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PhotoPlus announces it’s going digital as it cancels its in-person expo this year

24 Aug

PhotoPlus announced this morning it is canceling its in-person event, opting instead to host its annual photo conference online due to the COVID-19 pandemic.

PhotoPlus 2020 was originally set to take place at the Javits Center in New York City from October 22–24. Despite numerous other photo conferences being canceled, PhotoPlus insisted the in-person event was still taking place, until today. In a press release, event director Joseph Kowalsky said:

‘The difficult decision was made after consulting our community partners and supporters and closely monitoring the ongoing progression of the COVID-19 pandemic in the U.S.’

To replace the in-person event, PhotoPlus announced PhotoPlus+, which will be an ‘online experience and community bringing together visual storytellers with the tools and services they need to create.’ The event is designed to be a broader event, with product showcases, live demos, gear launches, networking events and more taking place starting November 1, 2020.

You can find out more information and register for the online PhotoPlus+ event on the PhotoPlus website.

Articles: Digital Photography Review (dpreview.com)

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Olympus M.Zuiko Digital ED 100-400mm F5-6.3 IS sample gallery

05 Aug

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Olympus’ new M.Zuiko Digital ED 100-400mm F5-6.3 IS has arrived and it adds a versatile piece of kit to the brand’s vast arsenal of lenses. We’ve just started shooting with it and already we’re impressed with the sharpness throughout the zoom range.

We’ll be updating this gallery soon with additional samples (we did not intend to shoot JPEG-only), but in the meantime here’s what you can expect from Olympus’ latest glass when paired with an E-M1 III on a nice sunny day (27°C / 80°F).

See our Olympus 100-400mm F5-6.3 IS sample gallery

Articles: Digital Photography Review (dpreview.com)

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Adobe reveals how its CAI digital content attribution system will work

05 Aug

During its Adobe MAX 2019 event, Adobe announced its Content Authenticity Initiative (CAI), the first mission of which is to develop a new standard for content attribution. ‘We will provide a layer of robust, tamper-evident attribution and history data built upon XMP, Schema.org and other metadata standards that goes far beyond common uses today,’ the company explains in a new white paper about the initiative.

The idea behind Adobe’s CAI is that there’s no single, simple, and permanent way to attach attribution data to an image, making it hard for viewers to see who owns the image and the context surrounding its subject matter. This paves the way for image theft, as well as the spread of misinformation and disinformation, a growing problem on the modern Internet.

Adobe’s new industry standard for digital content attribution, which was announced in collaboration with Twitter and The New York Times, will potentially change this, adding a level of trust in content that may otherwise be modified or presented with an inauthentic context on social media and elsewhere.

Adobe said in November 2019 that it had a technical team:

…exploring a high-level framework architecture based on our vision of attribution, and we are inviting input and feedback from industry partners to help shape the final solution. The goal of the Initiative is for each member to bring its deep technical and business knowledge to the solution. Success will mean building a growing ecosystem of members who are contributing to a long-term solution, adoption of the framework and supporting consumers to understand who and what to trust.

The newly published white paper titled ‘The Content Authenticity Initiative: Setting the Standard for Digital Content Attribution‘ explains how this new digital content attribution system will work.

The team cites a number of ‘guiding principles’ in the initiative, including the ability for their specifications to fit in with existing workflows, interoperability for ‘various types of target users,’ respect for ‘common privacy concerns,’ an avoidance of unreasonable ‘technical complexity and cost’ and more. Adobe expects a variety of users will utilize its content attribution system, including content creators, publishers and consumers, the latter of which may include lawyers, fact-checkers and law enforcement.

The team provides examples of the potential uses for its authenticity system in various professions. For photojournalists, for example, the workflow may include capturing content at a press event using a ‘CAI-enabled capture device,’ then importing the files into a photo editing application that has ‘CAI functionality enabled.’

Having preserved those details during editing, the photojournalist can then pass on the images to their editor, triggering a series of content verifications and distribution to publications, social media managers and social platforms, all of which will, ideally, support displaying not only the CAI information but also any alterations made to the content (cropping, compression, etc).

