Posts Tagged ‘Series’

In-depth tripod review: Gitzo Systematic Series 3 (GT3543LS)

25 Jul
The Gitzo GT3543LS at the beach, with the Gitzo GFHG1 Fluid Gimbal Head on top, holding a 500mm lens and full-frame camera.

Gitzo Systematic Series 3 (GT3543LS) | $ 1000

Gitzo was founded in France as a tripod and camera company by Arsène Gitzhoven in 1917 and has been producing advanced tripods with interchangeable platforms, columns and leveling devices for more than 40 years. Their naming convention of designating sizes by numbered ‘series,’ and modular platforms as ‘systematic’ tripods, has been around so long that many other manufacturers use these as a reference point when describing their own wares.

Long ago, Gitzo merged with the Italian tripod maker Manfrotto, and both are now a part of the Vitec Imaging Group of companies. Today, the combined Manfrotto/Gitzo factory in Bassano del Grappa, Italy, produces more tripods than almost every other manufacturer in the world, using a combination of automation and streamlined assembly honed over many decades. The sheer scale of output makes their continued quality all the more impressive.

Key specs and what’s included

  • Max. height 146 cm (57.5″), or 148 cm (58.2″) with 50mm ‘big feet’
  • Minimum height of 9 cm (3.5″)
  • Folds to 55 cm (21.6″) with 14 cm (5.5″) diameter
  • Weighs 1.94 kg (4.27 lbs) with flat platform
  • 25kg (55.1 lbs) load limit
  • Three leg angles (23° / 53° / 86° )
  • Four leg sections (33mm top leg diameter / 29 / 25.3 / 21.8mm)
  • 70mm platform side-clamped with release button
  • Large weight hook under platform
  • Bubble level included on apex
  • Removable 33mm feet on standard 3/8″ thread
  • Includes dust bag, tools, instructions and 50mm big feet

Gitzo updated their ‘Systematic’ tripod line in 2016, with new materials and designs, and still offers many systematic options for their tripods; from video bowls and leveling balls, to sliding carbon-fiber center columns and geared columns. Beyond these, there are a bevy of various feet, ranging from snowshoes to various lengths of spike and mushroom-style rubber feet, all using a common 3/8”-16 threading, so even rock claws or feet from other manufacturers can be used. Given the prevalence and longevity of Gitzo Systematics in the marketplace, original Gitzo accessories are easy to find new at various retailers, as well as on the used market.

Compared to others

This tripod was tested and compared with its modular apex peers. Left to right; ProMediaGear TR344, Really Right Stuff TVC-34, Sirui SR-3204, FLM CP34-L4 II, Leofoto LM-364C, Gitzo GT3543LS.

The Gitzo GT3543LS was tested and compared alongside tripods in the same class of ‘Series 3’ (33-36mm top leg tube diameter) ‘Systematic’ (modular apex with removable platform) type, in terms of size and utility, including products from Sirui, Really Right Stuff, ProMediaGear, Leofoto and FLM. We’ll be publishing full reviews of those models in the coming days and weeks.

All of these tripods were used in four seasons of sand, snow, mud, rain and saltwater; set up in the bog-like Atlantic salt marshes and the wind-swept Appalachian mountains. They have been loaded with gimbal heads, ball heads, geared and pano-heads, and up to 4kg (8.8lb) lenses attached to cameras ranging from APS-C to medium-format, shooting anything from long-exposure landscapes to extreme telephoto birds-in-flight. The only test they did not go through was being rough-handled at the airport, thanks to pandemic travel restrictions.

Height comparison

Below is a relative height comparison between the Gitzo GT3543LS and a 6 foot (1.83m) photographer.

High Mid Low

Back to top

First impressions

The wide, but shallow apex with the Gitzo/Manfrotto 3/8″ threaded ‘Easy Link’ accessory port.

At the top of the GT3543LS is the large, cast magnesium systematic apex, finished in the durable ‘noir décor’ speckle finish common to all Gitzos. Each leg clevis is similarly built and finished, with a spring-loaded, ratcheting leg angle stop. The standard Gitzo ‘Safe-Lock’ platform is secured in the side-clamping apex with a re-positionable locking lever and a safety release tucked underneath. A generous weight hook is below the platform.

