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PSA: Leica’s new TL2 may break if you use it with the Leica Visoflex electronic viewfinder
Earlier this week, word surfaced online about an issue with the newly released Leica TL2. Apparently, some cameras would simply stop working when you attached Leica’s own Visoflex electronic viewfinder.
Online retailer Lcameras.com posted a notice on its Facebook page advising customers that it had paused sales of the camera due to Leica’s recommendation, but details weren’t forthcoming. Now, Leica has issued an official statement on the matter confirming an issue with the external EVF.
According to Leica’s notice, “a defect may occur that could stop the camera from working” when it is used with the Visoflex viewfinder. An earlier version of the statement used bleaker language, stating “If this defect occurs, then it is no longer possible to use the camera.” By all accounts, this is a serious issue that could ‘brick’ your new camera.
Earlier today, the company released another statement saying they had “identified the cause of the failure when using the TL2 in combination with the electronic viewfinder” and that “it is very likely that this can be resolved with a firmware update.” But until that firmware update is ready (it is currently being ‘intensively’ tested) users should either not attach the Visoflex viewfinder, or they should return their TL2 to the Leica dealer they purchased it from.
Articles: Digital Photography Review (dpreview.com)
Electronic shutter, rolling shutter and flash: what you need to know
The rolling shutter effect is usually seen as a damaging defect but even this can be used creatively, with enough imagination. Photo by Jim Kasson, Fujifilm GFX 50S |
Click! goes the camera and in that fraction of a second the shutter races to end the exposure. But, although it’s quick, that process isn’t instantaneous. Whether you’re syncing a flash, wondering why banding is appearing in your image or deciding whether to use your camera’s silent shutter mode, the way your shutter works has a role to play. This article looks at the different types of shutter and what effect they have.
At their most basic, cameras capture light that represents a fragment of time, so it shouldn’t be surprising that the mechanism that defines this period of time can play a role in the final outcome. It’s not nearly as significant as the exposure duration (usually known as shutter speed or time value), or the size of the aperture but, despite great effort and ingenuity being expended on minimizing it, the shutter behavior has an effect.
Mechanical Shutters
There are two main mechanical shutter technologies: focal plane curtain shutters and leaf shutters. The majority of large sensor cameras and nearly all ILCs use focal plane shutters while the majority of compacts use leaf shutters.
Focal plain shutters
Focal plan curtain shutters are what you probably think of when you think about shutters. At the start of the exposure a series of horizontal blades rises like a Venetian blind and, to end the exposure, a second series of blades rises up to cover the sensor again.
The first curtain lifts to start the exposure, then a second curtain ends the exposure. The shutter’s movement is shown as the blue lines on the graph. The time taken to open and close the curtains (red) is defined by the shutter rate, the exposure time is shown in green. |
These blades move quickly but not instantly. We’ll call the amount of time it takes the shutter to move across the sensor the shutter rate. This is not the same thing as shutter speed, which is the amount of time that elapses between the bottom of the first curtain lifting and the top of the second curtain passing that same point.
Leaf shutters
Leaf shutters work slightly differently. These are built into the lens, right next to the aperture, and usually feature a series of blades that open out from the center, then snap shut again to end the exposure. Because each blade doesn’t have to travel so far, these shutter rate can be much faster.
Leaf shutter still take a small amount time to open and close but they’re very fast. And, because they’re mounted so close to the aperture, they progressively increase or decrease illumination to the whole sensor, so there’s no difference between the slice of time seen by the top and bottom of the sensor. |
However, since the same blades that start the exposure also end it, the maximum possible shutter speed is more closely linked to the shutter rate (because you can’t end the exposure until the shutter is fully open).
In addition, the distance the shutter blades need to travel depends on the aperture you’re shooting at (on some cameras, the shutter acts as the aperture). Consequently, it’s not unusual to encounter cameras that can’t offer their maximum shutter speed at their widest aperture value.
