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Following initial reports, Fujifilm confirms ‘small percentage’ of X-Pro3 units have an EVF defect

21 Jan
DPReview reader and Fujifilm X-Pro 3 owner Etienne Waldron shared the above photo in an attempt to demonstrate the brightness issue with the EVF display inside his unit.

Following concerns shared in the DPReview forums and on Fuji X Forums, Fujifilm has confirmed to DPReview that a ‘very small percentage’ of its X-Pro3 cameras are experiencing an issue that impacts the electronic viewfinder. As reported by impacted camera owners, including DPReview reader Etienne Waldron, who kindly shared the photos in this article with us, this issue causes the display in the EVF to appear substantially overexposed, though the problem doesn’t impact the model’s LCD.

The brightness issue doesn’t just affect the image either—reports note it’s apparent throughout the menu as well.

The exact cause of this issue is unclear at this time, and Fujifilm’s below statement doesn’t divulge what exactly is going on, but it appears to be a hardware defect rather than a software problem. Fuji is merely advising impacted customers to get in contact with its customer service for help, with a Fujifilm spokesperson telling DPReview the following in a statement via email:

Our customers are always our number one priority. We take feedback to heart and always strive to provide the highest possible quality in our products. We are aware of the phenomenon affecting the viewfinder in a very small percentage of X-Pro3 units. We advise our customers to contact Fujifilm customer service directly to solve any questions or concerns they may have about the camera.

Note the difference between the flip-down LCD and the EVF.

This issue is particularly frustrating for users in light of the camera’s EVF-centric design. The model features a hidden flip-down LCD that limits the ways in which the camera can be used in the absence of the viewfinder. Because the defect is causing a very overexposed image, the EVF is essentially unusable for impacted camera owners. Unfortunately, replacing the faulty camera is the only known solution to the problem at this time.

Articles: Digital Photography Review (dpreview.com)

 
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The Fragment 8 is a retro-inspired video camera that records to GIFs instead of film

21 Jan

Super 8 cameras were the consumer’s tool of choice for recording images before VHS and other video systems became affordable. The Fragment 8 from Loft Factory is a digital camera that aims to replicate the look, feel and image quality of 1960s and 70s Super 8 cameras using modern technologies.

It can record in either MP4 or GIF formats at 720p resolution on a 1/3 CCD sensor and is targeted of users of Instagram, TikTok and other social media platforms that can process short video clips and animated GIFs. It produces the characteristic Super 8 shutter sound and the frame rate can be set to either 9 or 24 fps for authentic results. An optional filter attachment lets you use three effect filters: Kaleidoscope Six, Star Filter and Radial Filter.

Operation is deliberately kept simple, with a fixed-focus lens, no manual controls and a built-in viewfinder. The camera features a tripod mount on the bottom of the handle and weighs just 250g (8.8oz), which should make it fairly portable.

The team behind the Fragment 8 is currently looking to raise funds for large scale production on Kickstarter and pledge options are plentiful. You can pledge as little as $ 78 for the Fragment 8 camera and one basic lens, or up to $ 128 which includes the camera body with genuine leather trimming, the basic lens, one rotating lens plate and three filter lenses. Shipping is estimated for May 2020.

More information is available on Kickstarter or on the Lofty Factory website.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.


New Kickstarter Project Revives the Super 8 Retro Camera with GIF Format

“Fragment 8,” the World’s First Camera to Directly Shoot GIF’s is a Perfect Replica of a Super 8 Camera, Including Shutter Sound, 2-Minute Time Limit and Vintage Image Look

Introduced in 1965, Super 8 cameras launched a home movie revolution by giving regular people the ability to instantly capture a moment of their lives using a small, affordable hand-held film camera. The nostalgic feel of Super 8 movies is instantly recognizable in their characteristic faded color tone, graininess, slightly jerky motion and the short lengths (typically 3 minutes max per Super 8 film cartridge) which made them feel so spontaneous. A new Kickstarter project called the “Fragment 8 Retro Camera” has launched for a new camera that not only duplicates the visual look of Super 8 movies – in MP4 or GIF output so they can be shared online in seconds – but faithfully recreates the actual act of using a Super 8 camera itself, complete with clacking shutter sound.