The four-section legs are labeled as using ‘Carbon eXact,’ which, according to Gitzo, ‘optimizes the fiber composition for each tube size, using HM (High Modulus) carbon fiber in the narrower tubes to make them stiffer.’ This is a good thing, as the GT3543LS has the thinnest relative leg tubes in this class of 3-series tripods. In addition to this, the leg locks are the ‘G-Lock Ultra’ type, which means they get tighter as more pressure is applied, and are well sealed against dirt and moisture. Many other manufacturers use similar leg locks, but may not have catchy names for them.

The 50mm ‘big feet’ that come pre-installed are robust and great for studio work, but require careful positioning for extreme angles and tend to collect debris when used in the field. The included standard 33mm bullet-shaped feet are small compared to the mushroom-head feet on other tripods in this group. Their narrow width means the leg locks can hit the ground before the feet do when the legs are fully splayed out.

The 3/8″ threaded ‘Easy Link’ attachment port for accessories is rather large and atypical, compared to the 1/4” threading seen on most accessories and other tripods. This just requires a reducer bushing (included with most heads these days) to attach that ‘magic arm’ or clamp to hold a phone, battery pack or other small device. Honestly, the number of ‘Easy Link’ accessories even offered by Gitzo or Manfrotto seems very slim, so the choice to use this is somewhat baffling.

Back to top

Use in the field

The Gitzo GT3543LS is a large item to pack into the field, both in apex diameter and the various parts that stick out, and we noticed this a bit more than with the other tripods in this class, despite the Gitzo having the smallest leg thickness. In the studio, the top-heavy size is not a problem, and those ‘big feet’ can stay installed for impressive stability, but the carbon fiber and robust build ask to be taken out to the wider world. The very wide apex creates a thick-on-one-end package that is not easy to pack away, so it begs for the (optional) strap or padded bag to carry it. For short walks, extending one leg and using the whole thing as a big hiking pole worked pretty well, but again, it was a noticeable difference to the competition.

The leg angle locks are easy to pull out from the front, but hard to push from behind due to their slim internals. The ratcheting action is positive when pulling the leg down, and it is easy to set the angles of each leg. Unfortunately, the legs can be pushed under the apex and just keep going since there is no center column to stop them, resulting in a strange angle that sometimes makes packing up all three legs of the tripod a bit harder than it needs to be. Many other columnless tripods in this class have a hard stop at the stowed position.

The well-tested Gitzo G-locks, which lock and unlock with a reassuring tactile feel, make extending and securing each leg of the tripod a pleasure. Grasping all three locks at once is easy with the rubber grips, even with gloves on, but they do require more rotation than the other leg locks in this group.

The tubes themselves are very precisely mated and need a bit of a pull to fully extend, which means the Gitzo legs will not ‘cascade out’ on their own when unlocked. However, adjusting each leg length once extended is still fairly easy and controlled, despite this precise fit.

The well-proven Gitzo Safe-Lock platform is the best in its class, with a durable, textured plastic disk over a machined aluminum platform. This provides a better grip and some vibration isolation when compared to an all-metal platform, and the inclusion of a tiny set-screw can insure that any head will stay attached. Removing and replacing it with a video bowl or center column accessory with a 70mm diameter is both easy and secure, thanks to the Safe-Lock recessed safety catch under the apex.

With a gimbal and large lens on top, or a panoramic head and leveling gear, the Gitzo GT3543LS never feels overburdened or unstable. The slightly steeper leg angles, at 23°, provide the required height to be competitive with similar tripods of this size, but theoretically could reduce stability. However, that theory is never validated, and in the field and studio, this tripod handles weight and movement with aplomb. Truly, Gitzo’s refinement across generations of this type and size of tripod seems evident in how it all just quietly gets out of the way and lets the camera and scene be the focus.


Cleaning the GT3543LS is fairly straightforward, and leg disassembly is briefly described in the included instructions booklet. The leg locks have obvious gaskets sealing them from the elements, and the one-piece shim makes the whole process easy. However, as with all Gitzo products, spare parts are easy to find if needed (even long into the future).

Back to top

Test results

Vibrations can make even the sharpest lens turn out mushy, blurred photos, and can ruin long exposures. In the typical use cases for this class of tripod, reducing the effects of vibration becomes extremely important, since longer focal lengths and higher resolutions magnify the effects of any movement, and environmental vibrations like wind and water will have an increasing effect on larger legs and gear. Camera vibration can be mechanically minimized with mirror lockup, electronic shutters, and a remote shutter release, while adding weight to the bottom of the tripod (with the weight hook or a tripod stone bag) can help stabilize the whole setup. However, not all sources of vibration can be eliminated, so we tested whether the tripod will dampen them or transmit and reflect them to the camera.

