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Understanding all the Different Image File Formats

12 Jan

The post Understanding all the Different Image File Formats appeared first on Digital Photography School. It was authored by Kav Dadfar.

image file formats photography

When you take a photograph, the camera is capturing data, which creates a digital image. But there are many different types of image file formats that can be retrieved and edited using post-processing software.

The most commonly-used formats are:

  • JPEG (Joint Photographic Experts Group)
  • TIFF (Tagged Image File Format)
  • RAW
  • DNG (Digital Negative Format)
  • PNG (Portable Network Graphics)
  • GIF (Graphics Interchange Format)
  • BMP (Bitmap Image File)
  • PSD (Photoshop Document)

Choosing the right file format is important and can even be critical, depending on the level of quality – and the level of post-processing – that you require.

Now, to help you better understand the different file formats, and to ensure that you pick the right format for your needs, we’ve put together this comprehensive guide. It covers the pros and cons of using each image file format – so that, by the time you’re finished, you’ll be able to select the perfect format with ease!

JPEG

JPEG is probably the best known of all image file formats, and it’s what many cameras use as the default output.

The thing you should remember is that JPEG files are compressed in-camera, and thus result in a loss of detail and quality. They are essentially set up to store as many images on the memory card as possible.

Some cameras will have options for different JPEG quality levels (e.g., low, medium, and high). The better the photo quality, the less compression the camera will perform on the original photograph.

Generally speaking, JPEGs should be used:

  • When the photos are for personal use, for social media, albums, and small prints, and are not intended for large prints
  • When you don’t intend to enhance or edit the photos much in post-production
  • For sharing images via email

JPEG benefits

  • The small file size means more images can be stored on a single memory card
  • Quicker file transfer times, due to the smaller file size

JPEG negatives

  • Loss of quality due to image compression
  • Less opportunity for image manipulation in photo-editing software

TIFF

TIFF is commonly used in the photography industry; it’s generally requested by publishers. Even if the end file format will be a JPEG, the initial file is often a TIFF.

TIFF files are usually uncompressed, so they offer the opportunity for extensive post-processing. And because TIFFs are uncompressed, they are much bigger files, and will take up a lot of space – both on your memory card and on your computer.

Some cameras offer TIFF as their highest-quality image format.

TIFF benefits

  • Ability to manipulate photos extensively in editing software
  • Option to print at the highest quality and at much larger sizes

TIFF negatives

  • Much bigger file sizes (so more storage is needed)
  • Longer transfer and loading times due to file size

RAW

RAW files are generally available on advanced compact cameras, DSLRs, and mirrorless cameras.

Simply put, RAW is the best option if you want to get the highest-quality files from your camera, and it’s the option preferred by professional photographers. If you don’t use RAW files, then your camera will make adjustments automatically to your images, and these will be permanently embedded into your photos.

RAW files are created using a process that retains all of the information originally captured. This means that adjustments such as white balance, exposure, contrast, saturation, and sharpness can all be altered in image-editing software after the photo has been taken.

Photographing in RAW format requires plenty of memory cards, not to mention considerable post-processing time. It also requires some basic knowledge of image-editing software such as Adobe Lightroom, because files will have to be edited and converted out of the RAW format before they can be used (i.e., before they can be shared online, printed, sent to friends, etc.).

RAW benefits

  • The highest-quality image is captured
  • Extensive options in post-processing

RAW negatives

  • Significant time is needed to convert and edit photos (you must edit RAW files)
  • Bigger file sizes require more storage and longer post-processing times

DNG (Digital Negative)

Just about every camera these days uses a different proprietary format to capture RAW files. Even cameras from the same manufacturer will often use different formats, which means image editing software must be able to read files from all of these different cameras.

As a result, editing software providers face a challenge: how to manage and continuously provide updates for their program so it can read all these different file formats.

Enter the DNG.

This file format, created by Adobe, is an attempt to provide a standard RAW file for all manufacturers and cameras.

The DNG is offered as a main RAW file format, or as an alternative to the manufacturer’s native RAW format. One of the problems with keeping images in the original RAW format is that, several years from now, you may be unable to access these files, because they are specific to cameras and manufacturers.

But using an Adobe DNG Converter means you can also store your RAW files as DNGs for maximum future-proofing.

