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Posts Tagged ‘Bodies’

Viltrox warns some of its X-mount prime lenses can cause damage to X-Pro3 camera bodies

13 May

Lens manufacturer Viltrox has issued a statement warning customers that a number of its X-mount lenses can damage Fujifilm X-Pro3 camera bodies.

The statement, seen below, notes that ‘it would be better not [to] use [the] Viltrox 23mm, 33mm or 85mm X-mount lenses’ with Fujifilm X-Pro3 camera systems, as it can damage the camera ‘due to the structural conflict [wherein] they will scratch a little bit against each other.

This information is backed up by reports on this DPReview forum post from Pete Richardson that notes his Viltrox 85mm lens rubs up against the lens release button on the X-Pro3 camera body, causing ‘the slightest mark on the edge of the collar surrounding the release button.’ The reason this only affects X-Pro3 camera bodies is that the lens release button sticks out ever-so-slightly further than that on the X-Pro2, as illustrated in this screenshot from CameraSize.com by DPReview reader DarnGoodPhotos:

Note how the lens release button on the X-Pro3 sticks out marginally further than on the X-Pro2.

If that is the case, the damage would be mostly cosmetic, but it’s probably best to avoid using the lenses with the camera unless you don’t mind scratching up either item.

Articles: Digital Photography Review (dpreview.com)

 
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Capture One Pro 20 update adds support for 7 new camera bodies, 6 new lenses

04 Mar

Capture One has announced an update that adds support for seven new camera bodies from Fujifilm, Nikon, Canon and Olympus as well as six new lenses from Sony, Nikon and Pentax. A handful of bugs have also been squashed along the way.

As for new camera body support, Capture One version 20.0.3 now supports the Fujifilm X-T4, Fujifilm X100V, Nikon D780, Nikon D3500, Canon EOS M100, Canon EOS M200 and the Olympus TG-6. Capture One emphasizes in its press release (embedded below) the new support for the Fujfilm X-T4, saying it is the first company to offer ‘official support’ for Fujifilm’s newest APS-C camera system.

Below is a list of the lenses the update adds support for:

  • Sony FE 24mm F1.4 GM (SEL24F14GM)
  • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 1.4X Teleconverter (SEL14TC)
  • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 2X Teleconverter (SEL20TC)
  • Nikon AF NIKKOR 24mm f/2.8D
  • Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G
  • Pentax D FA 150–450mm F4.5–5.6 ED DC AW

In addition to new camera and lens support, Capture Pro One 20 also addresses a number of smaller bug fixes across both the macOS and WIndows versions. You can find a full list of the fixes within Capture One’s release notes.

Capture One version 20.0.3 for macOS and Windows is now available in multiple versions. Capture One Pro 20 can be purchased with a perpetual license for $ 299 or as a subscription starting at $ 20.99 per month. Capture One Pro (for Sony) and Capture One Pro Fujifilm are available to purchase with a perpetual license for $ 129 or as a subscription starting at $ 9.99 per month.

Capture One has a complete list of supported cameras and lenses on its website. You can download a free 30-day trial of any version of Capture One Pro if you want to take it for a spin before buying or subscribing.

Capture One update brings first Fujifilm X-T4 support

Fujifilm’s newest flagship APS-C camera is now officially supported by Capture One 20 in a release that also brings further fixes & hardware support

COPENHAGEN, March 3rd, 2020: Capture One, the leading name in photo editing software, celebrates the release of Capture One version 20.0.3 which sees the company offer the first official support to the Fujifilm X-T4 – plus support for additional new cameras and lenses from other brands. Since 2018, Capture One and Fujifilm have enjoyed a unique collaborative relationship; working together to further develop the software, and to enable Fujifilm users to get the most out of the X-Trans sensors. This service release also includes bug fixes for Capture One 20.

Capture One offers Fujifilm photographers a suite of tools unmatched by other photo editing software, including the ability to utilize Fujifilm’s critically acclaimed and globally beloved Film Simulations such as Acros, Provia, and Classic Chrome. With Capture One, these Film Simulations are not restricted to JPEGs, but can be used with RAW files, allowing for the most powerful and flexible image processing ability, and one that is distinctly Fujifilm.