The tripod legs were fully extended, and our vibration analyzer for heavy-duty tripods (an iPad on a 3.2 kg (7 lb) cantilevered weight) was mounted directly to the flat platform’s 3/8″ threaded bolt with a long lens plate. An industrial solenoid valve with a plastic hammer was used as a source of vibration (a knock to the bottom of one leg). The resulting graph of all three accelerometers shows both the resistance of the tripod to the initial shock, as well as the rate of decay for residual vibration within the tripod.

Gitzo GT3543LS vibration resistance test results – click for a larger graph

*Note that this graph is relative only to this class of tripods. The weight and test equipment was adjusted to provide a conclusive result for this size of tripod.

The Gitzo GT3543LS performed extremely well in the vibration test. The initial shock was somewhat transmitted to the camera position, but the carbon fiber legs and magnesium components dampened the vibration quickly and admirably. This performance is among the best of this class of tripods, particularly when factoring in the relatively thinner legs of this Series 3 tripod.

Back to top


Gitzo has been the first (and sometimes last) word in high-end and heavy-duty tripods for many decades, and their innovations and influence are clearly seen in every other tripod of this type on the market. The folks in Italy have refined their offerings to such a degree that the whole system this ‘systematic’ tripod falls under has become a standard in terms of big tripod expectations, and even nomenclature.

It may not be the tallest, lightest, or most compact, but it has very few flaws and
performs admirably

The GT3543LS, or ‘Gitzo tripod Systematic, series 3 long, 4 sections’, remains competitive within this type of tripod thanks to its performance over many tests and rugged locations. Among similar tripods from ProMediaGear, RRS, FLM, and others, it may not be the tallest, lightest, or most compact, but it has very few flaws and performs admirably in every situation and test. Plus, any Gitzo is usually the most accessible and widely supported tripod of this type worldwide, which makes it a safe bet as a stalwart companion for many years.

What we like

  • Dependable build quality
  • Exceptional vibration resistance
  • Sets the standard for apex insert and foot sizes
  • Worldwide sales and support network
  • Spare parts and repairs easy to obtain

What we don’t like

  • Not compact or easily packable
  • Systematic accessories are expensive
  • Fiddly leg angle locks
  • Premium list price

Back to top

Articles: Digital Photography Review (

Comments Off on In-depth tripod review: Gitzo Systematic Series 3 (GT3543LS)

Posted in Uncategorized


Nikon Releases Two “Micro” Lenses for Z Series Cameras

11 Jun

The post Nikon Releases Two “Micro” Lenses for Z Series Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Nikon releases two Z-mount micro lenses

Nikon has officially released two Z series lenses and announced the development of two more. These lenses will enhance the already impressive Z-mount lineup and should go a long way toward making Nikon’s mirrorless system a compelling option for beginners and professionals alike.

The newly released lenses, the Nikkor Z MC 105mm f/2.8 VR S and the Nikkor Z MC 50mm f/2.8, both feature 1:1 magnification capabilities – a first for Nikon’s Z series. And the lenses under development, the Nikkor Z 28mm f/2.8 and the Nikkor Z 40mm f/2, will offer compact, (likely) low-priced glass for travel photography, walkaround photography, and more.

Nikon Z 28mm f/2.8
The Nikon Z 28mm f/2.8 is currently under development.

The Z 105mm f/2.8 will feature outstanding image quality at an ideal short-telephoto focal length, perfect for standard macro photography – of flowers, plants, and less-skittish insects – as well as product photography, detail photography, and even portraits. The maximum f/2.8 aperture should offer smooth backgrounds (Nikon promises “the beautiful bokeh of a micro lens”); you’ll also get Vibration Reduction for working at high magnifications or in low light. And for photographers requiring fast focus, the 105mm f/2.8 packs a quick (and quiet) STM motor.

Nikon Z 105mm f/2.8 micro lens
The Nikon Z 105mm f/2.8

The new Z 50mm f/2.8, on the other hand, is designed as an all-purpose lens, though it still offers a 1:1 magnification ratio for high-quality macro shots. While the 50mm focal length and small working distance will make photographing some macro subjects more difficult – insects, for instance – you can still capture beautiful detail photos, and Nikon guarantees “beautiful bokeh” for pro-level macro and portrait results. If you’re a casual photographer, you’ll love the low-light capabilities offered by the f/2.8 maximum aperture, as well as the lightweight, compact body; you can mount the 50mm f/2.8 on your camera, slip it in your bag, and carry it around all day for spur-of-the-moment photography.