The idea is that at all times during its distribution across the Internet, anyone will be able to view the details about the image’s origination, including who created it, what publication originally published the image, when the photo was captured, what modifications may have been made to the image and more.

The white paper goes on to detail other potential creation-to-distribution pipelines for creative professionals and human rights activists.

What about the system itself? The researchers explain that:

The proposed system is based on a simple structure for storing and accessing cryptographically verifiable metadata created by an entity we refer to as an actor. An actor can be a human or non-human (hardware or software) that is participating in the CAI ecosystem. For example: a camera (capture device), image editing software, or the person using such tools.

The CAI embraces existing standards. A core philosophy is to enable rapid, wide adoption by creating only the minimum required novel technology and relying on prior, proven techniques wherever possible. This includes standards for encoding, hashing, signing, compression and metadata.

Each process during the creator’s workflow, such as capturing the image and then editing, produce ‘assertions’ as part of the CAI system. Typically speaking, according to the white paper, these assertions are JSON-based data structures that reference declarations made by the actor, which can refer to both humans and machines, including hardware like cameras and software like Photoshop.

The researchers go on to explain that:

Assertions are cryptographically hashed and their hashes are gathered together into a claim. A claim is a digitally signed data structure that represents a set of assertions along with one or more cryptographic hashes on the data of an asset. The signature ensures the integrity of the claim and makes the system tamper-evident. A claim can be either directly or indirectly embedded into an asset as it moves through the life of the asset.

For every lifecycle milestone for the image, such as when it was created, published, etc., the authenticity system will create a new set of assertions and claim related to it, with each claim daisy-chaining off the previous claim to create something like a digital paper trail for the work.

Of course, there are potential issues with Adobe’s vision for content authentication, the most obvious being whether the industry is willing to adopt this system as a new standard. The CAI digital content attribution system will only succeed if major hardware and software companies implement the standard into their products. Beyond that, social media platforms would need to join the effort to ensure these permanent attribution and modification details are accessible to users.

As well, Adobe’s system will have to achieve its highest goal, which is to be tamper-proof, something that is yet to be demonstrated. Work under this initiative is still underway; interested consumers can find all of the technical details in the white paper linked above.

Articles: Digital Photography Review (dpreview.com)

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Opinion: The film vs digital debate, settled, once and for all

26 Jun

Photographers have always been prone to debate.

Ever since I got back into photography as a hobby, I’ve been genuinely surprised at the frequency and ferocity of film-versus-digital debates. I’m not sure why they get so heated, or why they even happen at all. I’d like to blame the polarization that afflicts our society – us-vs-them, all-or-nothing (and if that’s the case, maybe Perry Farrell is right and it’s time to bring in the Martians) – but I’ve been around enough to know that photographers have always been prone to debate, be it T-Max vs. Tri-X, color vs. monochrome, or Nikkor vs. Rokkor.

So, as someone who shoots both mediums, with a slight preference for film, I’d like to settle this debate once and for all. Digital is better.

I mean, of course digital is better. Digital is the logical progression of everything the photography industry has been working towards since Nicéphore Niépce discovered light-sensitive asphalt. From wet plates to roll film to Kodachrome to Instamatics to Ektar to the megapixel sensor, the goal of the industry has always been to narrow the gap between a photographer’s skill level and the quality and speed of the results they can achieve. To that end, digital is one of the industry’s greatest triumphs, even if it did prove fatal (or at least injurious) to industry giants like Kodak and Polaroid.

The goal of the industry has always been to narrow the gap between a photographer’s skill level and the quality and speed of the results achieved

Today, a snapshooter can whip out their phone and get an image that pops like slide film, without manipulating controls, and share it in an instant. Likewise, long gone are the days when professional photographers had to worry about a photo lab screw-up costing them a job. And we hobbyists and artists can produce images that, from a technical standpoint, rival those from master film photographers of decades past. And we can process those images in minutes, not days. And with the lights on.

So yes, I’d say that digital is better.

But I’d also say that just because something is better, that doesn’t mean it’s more enjoyable. Air conditioning is better, but I still like to open the windows. Automatic transmissions are better, but I still prefer a clutch pedal. Air travel is better, but I still like to drive or take the train.