The collaboration also allows Capture One and Fujifilm to support the photographic community by providing full tailored support to Fujifilm’s newest cameras upon launch. From the moment it is released, X-T4 owners can rely on Capture One 20’s industry-leading image quality, tethering, and precise lens correction.

Unlike other RAW processors, Capture One’s camera profiles are individually measured, a process that requires the use of the camera in and out of the controlled lab in Copenhagen, where a team of specialists engage the camera in numerous different scenarios. The team then evaluates performance parameters such as color, sharpness, and noise across hundreds of images and uses that data and experience to provide a truly tailored profile, ultimately providing the best post-processing experience possible, and one that is distinctly Fujifilm.

New camera and lens support

New camera support:

      • Fujifilm X-T4
      • Fujifilm X100V
      • Nikon D780
      • Nikon D3500
      • Canon EOS M100
      • Canon EOS M200
      • Olympus TG-6

New lens support:

      • Sony FE 24mm F1.4 GM (SEL24F14GM)
      • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 1.4X Teleconverter (SEL14TC)
      • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 2X Teleconverter (SEL20TC)
      • Nikon AF NIKKOR 24mm f/2.8D
      • Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G
      • Pentax D FA 150-450mm F4.5-5.6 ED DC AW

For a complete list supported cameras, please go to: www.captureone.com/features/supported-cameras

Pricing and Availability

Capture One 20.0.3 for Mac and Windows is now available in several versions and free to current Capture One Pro 20 customers.

For new customers Capture One is committed to providing customers a choice when it comes to how they acquire their software, so Capture One Pro 20 is available for purchase, or via subscription. The perpetual license for Capture One Pro 20 is available for $ 299, with upgrade pricing from previous versions starting at [add correct price]. Capture One Pro (for Sony) and Capture One Pro Fujifilm are available for $ 129.

For those who prefer subscription models, Capture One Pro 20 is available for plans as low as $ 20.99 per month, and Capture One Pro (for Sony) and Capture One Pro Fujifilm subscription plans start at $ 9.99 a month.

For a complete list of all products and licensing options, please visit: www.captureone.com/store to learn more.

A 30-day fully-featured free trial of Capture One 20 is available. Download the trial here: www.captureone.com/download

Articles: Digital Photography Review (dpreview.com)

 
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Canon offers new developer kits for EOS bodies and PowerShot SX70 HS

05 Jan

Canon users who want to develop applications for their camera will be able to do so with new expanded SDK and API kits just announced by the company. The release updates the existing EOS Digital SDK (Software Development Kit) and introduces a new Camera Control API (Application Programming Interface) that is compatible with the new PowerShot SX70 HS bridge camera.

The kits allow users to develop their own methods for triggering and controlling some settings of compatible cameras, and in the case of the SX70 HS for controlling the powered zoom lens. As the new Camera Control API ‘features an agnostic operating system’ it can be operated from almost any platform, so will be compatible with a wide range of control devices from smartphones to desk top computers. The current ED SDK is only compatible with Windows and Mac environments.

The new version of the ED SDK, that adds the SX70 HS to the list of compatible cameras, is available now on the Canon Developers Website, while the Camera Control API will be released in March.

Press release:

Canon Europe Announces New SDK and API Package for Developers and Integrators

Power your enterprising vision with Canon PowerShot SX70 HS,
the first product supported in 2019

Canon Europe, a world leader in digital imaging solutions, announces the release of its new camera API package, offering a range of resources to developers. The combined EOS Digital software development kit (SDK) and all-new Camera Control API (CCAPI) create unique opportunities for developers and software engineers to take advantage of select Canon cameras and lenses, launching with the PowerShot SX70 HS.

Many developers have already benefited from Canon SDKs, enabling them to integrate Canon cameras and lenses in their solutions and control them remotely, wired via USB. Such applications include photo booths, robotic / automated units, event photography and recording, mass portrait / passport and photogrammetry systems.