Nikon 50mm f/2.8 micro lens on a Z6 II
The Nikon Z 50mm f/2.8 mounted on the Z6 II.

According to the press release, the Nikon 105mm f/2.8 and the Nikon 50mm f/2.8 will start shipping at the end of June, though B&H notes an expected availability in July. You can currently preorder the two lenses for $ 999 USD and $ 649 USD, respectively.

As for the 28mm f/2.8 and 40mm f/2: While Nikon is keeping the details under wraps, you can expect a 2021 release date. So keep an eye out!

Nikon Z 40mm f/2
The Nikon 40mm f/2, a compact, all-purpose lens.

Now over to you:

What do you think of these new lenses from Nikon? Are you considering buying any? Are there any lenses you wish Nikon would release?

The post Nikon Releases Two “Micro” Lenses for Z Series Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

Comments Off on Nikon Releases Two “Micro” Lenses for Z Series Cameras

Posted in Photography


Leica and 1854 team up to introduce £5000 grants for its new Commission Series

29 Mar

Back in January, Leica reminded us of the importance of photography. Now it’s acting on its message by giving photographers the opportunity to tell a story through imagery with the help of a £5000 grant. In partnership with 1854, publisher of The British Journal of Photography, Leica is awarding one new grant, each month, through a Commission Series running from March through May.

The theme for the first of three installments of the Commission Series is Witnesses of: The Everyday. Photographers are required to submit 10 existing photographs from their archives accompanied by a 100-word proposal. In order to qualify, entrants also need to apply for membership to 1854. Besides a £5000 grant and camera gear, each winner will also get access to Leica Lab’s online courses to further develop their skills.

The deadline to apply for this month’s Witnesses of: The Everyday Commission Series is Thursday, April 1st. A panel of judges representing 1854 and Leica will review submissions. The winner will be expected to complete their series between April 26th and May 17th.

Articles: Digital Photography Review (

Comments Off on Leica and 1854 team up to introduce £5000 grants for its new Commission Series

Posted in Uncategorized


OnePlus announces 3-year partnership with Hasselblad, reveals 9 Series smartphone launch details

08 Mar

Smartphone manufacturer OnePlus has announced it’s partnering with Swedish camera manufacturer Hasselblad to ‘co-develop the next generation of smartphone camera systems’ inside OnePlus’ mobile devices, including the new OnePlus 9 Series, which will launch on March 23.

The partnership is a three-year deal that will see Hasselblad work alongside OnePlus to improve the camera technology inside its flagship smartphones. OnePlus says the partnership will start ‘with software improvements including color tuning and sensor calibration, and extending to more dimensions in the future.’

OnePlus says the first fruits of the partnership is a new color science technology it calls ‘Natural Color Calibration with Hasselblad.’ OnePlus says it’s worked for months with Hasselblad to fine-tune the color science of its smartphone images to deliver more perceptually-accurate and natural-looking colors to images taken with flagship OnePlus devices.

Another improvement already in the works is a revamp of the camera interface in OnePlus devices. New OnePlus smartphones will eschew the previous first-party camera app design for a new experience called ‘Hasselblad Camera for Mobile,’ which ‘allows for an unprecedented amount of control for professional photographers to fine-tune their photos, with the ability to adjust ISO, focus, exposure times, white balance, and more,’ according to OnePlus.

Within the new Hasselblad Camera for Mobil will be ‘Hasselblad Pro Mode, which is effectively a 12-bit Raw capture mode. It’s unknown at this time whether this will be a standard Raw capture or a more AI-powered approach akin to Apple’s ProRAW technology.

OnePlus isn’t the first smartphone manufacturer Hasselblad has teamed up with over the years. Unfortunately though, despite Hasselblad’s impressive legacy as a camera manufacturer, its mobile partnerships haven’t resulted in any ground-breaking technology — although its True Zoom Moto Mod was a unique offering.

OnePlus hasn’t revealed all the specifications of its forthcoming 9 Series devices, but has confirmed it will use a customized variant of Sony’s IMX789 sensor, which OnePlus calls ‘the largest and most advanced main camera sensor ever on a OnePlus device.’ The first 9 Series devices will be announced on March 23 at 10am ET on OnePlus’ launch website.

