RSS
 

Posts Tagged ‘affordable’

Fujifilm Announces the Affordable X-T30 II and the Medium Format GFX 50S II

03 Sep

The post Fujifilm Announces the Affordable X-T30 II and the Medium Format GFX 50S II appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Fujifilm announces the X-T30 II and the GFX 50S II

Fujifilm has launched two powerful new mirrorless cameras: the X-T30 II, an incremental upgrade to the popular X-T30, and the GFX 50S II, successor to the GFX 50S.

What do these two cameras offer? Let’s look at each option in turn, starting with:

The new Fujifilm X-T30 II

Fujifilm’s original X-T30 is known for its compact size and retro design, plus its capable stills and video performance for all-around and hybrid shooters. As suggested by its name – the X-T30 II rather than the X-T40 – the new model brings several improvements to its predecessor without a major revamp.

Like the X-T30, the X-T30 II features a powerful 26 MP APS-C sensor, promising excellent image quality in a compact package. Fans of the film aesthetic will appreciate the X-T30 II’s new film simulations, Eterna Bleach Bypass and Classic Neg, which add to the X-T30 II’s retro functionality and give photographers improved in-camera flexibility. 

Speaking of improved flexibility, while the X-T30 focuses in low-light environments of -3 EV, the X-T30 II pushes this to -7 EV – perfect for photographers who frequently shoot at night or in lightless indoor scenarios. And while core autofocus capabilities on the two cameras are identical, Fujifilm guarantees upgraded subject tracking on the X-T30 II, useful for street photography, event photography, and more.

Photographers who frequently compose and/or review images via the LCD screen will appreciate a new display – at 1.62M-dots versus the X-T30’s 1.04M-dots – though the electronic viewfinder remains the same 2.36M-dot resolution. Personally, I find the lack of an EVF upgrade disappointing, but the X-T30/X-T30 II viewfinder display is certainly usable even if it comes up short compared to the competition.

Videography capabilities on the X-T30 II mirror that of its predecessor, with one significant exception: You now get an ultra-slow-motion mode, featuring HD quality at a whopping 240 frames per second for what Fujifilm is billing as “cinematic style results.”

Overall, the X-T30 II upgrades are minor, and if you already own the X-T30, grabbing the X-T30 II makes little sense unless you’re entranced by the -7 EV AF capabilities. That said, for consumers choosing between the X-T30 and the X-T30 II, the higher resolution LCD, improved autofocus, and the slow-motion video mode are worthwhile additions to the newer model, plus the X-T30 II is impressively affordable, even compared to the X-T30 – at just $ 999 USD (including a 15-45mm kit lens), it’s only $ 100 USD more than the X-T30. So if you like the sound of the upgrades and can afford to spend a little extra, the X-T30 II is a great choice.

The new Fujifilm GFX 50S II

Fujifilm is the master of relatively compact, relatively affordable medium format cameras for enthusiasts and professionals, and the GFX 50S II further develops this already formidable lineup, promising outstanding 51 MP image quality, a DSLR-like design, plus a handful of improvements for enterprising photographers.

The GFX 50S II offers 6.5 stops of in-body image stabilization for easy handholding (the original GFX 50S lacked IBIS entirely), plus you can expect upgraded autofocus thanks in part to Fujifilm’s “advanced focus algorithms…found in the GFX 100S and the latest X-Series models.” 

And while the GFX 50S II certainly doesn’t come cheap, its $ 3999 USD price tag is eminently reasonable given the image quality, so if you’ve been eyeing medium format but haven’t managed to take the leap, perhaps now is the time.

Fujifilm’s new camera announcements: final words

The X-T30 II and the GFX 50S II may not be groundbreaking new cameras, but minor upgrades matter, as do low prices.

So if you’re after a do-anything camera with a gorgeous retro design, consider the X-T30 II, which is available for preorder and will begin shipping on October 21st.

And if medium format is your thing, take a look at the GFX 50S II, which will also ship on the 21st of October and is currently available for purchase.

Now over to you:

What do you think of these two new cameras from Fujifilm? Do either of them interest you? Do you wish for more significant upgrades? Share your thoughts in the comments below!

