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TTArtisan launches 11mm F2.8 fisheye lens for Sony E-mount systems

03 Jan

Chinese lens company TTArtisan has announced the availability of its new 11mm F2.8 fisheye lens for Sony E-mount camera systems.

The lens’ optical formula consists of 11 elements in 7 groups. It’s constructed of aluminum and brass and features an aperture range of F2.8-F16 with clicked aperture points.

It has a minimum focusing distance of 17cm, a ten-blade aperture diaphragm and weighs in at 485g. It is currently available to order for $ 215.

Articles: Digital Photography Review (dpreview.com)

 
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Why DaVinci Resolve 16 is the best video editing software for beginners

03 Jan

Blackmagic Design DaVinci Resolve 16
Free | blackmagicdesign.com

Resolve 16, a tool for all creators?

The explosion of user generated video content for websites like YouTube has led to the launch of several competing non-linear-editors (NLEs) aimed at consumers, which vary in terms of price, feature set and upgradability. So, how do you choose which one to use?

One great option is DaVinci Resolve 16 from Blackmagic Design. The software is available for free from Blackmagic, but it’s not the only low-cost entry in the NLE arena, so what makes it different, and why is it so attractive to users getting into video editing for the first time?

First, a little bit of history. Originally created by da Vinci Systems in 1985, the software was designed mainly for color grading and color correction and ran on hardware costing more that $ 150,000. It has evolved both in terms of features and pricing model since Blackmagic Design acquired it in 2009. The most recent version, Resolve 16, introduces a more streamlined and less complicated workflow for many users, particularly those new to using NLEs, to edit video.

First time users

Opening up the software for the first time can be rather intimidating for those who haven’t used an NLE before. The sheer number of windows and buttons can be rather daunting. The only NLE I can think of which doesn’t introduce this sort of shock is iMovie, however that program has limitations for users who might want to move their work into the professional arena.

When opening Resolve you’re initially greeted with a window that allows you to open an existing project or create a new one. Once you have a project open in the main interface, you’ll see a row of workspaces for various parts of your edit along the bottom of the window. Blackmagic calls them ‘pages’. These are termed Media, Cut, Edit, Fusion, Color and Deliver, and are arranged left to right in order to assist with the workflow. You can jump between pages at any point.

The newly introduced Cut page allows a more simplified workflow.

Is it complicated?

The introduction of the new Cut page in Resolve 16 has simplified some of the traditional workflow that was visually complicated. The inclusion of a page with fewer options will attract a number of new users. It’s very easy to quickly add shots to the timeline and trim them without having to invoke the more complicated Edit page, which can be a little complicated.

The quick export option allows access to some render presets without the need for the Deliver page.

That’s not to say that you have to use the Cut page since at any time you can jump between any of the pages. This might seem confusing at first, but it’s done in a way that allows you to use the more complicated features when you’re ready. When you start out, for example, you may find that you don’t need to use the Fusion page (for VFX work) or Fairlight page (for audio), but inevitably you will probably want to use some of the features these pages offer as your skills and requirements change. The other great thing about the Cut page is that a number of common functions can also be accessed there. For example, there’s no need to go into the Deliver page to render files as you can export your edit within the Cut page.

One thing you don’t get is any sort of guided workflow. Some basic previous knowledge is assumed, but there are plenty of excellent online tutorial videos available on YouTube from channels like learncolorgrading and JayAreTV.

The Fairlight page enables fine tuning of your audio with features like EQ and dynamics filters.

As with any new version of software , the launch of Resolve 16 brings a lot of added features and improvements. For example, with previous versions it was easy to start editing only to realize later that the key settings – resolution and frame rate – had not been set correctly. In the past this could mean that you had to start again for optimal results. This is no longer a problem with Resolve 16 as a new timeline can be created with the correct settings without the need to create a new project.

How much?

