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Posts Tagged ‘Line’

Manfrotto launches new ‘Pro Rugged’ line of SD, Micro SD memory cards

15 Jan

Italian tripod and accessory manufacturer Manfrotto has launched a range of memory cards that it claims is the strongest on the market. Comprising of SD, MicroSD and CompactFlash models, the Pro Rugged series is claimed to combine high-speed performance with waterproof, crush-proof and temperature-proof build quality that can withstand extremes of use and conditions.

The SD cards particularly are sealed against ingress of water and dust, and can remain underwater for up to 72 hours without suffering damage. They are made from a solid moulded piece of plastic and are said to be three times stronger than normal cards and able to survive a 20kg impact. Tested in temperatures of between -25 degrees C to 85 degrees C, the SD cards come in 64 and 128GB capacities and have a V90 rating that sees 280MB/s and 250MB/s read/write speeds.

The Pro Rugged MicroSD cards are V30 rated, offer 90MB/s read/write speeds and come in 64 and 128GB capacities, while the CompactFlash cards are UDMA 7 rated, offer 160MB/s and 130MB/s read/write speeds and also come in 64/128GB varieties. The CF cards aren’t waterproof but Manfrotto claims they are made from tougher materials than most cards, that they will last longer and that they can withstand a 35kg impact. They are suited to use in temperatures of between freezing and 70 degrees C.

The SD cards are half price at the moment on the Manfrotto website and are listed at $ 57.50/£47.50 and $ 112.50/£92.50, while the CF cards are $ 80/£65 and $ 150/£125 and the MicroSD cards are $ 32/£27 and $ 42/£35. Visit Manfrotto’s website for more information.

Articles: Digital Photography Review (dpreview.com)

 
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iPhone 11 models may soon support new line of third-party MFi lighting accessories

21 Dec

Apple’s latest line of iPhone handsets may soon support photography accessories launched under Apple’s Made-for-iPhone (MFi) program. According to 9to5Mac, Apple has shared new specs with manufacturers who are part of the MFi program, ones that pave the way for lighting and strobe devices that connect with the iPhone using the Lightning port rather than Bluetooth.

MFi is a licensing program that enables manufacturers to make third-party accessories compatible with Apple’s mobile devices. According to this new report, Apple recently provided these manufacturers with new MFi specs as part of a developer preview that make it possible to create lighting and strobe accessories for the iPhone.

Unlike the Lume Cube and other existing products, MFi-compatible lighting accessories will use Lightning instead of Bluetooth in order to sync with the iPhone’s flash and to deliver or draw power to/from the handset. As well, MFi lightning and strobe accessories will likely better support third-party camera apps and will likely be able to sync with the iPhone’s native camera app shutter button.

According to 9to5Mac, these new specs only support the iPhone 11 line of smartphones, meaning older iPhone model users would still have to use less capable Bluetooth-based accessories. Manufacturers will be able to launch their own MFi mobile lighting products once the specs are officially released beyond the developer’s preview.

Articles: Digital Photography Review (dpreview.com)

 
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Peak Design updates its Everyday line with new and improved bags, slings and totes

25 Nov

Peak Design’s Everyday line of camera bags has received a V2 update that includes new materials and features, inspired directly from customer feedback and improvements in material design.

The list of the overhauled bags includes the Everyday Backpack (20L + 30L), Everyday Messenger (15L), Everyday Sling (5L is now 6L + 10L) and the Everyday Tote 15L. In addition to the redesigned originals, Peak Design has also added a number of new bags: Everyday Totepack (15L), Everyday Backpack Zip (15L + 20L) and the Everyday Sling (3L).

All of the bags feature more robust ‘UltraZips,’ improved fabrics that are 100% recycled and Bluesign approved (except for black), improved MagLatch connections and new cord hook external carry straps. The Everyday lineup is also receiving new colorways: Midnight Navy (navy blue) and Bone (tan).