https://www.kickstarter.com/projects/fragment8/slice-of-life-fragment-8-retro-camera

Produced in Hong Kong by the Lofty Factory, Ltd., the “Fragment 8” camera uses modern digital technology to faithfully recreate the authentic look of Super 8 home movies, but with the convenience of USB output in either MP4 or GIF formats at 720p resolution. The Fragment 8 can shoot in either 9 frames per second or 24 and options include three different add-on lenses – Kaleidoscope Six, Star Filter and Radial Filter – for specialized effects – as well as a standard 17mm lens mount. The camera is faithfully made with a simple built-in viewfinder and focus-free operation. The artfully crafted curves are accented with optional genuine leather and there’s a standard tripod mount on the bottom. The camera weighs only 250 grams – easy to carry anywhere, all day.

Kickstarter pledges begin at HK $ 600 (USD $ 78) for the “Dare to Try” level which will be rewarded with one of the first 100 pieces of production in the “Classic Package” which includes the Fragment 8 camera, one basic lens and beautiful gift packaging. Kickstarter Early Bird pledges are HK $ 700 (USD $ 90) for the Classic Package (USD $ 128 retail value). The third Kickstarter level is at HK $ 980 (USD $ 128) for the “Combo Pack” which includes the Fragment 8 body with genuine leather, the basic lens, one rotating lens plate and three different filter lenses (Kaleidoscope Six, Star Filter and Radial Filter) and beautiful gift packaging (USD $ 198 retail price).

Reward delivery is estimated for May 2020.

The Fragment 8 camera was developed by Hong Kong software artist Manhin, who completed the ID & MD design and software development, in cooperation with the graphic and film director Chun Yin.

There’s nothing quite as uniquely beautiful as a Super 8 movie,” said Fragment 8 camera co- creator Manhin. “And the short Super 8 format makes perfect sense with today’s popularity of GIF loops and TikTok videos. Inspired by natural aesthetics, your story can be shared with friends at a new level with romantic and retro effects. You don’t have to fiddle around with

aperture, IOS, or white balance. All you need do is experience the gorgeous vintage feel in your own videos.”

“The Fragment 8 Retro Camera embodies the bright and soft appearance of the mid-century classic analog film. With natural tones, subtle color changes and slight discoloration, it makes a video of even the most mundane subject look artistic, nostalgic and well- composed,” said Fragment 8 co-creator Chun Yin.

FRAGMENT 8 TECHNICAL DETAILS

  • 1/3 inch CCD sensor
  • 720p HD resolution
  • Built-in viewfinder
  • 9 or 24 frames per second
  • MP4(H.264) or GIF output
  • F/2.5 with a 4-Element Lens
  • 17mm mount compatible
  • Electronic shutter
  • Focus-free
  • Li-ion battery pack
  • Aluminium, metallic printed ABS and Leather
  • 110 W x 90 H x 40 D mm (body)
  • 250g (body)

For complete information, sample videos, tech specs and to pledge, visit the Fragment 8 Kickstarter page at – https://www.kickstarter.com/projects/fragment8/slice-of-life- fragment-8-retro-camera

Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics adds Canon M, Fuji X and Sony E mount options to its 4mm F2.8 circular fisheye lens

21 Jan

In addition to DPReview receiving confirmation that Venus Optics is working on a new ultra-fast F0.95 ‘Argus’ lens lineup, Venus Optics has also announced it’s adding new mount options for its 4mm F2.8 circular fisheye lens.