The EDSDK benefits will allow users to control Canon cameras remotely from a Mac or PC and use the same code across all compatible Canon cameras. To take advantage of multi-platform support on select models[1] for fast development, the new CCAPI features an agnostic operating system, allowing wireless usage in any environment, such as Windows, Mac, Android, iOS or Linux.

Key EDSDK/CCAPI functions include:

  • Detecting, connecting/disconnecting the camera
  • Checking and changing camera settings, including time
  • Remote shooting
  • Downloading/erasing images, formatting cards

“We are delighted to be expanding our EOS Digital SDK to the PowerShot series[2] and provide a tool that enables control of the camera and its power zoom remotely”, said Yuko Tanaka, ITCG Product Marketing Director. “In addition, the new Camera Control API is based on Internet Protocol, making it compatible with all operating systems”.

The PowerShot SX70 HS is Canon latest premium bridge camera, that delivers a truly portable and versatile shooting experience. The camera features a powerful 65x optical fixed lens zoom, equivalent to a 21–1365mm focal length. It also has DSLR-style looks and handling, a 7.5cm Vari-Angle LCD screen, 20.3 Megapixel sensor and 4K Ultra High Definition video. The PowerShot SX70 HS is an ideal all-in-one camera, capable of handling all types of shooting scenario, without the need to carry multiple lenses.

Camera API Package Availability
The camera API package is a release driven by business users’ feedback and is part of Canon’s commitment to deliver convenient solutions to developers and integrators. The EOS Digital SDK is available for immediate download at www.didp.canon-europa.com.

The Camera Control API will be available from March 2019 via the Canon developer’s website.

For more information on the Canon PowerShot SX70 HS, please visit:
https://www.canon-europe.com/cameras/powershot-sx70-hs/

Articles: Digital Photography Review (dpreview.com)

 
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Nikon FTZ adapter lets you use over 360 F-mount lenses on Z-series bodies

26 Aug

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One question many people have when a new camera system is announced is ‘but will my old lenses work?’ In the case of the Nikon Z system, the answer is ‘yes’ in the vast majority of cases, with no reduction of image quality or performance, according to the company.

With the optional FTZ adapter over 90 AF-S lenses will be fully compatible with the Z 7 and Z 6. They can take advantage of the camera’s in-body image stabilization and, if you’re using a VR-equipped lens, it will have 5-axis stabilization. (Non-VR lenses will now have 3-axis VR.)

Take an in-depth look at the FTZ’s functionality and our initial performance impressions

The adapter supports the silent shooting and focus peaking functions of the Z-series cameras and, like the Z 7 and Z 6, it’s also weather-sealed.

The FTZ adapter will ship at the end of September for $ 249. When purchased with a Nikon Z 6 or Z 7 through December 31 2018, Nikon will offer a $ 100 discount.

Press Release

NIKON RELEASES THE NIKKOR Z 24-70mm f/4 S, NIKKOR Z 35mm f/1.8 S, NIKKOR Z 50mm f/1.8 S, AND THE MOUNT ADAPTER FTZ, AND DEVELOPS THE NIKKOR Z 58mm f/0.95 S NOCT

Designed Exclusively for the Nikon Z Mount System, Featuring a New, Larger-Diameter Mount

MELVILLE, NY (AUGUST 23, 2018 AT 1:01 A.M. EDT) – Nikon Inc. is pleased to announce the release of three new lenses designed for the next-generation Nikon Z mount system’s full-frame (Nikon FX format) mirrorless cameras, for which a new larger-diameter mount has been adopted. The three new lenses are the standard zoom NIKKOR Z 24-70mm f/4 S, the wide-angle prime NIKKOR Z 35mm f/1.8 S, and the standard prime NIKKOR Z 50mm f/1.8 S. Nikon has also announced the Mount Adapter FTZ for Z System compatibility with existing NIKKOR F mount lenses and development of the NIKKOR Z 58mm f/0.95 S Noct lens1.