Everyday Backpack

The Everyday Backpack is Peak Design’s most popular design. Although the V2 update isn’t dramatic, the small improvements that have been made do make for an overall improved experience as our hands-on attests to.

The Everyday Backpack V2 features a slightly refined shape that should help it stand upright on its own when filled with gear and has redesigned straps that should better contour your body. It also receives the new UltraZip design, improved MagLatch connections, new internal zippered pockets and the expansion straps found on most of the other V2 bags.

The Everyday Backpack 20L and 30L are available today for $ 259.95 and $ 289.95, respectively.

Everyday Backpack Zip:

The Everyday Backpack Zip is what would happen if you took Peak Design’s Travel Backpack, shrunk it, and added a number of features found in its Everyday line. It comes in 15L and 20L versions and features dual-access zips on either side of the bag for easy gear access. It also has a dedicated top-zip for laptop and tablet access as well as side and top grab handles.

The Everyday Backpack Zip 15L and 20L are available today for $ 189.95 and $ 219.95, respectively.

Everyday Messenger

Similar to the Everyday Backpack, the Everyday Messenger features an almost identical design as its first-generation design but improves upon a number of key features. In addition to the new 100% recycled 400D weather-resistant fabric, the Everyday Messenger features an improved MagLatch design, the new UltraZips and a few small aesthetic changes throughout the bag’s design to clean up the seams found throughout.

Below is a feature rundown of the new Everyday Messenger V2:

The Everyday Messenger 15L is available today for $ 219.95.

Everyday Sling

The Everyday Sling lineup has a number of changes from its V1 iterations. First, the 5L sling has been redesigned to add an extra liter of internal storage, now making it a 6L bag. Peak Design has also added a smaller 3L model that takes the features of the large slings and packs it down into an even smaller form factor.

The 3L and 6L bags can convert to was it packs, while the 10L bag offers a luggage carry pass-through for times when you don’t want it wrapped around your shoulder in the airport.

The Everyday Sling 3L, 6L and 10L are available today for $ 79.95, $ 99.95 and $ 149.95, respectively.

Everyday Tote

Much like the Everyday Messenger, the Everyday Tote isn’t much of a change from the previous version. Aside from a cleaner external design, the more robust UltraZips, the 100% recycled fabric and the external cinch straps the Everyday Tote remains largely unchanged.

The Everyday Tote 15L is available today for $ 149.95.

Everyday Totepack

The Everyday Totepack is more or less an Everyday Tote that’s been made a little larger (20L instead of 15L) and adds a set of straps so it can be worn as a backpack.

The Everyday Totepack features dual zip access points on either side of the bag as well as internal FlexFold dividers and stretchy pockets for organizing your gear as you see fit. It features the 100% recycled 400D weatherproof shell and also has two storable carry cinch straps for those times when you need a little more gear.

The Everyday Totepack 20L is available today for $ 179.95.

Articles: Digital Photography Review (dpreview.com)

 
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Photographic Inspiration or Copying? Where does the line blur?

25 Nov

The post Photographic Inspiration or Copying? Where does the line blur? appeared first on Digital Photography School. It was authored by Charlie Moss.

photographic-inspiration-or-copying

As photographers, we take inspiration from everywhere. Pictures we see on the internet, things our friends say to us over coffee, magazines, galleries and museums, even the advertising we see at the bus stop. All of it gets stored away inside our heads for later, even if we don’t realize it. All this visual information we have consumed throughout our lives becomes a part of the new photographs that we create in some way. It influences us to make certain choices about the way we style or shoot images or the way we post-process them. So if we’re all taking inspiration from the things we see around us, even without realizing, when is it photographic inspiration or copying?

Why is copying seen as such a bad thing in the photographic world? Moreover, is there a clear line between taking photographic inspiration, or is it fuzzy and open to interpretation?

photographic-inspiration-or-copying

Imitation or inspiration?

It’s often said that imitation is the most sincere form of flattery (a nineteenth-century English art collector originally said it). And in many ways, I agree with this.

