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Hands-on: What you need to know about the Leica SL2-S

13 Dec

Hands-on with the Leica SL2-S

Leica’s third full-frame L-mount camera, the SL2-S, has just landed. Based on the SL2 which launched just over a year ago, the SL2-S has a 24MP sensor and it’s a bit more video-focused than its higher-resolution forebear.

If you’re familiar with the SL2, there frankly isn’t much that’ll surprise you about the SL2-S. But if you’ve overlooked the SL2 previously or are just new to the Leica SL-series in general, then follow along for a closer look at the newest model in the lineup.

Sensor, grip and logo

The most immediate change on the SL2-S relative to its sister model is right here, front-and-center: the sensor. It’s a 24MP unit that sits on an in-body stabilizer, and it grants users the ability to capture oversampled (meaning, very detailed) 4K/30p video using the sensor’s full width. You can also opt for 4K/60p capture, though you’ll need to crop in to a smaller APS-C portion of the sensor to access that. There a few other nitty gritty video details to cover as well, which we’ll get to shortly.

As for the rest of the camera, the most obvious outward change on the SL2-S relative to its sister model is the blacking-out of the ‘LEICA’ lettering on the viewfinder hump. It does make for a slightly more subtle look, but of course, the bright red dot next to it will probably still draw some attention for those in the know. Lastly, the grip remains pretty comfortable despite its blocky shape, helped by an indent for your fingertips just visible in the shadow here.

Rear controls and screen

On the rear of the camera, along the screen’s left side, you’ll find Leica’s standard set of buttons. ‘Play’ enters playback, ‘Fn’ can be pressed once to access a custom function, or can be ‘long-pressed’ to select a different custom function for the next time you short press. It’s a handy way to change the button’s behavior without diving into the full menus.

Hitting the ‘Menu’ button enters a quick menu where you can control some key functions via the touchscreen, including the shooting mode, drive mode, focus settings, and more. A further press of the Menu button brings up the main menus, which let you delve a little deeper into the camera’s settings. You can continue to press the ‘Menu’ button to navigate along the six pages of options, or you can use the top command dial to do so. The rear dial will navigate up and down various settings.

Speaking of that rear dial, it’s also how you quickly change shooting modes without entering the quick menu at all; you press it in, and then rotate it to swap between PASM modes.

The AF Joystick allows you to move your AF area around the frame, and it allows you to manipulate settings in the main and quick menus as well. The button next to it defaults to manually swapping between the LCD screen and electronic viewfinder (EVF), but a long-press allows you to change its behavior, just like the ‘Fn’ button. Speaking of the EVF…

Viewfinder

The viewfinder alone could be a reason for someone to consider an SL2-S. It’s big, bright and detailed, offering 5.76M dots of resolution. The only other 24MP camera you’ll find that type of detailed picture on is the Panasonic Lumix S1; other comparable 24MP offerings from the likes of Nikon, Canon and Sony have viewfinders that are a similar size but lower resolution.

The ring surrounding the viewfinder is a large diopter adjustment dial for those glasses-wearers among us; its size makes it easy to set it just right, but there’s enough resistance that you won’t knock it out of place accidentally.

Top plate controls

On the top of the camera we see a generously sized display that shows pertinent exposure and camera settings. To its right are two more custom buttons that, again, you change the behavior of using a long press. A close look reveals, in fact, two more custom buttons well-placed to be manipulated with your middle or ring fingers on the front of the camera, though we wish they were separated a bit more.

You also get a flash hot-shoe, and on the right side of that you’ll see an engraving reading ‘LEICA SL2-S’, the only place on the camera you’ll find its model name. (A rather cryptic ‘Type no.: 9584’ is printed on the bottom of the camera.)

Video

The headline video spec of the SL2-S is 4K at up to 60p, which, on paper, looks a lot like that of the SL2. There are differences, though. The SL2 shoots sub-sampled video from nearly the full width of its sensor for all of its video modes, whereas the SL2-S shoots full-width oversampled video for its 24, 25 and 30p modes. This means the SL2-S is using all its pixels to shoot 6K footage which is then downscaled to 4K. This should give more detailed video and possibly better low-light performance. The ‘S’ uses an APS-C region for its 60p footage, which gives up some of this benefit but should still look good.

