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Posts Tagged ‘month’

Report: Nikon is only producing 1,000 units of its 500mm F5.6 lens each month

23 Aug

Since its release in August 2018, the Nikon AF-S Nikkor 500mm F5.6 PF ED VR lens has been perpetually out of stock. In past apologies, Nikon has said demand for the 500mm F5.6 lens has exceeded supply, but now we know just how limited supply is.

Almost immediately after launching the 500mm F5.6 PF lens, Nikon Japan issued an apology [Japanese], stating it wouldn’t be able to deliver all 500mm F5.6 pre-orders in September, as it had hoped to do. Six months later, it issued another apology, stating orders had exceeded expectations and they were working to deliver units as soon as possible.

Screenshot used with permission from Nikon Rumors.

Now, Nikon Rumors has shared a screenshot of the German Nikon Professional Service website noting only 1,000 units are able to be produced each month. The text in the screenshot, seen above, translates (via DeepL) to:

‘Delivery currently uncertain, since only about 1,000 copies are produced per month. We apologize for any inconvenience and will accept any pre-order.’

A screenshot from the current product page on Adorama showing the Nikon AF-S Nikkor 500mm F5.6 PF ED VR lens is ‘On Backorder.’

We contacted Nikon USA to check in on the current pre-order status and clarify whether or not production is at 1,000 units per month and received the following response:

‘Orders of the AF-S NIKKOR 500mm f/5.6E PF ED VR lens have exceeded our expectations. We appreciate our customers’ patience as we work to fulfill orders as quickly as possible.’

In other words, Nikon isn’t confirming the 1,000 unit per month limit, but it isn’t denying it either. Whatever the case is, it doesn’t look like the backorders are slowing down anytime soon, so don’t get your hopes up that you’ll have Nikon’s compact telephoto lens anytime soon.

Articles: Digital Photography Review (dpreview.com)

 
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Canon to Announce the 90D or the EOS M5 Mark II Next Month

27 Jul

The post Canon to Announce the 90D or the EOS M5 Mark II Next Month appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

canon-camera-announcement

August is bound to be an exciting month for Canon fans.

Rumors indicate that either the Canon 90D or the Canon EOS M5 Mark II will be announced next month, though it is also possible that we’ll get an announcement for both.

The Canon 90D would likely be the replacement for the Canon 80D, a mid-level Canon DSLR aimed at enthusiasts. The Canon EOS M5 Mark II, meanwhile, replaces the Canon EOS M5, an APS-C mirrorless camera.

The Canon 80D debuted back in February of 2016, and a lot has changed since then in the camera world. For one, the 80D lacks 4K video, and Canon fans expect to see this featured in a new 90D. Recent speculation suggests that the 90D may also be the first Canon DSLR to contain in-body image stabilization (IBIS).

Here are several rumored Canon 90D specifications:

  • A 31.2 (or a 32.5) megapixel APS-C sensor
  • 10 frames-per-second continuous shooting
  • 4K video
  • Dual card slots
  • Bluetooth
  • Wi-Fi
  • An articulating 3.2-inch LCD
  • 45 autofocus points
  • $ 1399 USD price

Note the 30+ megapixel sensor, which will take Canon APS-C cameras to a new level. And the dual card slots point to this being a slightly higher-end body than the Canon 80D.

The Canon 90D may not be replacing only the Canon 80D, however. Canon 7D Mark II fans have long awaited a 7D Mark III, but may have to settle with a Canon 80D/Canon 7D Mark II replacement hybrid, which will combine both APS-C camera lines into one.

The Canon M5 Mark II, on the other hand, would be an upgraded APS-C mirrorless body. It’s rumored to have an electronic viewfinder like the Canon RP, and enhanced video capabilities, including 4K and high frame-rate slow motion.

Note that the Canon EOS M6, another Canon APS-C mirrorless body, may also see a replacement announced sometime late next month.

Now I’d like to ask you:

Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.

Let me know why in the comments!

