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Posts Tagged ‘Zeiss’

It’s (most likely) alive! Adobe Camera Raw release includes support for Zeiss ZX1

11 Dec

Rumors of the death of the Zeiss project to introduce a full-frame compact camera appear to have been exaggerated if Adobe’s latest Camera Raw update is anything to go by. Sitting at the bottom of the list of new cameras supported by version 12.1 of the application is the Zeiss ZX1 and the DNG raw file type it will use.

The Android-based camera will offer in-camera RAW processing via an on-board version of Adobe’s Lightroom, which will allow users will be able to edit and share their images to email and social media directly from the camera. The full-frame sensor will have 37.4 million pixels and will be serviced by a 35mm F2 Distagon lens.

The camera was announced at Photokina in September 2018, but the company has been incredibly quiet about progress since the camera was shown at CP+ in February, to the extent that some commentators have suspected the camera would never become a reality. Inclusion on Adobe’s list of newly supported cameras though suggests otherwise, and even that the ZX1 may be almost ready to ship.

Other new models supported by Camera Raw 12.1 include Leica’s already released SL2, Canon’s EOS Ra and M200, the Google Pixel 4 and 4 XL, the Nikon Z50, Sigma fp and Sony’s a9 II. For more information see the Adobe Camera Raw web page.

Articles: Digital Photography Review (dpreview.com)

 
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Zeiss announces Radiance Prime lenses with controlled flare effects for cinematographers

09 Nov

Optical manufacturer Zeiss has announced a new set of lenses based on its Supreme Prime range but which are designed to produce attractive flare easily and in a controlled manner. The Zeiss Supreme Radiance Prime lenses will only be available as a set of seven focal lengths and can only be ordered between now and the end of March 2020.

The lenses have been created to enable cinematographers to introduce a controlled amount of flare into their productions without losing optical quality. The company claims the Supreme Radiance lenses will provide consistent effects and won’t compromise contrast or light transmission. A new T*Blue coating has been used to generate the flare in the lenses, which are otherwise exactly the same as the existing Supreme Primes.

The flare from the lenses has a blue tone, and those quoted as having used the lenses talk of a look that is sharp but soft at the same time and highlights the glow. The coating also lends a slightly warmer tone to the footage.

The set of seven lenses will cover focal lengths from 21mm to 100mm, and a wide covering circle means they are suitable for large format sensors. All are compatible with the ZEISS eXtended Data metadata system and Cooke’s i/Technology for recording shooting information on along with each frame to help special effects teams integrating additional content into the picture.

Zeiss hasn’t yet announced a price for the lenses but says they will start shipping April 2020. For more information see the Zeiss website.

Press Release:

ZEISS Unveils New High-End Cinematography Optics: ZEISS Supreme Prime Radiance Lenses

A Modern Lens, based on ZEISS Supreme Prime lenses, with Controlled Flares – orders possible by 31st March 2020!

ZEISS has unveiled the ZEISS Supreme Prime Radiance lenses, an exclusive new set of seven high-end cinematography lenses. The lenses are based on the high-speed ZEISS Supreme Prime lens family with the benefit of the new T*blue coating, which offers a distinctive look and consistent flares without any compromises.

“The ZEISS Supreme Prime Radiance lenses deliver stunning, consistent flares across all focal lengths that cinematographers can create at will,” says Christophe Casenave, Product Manager for Cinema Products at ZEISS. “The new lens family has been infused with ZEISS’s experience and passion for premium-quality cinematography lenses – combined with its aspiration to support filmmakers throughout the creative process,” says Casenave.

ZEISS Unveils New High-End Cinematography Optics: ZEISS Supreme Prime Radiance Lenses

Controlled images that exude artistic flair
The ZEISS Supreme Prime Radiance lenses are available as a set of seven focal lengths of between 21 and 100 millimeters, all with a maximum aperture of T1.5. This makes it possible to capture subtle nuances, even in poor light.

“When we spoke to filmmakers and industry experts, we took a close look at the appeal of flares and their unique impact on the atmosphere of a movie,” says Casenave. He describes how ZEISS is responding to users’ needs to integrate flares to ensure greater creative freedom with the lenses: “We didn’t just want to reproduce the effects, but to create tools that would allow this effect to be achieved at any time and in a controlled manner, and so the T* blue coating was born.” The new coating allows users to create flares in the right light without any losses in contrast or transmission – and in the high quality that customers have come to expect from ZEISS.

The versatility of the lenses can be used to create this visual look, which is due to the smooth depth of field and elegant bokeh, thus meeting users’ every artistic wish – from a blockbuster to a high-end commercial or a film d’auteur.

Compact, lightweight full-frame lenses

In addition to their flare behavior, the new lenses offer all the benefits of the ZEISS Supreme Primes. Thanks to their image circle diameter of 46.3 millimeters, they cover the current large-format cinematography sensors and are as such compatible with the latest camera models, such as the Sony Venice, ARRI Alexa LF, and Mini LF and RED Monstro. Moreover, they feature a front diameter of 95 millimeters with consistently positioned focus and aperture rings. They weigh around 1,500 grams on average.

The lenses are equipped with the ZEISS eXtended Data metadata technology launched in 2017, providing frame-by-frame data on lens vignetting and distortion in addition to the standard metadata provided using the Cooke /i technology1 protocol. This simplifies and speeds up workflows, particularly for VFX and Virtual Production.

