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Posts Tagged ‘Announces’

DJI announces the Ronin 4D, the world’s first 4-axis cinema camera with 8K/75p recording, Raw capture, LiDAR AF and more

20 Oct

DJI has kicked off its string of announcements with the Ronin 4D, a new—and arguably revolutionary—cinema camera system that combines a cinema camera with four-axis image stabilization, LiDAR focusing and wireless transmission to create the ultimate all-in-one shooting experience.

The DJI Ronin 4D attempts to create an ‘integrated cinematography solution,’ in DJI’s own words. At the heart of the Ronin 4D is CineCore 3.0, a proprietary chipset DJI is calling ‘its most powerful cinematic imaging platform to date.’ According to DJI, this system can capture internal 8K Raw video ‘with precise color reproduction, advanced assistive functions with a high-performance AI engine, and multi-link monitoring and control with low-latency image processing.’

To pair with the new chipset is a pair of new full-frame (36mm × 24mm) Zenmuse X9 gimbal camera systems, available in 8K and 6K versions. Both the X9–8K and X9–6K will be able to record Apple ProRes 422 HQ and ProRes RAW, as well as your standard H.264 codec. The Zenmuse X9–8K tops out at 8K/75fps while the X9–6K tops out at 6K/60fps with the option to get 120 fps footage at 4K resolution.

Zenmuse X9 cameras feature interchangeable lens mounts, but will be available at launch with options for its proprietary DL mount and Leica M mount lens systems. DJI says it should also work, at least in theory, with ‘other mounts with short-flange focal distances,’ but doesn’t elaborate on whether or not it will be offering any other interchangeable mounts at this time.

The sensor inside the X9–8K and X9–6K offers dual-native gain and can capture ‘over 14 stops of dynamic range.’ There are also nine built-in physical ND filters that can be adjusted from ND2 to ND512 for times when you need to reduce the amount of light hitting the sensor. Footage captured with the new Zenmuse X9 camera systems will be processed by DJI’s Cinema Color System, which it says ‘delivers natural skin tones and enables effortless tonal consistency across a project when using different cinema cameras.’

A comprehensive list of recording specs for the Zenmuse X9-8K camera system.

Moving onto the four-axis gimbal, DJI says the Ronin 4D ‘has been designed with an innovative industry-first active Z-axis to eliminate vertical camera shake effectively.’ DJI has also taken inspiration from its drone lineup to add a set of downward-facing ToF sensors, as well as forward and downward dual-visual sensors, a built-in IMU and a barometer to achieve the best stabilization possible.

The Ronin 4D will feature three different autofocus modes: manual focus, autofocus and a new Automated Manual Focus (AMF) mode. The latter two modes use the onboard LiDAR Range Finder, which casts over 43,200 points as far as 10M (33ft) to locate and track subjects in situations where traditional AF might not work due to the lack of light. The unique AMF mode will track subjects and turn the focus wheel during recording, with the option for the camera operator to jump in and manually pull focus when needed. To help in manual focus and AMF modes, there will be LiDAR Waveform available on the monitor to help cinematographers ‘locate focus points and pull focus with extreme precision.’

Once again taking inspiration from its line of drones, DJI has developed an all-new O3 Pro transmission technology that can output 1080p/60fpsd video to remote monitors via the 4D Video Transmitter. DJI says the transmission range is roughly 20,000 feet and notes the video feed is AES 256-bit encrypted for end-to-end privacy. The system uses 2.4GHz and 5.8GHz bands, as well as the DFS frequency band, which DJI says ‘significantly improv[es] stability and anti-interference performance, even in crowded signal environments and locations that feature complex architectural structures.’

While third-party monitors can be used, DJI is also offering a new 7” wireless monitor with 1,500 nits of brightness and a built-in gyro that effectively turns the monitor into a motion controller for the Ronin 4D camera system. The High-Bright Remote Monitor includes an integrated microSD card slot for 1080p/60fps proxy recording and connects with a slew of accessories, including the Ronin 4D Hand Grips, DJI Master Wheels, DJI Force Pro and the new DJI Three-Channel Follow Focus. Multiple monitors can be used at once and customized independently to fit the production’s needs.

