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Posts Tagged ‘Cost’

Report: Zeiss’ full-frame Android-powered ZX1 camera to be released on October 29, cost $6K

26 Oct

Three weeks ago, the long-awaited Zeiss ZX1 camera reappeared for pre-order on B&H Photo after months and months of silence regarding the availability of the Android-powered mirrorless camera. While B&H has since pulled its listing, a new report from Nokishita claims the camera will be available on October 29 with an MSRP of $ 6,000/€6,000 (the same price B&H had it listed for).

When B&H listed the Zeiss ZX1 for pre-order earlier this month, we contacted both B&H and Zeiss on the matter, but both passed on the opportunity to comment on the matter. Sometime between then and now, the pre-order option on B&H was removed with no further information on when we might see more. That is, until Nokishita published the above tweet earlier this morning.

We have contacted Zeiss for confirmation and will update this article accordingly if we receive a response. While we wait to hear more about the camera, you can check out our hands-on with it back at CP+ 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Datacolor launches lower cost ColorReader EZ for color measurement and matching

18 Sep

Color calibration and measurement specialist Datacolor has introduced a low cost portable color measuring device to its ColorReader range that allows users to take samples and record the exact color of reflective surfaces. ColorReader EZ is said to be 85% accurate and can describe colors in CIE Lab, RGB or HEX languages.

The ColorReader devices are designed to make matching paint colors easier, and the ColorReader EZ can give you the three closest matches from most paint brands, but also is able to give users a match for studio backdrops from Savage Universal.

Photographers shooting products or fashion will be able to measure the color of the subject to ensure it is accurately matched in the final images. The app also shows other colors that are close to the measured subject so that palettes can be created to match a mood or to produce harmonious scenes.

The ColorReader EZ differs from the ColorReader and ColorReader Pro as it uses only one LED to light the subject, it doesn’t use a lens and it doesn’t have its own display – relying on its smartphone app to communicate with the user. The device also uses a button battery instead of rechargeable lithium-ion, doesn’t support as many color formats and is slightly less accurate at 85% instead of 92%. At $ 59/€67/£65 though, it also costs about half the price of the standard ColorReader. For more information see the Datacolor website.

Press release:

New! Datacolor® ColorReader EZ – The Portable Tool that Simplifies Matching, Selecting and Coordinating Colours

Datacolor®, a global leader in colour management solutions, announces the launch of ColorReader EZ, the latest addition to the company’s ColorReader family of products that includes ColorReader and ColorReader Pro. The recommended retail price is £65 including VAT.

The affordable new device incorporates the company’s advanced colour technology in an easy-to-use tool that simplifies the often challenging and time-consuming process of colour matching and colour coordination both in the paint colour selection and digital workflow processes used by photographers and digital designers.

The portable, Bluetooth® connected ColorReader EZ device works in conjunction with the ColorReader mobile app (available for both iPhone and Android). The ColorReader app displays the exact measurement data in CIELAB, Hex and RGB as well as the three closest paint colour matches from the most popular paint brands. In addition to the RAL and NCS colour standards, the app includes colour fan decks from Farrow & Ball, Sikkens and also the colour set of Savage Universal who specialise in photography backgrounds, which makes ColorReader EZ especially interesting for portrait and studio photographers. In total, up to 20,000 colours are available for convenient access.

Along with their matched colours, users can build and organize colour palettes by project as well as create signature colour palettes that they can quickly share with anyone. The greater level of colour confidence afforded by ColorReader EZ saves users time and money on reworks due to colour error. ColorReader EZ is a must-have tool for anyone whose work or lifestyle includes colour decisions.

“The colour selection process can be a challenge for all of us, since so many factors can affect how we view colour. We wanted to bring a level of ease and colour-confidence to consumers with an affordable product that they would use whenever they needed to make a decision about colour. ColorReader EZ takes the guesswork out of selecting and coordinating colours. It lets you capture colour inspiration where you find it, with an accuracy you can’t get from a smartphone image. It’s easy to then bring that colour inspiration into your own work.” said Stefan Zrenner, Director of Sales & Marketing, Consumer Solutions, for Datacolor.

To learn more about ColorReader EZ, visit ColorReader.Datacolor.com

Disclaimer: The use of third-party trademarks is for identification purposes only and does not connote any affiliation with, or sponsorship or endorsement by, the respective trademark holders.

Articles: Digital Photography Review (dpreview.com)

 
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Analysis predicts drone Remote ID will cost 9X more than expected, DJI urges FAA to reconsider ruling

06 Mar

After numerous delays, the Federal Aviation Administration (FAA) released its Notice of Proposed Rulemaking (NPRM) for the Remote Identification of Unmanned Aircraft Systems at the end of last year. The 60-day public commenting period closed this past Monday, March 2nd, with over 52,000 comments submitted during that time.

DJI, the world’s leading drone manufacturer, has supported the need for Remote ID since 2017. In the interest of moving the industry forward, a proper ruling would allow flights at night, over people and beyond visual line of sight. When the NPRM was released, however, DJI publicly chastised the FAA for not incorporating recommendations submitted by the 74 stakeholders that make up the Aviation Rulemaking Committee.

In its 89-page comment to the FAA, DJI cites independent economic analysis that was prepared by Dr. Christian Dippon, Managing Director at NERA Economic Consulting. The study concludes that the societal costs associated with the Remote ID NPRM would total $ 5.6 billion. This makes it 9 times more costly than the $ 582 million the FAA predicts for the next decade.

“I worry about an impact on innovation, with fewer people interested in using drones,” – Brendan Schulman

The long-term ramifications, should the Remote ID NPRM pass in its current form, will extend beyond financial burdens. ‘I worry about an impact on innovation, with fewer people interested in using drones. Our economist’s survey found at least a 10% drop in drone activity if the proposal were implemented, but I think it could be much higher as the full impact is felt by operators,’ Brendan Schulman, DJI’s Vice President of Policy & Legal Affairs, tells DPReview.

Remote ID, simply put, is a digital license plate for drones. It allows authorities to identify the location, serial number, and a remote pilot’s identity in near real-time. The FAA is proposing that almost all drones should transmit that information over wireless networks to a service provider’s database. NERA’s study concludes that the monthly cost of a network-based service for a remote pilot would be $ 9.83 instead of the FAA’s $ 2.50 estimate.

A few vocal critics have suggested that DJI’s involvement in drafting Remote ID rulemaking has served their own interests, and that regulations will amount to a multi-billion dollar gain for the company. ‘The critics missed the context and history. Since 2017 we knew Remote ID was inevitable as a government mandate, and have been advocating for the best possible result for all drone users: low costs and burdens. Everything we have done on this topic has been focused on those goals. Keep costs low and respect drone user privacy. For example, in March 2017 we released a whitepaper strongly advocating for pilot privacy,’ Schulman explains.

DJI has advocated for a ‘drone-to-phone’ solution that provides Remote ID information on common smartphones without burdening drone operators with any extra costs or effort. DJI says that its solution is cheaper and easier than what the FAA is proposing. Any new ruling on Remote ID will not likely take effect until 2024.

Articles: Digital Photography Review (dpreview.com)

 
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‘It should cost…’ The three main ways you’re wrong about camera prices

22 Jan

Every time a camera is launched, our comment section is flooded with comments saying ‘it’s too expensive,’ irrespective of what the price is set at. Are all the camera makers utterly out-of-touch with reality, or is there something else going on?

I’m going to explain the three main misunderstandings that I see prompting these comments. I’m not advocating for higher prices, nor trying to suggest that manufacturers never get it wrong, but just trying to highlight why cameras are priced the way they are.

A new model is always going to cost more than the outgoing one

Prices decline with time. No matter what your pricing strategy, an older product (particularly in a fairly fast-moving marking like electronics) cannot demand as high a price at the end of their lifecycle as they can at the beginning.

This may sound obvious, but the consequence is that a new model will always look expensive compared with the model it replaces.

The D780 was launched at the same price as the D750, so is cheaper in real terms. But heavy discounting of the D750 makes the new camera look very pricey.

This is the error we most often see: ‘How can they charge $ 2200, when I can buy the old model for $ 1400?’

To which the response is: ‘How can they not?’ If you offer your new model at the price of the outgoing one, then what does its price look like, at end-of-life? Do you then have to match that price with the next generation model? That approach would end up with you giving cameras away within a couple of product generations, which isn’t exactly a winning strategy in an already contracting industry.

Prices decline with time, so new cameras tend to be released at around the same cost that the old one was launched at. The alternative (launching to match the current market prices) is a pell-mell race to the bottom.