Now, in addition to Micro Four Thirds (MFT) cameras, the 4mm F2.8 circular fisheye lens will be available for Canon M-, Fuji X- and Sony E-mount camera systems. The updated models will feature the same optical design constructed of seven elements in six groups. The lens features a 210-degree angle of view, 8cm (3.14in) minimum focusing distance, seven-blade aperture diaphragm and weighs just 135g (4.7oz).

Below is a gallery of sample images, provided by Venus Optics:

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The new Canon M-, Fuji X- and Sony E-mount versions of the 4mm F2.8 circular fisheye lens are currently available on Venus Optics’ website for $ 200.

Venus Optics adds Fuji X, Sony E & Canon M options to the Laowa 4mm f/2.8 Circular Fisheye Lens

Anhui China, Aug 7, 2019 – Venus Optics, the camera lenses manufacturer specializes in making unique camera lenses, add new Fuji X, Sony E and Canon M variants to the Laowa 4mm f/2.8 Circular Fisheye Lens.

Laowa 4mm f/2.8 Fisheye lens is an 8mm equivalent fisheye prime specially designed for mirrorless cameras with APS-C and MFT sensors. On the contrary to the Laowa ‘Zero-D’ wide angle lenses, the new 4mm fisheye lens is designed to create an extremely distorted circular fisheye perspective.

210° angle of view The lens features an ultra-wide 210° angle of view. Photographers can take advantage of the dramatic field of view to capture more than what your eyes can see. A full 360-degree panorama can also be done using just 2 images as opposed to shooting 6 or more images with conventional fisheye lenses. This lens is also particularly good for VR photography, shooting virtual tour, skateboard shooting and spherical panorama.

Fast f/2.8 aperture The ultra-fast f/2.8 aperture makes it an ideal option for astro-photography and shooting in lowlight condition.

Focus as close as 3.14” (8cm) from sensor Photographers can take advantage of the super close focusing distance to capture some heavily distorted & impactful shots.

Drones friendly The MFT version of the lens can be mounted on DJI Inspire X5 drones to create some epic ‘God’s vision’ shots.

Outstanding sharpness Houses with 7 elements in 6 groups, the new 4mm has an outstanding sharpness throughout the frame. Along with the 210o ultra-wide angle, photographers can either ‘de-fish’ the image in post-processing or crop to transform the image into a rectilinear image.

Super Tiny & Lightweight The lens is extremely tiny and lightweight. Measuring only 1.77” (45mm) long and weighing 4.7 oz (135g), the lens is so small that can be put into pocket for shooting anywhere, anytime.

Huge Depth of Field The depth of field of this lens is so deep that no focusing operation is required. Simply park the focus ring at infinity focus and stop down the lens to around f/5.6, everything will be in focus.

Pricing & Availability The lens is currently available to order from authorized resellers and in Venus Optics official website (http://www.venuslens.net/). It is ready to ship now. The ex-VAT retail price in US is USD 199/pc. Pricing may vary in different countries.

Articles: Digital Photography Review (dpreview.com)

 
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The Canadian Internet Registration Authority has created a free and funny stock photo library

20 Jan
A lumberjack checking out a hockey player is a Canadian take on the ‘distracted boyfriend’ meme. Photo courtesy of CIRA/.CA.

The Canadian Internet Registration Authority (CIRA), the organization in charge of Canada’s ‘.ca’ top-level domain, has published a series of stock photos that poke fun at Canadien stereotypes. In a bid to get more people to add something ‘uniquely Canadian’ to their projects, they’re offering up their library of stock images for free.

Photo courtesy of CIRA/.CA

Anyone can use small, medium, large or extra-large sized images from the library, though they ask for an email address to access the extra-large 4K files. All CIRA asks, in return, is that a credit along the lines of ‘photo by CIRA/.CA,’ along with a link back to their website, is included.

Photo courtesy of CIRA/.CA. Also, no, this is not long-lost relative of Jordan—so far as we’re aware.

CIRA has their own version of the popular ‘distracted boyfriend’ meme, featuring a hockey player, and other distinct nods to Canadian culture including a moose interacting with backpackers and a lumberjack taking a swig of maple syrup. Anyone with the desire to add to this collection of images is encouraged to contact CIRA.