Limited availability

The ZEISS Supreme Prime Radiance lenses are available to order from announcement until March 31st, 2020. The seven focal lengths – 21 mm T1.5, 25 mm T1.5, 29 mm T1.5, 35 mm T1.5, 50 mm T1.5, 85 mm T1.5 and 100 mm T1.5 – are available exclusively as a set from ZEISS Cinema dealers. The lenses will be delivered from April 2020 after the end of the ordering period.

From November, 9th -16th ,2019, ZEISS will be unveiling its ZEISS Supreme Prime Radiance lenses for the first time before a large audience at the CAMERIMAGE International Film Festival in Toru?, Poland. The short film R&R by Rodrigo Prieto (DOP of movies like The Irishman, The Wolf of Wall Street and Brokeback Mountain) shot with ZEISS Supreme Prime Radiance lenses, will also be shown at the festival. After CAMERIMAGE, ZEISS will be running a series of events at various rental houses around the world to give cinematographers the chance to try out the new lenses.

To find out more, please visit: www.zeiss.com/cine/radiance.

Articles: Digital Photography Review (dpreview.com)

 
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Zeiss officially unveils Otus 1.4/100 lens for full-frame Nikon, Canon cameras

25 Apr

The rumored Zeiss Otus 100mm F1.4 lens for full-frame Canon and Nikon cameras has been officially announced, joining the existing Otus 28mm, 55mm, and 85mm models. The new Otus 1.4/100 lens features a full-metal housing, high-precision manual focusing, and the company’s T* anti-reflective coating for minimizing stray light and maximizing contrast.

The Otus 100mm lens features an F1.4 to F16 aperture range, 14 elements in 11 groups, and an 86mm filter diameter, as well as a ‘consistent center of gravity’ and ‘optimum balance.’ That, in conjunction with the full-metal housing, makes the 100mm lens ‘well-suited for the rough conditions a professional photographer faces,’ according to Zeiss Camera Lenses Product Manager Björn Pados.

The company says that despite being designed for 35mm full-frame cameras, its new Otus 1.4/100 lens offers ‘the look and quality’ of medium-format cameras. The product’s apochromatic design eliminates ‘almost all conceivable aberrations,’ says Zeiss, which promises ‘practically no color fringing’ and bright-dark transitions that are ‘almost completely free of color artifacts.’

Below is a gallery of images taken with the images and provided by Zeiss:

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Global delivery of the new Otus 1.4/100 has started. The lens will be available for €4,500 EUR / $ 4,500 USD with included protective caps and a lens shade when it hits retailers’ shelves.

Press release:

New ZEISS Otus 1.4/100 DSLR Lens for the Most Demanding Applications

ZEISS adds a tele focal length to its line of lenses for full-frame DSLR cameras from Canon or Nikon

OBERKOCHEN/Germany, 2019-04-24 — With the ZEISS Otus 1.4/100, ZEISS is expanding its lens family for Canon1)– and Nikon1)-photographers who do not want to make any compromises concerning image and build quality. Whether in the studio or on-the-go, for portrait or product photography, the tele focal length delivers high resolution and outstanding definition in any situation – even at maximum aperture. This high-speed lens clearly sets the subject apart from the background. The exceptional level of detail and harmonic bokeh ensure the “3D pop effect”, ZEISS lenses are known for.

Achieving the outstanding image quality of medium format cameras

“The extremely high imaging performance and reliable production quality set the ZEISS Otus 1.4/100 apart in this class of lenses,” says Björn Pados, Product Manager for ZEISS Camera Lenses. “ZEISS’ comprehensive expertise and many years of experience went into developing the lens. The images captured with a ZEISS Otus lens in combination with a high-resolution, full-frame DSLR camera are on par with those created using a medium format system.”

The lens design, with aspheric lenses and special glass materials keeps chromatic aberrations and distortion to a minimum. Even when shooting against the light, the T* anti-reflective coating developed by ZEISS allows for extremely high contrast and minimizes stray light.

Robust and reliable

The ZEISS Otus 1.4/100 also features impressive production quality and ergonomics: the extended rotation angle and smooth operation of mechanical components enable highly precise manual focusing. The stable full-metal housing with internal focusing ensures a consistent center of gravity and optimum balance when taking photographs. “This makes the ZEISS Otus 1.4/100 well-suited for the rough conditions a professional photographer faces, and its high-quality mechanical design ensures it will last for a long time,” adds Pados.

The ZEISS Otus lens series

The ZEISS Otus lens series was developed for professional photographers who expect unrestricted edge-to-edge image quality that extends across the entire aperture range. ZEISS launched its high-end SLR lens family back in 2013 with the release of the ZEISS Otus 1.4/55. This series continued with the addition of a short tele lens, the ZEISS Otus 1.4/85, in 2014. The ZEISS Otus 1.4/28 wide-angle lens followed in 2015.

Price and availability

Global delivery for the ZEISS Otus 1.4/100 will begin immediately, with a sales price of 4,500 Euros (incl. German VAT) or 4,500 US$ (excl. local taxes). A lens shade and protective caps for the front and back lenses are included.

Articles: Digital Photography Review (dpreview.com)

 
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Leaked images: A detailed look at the unreleased Zeiss Otus 100mm F1.4 lens

11 Apr

It’s not official yet, but it appears Zeiss will soon announce the Otus 100mm F1.4 lens for Canon EF and Nikon F mounts, making it the longest focal length in the Otus lineup. DPReview has obtained leaked images, with permission, from Nokishita showing in detail the impending manual lens and its accompanying specifications from Zeiss.