I mentioned this selling point in a previous paragraph, but what exactly is the cost of Resolve 16?…$ 0. Yes, that’s correct, you can download and use Resolve 16 for free. No time limited trial, no logo burn in and no limitation to the length of your final output.

Yes, that’s correct, you can download and use Resolve 16 for free.

The free version of DaVinci Resolve does have some limitations, although a lot of these may not be important for those just starting out or even the more advanced user. Some key limitations are that the free version doesn’t offer HDR support or timelines with a resolution greater than UHD 4K. You’re also limited to using a single GPU, and I’ve found that the rendering speeds with the studio version are appreciably quicker. This is because you can select native Cuda acceleration in the Deliver page if you have an Nvidia graphics card.

There are other limitations as well which are detailed here, although the linked table should only be used as a guideline since, at the time of writing, it hasn’t been updated to Resolve 16 yet.

The Deliver page enables multiple exports for different platforms.

Will it work with my hardware?

There are, of course, some minimum hardware requirements for Resolve but these are quite reasonable. (It would be great to get a definitive requirements list from Black Magic Design, but that doesn’t seem to be available.)

To give you an idea of what’s possible, I previously ran version 14 on a 2012 Macbook Pro and, although a little slow, it did work. My current setup uses an AMD Ryzen 1700x with 32GB of RAM, along with an Nvidia GTX 1070Ti, and it works well for me. That’s not to say things wouldn’t be much quicker with better hardware but that’s a nice thing to have rather than a necessity.

One of the many upgrade options: the dedicated Resolve 16 keyboard, which includes a real jog shuttle wheel.

What’s the catch?

So why does Blackmagic offer such a full featured video editor for nothing? Well, they’re hoping that you like the free version of Resolve so much that you want to buy into their ecosystem. The upgrade path to Resolve Studio costs $ 299, but Blackmagic also sells a number of related hardware products that will assist you in your editing. These range from a dedicated editor keyboard at $ 995 to a control grading surface at $ 1025, and even a full production suite which retails at a staggering $ 30,805. This might seem like overkill for people just starting out, but you should know that Resolve is also used in professional post production facilities world-wide. There are options for all budgets.

The next question is which version should you get, the free version or Studio? There’s no penalty in trying the free version and then upgrading later if you need features in the Studio version. Why upgrade? For me it meant faster renders, and time is money. I also considered some of the additional VFX filters that are included for $ 299 and it made sense for me.

You can also upgrade the Studio version without cost to the next version. I went from 15 Studio to 16 Studio without paying any extra. Traditionally, this has been a selling point of Resolve.

Resolve 16 offers comprehensive color grading tools, including power windows

Help, I’m stuck

In addition to YouTube there’s a very active user community via the Blackmagic forums where developers and industry professionals with hundreds of years of combined experience can help you out. There are always more features that could be included, and as the number of users of Resolve has expanded so have the feature requests. Blackmagic is listening, hence the introduction of the Cut page and the ability to create timelines in the same project that have different frame rates and resolutions.

There’s also the recently published Beginner’s Guide to Using Resolve 16, but at 444 pages it may take some time to get through.

Is it for you?

The short answer is, it depends. I’d say give it a go, after all it costs nothing to try it. If you find it difficult to use then try watching some of the videos linked above. I find myself watching some of them when new features are introduced or if I need to look at a function that I’ve never used.

There are many functions you may never use, but it’s great to know they’re available if you ever need them. If you’re not limited by the software, you can develop your skill set as and when required.

What we like

  • Free version works for most users
  • Modest hardware requirements
  • Available for Windows, Mac and Linux
  • Excellent support resources, especially via YouTube
  • Reasonable upgrade cost if you require additional functions ($ 299)

What we don’t like

  • Can appear intimidating to new users
  • Lacks some support documentation

Articles: Digital Photography Review (dpreview.com)

 
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DJI releases ‘GEO zone’ firmware update for the Mavic Mini

03 Jan

When DJI announced the Mavic Mini, its 249-gram drone that doesn’t require registration (unless used for commercial purposes), the general public was disappointed with the fact that it was missing some important features. One of those was the inability to unlock GEO Zones. Right in time for the New Year, DJI has released its latest firmware update, v01.00.0400, which also includes two important safety features.