Digital may be better, but I still like to shoot with film. A lot of people – an ever-increasing number, I am pleased to say – do as well.

I have several film cameras. Each has its own personality, and the differences between them are what makes them so enjoyable

Some people like the look of film. I can dig that, although it strikes me a bit funny, because back in the 1990s the look of film is exactly what I was trying to avoid. I shot T-Max, Ektar and Velvia in hot pursuit of invisible grain and true-to-life colors, not knowing that in a few years’ time digital would give me that – and with the benefits of instant photography as a bonus. Now that I’m back to film, I find that I prefer traditional-grain, black-and-white films and the muted colors of old C-41 emulsions.

Personally, I really enjoy the feel of film photography. I love the sensations of my old film cameras, the process of focusing a scene on ground glass, the sound of the mirror and shutter, the little vibrations I can feel (or, in the case of my Nikons, can’t feel) through the film-advance lever. I have several film cameras, some fully manual, some fully automated, and many in between. Each has its own personality, and the differences between them are what makes them so enjoyable.

I love the process of developing film – the smooth shhhhk-shhhhk-shhhhhk as I wind the film onto the reel, fussing with development charts, smelling the fixer (which can’t possibly be good for me). I love imagining the processes I have set in motion, molecules of silver salt reducing to metallic silver until I command them them stop. I always feel that same little anticipation when I pop the cover off the tank, unroll a bit of film and see if the process worked. It always does, but it’s still a thrill, and has been since the very first roll I developed.

I love the uncertainty of film, knowing that the picture I set out to get might not be the picture I got, but it might be even better. And nothing can top the raw thrill of realizing that quick ‘grab’ shot turned out to be the best of the roll.

Air conditioning is better, but I still like to open the windows. Automatic transmissions are better, but I still prefer a clutch pedal. Air travel is better, but I still like to drive or take the train

But I also enjoy digital photography, and for entirely different reasons. Digital gives me a completely different connection to the process – the ability to see something, compose an image in my head, capture it and get instant feedback. My mirrorless camera provides a welcome short-circuit between what I see and what I want to be seen. I have a Sony ?6000, not the newest or most impressive rig, but the first digital camera with which I’ve really bonded just as I bonded with my 35mm Pentax so many years ago. I’ve taken some of my favorite images with that wonderful little camera.

I’ve never been much for photo editing, just as I was never much for fine-tuning my prints in the darkroom, but I imagine that many digital photographers find the same thrill in processing their images that I find in processing my film. I am amazed at the way a skilled editor can literally reach into their images and manipulate the very stuff they are made of. Just like images appearing on film, digital processing is, to me, its own kind of magic.

My point, if I have one, is that I’d love to see bickering replaced with understanding, appreciation and – dare I ask it? – respect. At the end of the day, we are all photographers. What matters is not how we do it, but that we do it.

Digital gives me a completely different connection to the process – the ability to see something, compose an image in my head, capture it and get instant feedback

And let’s not forget that digital, like film, is only a step on the path. Years from now, I bet today’s digital devotees will find themselves arguing with photographers who can’t understand why anyone would bother when hyponeural stereo-proton imaging is so obviously superior. (‘Seriously, what kind of dinosaur hauls around a camera?’)

What amazes me about the differences in technology and method is not how they divide us, but how they unite us. We are all image makers, and the basics of focusing light on a sensitive surface have not changed since the days of the camera obscura. So I say we stop fretting about which is better, or whether better even matters. Our time would be better spent enjoying and appreciating and supporting each other. Doing so has the potential to make us all better photographers. And who knows – it might even be the balm that heals.

Articles: Digital Photography Review (dpreview.com)

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How to Create a Photogram Effect with a Digital Process

13 Jun

The post How to Create a Photogram Effect with a Digital Process appeared first on Digital Photography School. It was authored by Megan Kennedy.

One of the first photographic processes I learned was how to make a photogram. Since then, I’ve often wondered if a digital process could adequately mimic the appearance of the finished photogram aesthetic. The difference between the original and digital processes means that the results of any digital technique can’t really be called a photogram as such (I’ll call it a photogram effect). Nevertheless, there are digital processes that do hearken back to the appearance of the photogram.