So cameras tend to be released at around the same prices that the preceding model was launched at. After all, camera makers are companies: they exist to make as much profit as they can. Their job is to maximize the amount of money they generate from each product.

The main exception to matching the previous model’s launch price is if the new model has been stripped-down to hit a lower price point or re-positioned to attract a different audience.

Case study: The stripped-down mass-market special

Sony’s a6000 was launched for $ 799 with a kit zoom: around $ 200 lower than the existing NEX-6 model. It gained a couple of additional features and updates but also saw a drop in viewfinder resolution and had less substantial feeling construction: distinct hints that it wasn’t a like-for-like replacement model.

Sony’s insistence on assigning similar names to all its models doesn’t help, but the pricing alone makes it easier to recognize the a6300 as more of an NEX-6 replacement than an a6000 update. Sure enough, both the a6000 and a6300 continued alongside one another for the next few years: one targeting the ‘price conscious’ consumer, the other offering better build, an NEX-6 level viewfinder and 4K video, for people who were comfortable to spend a bit more.

Manufacturers will occasional try to re-position a particular model, making it cheaper or more expensive, perhaps trying to make room for a new model.

Case study: two models in the place of one

Panasonic’s GX8 had a significantly higher spec and was launched for $ 200 more than the preceding GX7. This created the space for a less expensive GX85 to sit underneath. Looking at the launch prices suggests that Panasonic thought there were two different types of customer buying the GX7: some that wanted a small, mid-priced model and some who wanted something more ambitious, and were willing to pay for it.

However, the next model refresh saw the GX9 launched back at the same price as the GX7 (and called the GX7 III in some markets). ‘This isn’t a GX8 replacement at all’ complained some would-be buyers. The pricing indicated that they were probably partly right.

The lesson in all of this is that you can better interpret a manufacturer’s intentions by comparing the price of a new model to the launch price of the outgoing model, not its depressed end-of-life price.

Case study: getting the price wrong

Manufacturers don’t always get their pricing right, of course. Nikon entered the prime-lens APS-C compact market in 2013 with the Coolpix A, an attractive camera with a 28mm equivalent F2.8 lens. Perhaps emboldened by Fujifilm’s success selling its X100 models for $ 1299, Nikon priced its camera at $ 1099.

Around a month later, Ricoh launched an APS-C version of its much-loved GR, also with a 28mm equiv F2.8 lens, for $ 799. The Coolpix A was a pretty good camera (though we preferred the GR), but without the retro appeal, hybrid viewfinder and burgeoning reputation of the Fujifilm, or the establish fan-base of the GR, that $ 1099 price tag looked awkward.

Without access to sales data, we can’t know for certain how many units were sold at full price but by the second half of 2014, the price had collapsed to just $ 580. A lot of people got a bargain at that discounted price, but it’s noticeable that Nikon hasn’t shown any further interest in that niche.

Of course, sometimes manufacturers will keep old models on the market at a newly lowered price (the Sony a7 II and a7R II, for instance). This makes life a little more complex but should really just focus your attention on what really matters: ‘does the new model offer enough compelling improvements to overlook the older model?’

Your country probably isn’t being ripped-off, even if the US launch price seems cheaper

The RX100 VI was launched for $ 1298 in the US and the equivalent of $ 1450 in Europe. But that’s not the whole story.

The other complaint we regularly see is that the launch price in country ‘X’ is higher than a direct conversion of the US dollar price. There are two main reasons for this.

The first is that US prices tend to be quoted without sales tax, whereas most other countries tend to include sales tax/VAT/GST in consumer-facing communications. As a results, US prices tend to look less expensive simply because the price quoted isn’t the price most people are legally expected to pay. Your local tax level may be more expensive, but that’s more likely to do with your country’s history, style of government and degree of healthcare provision and social support: none of which can be blamed on camera makers.

The second factor is that price competition varies greatly between countries. US prices tend to stay at or near the Manufacturer’s Recommended Sales Price until the manufacturer chooses to adjust it. Countries with more competition between retailers tend to see prices quickly fall away from the initial asking price: early adopters end up paying full price, but anyone buying a few months (or sometimes weeks) later, will get a much better deal.

Case study: why are cameras more expensive in Europe?

Sony’s RX100 VI had an initial MSRP of $ 1298 in the US and €1299 in Europe. This looks bad: €1299 was worth $ 1450 in July 2019. Outrageous, right?

But, if I went to buy one today, I’d end up paying $ 1429 after tax in the US ($ 1298 plus my 10.1% local sales tax rate). If I lived in Germany and bought the same model from a large internet retailer, I’d have to pay €1180, including VAT, which is equivalent to $ 1315.

So, although the launch price in your country may look outrageous, compared with the US price, that doesn’t mean you’ll get ripped-off. The last two times I’ve looked at buying cameras in the US and UK, I found the year-old model I was shopping for to be less expensive in the UK, even with higher local taxes. I’ll concede that this was before the pound plummeted following the Brexit vote: but again, that’s not really the fault of camera makers.

Some things are supposed to look expensive

Marketers have all manner of theories about how to price their goods, and different strategies for maximizing the amount of profit they can make from a specific product. Very few of these have much to do with the costs involved in developing, manufacturing, distributing and supporting that product. Most strategies set the price high enough to make this money back, but there are exceptions even to that.

So there’s little point looking at a product and saying ‘they’ve removed ‘x,’ so it should be cheaper,’ or expecting the price to relate in any way to your estimation of the costs involved.

For instance, a premium pricing strategy holds that it’s sometimes beneficial to price your goods so highly that you end up selling fewer than you could, but at greater profit: the high price and resulting scarcity in itself contributes to the perceived value of the product.

A premium pricing strategy holds that the high price in itself contributes to the perceived value of the product

‘That’s silly,’ you might think: ‘that wouldn’t work on me.’ But it does. Like it or not, you respond to pricing. Read through the comment section of the launch of any Leica product: you’ll see an audience dramatically polarized between ‘it’s not worth that’ and ‘if you could afford it, you’d understand.’ The same goes for luxury items, whether they be Range Rovers or Rolex watches: if they weren’t expensive, they wouldn’t have the same cachet.

This discussion is almost entirely divorced from whether the products themselves are any good (to the degree that any assessment can be entirely rational and dispassionate), it’s primarily a reflection of differing personal responses to the price.

Perceived value is entirely personal and both responses are equally right and wrong: a premium product isn’t worth its exaggerated price to the person who doesn’t care about prestige, scarcity, brand history and reputation or the degree to which something is hand-built, but it is worth it for someone to whom those factors contribute to the item feeling special, or more meaningful.

Is it worth it?

Which ultimately brings us to the question that’s really at stake: not ‘is it too expensive?’ but ‘does it appear to represent good value to me?‘

Again, manufacturers are for-profit companies. They aren’t aiming to offer the product you want at a price you want to pay: they’re trying to price it at the maximum amount you’re willing to pay.

In other words: it’s always going to be a bit more expensive than you’d like.

Articles: Digital Photography Review (dpreview.com)

 
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Report: The camera components inside the iPhone 11 Pro Max cost $73.50

11 Oct

Technology analyst firm TechInsights has started its teardown of Apple’s latest flagship smartphone, the iPhone 11 Pro Max which features a triple-camera setup, including an ultra-wide angle and 2x tele lens.

The analysis of the camera components is still in progress (check back to the TechInsights website for updates) but the team has already been able to compile a cost estimate for all component groups used in the device. At $ 73.50 the camera and imaging components add the biggest chunk to the overall bill, highlighting how important the camera is these days on smartphones.

Apple iPhone 11 Pro Max (512GB) cost analysis (source: TechInsights)

Only the applications processor ($ 64), display (66.50) and non-electronic components, such as the housing ($ 61) come close. The overall bill is $ 490.50 which, at a $ 1449 retail price for the torn down 512GB model, should leave a sizeable profit margin for Apple, even after adding overhead expenses into the calculation.

Incidentally the cost of the iPhone 11 Pro Max camera components is only $ 0.50 more than what UBS found for the Samsung Galaxy S10 5G. For the full iPhone 11 Pro Max teardown head over to the TechInsights website.

Articles: Digital Photography Review (dpreview.com)

 
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Nokishita is reporting Nikon’s Nikkor Z 58mm F0.95 S Noct will cost $7996.95

09 Oct

Nokishita might be days away from closing down, but the Japanese site hasn’t stopped leaking information about upcoming camera equipment. In a recent series of tweets, Nokishita reported what it claims to be pricing information of the Nikon Nikkor Z 58mm F0.95 S Noct lens as well as the rumored ‘Z50’ mirrorless camera.