The latest firmware update for v1.0.4, or later, of the iOS and Android version of the DJI Fly app now allows you to unlock GEO Zones. DJI also added in a feature that prevents you from taking off when the GPS signal is weak (GPS <8) and the environment light is too weak to safely operate the aircraft. This feature has been missing from all previous firmware updates, including those created for the DJI GO app, and will hopefully be implemented there, as well, going forward.

Another pertinent safety update is the requirement for compass calibration before takeoff if environment light is not sufficient or if the compass experiences magnetic interference. The latter is a leading cause of flyaways. The Mavic Mini is an entry-level drone that appeals to beginners who are especially susceptible to losing a drone. Anyone who remembers the disaster that took place in Las Vegas, when a drone flew off and landed on an airport runway, will appreciate this feature. To properly calibrate a compass, make sure you do so in an area absent of any magnetic interference.

A few other new features in the firmware update include:

  • Adjusted flight altitude and distance in payload mode.
  • Added warning prompt for battery cycles.
  • Reduced noise during self-diagnostics after powering on.
  • Fixed issue: linking was abnormal in some regions.

DJI has also noted that ‘the update may reset various main controller settings, such as the RTH altitude and the maximum flight distance, to default settings. Before updating, take note of your preferred DJI Fly settings, and readjust them after the update.’ If the update fails, it is recommended that users restart the aircraft, remote controller, and DJI Fly or DJI Assistant 2 for Mavic, and retry.

Red Zones are Restricted Zones. Users will be prompted with a warning and the flight won’t be authorized. Anyone who believes they have permission to operate in a Restricted Zone has to contact flysafe@dji.com or go through the Online Unlocking portal on DJI’s Fly Safe site.

When it comes to GEO Zones, unlocking a low-risk area requires a few taps or clicks. High-risk zones require prior approval, along with proof of credentials, and can’t be accessed within the Fly app. Basically, don’t attempt to unlock a high-risk or Red Zone, especially in close proximity to an airport, unless you know what you’re doing. Information, and other safety tips, can be found on DJI’s Fly Safe portal.

Articles: Digital Photography Review (dpreview.com)

 
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DIY large format camera ‘Bertha’ shoots massive 1.1 x 1.1-meter slides

03 Jan

The Branco Ottico team in Italy has showcased ‘Bertha,’ a giant large format camera that can be used to capture 1.1 x 1.1m (3.6ft) slides. A report about the camera’s creation, as well as some images of the assembly process, were recently shared over at DIY Photography. The team explains that Berta is designed to ‘create unique works’ using the ROBA APPOSTA inversion kit chemical process created by Branco Ottico.

Bertha features a modular aluminum frame, a bellows draft measuring around 4m (13.12ft) in length and a 1000mm F6.3 lens. The camera can be used to capture portraits in macro mode, according to the team, which says they also have a mobile darkroom for capturing portraits outdoors. The team will tune the camera in early 2020, then take it and the mobile darkroom on a tour to capture portraits of people on the road.

Articles: Digital Photography Review (dpreview.com)

 
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Insta360 teases a combined action, 360-degree, drone and 1-inch camera

03 Jan

Insta360, the company behind consumer 360-degree cameras, such as the Insta360 Go or One X, as well as professional models like the Pro 2, has posted a teaser video hinting at the launch of some kind of multi-purpose or modular camera on the 7th of January.

In the video footage of several electronics items being shredded in a blender is interspersed with various action-cam and drone-filmed scenes and viewers can read the sentence ‘our next camera combines an action-cam, a 360 cam, a drone, a 1-inch cam into one.’