In addition, the SL2-S includes features such as built-in display correction LUTs to give a usable preview when shooting in Log gamma (both of which are also available as ‘Cube’ files which can be applied as you edit the footage). A future firmware update will add options such as waveforms for assessing exposure, and the ability to set exposure time as shutter ‘angle’ rather than shutter speed, along with a ‘tally’ lamp mode that indicates when the camera is recording.

Ports

Behind a thick, flexible rubber door on the left side of the camera body are headphone and microphone ports, which also double as remote release ports, as well as a full-sized HDMI port (which feels a lot sturdier than the ‘mini’ or ‘micro’ ports on many competing cameras). Immediately beneath these, behind its own rubberized door, is a USB-C port that supports charging, tethered shooting and image transfer.

Storage

On the other side of the camera is a set of SD card slots; both support the faster UHS-II type memory cards, and you’ll likely want to use reasonably quick cards if you’re planning on using the 25 fps silent shutter burst feature, or shooting at the camera’s highest video quality settings.

Battery

On the bottom of the Leica SL2-S you’ll find a BP-SCL4 battery pack, the same as you’ll find in the SL2 and the Q2 and Q2 Monochrom fixed-lens cameras. It’s good for a CIPA-rated 510 shots per charge, though you’ll likely get many more than that in normal use. We find that a rating of 500 or so is good for at least a couple of days of focused photography if you’re, say, exploring a new city.

Interestingly, there’s no battery ‘door’ per se; the entire unit pops out and leaves a hole in the bottom of the camera. But each BP-SCL4 has its own gasket around the bottom, ensuring that the camera lives up to its IP54 weather-sealing rating.

Hands-on with the Leica SL2-S

And there you have it: Leica’s latest full-frame mirrorless camera, the SL2-S. Although compared to the SL2, the exterior differs only by the blacked-out logo, its lower resolution sensor will likely be welcomed by those who don’t need 47MP of resolution, or those who need better quality video (which will be augmented further in a promised firmware update next year). The SL2-S also comes with its own high-res shot mode, which can churn out 96MP files on the occasion that you do need more resolution (though you also need a tripod and a pretty static subject).

What do you make of the SL2-S? Is it something you would consider adding to your camera bag? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Nikon Z6 II review

12 Dec

The Nikon Z6 II looks a lot like its predecessor, but Nikon has made some significant updates to its current midrange full-frame interchangeable lens camera. These include more processing power, a bigger buffer, faster shooting and better low-light autofocus performance.

Oh, yeah – and dual card slots!

Chris and Jordan have been shooting with the Z6 II for a little while up in the frozen wastes of Alberta. Watch their video review to find out how they got on.

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

  • Introduction
  • Sample Photos
  • Dual Card Slots
  • Image Quality
  • Screen Articulation
  • Interface
  • Displays
  • Autofocus
  • Battery Performance
  • Video Performance
  • Who is it for?

Nikon Z6 II sample gallery (DPRTV)

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Google Photos now syncs ‘liked’ images with Apple’s iOS Camera Roll

11 Dec

Apple and Google haven’t always gotten along, but there are times when the two work together to make life easier for end-users, regardless of what mobile operating system they’re using. One of the latest examples of this is a new feature baked into Google Photos that makes it possible to sync ‘liked’ and ‘favorited’ images between Google Photos and the iOS Camera Roll app.

Screenshots of the new settings in the Google Photos iOS app. Click to enlarge.

As visible in the below demonstration from Android Police, who first reported on the feature, a simple setting within the Google Photos app will make it so images ‘liked’ in the iOS Camera Roll app will become ‘starred’ in your Google Photos account.

We tested the new feature and can confirm we had a similar experience to Android Police; syncing happens slightly faster when ‘starring’ an image in Google Photos than it does when ‘liking’ an image in the iOS Camera Roll. This is likely because when ‘liking’ an image in the iOS Camera Roll, Google Photos is running as a background task, whereas when using Google Photos, the synchronization process can be triggered immediately.

The feature should be live for all Google Photos users and has worked seamlessly across both an iPhone XS and iPad Pro (11-inch) in our testing. If you don’t have it already, you can download the Google Photos app for free in the iOS App Store.