The post Fujifilm Announces the Affordable X-T30 II and the Medium Format GFX 50S II appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


Digital Photography School

 
Comments Off on Fujifilm Announces the Affordable X-T30 II and the Medium Format GFX 50S II

Posted in Photography

 

Researchers use iPhone 5 camera and LEGO to create affordable high-resolution microscope

02 Jul

There are millions of old and outdated iPhones collecting dust. Researchers in Germany have found a way to turn some of those old iPhones, specifically an iPhone 5 camera module, into affordable microscopes for young students. Using LEGO, an iPhone 5 camera, LED lighting and a modern smartphone, students can build their own microscope.

Researchers Bart E. Vos, Emil Betz Blesa and Timo Betz from Georg August University Göttingen and Munster University in Germany set out to build a high-resolution microscope that wasn’t prohibitively expensive. Toy microscopes aren’t very effective, and specialized microscopes cost a lot of money, limiting their accessibility.

The researchers said, ‘Our aim is to introduce a microscope to individual students in a classroom setting, both as a scientific tool to access the micro-world and to facilitate the understanding of fundamental principles of the optical components of a microscope in a playful and motivating, yet precise approach. By basing the design on LEGO, we aim to make the microscope modular, cheap, and inspiring.’

‘Design of the LEGO microscope. (a, b) A photograph and a schematic representation of the microscope, (c) the LED that illuminates the sample from below, (d) the threaded system that adjusts the focus of the microscope by moving the objective, (e) 2 objectives containing a replacement smartphone lens with a 3.85-mm focal distance (left) and a glass lens with a 26.5-mm focal distance (right), (f) the second lens consisting of 2 acrylic lenses in its holder just below the eyepiece, (g) a smartphone used as a camera by adapting the eyepiece.’ Credit: Bart E. Vos, Emil Betz Blesa and Timo Betz

The researchers used an iPhone 5 camera module, smartphone and LEGO housing to craft a high-resolution microscope. Many people already have LEGO pieces around, and iPhone 5 lenses are quite cheap to come by. The researchers found one for under $ 5. The project’s full price, without including the cost of a modern smartphone, is €102 (about $ 120 USD). There’s a bit more to it, but it’s straightforward and inexpensive. Documentation for building your own microscope is available for free.

‘Schematic overview of the light path in the microscope. The object (here depicted as an arrow) forms an inverted intermediate image in the focus of the second lens. The second lens then sends collimated light to the observer.’ Credit: Bart E. Vos, Emil Betz Blesa and Timo Betz

The hope is that the LEGO microscope will make science more accessible to children worldwide. Every child deserves the opportunity to learn about our world, including the parts of it we can’t see with the naked eye. ‘An understanding of science is crucial for decision-making and brings many benefits in everyday life, such as problem-solving and creativity,’ said Professor Timo Betz, University of Göttingen. ‘Yet we find that many people, even politicians, feel excluded or do not have the opportunities to engage in scientific or critical thinking. We wanted to find a way to nurture natural curiosity, help people grasp fundamental principles and see the potential of science.’

‘Examples of experiments conducted with the LEGO microscope. (a) Image of a sodium chloride crystal. (b) Time lapse of an osmotic shock in red onion cells. After approximately 30 s, a 1 M NaCl solution is flowed in. Subsequently, water leaves the cells, causing the cell membranes to detach from the cell walls. After approximately 5 min, distilled water is flowed in, washing away the 1 M NaCl solution, and the cells return to their original volume. (c) Time lapse of the movement of an Artemia shrimp in water. (d) Time lapse of the movement of 2 water fleas in water. The scale bars in panels a, b, and d are 100 lm.’ Credit: Bart E. Vos, Emil Betz Blesa and Timo Betz

In addition to providing the plans for free, Vos, Blesa and Betz also published a paper about the microscope project.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Researchers use iPhone 5 camera and LEGO to create affordable high-resolution microscope

Posted in Uncategorized

 

Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses

08 Mar

The post Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Nikon's future: a flagship Z camera, 8K video, and affordable lenses

Nikon will be releasing “a flagship Nikon Z-series mirrorless camera…within the year,” said Keiji Oishi, a Department Manager of Nikon’s Imaging Business Unit. The camera “is being developed with the goal of surpassing the D6.”