Electronic shutter
But why do we need mechanical shutters at all? Unlike film, digital sensors can be switched on and off. This reduces the number of moving parts (which both lowers cost and obviates the risk of shutter shock) and means you get a totally silent exposure, so why not use that?
The answer is that you can. However, there is a restriction: while you can start the exposure to the whole sensor simultaneously, you can’t end it for the whole sensor at the same time. This is because with CMOS sensors, you end the exposure by reading-out the sensor but, in most designs, this is has to be done one row after another. This means it takes a while to end the exposure.
Fully electronic shutter
This need to read out one row at a time has a knock-on effect: if you have to end your exposure one row at a time, then you have to start the exposure in a similarly staggered manner (otherwise the last row of your sensor would get more exposure than the first).
Electronic shutter tend to be comparatively slow in terms of shutter rate (red), leading to rolling shutter (note that exposure for the top of the sensor has already finished even before the bottom of the sensor has started. This is despite the use of a faster shutter speed (green) |
This means that your shutter rate is determined by your sensor’s readout speed. Lower pixel count sensors have an advantage in terms of readout: they have fewer rows and each of those rows has fewer pixels in it, both meaning they can be read out faster.
Smaller sensors also have an advantage in this respect: less physical distance to travel means rows can be read-out quicker. This is why we saw 4K video in smartphones, then compacts, then larger sensor cameras and why cameras such as the Canon EOS 5D IV struggle with rolling shutter, even when only using the central region of their sensor. However, newer sensor designs are constantly striving to reduce the read-out time (and consequently increase the shutter rate).
Note from the diagram that even an exaggeratedly slow shutter rate doesn’t stop you using fast shutter speeds. In fact, the beginning and end of the exposure can be controlled very precisely, allowing super-high shutter speeds.
However, although each part of the image is only made up from, say, 1/16,000th of a second, the slow shutter rate means each part of the image is made up from different 16,000ths of a second. Essentially, you’re capturing the very short slices of time that your shutter speed dictates, but you’re capturing many different slices of time. And, if your camera or subject have moved during that time then that distinction becomes apparent. This effect, where the final image is made up from different slices of time as you scan down it is known as the ‘rolling shutter’ effect.
The same thing happens with any shutter that isn’t immediate, which includes focal plane mechanical shutters. However, these tend to be fast enough that the rolling shutter effect isn’t usually noticeable.
Electronic first curtain
Electronic first curtain shutter is an increasingly common way for cameras to work. As the name suggests, these work by using the fast mechanical shutter to end the exposure and then syncing the start of the electronic shutter to match its rate.
An electronic first curtain shutter avoids the risk of shake from the first curtain’s movement but avoids the downsides of fully electronic shutter. |
This requires a mechanical shutter where the second curtain and be operated independently of the first curtain. But, in those circumstances, you get many of the anti-shock benefits of electronic shutter while retaining the speed benefits of a mechanical shutter.
Global electronic shutter
Sensors do exist that can read-out all their rows of pixels simultaneously to give what’s called a ‘global shutter.’ However, while these are great for video, the more complex technologies used to achieve this add both noise and cost. The added sensor noise limits dynamic range, so they are not yet common for those video or stills applications where image quality is critical.
Find out about flash sync and working under artificial lights
Articles: Digital Photography Review (dpreview.com)
Alpa Silex unit offers electronic control of Canon and Nikon lenses on digital medium-format backs
Swiss camera and adapter manufacturer Alpa has introduced a new device that allows Nikon and Canon users to mount some of their lenses on digital medium format backs and have access to aperture controls. The Alpa Silex control unit works with the company’s 12 series bodies and brings aperture control to electronically operated lenses from Canon and Nikon, as well as Contax, Hasselblad and Rollei. All Canon EF lenses can be controlled but only Nikon E lenses, with electromagnetic diaphragm mechanisms, will work.
With a Silex in place compatible lenses can be used to record images on a wide range of digital medium format backs. The A12 cameras accept digital backs of a variety of ages, so users don’t necessarily need the latest, and the image area will depend on the size of the sensor used and the covering circle of the lens.