In this article, I’ll walk you through my method to make a photogram effect with a digital camera, a laptop/tablet, a bit of Photoshopping, and a handful of objects.

How to Create a Photogram Effect with a Digital Process

What is a Photogram?

A photogram is a photographic image made without the use of a camera. The photogram process usually involves placing objects directly onto a photosensitive medium like photo-paper and exposing the arrangement to light. The result is a negative rendering of the objects, creating delicate studies of the interplay between light and various degrees of transparency.

The photogram technique was famously used by Man Ray in his explorations of rayographs. Other artists like László Moholy-Nagy, Pablo Picasso and Imogen Cunningham also experimented with the distinctive photogram format.

How to Create a Digital Photogram Effect

To create your photogram effect, there are a few things you will need.

You will need a:

dark(ish) room
tablet or laptop
digital camera
piece of white paper (A4 approx)
selection of objects of different transparencies
tripod (optional)

Setting up

Creating a photogram effect requires a little preparation. On the laptop or tablet, open a plain white image and display it full-screen. You can make a plain white image by saving an unedited white canvas from Photoshop or Paint etc and viewing it full-screen in a photo-viewer. For greater impact, turn up the brightness of your laptop or tablet screen too.

Once your laptop or tablet is displaying a plain white background, position the screen so that it lies flat and face-up on a level surface. Place the sheet of white paper over the screen.

Position an object or a selection of objects on the paper. You can arrange them as neatly or as randomly as you like – there is no hard-and-fast rule!

Once your have arranged your objects, turn off the lights, close the curtains, do what you can to darken your surroundings. You don’t need complete darkness to create a photogram effect, but working in darker conditions does make the effect a little more pronounced.

Taking the shot

Next, it’s time to start taking photographs. If you want to use a tripod, get set up so the camera is positioned squarely over the laptop or tablet.

In terms of camera settings, I set my camera to manual at f/4 at around 1/80th of a second. For this project, I set my ISO to 1600 and I also adjusted the exposure compensation to +2. These settings may differ depending on your setup. To mimic the photogram effect, you want detail in the transparent areas of an object and considerable shadows in opaque areas. It can be difficult to get the balance right first go, so don’t be afraid to experiment with your camera settings.

If you are hand-holding, aim your camera so it is square with the dimensions of the laptop or tablet screen. Set your focus and take a shot (don’t worry if some areas are out of focus, this can add to the effect).

The intriguing part about this process is that the results may not immediately grab you. The paper may look blotchy, the shadows blocky, the edges of the computer/tablet screen might be visible etc…but don’t give up! Just aim to capture detail in the transparent areas. It’s in the post-production that the photogram effect really comes to life.

Post-production

Once you have shot a range of images, its time to Photoshop them. First, open an image and click on the Exposure Adjustment Layer. Set the exposure so that the background in the image is completely white. This will brighten your subject too. You can also do some cropping to eliminate any remnants of the laptop/tablet screen etc.

Next, click on the Invert Adjustment Layer to invert your image. Then, select the Black and White Adjustment Layer. The result will look something like this…

You can experiment further with your image by adjusting the Black and White Adjustment Layer settings and/or presets, or experimenting with a Curves Adjustment Layer to increase or decrease contrast.

Here are a few more examples I made by collecting plants around the local area, photographing them on my laptop screen and processing them with Photoshop:

photogram effect bottle brush and flowers — To get a blockier photogram effect, I increased the contrast of these images with the Curves Adjustment Layer

Conclusion

And there you have it! While it isn’t a genuine photogram, this photogram effect sure is reminiscent of the old analog processes I did in the darkroom.

Show us your photogram effects in the comments!

The post How to Create a Photogram Effect with a Digital Process appeared first on Digital Photography School. It was authored by Megan Kennedy.

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DPReview TV: Do you still need camera filters for digital photography?