The post Canon to Announce the 90D or the EOS M5 Mark II Next Month appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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LAANC to be made available to recreational drone pilots later this month

02 Jul

In mid-May, the Federal Aviation Administration (FAA) clamped down on recreational drone operators by issuing a notice that prohibited them from flying in controlled airspace plus other restricted airports. While not legally binding, the message was clear: hobbyist pilots were now expected to be in compliance with the rules and regulations laid out in 14 CFR 107. The hiccup? Low Altitude Authorization and Notification Capability (LAANC), which provides near real-time authorization to fly in controlled airspace, is only available for those in possession of Part 107 certification.

The FAA is fixing this conundrum by expanding LAANC to recreational users on July 23rd. The announcement was made in a recent webinar by Kevin Morris, an Aviation Safety Inspector with the FAA. Also mentioned was an important caveat, relayed from an FAA official: ‘Section 349 hobby flights cannot exceed UAS Facility Maps limitations. If you want to fly outside UASFM limits (200’ in a 100’, or in a 0’ grid), you still have to fly under Part 107.’

Before LAANC, a collaboration between the FAA and drone industry was introduced to Part 107-certified commercial operators in October 2018, obtaining a waiver to fly in controlled airspace could take up to 90 days. LAANC automates the application and approval process by providing access in near real-time with 600 participating airports. A list of approved UAS service suppliers can be found here.

Before the expansion becomes official, the FAA is hosting a free webinar, ‘What is the Low Altitude Authorization and Notification Capability (LAANC)?,’ on July 18th at 4:00 pm, Eastern Time.

Articles: Digital Photography Review (dpreview.com)

 
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NYC’s iconic 101 Park Avenue skyscraper was turned into a giant camera last month

11 Jun

Photographer Brendan Barry, founder and director of Positive Light Projects and creator of numerous unusual cameras, recently transformed the 46th floor of NYC’s 101 Park Avenue skyscraper into a massive camera obscura. The camera was part of the larger Skyscraper Camera Project installation that was live from May 13 to 16 in the iconic Manhattan tower.

Barry, accompanied by photography students, looks over a negative captured as part of the Skyscraper Camera Project.

Barry has crafted different types of cameras out of a variety of unexpected materials, including a medium format camera built in a pineapple, a 4×5″ camera that incorporates a log and a 35mm ‘butternut squash camera.’

According to the CBS affiliate WLNY, Barry gathered with 20 photography students on Saturday, May 11, to blackout 160 windows in the 46th floor of 101 Park Avenue. Lenses were installed in the dark space, enabling the team to project large images onto screens inside of the skyscraper. Below is a short feature WLNY created on the project:

The project was conceived by Favorite Child Creative founder and director Nicholas Kalikow, according to The Phoblographer. The 46th floor of the skyscraper was available during that time, offering a 360-degree view of the Manhattan skyline and the unique opportunity for this installation.

One of the many images captured with the skyscraper camera obscura.

During the workshop, Barry and participants produced what may be the largest analog photographs of New York City; they measure up to 45″ x 93″. The photos were developed in an on-site darkroom. In addition to transforming the floor into a large camera, the team also created a functional camera replica of the skyscraper.

Below is a collection of behind-the-scene images from the project that Barry kindly shared with DPReview:

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Barry’s other work can be found on his website.

Articles: Digital Photography Review (dpreview.com)

 
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Kodak plans coating trials for 120 format Ektachrome E100 film next month

07 Jun

Kodak Alaris has given a boost to those waiting for newly resurrected Ektachrome E100 to be introduced in formats larger than 35mm with an announcement that it will be testing a new coating process at the end of next month to make roll film. The company has said in the past that the process for coating 35mm film and 120 roll and sheet films is different and that the method used to make the initial reintroduced format isn’t the same as that needed for wider formats.

Kodak Alaris said directly then that it was very likely that medium format and sheet film sizes of the color transparency film would be made available, and has since confirmed that 120 and sheet films will be made this year.

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We know you’re anxiously awaiting the arrival of larger format Ektachrome E100 Films. We are diligently working on bringing them to market, with a wide coating trial of the 120 format film planned for late July! Photo of Pei Ketron @pketron Photo by @jonblack___ #ektachrome #e100 #kodakprofessional #believeinfilm

A post shared by Kodak Professional (@kodakprofessional) on

In recent posts on its Kodak Professional social media accounts, Kodak Alaris has said directly that it will be testing coating processes for 120 roll film, saying ‘We know you’re anxiously awaiting the arrival of larger format Ektachrome E100 Films. We are diligently working on bringing them to market, with a wide coating trial of the 120 format film planned for late July.’