According to Nokishita’s latest report, which is still speculation at this point, Nikon’s Nikkor Z 58mm F0.95 S Noct lens will retail for a whopping $ 7,996.95. Nikon Rumors has been reporting this price since August 2019, so it’s not unexpected.

In addition to the Nikkor Z 58mm F0.95 S Noct lens, Nokishita is also reporting what it says will be pricing info for the much-rumored Nikon ‘Z50’ mirrorless camera. According to the tweets, the Nikon Z50 mirrorless camera will retail for $ 856.95 for the body-only version, $ 996.95 for the kit lens version and $ 1,346.95 for the ‘Double Zoom Kit’ version. The kit lenses, according to the tweet, are the Nikkor Z DX 16-50mm F3.5-6.3 VR and the Nikkor Z DX 50-250mm F4.5-6.3 VR, which Nokishita claims will retail for $ 296.95 and $ 349.95, respectively.

Nokishita also reported that the EN-EL25 battery and MH-32 charger for the rumored Z50 mirrorless camera will retail for $ 64.95 and $ 49.95, respectively. Obviously, all of this information is unconfirmed for now, but Nokishita has a good record of being right about this kind of thing, and it seems likely that we’ll know for certain soon enough.

Articles: Digital Photography Review (dpreview.com)

 
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3 Photo Keywording Tools for Little or No Cost

03 Jul

The post 3 Photo Keywording Tools for Little or No Cost appeared first on Digital Photography School. It was authored by Glenn Harper.

Most dictionaries don’t recognize “keyword” as a verb, yet keywording is seen as an arduous task by many photographers. Despite the mundanity, if you want to find specific photos amid a large collection, it helps to keyword them. This article looks at three keywording tools that will hasten the work for little or no cost.

Three Keywording Tools for Little or No Cost

Manual vs automated

The main benefit of laboriously keywording every image yourself is accuracy. You know every word you enter applies to that photo. Or, you have a good-faith belief that it does. Good keywording often involves research, especially if you’re keywording with the aim of selling or licensing photos.

Semi-automated

One way to speed up keywording is with the quick keyword lists you find in all software with built-in DAM (digital asset management). Such lists normally need building first, but they cut out typing and thinking time once installed. A similar system is used in paid-for keyword tools.

ACDSee Photo Studio Ultimate - keywording - quick keyword lists

An ACDSee Photo Studio Ultimate quick keyword list, which you can expand if necessary to include many keywords. I also have an organized keyword list under construction.

Automated

An even faster way to keyword is by using image recognition software. This populates keyword fields quickly. The main drawback is having to remove a few words from most photos. That’s not a bad trade-off when it works well, since deleting words is less taxing than adding them. You’ll still need to add a few keywords yourself, because software like this tends to identify subjects generically.

Three keyword tools for little or no cost

Keyword software ranges from expensive to free. It can be standalone, plugin, SaaS or web-based without charge. You’re unlikely to want to pay for keywording unless there’s a chance of return on investment. Below are three keywording tools that have little or no effect on your bank balance but which might save you time.

Any Vision Lightroom Plugin

The Any Vision Lightroom Plugin uses Google Cloud Vision technology to recognize the content of photos and populate the LR keyword field accordingly. It’s clever stuff. You can try the same technology out here on image files under 4 MB in size. Google Cloud Vision is the engine behind Google image search. The plugin is available on trial for the first 50 images, after which you must buy a license for whatever price you can afford or deem suitable.

Does it work? I’ve found it to be useful for everyday photos, and it even recognizes a few iconic buildings (e.g. Flatiron building). Yes, I have to cut out a few keywords, but I keep more than I delete. It’s not so good with plant portraits, as it tends to fill the keyword field with the names of various lookalike flowers. But once you know its weak spots, it’s good to have on board.

Any Vision Lightroom plugin

Any Vision impressed me by identifying the location of this photo (Lyons-la-Forêt), though I’ll still need to add and subtract a few words.

To get Any Vision working after the trial, you must obtain a Google Cloud Key. That’s linked to your Google billing account, but unless you keyword over 1,000 photos a month, you won’t be charged a thing. Bear in mind you won’t need to analyze every image (i.e. you can copy and paste).

IMS Keyworder

The online IMS Keyworder tool is simple to use. Just enter one or two keywords that best sum up the content of your picture, hit enter and click on relevant photos to create more keywords. The keywords that appear are ranked for their popularity with microstock searchers – customers that look for and download photos. This gives you a clue as to how vital a keyword is to your image.

IMS Keyworder - free image keywording tool

IMS Keyworder shows you how popular search terms with microstock buyers. You can also see how often each keyword appears among your selection.

Other handy IMS features include the ability to bring up a list of synonyms and create templates. You can also embed keywords, descriptions, and captions directly into JPEGs on your PC. This online software is free with the option of making a voluntary payment to the developer.

Xpiks Keyworder

Xpiks is a good open-source program that, like IMS, draws its keyword suggestions from microstock photo libraries. You still need the Internet to use it, but the software exists on your hard drive. And that makes it more versatile since you can add keywords to bigger file formats in the absence of bandwidth restrictions.

Among the useful features of Xpiks are XMP/IPTC/EXIF metadata editing, translation, autocomplete, search facility, spellcheck and, of course, keyword suggestions. If you happen to contribute to microstock libraries, you can also upload photos straight from Xpiks.

Three Keywording Tools for Little or No Cost - Xpiks keyword program

A photo of Mont Blanc in Xpiks with 30+ keywords sourced from several similar microstock photos.

Other keywording tools

Among the other third-party keywording tools I’m aware of (free or not) are the following:

  • Akiwi – online drag and drop image recognition, free
  • Excire – Lightroom plugin with AI technology that lets you search without keywords, 99€ one-time cost
  • fotoKeyword Harvester – by Cradoc fotosoftware, long-established company, not free
  • Keyword Perfect – by A2ZKeywording.com, responsive developer, not free
  • Keywords Ready – online image recognition technology with 50-image monthly limit, free
  • Microstock Keyword Tool – online tool that harvests keywords from microstock photos, free
  • MyKeyworder – image recognition Lightroom & WordPress plugin, small donation to remove restrictions
Three Keywording Tools for Little or No Cost

Akiwi has a cleanly designed webpage that is simple to use. Image recognition helps you find a maximum of 15 keywords per image.

Keywording tips

If you break keyword lists up into categories and sub-categories, you’ll have the basis of a methodical keywording system. The problem with adding words randomly without any system is one of consistency: you’ll rarely end up with the same set of words twice. And that may force you into trying multiple search terms later when it comes to finding pictures. Even if you use keywording tools to help you, it’s handy to have your own lists of words to add on top.

Excire Lightroom plugin

Excire recognizes content but adds keywords sparingly. It’s a paid-for Lightroom add-on that can search your library to some extent without keywords.

The number of keywords you should add is open to debate, especially if you’re licensing photos for publication. You don’t want to waste picture researchers’ time with loosely related words, but you also don’t want to make photos invisible through minimalism. The same applies for your own purposes. About 10-25 keywords often suffices. Some photos might need more. It’s wise to stick to common words where possible. Long or formal words are less likely to be used in search terms.

Keywords Ready - free keywording tool

The 50-image limit of Keywords Ready is limiting for prolific photographers, but this is free software. It gave me a good selection of words for this photo, save for one or two exceptions (I wouldn’t add “material property”).

Final say

I hope this article has led you to some useful keywording tools. If you get to the stage where you have thousands of untagged pictures, modern AI software will help you narrow down a search. Paid-for keywording software tends to be more methodical than the free stuff. It usually includes a large lexicon of categorized words. But free or inexpensive programs will help you get the work done and make your library searchable.

Have you used any of these? What are your thoughts? Or do you use other keywording tools? Share with us in the comments below.

 

photo keywording tools

The post 3 Photo Keywording Tools for Little or No Cost appeared first on Digital Photography School. It was authored by Glenn Harper.


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Are Your Photos Safe in the Cloud? The Real Cost of Using these Services

04 Jun

The post Are Your Photos Safe in the Cloud? The Real Cost of Using these Services appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Are Your Photos Safe in the Cloud? The Real Cost of Using these Services - Digital Photography School

From professionals to amateurs and hobbyists, to kids just getting started with their first camera, one issue remains constant: how to store photos. If you shoot with your mobile phone, you’ve likely encountered a “Low on storage space” error message at least once. If you use a desktop computer or laptop, there’s a good chance you’ve had to deal with ever-shrinking hard drive space due to an increasing abundance of photos. One option that seems ideal is to use the cloud-based options that have become so prevalent in recent years.