13 Jun

Are camera filters obsolete in the age of digital photography? Can’t we just Photoshop images? Not so fast! We take a look at four filters you still need in your camera bag.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Introduction
Polarizers
Neutral density (ND) filters
UV filters
Graduated neutral density filters
Wrap-up

Articles: Digital Photography Review (dpreview.com)

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CIPA’s April report shows digital camera production, shipments are down 56.4%, 63.7%, respectively, YoY

03 Jun

Total shipments of digital cameras (DSCs) worldwide for the month of April 2020 (Orange) compared to 2019 (Black) and 2018 (Blue).

Japan’s Camera & Imaging Products Association — better known as CIPA — has released its latest numbers, showing what camera shipments looked like for the major manufacturers through the end of April 2020. As is to be expected in these turbulent times, the numbers are down across the board.

As a whole, shipments of digital cameras in April 2020 were down to 550,000 units, a decrease of 63.7% year-over-year (YoY) compared to April 2019. Interchangeable lens and built-in-lens camera shipments for April 2020 were at 300,000 units and 252,000 units, respectively, a YoY decrease (compared to April 2019) of 63.7% for both unit types. Further split up, CIPA’s numbers reveal DSLR and mirrorless sales were down 60.8% and 67.0, respectively, YoY for the month of April.

Total shipments of interchangeable lens cameras (both DSLR and mirrorless cameras) worldwide for the month of April 2020 (Orange) compared to 2019 (Black) and 2018 (Blue).

While these decreases are alarming without context, they shouldn’t be surprising considering the current state of the industry (and world as a whole through this COVID-19 pandemic). In addition to slower sales due to COVID-19, the pandemic also all but froze supply chains and production for many camera manufacturers. CIPA’s numbers reveal production for April 2020 was down 56.4% for all digital camera units compared to April 2019.

Nearly every camera manufacturer has made it clear in some form or another that things will get worse before they get better and CIPA’s April numbers further confirm those sentiments. It remains to be seen how much the market recovers as more of the world opens up following the COVID-19 pandemic, but with more countries easing stay-at-home orders and quarantine restrictions, there’s a chance we’ll start to see some semblance of a recovery, even if it takes a few months to show in the numbers.

You can find CIPA’s graph and detailed breakdown on its report page.

Articles: Digital Photography Review (dpreview.com)

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How to Do Digital Scrapbooking – A Fun Activity to do Indoors

24 May

The post How to Do Digital Scrapbooking – A Fun Activity to do Indoors appeared first on Digital Photography School. It was authored by Ana Mireles.

Have you heard of digital scrapbooking? It probably sounds a little weird because a scrapbook is associated with crafts and handiwork. But it’s also a way of preserving and displaying your memories with a specific look that can be recreated digitally.

It’s also a fun activity for the whole family, and you can do it indoors. Keep reading to learn how to do it and even keep the crafting involved if you like.

Prep work

Selection

As you would do with any kind of album, you need to go through your photos and select the ones you want to include. Sometimes it’s easier if you choose a topic for it, especially in scrapbooking as the embellishment will be guided by it. For example, you could choose your first trip to the beach.

Digital Scrapbooking indoor family activity

If you want to make the most out of this exercise, you can even organize all those files that you’re reviewing. There are many programs dedicated to this, some of the most popular are Lightroom or ACDSee.

Decoration

The most characteristic thing about scrapbooking is the embellishment.

You can add notes, frames, and all sorts of decorations around the photos. Digital scrapbooking is not different, what changes is the way you do it. However, if you want to keep some of the craftings, it’s also possible.

Let me give you some examples and ideas.

Stock Images: This is the fully digital version. You can buy or download images from different websites. Unsplash and Pexels are great sites for free stock images. If you’re just using Google, always keep an eye on the licensing permissions of each photo so you don’t infringe any laws.
Photograph objects around the house: This is not exactly crafty, but it does involve your own creativity. Do you have flowers, fruits, or any home decors that can match the topic you’re working on? Photograph them! Best if you can put it in a neutral and contrasting background, as you are going to cut them out later. This is great when you want to involve more people in the activity – that way everyone can go find their favorite objects to include.
Make your own: This is just like the one before, except that you don’t use things that you already have. Instead, you make them, especially for this project. You can do some origami figures or ‘age’ a piece of paper with tea and coffee stains to use as background. This version is the one that includes more crafting and stays closest to the original tradition. It’s especially fun if you have kids. Once you have everything done, photograph it to use in your digital scrapbook.