This does add another step to the post-processing workflow, which takes extra time. However, editing software such as Lightroom can convert large batches of files to DNGs so that it doesn’t have to be done manually.

DNG benefits

  • Ability to use image-processing software such as Lightroom and Photoshop
  • Possibly the safer option long-term, because it guards against the inability to open or access files in the future

DNG negatives

  • Extra time needed to convert camera RAW files to DNGs (if your camera does not have the option to create files in this format)

PNG

Designed in the ’90s as an improvement on the GIF file format, PNG files are ideal for use on the internet.

PNGs are compressed in a lossless format, and therefore retain all detail. But unlike other file formats, PNG quality doesn’t mean big file sizes – and this is useful on the internet, because you need pages to load quickly.

The other benefit of PNG files is that they allow for partial and total transparency, which is ideal for overlays and logos.

PNG benefits

  • Lossless compression makes for good image quality, which isn’t compromised when editing
  • The ability to maintain transparency, which is important for graphics such as overlays and logos

PNG negatives

  • Quality is not good enough for printing at any size

GIF

Like PNGs, GIFs are ideal for use on the internet. Lossless compression means image quality is not sacrificed, and like PNGs, GIFs offer the ability to maintain transparency (though they don’t support partial transparency). GIFs also allow for animation.

However, the limitation of GIF files is that they can only contain a maximum of 256 colors. Therefore, GIFs are not the best choice for photos, but rather for images with a limited color palette.

GIF benefits

  • The small file size makes GIF files ideal for use on the web
  • Files can contain animation

GIF negatives

  • The limited colors make GIFs a poor choice for photos
  • GIFs don’t support partial transparency like drop shadows

BMP

Another lossless file format, the BMP was invented by Microsoft, initially for use on the Windows platform. However, BMPs are now recognized by programs on Macs, as well.

BMPs are large files, as color data is saved in each individual pixel without any compression. As a result, BMPs provide a high-quality digital file, which is great for use in print but not ideal for the web.

BMP benefits

  • Can be used for printing, as the images are high quality

BMP negatives

  • The large file size means a lot of storage is required

PSD

This file type is what Adobe Photoshop uses as a default to save data. The big advantage of the PSD is that it allows for manipulation on specific individual layers, rather than on the main image itself.

This makes PSDs absolutely essential for any sort of extensive manipulation of the original photograph, such as retouching. PSDs give far greater flexibility and the ability to fine-tune an image, because layers can be added, removed, or edited at any time without affecting the original photo.

But remember:

Once a layered PSD file is flattened (this essentially merges all of the layers), it can’t be undone. So make sure you save your file as a PSD before flattening if there’s a chance you might want to rework some of the layers later on.

PSD benefits

  • Ability to manipulate the image extensively on separate layers
  • Once the image is ready, it can be re-saved as any other file format

PSD negatives

  • Layered files can be incredibly large in size due to all of the additional data they store

Image file formats: Conclusion

Now that you’ve finished this article, you know all the common image file types.

Professional photographers generally capture in RAW format (even if the final file needed is a JPEG), convert those files to DNGs, then edit in software such as Photoshop or Lightroom.

But as you can see, choosing the right file format when capturing the original photo – then choosing the right file format when saving the photo later – is absolutely essential.

What’s your favorite image file format? Do you use any formats not mentioned in this article? Share your thoughts in the comments below!

The post Understanding all the Different Image File Formats appeared first on Digital Photography School. It was authored by Kav Dadfar.


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Cine versions of Laowa ultra-wide lenses released for three sensor formats

20 Jun

Venus Optics has announced three additions to its cine range of lenses that each gives users an angle of view equivalent to a 15mm lens on a full-frame camera. The lenses released are for MFT, APS-C and full-frame sensor cameras and come with clickless apertures and 0.8 mod pitch gears for focusing and iris control.

The lenses are the Laowa 7.5mm T2.1 Cine for Micro Four Thirds cameras, the Laowa 9mm T2.9 for APS-C and Super35 sensors and the Laowa 15mm T2.1 for Sony full-frame models. The 9mm and 15mm lenses have the company’s Zero-D designation meaning there is minimal barrel distortion, and all have exceptional close focus abilities – 12cm/4.7in from the sensor for the 7.5mm and 9mm, and 15cm/5.8in for the 15mm lens.