Video can be recorded to media three different ways: to SSD over USB-C, to CFexpress Type-B cards via the internal card slot and directly to DJI’s proprietary PROSSD 1TB SSD, which DJI claims ‘delivers the best performance and highest stability for internal recording at maximum resolution and frame rate.’ The Ronin 4D has built-in microphones capable of recording two-channel 24-bit audio, but also has two 3.5mm ports on the body as well as the option to add two XLR ports via the Expansion Plate for further input options.

The Ronin 4D uses the same TB50 Intelligent Battery used by DJI’s Ronin 2 and Inspire 2, which offers up to 2.5 hours of shooting time. Below is the full launch event video:

The 6K version of the DJI Ronin 4D will be available for $ 7,199 in December 2021. It will includes the main body, a Zenmuse X9–6K gimbal camera, a LiDAR Range Finder, a High-Bright Main Monitor, Hand Grips, a Top Handle, TB50 Intelligent Battery and a carrying case. The 8K version of the DJI Ronin 4D will be available for $ 11,499 ‘at a later date’ and will include the Zenmuse X9–8K Gimbal Camera as well as a PROSSD 1TB. The 4D Video Transmitter, High-Bright Remote Monitor and DJI PROSSD 1TB will also be available to purchase separately.

You can find out more about the DJI Ronin 4D on DJI’s website and download sample footage on DJi’s dedicated download page.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron Announces an Eye-Catching Travel Zoom, the 35-150mm f/2-2.8 for Sony

02 Oct

The post Tamron Announces an Eye-Catching Travel Zoom, the 35-150mm f/2-2.8 for Sony appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron announces the 35-150mm f/2-2.8 zoom lens

Tamron has unveiled a uniquely versatile zoom lens, the 35-150mm f/2-2.8 Di III VXD for Sony E-mount cameras.

Perfect for travel and other on-the-go photographers, the lens features an impressive focal length range, spanning from wide-angle (35mm) through standard (50mm) to telephoto (150mm) focal lengths. At the wide end, capture beautiful landscapes, architectural scenes, and environmental portraits; in the middle, shoot tighter landscapes, portraits, and street scenes; toward the end, capture headshots, architectural details, and even the occasional bird or animal.

But the most impressive feature of the Tamron 35-150mm lens is not its focal length, but its aperture range:

f/2 at 35mm, narrowing to f/2.8 by 150mm, in what Tamron is billing as the “world’s first mirrorless zoom lens with a maximum wide-open aperture of f/2.”

It feels groundbreaking. Even versatile f/2.8 zooms are hard to come by, yet Tamron’s 35-100mm takes this a step farther, guaranteeing tremendous low-light performance at the wide end (and a respectable low-light performance at 150mm, too). And Tamron promises another wide-aperture benefit: “enhanced, beautiful bokeh…even on the wide-angle end of the lens’s focal range.”

Image quality will be top-notch, according to Tamron, “[t]hanks to the latest optical design featuring four LD (Low Dispersion) and three GM (Glass Molded Aspherical) lens elements optimally arranged.” Expect outstanding sharpness at every focal length, both in the image center and in the corners, ideal for detailed landscape photography, architectural photography, and even commercial work.

Tamron is pushing the 35-150mm as a “travel zoom,” and the wide maximum aperture and versatile zoom range ensures that the lens will satisfy even the most demanding of travel shooters. It’s compact, too, especially for an f/2.8 (and f/2) lens, and Tamron’s VXD focusing motor offers fast focusing, useful for those travel photographers who enjoy photographing action – or for sports and action photographers more generally.

Unfortunately, a pro-level, all-in-one zoom lens doesn’t come cheap, though the $ 1899 USD price tag is reasonable given the outstanding feature set. The lens is currently available for preorder, and you can expect a ship date toward the end of October, though Tamron does note that, “[d]ue to the current global health crisis, the release date or product supply schedule could change.” 