However, if you value data privacy, you might want to think twice before uploading your images to popular online services.

Some are free, but the hidden costs could far outweigh the benefits.

It’s difficult to come up with a perfect answer to the question of whether or not your photos are safe in the cloud because there are so many variables to consider.

I’m going to examine some of the more popular options for photographers. I’ll dive into their Privacy Statements and Terms of Service documents to see what they really do with your pictures.

Hopefully, this will give you the information you need to make an informed decision about where to store your photos.

Cloud storage can be a great option for your images, but make sure you know what you’re agreeing to when you upload your photos.

1. Google Photos

Originally part of the Google+ social platform, Google decoupled this service to operate as a standalone offering in May 2015. Some of its greatest benefits, which also help make it one of the most popular options for photographers, involve storage limits – or lack thereof.

Anyone with a Google account can upload unlimited JPEG files up to 16-megapixels in size, and unlimited videos up to 1080p in resolution.

Google automatically analyzes your photos for people, objects, and locations that you can search for. There are also options such as shared albums and access from a variety of devices that make the service even more attractive. Indeed, Google Photos seems like a no-brainer, and there is a lot to like about it no matter what type of photographer you are. It’s also the default option on most Android phones, so you might be using it unawares.

Google’s algorithms can automatically recognize people, objects, and even pets.

Things start to get a little murky when you dig deeper, though. Google’s Terms of Service is lengthy, but one tidbit that’s worth pondering has to do with the rights you grant to Google when you upload images to Google Photos or store any other data in your Google account:

You give Google (and those we work with) a worldwide license to use, host, store, reproduce, modify, create derivative works (such as those resulting from translations, adaptations or other changes we make so that your content works better with our Services), communicate, publish, publicly perform, publicly display and distribute such content. The rights you grant in this license are for the limited purpose of operating, promoting, and improving our Services, and to develop new ones.

This means that Google can use any pictures you upload to Google Photos for, among other things, promoting their services and developing new ones.

Google goes on to say that their software analyzes your data, including photos and email, to provide you “tailored advertising” in addition to checking files for viruses and scanning emails for spam.

Don’t be surprised if you upload pictures like this to Google Photos and then start seeing ads for pet stores online.

This gives me pause as a photographer. On the one hand, it’s nice knowing that all my images are automatically scanned and analyzed by Google’s artificial intelligence algorithms. It makes it easier to organize, sort, and search for pictures. But all that information is also being used to tweak the ads I see in my daily online browsing. By providing photographers with free photo storage, Google is also providing itself with billions of data points to help send advertisements to everyone who is using their storage.

Should you be worried?

Google is serious about privacy, and it works hard to limit the ways in which your data is shared with other companies. Its Privacy Policy is pretty clear on how they protect your data from bad actors, but rest assured Google is definitely getting plenty of data from your photos that they use internally. And don’t be surprised if you take photos of your new sneakers, upload them to Google Photos, and then start seeing ads for Nike and Reebok when you surf the web. If that’s fine with you, then go ahead and use Google Photos and enjoy the benefits that come with it.

The sharing options in Google Photos make it easy to share pictures with family and friends.

2. Apple Photos

While not exactly known for social sharing, Apple Photos is used by so many people simply because it’s the default option on most Apple devices, including iPhones. Many people store at least some of their photo library using Apple’s cloud-based offering, even if it’s just to sync with their other devices and not store permanently. In terms of data-mining and analysis, Apple takes a much more locked-down approach than Google, which they explain in their Privacy Policy as well as their Approach to Privacy.

Apple Photos is great for storing snapshots from your iPhone and can be used for DSLR images too.

Apple doesn’t make money from advertising, and all the analysis of your photos is performed on your phone and not in the Cloud, so Apple doesn’t really know what’s in your photos at all.

Whether you’re taking a photo, asking Siri a question, or getting directions, you can do it knowing that Apple doesn’t gather your personal information to sell to advertisers or other organizations.

The Memories and Sharing Suggestions features in the Photos app use on-device intelligence to scan your photos and organize them by faces and places. This photo data is shared between your devices with iCloud Photos enabled.

The downside of Apple Photos is that, unlike Google and other vendors, the free storage option is so minimal it’s almost nonexistent. Everyone with an iCloud account, which you need to use most Apple devices, gets 5GB of storage space for everything, including photos, documents, and other data. That’s not much, and it fills up quickly! Additional storage options are cheap, such as 99 cents/month for 50GB, but that’s a far cry from Google’s unlimited free option.

Apple Photos is convenient and secure, but you’ll run out of room real fast on the free tier.

Should you be worried?

Like Google, Apple is serious about the privacy of your data, but they go a step further in that Apple doesn’t even know what’s in your photo library. They don’t scan or analyze your images in the Cloud, especially not for training their Artificial Intelligence algorithms or selling advertising. However, the tradeoff is that you will run out of room really fast unless you don’t mind spending money on storage space.

3. Amazon Prime Photos

If you pay for Amazon Prime, you automatically have access to unlimited storage of full-resolution photos, plus 5GB of video storage. This can be a huge benefit to photographers of all stripes who want a secure place to store their pictures without worrying about intrusive advertising and data analytics. Amazon also has apps available for desktop and mobile that let you automatically upload your pictures.

If you pay for Amazon Prime, you have unlimited secure storage for photos.

When you upload photos to your Amazon account, they are automatically analyzed for faces, locations, and objects. This can be disabled, but Amazon clearly states that this data is only used for organizing your photos and not given to third parties.

Amazon doesn’t share your photos or any of the data derived from our image recognition features. Labels and data are only used to help you better organize and find photos in your collection.

There are other benefits to using Amazon Prime Photos as well, such as easy-to-use methods of ordering prints and creating albums that can be shared with others. However, as a photographer, you need to know that the Terms of Use specifically forbid you from using Amazon Prime Photos in a commercial capacity:

You may not use the Services to store, transfer, or distribute content of or on behalf of third parties, to operate your own file storage application or service, to operate a photography business or other commercial service, or to resell any part of the Services.

Amazon Prime Photos offers unlimited storage space, but their Terms of Use contains some notable restrictions.

Should you be worried?

Amazon doesn’t make any money off your photos or the metadata contained in your photos, and the security of Amazon’s data centers is as good as anything. If you already pay for Amazon Prime, this option is certainly worth exploring. However, you might want to investigate some of the automatic analysis options to make sure it’s not scanning your images in a way you don’t want.

4. Facebook and Instagram

Facebook owns Instagram and applies the same data policies to both platforms, so what applies to one also applies to the other. It’s so common to take photos and upload them to Facebook and Instagram that, for many people, these have become their de facto storage option for images. That’s not necessarily a bad thing, as Facebook lets you easily share your pictures and also analyzes them for people and places that can be useful when sorting through your images.

Facebook and Instagram are great for sharing photos. However, any data that can possibly be gleaned from them will likely be used for advertising purposes.

Since these platforms are free, and used by so many people around the world, it can be hugely beneficial for photographers or casual shooters to store their photos in Mark Zuckerberg’s cloud. Things start to get a little hazy when you start to dig through Facebook’s Data Policy.

We collect the content, communications and other information you provide when you use our Products, including when you sign up for an account, create or share content, and message or communicate with others. This can include…the location of a photo or the date a file was created. Our systems automatically process content and communications you and others provide to analyze context and what’s in them.

That’s just the beginning.

The full Data Policy describes dozens of ways in which Facebook scrapes through your photos and the rest of your data. The company makes money from advertising, and it’s clear that they will analyze and evaluate every possible data point in your photos as much as it can to benefit itself.

Facebook won’t share your personal information with advertisers, but upload photos like this and you’ll likely start seeing ads for baby products.

This information is primarily used for advertising and helps Facebook customize the ads and other content you see across its services. However, the degree to which Facebook lets third-parties have access to your information is uncertain. Many recent scandals, such as the Cambridge Analytica data breach, have shown that Facebook clearly has some issues regarding data privacy. However, in recent months, the company has taken a much more aggressive stance on privacy – at least publicly.

Should you be worried?