Each of the lenses is an adapted version of an existing stills lens but built with a new housing that has no lens hood, a larger filter thread and slightly longer focus rotation for the 15mm – as well as the geared rings, clickless apertures and T-stop markings.

The lenses are on sale now and come with their own mini Pelican hard case. The 9mm is available in mounts for Fujifilm X, Sony E and MFT, while the 7.5mm is MFT-only and the 15mm is Sony E-only, though the company says versions of the 15mm for Nikon Z, Canon R and L mounts will be coming later this year. The 7.5mm T2.1 and 9mm T2.9 cost $ 599 and the 15mm T2.1 is $ 1,199. For more information see the Laowa website.

Press release

Venus Optics unveiled 3 new Ultra Wide cine lenses for Micro Four Thirds, Super 35 and Full frame cinema cameras

Anhui China, Jun 19, 2020 – Venus Optics, the camera lenses manufacturer specialize in making unique camera lenses, unveiled three new ultra-wide cine lenses for cameras with different sensor sizes. They are the Laowa 7.5mm T2.1 Cine for Micro Four Thirds cameras, Laowa 9mm T2.9 Zero-D Cine for Super35 cameras and the Laowa 15mm T2.1 Zero-D Cine Lens for large format (full frame) cameras. All three lenses feature the same optical system as the their popular photography version and offer premium optical performance. They have also been built with robust cinema lenses housing with design up to the industry standard.

Ultra-wide FoV & fast aperture
All three Laowa cine lenses feature an ultra-wide angle of view and fast aperture. The Laowa 7.5mm T2.1 feature a 110° FoV on MFT while the 9mm T2.9 features a 113° on Super35 sensors. The 15mm T2.1 instead features a 110° FoV on cameras with full frame sensors. The fast maximum t-stop is well suited for filming under low light condition. It also allows filmmakers to have more flexibility in depth of field control.

Close-to-zero distortion
Both the 9mm and 15mm feature the distinguishing Laowa close-to-zero distortion (Zero-D) design where the optical distortion at infinity distance has been compressed to the minimal. This is extremely important for motion picture recording when shooting indoor, architecture or footage with straight lines included. This also saves tremendous amount of time in distortion correction in post processing.

Compact & lightweight
All three wide angle prime lenses are extremely compact and lightweight. Both 7.5mm and 9mm weigh close to 0.5 lbs (226g). The 15mm is a little bit heavier due to the larger coverage but Venus Optics still manage to compress it to around 1.2 lbs (540g). On the contrary to the huge and heavy wide angle lenses in the market, the new Laowa cine lenses are extremely handy for run-and-gun productions, shooting with gimbals, in-car shots, indoor scene, etc.

Close Focusing Distance
All three Laowa cine lenses possess an extremely close focusing distance. This provides a great deal of flexibility for directors to compose shots at any distance. Filmmakers can also take advantage of this close focusing to create some wide angle shots with shallower depth of field. Both the Laowa 7.5mm and 9mm can focus as close as 4.7” (12cm) from sensor to subject while the 15mm can focus up to 5.9” (15cm).

Industry standard cinema lens housing
The major difference between the new cinema version and the still version is the improved housing. The new cinema lens housing have been designed with details to facilitate filmmakers to shoot with ease. Both the aperture and focus rings have been built with industry standard 0.8 mod pitch gears for pairing up with follow-focus motors. The aperture ring is now click-less for smooth iris control. Every one of Laowa cine lenses comes with a filter thread for filmmakers to use screw-in filters and mini matte-boxes. Entire lens body is made by premium grade aluminum and build for usage in extreme environment.

Hassel-free transportation
An authentic hard case made by Pelican will be included with the lens to allow filmmakers to travel around for shooting with ease.

A variety of Current & Future mount options
The Laowa 7.5mm T2.1 Cine is available in Micro Four Thirds mount and it is a perfect companion to cameras like Blackmagic Pocket 4K, Panasonic GH5 and Z-Cam E2

The 9mm T2.9 Zero-D Cine is available in Fuji X, Sony E mount and Micro Four Thirds mount. The Micro Four Thirds mount can cover the same cameras as 7.5mm and serve as an not-as-wide alternative to MFT users. The Fuji X mount is extremely popular among XT-4 or XH-1 shooters. The Sony E mount works really well with Sony cameras with Super35 sensors including FS5, FS7, A6500 series, etc.