Regardless, if you’re interested in a powerful zoom lens for travel photography, landscape photography, and so much more, check out the Tamron 35-150mm f/2-2.8.

Now over to you:

What do you think of this new lens from Tamron? And what do you think of the price? Will you consider purchasing it? Share your thoughts in the comments below!

The post Tamron Announces an Eye-Catching Travel Zoom, the 35-150mm f/2-2.8 for Sony appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Canon Announces the EOS R3: Dual Card Slots, 30 FPS, and 6K Video

25 Sep

The post Canon Announces the EOS R3: Dual Card Slots, 30 FPS, and 6K Video appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon announces the EOS R3 mirrorless camera

Last week, Canon launched its EOS R3, a sports-centric mirrorless model billed as “the company’s most technologically advanced full-frame mirrorless camera.”

The EOS R3 has generated plenty of hubbub, and rightfully so; on spec sheets, it outclasses the (already formidable) action capabilities of the EOS R5 and the EOS R6. The EOS R3 should even give Canon’s flagship DSLR, the 1D X Mark III, a run for its money, though Canon has deliberately refrained from naming the EOS R3 as the 1D X Mark III’s mirrorless twin. Instead, the company claims that the EOS R3 “bridges the gap between the immensely popular EOS R5 and the world-renowned Canon flagship EOS-1D X line,” which leaves open a spot for Canon’s true mirrorless flagship, the (presumed) EOS R1. 

Of course, the EOS R1 won’t debut until 2022 at the earliest, and in many ways, the capabilities of the EOS R3 make you wonder why an action-ready EOS R1 is even necessary; if the EOS R1 sits above the EOS R3, what could it possibly offer beyond the R3’s standout features?

And indeed, the EOS R3 is a standout. You get the expected professional features: top-notch weather sealing (“equivalent to EOS-1D camera models,” according to Canon), an in-built body grip, and dual card slots, perfect for sports and other action shoots. Thanks to Canon’s new 24 MP backside illuminated sensor, you’ll see improved high-ISO performance, perhaps even a stop or two better than the EOS R6, Canon’s most impressive low-light performer to date.

But you also get additional class-leading features. Autofocus is outstanding, bolstered by a whopping 1053 AF points plus a newly developed automobile and motorcycle AF. Then there’s the much-talked-about Eye Control AF, which is simply cool, no matter its final performance; look toward the rightmost subject and your camera will focus right, look toward the leftmost subject and your camera will focus left. There’s even a fully articulating screen, which allows for the low-angle compositions and smooth video monitoring appreciated by professionals.

Canon EOS R3 with a fully articulating screen

Action photographers will love the 30 frames-per-second continuous shooting (via the electronic shutter), and the 5.5 stops of in-body image stabilization will improve handheld photography (Canon promises “the world’s most effective image stabilization”).

While the Canon EOS R3 has been teased as a powerful stills camera, its video capabilities are certainly impressive. You get 6K/60p and 4K/120p shooting, along with all the standard video features (e.g., Canon Log, focus peaking, etc.). 

Is the Canon EOS R3 the best mirrorless camera currently available? That’s tough to say, especially when faced with more detail-focused cameras such as the Sony a7R IV, the Sony a1, and the Nikon Z7/Z7 II. But it’s certainly impressive, and if you can afford the $ 6000 USD cost, the EOS R3 is currently available for preorder. 

The cameras will begin shipping in November, so if you’re after one of the best action models on the market, then take a look!

Now over to you:

What do you think about the Canon EOS R3? Is it everything you hoped for? Is it missing any features you would’ve appreciated? Share your thoughts in the comments below!

The post Canon Announces the EOS R3: Dual Card Slots, 30 FPS, and 6K Video appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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GoPro announces Hero10 Black with new chip, better performance and improved usability

16 Sep

Precisely one year ago, GoPro announced the Hero9 Black action camera. Today, GoPro has announced its successor, the Hero10 Black. While GoPro’s latest action camera looks familiar, a new GP2 chip inside results in significantly improved performance.