Articles: Digital Photography Review (dpreview.com)

 
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Viltrox announces $399 85mm F1.8 lens for Nikon Z-mount mirrorless cameras

10 Dec

Viltrox has released its new 85mm F1.8 STM autofocus prime lens for Nikon Z-mount mirrorless camera systems.

The autofocus lens is constructed of 10 elements in 7 groups, including five ‘short wave length and high transparency’ elements and one low-dispersion element. Viltrox claims the lens, which uses a stepping motor (STM) to drive the autofocus elements, features full autofocus support, including compatibility with Nikon’s Eye-AF technology. Other features include an aperture range of F1.8–16, a nine-blade aperture diaphragm, an 80cm (31.5″) minimum focusing distance and a 72mm front-filter thread.

Viltrox has also included an onboard micro USB port for updating the lens’ firmware. The lens measures in at 92mm (3.62″) long, 80mm (3.15″) in diameter and weighs 540g (1.2lbs).

The lens is currently available to purchase on Amazon for $ 399. That’s $ 300 less than the MSRP of Nikon’s own Nikkor Z 85mm F1.8 S lens.

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces new SDK for camera automation aimed at product photography

08 Dec

Sony has announced a small but significant update to the Sony Software Development Kit (SDK). This update allows users to craft custom imaging solutions using Sony cameras.

The new camera automation software SDK has been created with product photographers in mind and is designed to streamline a product photography imaging workflow using Sony cameras. Sony writes, ‘It’s especially useful for large e-commerce businesses, allowing them to simplify, speed up and standardize product photography.’

This streamlining is achieved by the SDK enabling ‘virtually every facet’ of the camera and lens to be automated and controlled. This includes automation and control over white balance, image resolution, compression options, zoom, focus and video triggering. Multi-camera support is included, meaning that it will be easier than ever to capture 360° interactive product shots, for example.

The SDK is the first to support full-frame multi-camera control, allowing for multi-angle image capture. It has also gained macOS compatibility, which Sony states is the most-used operating system in the product photography industry. The SDK is also compatible with Windows and Linux. The SDK also launches alongside a Sony team and website prepared to offer support. Further, Sony states that bespoke apps are possible.

Yasuo Baba, Director of Digital Imaging for Sony Europe BV, said of the SDK, ‘This is a key part of Sony’s long-term vision. Sony’s Alpha range are the world’s most trusted mirrorless cameras, and this new move helps to back this up with the best software and the best support.’ Baba continues, ‘By doing this, we aim to make it easier and quicker for companies in e-commerce, and other B2B sectors, to automate every part of the image creation process.’

Many high-end Sony mirrorless cameras are supported by the SDK, including the A9 II, A7R IV, A7 III, A7C and the RX0 series. While a niche SDK, it should prove very useful for some photographers and allow for a streamlined, more efficient workflow. It will also be interesting to see what sort of creative uses enterprising photographers come up with for the new SDK.

This is not Sony’s first major SDK release of 2020. In February, the company released a remote control SDK kit. This SDK allows key camera controls and still image data to be captured via remote access, which Sony stated at the time is of interest to industries including security, entertainment and ‘many others’.

A lot of great things can be created when a platform is opened to development, so it’s nice to see Sony developing new software development kits for its cameras. If you’d like to learn more about the latest SDK, click here.

Articles: Digital Photography Review (dpreview.com)

 
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Report: Japanese camera makers could see supply chain constraints due to supplier factory fire

07 Dec
An overview of the aftermath at AKM Semiconductor factory following a three-day fire, captured by Nikogorio and used with permission.

Australian imaging publication, Inside Imaging, is reporting that some camera manufacturers could see supply chain issues following an October fire at an AKM Semiconductor audio chip factory in Nobeoka, Miyazaki Prefecture, Japan.

According to the report, the fire started on October 20 and burned uncontrolled for three days, effectively destroying the entire factory, which products various audio chip components used by ‘most Japanese camera makers.’ Inside Imaging stops short of stating what components in particular camera manufacturers source from AKM Semiconductor. It does mention AKM produces analog-to-digital converters (ADCs), but there’s no confirmation whether or not these ADCs are used by any camera manufacturers.