Articles: Digital Photography Review (

Comments Off on OnePlus announces 3-year partnership with Hasselblad, reveals 9 Series smartphone launch details

Posted in Uncategorized


Samsung announces Galaxy S21 series, including 8K capable, 108MP Galaxy S21 Ultra

14 Jan

Samsung has announced its latest flagship smartphones, the Galaxy S21, Galaxy S21 Plus and the Galaxy S21 Ultra. The S21 and S21 Plus are essentially identical phones, save for their screen size and other minor differences. The S21 Ultra is designed to be not only the best phone in Samsung’s diverse lineup of Android smartphones, but Samsung believes it’s the best phone available.

Samsung Galaxy S21 and S21 Plus

The S21 and S21 Plus cost $ 800 and $ 1,000 respectively. This is $ 200 less than their predecessor’s launch prices last year. As The Verge points out, the 6.2″ S21 and 6.7″ S21 Plus have given something up in order to reach this lower price point. While both phones continue to deliver 120Hz refresh rates, something Apple’s latest iPhone 12 models don’t offer, the displays no longer have the subtle curved edges of the Galaxy S20. Further, resolution has decreased from 3,200 x 1,440 to 2,400 x 1,080. In terms of internal components, RAM has decreased from 12GB to 8GB.

Build quality has changed as well. Whereas the S20 had an aluminum back panel, the smaller S21 uses plastic on the back and doesn’t include an ultra-wideband radio. The larger S21 Plus does have this connectivity feature, allowing for relatively superior compatibility with Samsung’s new Galaxy SmartTag, the Korean company’s new Tile competitor.

Another cost-saving measure is that Samsung will no longer be including a charging brick or headphones in the box. Like Apple, the company says it’s for environmental reasons. It’s only been three months since Samsung poked fun at Apple for no longer including a charger with the new iPhone models.

In addition to making cuts to reduce the price of the S21 and S21 Plus, Samsung has made improvements as well. While the quality of the materials has changed, the design looks very nice. On the inside of the new models is the latest Snapdragon chipset, which promises improved performance. The fingerprint sensor has Qualcomm’s new 3D Sonic Sensor Gen 2, resulting in improved speed. Both models feature 5G integration, supporting mmWave and sub-6GHz networks, so the new phones will be faster in that respect too, assuming you are in an area with support for 5G.

The two-tone design of the Galaxy S21/S21 Plus works around the camera protrusion. The camera system is basically the same on these models as it was last year. The S21 and S21 Plus each include a 12MP wide-angle camera, 12MP ultrawide camera and a 64MP telephoto lens. The front-facing camera is 10MP, although the S21 Plus has ditched the depth sensor.

While the hardware is unchanged, there have been some adjustments to software. There’s a 30x ‘Space Zoom’ mode, a ‘Director’s View’ mode for recording video allowing easier swapping between lenses, and additions to the ‘Single Take’ mode. Further, the default image processing no longer excessively smooths faces, although if that’s your style, it remains an option.

The Samsung Galaxy S21 and S21 Plus models will be available starting January 29 and are available for preorder now. The S21 and S21 Plus include 128GB of internal storage. If you’d like 256GB of storage, it adds $ 50 to the price of each model. The S21 is available in Phantom Gray, Phantom White, Phantom Violet and Phantom Pink colorways, with the latter two having a rose gold two-tone design. The S21 Plus is available in violet, black, silver, gold and red, with the latter two colors being made to order and shipping in 3-4 weeks, as of writing.

Samsung Galaxy S21 Ultra

The Samsung Galaxy S21 Ultra is the star of the show. Where the S21/S21 Plus are a mix of cost-cutting measures and improvements, the S21 Ultra is all about pushing hardware forward. The Ultra has a price to match, starting at $ 1,200.

For your money, you get a large 6.8″ OLED display with 120Hz refresh rates at full 3,200 x 1,440 resolution, something the S20 Ultra couldn’t do. The S21 Ultra includes 12GB of RAM, a 5,000mAh battery and offers storage capacity up to 512GB. The Ultra also includes the Qualcomm Snapdragon 888 processor. In terms of user experience, beyond promised speed improvements, the S21 Ultra is compatible with the Samsung S Pen, although it is an optional extra and many customers will likely want a compatible case with a holder for the pen as well.