With its GP2 chip, the Hero10 Black features double the performance frame rates compared to 2020’s Hero9 Black. The increased processing power has other benefits. The Hero10 can upload a video to your phone or the cloud 30 percent faster than the Hero9. The Hero10 can plug directly into your smartphone for even faster uploads through GoPro’s Quik app, something not possible on the Hero9. The Hero9 introduced a front screen, although it was limited by poor framerate. Thanks to the GP2, the front display now runs at 30 frames per second despite being the same display.

Increased processing power gets more out of the 23.6MP image sensor. The Hero9 allowed users to pull 12MP still images from 4K 4:3 video. The Hero10 instead grabs 19.6MP stills from 5.3K 4:3 video. The Hero9 was limited to 5K 16:9 video, where the Hero10 records 5.3K 16:9 video, resulting in an additional megapixel when grabbing stills.

The GP2 chip helps with video framerates as well, which is perhaps the biggest boost offered by the increased processing power. The Hero10 Black records 5.3K/60p, 4K/120p and 2.7K/240p video. The Hero9 recorded 5K/30p, 4K/60p and FHD video at 240 frames per second.

Video is not only higher quality and faster, but it’s also more stable thanks to the inclusion of new HyperSmooth 4.0 stabilization software. The GoPro Hero10 includes three levels for its stabilization: off, standard, and boost. Boost results in cropping but promises the most stable footage possible. Standard doesn’t crop but won’t be quite as smooth as the boost setting.

The Hero10 uses the same batteries as the Hero9, but with higher-res video at faster frame rates, it does drain faster, per The Verge. During hands-on time, reviewer Becca Farsace investigated GoPro’s claims of improved tone mapping and noise reduction from the GP2 chip. Farsace found that low-light performance is improved.

While the GoPro Hero10 Black is available now for $ 499 ($ 399 with an annual GoPro subscription), some new features are being added on November 16, including Max lens mod support, additional resolutions, 24fps at all resolutions and GoPro’s SuperView lens at 5.3K at 30, 25 and 24fps. For more information, visit GoPro.

Articles: Digital Photography Review (dpreview.com)

 
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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.


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The UK’s largest news agency announces partnership with Sony

23 Aug

The largest national news agency in the United Kingdom and Ireland, PA (formerly known as the Press Association), has announced a deal with Sony to have its photographers shoot with Sony cameras and lenses.

PA was founded 153 years ago, in 1868, and its parent company is PA Media Group Limited. PA Media Group Limited is a private company owned by 26 shareholders that are primarily UK-based newspapers, like the Daily Mail.

PA has over 90 staff photographers and video journalists working in the UK and Ireland, and the process of switching them all over to Sony’s full-frame Alpha mirrorless cameras and Cinema cameras, like the FX3, has begun.

Sony UK writes, ‘With developments in the quality of still and video technology and specifically the introduction of Sony’s full frame silent shutter mode and remote capture it has meant that journalists and photographers have been able to adapt and shoot in situations not possible before – for example silently during broadcast – a key requirement for official engagements, where most recently the Sony Alpha 9 II has been used. Remote shooting is becoming a more common requirement, so being able to control cameras and send images quickly and efficiently to the newswire, is key for success. Along with a close working relationship with the Sony UK Pro team, it is for these reasons that Sony imaging kit was selected as the preferred choice.’

Beyond Sony A9 II and Sony FX3 cameras, additional full-frame cameras will be used. Cameras will be paired with a wide range of Sony E-mount lenses, including several G Master models, like the FE 24-70mm f/2.8 GM, FE 70-200mm f/2.8 GM OSS, FE 135mm f/1.8 GM and FE 400mm f/2.8 GM OSS.

PA members will be receiving their kit personally from Sony, along with product setup support and regular training. After all, some photographers have likely been working with non-Sony equipment for a long time, and there will probably be an adjustment period.