The Silex not only allows aperture adjustments but also AF control in most Hasselblad H, Canon EF and Nikon E lenses, and web access means the device can be handled remotely over a server.
Initially presented at Photokina 2016 the Alpa Silex is available now for $ 3600/CHF3355. For more information see the Alpa website.
Press release
The control unit ALPA Silex is a brand new, central element of ALPA’s extended modular photographic system. Photographers and soon even videographers will be able to combine ALPA cameras with digital backs of various manufacturers and lenses from Canon, Contax, Hasselblad, Nikon or Rollei. A variety of functions and operating modes are available to the user.
Handy and flexible – Silex is the Swiss pocket knife of the control units. Under this claim, ALPA presented the product at the Photokina 2016. The name Silex itself, however, goes much further back: it reminds us of the material for the all-purpose tools of the stone-age. ALPA Silex is the new all-purpose tool in the ALPA system. It can be used to convert any model of the classic ALPA-12 series into an electronic camera.
The basis for the development of ALPA Silex is the ALPA 12 FPS, introduced at Photokina 2012, with electronically controlled focal plane shutter. The integrated controller was separated as a standalone module and all functions except for the slot shutter were taken over. All known digital components from Hasselblad, Phase One / Leaf and Sinar can be synchronized and the electromechanical diaphragms of Canon EF, Contax, Hasselblad H, Nikon E and Rollei can be controlled. The leaf shutter in Hasselblad HC / HCD (up to 1/800s, “orange” line even up to 1/1000s) and Rollei 6000 (up to 1/500s) can be used, as well as the focus control of many of the lenses from Canon, Hasselblad H and Nikon E. The integrated web server allows remote control in networks without software installation. The future support of Sinar eShutter systems is already prepared.
Together with existing camera models from ALPA, the photographer can use a vast number of third party lenses and, depending on the available image circle, also perform shifts (shifting and stitching). In the future, our back-end adapters will also make it possible to use ALPA cameras for video recording in conjunction with the corresponding digital backs.
Available now:
- The control unit ALPA Silex,
- The electronic lens adapter (ELA),
- As well as the ALPA lens module Hasselblad fix (HAF).
- Also, immediately available for download is the latest firmware version 4.03, which makes all new functions of ALPA Silex also available for the ALPA 12 FPS. Free as always – as an investment in the ALPA system is sustainable and the term ‘planned obsolescence’ is alien to ALPA. Even if the environment changes, an ALPA will persist.
Articles: Digital Photography Review (dpreview.com)
US bans most electronic devices, including cameras, on flights from eight countries
Image: Etihad |
If you are planning to fly to the US from some Middle-Eastern and African countries and carry camera equipment or other electronics, you should probably have a closer look at the new rules put in place by the Trump Administration on Tuesday.
Passengers departing from 10 airports in Jordan, Egypt, Turkey, Saudi Arabia, Kuwait, Morocco, Qatar and the United Arab Emirates won’t be allowed to carry on electronic devices larger than a cellphone. This includes laptops, tablets and cameras.
The new rules took effect at 3 a.m. E.D.T. on Tuesday, and must be followed within 96 hours by foreign airlines flying to the United States from the affected airports – but not US-carriers. It is currently unknown how long the ban will remain in place.
According to Royal Jordanian airlines, medical items are exempt from the ban and banned electronic items can still be transported in checked baggage. Officials estimate that overall 50 daily flights to the US will be affected. Homeland Security says the ban is not based on a threat of an imminent attack.
Articles: Digital Photography Review (dpreview.com)
Ask the staff: electronic or optical viewfinder?
Fujifilm’s X100 series, together with its X-Pro series, are the only models on the market to offer both an electronic and optical hybrid viewfinder. Is it the best of both worlds, or would you just rather have one over the other? |
Believe it or not, as a team, we don’t all agree on everything. So at any given time, each of us thinks the rest of us are wrong about something subjective that you can’t really be wrong about (we’re all human). That takes us to the task at hand: all the great recent electronic viewfinders (Leica SL, Panasonic GH5, Fujifilm GFX 50S…well, some of us think that one’s just okay) got us on the topic of which type of viewfinder we prefer.