A close-up of the burned AKM Semiconductor factory, captured by Nikogorio and used with permission.

Inside Imaging claims to have been told by a source that Canon, Nikon and Sony ‘[had] pulled back support for Black Friday promotions’ due to a shortage of supply, but that is yet to be confirmed elsewhere and we have yet been able to confirm that ourselves. We have contacted representatives from Canon, Nikon and Sony for comment and clarification on the matters and will update this article accordingly when we receive responses.

According to other reports, there were no casualties from the fire and all 400 employees were safely evacuated before the fire spread. Repairing the factory will take at least six months, according to SemiMedia, who also notes the audio industry is panic buying to ensure manufacturers’ supply chain isn’t affect in the near future.

Articles: Digital Photography Review (dpreview.com)

 
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Hähnel launches lantern diffuser speedlite accessory

06 Dec

Lantern Diffuser

$ 99 | Hähnel

Hähnel recently launched the Lantern Diffuser, a new speedlight diffuser that creates an exceptionally wide-angle spread of illumination in a very compact form factor by using a clever folding design. This new lighting accessory is just one part of Hähnel’s modular flash system and is designed to attach to hotshoe flash units via one of the company’s magnetic accessory clamps.

Key features:

  • Compact, folding design
  • Comes with six color gels
  • Works with Hähnel’s other modular magnetic accessories
  • Hähnel magnetic clamp is required and is a separate purchase
  • Compatible with most larger speedlight-style flashes from various manufacturers

The Lantern Diffuser is available now at B&H and other authorized Hähnel retailers for $ 99 USD.


What is it?

The Lantern comes in a kit that includes the diffuser along with a set of six colored gels and a gel holder that gets sandwiched between the magnetic clamp and the diffuser frame. The whole kit comes in a folding wallet that also has room for the magnetic clamp that isn’t part of the kit – but which is essential for its use. The clamp is central to the company’s range of clip-on accessories and needs to be bought separately.

The diffuser is made using a fan of concertinaed white material that both diffuses the light and sends it out over a 180° angle as the flash passes through it, with the idea of producing a very soft light that covers a very wide area.

I was initially concerned about how well the fanned out diffuser would survive lots of use, drops and getting its delicate design dented, but in all the use I made of it I didn’t manage to damage it. I guess if you dropped your flash with it attached and it landed face down the consequences mightn’t be good, but so long as you don’t do that it should be fine.

The kit comes in a roll-up pouch and includes 6 colored gels, a magnetic gel holder and the diffuser itself

When not in use it folds away into itself and is protected by the rigged plastic-covered metal ends. I haven’t used it long enough to know whether it will yellow with time, and the weather has been too good to test it outside in the rain – I’d be nervous to do that with the Lantern, while my softboxes would just dry out.

I’m a big fan of good speedlight accessories that are easy to use, which don’t take up a lot space and which have a dramatic impact on the characteristics of the light produced. And I have quite a collection, from inflatable frosted panels to snoots, softboxes and those yogurt-pot-like tubes the flash fires up into. This Lantern is quite different to anything else I’ve used, so I wanted to give it a try.


How it works

This video from Hähnel shows how the Lantern folds and attaches to a flash of your choice.

I used this diffuser on the Hähnel Modus 600RT flash unit, both on the camera and off using a Viper TTL trigger for Micro Four Thirds cameras and Panasonic full-frame S-series cameras. The Modus 600RT is the more powerful of Hähnel’s speedlights, and offers a guide number of 60m at ISO 100 at the 200mm zoom setting.

To attach the Lantern to the flash, I used the Module 600 clamp which, with its sprung grip, will fit most larger hotshoe style flash guns from all manufacturers. The clamp grips the head of the speedlight with the Hähnel logo facing forwards and the Lantern diffuser sticks to it when the magnets in each item attract. The gel holder can go on first, which offers a more obvious placement for the diffuser, but it doesn’t have to. Take a look at the video above for a clearer picture of how it all works.

Used in the hotshoe the light from the Lantern Diffuser is direct and straight on, but very much softer than you’d expect from such a small accessory.