‘We are extremely honored to announce this collaboration with PA Media, the largest press agency in the UK and Ireland. We are incredibly proud to be working alongside them to deliver best in class photography and videography for news and sports to their clients,’ said Yasuo Baba, Director Pro Business, Sony Europe, ‘The partnership and on-going relationship will not only help us develop our camera system further but allow us to better serve their professional photographers and video journalists in future, giving them the opportunity to capture, transmit and deliver imagery in ways they never could before.’

Martin Keene, Group Picture Editor at PA Media Group, added, ‘Sony’s silent shutter, superb lenses and brilliant sensors, along with the relationship that we have built-up with them over the past few years made the switch an easy choice.’ Keene also discussed the support PA has received from Sony as a reason for the switch. Keene added, ‘It’s a big investment, but the opportunity to have all of our team using the same brand new, state-of-the-art kit is both rare and really worthwhile, and will make a real difference to the quality of the pictures that our customers see.’

This news from the UK and Ireland comes just over a year after The Associated Press announced that it partnered with Sony to exclusively provide its visual journalists with Sony camera gear. The AP’s undertaking was massive, including journalists in more than 250 locations across 100 countries being supplied with Sony cameras, lenses and accessories. Last July, the AP said, ‘A wide variety of Sony’s imaging solutions products will begin delivery immediately, including the full-frame mirrorless Alpha cameras, FS series professional video cameras and an assortment of Sony’s 57 E-mount lenses including G Master models.’

At the time of AP’s big move, we interviewed J. David Ake, Director of Photography at The Associated Press, to discuss the switch to Sony equipment. To learn more about the switch, including what motivated the AP’s partnership with Sony, read the full interview.

It wasn’t long ago that photojournalism was dominated by Canon and Nikon DSLR cameras. How things have changed in a short period.

Press release:

SONY BECOMES KEY CAMERA SUPPLIER FOR PA MEDIA GROUP

Sony Europe announces partnership making Sony supplier of Imaging kit for PA Media Group’s (formerly the Press Association’s)still photographers and video journalists.

With over 90 staff photographers & video journalists working for PA, based in the UK and Ireland, the process for switching has begun and kit lists are made up of Sony’s full-frame mirrorless Alpha™ camera series, includingthe Cinema Line Camera FX3. These will be paired with a broad selection from Sony’s E-mount lenses including several G Master™ models – FE 24-70mm F2.8GM, FE 70-200mm F2.8 GM OSS, FE 135mm F1.8GM and the FE 400mm F2.8GM OSS. The PA team members have been receiving their kit personally along with a product setup support from the Sony UK Pro team.

Being the largest press agency in the UK and Ireland, the PA team providesimages from key events throughout the year including major annual sporting events through to the biggest news stories and momentous official events and engagement.

With developments in the quality of still and video technology and specifically the introduction of Sony’s full frame silent shutter mode and remote capture it has meant that journalists and photographers have been able to adapt and shoot in situations not possible before – for examplesilently during broadcast – a key requirement for official engagements, where most recently the Sony Alpha 9 II has been used. Remote shooting is becoming a more common requirement, so being able to control cameras and send images quickly and efficiently to the newswire, is key for success. Along with a close working relationship with the Sony UK Pro team, it is for these reasons that Sony imaging kit was selected as the preferred choice.

Regular training and support will also be available for the PA team to ensure that this continues, and to keep them at the forefront of what Sony imaging technology can deliver

“We are extremely honoured to announce this collaboration with PA Media, the largest press agency in the UK and Ireland. We are incredibly proud to be working alongside them to deliver best in class photography and videography for news and sports to their clients,” said Yasuo Baba, Director Pro Business, Sony Europe, “The partnership and on-going relationship will not only help us develop our camera system further but allow us to better serve their professional photographers and video journalists in future, giving them the opportunity to capture, transmit and deliver imagery in ways they never could before”

Martin Keene, Group Picture Editor at PA Media Group, said: “Sony’s silent shutter, superb lenses and brilliant sensors, along with the relationship that we have built-up with them over the past few years made the switch an easy choice.

“In addition, we have had first-class support from the Sony team in the UK to make the swap and ensure that our photographers can go out and use the kit the next day. Having both stills and video cameras from the same manufacturer simplifies the workflow and colour balance across both genres.