NIKKOR Z lenses pursue a new dimension in optical performance, by taking advantage of the superior design flexibility made possible by the combination of the larger Z mount with its inner diameter of 55mm, and a short flange focal distance of 16mm. The lenses offer sharp resolution with both still-image and video recording, and are equipped with functions that include: compensation for focus breathing (the shifting of the angle of view when focus is adjusted), quiet operation, smooth exposure control, a control ring and performance that is well suited for video capture.

The NIKKOR Z 24-70mm f/4 S, NIKKOR Z 35mm f/1.8 S, and NIKKOR Z 50mm f/1.8 S are S-Line interchangeable lenses. The S-Line is a newly designated grade of NIKKOR Z lenses that adhere to a new benchmark in optical performance, realizing rendering performance that surpasses that of conventional f/4 standard zoom lenses and f/1.8 wide-angle or standard prime lenses. From maximum aperture, clear and sharp resolution can be achieved as well as beautiful bokeh characteristics.

Additionally, the Mount Adapter FTZ has been designed to allow users of Nikon SLR cameras to utilize their existing NIKKOR F mount lenses with the Z mount system and enjoy taking advantage of an even wider variety of lens characteristics with their photography.

Development of the NIKKOR Z 58mm f/0.95 S Noct

Nikon is currently developing the NIKKOR Z 58mm f/0.95 S Noct, a standard prime manual focus lens and the fastest lens in Nikon’s history. The design of the Noct lens exemplifies Nikon’s mission to pursue the ultimate optical performance in the mirrorless category. As the result, the Noct is positioned at the top of the S-Line. In addition, Nikon is planning on releasing a variety of new lenses that will continue to expand its line of attractive, high-performance NIKKOR Z lenses that further extend photographers’ creative expressions.

NIKKOR Z 24-70mm f/4 S Primary Features

  • Standard focal-length range from wide-angle 24mm to medium-telephoto 70mm can effectively cover a wide variety of scenes and subjects with rendering performance that will change the perception of what is possible with zoom lenses with a maximum aperture of f/4
  • Optical design that suppresses variations in aberrations from shooting distances of close-up to infinity, demonstrating sharp resolution even in the peripheral areas of the frame from the maximum aperture, as well as fine point-image reproduction
  • Achieved a minimum focus distance of just 0.3 m across the zoom range
  • Adoption of an ED glass element, an aspherical ED lens element, and three aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • Has the size needed to deliver an extremely high standard of optical performance, yet provides outstanding portability; employs a retracting mechanism that can be set on/off without pressing a button and reduces total length for a compact lens that can easily be taken anywhere
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed
  • Fluorine coat applied to front lens surface

NIKKOR Z 35mm f/1.8 S Primary Features

  • Rendering performance that redefines perceptions of what a 35 mm f/1.8 lens can do
  • Sharp resolution even in the peripheral areas of the frame from the maximum aperture, effective suppression of sagittal coma flare that enables superb point-image reproduction when capturing point light sources in night landscapes, and the soft and natural bokeh characteristics expected of a fast (bright) lens
  • Adoption of a new multi-focusing system featuring two AF drive units providing driving power at high speed and with high accuracy that achieves quiet, fast, and accurate AF control, as well as high image-forming performance at any focus distance
  • Adoption of two ED glass elements, and three aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed

NIKKOR Z 50 mm f/1.8 S Primary Features

  • Superior rendering ignites creativity, and redefines perceptions of what a 50mm f/1.8 lens can do
  • Thorough suppression of axial chromatic aberration ensures superior resolution with faithful reproduction of the fine textures in subjects, even from maximum aperture
  • Sharp and clear rendering of details from the center of the frame to the peripheral edges, regardless of the shooting distance
  • The soft and beautiful bokeh characteristics at any shooting distance possible only with a fast (bright) lens
  • Adoption of two ED glass, and two aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • Adoption of a new, powerful stepping motor (STM) enables quiet and accurate AF control during both still-image capture and video recording
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed

Mount Adapter FTZ Primary Features

  • Full compatibility with more than 90 lenses and functionality with approximately 360 existing NIKKOR F lenses from AI type onwards2
  • The unique characteristics of NIKKOR F mount lenses can be applied to Z mount system image quality
  • In-camera VR (Vibration Reduction) with three-axis VR is available when attaching a NIKKOR F lens without built-in VR; in-camera VR also performs well with stills and video recording
  • When attaching a NIKKOR F lens with built-in VR, lens VR and in-camera VR effectively work together to compensate for camera shake by enabling three-axis VR.
  • Various sections of the adapter are effectively sealed to ensure dust- and drip-resistant performance equivalent to that of NIKKOR F lenses
  • Designed to be lightweight yet tough with consideration for superior operability as a part of a complete system

Development of the New NIKKOR Z 58mm f/0.95 S Noct Lens that Pursues Ultimate Optical Performance

The NIKKOR Z 58mm f/0.95 S Noct that Nikon is currently developing will be a large aperture, standard 58mm prime focal-length, the fastest lens in Nikon’s history3, manual-focus lens positioned at the very top of the S-Line. It will stand to symbolize the Nikon Z mount system’s new dimension in optical performance.

It has inherited the design concept behind the original AI Noct-NIKKOR 58mm f/1.2, a standard prime lens released in 1977, named for “Nocturne” (a musical composition inspired by or evocative of the night), and was popular for its ability to finely reproduce point light sources as point images. This new Noct lens that is currently in development will take advantage of the advanced design flexibility afforded by the Z mount, pursuing ultimate optical performance. Development continues with the goals of achieving an extremely fast maximum aperture of f/0.95, offering the ultimate in NIKKOR rendering performance with superior detail and sharpness. Additionally, the goal is to achieve beautiful blur characteristics, or bokeh, with good continuity, and ensure outstanding point-image reproduction capabilities for more compelling, three-dimensional imaging.

The NIKKOR Z Lens Roadmap

Information in the roadmap, including release dates, are subject to change. Product names after the NIKKOR Z 58mm f/0.95 S Noct are not yet finalized.

Price and Availability

The NIKKOR Z 24-70mm f/4 S and NIKKOR Z 35mm f/1.8 S will be available September 27 for the suggested retail prices (SRP) of $ 999.95* and $ 849.95*, respectively. The NIKKOR Z 50mm f/1.8 S lens will be available in late October for the SRP of $ 599.95*. The Mount Adapter FTZ will be available September 27 for $ 249.95* SRP (Additional $ 100 savings when purchased together with a Z 7 or Z 6, through 12/31/2018). For more information on these and other Nikon products, please visit www.nikonusa.com.

Articles: Digital Photography Review (dpreview.com)

 
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Sony introduces E-mount 18-135mm F3.5-5.6 OSS lens for APS-C bodies

05 Jan

Sony has introduced an optically stabilized 18-135mm F3.5-5.6 zoom lens that is ‘an ideal fit’ for its a6000 series of mirrorless cameras. The lens, equivalent to 27-202.5mm on APS-C bodies, features 2 ED and 1 aspherical elements, a minimum focus distance of 45cm and a weight of just 325 g.

The 18-135mm F3.5-5.6 OSS will be available in February for $ 599/£570. We wouldn’t be at all surprised to see this lens kitted with the a6300 and a6500 at some point in the future.

Press Release

New Compact, Lightweight E 18-135mm F3.5-5.6 OSS Features Outstanding Sharpness and Fast, Precise, Quiet AF for a wide variety of still and video applications

Sony, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, today announced its 46th E-mount lens. This new APS-C lens features a versatile 18-135mm focal length, aperture range of F3.5-F5.6 And Optical SteadyShot™ stabilisation.