This comes from a recently published DPReview interview with Oishi, which touches on the past, present, and future of Nikon’s camera business, including new cameras, lenses, Nikon’s mirrorless sales success, and the pursuit of 8K recording. 

The development of a flagship mirrorless model is welcome news for Nikon fans; it firmly reinforces Nikon’s commitment to growth and innovation in the face of supply struggles and questions about the company’s viability.

While Oishi didn’t offer many details on Nikon’s upcoming flagship camera, he did claim it “will respond to the advanced needs of professionals” and will “debut a newly developed, high-resolution stacked CMOS sensor.” The term “high-resolution” is a relative one, but this could signal Nikon’s intent to compete with the upcoming Sony a1, an all-around powerhouse packing a 50 MP sensor, class-leading autofocus, and 8K/30p recording.

In other words: Nikon’s flagship model may look to satisfy more than just professional sports photographers. Were the camera to pack 45+ megapixels while offering fast autofocus and shooting speeds in the spirit of the D6, it’d be capable of capturing sports, events, portraits, and even pro-level landscapes. 

As for video:

Oishi claims that Nikon’s engineers “are considering powerful video features such as 8K that respond to the needs of all kinds of content creators and professionals.”

So while 8K video isn’t a guarantee, it’ll likely find its way into the upcoming flagship model. With the 2020 arrival of the Canon EOS R5 and the days-away release of the Sony a1, Nikon will soon be the only leading camera manufacturer without an 8K hybrid camera. And while Nikon is ostensibly a stills-centric brand, the 8K bandwagon is one that it won’t want to miss. 

So when can we expect this high-resolution, high-performance, 8K powerhouse?

Given the lack of recent leaks, don’t hope for anything before summer 2021, and fall or winter is a realistic possibility. But we’ll definitely see the camera before the year is out, assuming all goes to plan.

A few other interesting tidbits from the interview:

Nikon aims to produce lenses “with a focus on more compactness and affordability” in the hopes of “mak[ing]…lenses more accessible to more people.” This will come alongside an effort to offer an expanded lineup of APS-C Z-mount cameras. 

(Currently, Nikon only offers a single APS-C Z-mount model, the Z50.)

Nikon camera sales have “defied expectations” these last few months, especially with the launch of the Z6 II and the Z7 II. As Oishi explains, “In the last quarter, we reported record mirrorless sales, which was helped by strong performance of the Z7 II and Z6 II. We observed strong sales of new products, both mirrorless cameras and lenses.”

Oishi thinks the hot Z6 II and Z7 II sales come from DSLR holdouts; he states that “many loyal Nikon users [were] waiting on the second generation of the Z series,” and that, thanks to “the improvements we put into the second generation,” Nikon DSLR shooters have finally bought into the Z system.

This is all excellent news for Nikon fans, and while the company still has a long way to go, it’s clearly taking steps in the right direction.

Now over to you:

What do you think about Nikon’s upcoming flagship mirrorless camera? Where do you see Nikon headed over the next few years? And what affordable lenses would you like Nikon to produce? Share your thoughts in the comments below!

The post Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


Digital Photography School

 
Comments Off on Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses

Posted in Photography

 

VALOI 360 Kickstarter campaign promises affordable way to digitize film

22 Nov

A new Kickstarter campaign for VALOI 360 promises to deliver an affordable, high-quality way to digitize rolls of 35mm and medium format film.

VALOI 360, which is over halfway toward its roughly $ 74,000 USD goal, is a system of modular physical components you can use to digitize 35mm and 120mm film negatives using a digital camera. There are three main components in the 360 system. There is the VALOI 360 35mm Holder. The holder keeps 35mm film flat while allowing for a backlight to shine through. It is constructed of injection-molded plastic and has an S-curve film path to flatten the film without touching the image area.