The 15mm T2.1 Zero-D Cine is designed for large format sensor with Sony FE mount available. It is best suited with Sony full frame cameras like Sony A7 series and FX9.

New Nikon Z, Canon RF and Leica L mount will be introduced later this year and they will certain be interesting wide angle options for cameras like RED Komodo, Canon R5, Nikon Z6/Z7, Sigma FP, Panasonic S1H and more to come.

Laowa Wide Angle Cine Lenses line-up
Together with the Laowa 12mm T2.9 Zero-D Cine released earlier for EF and PL cinema cameras, Venus Optics currently offer four wide angle cine lenses for cinema cameras with different sensor sizes.

Pricing & Availability
All three cine lenses are currently available to purchase via Venus Optics official website (http://www.venuslens.net/) and authorized resellers. The US price for 7.5mm T2.1 and 9mm T2.9 is $ 599/pc (ex-VAT) and 15mm T2.1 is $ 1,199/pc (ex-VAT). Pricing varies in different countries.

Articles: Digital Photography Review (dpreview.com)

 
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Kodak Ektachrome E100 film will be available in 120, 4×5 formats ‘within the next 10 days’

11 Dec

Kodak Alaris has announced that its Ektachrome E100 film stock will be released in 120 and 4×5 sheet film packs ‘within the next ten days.’

In a tweet shared earlier this morning on the Kodak Professional account, Kodak Alaris confirmed new 5-roll 120 ‘propacks’ and 10-sheet 4×5 boxes will be available to order worldwide within the next ten days. Kodak Alaris Japan also published a press release sharing the news.

No pricing information has been given, but we’ll find out soon enough when orders go live.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm confirms release date for Neopan 100 ACROS II emulsion for 35mm, 120 formats

14 Nov

In April 2018, Fujifilm announced it was discontinuing its much-loved Acros 100 film stock. Now, more than a year later, Fujifilm has announced that its new Neopan 100 ACROS II film, first teased in June of this year, will start shipping in Japan on November 22, 2019 in 35mm and 120 formats.

According to Fujifilm, the newly developed Neopan 100 ACROS emulsion features the company’s ‘Super Fine particle technology,’ which better retains highlight gradation and improves overall sharpness that ‘emphasizes the contour of the subject.’

Fujifilm hasn’t shared any pricing information, but as noted by Emulsive, Rakuten Japan has both the 35mm and 120 versions listed for 1,045 Japanese yen, which equates to roughly $ 9.50 a roll.

Press Release (machine-translated):

Black and white film “Neopan 100 ACROS (Across) II

Fujifilm Co., Ltd. (President: Kenji Sukeno) realizes ultra-high image quality with world-class graininess and three-dimensional gradation reproduction, and is suitable for shooting a wide range of fields, and is suitable for photographing a wide range of fields, and is suitable for photography in a wide range of fields, and is used by “Neopan 100 ACROSII” (hereinafter referred to as “Acros II”). will be released in Japan on November 22, 2019. “Across II” will be available in two types: 35mm size and browny size.

The Neopan 100 ACROSII, which will be released this time, uses our unique technologies, including “Super Fine-Particle Technology” As a black and white film with sensitivity ISO100, we have achieved a three-dimensional gradation reproduction that can clearly express the world’s highest level of graininess and the tint of the subject, and excellent sharpness. By precisely controlling the structure of the silver halide to form an image by capturing light and making it highly sensitive, and by efficiently placing the photosensitive particles of different sizes in the light receiving layer of the film […] It is possible to describe finely down to the details of the texture. We respond to the needs of photography in a wide range of fields, from landscape and mountain photography, portraits, product photography, architectural photography, to astronomical and night view photography of long exposure photography.

In the future, we plan to hold events and photo exhibitions where you can experience the charm of “Across II” where you can enjoy deep and quaint expressions. We will also consider overseas sales.

As a leading company in the imaging field, Fujifilm will continue to provide better products and services in response to diversifying customer needs in a wide range of fields, from analog to digital. The power and splendor of a single photograph will be conveyed.

A technology that contributes to high print quality by precisely controlling the size and composition of silver halide particles contained in photographic films, which achieves both sensitivity and excellent graininess.

A layer that is photosensitive to the light entered from the lens during shooting and forms a black-and-white silver image during the development process.