According to the leaked technical sheets (that appear to come directly from Zeiss), the lens will feature an Apo Sonnar design with 14 optical elements in 11 groups including one aspherical element placed at the very back of the lens and multiple ‘special glass’ elements throughout. It will feature an aperture range of F1.4 – F16, have a minimum focusing distance of 100cm / 39.37in and weighs in at 1336g / 2.95lbs for the Nikon F version and 1405g / 3.10lbs for the Canon EF version.

The lens features a nearly identical design to Zeiss’ three other Otus lenses — the 28mm F1.4, 55mm F1.4 and 85mm F1.4 — and features the same 86mm front filter thread as the other three to negate the need of stepping rings for filters and accessories. Below is a full gallery of product shots of the unreleased lens:

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Being the lens isn’t yet official there’s no detail on availability or pricing, but based on the $ 4,990 price tag for Zeiss’ other Otus lenses, it’s a safe bet the 100mm F1.4 will end up around the $ 5,000 mark.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2019: Zeiss interview – ‘Let’s do something new’

31 Mar
Elliot Shih, Senior Product Manager of Zeiss, holding the ZX1 at the CP+ 2019 show in Yokohama, Japan.

Zeiss is preparing to launch its first camera for more than a decade, in the form of the ZX1 – a high-end, Android-powered compact, with a full-frame 37MP sensor and premium lens. We caught up with Senior Product Manager Elliot Shih at CP+ recently to learn more.

The following interview has been edited for clarity and flow.


When did the concept for this camera come about?

We started about four years ago, but we have always been interested in thinking about where and when to return to the camera market, because the last time Zeiss made a camera was the Ikon film rangefinder, in around 2004. Ever since then we’ve been thinking about how and when is the tight time to return to the camera market.

Also a lot has happened in the industry – as background we’re seeing higher penetration of smartphones with more capable cameras, and people are adapting to use the cameras in their phones. On the other hand we saw there is a demand among photographers for more serious photography tools.

If we’re going to make a new kind of camera, it doesn’t make sense to copy something that’s already on the market

The rise of the smartphone has had an impact on the point and shoot market, but there are a lot of benefits and things we can learn from such a different world. So the thought that came into my mind was – well, if we’re going to make a new kind of camera, it doesn’t make sense to copy something that’s already on the market – let’s do something new.

The development of this camera wasn’t quite linear, compared to other consumer electronics products. In the beginning we went quite slowly, but now we’re at the materialization phase, and things are moving quite fast. Now every component we need is working, and we’re starting to see that this is becoming a camera that could work quite well.

The ZX1 isn’t the first Android-powered camera, but it is the first aimed at enthusiast and professional photographers with money to spend on a premium full-frame sensor and lens.

This is not the first time that someone has loaded a mobile operating system into a camera – what makes the ZX1 different?

With regard to earlier products, I think the mobile platform itself, as a technology enabler, is capable of also being the backbone for an imaging system.

The fundamental difference is that instead of trying to make a smartphone in the form of a camera, we’ve tried to make the ZX1 work as a camera, and be positioned as a camera, and as a tool for photography. So, for example, when you first turn it on you should see the live view, not the launcher screen with all its icons. It should be a camera from inside out. That’s why we took open-source android and used it as a technology enabler, but in terms of interaction and user experience, we completely wrote everything and developed everything from scratch by ourselves.

Read about what the Zeiss ZX1 is like to operate

The camera operates using what we call a ‘vertical logic’. You’ll see there’s a slight bend on the rear cover glass, which provides a natural separation between the live view area and the toolbar area, to the right. You can [vertically] swipe on the toolbar area to select different tools, while on the left you can swipe to switch between different modes, like image review, where you can use all the familiar gestures you’re used to from smartphones.

What are your goals for the camera, in the marketplace?

As you can see, the ZX1 is a different kind of product. We’re focused on addressing the target group, and offering something different to today’s digital photographers. So we’re aiming at photographers that need a fast workflow but at the same time superb image quality, which our sensor and lens can deliver.

This is our first attempt, and most of the focus is to build up our competence in terms of image processing. We’re still on the learning curve, for example when it comes to the autofocus system and the image processing pipeline. For a 37.4MP sensor its more than 70MB for each DNG file, so we have a lot of data to handle.

Have you partnered with any other companies on the ZX1 or is this an entirely in-house project?

The design and development are completely in-house. We’re using some external partners to support certain functions, for example the realization of the industrial design, and the design of the user experience.

The square panel on the upper left of the ZX1’s top plate is a plastic cover for the WiFi antenna – not a flash, as we originally thought when we picked the camera up.

Previous attempts at this kind of product failed for a lot of reasons – how have you addressed the weaknesses of those earlier cameras?

Well first let’s talk about optimization around Android. There’s a fundamental difference to how this system works compared to a proprietary system [that you might find in a smartphone]. There’s a different architecture and we made a lot of effort to take out some of the elements of Android that we didn’t need. Most of the algorithms are designed for smartphone usage and not all of those are capable of running inside a device with a larger camera sensor, and much more information to handle in the imaging pipeline. That’s the part that we’ve spent substantial effort on, to optimize in order to make the camera more responsive.

