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Posts Tagged ‘through’

A visual and auditory journey through the shutter sounds of vintage film cameras

28 Oct

Photographer Ace Noguera has published a video highlighting not only the great style of vintage cameras but also their distinct shutter sounds. It’s a satisfying watch and listen.

Of his video, Noguera told DPReview, ‘The video came from an idea I’ve had for a while, to simply showcase how shutter sounds and technology has changed over the years. I thought it would be cool and entertaining to put it in a visual format and share with others how not only designs have changed over the years, but how we’ve been able to integrate electronics to help automate how we take photos.’

In total, the video below showcases the look and sound of nine cameras, dating back to the 1940s. The cameras come from Noguera’s collection with some additions from his friend, Patch Agan. It’s fascinating to hear how shutter sounds have changed over the years. There’s something particularly satisfying about the Olympus Trip XB3 from 1996.

While the video isn’t overly comprehensive in the cameras it covers, Noguera assures us there are more shutter sounds on the way, telling us, ‘I do plan on making another video that will also include some digital cameras as well as just further show the advancement in the tech and design of cameras. I plan to somewhat pick up where this video left off and showcase the next 20 years of sounds and cameras.’

Noguera hopes to record medium format cameras as well. He continues, ‘I think it would be awesome to be able to record some medium format cameras like the iconic Pentax 67 or even the modern medium format like Hasselblads as well.’ Hopefully, some photographers near Noguera in Atlanta will be able to help him out.

To see more from Noguera, follow him on Instagram and check out his YouTube channel. On his YouTube channel, you will find tutorials, lens reviews and much more.

Do you have a favorite camera shutter sound? Do you miss the physical shutter sound when using an electronic shutter in many modern cameras? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Ultraviolet light – see the world through the eyes of insects

10 Oct

Think you know what the world looks like? Think again! DPReview TV host and mad scientist Don Komarechka shows us what the world looks like when seen through ultraviolet light.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week

Articles: Digital Photography Review (dpreview.com)

 
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Tamron is extending the closure of two factories through the end of 2020 due to ‘decreased demand’

22 Sep

Tamron Japan has published a statement [machine-translated] on its website noting that two of its three main factories will remain closed through the end of 2020 due to the ‘decrease in global demand due to the worldwide spread of the [novel] coronavirus.’\

This closure extension affects Tamron’s Hirosaki and Namioka factories, which were originally set to open back up on October 1. These facilities, located in Japan’s Aomori prefecture, are two of Tamron’s ‘mother plants.’ Each of these three plants play a role in the lens development process: the Hirosaki plant handles metal processing, assembly and repairs; the Namioka plant processes the lens elements; and the Owani plant molds the plastic components.1

Tamron says ‘the global market has not yet recovered, and in consideration of the uncertainty of the market environment in the future, we will continue to extend the partial closure of the domestic Aomori factory until the end of the year.’ Tamron notes business will continue during these closures, but it could ‘cause inconvenience and inconvenience to our business partners.’

If you’re interested in finding out more about the production process, Tamron Japan has an interesting online factory tour that walks through the steps it takes to manufacture a lens.


1 Tamron Japan

Articles: Digital Photography Review (dpreview.com)

 
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SLC-2L-13: Shoot Through Your Sunset

23 Aug

Whenever you have control over the time of day in which you'll be shooting a location portrait, always remember that the hour that wraps around sunset will offer you at least five different lighting environments in which to work. 

And for today's portrait of birders Jo (left) and Bob Solem, we're going to use three of them. 

Read more »
Strobist

 
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A 40-minute video tour through the history of photography

26 Jul

Chemist, educator and photography enthusiast Andrew Szydlo recently gave an excellent video tour through the history of photography for Britain’s Royal Institution. While some of the topics may be well-worn territory for many of our readers, there should still be the opportunity to learn. Of course, if you’re a beginner, it’s a great watch for all 40-plus minutes.

With his own vintage camera collection on display, Szydlo takes us back in time to the first photographs and cameras. To understand how people tried to record their history and the world around them, we must first discuss the concept of the pinhole camera and the camera obscura effect.

Szydlo then discusses the first photographs and cameras, talks about the importance of famed photographer Henri Cartier Bresson, the advent of SLR cameras and talks about different interesting cameras in his collection. The final 10 or so minutes of the video are dedicated to Szydlo demonstrating his chemical expertise by making a photogram.