Book

1. Product Name
Neopan 100 ACROSII
35mm size (36 shots) / Brownie size (12 shots)
2. Release Date
November 22, 2019
3. Price
Open price

Features of “Neopan 100 ACROSII”

  • By adopting our proprietary “Super Fine-Particle Technology”, we have achieved the world’s highest level of graininess as a black and white film with sensitivity ISO100.
  • Compared to our conventional product “Neopan 100 ACROS”, the gradation of the highlight part is designed with a sharp, three-dimensional gradation reproduction is possible.
  • The world’s highest level of sharpness enables the contours of the subject to be described.

History of the release

We ended sales of black and white film in autumn 2018 due to a decrease in demand for black and white film and difficulty in obtaining raw materials that are essential for production. However, many people who like photography with the unique texture of black and white film have received many voices that want us to continue selling black and white film, so we have been considering re-opening sales from all angles. In addition, we have been able to develop and sell the black and white film “Across II” through research on alternatives to raw materials that have become difficult to obtain and a drastic review of the manufacturing process tailored to new raw materials.

Articles: Digital Photography Review (dpreview.com)

 
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RAW or JPEG: A Game Of Formats! [video]

27 Oct

The post RAW or JPEG: A Game Of Formats! appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this great video by Nicolas Doretti, he explains the differences between using RAW and JPEG formats.

?

RAW or JPEG?

If you have struggled to understand the need to shoot in RAW format over JPEG, this video goes into great detail exploring and explaining why you can obtain so much detail from RAW files.

Nicholas explains the differences in BIT depth and how pixels are composed of 3 layers.

He also explains how to arrive at 16 million colors in an image.

This is how the bit depth corresponds to the number of colors it holds.

  • 8-bits: 16 million colors
  • 10-bits: 1 billion colors
  • 12-bits: 68 billion colors
  • 16-bits: 281 billion colors

Photos taken by your camera are around 12/16 bits of information. All of these values – that’s the RAW file. It’s not really an image; it’s the raw data taken by the sensor.

When you record your image in jpeg, your camera takes the raw information from the sensor and compresses it into an 8-bit format. As there are not as many spaces, it also applies a treatment to the image. It adjusts the contrast and saturation of colors.

The processing values depend on the selected image profile on your camera.

If you record in RAW, the camera does no editing to your image at all. It retains the 12/16-bits of information (68-281 billion colors). It is then up to you to process your images and get the most from all of that information.

The RAW image you see on your computer screen is simply an interpretation of the raw data that your camera records. Each change you make in your editing software reinterprets this data.

RAW is not an image format, as such. Each brand has it’s own version of RAW. CR2 for Canon, ARW for Sony, NEF for Nikon, RW2 for Panasonic, DNG, and other extensions exist.

Using RAW allows you to search for information, whereas there is no information in the jpeg.

Nicolas uses an image example in both jpeg and RAW formats to show you the possibilities of editing with both formats. You will notice how much more information can be gained in the shadow and highlight areas of the RAW file.

Nicolas also touches on the argument of professional photographers not needing to shoot RAW because they should be good enough to get a perfect exposure in-camera. He has an interesting take on this. He talks about retouching and uses examples of photos dating back to 1861 that were retouched.

Watch and see what your thoughts are here! Share any comments on this information in the comments below!

 

You may also find the following helpful

  • The Basics of RAW files {and what to do with the darn things}
  • RAW Files: Digital Manifestations of the Emperor’s New Clothes
  • Quick Beginner’s Guide to Processing RAW Files in Photoshop Adobe Camera Raw
  • How to do Powerful RAW Conversions with Luminar 2018
  • ACDSee Photo Studio Ultimate: Efficient RAW Workflow for Professionals
  • Is Shooting RAW+JPEG the Best of Both Worlds?

The post RAW or JPEG: A Game Of Formats! appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Ilford Photo updates its Multigrade darkroom paper, introduces Ortho Plus film in smaller formats

26 Oct

Black and white film specialist Ilford Photo has announced the development of a new version of its resin-coated Multigrade black and white darkroom printing paper, and said that its existing orthochromatic emulsion will be available in 135 and 120 formats. The company plans to introduce Ilford Multigrade V RC Deluxe as stocks of the current version sell out, and Ilford Ortho Plus should go on sale at the end of November.