If you’re imitating a picture by another photographer or you’re imitating their technique, then you must think it’s going to be worth putting in time and effort to learning more about what they do. And that’s where we get the idea that this process is flattery.

But it doesn’t always feel like flattery when you’re on the receiving end of being imitated. Instead, it feels like someone is just copying the hard work that you put in, without any creativity on their part.

Of course, in the commercial world, there can be real financial implications if another photographer copies your work. But perhaps it’s time, in the rest of the photographic world, to worry a little less about copying and to focus more on learning new skills and developing a voice.

photographic-inspiration-or-copying

Turning imitation into inspiration

We’ve all imitated others, I’m sure. Maybe a pose borrowed from one image, the lighting from another, or the setting from somewhere else. It’s so hard to be truly original when it comes to the creation of photographs. We can’t just close ourselves off from the world and stop looking at the imagery that surrounds us.

So how do you move from imitating another artist to using their work as inspiration?

I think that the difference happens when you start to bring your own experience to the images you create. If you allow the work to reflect your own view of the world and the things that have happened to you, then that’s when the originality starts to happen.

Photographic Inspiration or Copying? Where does the line blur?

Is originality of subject as important as originality of voice?

Let’s face it – you’re unlikely to hit upon a genuinely original subject or concept for your next photograph. Most things out there have been photographed thousands of times before.

I’m not sure that having a totally original subject is that important, as long as you’re bringing your own voice to the photograph. If you’re saying things in your way with your viewpoint, then that is something truly original.

Think about many of the celebrity portrait photographers, or the well-known landscape photographers. Those photographers don’t usually have original subjects that have never been photographed before. But what they do have is originality in voice, an ability to find something unique about their subject, and the skills to show that uniqueness to the world.

Finding your voice

It sounds so easy, doesn’t it? “Just find your voice and make your images unique!” I guess you’re sitting there wondering how you find your voice and stop copying? Here’s a few pointers with that in mind.

photographic-inspiration-or-copying

1. Bring your own experiences

Nobody else has led your life and had your experiences. If you bring these elements of you to your image-making, you will automatically be creating something different from everybody else. Nobody else is you, no matter how much they imitate your work.

Of course, your own experiences could also be showing up at the right time and place to create a unique shot.

2. Critique your photos

For every photo that you think is great, write down five ideas that would improve it if you took that photo again. Even the daftest ideas are worth writing down. Put a small print of the image in a notebook and record your thoughts there if you can. Then you can revisit it when you want ideas of new things to try.

3. Keep shooting

Don’t give up. It takes most people a long time to find their unique voice and viewpoint when they’re making images. You have to shoot quite a few photographs before you start discovering what makes your images unique. The longer you shoot, the more likely you are to hit on something that makes your work truly your own.

How bad is copying really?

So, photographic inspiration or copying? In the grand scheme of things, in my opinion, copying isn’t really that big of a deal.

Artists have always copied other artists. Going back hundreds of years, artists have sat in front of the work of another artist and made sketches from what they see. It’s a way of learning and improving your skills, and photographers can (and perhaps even should) consider doing the same – photographically speaking.

Photographic Inspiration or Copying? Where does the line blur?

If copying is being done for practice, learning, and curiosity, it should be encouraged. As long as nobody is claiming the ideas that they’ve copied as their own, then does it really matter?

The difficulty comes when people are using ideas and presenting them as their own, without taking the time to develop them fully and put an individual spin on the work.

So as long as you’re bringing something new to the work you present as being authentically yours, then I don’t think there’s any problem. And even if you are copying to learn technical or creative skills – so what? Does it even matter?

I’d like to know what you think about photographic inspiration or copying. What do you have to do to stop copying and start being inspired by other people’s work? How do you find your voice and make your own photographs unique? Share with us in the comments!

The post Photographic Inspiration or Copying? Where does the line blur? appeared first on Digital Photography School. It was authored by Charlie Moss.