If you would like to watch Szydlo discuss a specific topic, you can click on the topics from the list below, which are timestamped links in chronological order.

  • Introduction
  • Pinhole cameras
  • The first photograph
  • The first cameras
  • Henri Cartier Bresson
  • SLR cameras
  • Other interesting cameras
  • Digital cameras
  • Demonstrating the chemistry of photograms

The above video is the first part of a two-part series from Andrew Szydlo. Next week, the Royal Institution will publish a video all about the chemistry of photography.

If you’d like to try your own hand at making a photogram at home, which is simply the art of using photosensitive materials to make a photograph without a camera, you can refer to this guide from BBC.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Behind the scenes – telling a better story through cinematography

16 May

This week, Jordan takes us behind the scenes of his short feature film, A Walk Down to Water. He and director Levi Holwell discuss the gear they chose for the production, as well as the importance of camera movement in storytelling.

Want to see the entire film? You can watch it here.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Jordan needs a haircut
  • Introducing Director Levi Holwell
  • Lenses we used
  • Cameras we used
  • Lighting techniques
  • Camera movement
  • Thanks
  • Support your local independent theater!

Watch the film: A Walk Down to Water

Articles: Digital Photography Review (dpreview.com)

 
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The OnePlus 8 Pro has a new camera capable of seeing through some materials and objects

15 May

Announced in April, the new OnePlus 8 Pro smartphone is equipped with a multitude of high-end features, including interesting camera specs. But it also includes a unique 5MP Color Filter (infrared) camera. In the camera’s operating system, the mode that uses this particular camera array is referred to as the Photochrom filter within the native camera app, and as numerous users have been discovering this week, the Color Filter camera allows you to see through some objects, including various plastics.

Twitter user Ben Geskin photographed Oculus Quest controllers, for example, realizing that the Photochrome filter allows you to actually see through the dark gray plastic on the device. Other users have photographed television remotes, Apple TV devices and more, resulting in images showing internal circuitry that you cannot see with the naked eye or traditional image sensors.

OnePlus marketing materials divulge very little information about the Color Filter camera. On the OnePlus 8 Pro product listing, there is only a single example image, shown here in an enlarged format. Image credit: OnePlus

In marketing materials for the OnePlus 8 Pro, OnePlus states that the Photochrome filter allows the user to ‘turn ordinary scenes into surreal landscapes,’ but as OnePlus 8 Pro owners are finding out, it does a lot more than that. The 5MP Color Filter camera is essentially an IR camera, so if an object does not include a material which shields IR, the camera can see through it. In the video below from Unbox Therapy, you can view the effect on a pair of television remotes, Apple TV and a Nintendo Switch Pro controller. You can also see in the video below that the Color Filter camera can partially see through some fabrics.

There is a lot more to the OnePlus 8 Pro camera for photographers than the interesting Color Filter camera. The OnePlus 8 Pro also includes a 48MP Ultra Wide Angle Camera with a 120-degree field of view and 3cm Macro Mode, 8MP Hybrid Zoom camera with 30x digital zoom, and a 48MP Main Camera with optical image stabilization.

Image credit: OnePlus

The wide camera uses a 0.5-inch type Sony IMX586 image sensor with an F2.2 lens. The primary 48MP camera uses a 1/1.4-inch type Sony IMX689 sensor with an F1.78 lens. The primary camera also includes on-sensor omni-directional phase-detect autofocus. Further, the main camera can record ‘dynamic video,’ which is a form of HDR video.

The OnePlus 8 Pro is available now from a starting price of $ 899 USD. For much more information on the OnePlus 8 Pro smartphone, read our coverage of the camera’s announcement.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm interview: ‘We will get through this crisis together’

15 Apr
Toshihisa Iida, General Manager of Fujifilm’s Optical Device and Electronic Imaging Products Division pictured at the Photokina trade show in Cologne, Germany in 2018.

With CP+ canceled and international travel off the agenda for the time being, we’re doing things the old-fashioned way: by telephone. Recently we caught up with Fujifilm’s Toshi Iida, to talk about the X-T4, X100V and, of course, the ongoing impact of the coronavirus epidemic on Fujifilm and the camera industry as a whole.

The following interview has been lightly edited for clarity and flow.


How are things going in Tokyo?