Overall, the Lantern diffuses light more than you’d expect from such a small flash accessory. With a bare bulb the light would be much harder and highlight on the sun-creamed forehead would be dramatic and distracting. The accessory is small enough to create a definite direction, but the multi-layered diffusion makes that light seem quite gentle.

The Lantern diffuser folds in half, so we attach one half to the magnetic clamp and then unfold the other half to get the full 180° dome effect.


What it looks like

I started by testing the spread and the evenness of the light the diffuser gives by clamping the flash onto a stand using Hähnel’s Bowen’s mount adapter and firing the flash at a blank wall.

The difference in spread is immediately clear when you compare the Lantern-diffused exposure with that of the bare head and even when an 80cm/31in double-diffused square softbox was used instead. The Modus 600RT is a TTL gun, but if you shoot manually expect to lose about 2 stops of light due to the Lantern diffuser – about the same as when using the softbox with the extra internal diffuser sheet – but a much wider spread of illumination.

This is the coverage of the flash with no modifier The flash was left in the same position, but with the Hähnel 80cm softbox attached
Here’s the same arrangement but using the Lantern diffuser And the same again, but with a green gel in the gel holder

What is significant about this little diffuser is that it offers both a diffused and a bounced light effect, so the light is very soft once it reaches the subject. The softness is remarkable considering how small the accessory is and that the flash is still effectively a point source. Shadows are defined but filled at the same time, and lack the hard-edged contrast we get with a bare head.

The Lantern Diffuser avoids that artificial look of a direct burst from an uncovered flash bulb

I found that even when used with the flash mounted on the camera the light is dramatically altered, and still provides a nice softness when used quite close to the subject. It avoids that immediately artificial look of a direct burst from an uncovered bulb, or even that of a light bounced into a kicker reflector.

I tried the Lantern for some single-light still life shots with the flash at a relatively close range and a small subject – things that tend to bring out high contrast when hotshoe flash units are used. You can see though that the Lantern has done very well to produce a soft light that doesn’t display hotspots or reflections on the waxy surface of the avocado skin.

Click or tap-and-drag the arrow to see a soft box and the Lantern Diffuser differ.

The light is as soft as that produced by the 80cm softbox, though the shadow profile is slightly more defined due to the smaller surface area of the source. As the light from the Lantern is thrown around the room we get much more fill in the shadow areas too.

The spread of the light is also very impressive. The Lantern will light a room evenly when we are using a super-wide lens to fit it all in. This means we don’t have to worry about finding a clean white surface to bounce from. Fall off is more dramatic than with a bare bulb or a bounce, so a powerful gun will work best.

To give you an idea of the diffuser’s coverage, this was shot on the full frame Lumix S1R with a 9mm lens – at f/8 and 1/200sec at ISO 400. All the light on the foreground is from the flash. You can see that the post on the right as well as the tree trunk on the left are both lit with the flash. A 9mm lens has an angle of view of 135 degrees.

Conclusion

I’m very impressed with this Hähnel Lantern. It’s small, highly portable and weighs almost nothing, which means you can afford to carry it around in the camera bag even when you don’t actually get to use it without it having been a pain all day. The clamp is simple to fit and the gel holder and diffuser just snap on, so assembly is quick and easy too.

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I don’t often use colored gels with single flash set-ups, but they are handy for second and third guns for rim lighting and coloring a background. Background lights with these diffusers on will be very useful, and the lack of hotspots, and their size, means they are ideal for hiding within the shot without the danger of them producing give-away bright blasted areas.

I have a lot of rubbish accessories, and others that are well thought out but the size of studio modifiers so you can’t carry them around on the off-chance that you might need them. This though sits in a side pocket of a bag ready for that moment you want to soften a burst of flash whenever it happens to occur. I would also actively take this with me to light backgrounds, multiple people facing inwards, for filling in on a sunny day and for using as the main light for a portrait or a still life.

The flash was held just off-camera for this shot. The defined shadow is still there but the light on the subject is soft and attractive. The subject was in the shade and exposure was 1/200sec at f/9, so almost all the light on the subject was provided by the flash.