The Galaxy S21 Ultra offers similar top-level camera specs as the S20 Ultra, including 100x zoom, a 108MP camera and 8K video recording, but there’s more to it than that and some important differences to consider. For example, the S21 Ultra includes more rear cameras than the S20 Ultra. The S21 Ultra has a 12MP ultrawide camera, 10MP camera with 3x zoom and a 10MP camera with 10x zoom. Previously, the 10x zoom was digital zoom, rather than optical.

Further, the primary image sensor is larger in the new model, although Samsung hasn’t stated by precisely how much. CNet writes that Samsung promises ‘more than three times the dynamic range of the S20 Ultra.’ Like the S21/S21 Plus, the S21 Ultra includes the same new software features for photo and video as well.

As mentioned, all these features come at a high price. The Samsung Galaxy S21 Ultra starts at $ 1,200 with 128GB of storage. 256GB and 512GB models are also available at $ 1,250 and $ 1,380, respectively. The S21 Ultra is available in Phantom Black, Phantom Silver, Phantom Titanium, Phantom Navy and Phantom Brown, with the lattermost three color options being available as ‘made to order’ options, which currently adds 4-5 weeks to expected shipping time. The S21 Ultra in black and silver will ship by January 27. For those interested in the Phantom Black color, Samsung published a video specifically about designing this color.

Articles: Digital Photography Review (

Comments Off on Samsung announces Galaxy S21 series, including 8K capable, 108MP Galaxy S21 Ultra

Posted in Uncategorized


ON1 announces ON1 Professional Plugin Series, including new versions of 4 plugins

21 Nov

ON1 has announced its all-new ON1 Professional Plugin Series. The suite includes new versions of ON1 HDR, ON1 Effects, ON1 Resize and ON1 Portrait AI. ON1 states, ‘The ON1 Professional Plugin Series is a new product line focusing on bringing ON1’s editing technologies into existing professional photo workflows with a more integrated experience.’

The ON1 plugins work with an expanded set of host applications, including Adobe Lightroom Classic, Adobe Photoshop, Affinity Photo, Corel Paintshop Pro, Apple Photos and Capture One (coming soon). ON1 says, ‘We were founded on creating plugins for Adobe Photoshop and later the Lightroom workflow. Back then, it was all about saving photographers time by making things easier to do in our plugins, which would make their workflows much faster. Today, it’s about how ON1 software can tightly integrate our newest technologies from ON1 Photo Raw into more workflows to produce better results.’

ON1 HDR 2021 includes improved performance and control over your images. Image credit: ON1

ON1 HDR 2021 promises ‘natural HDR photos’ that combine highlight and shadow details from bracketed exposures. It includes de-ghosting controls for reducing movement in a scene, such as clouds in the sky or moving water, and promises fast previews. ON1 says the software is up to 7x faster than ‘leading HDR apps.’ You can also adjust tone and color while working with layers and applying special effects. ON1 HDR includes noise reduction and lens corrections as well.

ON1 Effects 2021 features filters and presets crafted by ON1’s team of experts. New features in the 2021 version include a replace color filter, non-destructive Spot Healing Brush and Color-Sensitive Gradient Masks. ON1 states that the new custom brush shapes ‘give customers a quantum-leap in new ways to add creative edits.’ Further, the latest version includes a new full-screen preview option.

ON1 Effects 2021 features filters and presets designed by ON1’s team of experts. The plugin includes a non-destructive spot healing brush, among other features. Image credit: ON1

When you need to enlarge your images, ON1 Resize 2021 delivers ‘industry-leading Genuine Fractals technology’ to make it simpler and quicker to enlarge image files without sacrificing sharpness and detail.

Finally, ON1 Portrait AI 2021 relies upon machine learning to automatically find and retouch each face in an image. The plugin analyzes the image, locates the faces and adds ‘just the right amount’ of retouching to each person’s skin, eyes and mouth. The plugin includes a spot healing brush, custom brush shapes and full-screen preview as well.

ON1 Portrait AI 2021 uses machine learning to automatically retouch each face in a portrait. Image credit: ON1

ON1 is looking forward as well, promising that the company is working hard to introduce better integration with each host application. Future updates will also include better options for non-destructive workflows between plugins and host applications, such that your photos will remain re-editable.