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Voigtlander’s 75mm F1.5 Vintage Line Nokton lens is now available for $999

12 Nov

Earlier this year, Voigtlander released details of a 75mm F1.5 Vintage Line Nokton lens for Leica M-mount camera systems. Now, the lens is shipping and effectively replacing the 75mm F1.8 Heliar Classic lens Voigtlander previously offered.

As noted in our initial coverage, the lens comes in black and silver variations. It features an optical design made of seven elements in six groups including three low-dispersion elements and one aspherical element. The lens is manual focus with a minimum focusing distance of 70cm (2.3ft) and features a clicking aperture ring with a range between F1.5 and F16 using a twelve-blade aperture diaphragm.

The 75mm F1.5 Nokton weighs in at 350g (12.35oz) and measures in at 63.8mm x 63.3mm (2.5in x 2.5in). Leica Rumors has posted a gallery of sample images (JPEG, straight out of camera) taken with the lens attached to a Leica M10 in an album on Flickr. Below is a gallery of sample images provided by Leica:

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The lens is available in black and silver models and currently in stock at B&H for $ 999.

Articles: Digital Photography Review (dpreview.com)

 
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Elinchrom launches new Rotagrid accessory for its signature Rotalux softbox line

25 Oct

Elinchrom has unveiled Rotagrids, a new lineup of add-on grids designed specifically for the company’s Rotalux softboxes. As is the case for most every grid modifier, the Rotagrid accessories create a more direct light for greater control while also minimizing light spill.

The Rotagrid attachments offer 30-degree beam angle grids and are made from what Elinchrom describes as a lightweight but durable fabric that will hold its shape over time. The grid uses hook and loop fasteners to attach to the front of Rotalux softboxes and can be stored in a pouch when not in use.

Elinchrom is offering the Rotagrid modifiers in every shape and size for the Rotalux softbox line, including the Octa, Square, Strip and other shapes. Prices vary based on the model; the smaller 35 x 100cm (14 x 35in) Rotagrid Strip, for example, is priced at $ 79 / €69, whereas the large Rotagrid Octa 135cm (69in) is priced at $ 249 / €199.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma launches its ‘Classic’ Art cine lens line, announces development of PL to L mount adapter

11 Sep

Sigma has announced a new line of cinema lenses, a new collection of Art Prime PL mount lenses with Cooke Optics’ /I Technology communication protocol and the development of a Sigma-made PL mount to L mount converter.

As it previewed back in July 2019, Sigma has launched its new line of ‘Classic’ Art prime lenses for cinematography. These new lenses are identical in design to its standard Cine prime lens collection, but feature different lens coatings to help re-create the aesthetic of lenses from the 1950s and 70s. The video example below, provided by Sigma, helps to show off the more ‘classic’ look:

Despite the identical optical design to the standard Cine primes, these new lenses feature slightly slow T-stops due to the different coatings. These new lenses also feature Cooke Optics’ /i Technology, which allows the lens metadata to be directly recorded to the camera with every frame, even as it changes mid-scene.

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For better or worse, these lenses aren’t sold individually and are instead sold as a single ten-lens kit. So unless you’re a rental company or a happen to have six figures sitting around burning a hole in your pocket, these are probably out of reach for most film sets. The lenses will be available with the PL mount and ship by the end of 2019.

Speaking of Cooke Optics’ /i technology, Sigma’s existing Cine prime lens collection has been updated to include the additional metadata. The lenses will be sold separately from the previous version of Sigma’s Cine lenses, but not all hope is lost for those with the original version of the lenses. Sigma says:

‘For SIGMA customers who have already purchased a SIGMA PL mount lens, a new service to turn their lenses into /i technology compatible ones is under consideration.’

Lastly, Sigma has announced that it’s working on the MC-31, a PL mount to L mount adapter that can be used to mount PL cine lenses on Sigma’s own fp camera system and other L mount camera systems. Sigma doesn’t specify any information regarding pricing or availability for the MC-31 adapter.