If privacy and security are your main concerns, I would recommend staying away from Facebook for a lot of photo storage. While things might change in the future, for now, it’s best to assume that your photos are not going to have the same level of privacy as other platforms. You also need to double-check your account settings to make sure that only the people you want to see your photos can view them.

5. Flickr

With its recent acquisition by SmugMug, Flickr has seen a resurgence among photographers. Despite having a limit of 1000 photos for the free tier, it can be a good option if you value quality over quantity. The site has a freemium business model, which means that you can use the basic version for free but pay for more features if you want them. The free tier is supported in part by those who pay for the Pro version, but like a lot of other sites, advertising supports it.

Flickr collects a great deal of information about you and your photos, and its Privacy Policy is certainly worth a look if you want to use the site. They log and store information that you provide them when you sign up for an account, but also a great deal of information in the background too.

We collect information about the computer or mobile device you use to access our Services, including the hardware model, operating system and version, screen resolution, color and depth, device identifiers and mobile network information.

When you upload a photo with geographical data (i.e. from a mobile device) or manually geotag your photo, we collect the location of that photo. With your consent, we collect information about your location if you take a photo within the Flickr mobile application to add to your photo’s metadata.

Like other platforms, Flickr will automatically analyze your photos using its own artificial intelligence.

Flickr also stores and analyzes EXIF data in your pictures such as camera model, focal length, shutter speed, and more. Like Google, they also use image-recognition technology to automatically analyze and tag your photos. This helps in searching through your images, but it can feel a little Orwellian too.

Advertisers get a lot of data from Flickr, and there’s not much you can do to control it. Flickr suggests that you use on-device options such as “Limit Ad Tracking” features on your mobile phone, but that has nothing to do with the wealth of information the company is getting from your photos. Whether you like it or not, your images on Flickr are being used to help Flickr maintain and grow its business.

One interesting element of Flickr that most other platforms don’t have is the ability to change the license on your photos. While this won’t affect privacy or data security settings, it is a good way to help make sure others use your images in a way that you want.

Should you be worried?

Flickr has a better track record compared to Facebook, but just know that your photos will certainly be analyzed for advertising purposes.

Flickr is more widely used for artistic and creative photos as opposed to family, child, and friend photos.

6. Dropbox

As one of the pioneers in mass storage solutions for consumers, Dropbox has become a good option for photographers who want to store and even share their images. Their free option only gives you 2GB of storage, but that’s enough for hundreds or even thousands of photos, depending on the resolution and size. They make money from selling a service, not from advertising, and as a result, your images are about as close to secure and private as you will ever find.

Dropbox offers a range of benefits for privacy-focused photographers.

Their Privacy Policy states that Dropbox collects some basic information such as file size, time/date stamps, and device information but not much more. They don’t really care what files you store on Dropbox so long as they’re not illegal. (And like other services, they have to comply with court orders to hand over files when necessary.)

We collect and use the personal data described above in order to provide you with the Services in a reliable and secure manner. We also collect and use personal data for our legitimate business needs. To the extent we process your personal data for other purposes, we ask for your consent in advance or require that our partners obtain such consent.

We may share information as discussed below, but we won’t sell it to advertisers or other third parties. Dropbox uses certain trusted third parties (for example, providers of customer support and IT services) to help us provide, improve, protect, and promote our Services. These third parties will access your information only to perform tasks on our behalf in compliance with this Privacy Policy, and we’ll remain responsible for their handling of your information per our instructions.

Should you be worried?

Nope. When it comes to data security, Dropbox is one of the best in the business. You can rest assured that nothing in, or about, your photos will be analyzed, tracked, or given to advertisers or other third-parties. You have to pay to move beyond the 2GB free tier, but it’s money well spent if you value data privacy and security.

Dropbox comes with a price if you want more than 2GB, but it can be well worth it depending on your needs.

Conclusion

There’s never going to be a one-size-fits-all option when it comes to cloud storage. Whatever option you choose, if you do want to store your images online, it’s a good idea to read through the relevant privacy and data policies to make sure your images aren’t being used in a way that you don’t want. There are plenty of options I didn’t even touch on here, and if you have a bit of time and technical acumen, you can even create your own cloud storage options using computer hardware at home.

All cloud-based services have benefits and drawbacks. Make sure you find one that fits what you need.

Make sure to do your due diligence when choosing a cloud service provider. If a free option catches your eye, you might want to dig a little deeper to find out just why it’s free and what they are doing with your photos. Also, if you value security and privacy, it might be worth it to spend some money on a solution that really does work for you.

 

The post Are Your Photos Safe in the Cloud? The Real Cost of Using these Services appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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The Canon EOS RP is smaller than an EOS Rebel T7i and will cost $1300

16 Feb

The Canon EOS RP becomes that company’s second full-frame mirrorless camera, aimed at photographers stepping up from APS-C. Like the EOS R, it uses Canon’s new RF mount and is compatible with Canon’s large selection of EF and EF-S lenses via three optional adapters.

It uses a 26MP CMOS sensor and DIGIC 8 processor, along with a Dual Pixel AF system. This gives 4779 selectable AF points spread across an 88% horizontal / 100% vertical area of the frame. Canon is emphasizing the RP’s compact size – its 12.7 x 9.7 x 6.1 cm (5.0 x 3.8 x 2.4″) dimensions make it even smaller than a EOS Rebel T7i / 800D.

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The EOS RP shoots 4K/24p and 1080/60p video and offers up to 5 fps burst shooting (4 fps with Servo AF in shooting speed priority mode). A 3″ touchscreen with 1.04M dots is fully articulated, and the camera also provides a built-in 2.36M-dot OLED viewfinder.

Like the EOS R it lacks in-body stabilization and will rely on on lens IS. Canon’s beginner-friendly Visual Guide mode is included, as are Wi-Fi and Bluetooth.

The Canon EOS RP will go on sale in March for $ 1300 body-only, $ 1999 with the EF lens adapter and EF 24-105mm IS STM lens, or $ 2400 with the RF 24-105mm F4 L IS USM.

FULL FRAME FOR THE MASSES! CANON INTRODUCES ITS SECOND FULL-FRAME MIRRORLESS CAMERA – THE EOS RP

New Super-Compact and Ultra-Lightweight EOS RP is Ideal for Users Looking to Graduate to Full-Frame Mirrorless Camera at an Affordable Price

MELVILLE, N.Y., February 13, 2019 – Responding to the demand from amateur and advanced amateur photographers for an entry-level, full-frame mirrorless camera, Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the second camera in the EOS R lineup, the EOS RP. The EOS RP is designed for photographers looking to step up from Canon’s APS-C cameras: the EOS Rebel, EOS M and the EOS 80D, into the world of full-frame mirrorless photography. Weighing in at just 17.29 ounces, the EOS RP camera is lighter than a 500ml bottle of water and smaller than Canon’s popular APS-C DSLR camera, the Canon EOS Rebel T7i, coming in at approximately 5.0in (w) x 3.77in (h) x 2.36in (d). With optics at its core, the EOS RP takes full advantage of the complete line up of RF lenses and is compatible with the existing collection of Canon’s EF and EF-S lenses with the use of one of three optional RF EOS-R Mount Adapters .

“As Canon continues to evolve its full-frame mirrorless cameras, our goal is that one day the EOS R line becomes as widely popular as our celebrated lineup of EOS DSLR cameras,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “As a company, we believe that in order for us to accomplish that goal, Canon needs to develop full-frame mirrorless cameras for every skill level of photographers and that starts with amateurs and advanced amateurs. This makes the EOS RP the perfect addition to the existing lineup.”

The new Canon EOS RP full-frame mirrorless camera features a 26.2 megapixel CMOS sensor that is powered by the company’s DIGIC 8 image processor, providing users with high-image quality, outstanding operation and functionality. The new Canon EOS RP features Dual Pixel CMOS Auto Focus (AF) with 4,779 manually selectable AF points and a wide AF coverage area of 88 percent horizontal and 100 percent vertical. With f/1.2 lenses, the camera astonishingly boasts AF sensitivity in low light in as little as Exposure Value (EV) -5. When using the RF 24-105mm F4 L IS USM lens with the EOS RP, the camera can focus in as little as 0.05 seconds with Dual Pixel CMOS AF . When using eye detection AF, the camera can automatically detect faces and focus on the eye of the subject. This feature is supported when the camera is set in either servo AF mode during continuous shooting and movie servo AF, as well as one-shot AF.