Optical or electronic? There’s no wrong answer. (Or is there?)
Richard Butler
For me, I’m less concerned about the technology behind a viewfinder than the quality of it. A good optical viewfinder can be a lovely thing: giving you a sense of being ‘in the scene’ that even the best EVF can’t match. A good optical viewfinder can also be excellent when shooting in very low light: its responsiveness and resolution don’t suddenly drop, for instance. However, on most cameras, you don’t get a good optical viewfinder. APS-C sensors tend to mean small, pokey little viewfinders and most focus screens for modern cameras aren’t very good for manual focus. So, if an EVF means I can have a smaller camera with a larger viewfinder, the ability to preview the effect of my settings and the ability to shoot video, then that makes up for many of the shortcomings. It’s impossible to separate the viewfinder type from the style of camera it allows and, with the quality of the latest EVFs, the style of camera I like most usually means it comes with an EVF.
Dan Bracaglia
Photo courtesy Stan Horaczek |
Depending on the situation, I could go either way on the OVF versus EVF question. If forced to pick one, I’d choose OVF because I find shooting through an optical finder offers a more pleasant and rewarding experience than using an EVF. I also personally find it easier to compose images through an optical finder.
That said, EVFs make properly exposing images much easier, and in a commercial application in which getting the shot is mission critical, I could make an argument that EVFs are superior. That said, it would be cool if more cameras offered both, like on the Fujifilm X100 series.
Dale Baskin
I can’t believe I’m about to say this, but I now lean toward using EVFs. I wouldn’t have said that a couple years ago because, until recently, EVFs on still cameras basically sucked. Today’s best EVFs still won’t fool my brain into believing that I’m looking at an OVF, but in many respects they better reflect the way I tend to shoot with digital. I love the ability to overlay real-time information such as histograms, focus peaking, and zebras, as well as being able to preview exposure adjustments as they’re made. (I may be showing some of my video bias here as well.)
Are EVFs good for everything? No. I still wouldn’t choose them for photographing sports or in situations that require rapid-fire burst shooting, but I suspect EVFs will get there at some point. Of course, the best of both worlds is a hybrid OVF along the lines of those on the Fujifilm X100 series. I love having a perfect optical image overlaid with the useful tools an EVF provides. It’s kind of like the peanut butter cup of the camera world – the two just go well together!
Sam Spencer
Optical. Optical optical optical.
Don’t get me wrong, there have been some nice EVFs. The GX8, particularly, holds a soft spot in my heart.
At the end of the day, however, I prefer an optical viewfinder over any EVF. With an EVF, no matter how fast the camera is, the light has to enter the lens, hit the sensor, get processed, reduced, rendered, and THEN makes it to the eye. There has been a lot of work to make this ‘lag’ imperceptible, but it will never be completely eliminated. I find when I’m using an EVF I struggle timing candid shots properly, usually resulting in half closed eyes or an awkward expression. Also, with motorsports there is a lot of panning, which can be difficult through an EVF.
Ideally, I’d own a D750 and X100F to get the best of both worlds, especially because AF-C through the X100F’s OVF works way better than it has before…
Carey Rose
I’ve grown to love electronic viewfinders, but if I had to choose, I’d pick an optical viewfinder any day. It’s the combination of low blackout on higher-end cameras, how I’m easily able to follow subjects during bursts, and just the immediacy of seeing things as they happen that chiefly appeals to me. Whether I’m shooting sports, an event, a wedding or even just a dog playing fetch, the experience of using an optical viewfinder is just easier for me, and being able to clearly see a scene in really low light is invaluable. There’s a lot to be said for being able to preview your results with an electronic unit, but I still enjoy that brief ‘moment of discovery’ when I see an image on the back of the camera. Plus, a good optical viewfinder almost by definition goes along with a good phase-detect-only autofocus system, which I still prefer, despite the camera used in the above photo.