Prototype VALOI 35mm Holder

The other holder, the VALOI 360 120 Holder, holds 120 medium format film up to 6 x 9cm frames. Like the 35mm holder, it allows light to shine through, is made of injection-molded plastic, and has an S-curve film path. Both holders also include rubber dome feet to make sure the holder sits flat on the light source underneath.

Prototype VALOI 120 Holder

The third component is the VALOI 360 Film Advancer upgrade. You place a film holder inside the Film Advancer and the advancer allows you to quickly forward to the next frame by rotating a knob. The frame and axle are made of steel and the rollers are rubber. It comes with screw-in rubber feet with long threads which can be used for leveling. As part of the Kickstarter campaign, the Film Advancer upgrade is only available alongside holders, but VALOI plans to sell it separately later.

To use the VALOI 360, you must have a digital camera (or, in a pinch, even a smartphone) and a light source. An ideal setup involves a digital camera, tripod, and a stable, color-consistent light source. The VALOI 360 holds your film flat, you capture an image of the film and if you’re digitizing a negative, you use a computer to invert and process it. There is additional information about digitizing best practices on the Kickstarter page.

Prototype VALOI 360 Film Advancer

The primary challenge that VALOI hopes to overcome with its 360 system is how to hold film flat and stable in front of a light source. This is the problem that VALOI founder, Arild, first tried to address with various prototypes. Arild used plywood, acrylics, LEGO components and more in pursuit of building something affordable and easy to use when digitizing film. He even learned how to build 3D CAD designs. Mechanical engineer Wicher van Lambalgen, VALOI co-founder, came on board to turn Arild’s ideas and early designs into a commercially viable prototype.

Assuming the campaign reaches its funding goal, by pledging €19 backers will receive the VALOI 35mm Holder. For €29, you can select the 120 Holder. The €44 pledge includes the VALOI Holder Pack, which includes both the 35mm and 120 film holders. For photographers wanting the VALOI 360 Film Advancer, you must step up to the VALOI 35mm Kit at €129 (the €139 kit includes the 120 Holder instead). A full kit with all three components is also available for €179. All pledge options include a scanning tutorial to help beginners learn how to best use the VALOI 360 system to scan their film. Products are expected to begin shipping to backers in April 2021. For full details about the VALOI 360 system and the available backer options, click here.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on VALOI 360 Kickstarter campaign promises affordable way to digitize film

Posted in Uncategorized

 

Z-CAM’s new E2-M4 is an affordable 4K Raw-shooting cinema camera with livestreaming

27 May

Chinese cinema camera manufacturer Z-Cam has revealed it’s releasing a lower-cost version of its E2 camera that seems to lack only multi-cam synchronization from the previous model but which will allow live-streaming without a computer and will cost about $ 500 less.

The Z-Cam E2-M4 has much of the same spec as the Z-Cam E2, including the ability to record Raw footage to an external recorder, a claimed 13-stops of dynamic range and 4K video (3840×1620 pixels) at 160fps with 10-bit color.

The Z-Cam website suggests the E2-M4 doesn’t offer Apple ProRes recording, but the product page claims that it does once loaded with the latest firmware and connected to an Atomos Ninja V. Recording in Z-Raw is listed though. BH also says a future update will allow the camera to support RTMP, RTPS and SRT live-streaming directly from the camera without requiring a computer. live-streaming is also supported via the camera’s Gigabit Ethernet port, which can be used to control the camera remotely.

The Z-Cam E2-M4 uses the same Four Thirds sensor format as the E2, and of course takes a range of compatible Micro Four Thirds lenses — though not all. The Z-Cam E2-M4 costs $ 1499 and is currently available to pre-order from B&H. For more information see the Z-Cam website.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Z-CAM’s new E2-M4 is an affordable 4K Raw-shooting cinema camera with livestreaming

Posted in Uncategorized

 

Affordable anamorphic: hands-on with the Sirui 50mm F1.8 1.33x

12 Apr

Affordable anamorphic: hands-on with the Sirui 50mm F1.8 1.33x

The Sirui 50mm F1.8 1.33x Anamorphic is interesting for more than a couple of reasons, but the thing that makes it immediately attractive is that at $ 700/£660 it’s a lot more affordable than almost all other proper anamorphic lenses for filmmakers using interchangeable lens camera systems.