We’re not in complete lockdown, we’re still able to work in the office together but this week activities in Tokyo have been restricted. At the moment we’re all safe.

You’ve been dealing with the COVID-19 situation now for more than two months – what impact has it had on your operations?

There are three or four aspects to the situation. Firstly on the manufacturing side. Our China factory is our main factory for camera manufacture. [In February] the Chinese government extended the new year holiday, so we couldn’t restart manufacturing until the 10th of February, of course at limited scale. We’re catching up, and […] at the moment we’re almost back to full-scale operations at the factory. Of course, we’re working with the strict health management processes set down by the [Chinese] government.

So that’s the good news: we have the [manufacturing] volume for the X-T4, so we’re confident we can launch the camera officially at the end of April.

The next thing is logistics and sales. As you know, the situation in the US and in Europe is getting more serious every day, and this is affecting our warehouses and logistical operations. And also sales operations, because many stores are shut down. So we’ve seen a sudden drop in demand, which was inevitable. On the service side, we can continue to offer after-sales service in both the US and in Europe, for the moment.

Where will this crisis leave Fujifilm as a whole?

Fujifilm is very diversified. Our medical and healthcare business is the biggest part of our company. The drug Avigan [currently being investigated for use in treating COVID-19] was developed by Fujifilm’s pharmaceutical division. This current moment is certainly difficult for the imaging part of our business, but I think we are in a good position to weather the present situation.

It’s important when talking about business not to forget about people’s health

Of course it’s important when talking about business not to forget about people’s health and safety. We may not be able to predict when this crisis will be over, or when things will return to normal. But eventually we will get through this together, and hopefully demand for our products will come back strong.

For now, our R&D plan is unchanged. We’ll launch the X-T4 at the end of April and move on to the next project. We’ll keep on focusing on making better projects, and developing better technology.

What kind of impact will the cancelation of the Olympic Games have on Japan this year?

It will have a huge impact on the entire Japanese economy. Many people were invested in the games happening this year, so it is a big loss. On the imaging side, obviously the broadcasting and TV coverage is all canceled, and that has impacted our broadcasting business. Broadcasting lenses are one of our key products, and we’ve seen a lot of orders being postponed or canceled.

Fujifilm’s main factory building near Sendai, in Japan. Fujifilm has been making digital cameras in this facility for a long time (we first visited it way back in 2002). After being badly damaged in the 2011 earthquake, it was reopened in 2018.

Do you think this will prove more serious than the impact of the 2011 earthquake and tsunami?

Yes, definitely. The earthquake and tsunami were [limited to] Japan. Of course the logistics of the supply chain were affected, but it didn’t last for a long time. At that time we’d just introduced the original X100, and within two weeks our manufacturing was back to normal. There was a flood in Thailand in 2011, too, which also affected the supply chain, but it only affected [customer] demand in Thailand itself.

COVID-19 is affecting everything, worldwide.

Why did you opt for a totally new model name with the X-T4, rather than making it a variant of the very similar X-T3?

We did have that discussion, and one idea from our team was that we should call it the X-T3 ‘S’. But considering the changes we made in the X-T4, except for the sensor and the processor it’s completely different. New shutter, new IBIS unit, new battery. So we felt that overall it’s different enough from the X-T3 to be called ‘X-T4’.

The IBIS unit for the GFX100, shown alongside a 100 Yen coin, for scale (for reference, a 100 Yen coin is about the same size as a US quarter, or a British 10p piece). Experience gained in the development of this IBIS unit helped Fujifilm’s engineers create the small, lightweight IBIS mechanism used in the new X-T4.

How is the X-T4’s IBIS different to that of the X-H1?

The IBIS unit is completely redesigned. New parts, fewer parts, and it’s more powerful. The components and the structure are completely different. In terms of size, it’s about 30% smaller, and 20% lighter than the mechanism in the X-H1.

Experience with the X-H1 and the GFX100 helped our R&D team. Without the X-H1 we couldn’t have made the new IBIS unit in the X-T4, and it’s the same with the GFX100. Without that experience and knowledge we couldn’t have developed it.

Now that the X-T4 exists, with its advanced 4K features and IBIS, how will the XH line develop?

We’ll keep the X-H line, alongside the X-T series. I can’t share our precise plans, but we will continue to develop that line in future, and we will introduce innovations into that series.

Will the X-H line continue to be video-centric, in the same way as the X-H1 when it was originally released?