The new lens (model SEL18135) features a compact, lightweight design measuring only 67.2mm x 88mm and weighing in at a mere 325g, as well as a high magnification 7.5x optical zoom that covers the wide-ranging focal length of 18-135mm on APS-C or 27-202.5mm in 35mm equivalent focal length. The lens is an ideal fit for Sony’s popular APS-C sensor cameras including ?6500, ?6300 and ?6000, and is an extremely useful tool for a wide range of shooting situations ranging from daily life to portraiture, landscape, nature and travel photography.

The E 18-135mm F3.5-5.6 OSS produces outstanding corner-to-corner sharpness throughout the entire zoom range thanks to its advanced design featuring one aspherical lens and two Extra-low Dispersion glass elements that minimise aberrations. This lens also allows photographers to produce close-up images with pleasing ‘bokeh’ or background defocus as a result of its maximum magnification ratio of 0.29x and minimum focus distance of 0.45m. It also offers built-in optical image stabilisation to support handheld shooting.

Additionally, the 18-135mm F3.5-5.6 Zoom lens offers fast, precise, quiet AF performance thanks to a linear motor, making it a perfect complement to the high speed shooting and impressive video capabilities of many of Sony’s mirrorless cameras.

Pricing and Availability

The SEL18135 will be available from February 2018, priced at approximately £570.

Sony E 18-135mm F3.5-5.6 OSS specifications

Principal specifications
Lens type Zoom lens
Max Format size APS-C / DX
Focal length 18–1325 mm
Image stabilization Yes
Lens mount Sony E
Aperture
Maximum aperture F3.5–5.6
Minimum aperture F22–36
Aperture ring No
Number of diaphragm blades 7
Optics
Elements 16
Groups 12
Special elements / coatings 1 aspherical + 2 ED elements
Focus
Minimum focus 0.45 m (17.72)
Maximum magnification 0.29×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 325 g (0.72 lb)
Diameter 67 mm (2.64)
Length 88 mm (3.46)
Sealing No
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 55 mm
Hood supplied No
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Leica unveils limited run of 100 red Leica M (Typ 262) bodies

16 Dec

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Leica has released a series of 100 limited edition Leica M bodies with red anodized top and base plates. The company says the red hue of the cameras makes a bold statement, though some might argue the nearly-$ 7,000 price tag is slightly more daring.

The cameras will be technically identical to the existing M (Typ 262) with the lightweight aluminum top plate and base, and no video or live view modes. The company says the red body will match the red 50mm F2 APO Summicron-M lens that it launched in equally limited numbers in November of 2015, though new owners of the red camera would be very lucky indeed to find one of those red lenses still on the shelves.

The red anodized M bodies will be sold through Leica’s own stores starting today. By comparison, a standard M (Typ 262) costs $ 5595/£4680.

For more information, visit the Leica website.

Press Release

Leica Camera Unveils Special Edition M Camera with Striking Red Anodized Finish

The Leica M (Typ 262) ‘red anodized finish’ is limited to just 100 units worldwide

December 14, 2017 – Leica Camera presents a special new addition to the Leica rangefinder system – the Leica M (Typ 262) ‘red anodized finish’. The unique color scheme of this special edition camera takes the classic styling of the Leica M and couples it with the bold statement of a bright red hue. The top plate and baseplate of the Leica M (Typ 262) are machined from solid aluminum and anodized in red. This lends the camera a unique look that perfectly matches the color of the special edition Leica APO-Summicron-M 50 mm f/2 ASPH. lens released in 2016. The exclusiveness of this striking edition is further underlined by the strictly limited number being made available: As was the case with the lens, the Leica M (Typ 262) ‘red anodized finish’ edition is limited to just 100 cameras worldwide, each with a unique serial number.

The technical specifications of the special edition camera are identical to those of the standard production Leica M (Typ 262). With its concentration on the functions essential for photography and intuitive handling, it is the perfect camera for experiencing the pure enjoyment of Leica M-Photography. The Leica M (Typ 262) embodies all the essential advantages of the Leica rangefinder system, while consciously eschewing extraneous features that can distract from the pure rangefinder experience. Its full-frame CMOS sensor is conceived exclusively for rangefinder photography and intentionally does without additional functions such as Live View and video recording. Its 24-megapixel resolution ensures exceptional imaging quality and extreme sensitivity to light, which also makes the Leica M (Typ 262) a perfect camera for photography in any available light situation. Supporting the sensor’s versatility to capture top-quality photographs in any situation, the camera’s Maestro processor guarantees fast processing of captured images and immediate readiness to shoot.