Articles: Digital Photography Review (dpreview.com)

 
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The Nikon D750 vs D780: Should you upgrade?

19 Jan

The Nikon D750 vs D780: Should you upgrade?

The Nikon D750 was one of the best enthusiast-and-up DSLRs on the market at the time it was announced and is still a popular workhorse for many photographers today. Its 24MP sensor is still very competitive but its video specs in particular are looking very outdated.

If I were a D750 shooter today, ‘should I upgrade?’ would be a question on my mind. Our own Dan Bracaglia had some thoughts of his own on this, but let’s take a slightly deeper dive into just what Nikon’s updated, and whether those updates are worth it.

Autofocus

Probably the first thing most D750 owners will start to notice if they move across to the D780 is the improved autofocus. The D750 is certainly a capable camera in this regard but the D780 gains a couple of updates that should boost its performance.

In conventional DSLR mode, the D780 uses the same 51-point AF module as its predecessor but the AF system is informed by information from a 180,000 pixel metering sensor, rather than the 91,000 pixel sensor in the D750. This, combined with algorithms derived from those of the D5 professional sports camera, should significantly improve the D780’s AF performance, particularly in terms of subject tracking.

Even more significant will be the autofocus improvements in live view mode, which we’ll come to in a bit.

Newer sensor and JPEG engine

Although both cameras have sensors that come with 24MP, the unit in the D780 is a newer design, either identical or closely related to the one in Nikon’s existing Z6 mirrorless camera. This means it has a BSI (backside-illuminated) design and, more significantly, dual-gain architecture. In essence, this allows the camera to have maximum dynamic range at base ISO with improved noise characteristics at higher ISO values where absolute DR isn’t as crucial a consideration.

We would expect the D780 to produce better JPEGs compared to the D750

We’d expect the D780 to offer a slight upgrade over the D750 for Raw shooters, but one that’s only really visible in comparison and that won’t come close to justifying upgrading.

On the other hand, Nikon’s JPEG engine has improved by leaps and bounds over the past five years. We’ll have to do some more testing to be sure, but we’d expect the D780 to produce JPEGs with better sharpening, more pleasing color and more sophisticated noise reduction compared to those from the D750. And that also makes those JPEGs that much better for sharing over the updated Snapbridge wireless system that the D780 supports.

But that 24MP sensor isn’t all about BSI and dual-gain architecture. It also comes with…

On-sensor phase detection

The D780 has on-sensor phase detection, which provides the kind of distance information needed to quickly drive DSLR lenses. It also gains the AF tracking system from the Z-series cameras, including Face and Eye detection modes. The Face and Eye detection will be a distinct improvement for portraits and people pictures, compared with the D750.

The D780’s live view interface is directly borrowed from the Z-series cameras. This means it works slightly differently that the through-the-viewfinder system: AF tracking needs to be actively cancelled, and always resets to the central position, rather than a pre-selected one, and the Face / Eye detection modes feels like it’s been glued on top of the interface rather than designed to be part of it.

But if you’ve only shot with a DSLR before, you’re likely to be immediately impressed by how well the live view AF performs. Particularly for taking pictures of people, it can be fast, simple and dependable, in a way that even Nikon’s 3D Tracking system isn’t.

Video

Along with live view autofocus, one of the clearest enhancements on the D780 is its video performance. This is immediately apparent from the fact it can shoot up to 4K/30p or 1080/120p, rather than the 1080/60p of the D750, but it runs a lot deeper than that.

For a start, the vastly improved AF and tracking of its live view mode extend to its video shooting, meaning the autofocus is faster, smoother and more reliable (the difference between being usable and unusable, basically). In addition, the D780 gains Nikon’s latest approach to video settings, which lets you configure different settings, including different button customization, if you wish. You can have the video mode mimic your stills settings if you like, but you can also set it to use a different color mode, or white balance setting if you prefer, meaning it’s easy to jump back and forth between stills and video shooting.