The new paper is said to offer deeper blacks and ‘improved’ spacing between the mid-tones, along with a slightly warmer base tint in the paper. Ilford says too that contrast is more consistent across the tonal range which will make printing more predictable.

A sample photo on Ilford Ortho Plus

Ilford has made an orthochromatic emulsion for some time, but it has only been available on sheet formats in the recent past. Cut sheets of 5x4in have been the smallest widely available size, so introducing it for 35mm and 120 medium format cameras will make the film accessible to a much wider audience. Ilford Ortho Plus is designed for copy work, but its color sensitivity also makes it suited to creative uses. Rated at ISO 80 in natural light and ISO 40 in tungsten conditions, the film is only sensitive to green and blue light, and thus darkens anything red in the scene.

It emphases blood stains in forensic work, but can also create interesting effects in portraiture as it darkens freckles and brings out skin texture. The film is very fine-grained and can produce punchy contrast and high resolution in flat copy work. Sensitivity drops off at around 570nm, so it can be processed ‘by eye’ under red safe-light conditions without the risk of fogging. It is suitable for processing with all of Ilford’s main-stream chemicals.

The company has also created a new film processor’s starter kit that includes a Paterson dev tank, two spirals, film clips, measuring cylinders, thermometer and pre-measured chemicals to fit the tank.

For more information see the Ilford Photo website.

Press release

NEW PRODUCTS ANNOUNCED PRODUCTS INCLUDING 5TH GENERATION ILFORD MULTIGRADE RC PAPER & ILFORD ORTHO FILM IN 135 AND 120 FORMATS

We are delighted to announce a number of exciting new products added to our range.

ILFORD MULTIGRADE RC DELUXE

ILFORD announced the world’s first variable contrast MULTIGRADE paper in 1940 and in 2019, as we celebrate our 140th anniversary, we are pleased to announce the 5th generation of our best-selling MULTIGRADE RC Papers.

MULTIGRADE IV RC papers (4th generation) were launched 25 years ago and have been hugely successful becoming the ‘go to’ black & white RC papers for discerning students, amateurs and professional darkroom users all over the world.

“Improving them was not going to be easy but we wanted to bring the manufacturing in line with the latest emulsion making technology used in our other RC and fibre papers and so we have redesigned the emulsion from the ground up. This project has been in development for 8 years and we are extremely pleased and excited with the final product.” Giles Branthwaite, Sales & Marketing Director.

These new papers have a slightly warmer base tint than their predecessor as well as better, deeper blacks, improved mid-grade spacing for easier printing and more consistent contrast throughout the tonal range.

Check your preferred stockist for availability and pricing of the new papers. MULTIGRADE IV RC papers will continue to be available while stocks last.

ILFORD ORTHO PLUS

We are expanding the world’s biggest selection of black & white films with the addition of ILFORD ORTHO PLUS in 135 and 120 formats. As the name suggests this is an orthochromatic black and white film (all other ILFORD and Kentmere films are panchromatic) rated at ISO 80 in natural light and ISO 40 in Tungsten.

“Our Ortho film was designed as a technical, high-resolution copy film for negatives and has been available in sheet format for some time. We know photographers want choice and love to try new films and so we have now coated our Ortho emulsion onto an acetate base for 35mm cassettes and 120 rolls. We believe ORTHO PLUS offers superb photographic potential thanks to its fine grain and sharpness and some of the results we have seen are stunning.” Giles Branthwaite, Sales & Marketing Director.

The blue and green sensitivity of this emulsion enables the film to be handled in deep red safelight conditions making processing and inspection easier. Its lack of red sensitivity also means that reds and oranges are rendered darker than panchromatic films.

ILFORD ORTHO PLUS will be available from early November. Check your preferred stockist for pricing.

ILFORD & Paterson FILM PROCESSING STARTER KIT

Building on the launch of the ILFORD Simplicity range of film processing chemicals in 2018, we have worked in collaboration with Paterson, a specialist manufacturer of some of the world’s most popular darkroom products, to create a starter kit containing all you need to process your first two rolls of film. You just need a light tight space and some film!

“ILFORD Simplicity chemicals are pre-measured for simple, convenient use and while they can easily be used in most tanks their volumes work perfectly with the Paterson 2-reel Universal Film Development Tank as they hold 600ml of diluted chemicals. Working closely with Paterson we have now created a kit that offers film photographers a convenient and affordable way to start processing their own films.” Giles Branthwaite, Sales & Marketing Director.