The handling of the Leica M (Typ 262) fulfills everything that discerning photographers expect from a Leica M. All controls and functions are logically and ergonomically located exactly where the photographer expects them to be. Just like every other M, it allows fast manual focusing with the coupled rangefinder and the focusing ring of the lens. It also offers a choice of manual or automatic aperture priority exposure. Due to the omission of Live-View and video capability, the menu is extremely lean and consists of only two pages. This ensures that all camera settings are easily and rapidly accessible at all times. This also applies to white balance, where the M (Typ 262) has a dedicated WB button on the back of the camera.

The Leica M (Typ 262) ‘red anodized finish’ will be available exclusively at Leica Stores and Boutiques beginning today, for the price of $ 6,995.00.

Articles: Digital Photography Review (dpreview.com)

 
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Art Hacker: Famous Masterpieces Recreated with Painted Human Bodies

22 Nov

[ By SA Rogers in Art & Photography & Video. ]

liu-bolin-guernica

Chinese body painting artist Liu Bolin explores the concept of ‘art hacking’ through reinterpreting two of the world’s most famous paintings with human figures as canvases, and manipulating image search results on Google and Baidu to replace the originals with his own. Dozens of painstakingly painted human bodies faithfully recreate both Leonardo da Vinci’s Mona Lisa and Pablo Picasso’s Guernica with all subjects remaining perfectly still to complete the illusion for a photo.

liu-bolin-guernica-detail

The two works of art are juxtaposed with an image depicting the devastating Tianjin explosion at a container storage station in 2015, and large-scale prints of the three photographs are currently on display at Klein Sun Gallery as part of the Art Hacker exhibition. Neon signs hung throughout the space display URLs so visitors can see the internet ‘hacking’ aspect of the show.

liu-bolin-mona-lisa

liu-bolin-mona-lisa-2

Bolin is best known for his ‘disappearing acts’ carried out through camouflaging himself and additional models into urban environments around the world. This is his first foray into the digital realm, but the questions he raises in his work continue to work within similar themes.

liu-bolin-tianjin-explosions

liu-bolin-tianjin-explosions-detail

“Recreating the imagery of human suffering and devastation of war symbolized in the painting Guernica, Liu Bolin’s relives the history of the Spanish civil war, making a plea for humanity and freedom,” says the Klein Sun Gallery in a statement about the exhibition. “In Mona Lisa (2016), Liu Bolin imbeds himself into the masterpiece as well as its historical legacy. Touching upon the fact that the world was stolen from the Louvre more than 100 years ago, Liu Bolin aims to reenact the ‘disappearing and reappearing’ of the work through techniques behind the network.”

“Provocatively challenging the viewer to question what is above and beneath the surface, the work intends to reflect upon the complex relationship between the past and present, the reality and the illusion, as well as individuality and history.”

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[ By SA Rogers in Art & Photography & Video. ]

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Life After Death: Organic Burial Pods Turn Human Bodies into Living Trees

12 Oct

[ By WebUrbanist in Culture & History & Travel. ]

capsule-burial-pod

Amidst a huge array of natural burial initiatives and urban cemetery alternatives, the Capsula Mundi stands out as a sustainable solution that serves wishes of the deceased as well as the land of the living.

living-circle

Italian designers Anna Citelli and Raoul Bretzel developed this solution in part to challenge constrictive existing laws surrounding burials in their home country.

capsule-comparison

Essentially, a body is interred in an organic and biodegradable burial capsule situated beneath the seedling of a chosen tree. Instead of filling graveyards with caskets and stone monuments to the deceased, this system would populate parks with living memorials – trees over tombstones. In turn, family and descendants can come to visit and care for the plants in honor of their loved ones.