Possibly. I can’t give details, but the concept will be very different to the X-T series.

The X-H1 was Fujifilm’s video-centric model when it was first released, but has since been leapfrogged by subsequent XT-series models. Mr. Iida tells us that the XH line will continue to be developed, which hints at even more powerful video features to come.

Will the X-T3 be updated via firmware to bring its autofocus into line with the X-T4?

It’s technically possible, because they have the same sensor and the same processor. But it depends on prioritization on the firmware development side. We have many other projects, but in the future we would like to do that for our X-T3 customers.

Will the X-T3 continue to exist alongside the X-T4 in the lineup?

Yes. The X-T3 has been on the market for more than a year, but it has a good sensor, and a good processor. It will continue to be available alongside the X-T4.

The X-100V just started shipping, but do you have a sense of how it’s been received?

The reception has been very good. Because it was launched in February, the initial shipment volume was very limited. In early February we were still under restrictions on the production side. So we had to decide to launch the silver version only, with the black version later. We are still back-ordered. All of the feedback has been very positive.

The X100V features a new lens and several ergonomic changes compared to previous X100-series cameras.

Was it important to you that the X100V offers such advanced 4K video features?

Everybody knows that for the X100 series, the primary use-case is still photography. We know that not many people are shooting video on the X100 series. But with the X100V we really want even still photographers to enjoy the 4K movie experience. We’re proud of the improvements we’ve made to the quality, and we really want to encourage our customers to try it. And we also want to make the camera future-proof.

Video is not as important in the X100V as the X-T4, but still, it’s nice to have.

Speaking of video, the GFX100 has been on the market now for almost a year. How has it performed?

In terms of sales numbers I can tell you that it’s about 50% more than we originally anticipated. So very positive. We’ve been back-ordered, but we’re finally catching up. So sales numbers have been very good, and all of the feedback, especially around the IBIS and autofocus, it’s all been positive.

What kind of photographers have been buying it?

As we predicted, it’s been fashion, commercial and landscape photographers, but now we’re getting interest from more industrial photographers, for example for aerial and archival purposes. It’s been interesting.

The GFX100 is obviously a very capable video camera. How many of your customers are using it for filmmaking?

We know some filmmakers are now evaluating the system. As for how many customers are shooting video on the GFX100, we don’t know. But I hope that people are using it for video.

Fujifilm’s new ‘Premista’ line of cine lenses is designed for larger than full-frame imaging circle. These new lenses could become an option for GFX-series video shooters, via an adapter.

Is there potential for a range of Fujinon cine lenses for GF?

We just extended our line of Premista cine glass, which covers an imaging area slightly larger than full-frame. It’s a Vistavision image circle. It may be possible to convert these lenses to the GF mount with an adapter.

The GF line is now three years old – can you tell us how the cameras will evolve into the future?

We have the three styles – the 50R, the more rangefinder style, the 50S, the more SLR-style, and the 100, which is integrated. We really want to keep that kind of differentiation [in the lineup]. That’s the way we’d like to go.

Do you think there’s any potential for a fixed-lens X100-style GF camera?

At the moment we have no plans for a camera like that. We really want to focus on interchangeable lenses. A fixed lens design would mean that we would have to allocate a dedicated lens development team to that kind of camera. So at the moment our priority is to expand the GF lens lineup.

What are your priorities when it comes to expanding the GF lens line?

Our biggest priority is introducing the 80mm F1.7 lens to the lineup. We’re really focused on that kind of lens. But in the future, we’ll continue to listen to what our customers request.

Fujifilm’s GFX range now includes three lines – ‘S’, ‘R’ (shown here) and ‘100’. Mr. Iida tells us that all three will continue to evolve.

What kind of changes or improvements do your GFX 50S and 50R customers want in the next generation of their cameras?

Everybody loves the image quality, the resolution and dynamic range, and compared to traditional medium format cameras they’re easier to use, and easier to carry around. That’s been a lot of the feedback. What they really want us to improve is autofocus speed.

Will future developments address that requirement?

It’s at the top of the list of things we want to address. We will continue to focus on how to improve the autofocus.

Do you see a major difference in where certain types of products sell most, around the world?

When it comes to mid-range and high-end cameras, the sales are pretty even. The US, Europe, and Japan – it’s almost an even spread. Our medium-format market is also pretty even, but there’s a very strong demand for GFX in China. One exception is entry-level models, like the X-A7 and XT-200. Asia is our major region for those cameras.