Like the EOS R full-frame mirrorless camera that was announced in September 2018, the EOS RP is built around the same 54mm mount diameter and short-back focus. This allows for the use of one of three optional mount adapters for full compatibility with all existing EF, EF-S, TS-E and MP-E lenses. Through the use of the optional Drop-In Filter Mount Adapter or Control Ring Mount Adapter, these lenses, in fact, gain functionality.

For photographers looking to further expand their abilities and capture a wide variety of both still and video images, the EOS RP features Visual Guide mode. First introduced with the EOS Rebel T7i and EOS 77D, this mode allows users to see on screen how switching modes on the mode dial or tweaking settings can alter the image they are about to capture. This mode helps to guide photographers to capture more compelling images, such as ones with a shallow depth-of-field or being able to give moving subjects a frozen or flowing look. For those looking to expand their imaginative options, the camera also features Creative Assist mode that allows photographers to use new and unique visual effects and adjustments when shooting, such as brightness, contrast, saturation, color tone, monochrome and background blur. In addition, the design, ergonomics, layout and ease-of-use of the camera are very similar to that of other Canon cameras consumers might already be familiar with.

Additional noteworthy features of the EOS RP camera include:

  • Built-in 0.39 inch, 2.36 million dot Electronic Viewfinder with Touch-and-Drag AF
  • Vari-Angle LCD touchscreen
  • 4K UHD 24P/Full HD 60p video recording with 4K time-lapse shooting and the ability to extract still images from 4K video recordings
  • ISO range of 100-25,600 that is expandable up to ISO of 102,400
  • Built-in Wi-Fi® and Bluetooth® technology
  • Mobile RAW workflow supported paired with Digital Photo Professional Express App

Availability and Pricing
The Canon EOS RP full-frame mirrorless camera is scheduled to be available in March 2019 for an estimated retail price of $ 1299.00 for the body only. It will also be sold as a body-and-lens kit with the RF 24-105mm F4 L IS USM lens for $ 2399.00*

To learn more about the EOS R system, including in-depth educational tutorials, please visit usa.canon.com

Canon EOS RP specifications

Price
MSRP $ 1299 (body), $ 1999 (w/EF adapter and EF 24-105mm STM IS lens), $ 2299 (w/RF 24-105mm F4L IS lens)
Body type
Body type SLR-style mirrorless
Body material Composite
Sensor
Max resolution 6240 x 4160
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 26 megapixels
Sensor photo detectors 27 megapixels
Sensor size Full frame (35.9 x 24 mm)
Sensor type CMOS
Processor Digic 8
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-40000 (expands to 50-102400)
Boosted ISO (minimum) 50
Boosted ISO (maximum) 102400
White balance presets 6
Custom white balance Yes
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG
  • Raw (14-bit Canon CR3)
  • C-Raw (Canon original)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 4779
Lens mount Canon RF
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 1,040,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.7×
Viewfinder resolution 2,360,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash X sync speed 1/180 sec
Drive modes
  • Single
  • Continuous (H/L)
  • Self-timer
Continuous drive 5.0 fps
Self-timer Yes (2 or 10 secs, custom)
Metering modes
  • Multi
  • Center-weighted
  • Spot
  • Partial
Exposure compensation ±3 (at 1/3 EV, 1/2 EV steps)
WB Bracketing No
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 24p / 120 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 60 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 60 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 30 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 30 Mbps, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-II supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth
Remote control Yes (via cable or smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description LP-E17 lithium-ion battery & charger
Battery Life (CIPA) 250
Weight (inc. batteries) 485 g (1.07 lb / 17.11 oz)
Dimensions 133 x 85 x 70 mm (5.24 x 3.35 x 2.76″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic S1 will cost $2499 body-only and feature oversampled 4K/30p

02 Feb

Following a Photokina 2018 development announcement, Panasonic has released full details for its Lumix S1 full-frame mirrorless camera. The company previously estimated that the S1 would be 70% used for stills and 30% geared toward video, and indeed it puts up some impressive video specifications.

The S1 uses a 24.2MP sensor and on the video front, captures oversampled 4K/30p video from the full width of the sensor, or 4K/60p from an APS-C region. The S1 will also offer 180 fps 1080 video capture, output as 1/6th speed footage at 29.97p.

S1 users will also have the option to pay for an upgrade to add Log capabilities and the ability to output or capture 10-bit 4:2:2 footage. The standard camera only shoots 10-bit in its HLG high-dynamic range video mode. Pricing and availability date of the upgrade has not yet been announced.

The S1 and S1R use the L-mount standard, introduced first by Leica and now developed in collaboration with Panasonic and Sigma. Both cameras offer robust weather-resistance and in-body 5-axis image stabilization that will work in combination with Lumix lenses equipped with optical stabilization.

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Autofocus is contrast-based and relies on Panasonic’s DFD (Depth From Defocus) technology to speed up focus acquisition. This latest iteration of the feature incorporates machine learning to better identify subjects and improve tracking performance.

The S1 offers a multi-shot High Resolution mode able to create 96MP images. Standard burst shooting is offered at up to 9 fps with single AF, or 6 fps with continuous AF and live view. Additionally, Panasonic’s 6K and 4K Photo modes are present for high-speed capture, allowing extraction of 18MP images from 30 fps bursts, or 8MP images from APS-C region 60 fps bursts.

Like its higher-resolution sibling, the S1 provides an OLED electronic viewfinder with market-leading 5.76M-dot resolution, offering 60 fps or 120 fps selectable refresh rate. It’s also equipped with a touch-sensitive 3.0″ 2.1M-dot LCD that tilts on three axes. The camera also provides a top panel status LCD.

The Panasonic Lumix DC-S1 will be available in early April for $ 2499 body-only or $ 3399 with the co-announced 24-105mm F4 lens.

Press release:

Panasonic Launches New LUMIX S Series Full-frame Mirrorless Cameras LUMIX S1R and LUMIX S1

Newark, NJ (February 1, 2019) – After the development announcement at Photokina 2018, Panasonic is now proud to introduce the full specifications of its long-awaited first full-frame Digital Single Lens Mirrorless cameras, the LUMIX S1R and S1, with a 35mm full-frame CMOS sensor. The new cameras are based on the L-Mount standard, which boasts a well-balanced, large inner diameter and compact dimensions for a flange focus to realize optimum size and performance as a mirrorless camera system.

The LUMIX S Series aims for unprecedented image quality with high resolution, rich gradation and superior color reproduction. A high-speed, high-precision AF system based on advanced control technology over the lens, the sensor, and the new Venus Engine enable the user to capture the target in sharp focus without fail. The LUMIX S Series also boasts industry-leading video recording performance (4K 60p/50p*1), intuitive control, a rugged design for heavy field use, durability, and expandability.

The LUMIX S1R integrates a 47.3-megapixel full-frame CMOS sensor (36mm x 24mm), which gives it the industry’s highest level of resolution in the full-frame mirrorless cameras*2, to pursue the ultimate power of expression. In addition to the precise reproduction capability in detail, this sensor achieves a high S/N ratio by taking advantage of its high light-condensing efficiency despite the large number of pixels. The LUMIX S1R features a High Resolution mode for the first time as a mirrorless full-frame camera to enable 187-megapixel ultra-high precision photo shooting.

The LUMIX S1 comes with a 24.2-megapixel full-frame CMOS sensor (35.6mm x 23.8mm) that provides a wide dynamic range and excellent performance at high sensitivity in addition to a natural yet sharp image description thanks to sufficient light condensation per pixel. The LUMIX S1 supports professional use in videography by taking advantage of the stunning expression performance that a full-frame camera can offer. It records smooth 4K 60p video and enables full-pixel readout of signals in 4K 30p/25p*1 to save truly beautiful footage. Furthermore, the LUMIX S1 will comply with 4:2:2 10-bit 4K 30p/25p*1 internal video recording and 4K 60p HDMI output as well as V-Log, with a software upgrade key (to be sold separately) following soon in 2019.

Panasonic’s advanced Contrast AF system with DFD technology has evolved through the development of numerous mirrorless cameras to make the AF system of the LUMIX S1R/S1 even more practical. It achieves not only the industry’s fastest level of focusing speed but also a tracking performance that is made possible by the adoption of advanced AI technology that accurately recognizes moving target subjects. The LUMIX S1R/S1 incorporates a Body I.S. (Image Stabilizer) to effectively compensate for the hand-shake movement. Combining the Body I.S.(5-axis) and the O.I.S. (Optical Image Stabilizer, 2-axis) in the LUMIX S Series lenses, the Dual I.S. 2*3 boasts even more powerful compensates for virtually any types of blur. Equipped with a high-resolution Real View Finder, triaxial tilt rear monitor and high performance shutter unit with high durability, the rugged design LUMIX S1R/S1 provides the professional photographers with high reliability.