State-of-the-art resolution meets the classic “look”

SIGMA CINE LENS welcomes a new series “FF Classic Prime Line” to the lineup. With cutting-edge technology, SIGMA’s new “Classic Art Prime” offers unrivaled expression for artists.

The SIGMA Corporation is pleased to announce the launch of “FF Classic Prime Line” as a new series in the SIGMA CINE LENS.

FF High Speed Prime Line has been offering the highest resolving power in its class, that is compatible with 8K shooting with large format sensors while achieving an outstanding compact design. Based on this product line, the FF Classic Prime Line incorporates more non-coated optical elements to achieve unrivaled expression.

It retains the high-resolution capability that SIGMA CINE LENS is well known for, and offers a unique combination of low contrast and artistic flare/ghost in the image. As with all other lenses from the FF High Speed Prime Line, it creates beautiful bokeh effects to improve creativity.

FF Classic Prime Line has implemented newly developed coatings on the glass elements and offers consistent T value across the lineup (14mm and 135mm at T3.2 and the rest of the lenses at T2.5). This will greatly contribute to the effective workflow in postproduction. Furthermore, it is compatible with the communication protocol of Cooke “/i Technology”, thus an ideal tool for shooting and editing with the latest technology, such as VFX. A special coating is implemented on the front and rear elements so that the lens durability is ensured as with all other cine lenses from SIGMA.

“Classic Art Prime” is a new solution from SIGMA that is required for the most advanced technology for classical expression. The “look” that FF Classic Prime Line can offer will enable cinematographers to explore new possibilities in movie creation.
From September 13th to 17th, SIGMA is going to display this new product at the IBC 2019 in Amsterdam, Netherlands.

SIGMA CINE LENS “Art Prime” Launch

A new /i Technology-compatible PL mount lens in the FF High Speed Prime Line

SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce the launch of a new Art Prime PL mount lens that supports Cooke Optics’ /i Technology communication protocol in a latest addition to the SIGMA CINE LENS family for filmmaking in the FF High Speed Prime Line.

Optimized for large-format camera systems and 8K shooting, the FF High Speed Prime Line lenses deliver stunning image quality in a compact construction. A new addition to this prime lens lineup comes with electronic contacts that supports Cooke’s /i Technology communication protocol for Art Prime PL mount lenses.

By using an /i Technology-compatible cine lens with a cine camera that supports the same protocol, users can see and record lens metadata such as focus distance, focal length, and aperture. This helps streamline compositing in the post-production process. This is particularly suitable for the latest forms of filmmaking, such as VFX, that call for detailed shooting data.

Prototypes of this /i Technology-compatible FF High Speed Prime lens were used for shooting “Top Gun: Maverick”, scheduled to be released in 2020, showing that the new lens is already in commercial applications.

For SIGMA customers who have already purchased a SIGMA PL mount lens, a new service to turn their lenses /i Technology-compatible is under consideration.

A production version of this new product will be on display at IBC 2019, scheduled to take place in Amsterdam, the Netherlands, from September 13 to 17, 2019.

PL-L Mount Converter

Development of SIGMA MOUNT CONVERTER MC-31 announced

SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce its development of SIGMA MOUNT CONVERTER MC-31, a converter that allows PL mount lenses to be used on L-Mount cameras.

By using SIGMA MOUNT CONVERTER MC-31, users can use PL mount cine lenses, which are widely used in the filmmaking industry, on the SIGMA fp and other L-Mount cameras.

A production version of this new product will be on display at IBC 2019, scheduled to take place in Amsterdam, the Netherlands, from September 13 to 17, 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Edelkrone expands 3D-printed ORTAK line with new SKATER 3D kit

31 Aug

Earlier this summer, Edelkrone introduced ORTAK, a line of the company’s products sold at cheaper prices to customers who must 3D print the item’s various components at home. Edelkrone kicked off this lineup with the FlexTILT Head 3D, a 3D-printed and DIY version of its FlexTILT Head 2. The company is back with another product in the ORTAK line with the relaunched and modified PocketSKATER 2.