The posts are accompanied by a picture of a girl holding a Pentax 67 medium format camera, but which was shot as part of an early trial of the 35mm format version of the film. The side of the picture is marked ‘Ektachrome 100 in 120?’

We shall have to wait and see. The company’s T-Max, Portra and Ektar emulsions are already available in sheet formats, but to special order. For more information on Kodak films see the Kodak website and the Kodak Professional Ektachrome E100 technical data sheet.

Articles: Digital Photography Review (dpreview.com)

 
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One month with the Huawei P30 Pro

14 May

Huawei’s latest flagship smartphone, the P30 Pro was launched just over a month ago and has since then received a lot of praise, especially for its camera. I’ve been using the device since launch day and thought now would be a good time to summarize my experience and determine if the hype around the P30 Pro camera is justified.

Focal length flexibility

A lot of that hype stems from its periscope-style 5x tele lens and the resulting zoom performance. We’ve already had a close look at the system and my early impressions have been confirmed since those first days of using the device.

The P30 Pro is by far the best current smartphone for zooming. While the focal length of ‘traditional’ single-lens smartphone cameras (typically somewhere between 25 and 28mm equivalent) is great for street and landscape photography and similar genres, it’s not ideal for any photographic situations that require wider or more narrow angles of view.

16mm equivalent, ISO 400

The super-wide-angle allows me to squeeze more of this cathedral ceiling into my frame than would be possible with a more conventional smartphone camera.

16mm equivalent, ISO 50

Playing around with the ultra-wide-angle and looking for suitable scenes is a lot of fun.

125mm equivalent, ISO 160

At the other end of the zoom spectrum the 5x tele allowed me to capture the detail in this stained glass window.

125mm equivalent, ISO 50

This type of cityscape would not have been possible to capture with the same levels of image detail on most other smartphones.

The P30 Pro’s camera setup covers equivalent focal lengths from an ultra-wide 16mm to a 125mm tele, allowing for much more flexibility in your framing and more creative freedom. If you’re happy to accept some loss of image quality, you can zoom in even further but everybody’s tolerance threshold is different in that respect.

Image quality is best at the individual cameras’ native focal lengths

While there’s no doubt that the P30 Pro beats the current competition in terms of zooming, there’s still some obvious room for improvement, however. The hybrid-zoom technology processes captured image data from one or more lenses, then uses computational imaging methods to achieve a seamless zoom experience for the user. This means that image quality is best at the individual cameras’ native focal lengths.

This shot was captured at a zoom setting of around 3.5x. It is softer than the 5x image, especially close to the edges of the frame, ISO 50

If you shoot at intermediate zoom factors, images can look soft. Between 1x and 3x, the P30 Pro uses its 1x main camera and progressively crops in, using a multi-frame based super resolution algorithm to improve results. For 3x to 5x zoom factors, the tele camera is used for the central portions of the image, with crops from the 1x camera upscaled (again using super-resolution) to fill in the outer portions of the image. This means that image edges at these intermediate zoom factors are noticeably softer than central areas of the frame.

This isn’t much of an issue if you post your images on Instagram, of course, but it will be noticeable when viewing at larger magnifications.

The zoom is also limited by its AF system. So while you might be able to nicely frame a soccer player in the game, don’t expect the autofocus to lock on, at least not before the subject has moved out of the frame. You can get good results with some practice and trial and error, but expect a lot of out-of-focus-results with moving subjects as well.

Out-of-focus, 125mm equivalent, ISO 50 In-focus, 125mm equivalent, ISO 50

Night shots are a breeze

Moving away from zoom, the P30 Pro is also a great smartphone for photography in low light, especially for static scenes and when using the built-in multi-frame night mode. It’s pretty amazing that a smartphone is now capable of capturing hand-held night shots which not too long ago would have required long exposures, manual settings, probably some manual frame stacking in Photoshop, and definitely a tripod.

Night mode, 27mm equivalent
Night mode, 27mm equivalent

Night mode can record usable results in near darkness, even capturing starry skies, and is capable of nicely balancing bright and dark parts of the frame. It can be used with all three cameras but the results are by far the best on the primary unit. If night shots are your thing, this is pretty much a must-have feature. Just don’t expect a consistent color response when shooting in near darkness. As you can see, the camera’s auto white balance system produced quite different results for the two samples above.