The lens is designed for APS-C and Super 35mm sensor sizes and comes in mounts for Sony E cameras, Fujifilm X and for Micro Four Thirds models. When used with a Super 35-sized sensor we get the equivalent of a 56mm horizontal field of view, while on a Micro Four Thirds camera this converts to an approximate 75mm horizontal field of view.

On E mount

The a7R IV may not be the ideal Sony camera for shooting all types of video, but it does include an APS-C/Super 35 crop mode, which is where it produces its best quality 4K video. This cropping might be a bug bear for some videographers, but it makes the camera a good match for this lens. It’s possible to use crop mode with FHD resolution as well, but since the camera produces better FHD footage in full sensor mode, we’d recommend sticking with 4K.

However, to see the footage de-squeezed live it’s necessary to use an external monitor with that capability since the feature isn’t built into the camera.

On X mount

Offering this lens in X mount makes a lot more sense now than it would have just a year ago – Fujifilm has upped its video game considerably with the X-H1, X-T4 and new firmware for the X-T3. The Eterna mode makes nice video straight out of the camera, but we also have F-Log and decent data rates too.

The Fujifilm X-T3 doesn’t technically need the grip to shoot video, as the body had both mic and headphone ports, but the grip makes the system easier to hold with the weight of the lens on the front. As with the Sony, you’ll need an external display with an anamorphic preview feature to see the de-squeezed image in real time.

On Micro Four Thirds

Users of the Panasonic GH5 have a couple of choices over the way they use this lens. It has an Anamorphic Mode that uses the 4:3 sensor area to capture video for de-squeezing in software afterwards. As this mode uses almost the whole sensor, the final image contains 18+MP of data to work with.

When you use this mode with the Sirui 1.33x anamorphic lens the wide aspect gets de-squeezed to a 16:9 format with a higher resolution than you’d get shooting in the normal 16:9 video mode, while the in-camera de-squeeze preview feature allows us to see what we are shooting via the rear screen.

To get the wide, cinematic anamorphic look that most will be expecting you need to shoot in the normal 16:9 mode, with Anamorphic Mode switched off. Even with Anamorphic Mode off you can still use the de-squeeze preview on the rear screen and inform the IS system that you have a 1.33x anamorphic lens attached.

The GH5S can also capture anamorphic footage using its 4:3 region, however, due to the nature of its multi-aspect sensor, the resolution isn’t quite as a high as the GH5 in this mode. Like the GH5, it can also show a de-sqeezed preview of the anamorphic image in-camera.

Fit and finish

The lens is constructed from 11 elements arranged in 8 groups, and features a 10-bladed iris. It certainly isn’t big but is long and thin, and weighs more than you might expect. It feels very solidly made and is nicely finished in a semi-matte black paint.

The focus and aperture markings are shown only on the top of the lens, and distances are indicated in both feet and meters with paint sunk into engraved characters.

Front element

The front element of the lens has that characteristic square baffle opening that we often see on anamorphic lenses. As with many single focal length anamorphic lenses the squeezing element is mounted onto the front of the basic optical design of the lens.

Front element

When viewed from the front, the circular iris of the lens appears elongated into an upright oval shape. This is because we are viewing it through the anamorphic element mounted on the front of the construction. When viewed through the rear the iris is shown to be round – well, a nearly round decagon at least.

The size of the front element, and its flat design, makes it a magnet to the flare so many film makers love. The flare appears in oval rings accompanied by thin blue lines that shoot horizontally across the frame. The blue tint seen in the front element appears to be designed to enhance the blue-ness of that line.

It is easy to overdo this effect so that the flare becomes the subject rather than whatever you are shooting, so caution is advised.

Aperture and focus rings

The aperture range on offer spans F1.8-16, while the closest focus is 0.85m / 33″ which is just close enough to get a decent tight head shot. Of course the aperture ring is clickless so exposures can be adjusted during recording without disturbing the audio track. The aperture ring turns smoothly with plenty of resistance to prevent accidental rotation, and you can get from one extreme to the other via a twist of about 90°.