Wenmei Hill
I am strongly, adamantly in favor of…both. I shoot differently depending on whether I’m using an electronic or optical viewfinder. With an EVF, I let the camera control more – I’m comfortable shooting in aperture or shutter priority and using exposure comp to adjust what I see in the viewfinder. I experiment more with presets and creative modes because I can see the effects immediately, and I like an EVF with focus peaking if I’m focusing manually. With an optical viewfinder, however, I’m more hands-on with the controls. I pay attention to what I’m doing with the camera and feel connected to the scene in a way I don’t with an EVF. If I had to choose one, I’d choose an optical viewfinder because it feels more natural and immediate to me.
Allison Johnson
Electronic. I like the ‘being there’ feeling of an optical viewfinder, but almost any camera with an EVF also allows for a easily legible level gauge, which is a must for me (plus any camera that lets you put a level gauge in the EVF will also let you put a ton of other information in there as well). I have a problem where I’m drawn to shots where a level horizon is critical, but I’m also useless at nailing a level shot without that gauge. So even though I like the experience of an OVF better, I tend to get more keepers with an EVF.
What about you?
So, dear readers, what do you prefer and why? Let us know in the comments, and happy shooting.
Articles: Digital Photography Review (dpreview.com)
Sony announces the PXW-FS7 ll with electronic variable ND filter and new handling features
Sony is preparing to release an updated version of its popular PXW-FS7 professional video camera that will feature an electronic variable neutral density filter that automatically compensates for exposure shifts of between two and seven stops. The filter can adjust itself so that apertures and shutter speeds can remain constant even when light intensity changes quite dramatically – thus maintaining the ‘look’ of the video. The new feature also allows aperture changes that alter the depth of field during recording without affecting the exposure of the footage.
The new camera doesn’t replace the existing FS7 as Sony says it will retain both models in the range to give videographers a choice. The new model will cost more than the original, so there will be models to suit different budgets.
Another new feature of the FS7 ll will be a locking collar around the lens throat that allows E-Mount lenses to be fitted directly to the camera without the need to twist them into place. The lens can be offered up to the throat and the collar rotated to lock it into place. This, Sony says, makes changing lenses much quicker as lens support rigs won’t need to be taken off to complete the lens switch.
Sony has altered the shoulder mount and the viewfinder so that they can be adjusted without tools, using wing nuts and finger screws to secure them in place. The monitor arm and the micro holder can now be switched for left-eye viewers, and the number of external assignable buttons has increased from six to ten.
The camera can accept A-mount lenses via an adapter |
Like the FS7 the new FS7 ll uses a Super 35mm format sensor and can record 4K and full HD video at a range of frame rates up to 180fps and in a wide range of formats.
At the same time Sony announced the FS7 ll it also announced a new kit lens for the FS7 series and a G-Series 256GB XQD card with a 400Mbps write speed. The new lens is the SELP18110G 18-110mm f/4 power zoom with Optical SteadyShot built-in. Although Sony had said originally that the lens would be suited to be paired with the SEL14TC and SEL20TC teleconverters it has now announced that it will not in fact be compatible.
The Sony PXW-FS7 ll is due to arrive in January 2017, and the company has yet to release pricing information (the current model costs about £8000/$ 8500). For more information visit the Sony Pro website.
Press release:
Sony Expands FS Series with New FS7 II Camcorder
New Model Delivers Advanced Features for creative Documentary and Indie Production with Electronic Variable ND Filter, Lever Lock Type E-mount and Refined Mechanical Design
Sony is expanding its FS Series Super 35mm professional family with the addition of the new FS7 II camcorder. The new model builds on the original FS7’s strengths by adding advanced features including Electronic Variable ND technology, a lever lock type E-mount, and a new mechanical design for faster and easier set-up.
Since its introduction in 2014, the FS7 has become one of the most widely used cameras in a range of production applications, and the original model remains in the Sony line-up. The new FS7 II now gives creative professionals a broader range of creative tools, with new features all based on end user feedback.