Overall, the D780 is a very capable video camera. It’ll even output 10-bit Log footage to an external recorder, if you’re taking things really seriously. Panasonic’s S1 and S1H are some of the only full-frame cameras to offer significantly better video specs. That’s a huge step forward from the D750.

What’s similar?

Many of the rest of the D780’s specs are broadly similar: it’ll shoot at 7fps rather than the D750’s 6.5fps, but that’s unlikely to make much of a difference. Switch to live view and electronic shutter mode and the D780 will deliver 8fps or 12fps if you’re willing to take the slight dynamic range penalty of dropping to 12-bit mode. However, electronic shutter risks movement being distorted by the rolling shutter and increases the range of situations in which you’ll see banding from the flicker of artificial lights, so it’s not useful for all applications.

The optical viewfinders are the same, too: pentamirror finders with 100% coverage and 0.7x magnification.

Also, the D780 still has an in-body (screw drive) focus motor and AI tab, to allow its use with a broad range of older F-mount lenses. The D750 had both features, but notably the FTZ mount adapter for the Z-mount cameras doesn’t.

What’s different

The D780’s rear screen still tilts up and down on a rugged-feeling cradle like the D750’s did, but the dot-count has doubled and it’s now touch-sensitive, making the camera much more usable in live view mode.

The other big difference is that the D780 uses Nikon’s Snapbridge communications system, rather than the more conventional Wi-Fi system on the D750. Snapbridge maintains a constant Bluetooth connection between a smart device and the camera, which makes it quicker to establish a Wi-Fi connection.

We weren’t impressed with the early implementations of Snapbridge but it’s gained a lot in the way of features and stability since then. There’s an option to auto-send 2MP versions of every image you shoot, you can set the camera to transfer images you’ve marked in playback mode (these transfers will happen even when the camera is off), or you can browse the images on the camera from your phone. It now supports Raw and video transfer over Wi-Fi, along with geotagging of images based on phone location and extensive remote control of the camera.

The D780 has a new shutter mechanism, capable of 1/8000 sec exposures. The downside is that its shutter shock at moderate exposures is more pronounced than on the D750. You can work around this by selecting ‘Electronic front-curtain shutter’ in the menus and always shooting in Quiet mode (apply the minimum 0.2 sec exposure delay when resolution is really critical), but it’s worth being aware of.

What’s missing?

Not all of the D780’s specs are an improvement on the older model, though. The D780 repeats some of Nikon’s recent product planning decisions that omit some features that were included in the D750.

The most immediately apparent difference is the lack of internal flash. Nikon says the camera can be better weather-sealed if you don’t include a pop-up flash, but anyone looking to use the D780 with off-camera flashes will have to consider the significance of that trade-off for their shooing. You can mount a variety of flash commanders to the hot shoe or push a WR-R10 radio transceiver into the Remote socket on the left of the camera, if you have the latest radio-controlled Nikon Speedlights.

The other obvious omission on the D780 are the connectors to allow duplicate controls on an accessory grip. There’s nothing on the base of the camera and nothing in the battery compartment meaning that, if Nikon does decide to offer a battery grip, it’ll be like the one for the Z6 and Z7, that just adds room for a second battery.

We suspect a lot of users will find the D780’s rating of 2260 shots per charge more than sufficient (especially considering it’s common to get more than twice the rated number, depending on your usage). However, there will be some users that liked the extra reassurance or improved portrait-orientation ergonomics that an accessory grip offers.

Batteries and memory cards

The D780 uses the latest EN-EL15b battery. It looks like a slightly more angular version of the existing EN-EL15 batteries, the distinction being that the ‘b’ variant can be charged over the camera’s USB socket. The D780 can still use the older 15a and 15 batteries but without USB charging, and with significantly reduced battery life if used with the original EN-EL15 batteries not marked Li-Ion20.