The P30 Pro also performs well in low light in its standard camera mode but the results are much more in line with what you’d expect from other high-end smartphone cameras.

27mm equivalent, ISO 250

Low light image quality in standard mode is in line with other high-end smartphones.

125mm equivalent, ISO 3200

Zooming, low light and moving subjects are not a good combination.

Low light image quality is best on the primary camera, however. Both the super-wide-angle and tele lag behind in terms of detail, exposure and dynamic range. The tele is definitely taken beyond its limits when you try and capture moving scenes in low light, so don’t expect tack-sharp concert close-ups or action shots in a dimly-lit gym from the P30 Pro.

Video stabilization for steady-cam-like footage

When shooting video on the P30 Pro, I generally found the footage to show pleasantly warm colors and decent dynamic range, capturing good detail in bright skies and high-contrast scenes. Noise reduction can be a bit aggressive, though. Distant foliage and other low-contrast textures can appear a little mushy. I was particularly impressed by the image stabilization, which allows for super-steady shooting even when hand-holding the device.

However, stabilization is not without its artifacts. It can lead to blurring in-sync with your steps, visible in the fence behind the subject near the end of this clip. There can also be a judder effect – where the video skips ahead for a brief instant. This can range from subtle (my panning clip below) to fairly distracting. These artifacts are either absent or more subtle on the latest iPhone and Pixel phones.

Overall, with some careful consideration to shooting technique – bending your knees and walking softly, and panning slowly – the Huawei can be a great device for mobile video capture without the need for any additional equipment, such as gimbals or other external stabilizers.

The best smartphone for imaging right now? Probably.

The P30 Pro isn’t just a very good camera phone, however. It’s also very nice to use as a general device. The body design with its rounded display edges and smooth lines looks and feels premium. Thanks to the high-end chipset there are no performance lags whatsoever and Huawei’s EMUI user interface is much less cluttered than it used to be on previous device generations, making for an overall very pleasant user experience.

No other smartphone camera offers as much flexibility in terms of focal length and framing

The camera is this device’s unique selling proposition, though, and it does deliver. No other smartphone camera offers as much flexibility in terms of focal length and framing. That doesn’t mean that the zoom system is perfect, but it is the best you can get on a smartphone right now.

The P30 Pro captures pleasantly natural colors in most situations, 27mm equivalent, ISO 50

The P30 Pro performs well in most other photographic respects as well, delivering very good still image and video quality across the board. Night mode is excellent and the camera is capable of capturing a decent simulated-bokeh shot.

Portrait mode, 27mm equivalent, ISO 50

As always, there is still room for improvement but a couple of software updates have already been provided since launch. We can be sure that Huawei and other manufacturers will be working hard to make the next device generation even better, with improved image quality and more intelligent features.

In the fast-paced smartphone world it will likely only take a few months for a better option to come along, but until then the Huawei P30 Pro is my undisputed go-to smartphone camera.

Articles: Digital Photography Review (dpreview.com)

 
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InukTech will launch Inuk, a carbon fiber tripod alternative, on Kickstarter next month

23 Feb

On March 1st, InukTech will launch a Kickstarter campaign for Inuk, a portable folding camera tripod alternative. Unlike traditional tripods, Inuk features flat carbon fiber arms and legs joined by reinforced technopolymer hinges and soft rubber feet. The rig’s three legs and two arms can be folded flat against the device’s carbon fiber plate for compact storage.

Inuk supports payload weights up to 1.5kg / 3.3lbs and features a ¼” -20 universal screw for connecting cameras and mounts. In addition to supporting cameras and smartphones, Inuk can accommodate accessories like microphones, flashes, and lights.

Though the support can be used like a tripod, Inuk’s legs can also be folded for uneven surfaces, and accessories will be available for connecting the support to different structures. At this time, InukTech says its connection accessories include a magnet, suction cups, super suction cups, straps, and clamps.

When folded, Inuk measures 17 x 9 x 2.5cm / 6.7 x 3.5 x 0.98in and weighs 160g / 0.35lbs. The model can extend up to 12cm / 4.3in in height with a 30cm / 11.8in footprint and 42cm / 16.5in arm width.