“It’s a big investment, but the opportunity to have all of our team using the same brand new, state-of-the-art kit is both rare and really worthwhile, and will make a real difference to the quality of the pictures that our customerssee.”

Articles: Digital Photography Review (dpreview.com)

 
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Cosina announces $825 Voigtlander Classic 50mm F1.5 lens, will be available in September

17 Aug

Cosina has revealed the release date and specifications for its new Voigtlander Heliar Classic 50mm F1.5 lens for its VM mount.

The lens’ optical design consists of six elements in three groups. Cosina says the lens, which has a single coating, has been specifically designed to showcase ‘classical reflections that are not found in modern lenses and dares to express various aberrations.’

It features an aperture range of F1.5 through F16, uses a ten-blade aperture diaphragm and has a minimum focusing distance of 50cm (20″), despite the on-lens focus markings only going down to 70cm (27.6″) for the interlocking system when used with rangefinders. Cosina says the manual focus system uses an all-metal helicons unit that ‘produces moderate torque’ and offers ‘smooth focusing.’

Below is a small gallery of black-and-white sample images, provided by Cosina:

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The lens measures 56.5mm (2.2″) in diameter by 41.9 (1.65″) long and weighs 255g (9oz). Cosina says the Voigtlander Heliar Classic 50mm F1.5 lens will start shipping in September 2021 for ¥90,000 (~$ 825).

Articles: Digital Photography Review (dpreview.com)

 
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Canon announces ambitious plans for equipment and support for pros at Tokyo 2020

20 Jul

Canon Inc. and Canon Marketing Japan Inc. have announced their plans for the upcoming Tokyo 2020 Olympic and Paralympic games. Canon will set up a photo service center for professional photographers at the Main Press Center (MPC). The MPC is where international press gathers during Tokyo 2020.

Canon’s photo service center will ensure professional photographers are well-equipped to capture iconic imagery during the games. In addition to providing Canon’s best cameras and lenses, the photo service center will offer photographers a network of service and support.

’Thus far, Canon has provided on-site support for press photographers, including camera and lens maintenance and technological support, behind the scenes at major sporting events around the world,’ Canon said. ‘The Tokyo 2020 Games are no exception—there too, Canon will apply its professional support know-how acquired over its long history to provide flexible and appropriate support for photographers and the various requests and equipment troubles they may have.’

Credit: Canon

Located at the Tokyo Big Sight Convention Center, Canon’s photo service center will be the largest photo service center during the event. Canon is a Gold Partner for Tokyo 2020, supplying still cameras and printers.

The photo service center will operate under a principle of ‘zero downtime,’ ensuring photographers won’t miss their opportunities to capture iconic moments during the games. Canon writes, ‘Canon will provide speedy maintenance service, equipment repairs and loaning of replacement equipment so that photographers can always be ready and in the best possible condition.’

Canon 1DX Mark III

Equipment on hand will include DSLR and mirrorless cameras and lenses, including EOS-1DX III and Canon EOS R5 and R6 cameras. Many lenses will be available, including Canon’s telephoto and super-telephoto optics, ideal choices for sports photography.

Spectators will be sure to see many white lenses in photographer bays and around the events. Canon’s white lenses are iconic, and their origins are traced back to the 1970s. Canon writes, ‘Canon developed the signature white of its lens barrels as a tool for photographers at international sporting events. The first such lenses* produced by the company, the FD600mm f/4.5 S.S.C. and FD800mm f/5.6 S.S.C. large-diameter super-telephoto lenses, were released in June 1976.’

Credit: Canon

White paint reflects heat better than black paint. This is especially important on large lenses, such as telephoto optics. When a lens heats up, the increasing temperatures can adversely affect optical performance.

To learn more about Canon’s services at Tokyo 2020, including Canon’s robotics, read the company’s announcement.