Digital Scrapbooking

I’m going to do my scrapbook in GIMP because it’s free software, and this way, anyone can follow. You can also use Photoshop as the main feature you need is to work with layers. Just keep in mind that the individual tools and effects would be different.

Get your images ready

Okay, now that you have the photos of your elements, you need to have them ready for use in digital scrapbooking. That means that each one is cut-out so that it can interact freely with others.

For this, you can do the work right inside GIMP, or you can use any of the many free tools to remove backgrounds that are on the market. I’ll show you how to do one here in GIMP.

Open your image and make a selection around your subject using any of the selection tools from the panel.

There is no right or wrong when choosing the tool; it depends on the image you’re working and your skills. For example, here, it’s easier to use the Rectangle because of the shape of the object. However, I could also use the scissors or the path tool to draw the edge manually.

Once you have it, go to Select > Invert so that it’s the background that gets selected. Then right-click on the Layers dock and choose Add an alpha channel from the menu to allow the transparency and finally go to Edit > Clear.

Now save your image in GIMP’s file extension by using Save As or Export to save as .png, which will make it available for other programs while preserving the transparency. Repeat the process for all the images you’re going to use and save them in the same folder for easy access.

Create your layout

To create the layout for your scrapbook, you need all the elements in the same document. To do this, you need to go to File > Open as Layers. Select all the files and click Ok. This will open one document with each photograph as an independent layer.

You can now use the Move, Scale, and Rotate tools to arrange your layout.

Keep in mind the order of your layers, as the ones on top will cover the ones below. So, if you want things to overlap, you can drag and drop the layers to change the order.

Once you’re happy, you can start adding notes, which is another important component of a scrapbook.

Add some text

There are many experiments you can do to play with your text. Here are a couple of simple ideas to get you going.

Use the Text tool to write a title, note, date, or whatever you want to include. If you click and drag, you can create a specific area where the text will fit. Then choose the font you like.

In my opinion, the ones that simulate handwriting are the best for digital scrapbooking.

You can later change the Blending Mode to incorporate it more naturally into the image or create different effects. You’ll find this menu on top of the layer panel.

Another choice is to type directly in the background. Then use the Rectangle Select Tool and draw a selection around it. Then go to Filters > Light and Shadow > Xacht Effect which is a default script included in GIMP – 2.10, which is the latest to the time of this article.

This will create a 3D effect that simulates a tag for your text.

And there you go, add as much or as little as you like.

You can use it as a template and just change the image, or you can follow the same steps to create different layouts.

Have fun using digital scrapbooking to design albums, screensavers, wallpaper for your computer and so much more. I hope you enjoyed it!

Try digital scrapbooking out at home and share your results with us in the comments!

The post How to Do Digital Scrapbooking – A Fun Activity to do Indoors appeared first on Digital Photography School. It was authored by Ana Mireles.

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DPReview Virtual Camera Museum Exhibit 1: Digital Camera Hall of Shame

13 May

Oh hi, didn’t see you there! Welcome to the DPReview Virtual Camera Museum.

Feel free to look around, we have an impressive collection. Down this hall you’ll find Unique Cameras from the Dawn of Digital Photography. And beyond that is the Samsung NX1 Memorial Garden – it’s really lovely this time of year. But you’re probably here to see our special exhibit: the Digital Camera Hall of Shame.

Please note that the museum is not responsible for any emotional damage caused by this exhibit, and the curators would like to stress that it is meant in good humor. At least the manufacturers featured here were trying to do something different with their cameras – not just the usual black-or-silver-rectangle with a lens on the front. They just missed the mark, in our opinion.

As you navigate the exhibit you’ll notice a progression from what we consider minor infractions – mere lapses of judgement – at the beginning, to the most egregious transgressions in camera design history towards the end.

Take your time, and please fill out the survey at the end and let us know if you’d rank them differently!