InukTech hasn’t revealed any other information about the model, but plans to officially launch it on Kickstarter next month. Consumers will have the opportunity to ‘pre-order’ the camera support at up to 50% off the expected retail price with prices starting at $ 39.95 for the basic ‘Starter Kit’ and going up to $ 56.95 for the ‘Video Maniac’ kit.

Articles: Digital Photography Review (dpreview.com)

 
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Atomos Ninja V shipping at the end of the month, with new AtomX expansion modules

15 Sep

The Atomos Ninja V external video recorder and monitor will be ready to ship at the end of this month. Announced in April this year, the 5.2in Ninja V is designed to provide a smaller option for those using more compact video cameras while still offering many of the features of the larger 7-inch models.

The recorder can handle 4K 60p footage in 10-bit 4:2:2 over HDMI from the collection of recent cameras capable of producing it – such as the new Nikon Z7/Z6 and Canon EOS R mirrorless bodies as well as Fujifilm’s X-T3 and the existing Panasonic Lumix GH5 and GH5s.

The recorder now comes with options for expansion modules to extend its feature-set. These modules are called AtomX, and the first will be the AtomX Ethernet/NDI that allows the cameras to stream broadcast quality footage and to network with multi-camera set-ups and for the Ninja V to receive NDI data from a range of sources.

The AtomX modules will cost ‘less than $ 199’, while the Ninja V itself costs $ 695

A second module, the Atomx Sync wirelessly handles and generates timecode to synchronise recordings from multiple devices. The AtomX modules will cost ‘less than $ 199’, while the Ninja V itself costs $ 695. For more information see the Atomos website.

Press release:

Atomos Ninja V ready to ship, innovative new AtomX Sync and AtomX Ethernet/NDI modules announced

Atomos is delighted to announce that the highly anticipated Ninja V 4k HDR monitor/recorder is in mass production and on schedule to reach stores before the end of the month – fulfilling our commitment to deliver in Q3. The all new 5″ 4kp60 HDR monitor recorder has unrivalled features in a sleek, compact and extremely light form factor that is perfect for mirrorless cameras, DSLRs and gaming consoles.

The 10-bit mirrorless revolution
The timing of shipment coincides with the launch of several new mirrorless cameras with 4k 10-bit HDMI output and Log gammas that partner perfectly with the Ninja V. The new Canon EOS R, Nikon Z6 and Z7 and Fujifilm X-T3 now join the Panasonic GH5 and GH5S in taking full advantage of the Ninja V 4k 10-bit 422 recording to Apple ProRes or Avid DNxHR. The results from the Ninja V and these cameras are extraordinary, with billions of shades of color for smooth gradients and better grading in all NLEs.

New AtomX modules under $ 199 – the most flexible ecosystem in Pro Video
Modularity is at the heart of the Ninja V with a bi-directional high-speed expansion port breaking out connectivity for I/O of video, audio and power. Atomos created AtomX to ensure users could adapt and connect to any legacy or future wireless or wired video standard. The expansion system offers endless scalability and is demonstrated by the first of many modules – the AtomX Ethernet/NDI® $ 199 and the AtomX Sync $ 149 announced today. These dock into the AtomX port and instantly add important features like NDI® over ethernet and Wireless Sync and Bluetooth control to the Ninja V.

Atomos are proud to expand their close partner program with Newtek for the NDI® module and Timecode Systems for Wireless and Bluetooth sync module.

The AtomX Ethernet/NDI module has a wired ethernet (1 GigE) connector that makes it possible to deliver live broadcast-grade video over IP networks. Newtek’s NDI technology harnesses this – allowing for simple installation and control of multi-camera networks, replacing traditional SDI cabling. The AtomX Ethernet/NDI module has NDI input and output with encode, decode, control and sync, allowing Ninja V users to transmit, distribute or receive and monitor NDI from any NDI source. Simply power on the Ninja V with AtomX Ethernet/NDI module installed, plug in your network cable, and your source will be automatically discovered on the NDI network ready for production.