The new FS7 II camcorder is designed for long-form shooting and production applications, especially for documentaries and independent filmmaking. Amongst the many enhancements outlined below, the FS7 II can also record in BT2020 colour space, hence making it ideal for today’s 4K broadcast productions.
Electronic Variable ND Technology
The camcorder’s Electronic Variable ND Filter system, combined with its large sensor, delivers greater exposure control, with the option of preset or variable operation modes. Variable ND mode (clear + 2~7 stop range, in seamless transition steps up to 1/128) allows the user to vary the density of the ND filter during shooting and to transition seamlessly between steps. This also ensures an optimum motion delivery by maintaining desired shutter speed.
The camera’s expanded ND operations enables fine exposure adjustment by relegating iris to set depth of field, prevents soft focus caused by diffraction, and prevents colour shift caused by stacking multiple external ND filters.
The camera can compensate for exposure fluctuation caused by iris control while adjusting the depth of field. Users can adjust exposure while keeping the same bokeh in changing shooting or lighting environments.
Preset mode lets users assign three ND settings to the filter turret, useful in selecting the most appropriate filtration range for changing light conditions, for example. Auto ND mode is also available allowing exposure to stay at a fixed level while adjusting the depth of field with iris control.
E-mount (Lever Lock type) for professional shooting
The FS7 II revisited E-mount (lever lock type) gives users the ability to change lenses by rotating the locking collar rather than the lens itself, which means that in most cases lens support rigs don’t need to be removed, saving time during a production. The new E-Mount has been designed for demanding applications in the professional environment and will fit any existing E-mount lenses in the market and other mount lenses with an adapter. The new FS7 II camcorder also supports Sony ? Mount System, which includes more than 70 lenses.
Mechanical Design Enhancements
Like its counterparts in the FS Series family – the FS7 and FS5 models – the new FS7 II features several design and ergonomic updates for comfortable and functional use in the field. These new features are based customer feedback around the FS7.
The FS7 II “tool-less” mechanical design lets users make on-the-fly changes to the camera’s set-up and operation. For example, no tools are required to adjust the Smart Grip or viewfinder positions.
The detachable viewfinder eyepiece, which comes with a pop-up hood, provides a third stabilizing contact point when shooting handheld. Durable square section rods and lever-clamps on the LCD and camera body provide simple and precise front-to-back VF adjustment while retaining level positioning.
New Sony 18-110mm Sony G lens
Sony also introduced a new E-mount, Super 35mm lens specifically designed for documentary and motion picture production.
The new lens, model E PZ 18-110mm F4 G OSS, covers Super35mm and APS-C sensors. Compact and lightweight — 2.4 lbs (1.1Kg) — with an 18 to 110 focal range (6x zoom) it uses a new fully mechanical/servo zoom switchable system, capable of snap zooms and entirely devoid of lag. The focal range is optimised for Super 35 and APS-C sensors.
The lens is compatible with Sony ? Mount System cameras, including the ?7 series interchangeable-lens cameras and professional Super 35mm 4K camcorders like the FS7 or FS5. Although perfectly suited for still image taking, filmmakers will fully appreciate the lens’ extended creative capabilities for shooting motion images.
The lens benefits Smooth Motion Optics (SMO) design from Sony, which is developed to optimise performance during motion image capture. This lens design eliminates undesirable characteristics and artifacts that do not affect still image taking, but can severely limit a lens’ usefulness for motion shooting, such as:
- Ramping: F stop gradually diminishes when zooming tight
- Not holding focus while zooming
- Breathing (angle of view variation while focusing)
- Optical axis shift (image moves in the frame while zooming)
*Due to a change in the SELP18110G specifications it is no longer compatible with the SEL14TC and SEL20TC teleconverters.
XQD Cards
The FS7 II supports the XQD memory card format, designed for capturing and transferring high-bandwidth, high resolution files. The newest XQD card from Sony, QD-G256E — with an industry first 256 GB capacity — enables recording time of approximately 45 minutes at 4K 60P and 3.5 hours at 2K 30P. Combined with a read speed of 440MB/s and write speed 400MB/s, users can shoot for longer without needing to change media cards.?