The focusing ring takes a twist of 143.6° and must be turned to the left to reach infinity. The ring is quite stiff and the fine ribbing on the barrel may not always be enough to get a firm grip.

Image format on APS-C

When used with a camera recording in 16:9 mode the de-squeed image works out to a ratio of about 2.35:1, similar to the classic CinemaScope look. The black letterboxes above and below help illustrate the difference between this aspect ratio and the standard 16:9 video format.

Image format on Micro Four Thirds

This is a grab from footage recorded in Anamorphic Mode on the Panasonic Lumix DC-GH5. In this mode the camera records from the whole 4:3 sensor, so the 1.33x anamorphic effect only de-squeezes to 16:9, but it is a higher resolution 16:9 format image than you’d get recording in 16:9 with a normal lens.

Shooting in 16:9 with this lens on a Micro Four Thirds camera will also result in a 2.35:1 CinemaScope aspect ratio, albeit with a longer apparent focal length than on an APS-C/Super 35 sensor.

Trademark blue flare

Here’s an example of the blue-line flare that is a characteristic of this lens when aimed close to a light source. Some people will love it, and others will find it a distraction. As with most things, moderation might be the best policy.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Affordable anamorphic: hands-on with the Sirui 50mm F1.8 1.33x

Posted in Uncategorized

 

FeiyuTech’s new 4K Feiyu Pocket camera is a more affordable clone of the DJI Osmo Pocket

02 Apr

FeiyuTech has unveiled the Feiyu Pocket, a small 4K gimbal camera that bears a very striking resemblance to DJI’s Osmo Pocket.

Externally, the Feiyu Pocket appears to be a carbon copy of the Osmo Pocket with the only noticeable differences being a lack of an expansion port (Feiyu opted for a single integrated USB-C port on the side) and a slightly larger screen compared to the Osmo Pocket (1.3in compared to 1in, respectively). Aside from the branding and those differences, the two units are essentially identical in both shape and size, complete with a 360-degree rotating head and two buttons on user-facing side for controlling the camera.

Moving onto the internals and detailed specifications, things do start to differ a bit more. Rather than the F2 lens with an 80-degree field of view on the Osmo Pocket, the Feiyu Pocket features a slightly slower F2.8 120-degree ultrawide lens. The Feiyu Pocket also uses a 1/2.5” CMOS sensor instead of the 2/3” sensor inside of the Osmo Pocket, but both cameras output 4K (3840 x 2160 pixel) video at up to 60 frames per second. The Feiyu Pocket outputs only 8.5MP stills though, compared to the 12MP stills possible with the Osmo Mobile.

As for stabilization, the Feiyu Pocket uses a similar three-axis gimbal to the Osmo Pocket, but also throws in what FeiyuTech is calling six-axis ‘hybrid image stabilization’ that appears to combine the three-axis optical stabilization as well as another three-axis digital compensation.

FeiyuTech says the batter is rated for up to 3.5 hours of runtime when capturing 4K video at 30 fps and up to 4.5 hours when shooting 1080p video at 60 fps. the internal battery is charged using the integrated USB-C port and FeiyuTech says a 10W charger will recharge the device from empty in 80 minutes. As for storage, an integrated MicroSD card slot can support cards with up to 512GB of storage.

The Feiyu Pocket offers multiple shooting modes, including a 360-degree POV all-follow mode, a motion timelapse (hyperlapse) mode, multiple auto-panorama modes, a dedicated beauty mode for selfies and an intelligent sync motion mode that will sync the gimbal with your hand movements. The Feiyu Pocket syncs with FeiyuTech’s Android and iOS app to offer liveview and controls for changing the various settings of the camera.