The AtomX Sync module brings professional wireless timecode, genlock and Bluetooth control to Ninja V, perfect for enhancing DSLRs, mirrorless cameras or game recordings. You can sync and/or control literally thousands of Ninja V units equipped with AtomX Sync modules on the same network at ranges of up to 300m. Multi-cam shoots have never been so easy. AtomX modules bring broadcast level standards to any HDMI camera or source, making it easy to integrate large sensor consumer cameras easily into traditional live productions. AtomX Sync has a built-in battery extender that allows for continuous power when swapping batteries, ensuring uninterrupted operation of the Ninja V during a shoot.

Class leading technology partnerships
The beauty of licensing technology from Newtek and Timecode Systems is that all their products are fully compatible with the relevant AtomX modules – so large and small productions currently using NDI’s or Timecode Systems’ class leading products can effortlessly integrate Atomos devices. The simplest application with Newtek is integration with their famous TriCaster products. For Timecode systems the most basic use case is to sync a mirrorless camera to an appropriately equipped audio device for perfect automated sync sound – a huge benefit for anyone from vloggers through to Hollywood productions.

New AtomOS 10 for easier operation
To coincide with the Ninja V release Atomos have announced a major new update to the AtomOS operating system. AtomOS 10 has been redesigned from the ground up to offer simpler operation combined with fewer distractions when monitoring your shot. Operation is quick and intuitive, with extensive use of swipe commands. Redesigned icons have an emphasis on easier HDR production enhancing the creative process. The waveform monitor and audio level meters are clearer than ever. The result is the best monitoring experience available for your DSLR of mirrorless camera bar none.

The perfect small monitor
The near edge-to-edge high bright 5 inch screen has a stunning 1000nits of output coupled with an anti-reflection finish – allowing users to clearly see their images even in daylight. Use the color-accurate display with AtomHDR to see in High Dynamic Range, or load creative LUTs at the touch of a button. Ninja V gives you all the critical monitoring tools you need in SDR – Rec709 or HDR – HLG or PQ. False color, peaking, movable 1-1 and 2-1 pixel magnification, waveform, RGB parade, vectorscope, eight channel audio level meters and more are all available in AtomOS 10.

HDR perfection every time
The AtomHDR engine ensures simple and perfect exposures when shooting HDR every time. It delivers a stunning 10+ stops of dynamic range to the LCD in real time from Log/PQ/HLG camera signals. Playout Log as PQ or HLG to a larger HDR-compatible screen. The Ninja V display can be calibrated to maintain perfect color and brightness accuracy over time.

Why external recording makes sense
Camera manufacturers are already pushing their designs to the limits of computing, heat and power consumption, especially with the new, larger sensors. Despite these efforts, all DSLR and mirrorless cameras on the market are limited in what they can record internally.

This necessitates compromises – limiting the bit depth, codecs used and the data rates used for internal recording. Recognizing that users want better quality and maximum flexibility the camera makers work with Atomos to optimize external recording at higher bit depth and higher bitrates, offering HDR and Post Production quality earlier.

By moving recording to the Ninja V, DSLR and mirrorless cameras are freed of many of their key video limitations. Record time limits are lifted and easy-to-edit Apple ProRes or Avid DNx codecs recorded, instead of hard to edit H.264 or H.265.

Affordable, reliable AtomX Media.
When recording video with the Ninja V you can shoot to the new generation of Atomos AtomX SSDmini drives, as well as existing MasterCaddy 2 compatible media. These are developed with leading brands and offer high speed and high reliability in a compact metal chassis. Guard your video by recording to proven, economical SATA SSD media.

Atomos CEO Jeromy Young said, “The Ninja V is the best monitor/recorder we’ve ever made and I’m delighted to ship it to our loyal customers on time. The new AtomX modules bring amazing flexibility to the Ninja V, allowing us to seamlessly integrate new technologies faster than ever. This is made possible only by working closely with partners like Newtek and Timecode Systems. I’m looking forward to bringing cutting edge innovation through AtomX into the future.”

Come and see Ninja V and AtomX modules, plus all the other Atomos products on booth (11.D15 & 11.D25) at IBC2018.