Interestingly, like the D750, the D780 continues to use twin SD card slots, now compatible with the newer UHS-II cards. This may seem odd, given the closely-related Z6 uses the more exotic XQD card format. But there’s not much that the D780 does that would demand higher throughput that the 90MB/s rates maintained by the latest v90 SD cards.

Equally, if we see the D780 as an F-mount alternative to the Z6, then it makes sense that it should maximize its backwards compatibility in terms of cards as well as lenses and (to an extent) batteries.

Should I buy a D780?

Considered in isolation, the D780 is a tremendously well-rounded, capable camera, much as the D750 was, but with that capability now extending to video as well as stills shooting. However, it’s also worth considering the question ‘why would you buy this instead of a Z6?’

The Z6 was launched for $ 300 less than the D780 and that was over a year ago, so the current price difference is even greater. The Z6 uses Nikon’s latest lenses, and clearly represents the direction the company and its development efforts are going in, so what would prompt people to still buy a DSLR?

The most compelling reasons would be either because you have a significant investment in F-mount lenses, your style of shooting demands an optical viewfinder, or simply that you prefer using an optical viewfinder. In which case, the D780 looks like a great do-everything option, and one that has been appreciably improved, compared with the D750.

We suspect this is a trend we’ll see from Canon and Nikon for at least a generation or two of camera releases: a variant of their latest mirrorless cameras, built into (perhaps modestly updated) versions of their DSLR bodies, since both companies have die-hard DSLR users. The breadth of the model range might contract, over time, making it less likely that there’ll be a model at the price you want to pay, but there are enough Nikon lenses out there that there’ll be an audience for Nikon DSLRs for a while yet.

Should I upgrade from my D750?

Whether it’s worth upgrading from a D750 is a more difficult question. If you primarily shoot stills, it might not be. There are certainly improvements in terms of image quality particularly on the JPEG side of things, but these alone are unlikely to justify the cost of upgrading. If you only shoot stills through the viewfinder, and haven’t found yourself hankering for improved AF tracking, then it probably makes sense to stick with the D750.

If you only shoot stills through the viewfinder then it probably makes sense to stick with the D750

However, if you would like a camera with the simplicity and accuracy that eye-detect AF brings, it’s well worth a look. It’s also certainly an easier camera to shoot at high and low angles, thanks to its much more usable live view. Most of all, if you have even the slightest interest in video, the D780 is a significantly better camera. If nothing else, it’s a great way to get that familiar DSLR feel with the option of experiencing what Nikon’s Z-series cameras are like to use.

But then, if it’s the video and mirrorless features of the D780 that make you want to upgrade, maybe you’d be better off with a Z6.

Articles: Digital Photography Review (dpreview.com)

 
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Pentax DA* 11-18mm F2.8 sample gallery (DPReview TV)

18 Jan

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Check out these full resolution images shot with the Pentax DA* 11-18mm F2.8 ultra-wide zoom lens, captured while shooting this week’s episode of DPReview TV.

Did you miss this episode? You can find it here.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: The most important Pentax cameras of all time

18 Jan

Pentax week continues! In this video, Chris takes us for a ride on the wayback machine to look at the most important Pentax cameras in history.

Have your own favorite Pentax model? Tell us in the comments.

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

  • Introduction
  • Pentax K1000
  • Asahi Pentax 6X7
  • Pentax LX
  • Pentax Auto 110
  • Pentax K10D
  • Pentax 645Z
  • Conclusion

Articles: Digital Photography Review (dpreview.com)

 
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Photojournalists won’t be allowed to capture the handing over of the articles of impeachment against Donald Trump

18 Jan

Image US Capital, West Side. Captured by Martin Falbisoner used under CC BY-SA 3.0

It’s been revealed the United States Senate will be cracking down on the press corps for the Senate impeachment trial of U.S. President, Donald J. Trump, severely limiting photojournalists ability to document the monumental moment.