We also made a lot of effort also to maintain Wi-Fi performance. There is a lot of data to transfer with this camera, so if we want the feature to be really functional we have to make sure that the Wi-Fi performance doesn’t struggle. That’s why we have a plastic cover above the Wi-Fi antenna on the [metal] top plate.

We’re very conscious of battery consumption [and] a lot of photographers are very sensitive about battery usage

In terms of boot up time, the ZX1 works the same way as a smartphone. But we’re very conscious of battery consumption. A lot of photographers are very sensitive about battery usage so a lot of the time when they’re not shooting they simply turn the camera off.

The very first boot up sequence takes a while, but when the camera is up and running, a single push of the dial sleeps the camera, but doesn’t turn it off. So the sensor is not running, the screen is off, and very little power is being used. But when you want to take a picture you just nudge the switch again and it wakes up. You can also use the switch to toggle between stills and movie mode.

What kind of battery drain should people expect when the camera is in sleep mode?

I think in sleep mode, during a whole day you can expect something like 10% battery drain. We do have a large battery in the camera, it’s 3190mAh, which is very substantial. In this camera a fully charged battery should last about 250 shots.

Is that a CIPA figure?

No, but we’d expect that to be accurate by CIPA test standards.

Do you have an idea yet of how much the ZX1 will cost?

Pricing is not yet decided but I think given the performance of the lens and the sensor, plus the solid build of the body and the built-in 500GB SSD, I think it will occupy a more premium price band. It will be in the same range as [the Leica Q, Sony RX1R II].

What was the logic behind deciding to give the ZX1 aperture, shutter speed and ISO dials but no exposure compensation dial?

That’s one of the most frequent questions we’ve been getting. One thing we learned is that photographers are more and more conscious of stripping away features that they don’t need. So we wanted to keep the purity of the design, while still making sure this is a serious photography tool.

One of the things that characterizes serious cameras are dials which provide the opportunity to control exposure directly. So we decided OK, we’ll keep the three – shutter speed, aperture and ISO as the only hardware controls. Everything else is built into the digital interface. If a photographer is manually controlling shutter speed and aperture, then the only way they have of further affecting exposure is ISO. So they can use the ISO dial as exposure compensation, effectively.

Does this camera use a leaf shutter?

Yes, it’s mechanically controlled up to 1/1000, and electronic will let you go to higher shutter speeds, using the toolbar [on the rear screen].

Because it’s powered by a full mobile operating system, the ZX1 is a ‘one stop shop’ for the photographer. From image capture, review, rating, editing and uploading, everything can be done on the camera, if you wish.

You really seem to want photographers to do everything on the camera itself – shooting, reviewing, editing and uploading. Is that correct?

For this concept, yes. A photographer might still carry a more capable DSLR for an assignment, but when they are going out for a weekend trip, this is one camera that you can do everything with.

Maybe it doesn’t always make sense to connect the camera to your phone using a hotspot and try to synchronize let’s say 300 Raw files on the road, but let’s give people the choice. We’ve spoken to a lot of photojournalists and they told us that sometimes they just have to rely on what they have. Sometimes they only have a phone, and with this camera they can bring everything they need.

What’s the quickest way of getting images off the ZX1 to a computer or to a harddrive?

In terms of transfer speed, the fastest way is the USB-C connection. With a speed of 5GB/s you’ll be able to export pictures pretty fast. What’s a bit different is that because we’re using Android, the system works like a mini computer, so we can use both master and slave mode for the USB connection.

Whereas other cameras, when you connect over USB, the camera is seen as a drive: it’s in slave mode. But with the ZX1 if you plug in a USB C drive or a memory stick the camera recognizes the storage and you can select the images you want to transfer straight from the camera. The USB C connector is the only interface, so to connect to a TV, or plug in a microphone for example you’d need adapters.

Can users download their own apps or extensions to the ZX1?

At the moment, no. For security reasons its a closed system. We will only support selected applications that we’re working on with partners like Adobe.


Editors’ note: Barnaby Britton

Well; it’s real, and it works. The Zeiss ZX1 is a fascinating camera, and even from our brief time with a prototype model I’d be fairly confident in saying it’s the most convincing Android-powered camera we’ve seen yet. Of course it’s also likely to be the most expensive, by far. If Mr Shih’s estimate of a price comparable with full-frame compacts from Sony and Leica turns out to be true, you can expect the ZX1 to cost somewhere in the region of (at least) $ 4,000, which unlike Samsung’s Galaxy Cameras, will put it well outside of the impulse-buy range for most photographers.

But that’s the future. For now, the ZX1 looks really nice. We don’t know how well the sensor or lens will perform, but it’s a safe bet that image quality will far exceed the abilities of even the best smartphones and likely also popular sub full-frame compact cameras such as Fujifilm’s X100-Series and Ricoh’s GR line.

It will also work differently – very differently – to those cameras, thanks to its integrated Android operating system, which essentially makes the camera into a mini computer. Do you need half a terabyte of built-in storage? Probably not, most of the time, but assuming you can keep the battery charged, this kind of storage capacity could be appealing to photographers working remotely or on long assignments away from home. In some areas of the world, where cellphones provide the only reliable access to the Web, the ZX1 might end up being right in its element.

A shot of the ZX1’s unique ‘swooping’ rear display, and its large-capacity Li-Ion battery which – unlike the camera’s storage – is removable.