Dan Harlacher, VP of Product, says, ‘One of the biggest challenges plugins face today is the walled gardens created by host applications. It makes it very difficult to re-edit your adjustments. We have a powerful solution for this common complaint that will maintain flexibility and your creativity on both sides, and we can’t wait to unveil this in the coming months.’

‘We have a powerful solution for this common complaint that will maintain flexibility and your creativity on both sides, and we can’t wait to unveil this in the coming months.’ -ON1’s Dan Harlacher

ON1 is also working ‘to improve on working with multiple photos between plugin and host application and quick access to features and functionality from ON1 within the host application itself.’ As part of the ongoing development, ON1 is investing in new AI technologies and solutions, with the goal of removing repetitive manual tasks. Improved AI-based solutions will result in faster culling of images, improved noise reduction and better batch image processing.

ON1 has also announced a partnership with photo and software educator, Matt Kloskowski. Matt K’s Corner is a new resource center for photographers using ON1 alongside Adobe products. Kloskowski will provide tutorial videos and articles each month and recommend workflows for users.

Click to enlarge

You can try each of the new plugins with a free 14-day trial. Each plugin is available for $ 59.99 USD each (regularly $ 69.99), or you can purchase the bundle of ON1 HDR 2021, ON1 Effects 2021, ON1 Resize 2021 and ON1 Portrait AI 2021 for $ 89.99 (regularly $ 99.99). For additional information and to download trials, visit On1’s website.

Articles: Digital Photography Review (

Comments Off on ON1 announces ON1 Professional Plugin Series, including new versions of 4 plugins

Posted in Uncategorized


Tokina unveils 23mm and 33mm F1.4 atx-m series lenses for Fujifilm X-mount camera systems

20 Nov

Tokina has announced the release of two new prime lenses for Fujifilm X-mount camera systems: the atx-m 23mm F1.4 and the atx-m 33mm F1.4.

The 23mm F1.4 and 33mm F1.4 feature 35mm and 50mm full-frame equivalent focal lengths, respectively, and both feature near-silent autofocus thanks to their ST-M motors. Both lenses feature clickless aperture rings, nine-blade aperture diaphragms, aperture ranges of F1.4 through F16, have 52mm front filter threads and are the same size: 72mm (2.83”) long and 65mm (2.56”) in diameter. The 23mm F1.4 weighs 276g (9.74oz), while the 33mm F1.4 weighs 285g (10.5oz).

The Tokina 23mm F1.4 and 33mm F1.4 lenses will retail for $ 479 and $ 429, respectively, when they become available to purchase on December 11.

It’s worth noting both of these lenses appear to be identical in aesthetics and specifications to the Viltrox 23mm F1.4 and 33mm F1.4 lenses that retail for $ 325 and $ 279, respectively.

Press release:

Tokina announces release of new Fuji X-mount prime lenses

23mm and 33mm atx-m series f/1.4 lenses for Fuji X-mount cameras offer versatility for amateurs and professionals.

Huntington Beach, CA, November 20, 2020: Tokina introduces compact, lightweight prime lenses for Fuji X-mount cameras.

The Tokina atx-m 23mm f/1.4 prime lens features an angle of view equivalent to 35mm in full frame cameras. It is an ideal tool for street scenes, environmental portraits and landscapes. The atx-m 33mm features an angle of view equivalent to 50mm in full frame cameras. This standard angle lens is highly versatile for amateurs and professionals. The ultra-fast f/1.4 aperture is excellent for low-light situations and the minimum focal distance allows beautiful, creamy front and back bokeh. Both lenses feature color balance tuning to match film simulation modes within Fujifilm cameras. The silent autofocus is realized by the ST-M focus motor for easy and reliable focus.

The ATX-M 23mm and 33mm prime lenses feature:

  • Compact and lightweight – compatible with Fujifilm X-mount mirrorless cameras
  • f/1.4 aperture – creamy front and back bokeh, exceptional in low light conditions
  • fast, silent autofocus
  • communicable with camera body to support 5-axis in-body image stabilization
  • click-less aperture ring to smoothly control aperture in video mode
  • color balance tuning to fit film simulation modes of Fujifilm camera

Articles: Digital Photography Review (

Comments Off on Tokina unveils 23mm and 33mm F1.4 atx-m series lenses for Fujifilm X-mount camera systems

Posted in Uncategorized


Moment launches series of MagSafe mounting accessories for iPhone 12

03 Nov

iPhone lens and accessory manufacturer Moment has launched a new collection of mounts that make use of the magnet embedded in the Apple iPhone 12 to attach to the phone. The mount include their own magnets to connect with those in the phone’s body, and different fixtures on the other side that allow users to mount to phone on a support or to mount accessories on the phone.