Has the situation in China affected your sales of GF products?

Yes, because in February all the shops closed. But about 80% of the stores have since reopened. Online sales have remained stable. I don’t know how, but the online channel has been pretty solid.

What are you doing to encourage the growth of a third-party video accessory ecosystem around your imaging products?

Our customers need compatibility with third-party accessories, like gimbals, drones, things like that. We’ve opened pretty much all of our specifications to third-party manufacturers.

So do you actively speak to companies like DJI, Rode, and so on?

Yes, we’re very proactive about talking to them.

Do you plan on opening the X-mount up to third-party lens manufacturers?

Yes. Kenko Tokina actually already announced three lenses for X-mount, with autofocus. Many customers want more lenses, and we want to satisfy that need.

I know last year you were gathering feedback from users on how to refresh the first generation of XF lenses. Can you give us an update?

We are fully aware of the need to refresh our older lenses. At the moment our roadmap does not contain any ‘Mark II’ products but we will be working on new versions of many of our ‘key’ lenses. In some cases we may need a new optical design, or maybe just a mechanical redesign.

How will the XF lens range develop? Will we see more lenses like the XC 35mm F2?

First we need to see how customers react to the XC 35mm F2. If it’s positive, maybe we can consider more lenses of this type. It’s too early to tell at the moment.


Editors’ note: Barnaby Britton

When I spoke to Mr. Iida, it was a few days before Japan declared a state of emergency over the COVID-19 epidemic, when offices in Tokyo were still open and life in the city was still more or less normal. That was a little over a week ago. A lot has changed in the short time since our conversation, which only serves to underline the seriousness of the current crisis.

Beyond the most immediate and important concerns (the global shutdown, and loss of human lives being chief among them) this is of course the last thing that the photo industry needs. Compared to the 2011 earthquake in Japan, and the flooding in Thailand that took place in the same year, the economic impact caused by COVID-19 is likely to be far more serious. It’s already having a profound effect.

Because it’s so diversified, Fujifilm is in a pretty good position compared to some companies

According to Mr. Iida, because it’s so diversified, Fujifilm is in a pretty good position compared to some companies, and the immediate impact of the Chinese shutdown seems to have passed. Less certain – and potentially far more impactful – is the devastating effect on longer-term sales caused by economic disruption in the US, Europe and parts of Asia. If, as seems highly likely, we’re pitched into another global recession, what happens next – after the virus – is anyone’s guess.

For now, Mr. Iida assures us that Fujifilm’s R&D planning remains on track. This is just one of several encouraging messages from our interview. Others include a strong hint at future firmware for the X-T3, and autofocus improvements in the GF lineup. Speaking of which, it looks like the current trifurcation of the GFX line will continue, with the ‘100’ series remaining distinct as an ‘integral’ solution, while the ‘R’ line will maintain the compact, rangefinder-style approach embodied in the GFX 50R.

The X-H line will continue to be developed, and the ‘concept’ of future products will be distinct from the X-T series

Another product line that looks set to continue is X-H. Despite the X-H1’s video capabilities being leapfrogged by the new X-T4, Mr. Iida told me that the X-H line will continue to be developed, and the ‘concept’ of future products will be distinct from the X-T series. It’s unclear exactly what that will look like, but for filmmakers I’m sure this will be welcome news.

It’s also encouraging to hear that Fujifilm is continuing to communicate ‘proactively’ with third-party manufacturers about supporting its products for video. A big part of how Panasonic and Sony have managed to make such major inroads with filmmakers is the ecosystem of accessories which exists around their cameras, and it seems that Fujifilm understands the importance of such support.

The news that Tokina’s upcoming XF-mount lenses will offer autofocus (a detail missing in the press release for those products) is also very positive. This means that Fujifilm is making its mount protocols available for licensing from third-parties which (theoretically) opens up the possibility of compatible optics from the likes of Sigma and Tamron, at some point in the future.

Read more in-depth interviews

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm warns its customers to avoid sending undeveloped film through new airport scanners

19 Feb

Fujifilm has joined Kodak Alaris in warning its customers to avoid sending film through new scanners being deployed by the TSA in many airports throughout the United States. The advisory is brief and simply states, ‘Those machines may [be] more damaging to unprocessed film and Instax film than previous generations of scanners.’