It appears the company is close to launching a camera that is capable of providing the functionality of a GoPro-style action cam, presumably a consumer-level 360-cam like the One X, and a camera with 1″ sensor, like the Sony RX0. And presumably this camera or modular camera system can be used for aerial filming in conjunction with a drone.

This sounds like quite a unique concept that, depending on pricing, accessory compatibility and other factors, has the potential to appeal to a very wide range of customers. We’ll know more on the 7th of January when the new product is scheduled to launch.

Articles: Digital Photography Review (dpreview.com)

 
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We’ve updated our Sony a6100 sample gallery

02 Jan

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Sony’s a6100 is the perfect entry-level camera for folks looking to step up their photography game to something more powerful than their phone. We’ve updated our sample gallery to give you a better sense of its capabilities.

See our Sony a6100 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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2019 resolutions revisited: what we hoped for, and what we got

01 Jan

Resolutions revisited – what we hoped for, what we got

About this time last year we sat down as a team to write some new year’s resolutions. But not for us – where’s the fun in that? No, we wanted to help our favorite camera and lens manufacturers out, by writing some for them.

Wishful thinking? Sure. Reasonable? Not at all. Borderline condescending, from a group of keyboard warriors who would struggle to complete a moderately complex jigsaw puzzle, let alone make a digital camera? Absolutely.

We didn’t get everything we wanted in 2019, but some of our resolutions / wishes / predictions (just go with us on this one, and don’t think about it too hard) did come true.

Feel free to play along at home via the comments.

Canon

Our 2019 resolutions for Canon:

  • Add IBIS to the RF lineup and update your sensors (or buy Sony’s).
  • Make the RF mount an open standard.
  • Reclaim your ILC video crown – no more cropped 4K!
  • Dump the M-Fn bar…
  • Make the 5D Mark V a true digital EOS 3.
  • Think different – embrace computational photography.

How things panned out: 2.5/6

Our resolutions for Canon in 2019 were ambitious, and probably for the most part unrealistic. What can I say? We’re big picture people.

The RF mount isn’t going to be opened up any time soon (why cede those lens sales to third parties when you don’t have to?), the EOS 5D Mark IV wasn’t really due for an upgrade, and while we know that IBIS is coming to the EOS R lineup, it didn’t happen in 2019.

But Canon did develop a very nice new sensor, in the form of the 32MP APS-C sensor used in the EOS 90D and EOS M6 Mark II. Not only does it offer excellent resolution and good dynamic range, it also works with an updated processor to allow for un-cropped 4K video. There are rumors starting to float around of an upscaled version of this sensor coming in the RF line possibly next year, so we’ll see. Canon also (sort of) dumped the M-Fn bar, omitting it from the EOS RP.

It remains to be seen whether the controversial control will be re-introduced in a future R-series model but we won’t be sad if it isn’t. We’re not against the concept of a touch-sensitive control of this kind, we just want one that works.

Fujifilm

Our 2019 resolutions for Fujifilm:

  • Make a full-frame X100 / monochrome X100 / 28mm-equiv X100.
  • Continue improving your face and eye-detection autofocus.
  • Make a proper X70 successor.
  • Refresh your F1.4 primes.
  • Don’t try to palm us off with 15fps ‘4K video’ ever again. For shame.

How things panned out: 2/5

Well, we didn’t see that full-frame X100-series in the end, but honestly that was probably a stretch. Fujifilm was pretty focused on its medium-format GFX range in 2019, but the company did release the unique X-Pro 3 (we didn’t see that one coming!) and update its entry-level X-A7 lineup. We were very pleased to see that the X-A7 finally offers proper 4K video. No more 15fps!

Fujifilm has also continued to work on its autofocus. A major firmware update was released for the X-T3 in spring, specifically aimed at improving face and eye-detection AF performance. Fujifilm has also improved the implementation of Face/Eye AF in the X-Pro 3, which presumably will filter down into future models.