Articles: Digital Photography Review (dpreview.com)

 
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The Best Gear of 2021? TIPA Announces Its Winners

22 May

The post The Best Gear of 2021? TIPA Announces Its Winners appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

2021 TIPA World Awards

The Technical Image Press Association (TIPA) has released its 2021 World Awards recipients, celebrating the best cameras, lenses, and other photography gear released over the past year.

Hailed as the “most coveted photo and imaging awards worldwide,” TIPA aims to “both recognize and honor [photography] industry companies and their products.” Winners are chosen by TIPA member magazine representatives, who vote for class-leading gear across dozens of categories, including Best APS-C Camera (Entry-Level, Advanced, and Expert), Best Tripod, Best Telephoto Zoom Lens, and much more. 

All the usual suspects took prizes, with Sony grabbing an impressive six awards (including Best Full Frame Professional Camera, Best Photo/Video Camera (Expert), and Best Photo Smartphone). Sigma snagged four awards, Canon and Nikon each snapped up three, while Fujifilm and Tamron took two. 

Olympus was notably absent for the second year running, but Pentax made the list – thanks to its K-3 Mark III – for the first time since 2015. 

While the TIPA awards can only reveal so much, this year’s awardees do seem representative of the broader camera world – where Sony, Canon, and Nikon dominate headlines, Olympus and Panasonic cater to a niche audience, and third-party manufacturers such as Tamron and Sigma offer highly respected alternatives to Canon, Sony, and Nikon glass. 

In fact, out of nine lens awards, six were handed to third-party lens manufacturers. And the trend is hardly new. Last year, six out of eleven lens awards went to third-party manufacturers, and the year prior saw six out of twelve. It highlights the outstanding products offered by “optics-first” companies such as Tamron, Sigma, and Laowa. 

Below, I’ve included the full list of awards and the corresponding winners. Give it a read – and once you’re done, leave a comment. Did any equipment deserve to be awarded that was skipped? What do you think of TIPA’s picks? Share your thoughts!

The TIPA World Awards 2021 winners

  • Best APS-C Camera (Entry-Level): Canon EOS M50 Mark II
  • Best APS-C Camera (Advanced): Fujifilm X-S10
  • Best APS-C Camera (Expert): Pentax K-3 Mark III
  • Best Full Frame Camera (Advanced): Nikon Z6 II
  • Best Full Frame Camera (Expert): Nikon Z7 II
  • Best Full Frame Professional Camera: Sony a1
  • Best Photo/Video Camera (Advanced): Sigma fp L
  • Best Photo/Video Camera (Expert): Sony a7S III
  • Best Medium Format Camera: Fujifilm GFX 100s
  • Best Prime Wide Angle Lens: Laowa 15mm f/4.5 Zero-D Shift
  • Best Prime Standard Lens: Sony FE 50mm f/1.2 GM
  • Best Prime Telephoto Lens: Canon RF 600mm f/11 IS STM
  • Best Wide Angle Zoom Lens: Nikon Nikkor Z 14-24mm f/2.8 S
  • Best Standard Zoom Lens: Tamron 17-70mm f/2.8 Di III-A VC RXD
  • Best Telephoto Zoom Lens: Tamron 70-180mm f/2.8 Di III VXD
  • Best Ultra-Telephoto Zoom Lens: Sigma 100-400mm f/5-6.3 DG DN OS | Contemporary
  • Best Portrait Lens: Sigma 85mm f/1.4 DG DN | Art
  • Best Macro Lens: Sigma 105mm f/2.8 DG DN Macro | Art
  • Best Vlogger Camera: Sony ZV-1
  • Best Professional Video Camera: Panasonic Lumix DC-BGH1
  • Best Fine Art Printing Solution: Hahnemühle Print – Protect – Authenticate Product Range
  • Best Photo Printer: Canon imagePROGRAF PRO-300
  • Best Imaging Software Expert: Zoner Photo Studio X
  • Best Imaging Software Professional: DxO PhotoLab 4
  • Best Lighting Technology: Profoto AirX
  • Best Portable Flash: Godox Pocket Flash AD100Pro
  • Best Tripod: Vanguard VEO 3GO series
  • Best Tripod Head: Gitzo Ball Head Series 4
  • Best Gimbal System: Manfrotto Fast Gimboom and Gimbal series
  • Best Enthusiast Photo Monitor: ViewSonic VP2768a
  • Best Professional Photo Monitor: LG UltraWide Thunderbolt 4
  • Best Professional Video Monitor: LG UltraFine OLED Pro
  • Best Photo Smartphone: Sony Xperia 1 III
  • Best Power Accessory: NITECORE SCL10 2-in-1 Smart Camera Light & Power Bank
  • Best Video Accessory: RØDE Wireless GO II
  • Best Photo Accessory: Hoya PROND GRAD Circular Graduated ND Filters
  • Best Retail Finishing System: CEWE Photocenter
  • Best Photo Lab: WhiteWall Room View
  • Best Photo Service: CEWE Photo Calendar A2 Gold Edition
  • Best Imaging Computer: Asus ZenBook Pro Duo 15