The solution is simple: photographers are encouraged to pack their film products in a carry-on bag and to request a hand inspection of the items.

This is similar to the warning Kodak Alaris published in late January; the company received clarification from the TSA, which said that its screeners are trained to inspect film by hand. As well, the TSA has put warning signs near X-ray machines that may damage undeveloped film. The film should be packed in a clear plastic bag and removed from the carry-on luggage at the security checkpoint.

Articles: Digital Photography Review (dpreview.com)

 
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12 Days of Belvedere: A look back at puppyhood through sample photos

15 Dec

12 days of Belvedere

ISO 1400 | 1/250 sec | F1.8 | Nikon Z6 + Nikon Z 50mm F1.8 S


Belvedere officially joined the DPReview team last fall as a fourth-month-old pup and quickly became one of our favorite subjects to photograph. By the turn of 2019, he was a common sight in many-a sample gallery. Twelve months later and we have a complete and glorious timeline of his transformation from tiny puppy, to slightly larger puppy!

As Belvedere’s human and Photo Editor at DPReview, I tasked myself with going back through each month of 2019 to select the top pup photo to share with you, my dear reader, along with the gallery it’s from. We feel this is a nice way to not only look back at all the lovely gear we’ve tested, but also to fill the Internet with additional dog photos, because dogs are good and we love dogs.

We intend this slideshow to be enjoyed Advent calendar-style, meaning after today you are allowed to view one additional photo up until the 25th, when all can be enjoyed in consecutive order. Think of it as our holiday gift to you. We’re counting on you to not peek ahead!

And for those curious, Belvedere, a rescue pup, is a mix of Chihuahua, Miniature Pinscher and Miniature Short-haired Dachshund. He likes dehydrated squirrel carcasses, licking bald heads, sitting in laps for hours, turning squeaky toys inside-out and whenever anyone puts on a pair of socks. He weighs 18.4lbs and is a very good boy.

*All images by Dan Bracaglia except where noted

January 2019 – Belvedere at 7 months

ISO 2800 | 1/125 sec | F2.8 | Nikon Z6 + Nikon Z 50mm F1.8 S


We started off the year busy, publishing 11 sets of sample images in January 2019, including galleries for heavy hitting products like the Sony a6400, Sigma 28mm F1.4 Art and the Olympus E-M1X. But our top Belvedere pick in January comes from our Nikon Z 50mm F.8 S gallery. This one was a tough choice between two tempting pup picks, both from the same gallery. We opted for Belvedere enjoying a cheese stick, but Belvedere on the couch was a close second (we used it as the lead for the story).

January was also the month we tested the versatile, yet chunky Canon RF 28-70mm F2L as well as the beastly Nikon 500mm F5.6. We also got our hands on a Canon APS-C mirrorless favorite in the Canon EF-M 32mm F1.4 STM.

See our Nikon Z 50mm F1.8 S gallery

February 2019 – Belvedere at 8 months

ISO 12800 | 1/125 sec | F5.6 | Fujifilm GFX 50R + GF 45mm F2.8
Photo: Carey Rose


February was a busy months for new gear. We got our hands on pre-production models of the Panasonic S1R and Panasonic S1 (in Barcelona). We also took a pre-production Fujifilm X-T30 for a spin (in Seattle), and freelance contributor Damien Demolder put together a pre-production gallery with the Ricoh GR III (from London).

Additionally we published final production galleries from the Canon EOS RP, the Fujifilm XF 16mm F2.8 and the oh-so-sharp Sony FE 135mm F1.8 GM. And yet somehow with all the launches and all the galleries shot, we didn’t publish a single Belvedere photo in February. Shame on us. Fortunately DPR’s Carey Rose captured the above image of our dear pup from a, well, not-terribly flattering angle for a Fujifilm GFX 50R gallery published March 1st. It was technically taken in February so we’ll count it.

See our GFX 50R sample gallery

March 2019 – Belvedere at 9 months

ISO 100 | 1/200 sec | F2.8 | Leica Q2


Things quieted down a little in March. We got our hands on final production versions of both the Panasonic S1 and Panasonic S1R and filled out those galleries with plenty of samples. We also got our hands on Sigma’s outstanding bang-for-the-buck 70-200mm F2.8 Sport as well as their latest long zoom in the 60-600mm F4.5-6.3 Sport.