Drawing on the vast expertise of the L-Mount Alliance with Leica Camera and Sigma, various interchangeable lenses are available for the LUMIX S Series. On the other hand, the LUMIX PRO service*4 has also launched to support professional work globally.

As a pioneer of the Digital Single Lens Mirrorless camera, Panasonic has pursued innovations in technology under the vision of “Changing Photography.” Crystallizing all these digital and optical technologies, Panasonic is committed to introducing an unparalleled full-frame camera system without compromise for professional photographers and videographers.
*1 PAL area only
*2 As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.
*3 5-Axis Dual I.S.2 can be used with the lens S-R24105 and S-R70200 as of February 1, 2019.
*4 Service is not available in some countries.

1? High picture quality made possible by the first LUMIX full-frame mirrorless camera Unprecedented picture quality and high descriptive performance LUMIX S1R
The LUMIX S1R incorporates a new 47.3-megapixel CMOS sensor without LPF (Low Pass Filter) to realize high resolution and descriptive performance. This sensor adopts an aspherical lens for the on-chip micro lens to enhance light condensation. Together with the optimum design to concentrate more incoming light onto the photodiode, it achieves both high resolution and highly efficient light condensation performance. This results in the realization of the industry’s highest level of 47.3-megapixel resolution* in the full-frame mirrorless cameras at high S/N ratio and maximum ISO 25600 high sensitivity. The large amount of digital signals is processed by the new high-speed, high-performance image processor Venus Engine to render images with breathtaking description in both photo and video.
* As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.

High image quality, high sensitivity performance LUMIX S1
The LUMIX S1 employs a 24.2-megapixel CMOS sensor. The new Venus Engine, which is exclusively tuned for the full-frame camera, and its Multipixel Luminance Generation and Intelligent Detail Processing realize natural, high-resolution expression while suppressing color moiré. Three-dimensional color control improves the color reproduction of both bright and shadow areas. This results in natural, true-to-life images from low to high sensitivity. Taking advantage of sufficient light condensation, the LUMIX S1 boasts a wide dynamic range and reproduces sharp images with exceptional clarity. Noise is minimized even when shot at maximum ISO 51200 high sensitivity. It is an ideal camera to use especially in low-light situations.

An AR coating applied on the sensor of both LUMIX S1R/S1 minimizes ghost and flare even in backlighting. In combination with the high-quality LUMIX S Series lenses based on the L-Mount, this further enhances the potential of the camera.

Plus, the LUMIX S1R/S1 integrates the Body I.S. (Image Stabilizer) for powerful handshake correction. Panasonic developed an algorithm that precisely calculates shake information acquired not only from a gyrosensor, but also from the image sensor and accelerometer sensor. This enables more accurate shake detection and compensation, making it possible to use a 5.5-stop slower shutter speed*1. Combining the Body I.S. (5-axis) in the camera and the O.I.S. (Optical Image Stabilizer, 2-axis) in the LUMIX S Series lens, the 5-axis Dual I.S. 2 compensates for larger movements that were conventionally uncontrollable. Maximizing both O.I.S and B.I.S. is highly beneficial in telephoto shots and in adverse situations, such as in low-light or with one-handed shooting with a 6-stop slower shutter speed*2. The 5-axis Dual I.S. 2 works for both photo and video recording, including 4K. The Body I.S. compensates for camera movement even when other L-Mount lenses without O.I.S. are used.

Taking full advantage of its high-resolution sensor, the LUMIX S1R/S1 provides a High Resolution mode that faithfully reproduces precise details to be saved as beautiful, highly realistic RAW images. Eight consecutive images are automatically shot while shifting the sensor using the Body I.S. (Image Stabilizer) mechanism and synthesized into a 187-megapixel equivalent (16,736 x 11,168-pixel) image for LUMIX S1R and 96-megapixel equivalent (12,000 x 8,000-pixel) image for LUMIX S1 by the new Venus Engine, which boasts high-speed signal processing. This mode is suitable for taking natural landscapes or fine arts with delicate details. This magnificently high resolution photo is ideal for landscape photography of stationary subjects using a tripod. However, it can also be used in situations where moving subjects are included in the scene, by switching the sub mode.

The HLG*3 Photo mode is a whole new style of photo expression that Panasonic proposes. It provides a wider dynamic range to reproduce light and shadow with more natural contrast. The HLG Photos can also be produced as an HSP file*4 with compressed high-brightness signals in stunning 8K resolution (7,680 x 4,320 in 16:9, with LUMIX S1R) or its full resolution (5,888 x 3,312, in 16:9, with LUMIX S1) in addition to JPEG/RAW files. It excels in the expression of lights, such as sparkling starlight or glaring sunlight. The user can playback these vibrant images on the latest Panasonic HLG-compliant 4KTV via HDMI cable connection or other HLG-compliant devices. It is also ideal for photo presentations by photographers.

The high-precision shutter unit offers the highest shutter speed at a maximum 1/8000 second to capture spur-of-the-moment, fast moving subjects and to use a high-speed lens with a fully open aperture even outdoors for impressive defocusing. The external flash can be synchronized with the industry’s fastest shutter speed of a maximum 1/320 second.*5*6
*1 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=50mm, when S-X50 is used.]
*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when S-R70200 is used.]
*3 “HLG (Hybrid Log Gamma)” is an international standard (ITU-R BT.2100) HDR format.
*4 “HSP” is an HDR picture format using HLG format video technology.
*5 The guide number decreases when the shutter speed is set to 1/320 of a second.
*6 As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.

2. High-speed, high-precision AF system LUMIX S1R LUMIX S1
Panasonic has achieved a high-speed AF with its advanced control technology over the major devices – lens, sensor and imaging engine. The lens and sensor communicate at a maximum 480 fps. Combining the Contrast AF with DFD technology, the LUMIX S1R/S1 realizes an ultra-high-speed, high-precision AF of approximately 0.08 sec*1. The LUMIX S1R/S1 also boasts high speed burst shooting at 9 fps (AFS) or 6 fps (AFC). With its high subject tracking performance, the LUMIX S1R/S1 never loses the target subject. As a camera that excels in low-light shooting, the LUMIX S1R/S1 boasts -6EV*2 luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. The face/eye detection technology makes it possible to capture people in crisp focus, the Eye AF even detects the pupil of the eye and precisely focuses on it for impressive portrait shooting. The LUMIX S1R/S1 also incorporates advanced AI technology that detects specific subjects – humans and fast-moving animals, including dogs, cats and birds. The camera keeps tracking these subjects even when they turn their back to the camera.

For more continuous burst shooting, 6K PHOTO*3 makes it possible to capture unmissable moments at 30 fps by extracting the frame with the best timing out of a 6K burst file (in 4:3 or 3:2 aspect ratio) to save as an approximate 18-megapixel equivalent high resolution photo. The 4K PHOTO enables 60-fps high-speed captures in approximate 8-megapixel equivalent resolution. In 6K PHOTO /4K PHOTO, three exclusive modes can be chosen from depending on the situation; 6K Burst/4K Burst, 6K Burst (Start/Stop)/4K Burst (Start/Stop) and 6K Pre-burst/4K Pre-burst. Users can choose the most suitable burst shooting mode in addition to the regular consecutive shooting mode in full resolution depending on the situation.
*1 11EV, at wide-end with S-R24105 (CIPA) in LVF120 fps setting.
*2 At ISO100, F1.4, AFS
*3 6K PHOTO’ is a high speed burst shooting function that cuts a still image out of a 4:3 or 3:2 video footage with approx.18-megapixel (approx. 6000 x 3000 effective pixel count) that the 6K image manages.

3. Operability from ingenuity for intuitive control LUMIX S1R LUMIX S1
The LVF (Live View Finder) is the key factor for completing the ultra-high-speed response of the camera. The LUMIX S1R/S1 has the largest level of Real View Finder which boasts the world’s highest 5,760k-dot resolution.* The 0.78x magnification ratio can be switched to 0.7x or 0.74x according to the shooting situation. Adoption of a high-speed, high-precision OLED (Organic Light-Emitting Diode) for the LVF achieves smooth display at 60 fps/120 fps (switchable) and high-speed response with minimum time lag of less than 0.005 sec as well as 10,000:1 high contrast for exceptional visibility. With minimum distortion and high optical performance, this Real View Finder provides a natural view as seen with the naked eye. It is always sharp and clear from the center all the way to the corners.