I love using speedlites for ‘proper’ photography especially on location (I used two Hähnel Modus 600RT units with a softbox and a small dish for the male model shots in the Hasselblad 907X sample gallery) and this will definitely be joining the collection of tools I use – and ousting a few that simply don’t do the job so well.

The Hähnel Module Creative Lantern Kit costs £59.99/$ 99.99. For more information see the Hähnel website.

What we like:

  • Amazingly well diffused soft light
  • Really wide, even spread of light
  • Small and easy to carry all the time
  • Quick to assemble
  • Nice pouch and accessories

Don’t like:

  • Dome feels a bit fragile, though it hasn’t dented yet
  • Gels are strong and for dramatic effects rather than colour correction

Star Rating

Articles: Digital Photography Review (dpreview.com)

 
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Video: How to safely make a 35mm daguerreotype at home

05 Dec

In the latest episode of ‘Darkroom Magic,’the George Eastman Museum’s historic photographic process specialist, Nick Brandreth, teaches viewers how to make a 35mm daguerreotype at home without the use of dangerous or expensive chemicals.

The daguerreotype gets its namesake from its creator, Louis Daguerre. The daguerreotype was introduced to the masses in 1839, becoming the first commercially viable photographic process. Although it fell out of favor about a decade later, the process has distinct characteristics that made it the process of choice for some specialists throughout the 20th century.

Nick Brandreth with some of his 35mm daguerreotypes

As Brandreth says, the at-home daguerreotype process is quite simple. In addition to a 35mm camera, you need a silver plate, or in his case, a piece of copper with silver plating. Orange or red glass is required in lieu of using mercury, which is part of the traditional daguerreotype process. You need iodine fuming materials and a glass vessel. Additionally, polishing materials are required to give your silver plate a mirror-like finish. The full ingredients are shown in the video below.

After you have gathered your materials, you must first buff and polish the silver plate. The first step requires a buff, olive oil, and rottenstone compound. This step removes any big scratches. Be sure to wash the plate with soap and water in between steps. The next stage is to polish the plate using lampblack, bringing the plate to a mirrored finish.

You’ll need a variety of materials to do this project, but they’re all safe, unlike the mercury used in the traditional daguerreotype process.

With the polished plate ready, the next stage is fuming. Combining silica gel beads and pure elemental iodine in a glass, you create a fuming material and place the polished plate above it, creating a photosensitive surface. The surface is sensitive to ultraviolet, violet and blue light, so you’ll want to expose it with natural light or a suitable artificial light source.

Orange or red glass is used to develop the plate. It takes between 30 and 45 minutes to fully develop the plate. It will then require fixing and a finishing stage.

The plate is now ready to be exposed. Place it inside your 35mm camera and the camera’s pressure plate should keep it stable. After exposure, it’s time for the ‘magic to happen,’ as Brandreth says. Place your exposed plate under a piece of red or orange glass and hit it with sunlight or a strong work light. You can watch the plate develop over the next 30 to 40 minutes. After this, give it a smooth, consistent fix and then wash the plate. To watch the finishing stage, be sure to watch the video above, as it requires a few steps.

If you’re interested in the science and art of photography, you can learn more about workshops at the George Eastman Museum’s website. Many more interesting videos can be viewed on its YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
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Viltrox unveils 33mm F1.4, 56mm F1.4 APS-C prime AF lenses for Sony APS-C camera systems

04 Dec

Viltrox has announced the release of its new AF 33mm F1.4 and 56mm F1.4 APS-C prime lenses for Sony E-mount camera systems.

The new 33mm F1.4 (50mm full-frame equivalent) features an all-metal construction and is comprised of 10 elements in 9 groups, including one extra-low dispersion element and one high refractive index element. It features the option to manually or automatically control the aperture, a minimum focusing distance of 40cm (15.75″), offers a built-in micro USB port for updating the firmware and is compatible with Sony’s Eye AF technology thanks to its onboard stepping motor (STM) driving the autofocus.

The lens measures in at 72mm long, 65mm diameter and weighs 270g (9.5oz). Viltrox has a full list of compatible Sony cameras on the 33mm F1.4 product page, where you can also buy the lens today for $ 259.