Ninja V: http://www.atomos.com/ninjav
AtomX: http://www.atomos.com/AtomX

Articles: Digital Photography Review (dpreview.com)

 
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Report: Canon to release new 70-200mm F4L and F2.8L lenses next month

18 May

Canon Rumors is reporting some big news if you’re in the market for a new 70-200mm lens. According to the rumor site, it’s a near certainty that Canon will be debuting two new 70-200mm lenses in early June: the Canon EF 70-200mm F4L IS II, and the Canon EF 70-200mm F2.8L IS III.

Both of the current versions—the Mark I of the F4L and the Mark II of the F2.8L—are certainly due for an upgrade. The 70-200mm F2.8L IS II was released in 2010 and the F4L IS even farther back in 2006. Meanwhile, third-party manufacturers like Tamron and Tokina have released their own 70-200mm F2.8 and F4 lenses more recently, and Sigma confirmed to DPReview that it will release its much-anticipated 70-200mm F2.8 Art lens “not too far in the future.”

In other words, early June would be a great time for Canon to get the jump on Sigma and fight back against the Tamron 70-200mm G2 that people have been so positive about.

The good news is, this isn’t just a thin rumor. Canon Rumors says they can “100% confirm” that the 70-200mm F4L IS II is coming, and “95% confirm” that the 70-200mm F2.8L IS III will join it. Of course, as the rumor site points out, lens announcement and release dates can change at the last minute, but we’ll be keeping our fingers crossed for both these announcements in the coming month.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma’s 70mm F2.8 DG Macro Art lens costs $570, ships this month

12 May

Back in February, Sigma introduced the first Macro lens to join the company’s high-end line of “Art” series lenses: the Sigma 70mm F2.8 DG MACRO Art. And today, after keeping us in the dark for a few months, the company has finally revealed the lens’ pricing and availability.

According to Sigma, you’ll be able to pick up the new lens in Canon EF mount starting at the end of this month for a suggested retail price of $ 570. Additionally, the Sigma mount is expected to ship in June, and the Sony E-Mount version “will be announced later.”

As we mentioned above, this 70mm F2.8 is the first macro lens to join Sigma’s “Global Vision Art Line,” a lineup of lenses touted for its exceptional optical quality (usually at a very reasonable price). The new MACRO Art is said to deliver “stunning resolution and incredible clarity, while at the same time offering extremely smooth autofocus performance for a weightier, high-performance lens.”

In order to achieve this “extremely smooth” AF performance, Sigma has equipped the lens with an extending, floating, two-group focusing mechanism that the company says “minimizes aberration at all focal lengths,” whether you’re shooting at 1:10, 1:5, or the maximum magnification ratio of 1:1. Additionally, a new focus-by-wire system paired with a newly-developed “coreless DC motor” promises precise focusing—a must for macro shooters.

To learn more about this lens, head over to the Sigma website.

Press Release

Sigma Announces Pricing & Availability for Its 70mm F2.8 DG MACRO Art Lens

Ronkonkoma, NY – May 11, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced that its 70mm F2.8 DG MACRO Art, the first prime macro lens to be adorned with the Art badge, will be available in Canon mount in the end of May for $ 569.00 USD through authorized US retailers. The Sigma mount model is expected to ship in June. The release of the Sony E-Mount version will be announced later.

The First Macro Lens in the Sigma Global Vision Art Line

Elevating the legendary Sigma 70mm F2.8 EX DG to the Art line, the brand new Sigma 70mm F2.8 DG MACRO Art prioritizes optical performance that defines the Sigma Art line, delivering stunning resolution and incredible clarity, while at the same time offering extremely smooth autofocus performance for a weightier, high-performance lens.

To achieve optimal results at every shooting distance, the lens features an extending, floating, two-group focus mechanism, which minimizes aberration at all focal lengths. In addition, the lens’ optical elements design increases resolution at close shooting distances, allowing for a razor-sharp in-focus area contrasted with a bokeh area free of color streaking.

Other feature highlights include focus-by-wire system featuring newly developed coreless DC motor for comfortable and precise focusing typically required for macro photography; compatibility of the Canon mount lens with the Canon Lens Aberration Correction function; and compatibility with Sigma Electronic Flash Macro EM-140 DG and Sigma Teleconverters.

Full technical specifications can be found on the Sigma website at: https://www.sigmaphoto.com/70mm-f2-8-dg-macro-a.

Articles: Digital Photography Review (dpreview.com)

 
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