If you’re interested in the ZX1 solely as a camera, and you don’t need the ability to run processing apps, you’ll have a harder decision to make. The ZX1 definitely presents an unusual handling experience, but it’s not completely alien. The decision to omit an exposure compensation dial strikes us as a bit odd, but Mr Shih is correct to note that for manual exposure work, the ISO dial does just as well. For A / S-priority shooters things might be a bit confusing at first, but the ZX1 is likely to be perfectly usable, notwithstanding a moderate learning curve.

Speaking of curves (sorry) the swooping rear display is quite something. The ZX1 employs what Mr Shih calls a ‘vertical logic’ to separate access to features and controls from the live view display, and it seems to work. We didn’t get to try full-on image editing on the ZX1 that we saw in Japan, but I can envisage Lightroom Mobile running perfectly well, for those who need to edit ‘on the go’.

When the ZX1 was first announced, a lot of commenters dismissed it preemptively as ‘vaporware’ – a flashy distraction that would never make it to market. It seems that the naysayers were wrong (it’s nice when that happens, isn’t it?) but whether the ZX1 will be a success – or lead to more Zeiss camera development in future – remains to be seen.

In one sense, given how long it’s been since the company last made a camera, it could be said that Zeiss has nothing to lose. But in real terms, the ZX1 represents a substantial R&D investment, and one which Zeiss will be keen to recoup. For now, Mr Shih and his team deserve credit for doing something bold and unusual.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2019: Zeiss ZX1 – hands-on with the full-frame Android camera

28 Feb

Hands-on with the Zeiss ZX1

We’ve seen Android-based cameras before, we’ve seen primarily touchscreen-based cameras before and we’ve seen full frame compacts with built-in 35mm lenses, but we’ve never seen anything that combines them, which is essentially what Zeiss’s ZX1 does.

Zeiss’s first entry into the digital camera market has echoes of the touchscreen-based Leica TL, it also can’t help but conjure-up thoughts of Sony’s RX1 cameras, which are also built around 35mm F2 lenses on full frame chips. What it doesn’t feel like, though, are Samsung’s erstwhile Android-based Galaxy cameras or Nikon’s Coolpix S800c, which felt like smartphones with a lens glued onto the front.

We got the chance to handle and explore a pre-production ZX1 at CP+ in Yokohama. Zeiss isn’t yet giving a release date for the ZX1 so it’s difficult to know how close to finished it is, but the camera seemed stable and to have most features in place, so we can at least describe how it’s going to work.

ZX1 Physical controls

There are only five physical control points on the camera: dedicates aperture, shutter speed and ISO dials, a solitary function button and a sprung switch at the base of the shutter speed dial. Everything else is controlled via the touchscreen.

All three dials have ‘A’ positions, if you want to hand-off control of their function to the camera. The shutter speed dial only goes up to 1/1000 sec since that’s where the camera’s leaf shutter tops-out. You’ll also notice there’s an ‘H’ position, though. This switches the camera over to electronic shutter mode, to access shutter speeds up to 1/8000 sec, via the touchscreen. At the other end of the scale there’s a ‘L’ setting for shutter speeds longer than a second. There are Low and High positions on the ISO dial, too.

ZX1 power switch

But before we get into the details of the touchscreen, we should take a closer look at that sprung switch. At first glance, this little nub looks like a power switch, but it’s not quite that simple. Although it is the way you turn the camera on and off, this three-position switch provides access to the ZX1’s video shooting mode, too, and it’s also how you put the camera to sleep.

Because it’s an Android device, the ZX1 doesn’t just leap into life when you flick the power switch forward from being off – it starts to boot up, which just like a smartphone, takes a little while. To avoid you having to go through this ordeal every time you want to take a shot, pulling the switch back doesn’t turn the camera off: instead, like a smartphone it just sends it to sleep: powering down the sensor and screen. Pull the switch back for three seconds and it’ll completely shut the camera down. Push it forward while shooting and you enter video mode. We’re told that in ‘sleep’ mode, your battery should only drain by about 10% over the course of a day.

The function button can be reconfigured. With the current firmware it’s an AEL button but you can also get it to control a couple of other functions, including AFL.

ZX1 Swipe bar

The first thing you’ll notice about the ZX1’s touchscreen is that it’s not flat. Instead there’s a distinct crease (but a lovely, smooth one that we suspect must be quite costly) around 1.5 cm in from the right-hand edge. This angled strip of screen is home to a series of icons, which are used for controlling everything else on the camera. In stills mode they’re displayed on a black background but in video mode they’re overlaid on the preview, which expands out to use the full 16:9 expanse of the screen.

There are four icons to a page and swiping your finger up or down along the control strip scrolls through the available options. The top option on the strip is exposure compensation and tapping it brings up a vertical slider so that you can swipe-in the amount you want to apply. Most of the other options work in the same way, popping up a small virtual slider to adjust the setting. Some options also present three dots in a circle, giving you access to a menu with more detailed settings.

Menus, playback and the Android homescreen

What’s not quite so obvious is that there’s another, un-indicated swipeable region along the right-hand-side of the screen. Swipe up and you’ll enter the camera’s main menu, swipe down and you’ll enter playback mode. Left and right swipes change the level of information shown on the screen.

Only if you swipe down do you get a a little 3-dot icon that then finally lets you see the homepage of familiar circular icons that belie the camera’s Android underpinnings. At present, the available apps are locked-down, for security purposes but will be opened up somewhat when the camera is finished. We doubt that Zeiss will simply allow all Google Play apps to be accessible, though.