Belvedere popped up in several of those galleries, but our favorite photos of him came from the Leica Q2, shot during a sunny afternoon walk. The weather was just starting to warm up in March and Belvedere’s fur was just beginning to go through a rapid and often comical shed and regrowth phase.

See our Leica Q2 sample gallery

April 2019 – Belvedere at 10 months

ISO 64 | 1/320 sec | F2.8 | Nikon Z7 + Z 24-70mm F2.8 @ 70mm


April was also a somewhat quiet month. We got a final production version of the Fujifilm X-T30 in for testing as well as a final version of the Ricoh GR III. We also shot with Pentax’s new 11-18mm F2.8 ultra-wide zoom and the slightly-less wide Nikon Z 14-30mm F4 S. But it was a different Nikon Z lens behind our favorite April Belvedere shot: the outstandingly sharp Z 24-70mm F2.8. Belvedere’s not even the only handsome pup in said gallery!

Also important: At 10 months Belvedere wasn’t quite fully grown. He no longer fits under the tight space he’s peeking out from in the image above, though he does try from time to time.

See our Nikon Z 24-70mm F2.8 S sample gallery

May 2019 – Belvedere at 11 months

ISO 125 | 1/200 sec | F4.4 | Ricoh WG-60


We shot with a wide array of products in May ranging from the image quality king, Fujifilm GFX 100 (pre-production), to the beginner-friendly Canon SL3, to the Panasonic FZ1000 II premium compact. We also called in and tested a number of rugged cameras for our Best Waterproof Camera Guide, including the Olympus TG-6.

But our favorite Belvedere photo comes from the comparably underpowered Ricoh WG-60, a rugged compact. Which just goes to show, it’s not the quality of the camera that makes the photo, it’s the cuteness of the dog. Here he is soaking up the sunlight from Seattle’s oh-so-long May days.

See our waterproof camera buying guide

June 2019 – Belvedere on his birthday

ISO 200 | 1/40 sec | F2.4 | Samsung Galaxy S10+
Photo: Jeff Keller


Belvedere officially turned one year old in June (June 10th if you want to send a gift, he likes bones) and we had ample opportunity to photograph the birthday boy. June was a month in which we shot with a ton of high-end full-frame lenses including the Panasonic S 24-105mm F4, the Panasonic S Pro 50mm F1.4, the Sony FE 600mm F4 GM and the Rokinon SP 35mm F1.2. We also added a nice selection of images to our Fujifilm GFX 100 gallery (still not final firmware, womp).

But it was the Samsung Galaxy S10+ in the hands of DPR’s Jeff Keller that captured our favorite shot of the young man. A shot that shows him starting to come of age: He’s still got the doofy ‘I’m a puppy’ face, but his coat and body are filling out like a real dog. Nice work, Belvedere.

See our Samsung Galaxy S10+ sample gallery

July 2019 – Belvedere at 13 months

ISO 100 | 1/500 sec | F1.2 | Canon EOS R + RF 85mm F1.2L


July was a busy month for sample gallery shooting. With the Seattle rain finally dissipating for the season, we took full advantage of the long sunny days. The Sony a7R IV launched and we got ample shooting time with it in New York City. DPR’s Carey Rose also got his hands on several freshly-launched Sigma lenses in Japan, including the Sigma 45mm F2.8 Contemporary, the Sigma 14-24 F2.8 Art and Sigma 35mm F1.2 Art. We also spent time with Tamron’s wide, sharp 17-28mm F2.8 and took Sony’s excellent do-everything pocket camera, the RX100 VII for a spin.

Other notable galleries include the Canon EOS M100 (in Mexico), the Panasonic Leica 10-25mm F1.7, the Sony 35mm F1.8, the Fujfilm GF 50mm F3.5 and the Rokinon AF 85mm F1.4. Gosh that’s a lot of galleries. But our hands-down favorite Belvedere photo was shot with one of our favorite portrait lenses of the year, the Canon RF 85mm F1.2L. Just look at that happy boy! He knows the bokeh is creamy.

See our Canon RF 85mm F1.2L
sample gallery

August 2019 – Belvedere at 14 months

ISO 125 | 1/30 sec | F2.8 | Canon G5 X mark II


August saw major launches from two brands, Canon with its enthusiast APS-C siblings in the Canon EOS 90D and Canon EOS M6 Mark II and Sony with its APS-C siblings in the Sony a6100 and the Sony a6600. We also finally got our hands on a final production Fujifilm GFX 100 as well as a final production Panasonic G95.