Leica

Our 2019 resolutions for Leica:

  • Stop with the special editions already!
  • Make a Q2 – maybe even with a 35mm lens…
  • Make an M-mount camera with an EVF.
  • Improve service / repair times.

How things panned out: 1.5/4

Asking Leica to stop making special editions is like asking a Kuh not to muh. This year saw the launch of the ‘Safari’ edition M10-P, the Lenny Kravitz ‘Drifter’ edition M Monochrom (with snakeskin finish, no less) three limited edition versions of M-mount lenses, and no fewer than three special edition CLs: ‘Bauhaus’, ‘Urban Jungle’ and ‘Edition Paul Smith’.

Ouch. It’s almost as if Leica wanted to put us in our place.

Meanwhile, although we’re still waiting for an M11 with an EVF, Leica did release the Q2, which comes with some really welcome upgrades compared to the original Q. Ditto the SL. The company also claims to be continuing to invest in improving service times, which, because we’re feeling generous, we’ll say earns them a 0.5.

Nikon

Our 2019 resolutions for Nikon:

  • Keep developing that Z-series lens roadmap.
  • Bring 3D AF Tracking to the Z-series.
  • Make an FTZ adapter with a built-in AF motor.
  • Make the Z mount an open standard.

How things panned out: 1/4

We didn’t do a great job of anticipating Nikon’s moves in 2019, but nobody said that new years’ resolutions were easy, especially when you’re making them for other people. Nikon didn’t add a version of 3D AF tracking to the Z-series this year, but it did introduce a new camera, in the form of the APS-C Z50. Pending some final testing, we’ve been pretty impressed by its performance so far, but it basically has the same autofocus behavior as the Z6 and Z7.

The only one of our resolutions on behalf of Nikon which ended up becoming reality was perhaps the most obvious one – continued development of the Z-mount lens lineup.

We’ve really been impressed by the Z-series lenses so far, and 2019 saw the release of the standout Z 24-70mm F2.8 S and Z 85mm F1.8 S, with more still to come on the roadmap.

Olympus

Our 2019 resolutions for Olympus:

  • Start making small cameras again.
  • Update the OM-D E-M5 II.
  • Simplify your cameras’ menu systems, please!
  • Add PDAF to your lower-end PEN and OM-D cameras.
  • Add a large sensor to the TOUGH range.

How things panned out: 3/5

Olympus didn’t release a whole lot of products this year, but the OM-D E-M5 lineup did see a refresh in the form of the very powerful E-M5 Mark III. Despite being packed with powerful features (many of which were inherited from the E-M1 Mark II) it is even smaller than its predecessor, and features on-sensor phase-detection autofocus.

Sadly it still features a dense and complicated UI / menu, but 3/5 ain’t bad.

Panasonic

Our 2019 resolutions for Panasonic:

  • Ditch field-sequential EVFs.
  • Either fix DFD for video, or use PDAF instead.
  • Make a full-frame 4K video camera.

How things panned out: 2/3

With so many announcements in late 2018, it was hard to make too many specific resolutions for Panasonic in 2019, but the company did check off two items from our wishlist: An (apparent) move away from field-sequential and towards OLED electronic finders, and a full-frame 4K video camera, in the shape of the Lumix DC-S1H.

The S1H is an interesting product, coming so quickly after the launch of the S1R and the more video-oriented S1 – itself a hugely capable camera for shooting video, especially with Panasonic’s paid DMW-SFU2 update. The S1H can shoot perfectly good still images from its 24MP sensor, but it’s really a video-first product, and the first ‘consumer’ camera to be certified by Netflix for broadcast-quality recording. Impressive stuff.

Ricoh / Pentax

Our 2019 resolutions for Ricoh / Pentax:

  • Make a true successor to the K-1.
  • Give your fans a proper mirrorless camera.
  • Make a full-frame GR to compete with the Leica Q and Sony RX1R II.