Later today, when House leaders hand off the articles of impeachment to the Senate, still photographers won’t be allowed to document the monumental moment, an unprecedented move that’s raising concerns over credentialed reporters’ and photographers’ ability to exercise their First Amendment right to the freedom of the press.

According to a report from Roll Call, Capitol Police Chief Steven A. Sund and Senate Sergeant-at-Arms Michael C. Stenger are putting in place restrictions that will allow just a single video camera to be present in the room. No still photographers will be allowed to press the shutter and no audio recordings will be allowed.

Even after today, the remainder of the trial will see only a single press pen set up on the second floor of the Senate, where legislators will enter and exit the chambers. Reporters and photographers won’t be able to move outside the pen, except for before and after the processions when they’re escorted by proper authorities.

Following news of these restrictions, The Standing Committee of Correspondents, a five-member panel of journalists representing the credentialed press in Congress, fired back saying the restrictions ‘fail to acknowledge what currently works on Capitol Hill, or the way the American public expects to be able to follow a vital news event about their government in the digital age.’

Roll Call reports the ‘planned restrictions […] rejected every suggestion made by the correspondents,’ regarding press access during the trial and The Standing Committee of Correspondents has rejected the claim these planned restrictions are being put in place to protect the lawmakers, saying Capital Police have implemented these rules ‘without an explanation of how the restrictions contribute to safety rather than simply limit coverage of the trial’

Other individuals chimed in on the matter, including Alexandria Ocasio-Cortez, a U.S. Representative for the NY-14 district, who shared the following tweet:

Photographer and teacher David Hobby also shared his thoughts on the matter, saying:

Unfortunately, these restrictions likely mean photographer David Burnett won’t be able to use his now-iconic 4 x 5 film camera to capture the transfer of articles for the third impeachment in U.S. history.

Articles: Digital Photography Review (dpreview.com)

 
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Xiaomi patent shows pop-up camera with up to seven lenses

18 Jan

Pop-up front cameras are an established design to avoid large bezels, ‘punch holes’ or notches on smartphone fronts. If Xiaomi’s latest patent filing is anything to go by the concept could soon be taken to another level, though.

The documentation which was recently authorized by CNIPA (China National Intellectual Property Administration) shows a pop-up camera that comes with a lot more camera/lens modules than anything we’ve seen up to now.

The patent includes three versions, with the most simple one featuring dual-cameras at front and back. The most advanced variant comes with a dual-cam at the front and five modules on the front.

To accommodate all this the pop-up mechanism is wider than on most other smartphones with pop-up cameras but still, image sensors would likely have to be smaller than on more conventional camera setups. As usual, there is no way of knowing if this patent will ever be turned into a final product but it’s good to see manufacturers looking at new ways of designing smartphone cameras.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals gets risky while tearing down the Nikon Z 24-70mm F2.8 zoom lens

18 Jan

Image credits: Photos published with kind permission from Lensrentals.


Over on ‘The Desk of a Humble Genius,’ Roger Cicala of Lensrentals has ‘finally’ taken apart the Nikon Z 24–70mm F2.8 lens and shared both his insights and images from the experience.

As the original title of the teardown, ‘Lens Disassembly is a Complicated Profession. Don’t You Agree?,’ alludes to, this particular disassembly proved to be a challenging one, which par for the course with Nikon lenses, according to Roger. In his own words, Roger says ‘Nikon lenses have always been a bit “old fashioned” and different from other SLR lenses,’ but this review comes with a very clear warning to ‘not get your lens and screwdriver and follow along at home,’ because ‘Bad things might happen. Bad. Things.’

The teardown starts off with what is about the only negative thing Roger has to say about the lens—the felt around the lens hood, which he feels peels up too easily isn’t up to the quality of the rest of the lens.

From there, it’s onto the mount, which was dissected one screw and ribbon cable at a time. Upon removing the mount itself, Roger noticed it was particularly difficult to get off. This was due to an inner lip that rests against the rear barrel of the lens. Roger says ‘This might be to keep the bayonet centered, for a dust seal, to provide a little extra strength, or just because it looks cool,’ but notes regardless of the exact reasoning, ‘it seems like an all-around good idea.’