Additionally we shot with the very sharp Nikon Z 35mm F1.8 S, the Canon RF 24-240mm F4-6.3 and the Tamron 35-150mm F2.8-4. Finally Canon’s two latest compacts, the Canon G7 X III and the Canon G5 X II also showed up at our office for sample shooting and testing. Our favorite Belvedere photo from the month was taken on the latter. Note: If Belvedere looks extra fluffy in this image it’s because he had just received a bath after his very first puppy swim.

See our Canon PowerShot G5 X II gallery

September 2019 – Belvedere at 15 months

ISO 64 | 1/2500 sec | F1.8 | Nikon Z7 + Z 85mm F1.8


September was a somewhat quiet month for sample galleries, yet Belvedere managed to sneak his charming face into two of them. These included the all around-excellent Tamron 35mm F1.4 gallery and the also-impressive Nikon 85mm F1.8 S gallery. We also shot with the iPhone 11, Sony 16-55mm F2.8 and Phase One IQ4.

Now I’ll be honest, my dear humble readers, I truly struggled with which Belvedere photos to pick as the winner for this month (OK, I shot them all). My decision ultimately came down to which image had the most likes in our gallery (10). Either way, September was a very good-looking month for our dear staff pup.

See our Nikon Z 85mm F1.8 S
sample gallery

October 2019 – Belvedere at 16 months

ISO 1000 | 1/100 sec | F2.8 | Canon M200 + EF-M 32mm F1.4
Photo: Carey Rose


October saw the launch of the Olympus OM-D E-M5 III, the Fujifilm X-Pro3 and the Nikon Z50 – cameras we were able to shoot galleries for, prior to announcement. We also got our hands on Canon’s impressive RF 24-70mm F2.8L lens and shot our very first test samples on the Nikon Z 58mm S Noct (under very controlled settings). Additionally, we were thoroughly impressed with the real world output of the Google Pixel 4.

But our favorite Belvedere sample of the month came from Carey Rose with the Canon EOS M200. I’m not sure if Carey set out to capture Belvedere working hard on the job, but he sure did. Warming laps takes a lot of practice and dedication!

See our Canon EOS M200 sample gallery

November 2019 – Belvedere at 17 months

ISO 100 | 1/800 sec | F2.8 | Leica SL2 + Sigma 45mm F2.8


We had the chance to shoot with some really nice telephoto glass in November, including with the Fujifilm XF 200mm F2 as well as the jaw-dropping Canon RF 70-200mm F2.8L. We also took Sony’s 70-350 F4.5-6.3 for a spin and explored around the city with the super-compact Sigma fp full-framer.

But it was the beastly Leica SL2 behind November’s top Belvedere pic. And if you zoom into 100% you can even seem some dreamy bokeh from the Sigma 45mm F2.8 on my dear dog’s nose.

See our Leica SL2 sample gallery

December 2019 – Belvedere at 18… no wait, 6 months

ISO 1000 | 1/200 sec | F1.4 | Sony a6500 + Sigma 56mm F1.4
Photo: Carey Rose


December has been a busy (and dark month) and it’s not over yet! As such, we’ve only published a handful of galleries so far. These include our Panasonic S Pro 24-70 F2.8 gallery, our Canon RF 15-35mm F2.8L gallery and our full-production Nikon Z50 gallery. But sadly, none of those galleries contain images of our fuzzy pal (what fools we are!).

But not to worry! DPR’s Richard Butler reminded me of a classic Belvedere photo shot by our very own Carey Rose with the delightful Sigma 56mm F1.4, this time last December (no, Belvedere isn’t Benjamin Button).

See our Sigma 56mm F1.4 sample gallery

12 days of Belvedere – The wrap

ISO 64 | 1/320 sec | F1.4 | Nikon Z7 + Tamron 35mm F1.4


And that’s a wrap on the year. There you have it, 12 months of Belvedere in 12 days. Thank you kind reader, for following along on this fun and important journey through puppyhood and gear reminiscing. Hopefully you’ve enjoyed each slide, one at a time and didn’t jump ahead. But even if you did, Belvedere forgives you. He’s just that kind of dog.

Until next year. Woof!

See our Tamron 35mm F1.4 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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