ZX1 battery and battery life

All the extra processing to run a more complex operating system has the predictable effect on battery life. The ZX1 packs a pretty sizable battery pack that offers around 3190mAh. At present Zeiss is discussing a figure of around 250 shots per charge when tested in a manner comparable with the CIPA standard. We’ll see whether this improves at all with the last bits of fine-tuning of code, prior to launch.

This image gives you a better idea of the angled right-hand portion of the rear display, which follows the angle of the body shell. It really is beautifully done.

ZX1 construction

Back on the physical side of things, the camera has a solid-feeling metal body. The right-hand edges are wrapped with a thin rubberized coating, which means it feels surprisingly secure in the hand. I found myself rotating my hand to the right to adjust my grip whenever I held the camera, but I’m not sure if this was a conscious attempt to more comfortably reach the shutter button or an unconscious attempt to access a front control wheel that doesn’t exist.

The top left of the camera is the only other non-metal body panel: a plastic cover that looks for all the world like it should conceal a pop-up flash but is actually a ‘window’ in the camera’s metal shell to allow the Wi-Fi to communicate efficiently. Given the large files (~70MB per uncompressed Raw), the Wi-FI needs to work as effectively as possible.

Storage, image management and output

What you can’t see on the ZX1 is that it has no memory card slot. Instead it has a vast 500GB SSD built in. We weren’t told exactly how much of that space is taken up by the operating system, but that’s still a ridiculously large amount of space. To sensibly manage such a large drive, the ZX1 lets you shoot what it calls ‘collections’. Essentially these are image folders on the camera’s internal drive, so that you can easily find the images to took on a particular shoot. They appear as separate folders if you connect a device to the exposed USB C socket on the left-hand side of the camera.

Interestingly, because it has an onboard operating system the ZX1 can act both as a slave device (effectively a computer will see it as a massive memory card, as you’d expect from a conventional camera) or a host device that can read a USB memory stick or hard drive plugged into it. This means you can transfer images from the camera to an external drive without ever having to connect to a computer.

Summing up

One advantage the Zeiss has over previous attempts at Android-based cameras is that it’s not trying to compete on price with less-sophisticated mass-market models, meaning (in theory) fewer corners should need to be cut in terms of processing power or memory.

The company say they’ve also stripped the Android implementation back to the bare essentials and focused on building a camera interface, rather than trying to use any of the operating system’s built-in camera capabilities. And even in this non-final form, this decision appear to have paid-off, with the interface working smoothly.

If anything, it’s Zeiss’s decision to include an ISO dial, rather than an exposure comp control (or an unmarked dial to let you choose which you want access to), that took us longest to adapt to in our brief time with the camera. Zeiss believes that a lot of people will manually set exposure, leaving ISO effectively playing the role of exposure compensation. I guess we’ll see how that feels once we get our hands on a testable camera in the coming months.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Zeiss shows hands-on footage of its ZX1 camera with Lightroom integration

24 Dec

In September 2018, Zeiss announced the ZX1, a fixed-lens, full-frame camera that has onboard Adobe Lightroom CC integration. Yesterday, Zeiss shared a two minute video that gives the world its first hands-on look at the ZX1 and its onboard editing abilities.

Throughout the video, portrait photographer and photojournalist Sabrina Weniger walks around the streets of Little Tokyo in Düsseldorf narrating her experience with the ZX1 and the features she most enjoys about it. Unsurprisingly, she doesn’t hit on the negatives.

In addition to her overall positive thoughts on the camera, Zeiss shares a glimpse of the camera itself, including the 35mm F2 lens and the massive 4.3-inch touchscreen display that’s used to compose, view and edit photos using the onboard Lightroom. The video also details the onboard version of Lightroom CC in action, as she edits a portrait captured inside a small shop right on the rear display of the camera.

Nothing new is necessarily learned from the video, but it’s the first time Zeiss has shown off the camera in action before its yet-to-be-determined launch date said to be in the first part of 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Zeiss opens its 2019 photography award with €15K top prize

27 Nov

Zeiss has announced its 2019 photography contest is open for entries, and that the top prize will include €12,000/$ 13,615USD of its lenses along with a €3000/$ 3403USD grant to pay for a photographic project.

The contest, run alongside the Sony World Photography Awards, is aimed at photographers shooting stories with multiple images rather than single frames. The theme, as always, is ‘Seeing Beyond – The Unexpected.’ The judges will be looking for collections of 5-10 photographs and descriptions on a theme with a ‘strong and clear narrative’. The brief is purposely pretty open and can be interrupted in a wide range of ways.

15 photographers will be shortlisted and will exhibit at the Sony World Photography Awards show, and the winner announced on April 9th at the awards ceremony in London.

Submitted photographs will be judged by three international panelists: Simon Frederick, Dagmar Seeland and Shoair Mavlian. According to Zeiss, ‘The jury will evaluate both the photographic quality as well as the creativity of the works. The jury is particularly looking for a powerful story that is clearly recognizable in the images.’

The contest closes on February 8th, 2019. For more information visit the Zeiss Photography Award pages on the SWPA website.