Exhibit A: Compacts gone wrong

Here you’ll find a range of design missteps from manufacturers trying to break free of the mold. Don’t worry, they’re harmless.

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Exhibit B: Homely, but great personalities!

These cameras dared to do something different and look different. They aren’t all-out abominations, they’re just a little… unusual.

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Exhibit C: Just… no

As Werner Herzog once said of WrestleMania, “A poet must not avert his eyes.”

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Thanks for visiting! Do take a moment to answer the survey below, and fill out a comment card to let us know what exhibits you’d like to see us host in the future. Our curators are always listening!

Have your say

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Digital Camera Hall of Shame: Pick your top 3 most unfortunate-looking cameras of all time

Hasselblad Lunar

Pentax K-01

Leica M-P Rolf Sachs Special Edition

Brikk 24k gold Nikon Df

Sony a330

Sigma dp2 Quattro

Lytro Light Field Camera

Olympus E-300

Canon PowerShot TX1

Fujifilm Q1

Sony DSC-F505V

Canon PowerShot D10

Fujifilm 3D W1

Nikon Coolpix 300

Articles: Digital Photography Review (dpreview.com)

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I’m Back returns to Kickstarter with updated I’m Back 35 digital back for old 35mm SLRs

14 Apr

Swiss company I’m Back has returned to Kickstarter with another digital back product, this one following the previous models it sought crowdfunding for in 2016, 2017 and 2018. The new I’m Back 35 will be, according to the company, the only digital back product that can be paired with ‘almost all the most famous analog cameras.’ The I’m Back 35 will feature manual and automatic recording modes, improved battery performance, a new ergonomic design and other new technology if it ends up being produced.

The ‘I’m Back 35’ unit is designed to work with old analog SLR cameras that are still functional, yet obsolete. The digital back will replace the back cover on an old SLR to give it digital functionality and features, including a 2″ touch display, external microphone support, USB-C, WiFi, support for syncing flash and a Panasonic 34112 image sensor.

The aluminum-based universal cover on I’m Back 35 supports 99 percent of existing 35mm analog cameras, according to the company. Should the I’m Back 35 see the light of day, its creators say the unit will have new software controls for the manual exposure function, an exclusive PCBA design and will use NP-F550 and NP-F570 batteries.

I’m Back says it offers dedicated back covers that improve the I’m Back 35’s fit on customers’ preferred analog cameras, including models like the Canon EOS 300, Ricoh KR10, Olympus OM10, Nikon F100, Leica M7, Diana F, Pentax K1000 and Yashica FX3, among others. I’m Back 35 will also include a universal back cover that can be used with most other 35mm analog cameras.

The new digital back will feature an ‘M’ button for switching between manual and automatic modes, a new focusing screen, new alignment and stability system, new clamps, micro HDMI and a microSD slot with support for cards up to 128GB capacity. The device, which is currently only shown as a prototype, captures images in JPEG and raw formats at 8MP to 14MP resolutions, plus video in MOV format at up to 4K/30fps.

Other technical features will include a built-in speaker and microphone, support for a 7.4V-1A power source, 1.5mm sync cable, and 3.5mm microphones, as well as PCs running Windows 2000 or higher and Macs running macOS 10.3.6 or higher.

The company notes that because its digital back uses a focusing screen, the images and video captured with I’m Back 35 won’t be at the same quality level as content captured with a dedicated digital camera, but rather will ‘resemble something between analog and digital.’ Below are a few sample photos shared by the I’m Back team, captured with the working prototype:

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I’m Back 35 follows the I’m Back MF digital back, which is currently in its final prototype stages, according to the company.

The new 35mm product is a bit cheaper at $ 349 retail price compared to the I’m Back MF’s $ 400 price tag. I’m Back is offering its 35mm model to Kickstarter backers in exchange for pledges starting at CHF 249 (approximately $ 258). The backer kits include the I’m Back 35 digital module, universal back cover, sync cable, USB-C cable, rechargeable battery and battery charger. Assuming everything goes according to plan, I’m Back anticipates shipping its product to backers starting in December 2020.

You can find out more information and secure your pledge on the Kickstarter campaign.

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

Articles: Digital Photography Review (dpreview.com)

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