pod-concept

Many other “green” burial solutions are generally not as ecological as they would first appear. Cremations, for instance, generate huge amounts of carbon dioxide in the burning process. And, of course, traditional burials are not very sustainable – chemicals, caskets, concrete, stone and space are all wasted in an effort to preserve something that will inevitably return to nature, one way or another.

tree-of-death

More from the project website: “Capsula Mundi is a cultural and broad-based project, which envisions a different approach to the way we think about death. It’s an egg-shaped pod, an ancient and perfect form, made of biodegradable material, where our departed loved ones are placed for burial. Ashes will be held in small Capsulas while bodies will be laid down in a fetal position in larger pods. The pod will then be buried as a seed in the earth.

pod-reality

“A tree, chosen in life by the deceased, will be planted on top of it and serve as a memorial for the departed and as a legacy for posterity and the future of our planet. Family and friends will continue to care for the tree as it grows. Cemeteries will acquire a new look and, instead of the cold grey landscape we see today, they will grow into vibrant woodlands. The project is still in a start-up phase, but encouraged by worldwide enthusiasm for our concept, we are working to make it become a reality.”

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[ By WebUrbanist in Culture & History & Travel. ]

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Spatial Bodies: Warped Architecture Bends & Twists Osaka Skyline

27 Aug

[ By WebUrbanist in Art & Photography & Video. ]

twisted skyline

Imagine a world in which an abandoned city goes to seed, but rather than plants reclaiming buildings, the buildings grow and morph like unkempt weeds, twisting the skyline into impossible new patterns.

In their project Spatial Bodies, AUJIK envisions architecture as something organic, skyscrapers like trees and vines that curve, wrap and interlock to create fresh and unpredictable formations.

spatial bodie

impossible architecture

The team compiled aerial drone footage, manipulating it in Autodesk 3D studio and combining it with Google Maps images. The resulting urban landscapes are both real and surreal, vaguely recognizable and semi-coherent but contorted and distorted. Buildings grow from familiar foundations, but wiggle and wind in unnatural and unexpected ways.

sideways skyscraper

wrapped city plants

From the artists: “Spatial Bodies depicts the urban landscape and architectural bodies as an autonomous living and self replicating organism. Domesticated and cultivated only by its own nature. A vast concrete vegetation, oscillating between order and chaos.”

crazy city

buildings in motion

curved cityscape

Many of the shots in the film are largely static, but in a way that helps make them comprehensible to viewers: it is almost impossible to take in the scenes as they pass by even in still format. Limiting the realtime motion of structures in the video also reflects their plant-like nature, implying that these transformations will take time, just like growing organic material in the wild.

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Kipon introduces reducer to fit Nikon F and Leica R lenses to Micro Four Thirds bodies

13 Aug

Japanese lens and accessory maker Kipon has introduced a pair of focal length reducers that allow users to mount Nikon F and Leica R lenses to Micro Four Thirds cameras to give a 1.4x crop factor. The company says that the Kipon Baveyes NIK-m4/3 0.7x and Baveyes L/R-m4/3 0.7x reducers make a 50mm lens designed for full-frame systems act as a 70mm equivalent once the focal length doubling effect of the Micro Four Thirds system is taken into account. Kipon also claims that the reducer makes the mounted lenses a stop faster too.

Without the lenses in the reducer a 50mm Nikkor lens mounted on a Micro Four Thirds camera would behave as a 100mm due to the smaller size of the system’s sensors, so the wide-angle elements in the adapters reduce the apparent crop factor applied to the adapted lens. The company gives an example of a 35mm lens mounted via the adapter producing the angle of view one would expect from a 49mm lens on a full-frame body.

The price of the adapters has only been released in Japanese Yen, and is quoted as ¥23,000 plus tax, which is approximately $ 230/£180.

For more information see the Kipon website and a translated version the press release.

Articles: Digital Photography Review (dpreview.com)

 
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