PocketSKATER 2 was originally launched by Edelkrone as a three-wheel camera skater with the FlexTILT head built-in; it previously cost around $ 250 USD before the company discontinued the product. With this relaunch, the new SKATER 3D has a modified design that enables customers to print the product’s base components using readily accessible 3D printers.

The obvious benefit to the ORTAK product line is reduced cost. The new SKATER 3D, for example, is offered in two parts: a freely available 3D blueprint that can be downloaded from the company’s website and a $ 29 USD kit featuring the CNC-machined aluminum parts for assembling the 3D-printed components.

Edelkrone refers to this arrangement as ‘co-manufacturing,’ one targeted specifically at consumers who already own a 3D printer. The previously launched FlexTILT Head 3D is available as a digital download with a $ 29 USD aluminum parts kit. Both ORTAK products are available now.

Via: DIY Photography

Articles: Digital Photography Review (dpreview.com)

 
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First of the breed: Inside the GFX 100 pre-production assembly line

25 May

First of the breed: GFX 100 prototypes take shape

Back in early March, I had the opportunity to visit Fujifilm’s main Taiwa camera assembly plant in Sendai, Japan. Among other things, the so-called ‘X Factory’ is where Fujifilm’s assembly line staff are currently putting together the company’s new 100MP flagship, the medium format GFX.

But when I visited, mass production was still some way off. Instead, a small dedicated production team was creating the very first working prototypes of the GFX 100, ready for beta testers and Fujifilm’s engineers to start working with. Prototypes are built largely by hand, and the process is time-consuming, expensive and fascinating. While we were shown every step, Fujifilm is understandably protective over some of the details, but has given us permission to publish a small number of images. Click through for a glimpse behind the curtain, and back in time, as the very first GFX 100 prototypes took shape earlier this year.

First of the breed: GFX 100 prototypes take shape

Inside this unassuming building is where the magic happens. About 20 miles outside of Sendai, the main assembly building at Fujifilm’s Taiwa plant was quite badly damaged in the major earthquake of 2011. Closed for 7 years, it re-opened in 2018 after a 6-month renovation to both modernize the facility and make it safe for continued use.

First of the breed: GFX 100 prototypes take shape

Here’s a finished GFX 100 sat on a table alongside its various components, broken out into the major ‘blocks’ which make up the guts of the camera. At Fujifilm’s request we’ve obscured the details of exactly how many parts make up the key parts of the camera, but to give you some idea of its complexity, the IBIS unit alone is comprised of more than 100 individual parts.

One of the interesting things about the GFX 100 is that its major imaging components are assembled into a single unit, structurally independent to the main body panels which make up the exterior chassis of the camera (i.e., the bits that you can see). Everything is ultimately connected, of course, but by integrating the sensor, IBIS unit and lens mount into a discrete unit, very precise alignment can be achieved – and maintained – even if the main body of the camera is subjected to physical stress or shock.

First of the breed: GFX 100 prototypes take shape

And here’s that IBIS unit in all its glory, with a 100 Yen piece alongside for scale. If you don’t have a sense of how big a 100 Yen piece is, it’s about the same seize as a US quarter and a British 10p piece.

While it’s clear that the IBIS unit takes up quite a bit of space, what’s surprising is that it isn’t larger, given the size of the sensor that it has to stabilize – and of course the weight of that sensor. In fact, four springs are incorporated to absorb sensor movement.

Fujifilm claims that the IBIS system should be effective up to 5.5EV by CIPA standards. While our experience suggests that you can’t rely on that kind of performance with every lens and in every shooting scenario, there’s no doubt that the system adds considerably to the camera’s versatility out of the studio.

First of the breed: GFX 100 prototypes take shape

Here, a prototype GFX 100 undergoes one of several automated tests performed after initial assembly. Everything from shutter accuracy to IBIS calibration must be performed on a camera-by-camera basis, to ensure that each GFX 100 performs in exactly the same way. All of this calibration data is saved to a database stored by Fujifilm, and can be looked up by serial number if and when the camera comes in for service in the future.