The 2,100K-dot high resolution monitor in 3:2 aspect ratio has adopted a triaxial tilt moving element to secure both durability and operational ease. It also has a touch control system. Live View Boost is another practical feature that makes it possible to check the composition even in total darkness by boosting the sensitivity just for live view. It also incorporates a night mode that provides mild backlighting. It lets the user watch the subject comfortably even after viewing the monitor in a dark situation for a long time. The LUMIX S1R/S1 includes a largest-in-class Status LCD on the top, allowing users to check the settings at a glance.

To make the camera just like a part of the photographer’s body, the LUMIX S1R/S1 provides a firm grip, making it easy to hold for long periods. The control buttons and dials are located based on an ergonomic study to enable the user to concentrate on shooting. The adoption of an 8-directional joystick and refined UI (User Interface) also supports quick operation during shooting. In addition, illuminated buttons can be of help in low-light situations. An operation lock lever prevents unintentional operation, and the user can choose which operation to lock.
* As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.

4. Rugged design, reliability and expandability LUMIX S1R LUMIX S1
To be tough enough to withstand heavy field use, the main structure is composed of a magnesium alloy full die-cast front/rear frame. Robust construction and a sealing for every joint, dial, and button make the LUMIX S1R/S1 not only splash resistant* and dust resistant,* but also freeze resistant down to -10 degrees Centigrade. The shutter unit is also durable for approximately 400,000 cycles.

The LUMIX S1R/S1 is equipped with a double memory card slot compatible with SD (UHS-II) or XQD memory cards for high-speed, high-capacity continuous data recording. Users can flexibly choose the recording method from Relay Recording, Backup Recording or Allocation Recording using the double slots. It will also be compatible with CFexpress in the near future. The 7.4-V 3,050 mAh high-capacity battery can be quickly charged via USB PD (USB Power Delivery) using the bundled USB3.1 Type-C cable. And it also realizes high-speed data transfer.

A variety of new accessories are available for the LUMIX S1R/S1, including Remote Shutter (DMW-RS2),?Eyecup (DMW-EC6), Battery Grip (DMW-BGS1) and Battery Charger (DMW-BTC14). The Battery Charger also complies with USB PD and enables quick power charging in approximately 2 hours. The camera can be used while charging via this adaptor. The conventional External Flash (DMW-FL580L / FL360L / FL200L) can also be mounted on the LUMIX S Series cameras.
*Dust and Splash Resistant does not guarantee that damage will not occur if this camera is subjected to direct contact with dust and water.

5?Outstanding video recording performance in a full-frame camera 4K 60p video recording for more creative freedom LUMIX S1R The LUMIX S1R is a camera designed and developed to boast exceptional performance in photography, yet is capable of 4K 60p video recording.*2 To elevate the video expression even more, a variety of effects are available for video recording.

Exceptional video recording performance for professional videographers LUMIX S1
The LUMIX S1 features outstanding video performance for professional videography with 4K 60p recording. It realizes a crop factor of 1.0x in 4K 30p/25p*1/24p, which means that the user can record video in the original viewing angle of the lens. There is no recording time limit*3 for both 4K 30p/25p*1/24p and Full-HD video. Notably, the CMOS Sensor with high sensitivity on the LUMIX S1 achieves full-pixel readout for an excellent S/N ratio. The HDR (High Dynamic Range) video recording is available, which reproduces both the bright parts and dark parts of an image, making it look just like human eyes see it. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and you can now choose Hybrid Log Gamma (HLG) in Photo Style. The LUMIX S1 further expands its potential with a firmware update including 4:2:2 10-bit 4K 30p internal video recording and 4K 60p/50p HDMI output as well as V-Log, with a Software Upgrade Key (to be sold separately) following soon in 2019.

As a camera from Panasonic that has been overstepping the limit of video performance in digital cameras, a host of functions are available on the LUMIX S1R/S1. The High Speed Video lets users record slow motion video in 4K (maximum 60 fps and FHD (maximum 180 fps).

For the terminal, an HDMI Type A is provided. Plus, a cable lock holder for the HDMI cable is included in the LUMIX S1R/S1 to prevent unplugging trouble on location. LINE input is also supported by a 3.5-mm microphone jack. This makes it possible to input sounds from an external audio device, for more efficient video production. A 3.5-mm headphone jack is also available. In addition, it complies with the Microphone Adaptor DMW-XLR1 (sold separately), which is a plug-in type adaptor for an XLR microphone to record high-quality stereo sound. It is ideal for lip-sync recording. Dedicated switches allow direct, quick control. MIC, LINE and CONDENSER MICROPHONES are switchable.
*1 PAL area only.
*2 Maximum 15 minutes in 4K60p and unlimited recording time in Full HD until the SD Memory Card becomes full or the battery runs out.
*3 Maximum 29 minutes 59 seconds in 4K60p until the SD Memory Card becomes full or the battery runs out.
– When the ambient temperature is high or continuous recording is performed, the camera may stop the recording to protect itself. Wait until the camera cools down (*2*3).

6. Other Features LUMIX S1R LUMIX S1

  • Photo Style Featuring a New Flat Mode
    To shorten post-processing work, JPEG photos can be adjusted precisely according to the photographer’s intention. The LUMIX S1R/S1 also provides a Flat mode that features a plain finish with less contrast and saturation for versatile use.
  • Variable Aspect Ratios With New 65:24 and 2:1
    In addition to the standard 3:2, 4:3, 16:9 and 1:1, 65:24 (Film Panorama) and 2:1 (6 x 12 cm) aspect ratios are available for photo shooting.
  • I.S. Status Scope
    The user can consciously remove the cause of shake by checking a pointer that indicates the camera’s shaking condition. It is available while the viewfinder or rear monitor blacks out even during a long-time exposure.
  • Flicker Decrease
    When the flickering of a fluorescent light is detected, the camera indicates it and releases the shutter when its effect is the least to suppress the discontinuity of exposure or color across a sequence of photos.
    *Not available in 6K PHOTO, 4K PHOTO and Post Focus.
  • Highlight Weighted Light Metering Mode
    The Highlight Weighted Light Metering Mode meters light with the priority on highlighted parts, to prevent it from washing out.
  • New AWBw Auto White Balance Mode
    In Auto White Balance, a new AWBw that retains a reddish tint is available in addition to conventional AWB (standard) and AWBc (bluish tint). AWBw reproduces healthy, rosy skin color even under fluorescent light.
  • Bluetooth 4.2 and Wi-Fi 5GHz (IEEE802.11ac)* / 2.4GHz (IEEE802.11b/g/n)
    Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. The settings of a LUMIX S1R/S1 camera can also be copied and transmitted wirelessly to other S1R/S1 cameras when using multiple S1R/S1 cameras*1. Also, Wi-Fi 5GHz (IEEE802.11ac)*2 is effective in addition to 2.4GHz (IEEE802.11b/g/n.) This provides even secure and stable connection not only with a smartphone/tablet but also with other devices on location for smooth remote control. Transmission speed of photo/video data is also increased up by using the 5GHz-band*2.
    *1 The Settings of LUMIX S1R can be copied to S1R only and the settings of LUMIX S1 can be copied to S1 only.
    *2 5GHz Wi-Fi is not available in some countries.
  • Lumix Tether
    This software enables tethered shooting via USB. Users can control the camera by connecting it to a PC via USB. It lets you view the image on a large PC screen while shooting, which is helpful in commercial photoshoots of portraits, products and more, where continuous confirmation is required. You can use [6K PHOTO] [4K PHOTO] and start and stop video recording with tethered shooting. It is also possible to choose the folder to save the image files in the PC.
  • Lumix Sync
    Lumix Sync is a new application for iOS/Android devices, which enables photo transmission to a smartphone or tablet via easy wireless connection. It also allows remote control of the camera using a smartphone or tablet.
  • Leica is a registered trademark of Leica Microsystems IR GmbH.
  • L-Mount is a trademark or registered trademark of Leica Camera AG.
  • Android and Google Play are trademarks or registered trademarks of Google Inc.
  • IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license.
  • XQD is a trademark of Sony Corporation.
  • All other company and product names are trademarks of their respective corporations.
  • Some accessories are not available in some countries.
  • The use of recorded or printed materials that are protected by copyright for any purpose other than personal enjoyment is prohibited, as it would infringe upon the rights of the copyright holder.
  • Design and specifications are subject to change without notice.

Articles: Digital Photography Review (dpreview.com)

 
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