Press release:

ZEISS Photography Award 2019 “Seeing Beyond – The Unexpected “
Pushing the limits of creativity

The ZEISS Photography Award is now in its fourth year – and is calling on ambitious photographers from across the globe to present their work around the theme “Seeing Beyond – The Unexpected” to the international jury of experts. The ZEISS Photography Award is jointly organized by ZEISS and the World Photography Organisation. Last year, 12,000 photographers from 140 countries submitted nearly 90,000 photos.

The 2019 brief
Photographers are asked for a creative response to the brief “The Unexpected” that is driven by a strong and clear narrative. To be understood in its broadest sense, “The Unexpected” challenges photographers to submit a series of 5-10 images that look past the everyday and address something unforeseen or surprising – whether this is through the landscape and the physical environment, through human expression, emotion and interaction, through political or social causes or something more conceptual. The ‘unexpected’ element could be of global or very personal concern and may either showcase the familiar in a new way or shed light on something entirely different. All types of photography are welcomed by judges

Participants are required to submit a series of five to ten photographs, including a description of the images, online. Submissions open 22 November, 2018 and close 8 February, 2019.

Prizes
A shortlist with up to 15 photo series will be released on 26 March 2019. The winner will be announced on 9 April 2019. The winning and selected shortlisted works will be exhibited at Somerset House.

The winner will receive:

  • ZEISS camera lenses of their choice worth a total of 12,000 euros, and 3,000 euros to cover travels costs for a photo project.
  • Flights and accommodation to attend the exhibition’s opening at Somerset House London in April 2019.
  • ZEISS will also invite the winner to their headquarters in Germany to see behind the scenes and test out ZEISS lenses for themselves.

The winner will also have the chance to collaborate directly with ZEISS and the World Photography Organisation.

Articles: Digital Photography Review (dpreview.com)

 
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Zeiss announces ZX1 full-frame compact with fixed 35mm F2 lens

28 Sep

The Zeiss ZX1 is based on the Android operating system and has been designed to be able to run Adobe Photoshop Lightroom CC
Image: Zeiss

Zeiss has just announced the ZX1, the company’s first-ever digital camera. It comes with a 37.4MP full-frame image sensor, fixed 35mm Distagon F2 lens and a huge 4.3″ touchscreen with a resolution of 1280×720 pixels to augment its physical controls. Zeiss has also teamed up with Adobe to offer full Adobe Photoshop Lightroom CC capability in the camera itself. It’s designed to allow you to shoot, edit and share on the fly.

The ZX1 offers 512GB of external memory and Wi-Fi, Bluetooth and USB-C connectivity

Zeiss says both the 37.4MP sensor and 35mm F2 lens were developed in-house and were designed from the outset to be matched with one another, not unlike Leica’s Q and Sony’s RX1 series. Unlike the Leica, however, the ZX1 does not come with any form of image stabilization. The lens offers a minimum focus distance of 30cm (11.8″) and the optical formula comes in at 8 elements in 5 groups.

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While the ZX1 does not have a memory card slot, it does have 512GB of internal memory, which the company claims is enough to store approximately 6,800 Raw files in DNG format (or up to 50,000 JPEG files). Zeiss’ ZX1 website does claim that you can connect an external USB drive to the camera to offload images. The camera offers Wi-Fi, Bluetooth and USB-C connectivity. The company will also offer over-the-air software updates.

The ZX1 comes with an electronic viewfinder using an OLED panel at full HD (1920×1080) resolution and a magnification of 0.74x. There’s a flash hot-shoe, but no flash is built into the camera body. The ZX1 offers single and continuous autofocus, though we don’t yet know if continuous focus is allowed at the maximum burst speed of 3fps. Exposure is taken care of courtesy a leaf shutter in the lens.

The ZX1 is designed to allow you to shoot, edit and share on the fly.

Since we live in 2018 and 4K is everywhere, it’s no surprise that the ZX1 is capable of capturing UHD 4K at up to 30fps, and Full HD video at up to 60fps.

The ZX1 appears light on controls, but the large touchscreen – with an unusual curved design – will help users take more control over their photographs, as well as the editing process.

Image: Zeiss

There’s no word on pricing, but the ZX1 will be available in ‘early 2019.’ Stay tuned for more updates as we get them.

ZEISS ZX1: The Camera Concept for the Creative Flow in Photography

First full-frame camera from ZEISS with first-class image quality and the familiar, intuitive image editing and connectivity of a smartphone.

OBERKOCHEN/Germany, 2018-09-27.

ZEISS ZX1 – That is the name of the newly developed mirrorless full-frame camera from ZEISS that was presented today in Cologne, Germany. Thanks to the ZEISS lens and a sensor developed in-house at ZEISS, the camera delivers first-class image quality combined with an operational concept and user experience that make the photographer’s jobs-to-be-done as intuitive as on a smartphone.

The ZEISS camera concept is just the first step to opening up a new world of possibilities for ambitious photographers – from taking the shot to editing the image and sharing it on the web.

SHOOT. EDIT. SHARE. – Harmonized hardware, software and optics for a seamless creative process

SHOOT: the ZEISS ZX1 features a newly designed, integrated ZEISS Distagon 35 mm f/2 T* lens with autofocus that has been perfectly matched to the 37.4 megapixel full-frame sensor developed in-house at ZEISS. The interplay between the lens and sensor ensures first-class picture quality with that typical ZEISS look.

EDIT: The ZEISS ZX1 enables photographers to professionally process RAW images directly on the camera thanks to fully integrated Adobe Photoshop Lightroom CC. Moreover, the ZEISS ZX1’s unique user interface supports the user’s particular workflow without any interruption – providing direct access to the most frequently used functions via a 4.3″ multi-touch display.