This particular camera is fully assembled, but still waiting for its textured rubber body coating to be applied.

First of the breed: GFX 100 prototypes take shape

Applying the rubberized body cladding is a difficult and very manual process. You can trust me on that, because the managers who gave me this tour let me try doing it myself, and my attempt at covering a section of the X-H1 was considered “very good”, because I only took twice as long as the experienced technician holding the timer and grinning encouragingly.

In fact, unlike final shipping cameras, which will be made on a semi-automated production line, these first prototype GFX 100 bodies are put together almost entirely by hand. We can’t show you pictures of the full process in this article (at Fujifilm’s request) but trust me that watching a human being manually solder every pin on the lens mount’s electronic interface perfectly, in mere seconds, using a single continuous piece of solder is a very humbling experience to a keyboard warrior like me.

First of the breed: GFX 100 prototypes take shape

Here, an assembly line worker performs the exacting task of manually applying a section of the GFX 100’s textured rubber coating. Under the fingers of his left hand you can see a clear plastic window built into the camera’s main handgrip. ‘Window’ is a good word for it, because directly underneath this section of plastic is the GFX 100’s WiFi antenna. In contrast to magnesium alloy, WiFi signals can ‘see’ through plastic easily.

First of the breed: GFX 100 prototypes take shape

Here’s a closer look at the ‘skeleton’ of the GFX. The chassis is made from magnesium alloy, with polycarbonate employed in various less structurally-critical places, such as the previously mentioned WiFi antenna ‘window’ and the battery tray door, parts of the facia around the vertical grip controls and so on.

Image supplied by Fujifilm and used with permission

First of the breed: GFX 100 prototypes take shape

Here’s the skeleton with a little more flesh on its bones. One of the highlights of my tour of the prototyping line was getting my hands on the very first prototype, complete with 3D printed plastic parts and hand-finished buttons. Unfortunately, and for very understandable reasons, Fujifilm would prefer that I don’t show you a picture of it.

Image supplied by Fujifilm and used with permission

First of the breed: GFX 100 prototypes take shape

Here, a fully assembled and cosmetically finished prototype GFX 100 undergoes more testing before being released into the wild, where Fujifilm’s engineers and selected beta testers will put it through its paces.

Of course, hardware is only part of the equation. During the process of pre-release testing, prototype cameras like this might have literally hundreds of major and iterative firmware updates applied to them as features are added, removed and tweaked.

Tragically, like the replicants in Blade Runner, these first hand-built prototype test bodies are destined for a short service life. Once the beta testing program is complete, they’ll be returned to Fujifilm and reduced to their component parts. It’s too bad they won’t live – but then again, who does?

Articles: Digital Photography Review (dpreview.com)

 
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Wacom expands Intuos Pro tablet and pen line with new ‘Small’ option

11 May

Wacom has expanded its creative pen and tablet product line with the new Intuos Pro Small. This model joins the existing Medium and Large size options to offer professionals a less expensive, more portable alternative. The Intuos Pro Small includes a Wacom Pro Pen 2 and pen stand.

The Wacom Intuos Pro tablet line is designed for photographers, designers, and other graphics professionals. As with the larger sizes, the new Small variant sports a TouchRing and ExpressKeys, though there are only six keys instead of the eight found on the two larger sizes.

Bluetooth connectivity enables the Intuos Pro tablets to connect with both PC and Mac systems. The companion Wacom Pro Pen 2 offers 8,191 levels of pressure, lag-free tracking, and tilt recognition; the company includes 10 replacement nibs with the pen and pen stand.

The Intuos Pro Small size option is now available from Wacom and retailers through which its products are sold, including B&H Photo and Adorama, for $ 249.95 USD. In comparison, the Intuos Pro Medium costs $ 379.95 USD and the Large costs $ 499.95 USD.

Articles: Digital Photography Review (dpreview.com)

 
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