Moving along, Roger removed the rear piece of the lens barrel to reveal the A/M focus switch and the optical sensor the control ring uses. Each piece removed reveals a healthy amount of weather sealing gaskets, as well as numerous electrostatic discharge (ESD) cushions under the exterior of the lens.

With the rear barrel off, Roger gets into the internals of the lens, which proved to be a pleasant surprise. In his own words:

‘OK, let’s take a moment for me to give some props. Forever, during Nikon tear-downs, I’ve made snarky comments about the old-fashioned look they have inside; soldered wires here and there, flexes wandering aimlessly, random secondary circuit boards, etc. Well, no more. Look at this engineering right here: neat flexes running directly where they’re heading placed in recessed channels in the barrel and thoroughly taped in place. Superb! Nikon has clearly modernized and spent time and effort in making a clean, well-engineered layout for the electronics. I’ve been asking for that for years, and Nikon delivered.’

The PCB itself also proved to be quite minimal, at least compared to the one found inside the Canon RF 70–200mm F2.8 lens Roger tore down a few weeks back. In the past, Nikon has used secondary circuit boards in the lenses to beef up the processing capabilities, but Roger notes there wasn’t another one inside this lens, suggesting the camera handles a generous amount of the processing power.

After a few other auxiliary bits, it was onto the removal of the next piece of the lens barrel. Unfortunately, this is where Roger and Aaron ‘ran into the “be careful what you wish for; you might get it” conundrum.’ It turns out one of those nicely-organized flex cables ran down to the display unit of the lens and refused to budge when attempting to lift the barrel.

A syringe full of rubbing alcohol isn’t something you usually want to see during a lens teardown.

‘Rule 63 of taking apart lenses is “thou shalt not tug a flex”; because tearing a flex is bad,’ says Roger in the teardown post. ‘[But] on Nikon lenses, because we can’t buy parts, tearing a flex is very bad.’ After countless attempts to use different means of removing the flex cable to avoid tugging, Roger and Aaron decided they were sick of holding off lunch and decided to use a little rubbing alcohol in a syringe to ease the adhesive from the back of the ribbon cable. After a little bit of pulling, the barrel was off and they were on their way.

Roger hits on a number of other interesting tidbits about the buttons on the lens and the unusually-bright neon-yellow tape strategically-placed throughout the lens. The zoom barrel proved to be weather-sealed incredibly well and the zoom position sensor Nikon uses is an upgrade from the traditional metal brushes it’s used in the past.

The remainder of the lens disassembly proved to be a doozy, with excellent build quality proving time and time again to be a double-edged sword for Roger, who seemed to be as challenged as he was impressed.

While we’ll leave the rest of the humor, photos and details to Roger in his full write-up, here are a few other notable details discovered throughout the remainder of the teardown process:

  • Breaking the front filter thread of the lens is going to be a very expensive fix, as the entire front barrel is a single piece, rather than a piece simply held on with a few screws.
  • Aaron had to put on gloves during the assembly, which in Roger’s own words means ‘shit’s getting real’
  • The aperture diaphragm assembly is a combination mechanical/electronic aperture with very tight tolerances

When all was said and done, this teardown proved to be the longest ever—and that’s before Aaron had to piece it all together. The good news is, it (mostly) took so long because Nikon went above and beyond when engineering this lens.

Roger says these new Nikon Z lenses are a far cry from their F-mount counterparts and much like Canon’s RF lenses, are likely completely new optical designs made in-house. He notes ‘The engineering itself is incredible in most ways [and] the neatly laid out and solidly adhered flexes reflect the careful design.’

To see all of the images and read more in-depth knowledge shared by Roger, head on over to the Lensrentals blog.

Articles: Digital Photography Review (dpreview.com)

 
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