo and text on the battery and the possible inclusion of the battery model number on the front of the batteries.

B&H Photo encourages its customers to recycle the EN-EL15b batteries they received from the retailer. These customers will receive free authentic replacement batteries from B&H, which will send both order processed and shipment emails to the customers.

Articles: Digital Photography Review (dpreview.com)

 
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Kipon shares new details of upcoming 12mm F2.8 lens for Fujifilm X-mount cameras

29 May

Kipon has shared new details about an upcoming 12mm F2.8 manual wide angle lens for APS-C camera systems.

The Ibegon 12mm F2.8 lens is being sold under the Kipon name, but its optical formula was designed by the German IB/E Optics. Its optical construction consists of 12 elements in nine groups and it features a seven-blade aperture diaphragm. It has a minimum focusing distance of 15cm (approximately 6in) and an aperture range between F2.8 and F22.

Blurry MTF charts provided by Kipon.

Currently, the product page only mentions availability for Fujifilm X mount camera systems, but Kipon previously teased at CP+ 2014 that it would be available for MFT, Sony E and EOS M mounts as well. Kipon hasn’t shared specific pricing information, but says it plans to ship the lens starting September 2019.

Kipon hasn’t shared specific pricing information, but says it plans to ship the lens starting September 2019.

Articles: Digital Photography Review (dpreview.com)

 
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