Despite being very similar in shape, size and specs, the Feiyu Pocket comes in at $ 249 (Adorama, B&H), a whipping $ 120 cheaper than the DJI Osmo Pocket. Y

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on FeiyuTech’s new 4K Feiyu Pocket camera is a more affordable clone of the DJI Osmo Pocket

Posted in Uncategorized

 

5 Affordable Canon Lenses For Photographing Babies And Newborns

01 Apr

It can be daunting trying to decide which lenses to buy for photographing babies and newborns, especially when you’re on a budget. Award-winning family photographer Louise Downham shares her straightforward advice on which affordable lenses are best, as well as which lenses to consider upgrading to when your budget allows: Assuming you have a full-frame sensor, the key lenses you’ll Continue Reading

The post 5 Affordable Canon Lenses For Photographing Babies And Newborns appeared first on Photodoto.


Photodoto

 
Comments Off on 5 Affordable Canon Lenses For Photographing Babies And Newborns

Posted in Photography

 

Fujifilm announces affordable XC 35mm F2 prime lens

25 Jan

Alongside the X-T200, Fujifilm has announced the Fujinon XC 35mm F2 lens. For those of you not familiar with Fujifilm’s lens names, the ‘XC’ denotes the company’s more affordable optics.

The XC 35mm F2 should pair nicely with Fujifilm’s lower-cost models, such as the X-T200 and X-T30

The XC 35mm F2 is essentially a rehoused version of the XF 35mm F2 R WR. It has a plastic mount and less-solid-feeling construction, and features neither an aperture ring nor weather sealing (the ‘R’ and ‘WR’ in the XF version’s name, respectively). However, it does feature the same optics as the XF version, so image quality should be comparable.

The difference is that this brings the XC down to a price of $ 199. The result is a much more affordable 50mm-equivalent lens for newcomers wanting to expand their photography with a prime lens. In this sense, it’s like the ‘nifty fifty’ lenses traditionally available for most DSLR systems, but in a focal length nicely suited to APS-C users.

Press Statement

[From Fujifilm’s X-T200 Press Release]

For those interested in expanding their X-T200 tool kit, the new FUJINON XC35mmF2 lens gives an equivalent to 52mm field of view on 35mm format. Weighing just 130g and measuring 46.5mm in length, this new prime lens has nine elements, including two aspherical lens elements in six groups, which work to produce sharp and crisp images with creamy bokeh. AF operation is quick and near silent thanks to the use of an internal focus system and a stepping motor, which is used to drive the focusing elements quickly and accurately.

XC35mmF2 lens: $ 199 USD ($ 259.99 CAD)

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Fujifilm announces affordable XC 35mm F2 prime lens

Posted in Uncategorized

 

The Kandao QooCam 8K is an affordable pocket-sized 8K 360-degree camera

08 Nov

360-degree cameras cover a much larger field of view than conventional cameras, which is why a high pixel count is essential for capturing good detail. Most current consumer models max out at 4K resolution, though, with 8K video reserved for bulkier high-end models that are mostly aimed at professionals.

Chinese manufacturer Kandao is now changing this, however. Today, the company has launched QooCam 8K, which it calls the ‘first pocketable 8K 360-degree camera.’

The camera uses a pair of fisheye lenses and 1/1.7” sensors to capture stills and video; it’s also capable of 16-bit DNG capture and 10-bit color for stills. It offers automated image stacking at Raw level for increased dynamic range and detail and can also record 4K video at 120 frames per second.

Kandao’s Super Steady electronic stabilization uses a 6-axis gyro to smooth video footage without the need for a gimbal and, according to the manufacturer, makes the QooCam 8K usable as an action cam.

A 2.4-inch OLED touchscreen lets you check shooting information, preview and playback footage and adjust parameters without connecting a smartphone. Footage can be edited and reframed in the dedicated QooCam App or QooCam Studio which include templates for those who are beginners in the world of 360-degree editing.

Additionally, the QooCam 8K can be used to live stream 360-degree video in 4K with in-camera real-time stitching. It is compatible Facebook, Youtube and other platforms. The
Kandao QooCam 8K 360-degree camera is now available for pre-order on the Kandao website for 599 Euros (approximately $ 660). Shipping is scheduled for December 2019.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on The Kandao QooCam 8K is an affordable pocket-sized 8K 360-degree camera

Posted in Uncategorized

 
« Older Entries