Moving onto the 56mm F1.4 (85mm full-frame equivalent), it too features an all-metal construction and is comprised of 10 element in 9 groups, including an extra-low dispersion element and a high fraction index lens. Interestingly, unlike the 33mm F1.4 lens, the 56mm F1.4 lens appears to be identical in optical design and features to the 56mm F1.4 lens Viltrox released for Fujifilm X-mount systems back in September.

The 56mm F1.4 also supports Sony Eye AF technology, has a built-in micro USB port for updating the lens’ firmware and uses an STM motor for driving autofocus. The lens measures in at 72mm long, 65mm diameter and weighs 290g (10.2oz).

You can find a full compatibility list on Viltrox’s 56mm F1.4 product page, where you can also pre-order the lens for $ 299.

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Video: One man’s quest to watercool a Canon R5 into an 8K video powerhouse

04 Dec

This July, Canon released a media advisory clarifying the overheating concerns of early Canon EOS R5 and R6 users. After Lensrentals took apart the R5, we better understood the thermal constraints of the design. The camera is very tightly sealed, which is great when you want to keep water out, but not so great when you want heat to escape.

In its media release, Canon stated the approximate recording time for 8K 30p video with the R5 before the camera overheated is about 20 minutes. After letting the camera cool for 10 minutes, users can expect to record another 3 minutes of 8K footage before the camera overheats again. It’s a better, albeit similar, situation when recording 4K 60p and 4K 30p (8.2K oversampling) video. The feature set of the R5 and its performance is impressive, but in many settings, overheating is problematic.

Matt from the YouTube channel DIY Perks wanted to prevent his own Canon R5 from overheating, so he dismantled it and modified the camera’s internals. Should you feel inspired, it is worth pointing out the obvious. Dismantling your camera and modifying it will void your warranty and comes with significant risks. However, for the adventurous among you, you can see how Matt modified his camera in the video below.

Matt used some standard liquid cooling components you might find in a performance-oriented PC. He also installed thermal paste, which he believes is much better than the thermal pads that the R5 has between the main processors and a metal plate. To try to remove heat from the main processing area, he also installed copper, as it’s a good conductor of heat.

Matt used PC liquid cooling components to water cool his Canon R5. As you can see, it’s not a compact solution. However, it is remarkably effective, allowing for unlimited 8K recording times.

After making these mods, would the R5 record 8K video for longer than 20 minutes? No. Even though the camera was staying much cooler than it did before it was modified, it still shut down after 20 minutes of recording due to a timer-based heat management solution baked into the camera’s firmware.

Matt updated to a recent firmware version, which changes how the camera manages overheating, and tried the test again. This time, with firmware version 1.1.1 installed on the R5, the water-cooled R5 breezed past the 20 minute mark and Matt speculates that the camera should theoretically be able to record indefinitely. It’s worth noting that in certain situations, such as Matt’s testing area, the firmware update alone can increase 8K recording time limit. In this case, it added about six minutes of 8K recording time before overheating.

With custom-fabricated copper, the R5 becomes a much better high-end video camera.

Of course, the liquid cooling solution is not very practical or elegant. It requires tubing, a water reservoir, a pump, radiator and you must have the back of the R5 remain detached. Matt wanted to devise an improved heatsink solution and reassemble the camera completely.

Using copper, improved thermal paste, and thermal padding, he was able to get nearly 40 minutes of uninterrupted 8K recording, a significant improvement over the production camera. A five minute break allowed an additional half an hour of recording. This is a very impressive passive cooling solution and a big step up over an unmodified R5.

Combining modified internal components with copper heatsinks and an external heatsink results in unlimited recording time. It adds bulk to the camera, but the rear heatsink is removable, allowing the camera to retain its original form factor.

If you require even longer record times, coupling the passive cooling modification with a copper heatsink mounted to the back of the camera does the trick. While a heatsink adds bulk, it is also easily removed when not needed, quickly returning the camera to its original form factor. Matt also designed a 3D-printable base for the camera that includes room for a fan and batteries. The base works in tandem with the internal copper plate modification. The files for the base have not been uploaded yet, but the link will be added to the video’s description when available. To view more videos from DIY Perks, click here.

Articles: Digital Photography Review (dpreview.com)

 
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