The post The Best Gear of 2021? TIPA Announces Its Winners appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Sigma Announces the “Reborn” 35mm f/1.4 Art for E-Mount and L-Mount

30 Apr

The post Sigma Announces the “Reborn” 35mm f/1.4 Art for E-Mount and L-Mount appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Sigma announces the "reborn" 35mm f/1.4 for E-mount and L-mount

Earlier this week, Sigma announced its latest lens, the 35mm f/1.4 DG DN Art for L-mount and Sony E-mount cameras. 

It’s a redesign of Sigma’s popular 35mm f/1.4 DG HSM Art lens, but “reborn for mirrorless and empowered through Sigma’s [latest] technology.” Specifically, you can expect superior optical performance compared to the original 35mm f/1.4, especially in terms of bokeh quality and aberration reduction; Sigma also promises “fast and quiet AF,” plus “a professional feature-set” packed into “a compact body.”

I’m a fan of the Sigma Art line, but I’ve been frequently frustrated by the size and heft of the lenses. Fortunately, the 35mm f/1.4 addresses these problems. Sigma rates it as “significantly smaller and lighter than the existing 35mm f/1.4,” and while I wouldn’t go that far (it’s about 0.6 in/15 mm shorter and 0.7 oz/20 g lighter), the lens should balance better on Sony mirrorless cameras – especially Sony APS-C models – than its predecessor. 

Above, I mentioned the improved optical performance on the new 35mm f/1.4. Sigma’s anti-flare and anti-ghosting technology, as well as low dispersion elements designed to combat aberrations, guarantees superb clarity even in tricky shooting conditions. And you can expect improvement to the (already impressive) bokeh, thanks to the 11 aperture blades, compared to 9 on the previous version.

Sigma 35mm f/1.4 lens announcement

Interestingly, Sigma has added an aperture ring to the redesigned 35mm. You have the option to adjust the aperture via the camera dials, but for those who prefer a more tactile shooting experience, manual aperture selection is always an option. The lens is also dustproof and splashproof, so the 35mm f/1.4 can be used successfully for outdoor event photography, street photography, and even landscape work. And while I haven’t had the opportunity to hold the 35mm f/1.4 in my hands, I’m confident that it, like all of Sigma’s Art lenses, can take a significant beating.

The Sigma 35mm f/1.4 DG DN Art should appeal to plenty of photographers, especially portrait shooters in need of stunning background bokeh in a portable (and inexpensive) package, street photographers after a wider focal length, and event photographers looking for stunning optics and a fast maximum aperture. But I can also see the 35mm f/1.4 working as a travel lens, an architectural lens, and even a landscape lens.

The brand-new Sigma 35mm f/1.4 DG DN Art is currently available for preorder, and you can grab it for just $ 899 USD. Expect the lens to start shipping in May.

Now over to you:

Are you impressed by the Sigma 35mm f/1.4? What do you think of it? Have you used the older version, and how do you think the new version will measure up? Share your thoughts in the comments below!

The post Sigma Announces the “Reborn” 35mm f/1.4 Art for E-Mount and L-Mount appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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