The FS7 II is planned to be available in January 2017. For more information, please visit the product page.
Articles: Digital Photography Review (dpreview.com)
Phase One XF IQ3 100MP update adds electronic shutter
Danish medium-format manufacturer Phase One has released a firmware update for its XF camera system that introduces an electronic shutter function to its IQ3 100MP digital back as well as a menu screen for controlling Profoto flash heads via the Air Remote TTL radio communication network.
This will be the third firmware update for the XF body since it was launched. The benefit of the electronic shutter is that it will be possible to record images with the 100MP sensor without involving any moving parts in the camera. Although previously the XF offered a mirror-up mode, the shutter unit still created some vibration during the exposure that could diminish the resolution of the final image. Phase One says that exposures of between one hour and 1/4000sec will be possible in electronic shutter mode.
The new firmware also adjusts the function of the Profoto Air radio trigger that is built into the XF body. While previously the trigger just controlled when wirelessly connected flashes fired, now users are also able to control output directly from the camera’s back using a TTL metering system. This allows users to control and monitor up to six groups of heads directly from the back’s own display. The update has also brought an information panel that demonstrates how the flash duration and output curve correspond to the camera’s shutter synchronization so photographers can ensure they are optimizing the timing of the shutter to make the most of the period during which the flash is lit.
The company has altered its 5-year warranty terms too, abolishing the limit on shutter actuations – presumably as the body no longer needs to trigger the mechanical shutter to make an exposure. Phase One has also officially introduced the vertical grip it had displayed ‘unofficially’ at Photokina. The V-Grip offers almost the same right hand control dials as the body’s own grip including, obviously, a shutter release button in the same place. The grip will be available from November at $ 1490, and the new firmware has been released today as a free download. For more information see the Phase One website and the firmware download page.
Press release:
Phase One Releases XF Camera System Feature Update #3
Adding new functionality, new hardware and improved warranty
COPENHAGEN, Oct. 3, 2016 – Phase One, the world’s leading medium format camera system provider, today released a major XF Camera System update. Available now and free to all XF Camera System owners, this update demonstrates Phase One’s commitment to the continuous upgrade and improvement of the XF camera platform.
Feature Update #3 greatly advances the features of the world’s first full frame medium format CMOS sensor. The IQ3 100MP system now includes complete Electronic Shutter integration — the world’s first in medium format photography. With the ability to capture images without a single moving component, the IQ3 100MP is now even more versatile.
The update adds significant improvements for studio and flash photography applications such as advanced flash controls with the in-camera Profoto Air Remote enabling Profoto TTL metering. Further, a post capture Flash Analysis Tool has been added to ensure unparalleled control.
Phase One also today introduced the new XF V-Grip, providing advanced ergonomic capabilities and control options.
The world’s best warranty becomes even better
Phase One’s dedication to product quality, in combination with the maturity of the XF Camera System, provides professional photographers with the assurance they demand.
“All XF IQ3 Camera Systems come with a five-year warranty that now includes unlimited shutter actuations, a warranty unprecedented in our industry,” says Stefan Sandor, VP Marketing and Product Management, Phase One.
Phase One’s XF Camera System Feature Update #3 introduces
Advanced Studio Hardware, Controls and Workflow:
Flash Analysis and Rear Curtain Trim
Review all aspects of the flash output just after the capture, directly on the XF Camera System and offset the flash sync to meet your requirements;
Profoto Air
Full functionality of the Profoto Air for up to six groups, now built directly into the XF Camera System;
Profoto AirTTL
Integrated with the XF Camera System’s Auto Focus sensor to provide active feedback and deliver accurate exposures with every capture, no matter the variables.
V-Grip for the XF Camera System
Providing advanced ergonomic capabilities and control options, the XF Camera System V-Grip ensures simplicity as well as dynamic improvements to handheld workflow applications.