How things panned out: 0/3

It was a very quiet year for Ricoh in the end, with the GR III the only significant new Pentax-branded product released in 2019 (actually late 2018, but it became available this year).

There were some signs of life though – Ricoh did unveil a new wide zoom for APS-C – the HD Pentax-DA 10-17mm F3.5-4.5 ED fisheye. This year also saw a small refresh of the HD Pentax-FA 35mm F2 AL, with new coatings and a redesigned aperture diaphragm. Will we ever see a K-1 III, or a reimagined Pentax-branded mirrorless ILC? Nothing is impossible but we get the sense that 2020 will be a make or break year for the Pentax brand.

Sigma

Our 2019 resolutions for Sigma:

  • Create a range of compact F2 lenses.
  • Try again with the 24-70mm F2.8 Art.
  • Develop some native Sony FE lenses.
  • Reverse-engineer the Canon RF and Nikon Z mounts
  • Create a range of full-frame Merrill compacts.

How things panned out: 3.5 / 5

Well, either we got unusually good at guessing, or Sigma listened to us (I’ll leave you to figure out which is more likely) because of our five resolutions for Sigma in 2019, three of them became reality. This year we saw the porting of Sigma’s popular DC DN range of fast prime lenses to Canon’s EF-M mount (hey, they’re F2.2 equivalent), the release of the distinctive and very compact (albeit not for everybody) 45mm F2.8 for E and L-mount, and the launch of two high-performance ‘DN’ zoom lenses, also for E and L – one of which sort of counts as a second try at the older 24-70mm F2.8 Art.

The only one of our resolutions which definitely didn’t come to pass is reverse-engineering the Nikon Z and Canon RF mounts, which to be fair may be a decision out of Sigma’s hands. Meanwhile the full-frame fp earns a 0.5 for being pretty close (in spirit) to a full-frame Merrill, while offering so much more, especially to videographers.

Sony

Our 2019 resolutions for Sony:

  • Release a Cyber-shot RX1R III.
  • Create some new APS-C lenses.
  • Make your video and stills AF experience consistent.
  • Release an FE 35mm F1.8. Your non-pro and pro customers will thank you.
  • Focus on user experience.

How things panned out: 4/5

Another very good showing for the resolutions crew in the end, but Sony has been releasing so much new technology every year that we felt pretty optimistic about this one.

2019 saw the release of some really welcome E-mount APS-C lenses, including the excellent (albeit pricey) E 16-55mm F2.8. And we finally got that FE 35mm F1.8! Meanwhile the company did make efforts to improve the UX of its latest cameras, particularly in the a7R IV, which also offers a more consistent stills / video autofocus and user experience,

It’s a shame about the RX1R III, though. Maybe in 2020.

Tamron

Our 2019 resolutions for Tamron:

  • Continue developing full-frame E-mount lenses.
  • Reverse-engineer the Canon RF and Nikon Z mounts as soon as possible.
  • Resist the temptation to create large, heavy F1.4 glass.

How things panned out: 2/3

Again, the decision whether (or when) to reverse-engineer the Nikon Z and Canon RF mounts is probably down to Canon and Nikon, so we’ll let Tamron off the hook for that one. Ultimately, while the physical dimensions of the mounts themselves can be copied, the protocols governing data transfer between camera and lens are protected by IP, and licensing will happen on Canon and Nikon’s respective schedule (if it happens at all).

As for the other two resolutions, we’re pleased to see that Tamron did indeed continue to develop new native E-mount glass, in the form of the 70-180mm F2.8 Di III VXD and 17-28mm F2.8 Di III RXD. Meanwhile, the company announced three lightweight (I’ll get in terrible trouble in the comments section again if I suggest they’re ‘compact’) F2.8 primes. But alongside these small (ish) lenses, Tamron also sneaked in one of the highest-performance 35mm F1.4s we’ve ever used, in the form of the SP 35mm F1.4 Di USD.

We’ll forgive it.