The kit contains: 1 x ILFORD 35mm Film Cassette Opener, 1 x ILFORD Simplicity Film Starter Pack (containing developer, stop bath, fixer and wetting agent), 1 x Paterson Universal Film Tank, 2 x Paterson Super System 4 Reels, 3 x Paterson 600ml Graduates, 1 x Paterson Thermometer, 1 x Paterson Stirrer, 2 x Paterson set of 2 film clips.

ILFORD & Paterson FILM PROCESSING STARTER KIT will be available from early November. Check your preferred stockist for pricing.

Articles: Digital Photography Review (dpreview.com)

 
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Ilford Photo teases upcoming film stock release in multiple formats

14 Oct

Ilford Photo has posted a teaser on Twitter that appears to show the launch date of an upcoming release (or re-release) of a film stock.

In addition to a release date and time — 3pm (unknown time zone) on October 24, 2019 — Ilford shared four silhouetted images of different film formats. The obvious ones are the 35mm film canister, the roll of 120 film and the vertical 8 x 10 image. But the image with the black background isn’t as clear as the others, although the silhouette does depict a rectangle with what appears to have a 4:3 aspect ratio.

There’s plenty of speculation as to what this tweet is teasing, but Ilford Photo isn’t giving away any hints (aside from the fact it’s not ‘IlfoColor’), so it looks like we won’t know for sure for another ten days.

Articles: Digital Photography Review (dpreview.com)

 
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Google Photos excludes unsupported video formats from its free unlimited storage

13 Dec

If you can live with some compression being applied to your files, Google Photos offers a reliable and free method for storing your photos and videos. The platform can also be used for storing original-quality JPGs and Raw files but those files will count against your quota and once you’re out of storage you’ll have to pay for extra space.

Depending on the file types you are storing, some of your video files might now count against the quota as well. Google has introduced new rules to make unsupported videos count against your Google account storage quota. One of the reasons for this move — but likely not the only one — might be that some users apparently used fake file extensions to disguise unsupported files.

Whatever the reasons, to not count against your quota from now on video files have to be at least one second long, be of the right file type, be playable by Google Photos and be playable when downloaded to your device. Below are the file types accepted by Google:

  • Photos: .jpg, .png, .webp and some RAW files.
  • Live photos can be backed up if you use the Google Photos app on your iPhone or iPad.
  • Videos: .mpg, .mod, .mmv, .tod, .wmv, .asf, .avi, .divx, .mov, .m4v, .3gp, .3g2, .mp4, .m2t, .m2ts, .mts, and .mkv files.

Any videos uploaded after December 6 which don’t comply with these requirements will take up storage space.

Articles: Digital Photography Review (dpreview.com)

 
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ADOX HR-50 is a new monochrome film stock that comes in 135, 120, and 4×5 formats

07 Oct

ADOX has announced HR-50, a new monochrome film stock that will be available in 135, 120, and 4×5 formats.

According to ADOX, the HR-50 film stock is “based on an emulsion commonly available for technical purposes.” It features “an ultrafine grain” and uses “super panchromatic sensitization,” meaning it’s sensitive to all wavelengths of visible light.

ADOX says HR-50 is particularly well-suited for street and landscape photography, but also works for portraits, although they do recommend using its own HR-50 developer. In the event you don’t want to buy another developer to keep in the darkroom, ADOX says the “gamma [of HR-50 has been] reduced so it becomes perfectly usable for pictorial photography in regular developers.”

According to the press release, ADOX HR-50 also works as an infrared film and handles the use of filters “extremely well.”

Below are a few sample photos provided by ADOX.

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There’s no mention of an exact release date or expected price. We have contacted ADOX regarding this information and will update the article accordingly if we hear back.

Articles: Digital Photography Review (dpreview.com)

 
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Outside of the box: Instagram now allows landscape and portrait formats

28 Aug

Instagram’s latest update brings a fundamental change with it. Since the app’s launch in 2010 users have been limited to posting images in square format. However, today this has changed. After installing version 7.5 of the app, you can post your images in portrait and landscape formats. Read more

Articles: Digital Photography Review (dpreview.com)

 
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