Advanced Technology, Tools and Customization:
Electronic Shutter for the IQ3 100MP ?
The IQ3 100MP now includes complete Electronic Shutter integration. With the ability to capture images without a single moving component, the IQ3 100MP is even more versatile.
Additional New Customization and Workflow Options
With Feature Update #3, the XF Camera System now includes Icon Control, Create, Load & Save System Setup, Advanced Tool Options for sequence tools, as well as several other new improvements and features.
For all the details, please go to: www.phaseone.com/feature-update-3 or book a demo on: www.phaseone.com/demo
Availability and Pricing
Firmware for the XF Camera System Feature Update #3 is free and available for download here: www.phaseone.com/feature-update-3
New XF V-Grip will be shipping in November and is available through Phase One photography partners worldwide: www.phaseone.com/partners?
Prices for Phase One XF V-Grip – 1,490 USD
Articles: Digital Photography Review (dpreview.com)
Pentax K1 firmware update adds electronic shutter in live view mode
Pentax has released new firmware for its flagship K1 full frame camera that includes the ability for users to select electronic shutter shooting for the first time. Firmware version 1.3 adds a live view Electronic Shutter option to the menu system that the company says avoids the vibrations caused by mechanical shutter actions immediately prior to the exposure of the sensor. There are some limitations however, as the shake reduction system can’t operate during electronic shutter exposures, HDR mode won’t work, external flash units won’t be triggered and the drive is limited to single shot or multiple exposure modes.
Other functions added by this update include the ability to shoot square images and to record only two frames (Off and Type 2) when using the anti-aliasing filter simulation bracketing feature. Previously, three frames had to be recorded in a sequence that included Type 1 as well. A general ‘bracketing cancel’ Off option has also been added to the camera menu under the BKT function.
Pentax says that other more general stability issues are fixed too with this update. To read more and to download the firmware see the Pentax website.
Release information:
Release of the function expand Firmware version 1.30 for PENTAX K-1
RICOH IMAGING COMPANY, LTD. is pleased to announce the release of the function expanding Firmware version 1.30 for PENTAX K-1 digital SLR camera (launched on April, 2016) on September 29, 2016.
The function expand firmware is to add new function or increase number of setting for currently used PENTAX K-1 camera, so that improve the function, easy handling and update to the latest function.
New Enhanced Functions
*The Electronic Shutter at Live View mode
The Electronic Shutter can be selected at the Menu to reduce camera shake from the mechanical shutter when shooting with Live View mode.
*Add the [1:1] format at the Crop mode
Added and selectable [Square format (1:1)] size at the Crop mode.
*Add [2 frames bracketing] for the [AA Filter Simulator bracketing]
Addition to the current [3 frames bracketing (OFF, TYPE1, TYPE2)], the [2 frames bracketing (OFF, TYPE2)] is added and selectable for the [AA Filter Simulator bracketing]
*Smart Function
At the [BKT] setting, the bracketing range [±0 (=single frame)] can be selected.
[Others]
*Improved stability for general performance.
Articles: Digital Photography Review (dpreview.com)
Novoflex releases Canon EF electronic adapter for Leica SL
Just bought a Leica SL but can’t afford to buy a Leica lens to put on it? Don’t worry – German manufacturer Novoflex has just the thing for you.
The new Novoflex SL-EOS adapter allows certain Canon EF lenses and teleconverters to be used on the Leica SL, with support for several functions including autofocus. |
Novoflex has launched its new SL – EOS electronic adapter which, according to the manufacturer allows ‘around 30’ Canon EF lenses to be used with the Leica SL camera. The adapter transmits focal distance and aperture EXIF data, has an AF/MF mode, and supports autofocus, aperture control, and depth of field indication. According to Novoflex, ‘around 30’ Canon EF lenses and teleconverters work with the adapter, and image stabilization is not supported.
The SL-EOS adapter is currently listed on Novoflex’s website for €499 (~$ 555)
Articles: Digital Photography Review (dpreview.com)