Looking ahead to 2020

So there you have it – not all of our 2019 resolutions became reality, but if there’s one thing we’ve learned in 2019 it’s that we don’t always get what we want. Another thing we’ve learned is that lexicologically speaking, things get really complicated when you start trying to make resolutions, which are really requests, but also kind of predictions, on behalf of third-parties.

Lesson leaned. So what does 2020 have in store? As always, the future is hard to predict, but that doesn’t mean we can’t try. Here are some resolutions predictions from the DPReview team – feel free to add your own in the comments.

  • ‘Professional’ mirrorless ILC from Canon and / or Nikon.
  • At least one more serious DSLR from either / both of the above (in addition to the EOS-1D X Mark III and D6).
  • Computational imaging approaches will continue to make their way into dedicated cameras across the board.
  • More affordable full-frame L-mount ILC from Panasonic (and maybe an APS-C body?).
  • New X100-series or similar compact from Fujifilm (possibly with a medium format sensor?).
  • More lenses, and a sub-$ 1000 full-frame E-mount camera from Sony.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Introducing new host Liam Drake!

01 Jan

Please welcome our newest DPReview TV host, Liam Drake. Liam comes to us from Calgary, Alberta, mostly because that’s where his parents live. Watch his first camera review and let us know what you think.

Want to see more reviews from Liam? Let us know in the comments!

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

Articles: Digital Photography Review (dpreview.com)

 
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COSYSPEED is crowdfunding to create first ‘Made in Africa’ camera lens pouches

01 Jan

German company COSYSPEED is looking to raise at least $ 11,000 by offering up the option of either plain or ‘African-style’ camera lens pouches to backers via the popular crowdfunding platform, Indiegogo. Burundi, located in central Africa, is the world’s poorest country. COSYSPEED has partnered with Burundikids, a non-profit organization dedicated to educating young women and girls, to produce a series of 3 microfiber-lined lens pouches plus a microfiber cloth.

The lens pouches come in three sizes designed to fit prime, standard zoom, and telephoto zoom lenses. The microfiber cloth is the most affordable option, starting at $ 4, followed by $ 9 for the prime pouch, $ 10 for the standard, and $ 11 for the telephoto zoom lens pouch. The entire bundle, containing all 4 items, can be purchased for $ 28. The measurements for each item are as follows:

  • S size Lens Pouch: (Ø) 80 mm / 3.2″ x (h) 100 mm / 4″ – Fits prime lenses
  • M size Lens Pouch: (Ø) 120 mm / 4.7″ x (h) 200 mm / 8″ – Fits standard zoom lenses up to 24-70/2.8
  • L size Lens Pouch: (Ø) 140 mm / 5.5″ x (h) 280 mm / 11″ – Fits tele zoom lenses up to 70-200/2.8
  • Microfibre Cleaning Cloth: 150 mm / 6″ x 150 mm 6″ – For lens cleaning

If the campaign is successful, COSYSPEED aims to set up a permanent production facility in Bujumbura, Burundi’s largest city, so they can continue to produce the first ‘Made in Africa’ photo accessories. It will house homeless young mothers, and their children, while providing them food and health care. The women will also have the opportunity to participate in an apprenticeship program that will make them dressmakers.

COSYSPEED will be crowdfunding on Indiegogo through January, 2020. Items are expected ship starting in May.

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.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Billie Eilish parody music video ‘Gear Guy’ is made for filmmakers and photographers

01 Jan

Dave Maze, the host of YouTube channel Kinotika, is the star of a newly published parody of Billie Eilish’s ‘Bad Guy’ music video. Called ‘Gear Guy,’ this song is made for the photographers and filmmakers who are obsessed with collecting new gear.

Maze is also behind the ‘Old Towne Road’ parody video published back in September. In addition to the music video above, the parody is also available to listen to on Soundcloud. The video also stars Jake Bernal, Zach Mayfield, and Laura Altizer.

Articles: Digital Photography Review (dpreview.com)

 
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