SHARE: when the networked full-frame camera is connected, the user can upload selected images directly to the internet – without the intermediate transfer to memory cards or other external devices.

512 GB of internal memory provide sufficient space for approximately 6,800 RAW files (DNG) or over 50,000 JPGs – more than enough to handle photos, even during a longer trip, and giving the photographer the chance to let their creativity flow. Versatile connectivity options such as Wi-Fi, Bluetooth and USB-C ensure that various peripherals can be connected. Over-the-air software updates keep the camera up to date without requiring a computer connection.

Designed with a passion for detail and a focus on the essentials

The design of the ZEISS ZX1 is characterized by its iconic shape with carefully crafted details. The overall form and reduction to just those elements that are absolutely necessary lay the foundation for an ergonomic camera and ensure easy handling. The symbiosis of hardware and software is exemplified by the newly defined user interface that utilizes the 4.3″ multi-touch display. The slightly bent screen separates the live view from the control elements, making camera operation comfortable and straightforward.

“We know that we exploring new ways and initially addressing a special target group with the ZEISS ZX1. With our concept we are focusing on ambitious, professional creatives who want to produce their photographic experiences quickly and efficiently, and inspire as many people on the Internet as possible. This requires a streamlined workflow in addition to high-end features. This is exactly what the concept of the ZEISS ZX1 offers,” explains Jörg Schmitz, Head of the Consumer Products business group at ZEISS.

ZEISS ZX1 available from early 2019

The ZEISS ZX1 will be available at selected dealers in early 2019. ZEISS will announce the recommended retail price at the start of the official market launch. Starting now, anyone interested in receiving information on exact availability can register at www.zeiss.com/zx1.

Articles: Digital Photography Review (dpreview.com)

 
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Zeiss expands Batis lens range with 40mm F2 Close Focus

28 Sep

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Zeiss has announced the Batis 40mm F2 Close Focus, bridging a gap between their existing 25mm F2 and 85mm F1.8 offerings. This brings the total Batis lineup for full-frame Sony E-mount to five, with focal ranges from 18mm to 135mm.

As with the rest of the Batis lineup, the 40mm F2 CF is weather-sealed and comes with autofocus and an OLED display showing focus distance. Reflecting the ‘Close Focus’ in the name, the lens can focus down to a distance of 24cm (9.4in) with a maximum reproduction ratio of 1:3.3.

The Batis 40mm F2 CF, seen under glass in Cologne, Germany.

The Zeiss Batis 40mm F2 CF is priced at €1299/$ 1299.

Press release:

The Most Versatile Lens in the ZEISS Batis Family

The ZEISS Batis 2/40 CF bridges the gap in the ZEISS Batis family lineup

OBERKOCHEN/Germany, 2018-09-27

With a 40 millimeter fixed focal length, the ZEISS Batis 2/40 CF (Close Focus) is the latest addition to the product family. This standard lens in the ZEISS Batis family features a quick autofocus and an extremely short minimum focus distance. Delivery will start in November 2018. “The focal length on the ZEISS Batis 2/40 CF makes it suitable for a wide range of applications, something customers have been eagerly awaiting. The lens bridges the current gap between the ZEISS Batis 2/25 and the ZEISS Batis 1.8/85,” says Dr. Michael Pollmann, Category Manager for Imaging at ZEISS.

The ZEISS Batis family was developed specifically for mirrorless full-frame cameras from Sony (Alpha 7 and Alpha 9 series). The lenses are compatible with all E-mount cameras and cover a total of five focal lengths ranging from 18 to 135 millimeters. Together with these cameras, the ZEISS Batis 2/40 CF ensures a lightweight, easy-to-use, high-performance system that delivers outstanding image quality, a minimum shooting distance of 24 centimeters for close-up shots and a magnification ratio of 1.3.3. “With the launch of the ZEISS Batis 2/40 CF, we now offer a focal length that falls between the standard 35 and 50 millimeter lenses people love to use. We have made the entire ZEISS Batis lens family even more attractive by offering the complete range of focal lengths,” says Pollmann.

The most versatile lens in the ZEISS Batis family

The ZEISS Batis 2/40 CF is able to tackle various photography challenges thanks to its special 40-millimeter focal length. From portrait and street photography to landscape and architecture – anything is possible with this high-resolution fixed focal length. “The lens is excellent for applications requiring normal focal lengths as well as common photographic situations where a bit more of a wide angle is needed. Our customers will enjoy a truly versatile lens which, thanks to its proven ZEISS look, and an outstanding image quality, is also ideal for close-ups. If you’re traveling light and decide to opt for just one lens, then this would be it,” says Pollmann.

Thanks to its high micro contrast and initial aperture of f/2, the lens can perfectly capture individual objects. Features like floating lens design for consistently high image quality across the entire focus range, the ZEISS T* coating for fewer reflections and weather and dust sealed housing and splash protection ensure maximum image quality in almost any situation. For creative work, the innovative OLED display on the ZEISS Batis shows the distance and depth of field, ensuring a perfectly adjusted focus range.

The price of the new ZEISS Batis 2/40 CF is 1.299 € (incl. German VAT) or 1.299 US$ (excl. local taxes).

Articles: Digital Photography Review (dpreview.com)

 
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