The accessories line up includes a mount for the air vent of a car, a tripod adapter, a cold shoe to fit accessories to the phone as well as a mount that allows you to attach your iPhone to the wall. Moment says it uses a ‘propreitary (M)Force magnet array’ that offers an extra powerful magnetic field to ensure accessories don’t fall off the phone and the phone doesn’t fall off your tripod.

The mounts can be used with or without an iPhone case, and feature a padded connection surface to avoid damage to the phone’s finish.
Prices for the series start at $ 19.99 for the wall mount, and go up to $ 49.99 for the Pro Tripod Mount that also includes a cold shoe for microphones or video lights. These mounts are due to ship in March 2021.

The company also has a new series of cases that include MagSafe. These cost $ 49.99 each. For more information see the Moment website.

Press release:

Reintroducing Moment for iPhone 12.

Apple introduced MagSafe. We’re introducing everything else. New Cases. Tripod Mounts. Cold Shoe Mounts. Stick To Anything Mounts. All compatible with MagSafe.

Starting at $ 19.99. Only at Moment.

Why MagSafe?

We believe it’s the future for how you quickly attach your favorite gear to your phone, and your phone to your favorite gear. Whether you are new to mobile photography or a pro filmmaker, we believe MagSafe will be more accessible than any of the current phone clamp solutions.

Why Moment for MagSafe?

We have engineered a unique magnet array that gives our accessories that extra connective strength. We are calling it (M)Force and it’s in all of our accessory mounts. Patent Pending, each of our mount has a unique use of magnets and mechanical features that make them easier (and stronger) to use. Usable with or without a case, today is just the beginning for what we plan to release.

We are excited for the future of mobile photography and filmmaking with MagSafe. We hope you join us!

Articles: Digital Photography Review (

Comments Off on Moment launches series of MagSafe mounting accessories for iPhone 12

Posted in Uncategorized


Ilford Photo Darkroom Guide video series reveals printing techniques and more for beginners

20 Oct

Black and white film and paper manufacturer Ilford Photo has produced a series of videos to help beginners get to grips with essential darkroom techniques. Hosted by Rachel Brewster-Wright from Little Vintage Photography the collection of videos tackles some of the basics of common darkroom questions in a simple to follow format.

So far, subjects covered in the 16-video playlist include dodging and burning, selenium toning, using multi-grade paper and more. The series sits alongside a mass of other educational content from the film-maker that covers issues such as how an enlarger works, pinhole photography, a checklist for setting up your own darkroom and processing your first roll of film. This is mixed with inspirational interviews with black and white photographers and printers, as well as footage inside the Ilford Factory in the UK.

If you want to get started in black and white film photography, or you want a refresher on how it’s all done check out the Ilford Photo YouTube channel.

Articles: Digital Photography Review (

Comments Off on Ilford Photo Darkroom Guide video series reveals printing techniques and more for beginners

Posted in Uncategorized


Fotodiox’s new adapter gives Leica M-mount lenses autofocus on Fujifilm X series cameras

14 Aug

Fotodiox’s new Pro Pronto AF adapter is finally available to pre-order. Announced a few months ago, the specialized adapter lets you autofocus Leica M-mount lenses with Fujifilm X series cameras.

The first adapter of this kind was the Techart Leica M-mount to Sony E-mount adapter released back in 2016. Fotodiox followed up with its own M-mount to E-mount adapter, but this is the first time we’ve seen one for Fujifilm X-mount cameras.

The adapter, which supports lenses up to 680g (1.5lbs), is constructed from brass and an aluminum alloy, and uses an integrated helicoid mechanism to extend and retract the lens using AF-S or AF-C contrast-detection autofocus.

Here’s a video of Fotodiox’s older Leica M-mount to Sony E-mount adapter in action:

The Fotodiox Pro Pronto AF adapter is available to pre-order now for $ 350. The Leica M-mount to Sony E-mount version is still available for $ 250.

Articles: Digital Photography Review (

Comments Off on Fotodiox’s new adapter gives Leica M-mount lenses autofocus on Fujifilm X series cameras

Posted in Uncategorized